SCENES FROM

SOME THEBAN TOMBS

 PRIVATE TOMBS AT THEBES

VOLUME IV

SCENES FROM
SOME THEBAN TOMBS
(NOS. 38, 66, 162, WITH EXCERPTS FROM 80

BY

NINA DE GARIS DAVIES

OXFORD
PRINTED FOR THE GRIFFITH INSTITUTE
AT THE UNIVERSITY PRESS
BY VIVIAN RIDLER
1963
© Griffith Institute, Oxford, I963

PRINTED IN GREAT BRITAIN

TO THE MEMORY OF MY HUSBAND

NORMAN DE GARIS DAVIES

 FOREWORD
HIs is the second volume to appear in the series designed for the pub-

T lication of Norman de Garis Davies's records of private tombs at Thebes.

It receives the fourth number in the series for bibliographical reasons.
The Griffith Institute is grateful to l\1rs. Davies for her timely work in pre-
paring for publication this further instalment of her late husband's notes and
of her own and his drawings. The Institute would also wish to join her in
acknowledging the manifold help given by Professor J. Cerny in his transla-
tions of the hieroglyphic texts and in many other ways.
R. W. HAMILTON
Secretary
 PREFACE
HE Theban tombs dealt with in this volume, nos. 38, 66, 162, and excerpts from no.

T 81, are published from material stored in the Griffith Institute. In view of the fact that
tracings disintegrate it was considered advisable to publish those used here, although
some of the material was not as adequate as could be desired. Tomb no. 38 was drawn, with
a commentary, by Norman de Garis Davies in 1908, and no. 162, which is now inaccessible, in
1922. The scales for Plates I-VII can be given only approximately because the original drawings
are no longer available.
I am responsible for the drawings of tomb no. 66, the text being based on notes made by
Norman de Garis Davies in the course of his survey of Theban tombs. The scenes from tomb
no. 8 I are also by me.
Without Professor Cernfs kindness in translating the hieroglyphic texts, and his unceasing
vigilance at every stage, this book could not have been published. I should also like to thank the
Metropolitan Museum of Art in New York for permission to use material from tomb no. 162,
and the Committee of Management of the Griffith Institute whose funds made possible the
publication of this volume.
NINA DE GARIS DAVIES
 CONTENTS
THE TOMB OF DJESERKERE<SONB (no. 38) I

THE TOMB OF I:IEPU (no. 66) 9

THE TOMB OF ~ENAML"N (no. r6z)

THE TOMB OF INENI (no. 8r)

INDEXES
I. NAMES OF DIVINITIES 21

II. ROYAL NAMES 2I

III. NAMES OF PRIVATE PERSONS 2I

IV. TITLES AND OCCUPATIONS 2I

V. GENERAL 22

VI. REFERENCES TO WRESZINSKI, Atlas 22

B 9096 H
 LIST OF PLATES
THE TOMB OF DJESERKERE'SONB
PLATE I. Hall : entrance wall
PLATE II. Hall: side wall
PLATE III. Hall : rear wall
PLATE IV. Hall: entrance wall
PLATE V. Hall : rear wall
PLATE VI. Hall : rear wall
PLATE VII. Varia

THE TOMB OF I:IEPU

PLATE VIII. Hall : entrance wall
PLATE IX. Hall: entrance wall
PLATE X. Hall : rear wall
PLATE XI. Inner Room: side wall
PLATE XII. Hall: side wall
PLATE XIII. Inner Room: side wall
PLATE XIV. Inner Room: side wall

THE TOMB OF E.ENAMUN

PLATE xv. Hall: entrance wall
PLATE XVI. Hall: rear wall
PLATE XVII. Passage: side wall
PLATE x vII I. Passage : side wall
PLATE xrx. Passage: side wall
PLATE xx. Varia

THE TOMB OF INENI

PLATE xxr. Pillar
PLATE XXII. Portico
PLATE XXII I. Pillar

PLANS
PLATE XXIV.
 THE TOMB OF DJESERKEREcSONB (NO. 38)
(Plan on Plate XXIV)

HE tomb of Djeserkere•sonb resembles in more than one respect the tomb of Nakht

T (No. 52) and was originally copied by Norman de Garis Davies 1 with the intention of
including it for the purposes of comparison in the volume devoted to that tomb. 2 Of
the same reign (Tuthmosis IV), though possibly a little later in date, it lies less than a couple of
hundred yards east of No. sz,3 scenes of which have to a certain extent been taken as models.
Though not devoid of skill, the draughtsman of No. 38 does not seem to have had much origin-
ality, for clearly he has gone to other tombs for models as well, particularly to that of Amenl:wtpe-
si-se (No. 75). The construction of our tomb almost certainly extended into the early years of
Amenophis III, whose reign began with painted tombs of mediocre merit but was to produce,
before its close, several of the finest in the Theban necropolis. The banqueting scene which, de-
spite the injury it has received, appears so attractive in the tomb of Nakht, is more complete here
and deserves detailed comment.
The tomb is situated in a small courtyard in Sh. Abd el-Qurna, lower enclosure. It is cut out of
a steep slope which is part limestone and part shale. The crumbling walls of the courtyard consist
of rubble set in mortar and are faced with soft lime (hlb) plaster. At the entrance (at the north end)
these walls were 7 or 8 feet high. At the present time this entrance is filled up with modern steps
leading through it down to the courtyard, but was originally probably on the same level as the
courtyard, or even ascended slightly to it.
As usual no care has been expended on the quarrying of the tomb, and the walls are not quite
straight. The disposition, though on a somewhat smaller scale, is the same as that of the tomb of
Nakht. It consists of a transverse outer chamber and a small inner chamber with a niche at the
rear for a small statue or group. The bad quality of the rock would hardly have permitted con-
struction of larger dimensions with safety; the quarrymen would have had to descend much lower
to find a layer of suitable quality. There is no burial shaft in the courtyard but there appears to be
one in the interior.
The tomb was cleared by members of the Mission Archeologique Fran~aise in the eighties and
again in 1908 by \Veigall. An iron door was put in: too late, however, to prevent the faces and
other details of two dancing girls from being knocked out in the interval. The mason's door-frame
occupies the original doorway, a sandstone fragment of which still survives.4
The axis of the tomb is oriented nearly due north-south. Only the east thickness of the
entrance leading into the courtyard is painted, the other being blank. Both thicknesses of the
entrance to the inner rooms are without decoration. The half-wall and entire wall left roughly
painted in the tomb of Nakht are here blank (north wall left of entrance, west wall). This is
striking evidence of the artist's dependence on the decorations of no. 52. The inner chamber is
also unfinished. To the south-east is a lower border and khakers roughly sketched out in one or
two colours, blue or green (red is omitted). On the east wall the horizontal guiding lines for the
khakers are put in; the ground colour, white, runs round the khakers. On the north-east wall
1
For bibliography, see Porter-Moss, Topographical 2
Davies, The Tomb of Nakht at Thebes.
Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, 3 See Gardiner-Weigall, A Topographical Catalogue of
and Paintings, I. The Theban Necropolis Part I. Private the Private Tombs of Thebes, pl. VII, C:z, for position of
Tombs, second edition, pp. 69--70. tomb no. 38. 4 See text on Plate VII.
2 THE TOMB OF DJESERKEREcSONB (NO. 38)
splashy horizontal lines are the only preparation. Otherwise the walls of the inner chamber are
undecorated. The ledge in front of the niche at the south end is built up with bricks.
The ceiling of the west bay is left plain, but that of the axis may have been painted on the
soffit of the entrance. The ceiling of the east bay is partly decorated by a variant of the same pat-
tern, while the transverse yellow rafters are uninscribed. The colours of the ceiling are rather un-
usual in tone. In one place 1 three zigzags are outlined in white: perhaps the artist was trying out
an effect.
The painting is on a fine plaster surface applied either directly on mud to a thickness of l in.
or on a thick layer of lime (hib). The latter has held better. For the first hasty sketch red out-
lines were traced on the stone-coloured plaster. The ground, white or whitish yellow, was run
round them except where black (as in the case of hair) was to be applied later. All objects which
were to be yellow, light red, or pink, were first painted white or dirty yellow. Foul air, smoke, and
the brown plaster itself are responsible for the originally white ground having turned a light
coffee colour.
Hay's name is found on the south-west wall: 'Rt. Hay 1832, and Yanni Athanasi 1832.' Some-
one has also scratched pencils here and there on the wall, perhaps in order to sharpen them, and
has also outlined faint parts with pencil to make them more visible for work with a camera Lucida.
This has made one or two of the faint inscriptions impossible to read.
In the tomb of Amenl;10tpe-si-se, second priest of Amlin under Tuthmosis IV (No. 75), Djeser-
kerecsonb is named as the steward of his household. 2 In his own tomb Djeserkerec imitated some
scenes from No. 75, notably those of the field measuring and of the musicians (Plates II and VI).
This relationship dates our tomb as being approximately of the end of the reign of Tuthmosis IV.
Evidently during or after his service to Amenl:10tpe-si-se, Djeserkerec was put in charge of the
cornlands of Amlin; his position probably included control of lands subject to an annual tax for
the temple.

