B. The Sculptured Scenes
1. The Entrance Portal ( Plates 5, 6 ) .
The decoration here is somewhat out of the common .
Instead of columns of prayers and the divine and royal cartouches, scenes of
worship by the royal family are exclusively portrayed . On each of the broken
jambs are two pictures of the royal family worshipping the sun, with a border
below of the symbolical rekhyt birds . The upper
panels exhibit the King with the crown of the North ( on the left, i.e., more
northerly jamb ), and of the South ( on the right ) . In the lower panels he
wears the khepersh helmet . The royal
pair lift up offerings of food to the deity from the tables or stands of
provisions which are before them . They seem to have been accompanied in these
scenes by Merytaten alone .
The lintel shows the same subject in a design which
for purposes of symmetry is repeated with slight variation on both sides of a
central table of offerings, on which the rays of the Aten stream down . The
King and Queen stand beside the table, the materials for the ceremony being
laid on stands near them . On the left they are engaged in burning incense to
the god, throwing aromatics with the right hand into the flaming bowl of the
censing-spoon, which is held in the left . On the right the censers have been
laid aside, and libations are being poured from the spouted vases taken from
the stands . The titularies of Aten and of the royal pair are inscribed above
them . The long laudation of the Queen ( most of the phrases of which may be
restored from Plate 7 ) shows the position which was accorded to her as the
royal heiress . The three eldest princesses shake sistra behind the Queen under
the care of their nurses . A younger, but here unnamed sister of the Queen is
also in the train, attended by two shade-bearers and two female fan-bearers .
Two misshapen female dwarfs who are of the party seem, also among her
attendants ( Plates 7, 8 ; and twice in the tomb of Ay ) . Their names, which
in this tomb are greatly damaged, can fortunately be recovered from the tomb of
Ay ; for no little satirical humour has been shown in the nicknames given to
these ill-favoured favourites . One is the " The Queen's Vizier (?), ' For
ever' ", and the other " His mother's Vizier (?) ' The Day ' ( or '
The Sun ' ) ! '" .
" His mother " would seem to mean the King's
mother Tiy, and " the Queen " may also designate Tiy or some other
Queen of Amenhotep III ; for as the sister of Nefertiti is only mentioned in
tombs of this period, and the dwarfs only shown in her company, it is likely
that she was at this time on a lengthened visit to Akhetaten, and had brought
these attendants from the Theban court of Tiy .
2. The Thickness of the Outer Wall (
Plates 7, 8, 27 )
West Side ( Plates 7, 27 ) :- The wall surfaces in the
entrance to the tomb are fittingly reserved for representations of the worship
of the sun . As naturally as the dweller in the town or village comes to his
doorway at dawn and evening to see the sun rise in fresh brightness or set in
splendour, the occupant of the tomb leaves its dark recesses and greets the
appearing or departing deity at the entrance . But here, as often in the
earlier tombs, the King and his household also are seen engaged in worship . This
may be due, not only to the impulse of the Egyptian King to self-commemoration,
but also to the need to create traditions for the new form of faith by giving
prominence to the example of the Court . Therefore the figure of Penehsy and
his prayer are relegated here to the lower part of the walls, while the upper
part shows the royal family offering to the radiant Disc . The King and Queen
are extending their sceptres towards the god as if in acknowledgment of their
delegated power ( Plate 27-a ) . Before them is a loaded table, having little
figures holding offering-bowls at the two front corners . The table having
first been spread with jars, flat round loaves have been placed on their
mouths, and the rest of the offerings laid on top and crowned with flowers and
bowls of burning spices . The King's person is adorned, as often, with the
cartouches of the god . These were probably inserted in light jewellery or
fastened on ribbons ; for they always occupy the place of armlets and
pectorals, though the attachments are rarely shown . The three eldest
princesses shake the sistrum behind their parents .
