THE
TOMB
OF
AY.
19
was
to
prove
the
only
complete
copy
we
possess.1
A
few
years
later,
and
apparently
before
any
further
copy
was
taken,
a
full
third
of
the
in¬
scription
was
destroyed.
Considerable
portions
of
the
hymn,
however,
are
paralleled
in
other
laudations'
of
Aten,
where
they
are
probably
as
original
as
here.
For,
in
all
likelihood,
neither
this
nor
any
other
hymn
is
a
set
composition
which
had
currency
apart
from,
or
previous
to,
its
use
in
the
tomb.
These
texts
either
borrow
from
an
authoritative
composition
or
are
compiled
from
the
current
liturgical
phrases
and
dogmatic
statements
of
the
new
"
Teaching,"
which
was
evidently
zeal¬
ously
imparted
in
Akhetaten
under
the
personal
guidance
of
the
King.2
If
his
extreme
youth
at
accession
be
accepted,
it
becomes
difficult
to
assign
the
literary
or
philosophical
form
of
the
religion
to
him.3
The
poet
or
prophet
of
the
movement
and
his
works
probably
lie
and
will
ever
lie
hidden
from
history,
nor
would
mere
knowledge
of
his
name
avail
us
much.
The
photograph
on
Plate
i.
makes
further
remarks
on
the
admirable
kneeling
figures
of
the
pair
unnecessary.
In
Plate
xxxiv.
I
have
shown
the
jewellery
of
Tyi.
The
colour
is
now
almost
erased,
and
a
little
restoration
has
been
necessary.
Dark
blue
is
represented
by
solid
black.
Where
110
colour
is
assigned,
light
yellow
is
to
be
assumed.
Tyi's
flesh
colour
is
a
warm
yellow,
her
cap
light
yellow,
with
a
lost
pattern
in
red
line.
North
Wall
:
East
Side
(Plates
xxvi.,
xxviii.-xxxi.,
xxxvi.,
xlii.-xliv.4).
1
Bouriant,
Deux
jour8
de
fouilles,
p.
2.
2
Compare
the
recurring
phrase,
"
He
rose
up
early
and
taught
me."
3
No
progress
is
visible
in
these
respects
from
the
year
of
the
first
proclamation.
4
The
heads
(PI.
xxvi.)
are
from
careful
tracings.
But
the
photographs
are
a
still
more
secure
guide.
Plate
xxviii.
is
from
my
own
scale-drawing.
Plates
xxix.,
xxx.,
owing
to
the
present
state
of
the
wall,
have
been
based
on
the
plates
of
Lepsius,
but
corrected
in
numberless
points
of
detail
from
the
wall
itself.
Even
where
this
failed
me
I
Previous
copies5:—Hay,
MSS.,
29814,
fol.
41,
58;
29847,
fol.
67
;
L'Hote,
Papiers,
III.,
297
(inscriptions
only)
;
Prisse,
Histoire
de
I'Art,
I.,
xxxix.6
;
Lepsios,
D.,
III.,
103,
104,
105
a,
106
a,
111;
D.
Text,
II.,
p.
144;
Mon.
du
culte
d'Atonou,
I.,
xxiii.,
xxiv.7
This
scene,
representing
the
reward
of
the
King's
favourite,
has
its
sister
pictures,
as
we
have,
seen,
in
the
tombs
of
Parennefer
and
Tutu.8
No
one
scene
is
the
original
or
model,
so
far
as
we
can
see
;
all
are
modifications
of
a
picture
which
probably
existed
only
in
the
imagination
of
the
chief
artist
of
Akhetaten.
The
Palace9
(Plates
xxviii.,
xxix.,
xlii.).—
As
always,
the
balcony
occupied
by
the
royal
family
is
the
dominant
feature
of
the
scene.
Behind
it
is
the
palace
and
in
front
the
crowd
accompanying
Ay.
have
sometimes
ventured
to
restore
those
forms
of
outline
and
facial
expression
which
are
so
stereotyped
at
El
Amarna
and
which
the
plates
of
Lepsius
so
often
fail
to
preserve.
No
deeper
question
is
ever
involved
in
these
changes,
I
believe.
The
upper
parts
of
Ay
and
Tyi
have
been
added
from
the
photograph
of
the
block
in
the
Cairo
Museum
(PL
xxxviii.).
The
dancers,
the
gifts
(PI.
xxix.),
the
enlargement
and
the
gifts
(PI.
xxx.)
are
added
from
scale-
drawings,
and
the
group
round
Ay
(PL
xxxi.)
is
reproduced
from
a
tracing.
This
combination
of
methods
is
responsible
for
a
few
minor
omissions
;
e.g.
the
legs
of
Merytaten
below
her
sister's
chin,
and
the
broad
ribbon
depending
from
the
Queen's
head-dress.
Such
inexactitudes
can
be
corrected
by
the
photographs,
which,
with
all
other
full-plate
negatives
in
this
volume,
were
taken
for
me
by
Herr
Schliephack,
of
the
Neue
Photog.
Gesellschaft.
5
I
do
not
include
the
amusing
travesties
of
picture
and
interpretation
by
Yilliers
Stuart,
Nile
Gleanings,
chapter
vii.
Squeezes
of
the
wall
by
Lepsius
(see
Stein-
dorfp
Bliitezeit,
p.
156),
and
by
L'Hote
(Papiers,
xix.,
4)
are
preserved
at
Berlin
and
Paris.
6
Evidently
appropriated
from
Lepsius.
A
furnished
room
has
been
invented
to
fill
up
the
corner
cut
off
by
the
architrave
!
7
These
are
clearly
copies
of
the
plates
of
Lepsius
with
a
few
alterations
in
the
texts,
etc.
The
changes
are
later
than
the
injuries
to
the
wall;
so
that
the
plates,
where
they
agree
with
Lepsius,
do
not
strengthen
the
evidence.
8
Perhaps
also
in
that
of
May
(V.,
Pl.
v.,
and
p.
3).
If
so,
it
supplies,
so
far
as
it
is
preserved,
the
lacking
sub-
scene
which
showed
the
river-gardens
of
the
palace
and
its
landing-stage,
as
well
as
further
by-scenes
outside
the
palace
and
on
the
banks.
9
A
comparison
of
the
plans
of
the
palace
will
be
found
below
on
p.
36.
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