DESCRIPTION OF THE PLATES

PLATE I (at 2 on plan, Plate XXIV)

The scene of worship is on very conventional lines but makes a pleasant picture, for though the
wall-space is somewhat crowded it is well composed. The attitude and movement of the figures
are carefully varied so that the scene is not without life.
The descriptive heading above the three main figures runs thus: 'Offering all manner of things
good and pure,jurnishing the altars with incense and birds to [Amun in all his seats], to Rec-Harakhti,
to Osiris, lord of eternity, and to lfatl:wr, regent of the necropolis (smyt) on the part of the scribe and
registrar of corn of [Amun, steward of the second priest of Amun] Djeserka,3 the justified one. His
sister, the house-mistress Wadjronpe, (and) by his son, the scribe .~.Menkheper.4 Bringing all manner of
good and clean stuff for [Amun] (and) lfat~or, regent of the necropolis.'
Djeserkerecsonb makes his gift with the words' Receive [good things (bw nfr ), 0 Amun] at the hand
of Djeserka, pouring oil or incenses over the pile of offerings'. These are varied; fruit and vegetables,
however, predominate over meat. An interesting feature is the grass (?)provided in bowls for the
cow-goddess I:Iatl;10r. A preference for gifts of flowers is shown by the wife, 'his beloved sister of
' For a clear parallel to this ceiling pattern, see Davies Kuentz, BIFA 0 2 I, I I 9, n. I. Sometimes used in present
and Gardiner, The Tomb of Amenemhet, pl. XXXIIA. account for sake of brevity.
z Davies, The Tombs of Tfoo Officials of Tuthmosis the 4 One expects Menkhepere', of which 1\!lenkheper is

Fourth, pls. VI and VIII. For Djeserkere{'s cone, see probably only an abbreviation.
Davies-Macadam, A Corpus of Inscribed Egyptian Funerary 5 As in the tomb of Nakht; Davies, The Tomb of Nakht at

Cones, no. 559· Thebes, pls. XI, XII, XVIII.

3 An abbreviated form of the name Djeserkerecsonb, see
 THE TOMB OF DJESERKEREcSONB (NO. 38) 3

his affection, mistress of the house Wadjronpe', and the son of Djeserkere<sonb. As symbols of pure
freshness she brings a lotus flower and a bunch of leaves, he an elaborate bouquet. This bouquet
consists of three stems of papyrus into which are inserted a few flowers, some buds, the fruit of
the mandrake, and the bright petals of poppies. The insertions are regularly spaced, and the
stems are bound round below them. The dishevelled flowering head of papyrus is here repre-
sented more satisfactorily than usual, for an attempt has been made to avoid the stiff and solid
conventional shape. 1
It is not quite certain that the portraits were drawn with any reference to the persons whose
names are now attached to them. Other walls of the tomb seem to be decorated with reference to
Djeserkere<sonb's calling and career, but there are signs that the necropolis draughtsman, with
whose needs of subsistence the mortality of officials at Thebes failed to keep pace, had employed
his spare time in executing a painted tomb to be disposed of later. A scene of worship showing
a well-dressed official of conventional piety could be safely provided; a legitimate wife and son
could be included, along with their generous offerings to the gods.
A similar scene on the other side of the doorway (at 5 on plan) and the scene of offering on the
wall opposite (at 4 on plan) are so conventional that the owner would easily recognize his own
person and sentiments. It will be noticed that the description is less suited to the scene which it
professes to describe than to another (see Plate IV) in which the deceased offers hand altars with
ducks placed among burning incense.
The three male figures at the top of Plate I to the extreme right can be identified as 'his beloved
son, scribe, and [goose]herd [of Amun, Amenbotpe]', 'his son, scribe Neferbebef,' 2 and 'his son, scribe
Neferbebej', but it is curious to find two figures of one and the same person next to each other. A
space is left in the text for the name of the son to be filled in, and it has been added in a different,
smaller script. The name of Djeserkere<sonb, however, shows no sign of being a later insertion.
(The erasures on Plate I are very ruthless, and excise much more than the name of Amlin, the
subject of the attack.)
The sons present a cone of white fat, lotus buds, grapes, and a papyrus flower. Below, the
first servant brings pots of wine stoppered with green stuff and a hand brazier with a duck in the
flames, while the second servant carries a large jar. The first of the women at the bottom carries
lotus buds, flowers, and a bowl of grass ( ?), the second holds a vine branch and a papyrus stem,
while the third brings a bunch of dates. The more substantial contributions brought by the ser-
vants are shown on the sub-scene, which also depicts the altar of limestone(.?) slabs set on pillars.
The altar has a low crenellated wall to retain the offerings. Meat, bread, and fruit are heaped to-
gether and lavishly sprinkled with charcoal or black pellets of ignitable gum. The whole is set
aflame (sufficiently for the smell to reach heaven and carry the message of loyalty to the gods).
Although the actual slaughtering of the ox had probably taken place elsewhere, it is duly de-
picted. The designer has scaled down the proportions of the other ox shown, which is being
brought along with a gazelle. Pear-shaped cakes lie in dishes. Conical white loaves of bread are
carried.J

PLATE II (at 3 on plan, Plate XXIV)

The east wall of the transverse chamber is divided into three scenes, one being on each of the
three registers. The subject stressed is the harvest of corn and the thank-offering brought to the
gods. The scene of field-work is largely borrowed from the tomb of Nakht, but the official duties
1
In the next generation the feathery head is successfully 3 These loaves do not differ greatly in appearance from

reproduced (see tombs 78 and 90). the objects interpreted above as cones of fat. The cones of
2
The l;tb sign is added in blue instead of black; there fat are, however, always in a dish, while loaves are brought
seems to be a corrected error here. in on mats.
4 THE TOMB OF DJESERKERE<SONB (NO. 38)

of Djeserkere<sonb as registrar of corn for Amlin are also given pictorial expression. It is because
of this that the ordinary field scenes are compressed into the lower register.
The topmost scene shows Djeserkere<sonb performing the duties of his office. He walks along
the edge of the standing corn wearing white greaves, or skin pads, to protect his legs against
sharp stubble and prickly ears. Two attendants (extreme left) follow him-one carries his
sandals, the other (identified with his son 'gooseherd Neferl:zebef'r) a roll of papyrus and a writing
tablet. Two surveyors (centre) measure the field with a stretch rope as a preliminary to estimating
the yield. The plaques on the end of the rope and on the spare coil (on the upper arm of a sur-
veyor at left centre) have been erased, presumably by the followers of the Aton, as they depicted
the head of the ram of Amlin. 2 To the extreme right is the scene which Maspero3 cited as proof of
the worship of trees in Ancient Egypt. Though the picture was at that time undamaged, there
could hardly have been sufficient evidence for such a theory. A peasant is followed by a task-
master with a stick: perhaps the peasant has been caught drinking water from the provisions
placed near the tree.
The middle register shows a lavish meal spread before the seated figure of Djeserkere<sonb.
The meal includes bread, cakes, onions, a generous supply of various fruits, and a fish-an ideal
repast for a hot day in the fields. Men bring forward other gifts: over the first is written 'Bringing
all sorts of good and pure produce by the scribe and registrar [of the corn of Amun, Amenl:zotpe]' and
'the field labourers' above the second. The rearward man officiously advertises himself to the man
in front: 'Be quick on thy feet; the master is (already) seated.' Each of the men carries the first-
fruits of the harvest: a sheaf of corn or specimens of the yield of a particular field. Two quails
caught among the corn make a welcome addition. The kid is well drawn, though the ground
colour has blotted out one leg. Duly recorded are the dewlaps at its throat, a characteristic feature
of the local breed. The conical loaves of bread, the cakes, and the jugs of liquid are all kept cool
by sprays of leaves.
At the extreme left Djeserkere<sonb is making offerings to Amlin and to Ernlite, the goddess of
plenty. The figure of Amlin has been completely erased, and all that remains are traces of the mat
on which his throne was placed.4 Amlin's oblation is mainly a meat-offering, and is on an altar
built like that of Plate I. 'Ernute, the noble mistress of the double granary' is shown in the form of a
cobra, for it is in such a guise that she inhabits the fields. Here she is brought corn, cakes, and
fruit, though in tomb 21 a peasant brings her a burnt sacrifice.
The text which accompanies the whole scene is somewhat faint. It runs: 'An offering of all sorts
of things good and pure [to Amun] in all his shrines on the part of the scribe and registrar of the corn
of [Amun] Djeserkere< on the day 5 of the measuring of the flour in 6 the fourth month of the winter
season, the twenty-seventh day, 1 in the New-land (of) [Amun] and of Her-whose-face-is-directed-to-
the-ground(?).' 8
The bottom register (in two sub-registers) shows the growing of the corn from the first break-
ing up of the soil after the inundation to the winnowing of the harvest grain. The circumstances
depicted obviously precede Djeserkere<sonb's official duties as registrar of the harvest. Nakht's
version of this scene has already been described ;9 the addition of the threshing-floor scene is one
Elsewhere called scribe, and his brother gooseherd.
1
~ [_!]}[~] 'Amon-rer, good of plans.'
2
Similar erasures can be seen in tombs 75, 69, and 86.
s Read ~ 'day of', not ':: hrw pn, 'that day'.
One plaque has escaped mutilation in tomb 75. Save-Soder- 6 ~form, 'in'.
bergh, Four Eighteenth Dynasty Tombs, pls. XLI and XLII,
7 See Schott, AltiigyptischeFestdaten, 102, where '27. VIII
show Amenophis III officiating at the harvest festival before
the goddess Erm1te. The coils of rope surmounted by the is the certain reading in accordance with the date in tomb 48.
8 Two places the position of which is unknown.
ram's heads of Amun are deposited before the goddess.
3 Maspero, The Dawn of Civilization, p. I2I. 9 Davies, The Tomb of Nakht at Thebes, pls. XVIII and

