In Egyptian mythology, Seshat (also spelled Safkhet, Sesat, Seshet, and Seshata) was the Ancient Egyptian goddess of wisdom, knowledge, and writing.
She was seen as a scribe and record keeper, and her name means she who Scrivens (i.e. she who is the scribe), and is credited with inventing writing.
She also became identified as the goddess of architecture, astronomy, astrology, building, mathematics, and surveying.
These are all professions that relied upon expertise in her skills. She is identified as Safekh-Aubi in some late texts. Mistress of the House of Books is another title for Seshat, being the deity whose priests oversaw the library in which scrolls of the most important knowledge were assembled and spells were preserved.
One prince of the fourth dynasty, Wep-em-nefret, is noted as the Overseer of the Royal Scribes, Priest of Seshat on a slab stela. Heliopolis was the location of her principal sanctuary. She is described as the goddess of history.
In art, she was depicted as a woman, with a stylised papyrus plant above her head.
The papyrus symbolized writing because the ancient Egyptians wrote on a material derived from papyrus.
The papyrus plant, her symbol, was shown as having six spurs from the tip of the central stem, making it resemble a seven-pointed star.
Pharaoh Tuthmosis III (1479-1425 BCE) called her Sefket-Abwy (She of seven points). Spell 10 of the coffin text states “Seshat opens the door of heaven for you.”
Usually, she also is shown holding a palm stem, bearing notches to denote the recording of the passage of time, especially for keeping track of the allotment of time for the life of the pharaoh. She also was depicted holding other tools and, often, holding the wound cords that were stretched to survey land and structures.
She frequently is shown dressed in a cheetah or leopard hide, a symbol of funerary priests. If not shown with the hide over a dress, the pattern of the dress is that of the spotted feline.
The pattern on the natural hide was thought to represent the stars, being a symbol of eternity, and to be associated with the night sky.
As the divine measure and scribe, Seshat was believed to appear to assist the pharaoh in both of these practices. It was she who recorded, by notching her palm, the time allotted to the pharaoh for his stay on earth.
Seshat assisted the pharaoh in the stretching the cord ritual.
This ritual is related to laying out the foundations of temples and other important structures in order to determine and assure the sacred alignments and the precision of the dimensions.
Her skills were necessary for surveying the land after the annual floods to reestablish boundary lines. The priestess who officiated at these functions in her name also oversaw the staff of others who performed similar duties and were trained in mathematics and the related store of knowledge.
Much of this knowledge was considered quite sacred and not shared beyond the ranks of the highest professionals such as architects and certain scribes.
She also was responsible for recording the speeches the pharaoh made during the crowning ceremony and approving the inventory of foreign captives and goods gained in military campaigns.
During the New Kingdom, she was involved in the Sed festival held by the pharaohs who could celebrate thirty years of reign. Later, when the cult of the moon deity, Thoth, became prominent and he became identified as a god of wisdom, the role of Seshat changed in the Egyptian pantheon when counterparts were created for most older deities.
The lower ranks of her priestesses were displaced by the priests of Thoth. First, she was identified as his daughter, and later as his wife.
However, as late as the eighteenth dynasty, in a temple constructed during the reign of Hatshepsut, there is an image of the pharaoh directing Thoth to obtain answers to important questions from Seshat.
After the pairing with Thoth, the stylised papyrus of Seshat was shown surmounted by a crescent moon, which, over time, degenerated into being shown as two horns arranged to form a crescent shape, but pointing downward (in an atypical fashion for Egyptian art).
When the crescent moon symbol had degenerated into the horns, she sometimes was known as Safekh-Aubi, meaning she who wears the two horns.
In a few images, the horns resemble two cobras, as depicted in hieroglyphs, but facing each other with heads touching.
*This article was originally published at www.greekmythology.com