	When the shape of coffins themselves was altered sometime in the 17th dynasty from  their traditional rectangular shape to the form of the human body, the jars remained linked in design by also changing. (“Canopic,” Internet) Though still cylindrical, they became narrower at the base than at the top, creating the illusion of shoulders just below the god-headed lids. 
	With the exception of the stone used prior, in the 18th dynasty, it is clear what colors were used most frequently with the canopic equipment. Evidence suggests that the chests were painted entirely white with gold and black painted accents. (“Canopic,” Internet) These colors would have held great significance to the Egyptians. The color white suggests purity and rebirth, and also directly references the white of linen used as wrappings in the mummification process. The color black was the symbol of fertility for the Egyptians, as the Black Land of Egypt was used only for planting and harvesting. Finally, the color gold, much like it does to modern societies, shows elegance, richness, and splendor. Combined, these three colors allude to many key characteristics the deceased would certainly want for the afterlife.
	Another key turning point for the evolution of canopic jars comes with the New Kingdom; during this era, it is evident that there is a distinct difference between canopic equipment intended for the wealthy and for the poor. (Ellison) Royal equipment is especially ornate and elaborate, often with relief statues carved into the stone outer chest depicting the goddesses: a literal interpretation of them extending their protection around the sons of Horus and, ultimately, the mummified organs. The chests are also architecturally superior to their common folk counterparts in that they have decoratively ridged, angled lids. Additionally, the lid was often slanted upwards, with additional hand-painted imagery of a hawk, most likely the sun god Ra, upon it. The angle of the lid is reminiscent of a ray of sunlight, which when combined with the depiction of Ra, signal magical properties of the sun, ultimately providing the life for everything from plantlife to animals and to the Egyptians themselves.
	Briefly, only during the reign of King Akhenaten, an extremely notable change occurs. Also known as the Heretic King, Akenaten believed in a monotheistic religion and tried to enforce this new religion upon his people. (“Canopic,” Internet) Instead of imagery depicting the gods and goddesses, the jars only reference the names and titles of the king and the god Aten. His probable son, Tutankhamun, seems to reverse his father’s revisions to their religion, as his chest and jars follow the traditional style. It is significant that Tutankhamun is quick to decree this style change back to how the jars appeared, as it shows a modern audience just how important their long withstanding religion was: even a great and mighty pharaoh was utterly unable to force new ideas upon the civilization, and his own son did not support Akenaten’s idea. 