4
The accompanying legend may be restored: ~ [~f]~ XIX.
 THE TOMB OF DJESERKERE<SONB (NO. 38) 5

repeatedly found in the Theban tombs. It is a very familiar scene in modern Egypt in the month
of April. On a cleaned space in the sun-soaked fields the sheaves of corn are thrown down in a
thick bed. Two oxen are harnessed to a sled which is mounted on half-a-dozen or more circular
iron blades. The oxen are driven round in a circle, and as the work progresses a wall of straw is
left on the outside, while the chaff is thrown in a heap in the centre. When the last sheaf has been
done the chaff is swept away, leaving the grain, which, owing to its weight, has sunk to the bot-
tom. The grain is then winnowed. The occupation today is exactly as it was in antiquity, except
that in ancient times the oxen used their hooves to tread out the grain.
In the lower sub-register the rough grass on the edge of the cultivated land can be seen, and
above the heads of the labourers is a representation of the waters which lingered in shrunk pools.
This feature was expanded in the tomb of Nakhtr to a subsidiary scene of the hacking up of
weeds and the removal of trees. A strange group of objects, found again in tombs 52, 57, and
341, 2 is shown above the winnowing. The upper object has been explained as the forerunner
of the modern Egyptian <aruseh, 'corn-maiden', supposed to ensure a plentiful supply of grain.3
The text runs: 'An excellent man, great in talent(?), beloved of every[one] exact and just of heart,
impartial, praised by his master every day, not standing . .. , [not] .. .ing, a servant to his master,
superintendent of the milk-cows (?) .. .' The name with which the text concludes is not that of
Djeserkere<sonb: his father's name must have been added to his.

PLATE I I I (at 4 on plan, Plate XXIV)

Since the days of Pere Scheil this wall has been almost totally wrecked, but one can gather
most of the scenes from the few fragments preserved or found in the debris. The photograph
in the French publication is also helpful.4
The wall was divided into an upper and lower scene of similar purport. On the right, near the
doorway to the inner room, the deceased couple are shown in the upper register seated before
a pile of offerings, while in the lower register, though their attitude is exactly the same, there is no
pile of offerings. The couple in the upper register are said to be 'sitting in a pavilion to recreate
in his mansion of salvation and receiving provisions and what is coming forth . . . . . snw- cakes . . . '
Over the first offering-bringer one reads: 'His son, the scribe and overseer of weavers [of Amiin,
Nebsen]y, [he] says: [For thy ka a bouquet of Amiin!] May he commend thee and love thee! Take it
placed at thy nostrils so that it may exhale breath to thy nose day by day.' Another figure of equal
size follows him: 'his son, scribe [Neferftebef]'; the third person is 'his daughter, Nebtaui'.

PLATE IV (at 5 on plan, Plate XXIV)

As in the tomb of Nakht,s the scene on Plate I seems to have exhausted the artist's interest and
satisfactorily placated the gods, for this companion picture is painted in only a few sloppy colours
devoid of outline. Here braziers with a bird sacrifice are carried instead of the jar of fragrant gum
seen on Plate I, while stools piled with parcels of fruit are substituted for the pots of nard.
The text above the scene runs: 'Making presentation and offering the oblation (with) pure body
and clean fingers, ducks on the braziers and oxen on the altar, wine and flour to [Amiin] in all his seats
on the part of the scribe and registrar of the corn [of Amiin] and steward of the second priest [of
Amiin] Djeserka.'
1
The Tomb of Nakht, pl. XIX. 3 See Winifred S. Blackman inJEA 8 (r922), 235 ff.
2
For the first see The Tomb of Nakht, pl. XX; for the last, 4 Scheil, 'Tombeau de Rat'eserkasenb', in Mem. Miss.
Seven Private Tombs at ~urnah, pl. XXII; for reproduction v (z), pl. I.
on a larger scale of this detail from tombs 38 and 57, The 5 Davies, The Tomb of Nakht at Thebes, pl. XI.

Tomb of Nakht, p. 63.

B 9996 c
6 THE TOMB OF DJESERKERE<SONB (NO. 38)

PLATE V (at 6 on plan, Plate XXIV)

Both the large figures of Djeserkere<sonb and his wife have been injured, but he has not been
completely destroyed. At the date of the first publication the couple could also be seen in the
subscene below, which shows the ordinary daily meal of the tomb following the regular ritual. It
is not merely a repetition of or a supplement to the upper scene which is concerned with a special
festival day. The text of the upper scene reads: 'sitting in a pavilion to enjoy himself as when he was
on earth on the part of the registrar of the corn in the granary of the divine offerings and temples 1
which were under their administration, the steward of the second priest of [Amun], Djeserkere<sonb.'
Next to Djeserkerecsonb sat 'his beloved sister of his affection, housemistress Wadj . .' Instead of
the usual food, the festival bouquet is set up before him. Two daughters approach him with a
dainty collar and a modest allowance of wine in a bowl. The first is 'his beloved daughter, the house-
mistress2 Nebtaui', the other 'his beloved daughter Meryrec'. She says: 'For thy kat Spend a happy
day, 3 0 registrar of corn, in thy mansion of salvation which thou hast made for thyself in the territory
of the city.'4
Though he displays no signs of being in advance of his time, the artist has given to the women
a feature which seems unique at Thebes at this period: they have five toes indicated on their left
feet. This number of toes depicted on the near foot is generally accredited to the reform under
Akhenaton, yet here we find it at a far earlier date in an obscure tomb of no great merit.

PLATE VI (at 6 on plan, Plate XXIV)

This is the continuation of Plate V. Three sub-registers are fully preserved: the two upper
belong to the large scale couple on Plate V, the lower to a reduced scale representation of the
same couple which is now lost.S
In the central sub-register a troupe of musicians perform in front of the seated pair to divert
the whole company. The musicians are eight in number. Three sit cross-legged on mats: their
feet are tucked under them and they can move their arms with freedom. They beat time with their
hands and perhaps sing the chant which is written over their heads: 'A holiday! One commemor-
ates the beauty [of Amun in] pleasaunce of heart, lifting praise to the height of heaven even unto thy
face, each saying: "Our desire is to see it!" Do thou even so, 0 measurer of the corn [of Amun], every
dayf'6The harpist resembles closely the corresponding figure in the tomb ofDjeserkere<'smaster,
Amenl;wtpe-si-se (tomb 75). 7 Her companion, who dances while playing the lute, also follows the
corresponding figure in tomb 75, but the action of the legs closely resembles a similar figure in the
tomb of Nakht. 8 She is unclothed save for necklaces and the girdle of beads round her hips. The
same is true of the darker complexioned apprentice of the troupe, who follows the lute-player's
movements, and perhaps also sings, while beating her bosom and thighs. 9 That these two figures
and the next (playing the double pipe) are in continual movement is shown by the position of
their legs, and in the case of the little girl by the breaking of the rule that the advanced leg should
be the farther one. 1 ° Contrary to custom, the player on the pipe is here obviously taking some
part in the dance. The player of the lyre is a very close replica of the figure in tomb 7 5, r 1 except

I Perhaps I I ' I I Ancient Egyptian Paintings, iii. 76.

1 Davies, The Tombs of Two Officials of Tuthmosis the
2
The title-'house-mistress' implies married status, since
it is generally applied in such cases; it has not been given to Fourth, pl. V.
8 Davies, The Tomb of Nakht, pl. XV.
the other daughter.
3 'Join happy day, 0 registrar of the corn of [Amun]' is 9 The apprentice is not depicted in the tomb of Nakht,

repeated in a horizontal line. loc. cit.

4 i.e. Thebes. The end of the inscription is on Plate VI.
1
° Compare the girl conforming to this rule in Davies, The
s See Pl. VIlA. Tombs of Two Officials of Tuthmosis the Fourth, pl. V.
11
6 Sir Alan Gardiner's translation, in Nina M. Davies, Seen. 7·
 THE TOMB OF DJESERKERE<SONB (NO. 38) 7
that her instrument has seven strings instead of five. The harp of the first player here has eleven
strings, that of the harpist in tomb 75 ten. The curious asymmetrical shape of the lyre must have
been planned, one feels, with a view to an upward sweep of the hand across the strings. The lyre
may be double strung, for both hands seem to be used: fingertips and plectrum are employed.
It would seem that the instrument was held with the right arm through the thongs on the box. 1
The occasion seems to be a convivial hour rather than a feast, for no food is shown. There is,
however, a plentiful supply of liquor contained in four of the handsome buff vases of the period.
These vases appear in the upper sub-register. They are decorated in faint red and blue with
symbols of life and happiness between two horizontal bands. Their stands are hung with branches
and clusters of dates. The provisions for the party are completed by a drinking goblet of gold and
two dishes of pomade.
The men and the women are not seated together. The latter appear in the upper and central
sub-registers and are served by girls, some of whom are perhaps the younger daughters of the
family. Some are naked, but, as is usual, the servants who carry drinks are robed. The office of
the naked girls is that of being attentive to their elders by putting festival collars round their
necks and rubbing ointment into their arms. The chairs on which the women guests are sitting
have backs, but the men (bottom register) sit on stools. The guest on the extreme right of the
bottom register vomits: his neighbour comes to his assistance. These results of excessive drinking
may not have been uncommon: tomb 49 2 shows a woman vomiting, tomb 53 3 a man, while
spittoons under chairs appear in tombs 84 and r8r.
Scheil saw, and copied, the figures of Djeserkere<sonb and his wife (the figure of the son was
already lost) which are now missing from the extreme left of the bottom sub-register.4 The first
figure now visible is 'scribe N eferbebej', one of four porters, the last of whom is styled 'guardian of
the depot of Amiin, Nebenter. He says: For thy ka a bouquet [of] Amfm in Djeser-Djeseru' ( Der
el-Bahari).

