36
the
rock
tombs
of
el
ama.rna.
a
servant.
Here,
too,
are
shown
the
musicians
of
the
harem,
who
divert
the
King
with
music.
These
female
performers,
six
in
number,
are
all
furnished
with
stringed
instruments,
two
play¬
ing
the
harp
of
seven
strings,
two
the
lyre,
and
two
the
lute
(or
the
viol
with
the
bow
?).
The
picture
is
framed
in
the
familiar
border,
the
blue
sky
stretches
above,
and
the
free
space
under
the
ceiling
is
filled
in
with
coloured
bands.
3.
Meryra
rewarded
by
Akhenaten.
South
wall.
East
side.
Plate
xxxiii.
(comprising
Plates
xxxiv.
to
xxxvi.)
and
xlvii.
(photograph).
Previous
copies
:—
L'Hote,
Papiers,
xi.
15
(published
in
Am£lineau,
Sepulture,
pi.
xciv.,
p.
634);
iii.
130,
131,
and
Lettres
Hcrites,
p.
70
(captives
only).
Lepsius,
D.
Text,
ii.,
p.
138
(Princesses'
names).
The
scene
on
this
wall
is
that
repeated
on
almost
every
tomb
of
El
Amarna
that
offers
scope
for
it.
The
bestowal
of
golden
necklaces
and
other
costly
articles
of
dress
or
plate
(dishes,
goblets,
cups,
gloves,
signet-rings,
bracelets,
fillets,
&c.,
in
L.
TJ.
iii.
103,
and
perhaps
even
gold
itself
in
L.
D.
iii.
106)
was
the
traditional
proof
of
royal
favour.
Except
in
special
cases
the
scene
of
this
presentation
is
the
verandah
of
the
palace.
The
building
may
be
altered
by
omissions
and
rearrangement,
but
the
essential
features
are
always
the
same,
and
point
unmis¬
takably
to
a
single
impression
on
the
memory
of
the
artist
(see
Part
I.,
pp.
23-25,
41).
Generally
only
the
verandah
or
only
the
facade
of
the
palace
is
shown,
but
wherever
there
is
space
some
part
of
the
interior
is
added
behind.
In
the
tombs
of
Ay,
Tutu
and
No.
7
the
whole
complex
of
the
royal
establishment
is
depicted
;
even,
in
the
case
of
the
two
first,
in
duplicate.1
Here
the
space
was
desired
for
the
princesses
;
yet
the
artist
has
managed
to
place
one
of
the
1
Partially
in
L.
D.
iii.
106a
(one-half
was
never
cut)
and
109.
store
chambers
at
the
top
of
the
picture,
and
so
indicate
the
palace
interior
by
sample.
Above
the
serpent-crowned
framing
of
the
balcony
are
seen
the
four
columns
which
support
the
roof,
and,
to
the
right,
the
two
columns
of
the
porch.
The
two
doors
underneath
seem
to
be
the
side-
doors
of
the
facade,
placed
there
for
conveni¬
ence.2
The
ascent
to
the
balcony
is
not
shown,
though
the
doors
are
some
distance
from
the
ground.
The
decorations
on
the
framework
of
the
win¬
dow
correspond,
in
the
main,
to
that
shown
in
I.
vi.
Divine
and
royal
cartouches
and
titu¬
laries
Avithin
variegated
borders
make
the
sur¬
face
rich
with
fine
detail
and
bright
colours.
The
panel
of
the
front,
which
is
usually
filled
by
a
geometric
design
(I.,
vi.;
III.,
xvii.),
is
here
filled
with
a
characteristic
Egyptian
design,
the
faint
ink
of
which
is
only
partially
recoverable.3
In.
the
centre
is
.the
sam
sign
of
union.
On
the
right
of
it
is
a
clump
of
the
plant
of
the
South,
growing
in
the
fields
(or
on
trellis-work
?)
while
on
the
left,
a
group
of
papyrus
stems,
the
plant
of
the
North,
springs
from
the
clods.
Some
of
the
stems
grow
up
straight,
others
bend
over
and
meet
them
flower
to
flower,
and
yet
others
fetter
the
necks
of
captives
;
of
whom
there
are
three
on
each
side.
The
captives
bound
by
the
plant
of
the
North
represent
races
of
the
North
(three
different
types
?).
Similarly
those
on
the
right
belong
to
the
negro
races
of
the
South
(cf.
Plate
iii.).
The
design
thus
combines
two
ideas;
the
union
of
the
two
Egypts
and
the
subjection
to
each
of
its
neighbour
races.
The
captives
walk
on
tiptoe,
whether
in
indication
of
their
half-throttled
state,
or
whether,
like
Agag,
they
walk
delicately
in
apprehension
of
the
worst.
The
interest
of
the
royal
family
in
the
reward
given
to
one,
who
as
superintendent
of
the
"
The
space
between
has
been
cut
away
in
ancient
times,
as
if
on
account
of
something
objectionable.
3
Cf.
L.
D.
iii.
109.
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