East Side ( Plates 8, 27 ) :- The change in the royal
attire on this wall may have been prescribed by the ritual ; for the King is
here burning spices in the hawk-headed censingspoon towards the sun, while the
Queen presents a bouquet of flowers . Both wear an elaborate variety of the Atef crown, into which, as in a coat of arms, forgotten history and
symbolism are crowded . Two or three shocks, somewhat resembling those familiar
to us in the kheker ornament, and each
flanked by two plumes, occupy the centre, standing upright on the combined
horns of the bull and the ram . In the King's head-dress each is also crowned
by the solar hawk, identified with the god of the Aten cult by the double
cartouche . Erect on either side, and pendant also from the horns, are figures
of the crowned uraeus . The whole is attached to the head by a broad base,
adorned with uraei . The King has thrown a flowing mantle over his shoulders,
and his tunic shows a flap adorned with uraei and the attachment of the bull's
tail behind ( not often assumed by him ) . The Queen is again distinguished by
an encomium :-
" The heiress, great of favour, mistress of all
women — when she saith anything it is done — the great wife of the King whom he
loveth [ Nefertiti ], living for ever and ever " .
The register beneath this scene is practically in
duplicate on the two walls . The point of interest is a female figure in the
centre, attended by two dwarfs of her sex, and identified by this as the sister
of Queen Nefertiti, already seen on the lintel outside . This interpretation is
supported by the broken inscription which evidently ran, " the sister of
the great wife of the King, Nefertiti, who lives for ever and ever, Nezemet-mut
" . She is attended by two shade-bearers, four fan-bearers, three nurses,
and a detachment of police, and is being received by one or two officials,
including, no doubt, Penehsy himself . On closer inspection, however, the
impression of deference to the royal sister is seen to be mistaken . The row of
figures really forms part of the scene above, so that the homage of the
officials and the train of servants belong to the royal party as a whole, the
nurses being attached to the three daughters of Nefertiti . Both here and on
the lintel Nezemet-mut stands aloof from the act of worship, and thus seems to
belong to the adherents of the old polytheism, as her name, " the pleasant
one of Mut " probably implied . She appears to be older than her nieces,
as might be expected, and even if she had been resident at the court of her sister
in Akhetaten, her disappearance henceforth would be naturally accounted for by
marriage . It is a pity that the accompanying inscription does not anywhere
show her parentage, and so decide that of her sister Nefertiti . There is no
strong ground for supposing it to have been foreign . The Queen's rights as
heiress rather imply a royal Egyptian descent on both sides . She is more
likely to have been a daughter of Amenhotep III by an Egyptian heiress whom the
King's strong preference for Tiy kept quite in the background . The marriages
with Syrian princesses were purely political alliances, and possibly were not
always consummated ; so that even if Nefertiti is not the princess of Mitani
whom Akhenaten seems to have married, she may after all have had no real rival
in the harem .
3. The Hall - Architraves and Abaci ( Plates 4, 5 )
The same inscription in large blue hieroglyphs runs
along both architraves, with but slight differences of spelling . It enumerates
the revered powers in heaven and on
" Life to the good god having pleasure in Truth,
Lord of the Solar Circuit, Lord of the Disc, Lord of Heaven, Lord of Earth, the
great living Aten who illumines the two Lands ! Life to the Father — God and
King — Ra-Horakhti, rejoicing on the horizon, in the name of the Brilliance
which is in the Aten, who gives life for ever and ever, the great living Aten,
abiding in the sed-festivals, Lord of Heaven, Lord of Earth, within the temple
of Aten in Akhetaten ; ( and to ) the King, &c., Akhenaten, great in his
duration ; ( and to ) the great wife of the King, &c., Nefertiti, living
for ever and ever ! " .
The faces of the four abaci towards the nave are
engraved with the name and offices of Penehsy, and the same treatment also was
proposed for the North and South faces also, as traces of writing in blue paint
are observable . With great difficulty parts of three of these were deciphered
( Plate 4, c, d, e, with enlargements b and f ), c and d being from the North
side of the South and North columns respectively, and (e) from the South side
of the North column . These are of interest as giving two fresh titles to Penehsy
: " Superintendent of the oxen of the Aten " (d), and "
superintendent of the granary of the Aten in Akhetaten " (c) . The other
four abaci have " The [ great ] favourite of the good god, the chief Servitor
of Aten in the temple of Aten in Akhetaten, Penehsy, maakheru " .
4. The Hall - South Portal ( Plates 5 [ lintel ] and 9 [ jambs ] )
The door-framing has no cornice, but reaches to the
ceiling . The lintel is adorned in the way made familiar in Plates 5 and 9, the
central part being occupied by symmetrically-arranged cartouches, and the ends
by prayers and praying figures of the deceased . Each jamb is occupied by four
prayers in as many columns, addressed to the Aten, the King under both names,
and the Queen .