PLATE VII (Varia)

(A) This is the part now missing from the south-west wall (at 6 on plan; Plates V and VI) as it
figures in Scheil's line-drawing (his end-pl. II 'Le Tom beau de Rat' eserkasenb', in Mim. Miss., v
(2)). It has been confirmed by fragments found among the debris of this wall. The text above
the couple runs: 'all that comes forth before .... [for] ... Djeserkere<sonb (and) his wife, house
mistress, vVadjronpe, justified.' Over the figure of the officiating priest (erased by the fanatics of
Aton) is: '[his son] Nebse[n]y says: Thousand loaves of bread and jugs of beer, oxen and fowl, thousand
flowers and perfumes, thousand clothes and alabaster jars . . .'
(B) At I on plan. Hand copy of the inscription on the east (left-hand side) thickness of the
entrance over Djeserkerecsonb who adores the sun, his face turned towards the entrance. 5 He is
accompanied by his wife who carries flowers and foliage in her hands. 6 The corresponding scene
on the right-hand thickness would undoubtedly have shown Djeserkere<sonb facing inwards,
i.e. entering the tomb; this thickness, however, has never been decorated.
The inscription in polychromehieroglyphs is much damaged, but may be translated as
follows :7 ' [Praise of Rec when he appears by] the scribe and registrar of the corn of [Amun], Steward
1
The heads of the two older dancers have been cut out in Mem. Miss. v (2), end-plate II.
in recent years, but they are restored on Plate VI from Hay's 5 The owner is often shown in this attitude at the en-

copy in Brit. Mus. MSS. 29853, fol. A, 134-86. Published
in colour in Nina M. Davies, Anc. Egyptian Paintings,
pls. XXXVI, XXXVII.
2
Davies, The Tomb. of Nefer-l;otep at Thebes, i, pl.
trance of his tomb: see, for example, Save-Soderbergh, Four
Eighteenth Dynasty Tombs, pls. L, LII and pp. 45-46, where
Surer appears on both thicknesses.
6 There is no drawing of this scene among the material

XVIII. 3
Wreszinski, Atlas, i, 179. left by Norman de Garis Davies.
4 See Plate VIlA, and Scheil, 'Tombeau de Rat' eserkasenb', 7 See also Kuentz, BIFAO 21 (1923), 120.
8 THE TOMB OF DJESERKERE<SONB (NO. 38)

of [the second priest of Amun] Djeserkere<sonb, the justified one: "Homage to thee Re<-Khopri . ...
have come to these to praise thy beauty when thou dost appear in the east of heaven, to extol thee when
thou settest ... in life I welcome thee in presence of the dwellers of the Duat. 1 My two hands bring
the udjat-eye and I present (to thee)justice. I propitiate the neshmet-barque, 2 while the scribe Djeserka
is in the mesektet-barque and the m<andjet-barque for ever and ever." '
(C) A fragment of the sandstone jamb of the entrance. Text:' ... coming forth on earth, seeing the
sun, the moon, Amun in .... may she give all that comes forth (on) her offering table, all that is
offered in . . . . .'
(D) Ceiling pattern. For a parallel see Davies-Gardiner, The Tomb of Amenemhet, pl. XXXII
(A).
1
Emend ~ 1 of the copy into 1 1 1.
2
DU l;tp l;mt. For l;mt = 'nsmt-barque', see Wb. iii. 93· 6.
 THE TOMB OF HEPU (NO. 66)
(Plan on Plate XXIV)

L TH 0 UGH IJepu was vizier under Tuthmosis IV 1 his tomb, situated about half-way
up the slope of Kurneh hill, 2 is not one of the largest, nor is it particularly imposing.
The scenes on the walls are not well preserved, and contemporary ( ?) enemies have
almost obliterated the figures of I)epu and his wife. In the transverse chamber, however,
some interesting scenes of crafts are still preserved, while in the long narrow inner room which
leads off the transverse chamber are two mutilated statues, each of a seated figure. The slimmer of
the two is probably IJepu's wife Renni, who elsewhere in the tomb bears the title 'songstress of
Amun'.
Like many of their fellow craftsmen, the decorators of tomb 66 used as models tomb paintings
already in existence.J For example, the chariot-makers and metal-workers in this tomb are
paralleled in the tombs of Amenhotpe-si-se (No. 75), Menkheperre<sonb (No. 86), Puyemre<
(No. 39), and others.4

DESCRIPTION OF THE PLATES

PLATES VI II AND IX (at I and 2 on plan, Plate XXIV)

On the right of the entrance to the first chamber there are four registers of craftsmen. At the
extreme right of the first three sub-registers, the figure of IJepu, now almost entirely destroyed,
sits facing left and watches the craftsmen at work under his supervision. The long text in coloured
signs to his left reads :s ' Watching all crafts [of the llouse of Amun by] the hereditary prince, count,
god's father, beloved of the god, mouth which pacifies in the whole country, eyes of the king in the
Southern City, his ears in the nomes of Lawer Egypt, concerning what he opens his mouth leads to the
trust, who offers the truth to the lord of the Tu•o Lands, overseer of the City, [vizier, l)ep]u, true of
voice with the great god.'
The upper two sub-registers (Plate VIII) are devoted to leather manufacture: softening
leather over wooden tripods, cutting leather in various shapes, fixing leather on the chariot
wheels. The man second from the left in the top register has laid his cutting-knife on the bench
in front of him while he is occupied with the applied decoration of an arrow-quiver. Finished
objects are represented lying about: shields, pouches with overlapping flaps, quivers, sandals,
arrow-cases. In the middle sub-register a half-finished chariot, 6 without wheels, is mounted on a
stand.
' The style would equally admit of an earlier date, but 6 Although the chariot came to Egypt along with the
l;Iepu is attested as vizier under Tuthmosis IV by the horse during the Hyksos occupation, it is only in the tomb
Hieratic Papyrus Mook at Munich, see Spiegelberg, in ofl;Iepusonb (Xo. 67) under I;Iatshepsut that we find a frag-
Zeitschrift jar iig. Sprache, 63, pp. 105 ff. mentary scene of chariot-making. From then on it is
2
For the position see Gardiner-Weigall, Top. Cat., pl. pictured frequently and chariots are of common occurrence,
VI. a. z; for previous publications see Porter-Moss, Top. though many still came from abroad. Thus they figure
Bib., i (2nd ed.), pp. 132-3. I;Iepu's funerary cone is pre- among new year's gifts to Pharaoh, Davies, The Tomb of
served: Davies and lVIacadam, Funerary Cones, no. 583. J:[en-amun at Thebes, i, pls. XIII, XXII, or as tribute from
3 See the remarks on tomb 38, above, p. 1. Syria, Davies, The Tomb of Rekh-mi-re< at Thebes, ii,
4 See subject index, Porter-Moss, Top. Bib., i (2nd ed.), pl. XXII. In the tomb of Mery (No. 95) chariots and vases
p. 466, section 13 (a), (b). of Syrian type are being m?.nufactured by Egyptian work-
5 See also Heick, Urkunden, iv. 1576, middle. men: Wreszinski, Atlas, i, pls. 307 and 59a.
10 THE TOMB OF I;IEPU (NO. 66)

The bottom sub-register shows the activities of the metal-workers. The man on the extreme
right works a pair of bellows with his feet, while three others blow through reeds at charcoal
fires, ready to extract softened metal with tongs. lVIetal ingots can be seen stacked above them.
Metal vases appear to the left of the first two sub-registers on Plate IX: on the extreme right a
man sits finishing a lid for one of them. His neighbour completes the chiselling of a complicated
vase in the form of the symbols of stability (I!) and life ( t) held by a kneeling king. Next to the
king is a T -shaped pond or basin on a stand. 1 It may have served as a receptacle for water. 2 Two
vases similar to the one with the king's figure are to the left of the pond, while above them is a
hull's head finial( ?). 3 At left-centre, a very large vase is being polished by two metal-workers, and
to the left of these, two other men are at work on a shrine. In the lower sub-register, to the right,
two metal-workers are chiselling a vulture. Above this appears the representation of a shallow
dish with an ibex-head spout.4 At the left of the gap in this sub-register remain the tops of three
vases and a brazier.
At the extreme left of this sub-register are the remains of two female figures facing right.
Possibly a figure of the tomb owner occupied the gap between the female figures and the sub-
registers of craftsmen to their right. The text above the women is much damaged and therefore
rather obscure, but the central part of it possibly reads: ' ... he has fixed for thee ... existing for
a million (of years) while it is placed at thy nose. [Amu]n, [lord] of the Thrones of the Two Lands has
praised thee ... '
The bottom register also has a large gap, in which may have been a figure of J:Iepu facing left
and supervising more craftsmen. On the upper sub-register a scribe instructs those working on
vases of alabaster and breccia. On the lower sub-register a prostrate workman presents to his
master a table with necklaces, bowls, and gold rings. Above this table are five vertical lines of
text, considerably damaged, which read: 'Prince and count, friend, great of love, who opens his life to
pacify the multitude, 5 secretive of heart [towards] mankind6 who acts justly . .. .'

