amuletsLamashtu plaque𒀭𒈕𒈨
said la-MASH-tu, Akkadian dLa-maš-tu; Sumerian Dimme
also: Lamashtu amulet · Lamastu plaque · Dimme amulet
amuletMesopotamiaIraqSyriaconfidence mediumneeds checking
A small plaque, pierced or looped so it can hang, carrying the figure of the demon it is aimed at. Lamashtu is cut on it as a composite: a lion's or dog's head, donkey's teeth, bare breasts, bird-of-prey talons, a serpent gripped in each hand. She stands on a donkey in a boat; a dog and a piglet suckle at her. Her seven names, and an incantation telling her to keep away, run across the object in cuneiform. Bronze is the material of the big Neo-Assyrian examples; smaller ones are fired clay and cut stone.
citedWhen
first millennium BCE, with earlier examples this project has not seen dated cited
| Period | Neo-Assyrian and Neo-Babylonian |
|---|---|
| How the date is known | excavated — dug up in a dated context |
| Note | The cited article separates 'early representations' from 'later first-millennium BCE examples' without giving a first attestation. The span here is the dated half of that sentence; the floor is a floor, not an origin. |
Years are stored astronomically — 1 CE is 1, 1 BCE is 0, 500 BCE is −499 — and printed the way a reader says them. How these dates are made.
The thing itself
| Form | Plaque or tablet |
|---|---|
| Made of | Copper and bronze · Fired clay |
| Goes | At the neck · On a wall · At the door · In the grave |
| Made by | ritual specialists; the objects were made to be worn, attached to the body or to clothing, or set near beds, doorways and other vulnerable spaces |
| It says | Lamashtu's seven names and an incantation ordering her not to approach the person named (cuneiform) |
| Note | An obsidian example is described in the Metropolitan Museum of Art's collection, with a lion-griffin head, raised clawed hands and bird talons. This project read no published measurement, so none is given. |
What its carriers say it stops
Reported, attributed, not tested here. Each row below is somebody's claim, with their name on it.
- Harm to a child — harm to an infant or a small child; common across the atlas, though not the largest class in it — see /story/most-of-them-are-for-children/ citedsaid by the Mesopotamian incantations, which name her victims as unborn and newly born babiesquoted from the amulet catalogued as AO 8184, as published in the cited article
you must not approach (this) person.
- Death in childbirth citedsaid by Mesopotamian ritual practice; pregnant women were the second class of victim after the babies
- Illness — sickness in general, where no cause is named citedsaid by the Mesopotamian texts, where she also functions as a bringer of disease to adolescents, adults and the old
- Demons and night-hags citedsaid by the ritual imagery, which sets Pazuzu against her on the same object
The story
Lamashtu is the daughter of the sky god Anu, and she acts on nobody's instructions but her own — the reason Assyriologists argue she is a goddess rather than a demon, and the reason her name is written with the cuneiform sign that marks deity. Her victims are the unborn and the newly born. She touches a pregnant woman's stomach seven times to kill the baby, or takes it from the wet nurse. Adolescents, adults and the old are on her list too, as a bringer of disease.
The incantations open by addressing her directly. One amulet, catalogued as AO 8184, runs through her names — 'Dimme', 'Daughter of Anu', 'Who was named by the gods', 'Victoria, heroine among ladies' — and then delivers the whole point of the object: "you must not approach (this) person." The names matter because knowing them is the hold.
The largest surviving pieces are scenes rather than signs. The Neo-Assyrian plaque in the Louvre known as the Plaque des Enfers sets divine symbols above a sickroom: a patient on a bed, ritual specialists at work, and in the bottom register Lamashtu on her donkey in the boat with the serpents in her fists, while Pazuzu drives her off down the river.
Inference — the object is not a picture of the demon so much as a place to put her. Iconographic studies distinguish an earlier threatening figure with raised hands, a middle type holding a comb and spindle, and the elaborate serpent-holding compositions of the first millennium BCE; what stays constant across all three is that she is shown named, held, and on her way out.
Where you can see one
- Musée du Louvre — the Neo-Assyrian 'Plaque des Enfers', with Lamashtu in the lower register and Pazuzu opposing her
- The Metropolitan Museum of Art — an obsidian Lamashtu amulet with a lion-griffin head
An accession number appears here only where it was read off a catalogue page that is linked. No link, no number.
What this is near
What names this one
Each in its own words, from its own page.
Where this came from
- Lamashtu — Wikipedia read 2026-09-16
- Pazuzu — Wikipedia read 2026-09-16
- Mesopotamian mythology — Wikipedia read 2026-09-16
- Apotropaic magic — Wikipedia read 2026-09-16
Elsewhere
Record updated 2026-09-16. This record as JSON. Every field carries its own provenance; the tier chips above say which.