5. The Hall - Penehsy rewarded by the King . South Wall - West
side ( Plates 10, 11 )
The reward of the faithful official by the King ( a
scene which is seldom or never omitted from a fully inscribed tomb at El Amarna
) is set forth on this wall . It differs in no essential from other
representations of the kind . Four princesses are present, the youngest,
Nefer-neferu-aten, being depicted as very small ; and as she does not appear
with the other three in Plates 5, 7, 8, 18, she may have been born while the
tomb was in process of decoration . The three youngest children are lovingly
linked together . Merytaten, the eldest, has the privilege of being taken by
her parents into the window, over the cushion of which she just manages to
reach . With that frank naïveté which is so characteristic of the scenes at El
Amarna, the Queen encircles her husband's waist with one arm and passes the
other round the daughter's shoulders .
Penehsy, happy under a weight of golden necklaces,
stands outside the porch with, arms uplifted in homage . The servants are still
in the act of receiving further favours for him from the King, while a whole
chest-full of other presents are set out on stands behind him, or are in the
hands of his retinue . This largesse of collars, necklaces, bracelets,
pectorals, and of other personal ornaments is being duly inventoried by the
scribes . In the upper registers Syrians and negroes ( possibly ambassadors or
hostages ) wait along with the sunshade-bearers . The inscription over Penehsy is
obliterated .
The pictorial narrative is continued in the subsidiary
registers below ( Plate 11 ) . In the centre is shown a further array of royal
gifts, amongst which tables loaded with provisions for a banquet are to be
noted . On the right is another group of Penehsy's friends and retainers, and
on the left his chariot waits to conduct him home . Having left the presence of
the King and gained the public streets or his own home, Penehsy descends from
his chariot and is hailed by the populace, or by his household, with unrestrained
acclamations . The men wave branches and make demonstrations of joy and
devotion ; the women have formed themselves into a choir, or have engaged
professional performers to represent them . A little escort of soldiers marches
behind Penehsy in double file . The farther rank, which is naturally hidden by
the nearer, is rendered visible in the picture by the simple device of raising
the men head and shoulders above their fellows . Two military standards are
borne by the squad .
In a short inscription attached to the scene, Penehsy is
designated as usual " the great favourite of the Lord of the Two Lands and
the chief Servitor of the Aten " . What seems to be the cry of the crowd
is almost illegible " …… health, life, prosperity (?) to Pharaoh ! O Aten
! grant it for ever " . The wall has been made unsightly by the Copts, who
cut an arched recess near the doorway and two long upright grooves in the wall .
They were perhaps contemplating a doorway or window at this point .
6. The Hall - The Royal Family making Offerings To the Aten . South Wall - East
side ( Plates 11, 12 )
The treatment of this familiar subject offers no
features of exceptional interest . In face of these altar-stands loaded with
meat offerings, one feels that Akhenaten had scarcely succeeded in finding a
ritual in harmony with the severely simple and natural conception of deity
which he had introduced . But if this massing of food and drink offerings is
felt to be an inheritance of old traditions and crass anthropomorphism, it is
redeemed by the preference given to flowers and fruits as objects acceptable to
the god . The presentation of those products of the soil whose grace and colour
is their chief attraction, and which are so obviously called into being and
beauty by the sunlight, bears witness to a finer sentiment, which even
Christianity approves . Its prominence here is obvious . Not only are the
meat-offerings covered with flowers and grapes, and the stands set about with
bouquets and lotus-blooms, but the offerings of the King (?) and Queen consist
of such . The princesses too are provided with these fit emblems of " the
beauty of the Aten ", whose fragrance Ankhes-en-pa-aten would have her
little sister enjoy once more before parting with them to the god . Nor is the
King content to devote one bouquet only . Penehsy ( indicated by his name and
familiar titles ) and his attendants bring yet others for the King to dedicate .
As " Chief Servitor of the Aten " he assists the King in the rites,
and it may be in commemoration of such occasions that the scene is portrayed in
his tomb . The faces of two of the shade-bearers high up on the wall have
escaped injury, and present very characteristic El Amarna profiles .
The subjoined register ( Plate 11 ) only contains the
usual figures of attendants, and a repetition of the figures of Penehsy (?) and
his fellow-priests (?) The royal chariot is distinguished by size and
decoration from the private car of Penehsy .