PLATE X (at 6 on plan)

Very fragmentary text of the installation of the vizier in painted hieroglyphs. For an earlier
copy by Norman de Garis Davies, see Sethe, 'Die Einsetzung des Veziers unter der 18 Dynastic',
pp. 62-63, in Untersuchungen zur Geschichte und Altertumskunde Aegyptens, 5 (2), and for the
text with all parallels Davies, The Tomb of Rekh-mi-re< at Thebes, ii, pls. CXVI-CXVIII. A transla-
tion and commentary can be found ibid. i. 84-88, where earlier works have been utilized.

PLATE XI(at7onplan)
This register is one of four not otherwise reproduced in this volume. A long text in coloured
hieroglyphs runs above what must, before destruction, have been a scene of J:Iepu and his wife
with a pile of offerings. Over the couple the text reads: 'Hereditary prince, [count .... , mouth]
which pacifies [in the whole country, who does [beneficent things for ..] who places ... for the Lord
of the two lands, overseer [of the city, vizier] IJepu [true of voice]. His beloved sister . .... Renn[ai],
true of voice.' Over the offerings: ' [A boon] which the king and ... give, a boon which the king and
' For parallels from tomb no. 75, see Davies, The Tombs hull's head as ornament for the lid of a vase, see Davies, The
of Two Officials of Tuthmosis the Fourth, pis. VIII and XII. Tomb of Puyemre at Thebes, i. pl. XXIII.
2
Ponds of this shape were found by Winlock on either 4 Ibex-head spouts are pictured in Davies, The Tombs of

side of the ramp of the temple of Der ei-Bahari. They con-
tained papyrus roots. See Winlock, Excavations at Deir el
Babri, pl. 44 and p. 90.
3 See also Vercoutter, L'Egypte et le Monde Egeen pre-
hellinique, pl. XL, no. 273, for more complete picture of
this head, which may be a cover for a dish. For complete
Menkheperrasonb, Amenmose, and Another, pl. XII, and
The Tombs of Two Officials of Tuthmosis the Fourth, pl. VIII.
s Correct into ~ on Plate IX.
6
Correct into ;:;( ~. ~ 1 on Plate IX.
 THE TOMB OF I:IEPU (NO. 66) II

... , who enters into the shrine of South and the shrine of North, give. May they give an invocation
offering of bread and beer, oxen flesh and fowl, cloth and alabaster and thousands of all good and pure,
pleasant and sweet things, pur~fying . ... according to this writing which is in the House of the divine
book ... '
This text extends to the left as far as a-b, where it joins on to the extreme right of the text shown
beneath it in Plate XI.
The hieroglyphs of this text are painted blue. Scanty remains of three scenes have survived;
the second priest from the right in the centre group (partially destroyed) pours water from a
2-shaped vase into a v-bowl held by a kneeling ministrant, while behind them a lector-priest
recites the ritual from a papyrus roll. The scene to the right of this is completely lost, but the
text is preserved and runs probably: '[A boon which the king gives. Offering 1 ] all very pure things
and walking round the pedju-loaves 2 before ...... governor [of the City, vizier Ifepu, true of voice
....... which His Majesty brought 3 to him, they being very pure.' The legend over the libation
scene is simple: 'Offering which Geb gives to the governor of the City, vizier [Ifepu ]'.
At the extreme left of the lower fragment shown on Plate XI (bottom left) a man is depicted
walking towards the left but facing in the opposite direction. This is certainly part of the rite
called ] ::;:: j lnt rd, 'effacing the footsteps', 4 performed when the priest was leaving the offering-
place. Of the inscription only a few words remain : ' [A boon which] the king [gives] .... offering
upon any offering-table which you desire, it being goodly to you.'
The inset fragment on Plate XI comes from the inner chamber, at 9 on plan. It represents a
scribe listing geese or ducks which are destined to be packed in the wicker crates beneath them.s
Other wicker baskets stand behind the crates. The sacks and dishes in the register below were
perhaps being listed by the scribe whose head alone is still partly preserved. The scene belongs
to the remains of the fishing and fowling described below, p. 12. The vertical inscription behind
the two scribes reads: 'Receiving taxes of the vineyards ... ' 6 and must refer to a scene to the left of
the text but now lost.

PLATE XII (at 3 on plan)

On the left-hand end-wall of the transverse room are four registers concerned with funeral
offerings to the deceased and his wife. All is much damaged, and Plate XII illustrates only the
best extant portion of the wall. The upper part is mostly destroyed except for a few scraps of
l:lepu and his wife (on right, not shown on plate) ; there is ·also a text above them (not shown here).
The man to be seen on the extreme right of the plate carrying a tall papyrus stem is probably a
son. He is presenting a conventional pile of food to the couple (not shown). Another son (not
shown) offers the couple a bouquet; all this is much damaged. On the extreme left are three
standing men who extend their hands in the direction of the deceased at the opposite end of the
wall. Below a large break are the remains of an offering list divided into compartments (shown on
plate). Only the determinatives of the bottom row (red pots with their contents) and the numbers
referring to each item are still extant. Five kneeling men present on mats a selection of offerings.
Not shown on the plate is the sub-scene below the kneeling men; too damaged for tracing, it
depicts two butchers, with two attendants, slaughtering a sacrificial ox.
At 4 on plan
Along the top of the wall there appears a procession of men walking towards the left and holding
1
[wdn], see Piehl, Inscriptions Hieroglyphiques, rst series, iv, pl. cix.
CXXIV, M. 5 As they are in the Brit. Mus. painting No. 37, 978;
2
Probably the word recorded in Wb. i. 571. 7· Nina M. Davies, Ancient Eg. Paintings, ii, pl. LXVII.
3 [S]m. 6 See, for example, Naville, The Temple of Deir el Bahari,
4 See, for example, Naville, The Temple of Deir el Bahari, iv, pl. cix.
12 THE TOMB OF I;IEPU (NO. 66)

branches in their right hands. This may have belonged to an unfinished scene, now lost, on the
lower part of the wall, or to the procession of the statue of the deceased, when the branches would
be a sign of jubilation. r

At 5 on plan.
Destroyed but for a few fragments. Remains of a banqueting scene and a harpist are noted in
the Topographical Bibliography, i, part r, p. 132 (5). Norman de Garis Davies suggests in his
notes that there also might have been here a royal barge with a naos with a sphinx (?)at the prow,
but that this is plastered over. Pictured is a table with three jars and an ankh-shaped object.

PLATE XIII(at7onplan)
On the left-hand wall of the inner chamber l:lepu and his wife Renni sit facing mats laden with
food, hand-altars with lotus flowers bent over them, and a table with vessels probably containing
drink. All is very fragmentary. Overhead is placed the following text: 'Count [and prince, the
mouth] which satisfies [in the whole land], e[yes of the King of Upper Egypt], who does beneficent
things for the lord of the Two Lands, overseer [of the city, vizier] lfepu; his beloved sister, songstress
of [Amun] Renni, true of voice.' 2 A son who stood in front of them is erased. His text is as follows:
[A boon] which the king gives (to) [Osiris-Sokar(?), lord of Ro]setau ... 3 and over him His son,
wee eb of Amun, Neferl;ebef.'4
The plate illustrates the funerary rites performed before the deceased couple. There are three
sub-registers. In the bottom one a man and a woman offer various vessels and perform ceremonies
before shrines. These ceremonies have to be completed by and studied in connexion with repre-
sentations of funerary rites in other tombs. 5 A tekenu crouches on a bier, facing inward (quite
usual in representations where the tekenu is not being dragged on a sled). The only remaining
traces are of the back of the white robe in which it is wrapped and, on the right, a spot of black
which may be of the back of the head above the destroyed red face. 6

PLATE XIV (at 8 on plan)

The right-hand wall of the inner room showing three registers has not been traced; the second
and third registers are here reproduced from Wreszinski, Atlas, i, pl. 230. The top register shows
Ernute, the presiding goddess of the vintage, seated on a nbt-kz device under a booth of papyrus.
She is offered wine, grapes, flowers, and a bouquet; behind her, on a mat, are six stands of jars.
Over all this is a vinespray. In the second register (Plate XIV, top) three men, two standing and
one kneeling, pick grapes from a vine trellis and place them in a large basket. The man standing
with his back to the trellis is probably part of a group now destroyed. The trees on the right are
part of a garden behind the vine. In the bottom register birds are being trapped: four men pull on
the rope which closes the clap-net spread over the pond full of birds. The man emerging from the
papyrus clump gives a signal. One bird escapes capture. Described by Norman de Garis Davies
in his notebooks as being to the left of Ernute in the top register, is a wine-press supported by
papyrus columns, and with hanging grapes; he further includes notes of baskets of grapes and
two great pink jars, fruit, flowers, grapes, and geese with a spray of vine extending over them.
1
See, for example, Davies, The Tomb of ~en-amiln at 5 Compare, for example, Davies-Gardiner, The Tomb of

Thebes, i. pl. XXXIX. Amenemhet, pl. XIII, top right, with the right-hand half of
2 -=>% % nILl % ~ % %
(r) -=:.t~ •.. ~ (2) I'<=>~ ••• ~ (3) .._=-~ · · · ~ the second sub-register; also Davies, The Tombs of Men-
<::>

