2
the
bock
tombs
dead
were
first
spread
out
before
the
god
or
the
King,
or
both.
Interior.—Except
for
the
entrance
and
the
two
walls
in
the
northern
half,
the
tomb
is
in
a
very
rough
and
unfinished
state.
Its
floor
has
not
been
cut
to
the
full
depth,
the
walls
of
the
southern
half
are
still
irregular!
and
the
south
door
is
only
outlined
in
ink.
The
door
at
the
north
end
of
the
corridor
has
been
pierced,
but
instead
of
admitting
to
a
shrine
and
statue,
it
opens
into
two
low
successive
chambers,
small
and
roughly
hewn,
where
the
sepulture
must
have
been
made.
The
east
doorway
was
in¬
scribed
in
ink,
as
fragments
of
dy
hetep
seten
prayers
on
the
right
jamb
shew,1
but
later
it
was
almost
destroyed
in
an
effort
to
carry
the
excavations
further
in
this
direction.
This
extension,
as
also
a
square
recess
in
the
north
end
of
the
east
wall,
is
probably
contemporary
;
for
the
latter
may
be
the
first
step
in
forming
the
pillars
of
the
enlarged
chamber.
The
decoration
on
this
side
of
the
tomb
is
naturally
left
in
ink,
since
it
could
only
be
carried
out
if
the
ever-present
hope
of
enlarging
the
chamber
was
definitely
abandoned.
Had
this
been
done,
the
pictures
would
have
been
transferred
to
the
rear
wall
of
the
extended
chamber.
On
the
west
wall
south
of
the
entrance
there
are
remains
of
hieratic
graffiti
(PI.
vii.).2
A
square
is
marked
out
on
the
floor
near
the
north
door,
as
if
a
pit
were
projected.
The
ceiling
is
squared
up
in
readiness
for
a
design.
B.
Scenes
and
Inscriptions.
North
Wall-Thickness
(Plates
iii.,
vii.,
viii.).
Previous
copy
:
Mon.
du
culte
d'Atonou,
I.,
Pis.
lxii.,
lxiii.
(photograph).
This
space
is
occupied
by
a
picture
of
the
royal
family,
as
is
usual
in
these
tombs.
But
as
the
1
Commencing
(4th
column)
"A
dy
hetep
seten
of
the
living
Aten,
and
the
great
Queen
"
("
spirit
of
the
King,"
in
the
third
column).
2
Mr.
Griffith
can
only
decipher
a
reference
to
"the
temple
of
Thoth
in
Khmennu
(Eshmuncn)."
of
el
amarna.
scene
of
worship
had
already
been
dealt
with
outside,
the
artist
was
able
to
use
some
freedom.
Accordingly
the
figures
face
inwards
and
are
given
the
most
unconstrained
attitudes,
as
if
the
deceased
man
had
wished
to
depict
a
royal
visit
to
his
tomb,
whether
remembered
with
pride
as
an
event
of
the
past
or
thus
delicately
suggested
for
the
future.
Or
else
it
may
depict
simply
those
many
occasions
on
which
the
King,
sauntering
forth
with
his
family,
included
the
gratified
I'arennefer
among
the
scribes
and
officials
who,
after
the
wont
of
the
East,
formed
a
favoured
train
on
such
occasions.
These
attendants
are
seen
in
the
foot-scene
carrying
water,
stools
and
the
outfit
of
the
scribe—exactly
the
needful
accessories
of
a
visit
of
inspection
to
the
tombs.
Parennefer
has
not
attached
his
name,
but
probably
the
"
cleanser
of
His
Majesty's
hands
"
is
to
be
seen
in
the
official
who
carries
ewer
and
towel.
The
main
scene
shows
the
King
walking
under
the
rays
of
the
sun,
which
clasp
him
under
the
armpit
and
head,
as
if
to
hold
him
up
in
their
hands
lest
he
stumble
against
a
stone
in
the
rough
desert.3
He
grasps
a
staff
in
his
left
hand
and
throws
his
right
arm
round
the
Queen
in
the
most
caressing
way
possible.
The
picture
unhappily
is
not
intact,
but
it
is
plain
that
the
King's
arm
passed
round
the
neck
of
the
Queen
and
that
the
fingers
of
their
right
hands
were
interlaced.4
The
Queen
wears
a
coiffure
as
simple
as
that
of
her
ladies
save
for
the
uraeus
on
her
brow.
Four
shade-bearers
go
in
front,
and
probably
no
one
saw
the
incongruity
of
depicting
the
sun
as
an
inconvenient
and
as
a
benevolent
power
at
one
and
the
same
time.
Behind
the
Queen
follow
the
three
princesses
and
their
nurses.
Merytaten
displays
as
affec¬
tionate
a
nature
as
her
parents;
for
she
and
her
3
For
the
caressing
hands
see
Pis.
iv.,
xvi.,
xvii.,
xxix.
4
See
the
enlargement
PI.
vii.
The
artist
has
exag¬
gerated
the
size
of
the
hands
in
order
to
Snake
the
attitude
clear.
The
King's
hand
is
uppermost.
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