7. The Hall - The Royal Family driving out . East Wall ( Plates
13 to 17 )
The scene on this wall remains unfinished on the left
hand, and, as there is no inscription, the object of the public appearance
which it depicts is uncertain . But it seems to be the original of the design
on the West wall of Meryra's tomb ( Plate 10-a, 10A-a ) . Probably a
representation of the temple set vertically, as there, should have filled the
blank space . The subject, therefore, seems to be a State visit to the temple .
The palace is seen in the top right-hand corner ( Plate 14 ) . The interesting
variations from other pictures of the building which it offers have been
discussed in detail in the Tomb of Meryra . The ostensible reason for its
inclusion in the picture is as the point of departure of the cortege, but the
repeated representation of the buildings of Akhetaten wherever any pretext
offered itself betrays that it was to the order of the royal builder of the
city that these tombs and sculptures were executed .
Akhenaten himself standing in his chariot, under the
guardianship of the ever-solicitous sun, and guiding in person his bounding
horses, makes a worthy centre-piece to the picture, in spite of the mutilations
of the sculpture . The animals in these larger examples create a vivid
impression of motion and of the grace of strength, and if this stereotyped
design is far from affording a correct study of the horse, it exhibits all the
Egyptian power of proving triumphant, in spite and even by means of glaring
inaccuracies . The artist is very much less happy when he shows the animal in
slower movement . The disproportion given to the neck there becomes glaring (
Plates 15 and 17 ) .
The details of the harness are made specially clear
here . The guiding rein is seen to pass through the loop of a leather thong
attached to the pad, and also apparently through the ornamental ring of the
yoke, which fixes over the stud of the pad . The curved end of the yoke
terminates prettily in a lotus-bloom and buds . The stay, which extends from
the front rim of the car to the pole, is adorned with a row of uraei in what
seems a dangerously slender design . ( The block at the King's knee represents
the uraei which are sewn on the hem of his tunic ; they have been left uncarved
) .
The saïses who run before the horses have been placed
beneath them in order to make the picture more compact .
The Queen also ( in representation at least ) drives
her own chariot and pair, which are in every way the counterpart of the King's
on a smaller scale .
Six chariots follow . The foremost of these, which
contains only a driver or an official, is being urged at a gallop like those of
the King and Queen ; the rest follow more leisurely . Two of these ( underneath
and behind the Queen's chariot ) contain the four princesses, who, like her,
for dignity's sake, are feigned capable of driving themselves . The three
remaining cars carry six fan-bearers, one for each of the party . Three of the
police bring up the rear .
In front of the King and in the register below are
shown the military escort and the retinue . ( The wall here is in a very bad
condition ) . The advanced guard consists of a detachment of five Egyptian
spearmen in charge of a sergeant, and preceded by a Syrian and a Libyan as
types of the army . One of the number is attached to the three standard-bearers
as a guard . Below on the left is another armed escort led by a negro (?)
bowman and a Syrian spearman ( Plates 15-a, 34-c ) and four bearers of military
standards . The soldiers are very variously armed but the state of the wall
leaves the weapons very uncertain in some cases .
Those who carry shields for defence are probably also
in every case armed with the spear . They are meant to meet spearmen, and carry
a falchion in addition, so that they may not be defenceless when their spears
have been hurled . Others have as arms the square-headed axe and the club . The
position of the escort implies that it is attached to the royal chariot . The
same may be said of the three foremost chariots, whose speed conforms to that
set by the King and Queen . The anxiety in face and attitude of the official in
the first car is comical, and perfectly justified, one would think, by the
over-horsing of so light a vehicle . The official on the second chariot seems
to be the secretary in attendance, for he carries on his shoulder a little box,
such as would hold a scribe's materials . The succeeding chariots, containing
an official and body-servants, move at the slower pace of the princesses to
whose train they belong . The posture of the six men of the police who run
alongside is intended to show the action of running, and not the stealthy
scouting which to our eye it suggests .
As has been said, the objective of the ride has not
been sculptured . Fragments, however, of the greeting crowd are seen at the top
of the wall and in face of the advanced troop, and justify us in supposing that
the lost design would have closely resembled that of Meryra .
8. The Hall - The King and Queen Worshipping the Aten . North Wall - West
Side ( Plate 20 )
This, the only sculptured scene on the North wall, now
presents a strange appearance, though one not infrequent in Egypt .