(4) = ~ ~ % % =~%
..1i (read=- Ji'> ?) ~ ••• ~ (5) -=~~ ~ ... %
~.
kheperrasonb, &c., pl. XXXVIII, right.
6 See the tomb of Amenemopet (No. 41). On the obscure
~ --'r~
l"'A%
J (r) 1' !iJ~ ••• ~ (2) %%~ ••• ~
~. nature of the tekenu see Davies-Gardiner, The Tomb of
Amenemhet, pp. so-s I.
~· ~..._r:, ~=r::::=.
 THE TOMB OF J:IEPU (NO. 66) 13

Davies gives the following account of the wall marked 9 on the plan: 'in the centre a clump of
papyrus with birds flying over it. Birds and rats are in the stems and two fish are being [speared].
Figure throwing boomerang on right is entirely cut out and the fragmentary text overhead reads:
? ? ~J% ~ ( 5) 'i~ n~ A~
1
( I ) ~l\.o% ~<=>
? (2) %
~ ••. ~ %... ~
% ( 3) ~ % ( 4 ) lliilj~
nM% ••• % , , ,%
~ (6) h. Cl .Jc'•
'Recreatzon ?) ,
. ( ...
field ... by ... [overseer of the town], vizier lfepu' . J:Iepu stands in a great green boat on a narrow
1

strip of blue water; in front of him stands a man or boy at the prow.' The sub-scene is said by
Davies to include 'men pulling in a seine net of fish' while to the right 'men put fowls in jars'.
The left half of this wall is almost entirely destroyed except for a scrap of text over J:Iepu (erased):
(I)~ ... ~ (2) r;~ ... (3) ... ~ (4) ... ~ (5) ... (several lines completely lost)
... ~·%

FIG. I FIG. 3

Gilt~lll~
t ext____/ , '---Jt ex1..+
FIG. 2

The ceiling of the inner room has yellow side and central bands (plain). The two panels be-
tween are shown in Fig. I. The soffit of the entrance to the inner room, and the thicknesses, are
blank. On the lintel of the door from the hall is a painted sky with a red line under it which may
possibly be the top of a cartouche (see Fig. 2). The three lines of text on the left-+begin: (I)
9 11% % ( ) ~% %( ) ~'• t h e t h ree ]'meson th eng ~ ••. %
· h t-<-.· ( I ) % % (2 ) @o%
1 ~ ••• ~ 2 ~~~ ••• ~ 3 ... % W//,<~ ~
•
% ••
t"::':':i%
(3) 'C7 -~ • • • ~· %

The cei1ing of the outer room (hall) has two pane1s in the axis, as in the passage. The side and
central beams are blanks. The panels of the bay are illustrated in Fig. 3, while on the midrib of the
south aisle is the following text:

'Words spoken by Nut: I stretched myself upon thee, I protect thy limbs, I turn away evil, so that it
must not come up to you. I grant my protection and guard thee as I have done for Wennofre.'
1 Translation by]. C.

B llllll6 D
 THE TOMB OF ~ENAMUN (NO. 162)
(Plan on Plate XXIV. 3)

HE tomb of J>.enamiin at Dra( Abu El Nag( has some scenes in common with tomb No. I7

T (Nebamiin), 1 and the Syrian ships are already published. 2 Clarence Fisher reported in
I922:
outer vestibule cleared nearly to the floor. Remains of painted stucco appearing on walls, one with ships. In the
debris were found shawabti and beads. The tomb cleared as far as it seems safe, for the inner end of the corridor
is filled with huge boulders and there is risk of accident. On Dec. 21st started filling in the offering chamber of
Tomb 162 with the object of preserving what remains of the stuccoed walls. Mr. Davies has finished his draw-
ing. (Summary].

The tomb is now inaccessible, but Davies describes what was extant when he made his drawings
as follows:
The plates 3 are line enlargements of the ships from Daressy's plates4 controlled by my tracings and with some
extension from them. I also give a copy of the most valuable surviving fragment in its present state. The ship's
boat on the left was unrecorded by Daressy and was in good condition because it was concealed by the end of a
brick parting-wall of later introduction. A considerable amount of the scene of barter is still extant. Elsewhere
only scraps remain and uncertain lines, some of which appear to be sketch lines which do not belong to the
finished pictures. It must be emphasized therefore that, except where the lines are still existing on the walls, the
picture has no better authority than the photograph by Daressy. But the details are shown with much more
clearness of line and exactness which can be gained by careful perusal through a magnifying glass.

The tomb has suffered so much from fallen debris, and, since being photographed by Daressy,
from robbers stripping the walls and cutting out pieces for sale, that what has been salvaged is
a mere relic of the original, restored in dotted lines to make the extant scenes-other than the
ships-intelligible.
The owner J>.enamiin5 was mayor in the Southern City ( Thebes) and 'overseer of the granary
of Amun'. The tomb 6 is of the XVIIIth Dynasty, but no record remains of the king under whom
J>.enamiin served. There is, however, a fragment (below, p. I 5) which shows that a king was
represented in the tomb.

DESCRIPTION OF PLATES

There is no drawing of the upper register (hall, at I on plan) which depicts the deceased and his
wife, followed by four women with sistra and flowers, offering on braziers, with three men offer-
ing to the deceased ( ?). The second register (Plate XV) contains the most important scene in the
tomb, that of the arrival of the fleet of Syrian ships. This register has been fully published else-
where, 7 and is not further discussed here.
1
Slive-Soderbergh, Four Eighteenth Dynasty Tombs, Inscribed Egyptian Funerary Cones, No. 12. His wife's
pl. XXIII (ship and oxen). name, Muttuy, is also recorded.
2
Davies and Faulkner,JEA 33 (1947), 40 fl. 6 For its position see Gardiner and Weigall, Top. Cat.,
3 Represented in this volume.
pl. XI, A3; for bibliography, Porter-Moss, Top. Bibl., i. I
4 Daressy, Revue Archeologique, 3 ser., 27 (1895), pls.
(2nd ed.), p. 275 (with plan on p. 272).
XIV, XV, pp. 286--92. 7 Norman de Garis Davies and R. 0. Faulkner, 'A Syrian
5 For his cones, see Davies-Macadam, A Corpus of
Trading Venture to Egypt',JEA 33 (1947), 40 fl.
 THE TOMB OF ~ENAMUN (NO. 162)

Plate XIX, bottom right (at 2 on plan), is a fragment of a man with jars and loaves. The hand,
a corner of his skirt, and a line of his leg, can be seen on the left. The three jars are labelled as
follows: right to left 'fresh moringa-oil', 'srmt-beverage', and 'wine'. Loaves and fruit are piled up
between them with strips of something which from its colour may be meat. The fragment may
have formed part of a scene of assembled guests.
Not drawn are the fragmentary figures of J>.enamiin and his wife to be found in the upper
register at 3 on the plan, and almost duplicated in the register below. Under the lady's chair is an
amusing picture of a monkey eating a cake with one hand while, with the other, he grasps a duck
by its wings. The duck, in its turn, is pecking the nose of a dog crouching in front of it (see Fig. 4).

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:
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I I / ,_ •..,...,., I I I : \
\ ' I ~"'--'
~... /
• I , I I ~
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'
1
,
'
II
I

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PLATE XVIA (at 3 on plan)

In the second register I~enamiin and his wife are seated while a son acting as a sem-priesr
offers to them. Their names are fairly well preserved: '1v!ayor in the Southern City [..{(]en [amun]'
and' his sister, lady of the house, songstress of [Amun], [Mut]tuy'. The son bears the title of brd n k 3p,
'child of the nursery', and his name seems to be :Ql)ut(mo)se. A scribe's outfit, a palette, and a
bag for papyrus rolls are placed under the lady's chair. Also on this register, but not drawn, are
a scene of the deceased, who with his wife, bearers of offerings, and women relatives is offering on
braziers, and a sub-scene of offering-bringers and butchers.

PLATE XVIn (at 4 on plan)

A man offers ducks and lotuses to what was probably a king enthroned. The evidence for the
latter is a fragment which shows a white dais supported on a yellow kiosk with a mat and pillow.
To the right is the lower portion of a scene of sowing and ploughing, while below is a dado of
lotus flowers, leaves, and buds, with ducks alighting amongst them : an uncommon and beautiful
border.

PLATE XVIc
The black border appears to represent mounds of earth along the Nile bank.
There are no illustrations of positions 5 and 6 on the plan. At 5 there are two thicknesses, one
to the left, the other to the right. On the left the owner is received by his father ( ?), laying his right
hand in his (it is not clear what he does with his left). His wife is behind him, with a bouquet in
B 9096 D2
16 THE TOMB OF ~ENAMON (NO. 162)

her left hand. On the right ~enamiln ( ?) is received by his mother ( ?) in a light yellow dress. She
supports his elbow and may be embracing his shoulder with her left hand. Behind him is a narrow
black border and then a blank as if for a door. There seems to have been a rebate here, which
would also indicate a door. At 6 the upper half is almost gone. At the north end there remains the
lower part of the throne of Osiris swathed. It is in a yellow kiosk set on a white dais on which a
green mat is spread. The throne is feathered (like that of I:Iatl:10r below, except that the corner
is not red but contains a sm sign tied with the plants of North and South, the lily being left on
the South). Osiris is clothed to the feet with a shroud of network (blue lines enclosing a flattened
red diamond on a whitefield). Before him is a mat of offerings, the objects being set against a mass
of blue with black pellicules (grapes?). Below this are three red jars with bunches of green leaves
between them. The owner and a lady approach (nearly gone). Behind them follow a son (?)with
duck and flower, a daughter ( ?) with flowers and a sistrum(?), a second with a sistrum, a third
with a pendant sistrum. Mter a black division and on a slightly reduced register appear a man with
a bull, then a man with another animal or two (oxen?), then a man with a white ox ( ?). Mter a gap
come two men, one of whom is a priest of Sobek with a staff, and a woman (Nephthys?). The
whole looks like a funerary convoy.

