the
tom
For
the
first
time,
therefore,
we
seem
to
have
evidence
of
the
presence
of
Tadukhipa
in
Akhet-
aten.
In
this
harem
of
the
foreigners
in
the
left-hand
picture,
an
older
woman
seems
to
be
instructing
two
younger
girls
to
play
a
duet
on
the
lyre
and
lute.
In
the
adjacent
room
or
story
an
Egyptian
woman
is
similarly
teaching
a
com¬
panion
her
first
steps,
while
two
others,
laying
their
instruments
aside,
partake
of
a
meal
to¬
gether.
In
the
other
picture,
one
of
the
foreign
women
is
combing
out
her
friend's
tresses
;
a
third
eats
from
a
table,
and
others
dance
to
the
sound
of
a
harp.
Their
Egyptian
sisters
are
amusing
themselves
in
much
the
same
way.
Two
are
dancing,
one
accompanying
her
own
movements
on
the
lute,
while
two
companions
bear
their
part
on
the
lute
and
harp.
In
spite
of
the
small
scale
and
the
defaced
condition
of
the
wall,
the
shuffling
gait
of
the
Oriental
dancer
is
suggested
as
successfully
as
the
lazy
postures
of
the
eunuchs
outside.
The
Balcony.—However
wearisome
the
repe¬
tition
of
this
scene
may
have
become,
we
could
ill
spare
this
representation
of
the
Queen
and
her
little
daughters
mutually
caressing
one
another.
For
though
such
pictures
were
not
exceptional,
few
have
come
down
to
our
time
in
any
completeness.
The
youngest
of
the
three
can
scarcely
have
been
old
enough
to
walk
at
this
time,
as
indeed
her
lack
of
hair
suggests.
Meanwhile
the
parents
themselves
are
treated
as
nurslings
of
the
Aten,
"the
Father,"
who
supports
them
by
his
hands
with
even
more
solicitude
than
they
themselves
show
for
their
offspring.
The
features
of
all
are
well
preserved
and
are
likely
to
be
more
authentic
here,
in
the
tomb
of
the
Queen's
parents,
than
anywhere
else.
An
astonishing,
and
indeed
a
unique,
feature
of
the
representation
is
that
the
whole
family
is
absolutely
nude,
so
far
as
we
can
see.
One
can
hardly
believe
that
the
reverence
for
reality
with
which
the
King
is
credited
led
him
so
far
as
this,
but
must
suppose
that
he
shared
!
of
ay.
21
with
his
artist
his
admiration
for
the
human
form.1
The
Queen's
sister,
Benretmut,
though
rele
gated
to
the
background,
is
also
present
to
see
her
father
and
mother
honoured.
She
is
to
be
seen,
accompanied
by
her
strange
famuli,
among
the
attendants
on
the
left
of
the
window.2
The
Courtyard
(Plates
xxix.,
xliii.).—Ay
and
his
wife
Tyi,
attended
by
two
fat
officials,
stand
below
the
window
to
receive
the
bounty
of
the
King.3
Their
faces
are
worked
with
special
care
and
give
one
an
impression
of
belonging
to
the
same
high
family,
as
may
well
have
been
the
case.
The
face
of
Ay
does
not
differ
essentially
from
those
in
the
entrance,
and
but
little
from
the
ink
profile
on
PL
xxxi.
From
these
three
examples
of
careful
work
we
may
per¬
haps
form
a
true
estimate
of
the
capacity
of
the
Egyptian
artist
for
portraiture
and
of
its
limits.
The
presence
of
the
wife
of
Ay
here,
as
every¬
where
else
in
the
tomb,
is
very
exceptional,
but
her
rank
as
nurse
and
tutoress
of
the
Queen
and
handmaid
(?)
of
the
King
fully
justify
it.4
Gifts
1
Cf.
Petrie,
Tell
el
Amarna,
I.,
figs.
1,
13,
for
nude
sculpture
of
the
Queen.
The
supposition
that
clothing
might
have
been
indicated
in
paint
seems
to
fail,
since
by
exception
there
is
no
sign
that
colour
was
ever
applied
to
this
wall.
2
Hay
remarks
here
that
the
heads
of
these
dwarfs
have
been
destroyed,
"
perhaps
as
being
favourites."
The
note
is
pertinent,
for
their
faces
are
almost
everywhere
defaced,
perhaps
by
accident.
These
servants,
for
whom
ridiculous
titles
and
names
are
invented,
and
their
mistress,
who
stands
apart
without
participating
in
the
worship
of
Aten,
invite
comment.
Were
it
not
for
the
evident
youth
of
the
princess
and
her
Egyptian
aspect,
I
would
have
ventured
to
suggest
that
it
was
Tadukhipa
herself
under
an
Egyptian
name,
to
whom
the
monogamous
King
would
grant
no
higher
title
or
relation
than
this.
She
would
then
be
"the
queen"
to
whom
the
dwarf
Er-neheh
had
been
jestingly
appointed
"
vizier."
Her
speedy
disappearance
would
be
easily
explained
by
the
King's
repugnance
to
the
alliance
The
dwarfs'
curious
titles
might
then
have
some
playful
reference
to
their
Syrian
names.
3
The
stone
on
which
the
upper
part
of
their
bodies
was
cut
fell
out
or
was
removed,
but
by
good
chance
reached
the
Museum
at
Cairo
(PI.
xxxviii.).
4
Tenre,
as
a
favourite
of
the
Queen,
also
has
a
prominent
place
in
Tomb
4.
Cf.
also
p.
5
above,
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