THE
TOMB
OF
to
meet
him
with
music
and
dancing,
and
his
wife,
rushing
forward,
is
the
first
to
welcome
him
with
uplifted
arms.
Of
her
outburst
of
praise
to
the
generous
King
we
can
only
decipher
"
[the
mistress]
of
the
house,
the
favourite
of
the
chief
wife
of
the
King,
re,
says
(?)
'
.
.
.
.
.
Grant
to
him
Nefertiti
(?)
[living]
for
ever
for
ever
and
ever.'"
The
House
of
Parennefer
(PI.
vii.).—It
is
evident
from
the
last
plate
and
from
a
study
of
similar
pictures
that
the
scene
is
not
yet
com¬
plete.
It
must
have
extended
over
the
narrow
strip
of
the
north
wall
adjacent
to
it
and
have
included,
as
is
often
the
case,
a
picture
of
the
home
of
the
official.
Of
this
ink
design
only
a
small
fragment
can
now
be
recovered
at
the
bottom
of
the
wall.
On
the
left,
apparently,
is
the
outer
wall
of
the
premises
with
a
gate
admitting
to
the
garden.
Immediately
within
is
a
building
or
enclosure
with
gate
and
screening
wall(?),
containing
an
altar
loaded
with
offerings.
Beyond
is
the
garden,
the
arrangement
and
contents
of
which
are
no
longer
clear.
East
Wall
:
North
Side
(Plate
vi.).1—This
scene
was
never
executed
with
the
chisel,
and
what
remains
of
the
ink
design
can
be
de¬
ciphered
only
with
some
difficulty,
and
here
and
there
with
uncertainty.
A
large
part
of
the
wall
to
the
left
of
the
picture
in
the
plate
shows
no
trace
of
design
and
perhaps
never
received
any,
while
the
excavations
round
the
doorway
have
removed
the
end
of
the
picture
on
the
right
hand,
where
the
Queen
and
the
princesses
were
probably
shown
sitting
behind
the
King.
This
is
the
only
case
in
this
group
(apart
from
the
peculiar
tomb
of
Malm)
in
which
a
scene
from
the
back
wall
is
preserved,
and
it
is
therefore
some
guide
to
the
imagination
in
completing
other
tombs,
such
as
those
of
Ay
and
Tutu.
The
picture
depicts
the
King
sitting
on
a
stool
1
Reduced
from
a
tracing.
PARENNEFER.
5
under
a
baldachin
on
a
raised
dais
with
a
sloping
approach
(cf.
II.
xxxviii.).
The
purpose
of
this
public
appearance
is
not
quite
obvious
from
the
picture,
and
the
in¬
scription
put
in
the
mouths
of
the
courtiers
or
singers
seems
to
have
been
one
of
adulation
merely.
"
O
Pharaoh
(?),
millions
of
years
and
myriads
(?)
[of
sed-
festivals],
the
bright
child
of
the
Aten,
who
hast
afforded
(?)
a
sight
of
thyself
(?)
to
us
(?)
Thou
sparkiest2
with
the
brightness
of
the
living
Aten.
Thou
seest
his
beautiful
rays
multiplying
for
thee
the
tale
of
serf-festivals.
He
hath
transferred3
to
thee
every
land
and
given
(?)
to
thee
to
make
for
thy
heart
giving
life
to
hearts
,0
Ua-en-ra
whom
the
Aten
loves
!"
The
King,
who
is
dressed
in
his
Atef-crown
of
state,
may
be
giving
audience
to
an
embassy
which
is
presenting
the
tribute
shown
in
the
picture.
Or
it
may
be
that
the
great
array
of
dishes
was
only
designed
to
express
the
abundance
that
reigned
within
the
palace,
and
that
we
merely
see
the
King
in
a
moment
of
ease
when
it
fell
to
Parennefer
to
discharge
his
duty
and
pour
water
on
the
royal
hands
and
feet.
The
baldachin
under
which
the
King
sits
is
supported
on
wooden
columns
having
a
capital
formed
by
the
union
of
the
lotus
and
its
buds
with
the
lily.
The
King
is
being
served
with
a
draught
by
the
cup-bearer
;
and
another
official,
whom
we
may
perhaps
identify
as
Paren¬
nefer
himself,
kneels
at
his
feet,
attending
to
them.
All
that
remains
to
us
of
the
scene
before
the
King
is
a
mass
of
dishes,
jars,
and
tables
of
meat,
and
several
groups
of
musicians.
Foremost
among
the
latter
is
a
(double
?)
troupe
of
female
performers.
Their
instruments
can
no
longer
be
enumerated,
but
we
can
distinguish
both
the
standing
harp
and
the
trigon,
which
is
carried
on
the
shoulder
;
perhaps
also
the
lyre
and
the
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