PLATE XVII (at 7 on plan)

Two registers: on the upper is represented a funerary procession towards Anubis and I:Iatl).or
seated on thrones on a white dais. Before them are two gates of pylon-like structure on which sit
animal-headed guardians, armed with knives. 1 A priest stands in front of each gate, the lower
being identified by the accompanying legend as 'lector priest and sem'.
Not illustrated is the scene, after a gap, of four women seated on a mat and holding flowers or a
mandrake. The second is a daughter. The columns in front of the third and the fourth are blank.
In a second register below them are left two female guests, one of whom has short bunchy hair.
From here on the wall is divided into two registers, an upper and a lower.

PLATE XVIII (at 7 on plan)

In the upper register a fragmentary funerary scene shows a sem-priest offering and pouring a
libation before the door of the tomb, which was probably surmounted by a pyramid now broken
away. Behind the sem-priest kneels a mourning woman. To the right of her a group of men is
walking in the opposite direction and after a large gap four men approach a kneeling man who faces
them, a stand of offerings behind him. The stand is decorated with a garland of leaves and flowers.
The scene shown on Plate XIX, upper right, is probably from the extreme left of this upper
register. Two mummies are being held up: ~enamiln's by a weceb-priest of Amiln, ~enamiln's
wife's by a woman. A priest, of whom only the arms and part of the face are extant, holds an adze
to open ceremonially the mouth of the first mummy. Papyrus stems stand on either side of each
mummy and a mourning woman squatting in front completes the scene. It is noteworthy that the
hair of the woman supporting the second mummy is shown on both sides of the face.
In the lower register (Plate XVIII) two ships in sail are returning from the pilgrimage to
Abydos ('Entering in peace .... '). They are side by side: one appears in the foreground the other
in the background. On the extreme left of the illustration a sailor, a sounding pole in his hand,
stands in the decorated cabin of the farther boat. He raises his arm, perhaps in warning to the
man at the prow of the nearer ship. This man seems to be trying to attract the attention of the
steersman at the poop of his boat. On board the farther ship two horses are being fed by a groom.
There is a large decorated cabin. On the nearer ship there is also a decorated cabin in front of
1
It is unusual to find such pylons with seated demons in an XVIIIth Dynasty tomb.
 THE TOMB OF ~ENAMON (NO. r6z) 17

which stand the oarsmen. Crew climb in the rigging. On the right is a smaller funerary barge with
the figures of I}.enami1n and his wife seated before a table. A sem-priest offers ' ... very pure
[things] to the prince . .. [.{(enamun] ... 'To the right of this whole scene, but not illustrated, was
depicted a boat floating down to Abydos. There are two men (one with a pole), a decorated cabin,
and rowers, and a text in five columns.

PLATE XIX (at 8 on plan)

The main illustration here is of three registers: in the uppermost a man carries jars, coffers, and
bouquets on a yoke. He is preceded by a man, probably [Dbwt]y[m]s, the son of the tomb's
owner, who seems to be mourning. The central register shows a man and his wife faced by a son
who holds a curious object. The son appears to be putting the object to his face with his left hand,
while with his right he puts it to his father's shoulder. The restoration below the hands seems
dubious. 1 The inscription above the couple shows that they were not I}.enami1n and his wife:
'[Boon] which the King and [Osiris], foremost [of the Westerners] give. Mayest thou receive (ssp)
bread, beer, oxen-flesh and fowl, Osiris, wi/eb-priest and lector-priest of Amaunet .•.. emuia, His
sister .. .' The son is 'his beloved son, wereb-priest (read ~~) of Amaunet, Amenemuia'. Behind the
son is a table of cakes and onions which the same son, now dressed as a sem-priest2 is presenting to
those in front. Behind him kneels a woman who may be putting dust on her head. Both her
thighs are shown-an unusual occurrence. Scanty remains have survived: on the extreme right,
of a casket on a table. On the left-hand side of the third register a priest censes; behind him a
woman mourns. Two objects can be seen on the table and casket at left centre: they resemble the
object held in the register above, but may be embalming instruments on a canopic box. Next, two
men carry a table of offerings. The first man turns his head to the left as if looking for room to put
down the table. The man on the extreme right carries a casket and a jar ( ?) hanging from a yoke.

PLATE XX
These fragments,3 now preserved in the Metropolitan Museum of Art, New York, were col-
lected by Norman de Garis Davies when he searched the debris before the tomb was finally
re-buried in 1922:
r. A hare being carried by the ears. It may belong to a continuation of the agricultural scene
on Plate XVI.
2. The man on the right carries a long bouquet of papyrus entwined with leaves, and a bunch
of lotus blooms. His companion holds a kid in one hand and a trail of foliage in the other. A goat
is shown below. At the left may be seen the remains of a figure with a sheaf of corn suspended
from a yoke across the shoulders. Only the hand remains.
3· A crouching, mourning woman, with the foot of a priest ( ?) ; perhaps from the mourning
scene on Plate XIX.
4· An old woman, carrying a basket in one hand and apparently supporting it with the other.
5. A man with two nets filled with figs ( ?).
6. Baskets of figs ( ?) or oval loaves, a dish of cucumbers, perhaps two sheaves of corn bound
round and furnished with loops for carrying. The text reads: 'As Amun endures, there is no
abomination (b[w]t) among them.'
7 and 8. Restored ceiling patterns.
1
Davies while copying this scene appears to have had the preceding one.
impression that the son was holding an object which was to 3 Of the photographs reproduced here, nos. I, 3, 5, 6, 8,

be tied round the father's neck, in the way one would a collar and IO are of painted reproductions by Nina de Garis
a. c.). Davies; nos. 2, 4, 7, and 9 are from painted reproductions by
z The accompanying inscription is identical with the C. K. Wilkinson.
18 THE TOMB OF I~E~A~ION (:\0. 162)

9· This appears to belong to the left thickness between outer and inner room at 5 on plan,
where ~enamun and his wife greet his parents. 1 His father is shown with white or light grey hair,
denoting his age. 2 Of the accompanying inscription only the word southern remains. The father
therefore probably also held the office of' [mayor in the] Southern [City]'.
ro. This shows a girl with short hair ending in curls and a fillet round her head. She wears a
large ear-ring, and three bracelets are shown. Her necklace hangs loose between her arms: this is
an unusual feature. The whole pose is gracefully rendered.
1
For the meeting of deceased with his parents in che 2
See Davies, The Tomb of Tzoo Sculptors, frontis-
After-World, see Davies, The Tomb of Nefer-Ifotept at piece.
Thebes, pl. xxxix, cf. p. 43·
 THE TOMB OF INENI (NO. 81)
(Plan on Plate XXIV)

T
HE tomb of Ineni is one of the most interesting early tombs in the The ban necropolis,
and has been recorded by many Egyptologists. I Line drawings of parts of some scenes
are offered in this volume, as from the photographs already published it is difficult to dis-
tinguish existing lines from confusing breaks.

DESCRIPTION OF PLATES
(PLATE XXI (at 10 on plan)
A photograph 2 of the whole picture as now extant is given, together with a line-drawn detail.
The animals, especially the hyena and the hunting dog, are full of life and extremely well rendered.
Unfortunately, the eyes of all the animals have been wantonly destroyed, perhaps from that fear
of the 'Evil Eye' which was so common in later times.
The hyena, shot in the mouth 3 by the hunter, is trying to pull out the arrow with its paw. A
dog leaps to the attack. Also depicted are the bubale, the oryx, and the desert hare.4
PLATE XXII (at 5 on plan)
The scenes are situated to the left of the entrance to the inner room and the procession is
advancing towards the large figures of Ineni and his wife seated on the right.s The upper of the
two registers shown here is of Nubian women and children ;6 there are parallels in the tomb of
Rekh-mi-re<. All are a dark purplish-red flesh colour. At the extreme right is a group of six women,
the head of only one of whom remains. This head had black locks on a blue or black ground,
whereas all the rest had black hair. The massed skirts of the six women are alternately dark red
and pink. The extant figure has a band of white beads across her body. Indeed, all the necklaces,
bracelets, and anklets on this register are white, and presumably indicate ivory, one of the chief
products of Nubia.
There are traces of white outlines to the figures, including those of the woman and the girl and
boy she holds by the hand. The girl wears a black skirt, elaborately patterned with white dots
which may represent beads. The boy is nude. He turns back and touches the woman behind him.
Both this woman and her companion wear long scalloped pink skirts with fine lines. A child is
carried in an ox-hide bag, the black markings of which are shown against a white ground. Along
the top is a herring-bone pattern of red lines on a white band and this may represent stitching
on the leather. Red thongs or cords across the shoulders end in a loop held in the hand.' The
child wears a white necklace. The last woman also has the white band which cuts the converging
red lines below the waist. The receptacle on her back does not show traces of skin. The broad
1
See Porter-Moss, Top. Bib., i. I (znd ed.), I59-63, and presumably were not eaten. The hyena, however, often
plan, p. I6o; Gardiner-Weigall, pl. III, B. I; Davies- appears slung on a pole with other dead game.
Macadam, Funerary Cones, nos. 424-6. Paintings by Nina 5 Porter-Moss, Top. Bib., i. I (znd ed.), p. I6I (5). Photo-