Christianity has often thought to easily efface the pagan decorations by
covering them with plaster and substituting its own emblems . But the tenacious
life of the painstaking work of antiquity has reasserted itself with time ; and
where the reappearance is only partial an incongruous medley of pagan and
Christian symbols and portraiture results, which is often highly ludicrous, and
is itself symbolic of the very imperfect victory of the higher creed in this
early mission-field of the faith . The scene has been defaced by Coptic
religious symbols being scribbled over it when the tomb was used as a church .
The original scene showed the King and Queen making
offerings to the sun . Akhenaten stands before two altar-stands, and uplifts an
oblation arranged on a platter . It is a varied gift of bread, meat, fowl, and
vegetables, topped by a flaming bowl . The latter would seem to be a lamp
rather than a censer ; for it appears to contain wicks or tubes from which the
flame is fed .
The Queen appears to be presenting a bouquet . The
titulary of the Aten was written to the left of the disc, and there followed a
series of cartouches, divine and royal, which filled the space between the sky
and the cornice of the shrine ( Plate 3 ) .
The space under the main scene is occupied by figures
of Penehsy, who holds a jar of milk (?), and of two attendants . The
inscription commences with the usual panegyric of the deceased, " The
royal acquaintance (?) beloved of his lord, the great favourite of the Lord of
the two Lands, etc., Penehsy …… possessor of love …… " ( or "...
Ua-en-ra, thy child " ) .
The decorations on the Coptic plaster, which in places
still clings to the walls and lends to the scene its bizarre aspect, have
already been commented upon as we mentioned .
9. The Hall . North Portal ( Plate 21 )
The form and decoration of the doorway to the inner
chamber is of the kind already familiar . The cartouches on the lintel are
arranged between a sky above and a mat below .
10. The Hall - A Royal Visit to the Temple of the Aten . West Wall ( Plates
18, 19 )
We have here a subject which may be the same as that
on the opposite ( East ) wall, but treated in a wholly different way . There
the royal figures and their train were made so prominent that the temple to
which they were bound was altogether omitted . Here, on the contrary, that
building occupies the whole available space, and what was all-important there
becomes here a mere accessory . Obviously economy has come into play, the
subject being spread over the two walls with as little repetition as possible .
Meryra, however, as we have seen, did not hesitate at the laborious duplication
of the royal train, the palace and the temple .
Here the escort of the royal party is reduced to a few
soldiers and policemen, a charioteer or two, and a few groups of shade-bearers
and attendants . The two troupes of female musicians are familiar to us already
from Plate 13-a .
The royal family, accompanied by a few attendants,
have entered the Court of the Great Altar, and are seen engaged in worship
there . The three elder children assist in suitable ways : the King and Queen,
standing side by side at the top of the steps of the altar, scatter fragrant
spices on to the flaming lamp-bowls, which crown the pile of offerings . A
number of the priesthood assist ; the two who are prominent being perhaps
Meryra and Penehsy, the High Priest and the Chief Servitor, The radiant sun
which blesses the sacred building is three times repeated, perhaps with
significance . The following description of the temple is drawn from the two
pictures in the tomb of Meryra, equally with that now before us .
The south group of tombs contains no representation of
the temple whatever . Though the building was in an advanced state, drawings of
it may not yet have reached the portfolios of the decorators . Besides the
three complete pictures in the northern tombs, the smaller of the two
sanctuaries of which the temple was composed is shown in Tombs 3 and 5 and
twice in the Royal Tomb, and an abbreviated copy of it seems given in Tomb 1 . The
three principal views of the temple present it in as many aspects ; in bird's
eye view from the front ( Plate 10A-a ), from the left ( Plate 25-a ), and from
the right hand ( Plates 18, 19 ) . If the tombs are supposed to be oriented
east and west ( which, though far from being the case, is still the impression
of the natives ), the temple is represented on the walls in six out of the
eight occurrences in its actual orientation . The remarkable correspondence in
detail, which all the laxity exhibited by the artists does not invalidate,
makes it plain that these are studied views of the great building . Though it
cannot be claimed for them that they satisfy the requirements of architectural
plans, in the main they present us with a clear and complete knowledge of the
building .
