The Scarab and the Ring: Revisiting Tektite Use in Tutankhamun’s Jewelry

Among the many marvels recovered from the tomb of Tutankhamun, one artifact has long captivated both geologists and Egyptologists: the pectoral featuring a scarab carved from Libyan Desert Glass (LDG). This silica-rich natural glass, formed approximately 29 million years ago in the Great Sand Sea of western Egypt, is widely believed to be the result of a meteoritic impact or atmospheric airburst. Its presence in royal jewelry suggests not only aesthetic appreciation but also symbolic resonance—linking cosmic origin with solar rebirth.

The LDG scarab is well-documented. Mineralogical analyses confirm its composition as nearly pure silica, with traces of lechatelierite and impact-related inclusions (Kaczorowski 2013; Osinski et al. 2008). The scarab's placement at the heart of a solar-themed pectoral—flanked by falcon wings, lunar crescents, and the Eye of Horus—underscores its metaphysical significance. It is the only confirmed use of LDG in ancient Egyptian jewelry, and its uniqueness has led many to assume it was a one-off commission.

However, recent observations from the Grand Egyptian Museum (GEM) raise intriguing questions. In the newly opened exhibition halls, where lighting favors spectacle over forensic clarity, a ring attributed to Tutankhamun appears to feature a pale yellow, semi-translucent stone. Its hue and internal texture bear resemblance to polished LDG—though the mounting and surface treatment differ from the scarab. No official catalog entry currently identifies the material, and no published spectroscopy has confirmed its composition. Yet the visual cues are compelling enough to warrant scholarly attention.

Libyan Desert Glass is known to vary widely in appearance. While the scarab is carved from a relatively transparent golden specimen, LDG also occurs in milky white, greenish, and fully opaque forms. Devitrification, weathering, and internal inclusions contribute to this diversity. Polished LDG can resemble chalcedony, citrine, or even ceramic, depending on the cut and lighting. Thus, visual identification alone is insufficient—but it is not meaningless.

Could the ring be another example of LDG use? The possibility is speculative, but not implausible. Ancient Egyptian lapidaries were adept at selecting and working exotic materials. If LDG was known and valued enough to be used in a central pectoral, it is conceivable that smaller fragments were fashioned into rings, amulets, or inlays. The scarcity of LDG in the archaeological record may reflect its rarity, not its insignificance.

To move beyond speculation, forensic analysis is essential. Raman spectroscopy could reveal silica polymorphs and confirm the presence of lechatelierite. X-ray fluorescence (XRF) would identify trace elements consistent with LDG's geochemical signature. Microscopy might expose flow banding, vesicles, or shock features. These tests are non-destructive and routinely used in conservation science. If the GEM curators permit such analysis, the ring's identity could be resolved definitively.

Until then, the ring remains a tantalizing mystery. It may be LDG. It may be glass, chalcedony, or a modern restoration. But the very act of questioning—of applying geological scrutiny to ancient aesthetics—reaffirms the interdisciplinary power of material culture studies. The scarab taught us that cosmic materials were not only known but symbolically deployed. The ring, if confirmed, could expand that narrative.

In the meantime, scholars and observers must tread carefully. The lighting at GEM may obscure more than it reveals. The absence of catalog transparency complicates verification. But the convergence of visual evidence, historical precedent, and mineralogical possibility makes this an inquiry worth pursuing.

References

• Kaczorowski, R. 2013. "Libyan Desert Glass: Evidence of Meteoritic Origin." Meteoritics & Planetary Science 48(4):678–693.

• Osinski, G. R., et al. 2008. "Impact Glasses in the Sahara: The Case of Libyan Desert Glass." Geology 36(5):403–406.

• Reeves, N. 1990. The Complete Tutankhamun: The King, the Tomb, the Royal Treasure. London: Thames & Hudson.

• Grand Egyptian Museum. 2025. Tutankhamun Exhibition Catalogue. Cairo: GEM Publications.