de Garis Davies of the hunt and the house are in the Metro-
politan Museum of Art, New York.
2 New York, Metropolitan Museum of Art collection.
3 An action not infrequently represented. Blackman,
The Rock Tombs of Meir, i, pl. VIII.
4 The hyena and the hare never appear in piles of food,
graph of whole in Wreszinski, Atlas, i, pl. z6s.
6
Wreszinski, Atlas, i, pl. 267A.
7 In the tomb of Rekh-mi-rec the cord of a similar bag
passes round the head leaving both hands free. Davies, The
Tomb of Rekh-mi-rec at Thebes, ii, pl. XXI.
20 THE TOMB OF INENI (NO. 8r)

band round the top is white, while the lower part is divided into two red panels, which show
marks of what may be stitching. The child in this carrier extends one hand towards his mother,
the other towards the stick of the Egyptian soldier at the left. The soldier drives the procession
before him.
The Syrian women in the fourth register (lower register on plate XXII) are in a much worse
state of preservation than the Nubians. They wear flounced or tiered skirts, and have clear light
pink skins. The second from the right, however, had red feet. The dresses are white with borders
of blue and red, of which only the latter remains. The third woman from the left carries a nude
boy astride her right shoulder. Her hair was blue or black with a fringe of red lines, and she wears
a white ear-ring. Traces of a sleeve can be seen here and on the woman in the left-hand corner, the
borders being again blue and red with red outlines. The Syrian women do not bend under their
burdens, but walk upright. Of the two older children walking along, one is a girl in a long straight
white robe edged with a fine pattern of red lines with lighter red dots in the squares, the other,
nude, is probably a boy. 1
The fourth woman wears a white band round her hair, which is indicated by fine red lines on a
ground of pink. The bag she carries has a border of blue and red spots, but, as elsewhere, the blue
has almost vanished, leaving only a stain. The women are beautifully drawn: the work is precise
and sure on smooth plaster and the thickness of line is little more than that of the reproduction
on the plate. The ground shows black squaring lines and over the picture can be seen another set
of squaring lines such as were anciently used when a special scene was to be copied by another
artist.

PLATE XXIII (at ron plan).

The house and two granaries are badly damaged, 2 the lack of colour made line-drawing difficult
and necessitated a good deal of restoration. The house is situated in a grove of trees, not shown
here, where a gardener is watering the trees from a pond.3 One of the same trees, probably a
sycamore, is pictured here on the right inside the wall and against a white building the purpose
of which is not clear. To the left of this are two dome-shaped granaries each with a shuttered
wooden window. The shutters have round black knobs. To the left of the granaries is the house
of blue-grey bricks. It has two rows of red and yellow wooden windows. Broad windows alternate
with narrow ones. 4 The grey-blue wall has an undulating border, and there is a large red door to
the left and to the right. Both doors have black knobs. There seems no doubt that this is a private
dwelling, and not a building belonging to Ineni's office as 'overseer of the granaries of Amlin',
despite the granaries included within the precincts. It gives a very good idea of the type of house
inhabited by an official of the early XVIIIth Dynasty.
1
The processions of foreign peoples pictured in The ban hind him are three women, one of whom also leads a child.
tombs show as a rule men and women in separate groups. In the same tomb a Syrian presents a child to the king (see
The latter bring their children as hostages or tribute while Davies, The Tombs of Menkheperrasonb, &c. pis. IV and V).
the men offer the special products of their country. The 2
Wreszinski, Atlas, i, pl. 6oa, bottom.
separation is, however, not always observed. For instance, a 3 Compare ibid., top.

fragment from the tomb of Sebekhotep (no. 63) (Brit. Mus. 4 See also tomb 254 (Davies, The Town House in Ancient

37791) shows men bringing children and vases. In tomb 86 Egypt (Metropolitan Museum Studies), i, pt. 2 (1929),
(Menkheperre(sonb) a Syrian man leads a child while be- p. 242, fig. 6).
 INDEXES

I. NAMES OF DIVINITIES

Amaunet I7 Nut I3
Amon-re' 44 Osiris 2, 16, I7
Amlin 2, 3, 4, 5, 6, 7, 8, 9, Io, I2, I4, I5, I6, I7, 20 Osiris-Sokar I2
Anubis I6 Re' 7
Aton 4, 7 Re'-I;Iarakl;lti 2
Ernute 4, I2 Re'-Khopri 7
Geb II Sobek I6
I;Iatl;lor 2, 16 Wennofre I3
Nephthys ( ?) 16

II. ROYAL NAMES

Akhenaton 6 I;Iatshepsut 96
Amenophis III I, 42 Tuthmosis IV I, 2, 9

III. NAMES OF PRIVATE PERSONS

Amenl;lotpe 3, 4 Meryre' 6
Amenl;lotpe-si-se I, 2, 6, 9 Muttuy 145, 15
Amenemopet I26 Nakht I, 2S, 3, 4, 5, 6
Amenemuia I7 Nebamun 14
Ql;lutmose 15, I7 Nebenter 7
Djeserka 2, 5, 7 Nebseny 5, 7
Djeserkere' 2, 4 Nebtaui 5, 6
Djeserkere'sonb I, 2, 3, 4, 5, 6, 7 Neferl;lebef 3, 4, 5, 7, 12
l;IepU 9, IO, I 1 1 I2, 13 Puyemre' 9
I;Iepusonb 96 Rekh-mi-re' 19
Ineni 19,20 Renn[ai] 10
~enamun 96 , 14, I5, r6, 17 Renni9, 12
Menkheper 2 Sebekhotep 20 1
Menkheperre' 24 Surer 75
Menkheperre'sonb 9, ro4, 125, 20 1 Wadjronpe 2, 3, 6 name damaged, 7
Mery 96

IV. TITLES AND OCCUPATIONS (selective)

Child of the Nursery I5 Priest of Sobek I 6

Goose herd 3, 4
Guardian of the depot of Amlin 7
Governor of the City I I
Lector-priest and sem r6
Mayor of the Southern City (Thebes) 14, 15, r8
Overseer of the weavers of Amlin 5
Overseer of the Granaries of Amlin 14, 20
Scribe 3, 4
Steward of the Second Priest of Amlin 2, 5, 6
Steward of the household of Amfinhotpe-si-se 2
Superintendent of the milk-cows(?) 5
We'eb priest and lector-priest of Amaunet 17
Vizier9, 10, II, 12,13
22 INDEXES

V. GENERAL INDEX
Adoring the Sun 7 Hyena, shot in mouth I9
Altars 3, 4 Jars of oil and wine I 5
Anubis and Hatl)or on thrones I6 !5-enamiin greets his parents in the After-World I5, I8
Amlin, hymn to 7, 8 Lector priest 7
Aruseh, corn-maiden 5 Leather, manufacture of 9
Aton, erasures by the priests of 3, 4, 7 Libation before the tomb door I6
Bird Sacrifice 5 Lute 6
Birds in clap-net I2 Lyre 7
Bouquets 3, 5, I7 Meal for Djeserkere'sonb 4, 6
Branches, men carrying I2 Measuring cord 4
Bricks 20 Measuring fields 4
Ceiling-patterns 2, 8, I3, I7 Metal-workers IO
Chariot-making 9 Method of preparing wall-surfaces 2
Corn-growing 4 Monkey, dog and goose under chair I5
Crafts and craftsmen 9, 10 Mummies, supported I6
Dado of lotus flowers, buds and ducks I 5 Musicians and dancers 6
Decoration of Tomb N a. 38 I, 2 Nubian women, dresses of 20
Demons in shrines with knives I6 Offering-list I I
Dishes, making of IO Offerings 2, 3, 5, Io, I I, I4, I7
Djeser-Djeseru', temple of 7 Offerings to Amiin and Erniite 4
Dresses of women 19, 20 Oryx I9
Early copyists I, 2 Osiris and I:Iatl)or enthroned I6
Erniite, seated with offerings 4, I2 Plaques with head of Amlin 4
Field scenes 4 Pools of water 5
First fruits of the harvest 4 Ritual Meal 6
Fishing and fowling I I Scribe's outfit I5
Funeral offerings I I Sem-priest I 5, I6, I7
Funerary procession I6 Serving maids 7
Funerary rites I2 Ships returning from Abydos I6
Gods, offering to 2, 4 Sowing and ploughing I 5
Granaries 20 Syrian ships I4
Grass, as food for Hatl)or 2 Syrian women 20
Greaves 4 Tekenu I2
Guests, excessive drinking by 7 Toes, five indicated at early date 6
Hare I9 Vases, making of IO
Harpist and Harp 6 Vineyard scene I2
Harvest thanksgiving 3 Vizier text IO
Harvesting, method of 4, 5 Wicker crates I I
Houses 20 Wine-press I I
Hunting I9 Winnowing 4, 5

VI. REFERENCES TO WRESZINSKI, ATLAS

I. 179 73 I. Pl. 6oA (bottom) 20 2

1. 307 and 59A 96 1. Pl. 230 12
I. 267A 196
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