To facilitate references to the temple, it may be
divided as follows . As there is no proof that any section of the building was
roofed, its divisions have been merely termed courts . Roofed colonnades are
shaded in the adjoining plan .
A – Ambulatory .
B – Outer Court with Greater Sanctuary, containing :-
1- Court
of the Great Alter .
2- Forecourt
to the Colonnaded Court .
3- Colonnaded
Court .
4- Forecourt
to 5 and 6 .
5- Fifth
Court .
6- Sixth
Court .
C – Inner Court with Lesser Sanctuary :-
1- Portico
of the Royal Statues .
2- Corridor
.
3- Court
of the Altar .
4- Corridor
.
5- Adjoining
Chapel (?) .
11. Thickness of Partition Wall ( Plates 22, 27 )
Only the left side of the passage to the inner chamber
is sculptured . Here a large figure of Penehsy ( unnamed ) is given, which by
its marked difference from the conventional figure which has elsewhere stood
for him, seems to be a real attempt at portraiture . The shape of the head
shows us how consciously conventional the typical El Amarna head is, and how
far from being founded on racial peculiarities or realism . It shows also that
if Penehsy's name has any racial significance it must be taken in its more
general meaning " Southerner ", not " Negro " ; for both he
and his sister ( Plate 28 ) show the utmost contrast to the negro type . In
front of Penehsy is a little female figure, in whom we may recognize his
daughter, though she is unaccompanied by any inscription . It is the only tomb
at El Amarna where a recognition of the deceased's descendants is permitted .
12. The Shrine ( Penehsy's Household ) . East Wall ( Plate 23 )
With the exception of the tomb of Huya, this is the
only case in which the walls of the shrine are decorated ; and here the
sculpture is confined to the East wall, where Penehsy and his household are
shown sitting at table, conformably to the use which this little apartment was
hoped to serve for those buried in the tomb .
We may gather from the scene that Penehsy was a widower with one little
girl, and allowed his house to be managed by his sister, who had been left a
widow with two daughters . These all appear with him therefore in this
banqueting scene, sitting together before a low table, which is spread with a
blue table-cloth and various viands . Penehsy is seated on a slender
leather-bottomed stool and his little daughter on a joint-stool at his side . "
His beloved sister, the house-mistress Abneba ( Abka ? ), maatkheru ", sits behind her brother on a chair, her
two daughters standing by her side . They appear from their dress and headgear
to be older than their cousin . Akhenaten's attraction to women, and the chance
that made him father of a large family of daughters, may, not improbably, have
strengthened the importance attached to the female line at his court, which
flattered him by giving prominence to its women also . It may even have gone so
far that on the monuments they ignored the existence of sons, as daughters were
neglected in earlier times .
A male figure in front of Penehsy offers a bouquet,
that he may inhale its perfume . No name or description is appended ; for the
writing above him seems only to contain his pious wish, " His reward from
the Aten (?). May he grant thee a good old age as to a favourite " . Over
the head of Penehsy is written " Unto the great favourite of Ua-en-ra, the
Chief Servitor, etc., etc., Panehesy, maakheru " . The figure
is apparently set there merely to suggest that ministration and intercession which
Penehsy hoped to receive often within this shrine from friends and visitors .
An enormous bouquet is painted on the wall behind this figure, more for
decoration of a blank space than as part of the picture . It is repeated also
on the door-cheek close by, and a border of similiar kind is traceable on the
back wall, where scarcely a vestige remains of the seated statue of Penehsy,
which once, no doubt, occupied the room .
It need hardly be said that we know nothing more of Penehsy
than may be gained from his titles in this tomb, and his possession of one of
the few spacious tombs presented to the favourites of Akhenaten . His offices
may fitly be collected here :-
1. Chief
Servitor of Aten in the temple of Aten in Akhetaten ( passim ) .
2. Servitor
of the Lord of the Two Lands, Nefer-kheperu-ra, in the temple of Aten .
3. Second
priest of the Lord of the Two Lands, North, who giveth life .
4. Intimate
of the King .
5. Superintendent
of the Granary of the Aten in Akhetaten .
6. Superintendent
of the oxen of the Aten .
7. Chancellor
of the King of the North .
Penehsy seems, then, to have taken only second rank to
Meryra in Akhetaten, and in view of the titles 5 and 6 we are probably not
making a great assumption if we suppose that the lower half of the West wall
contained much the same scene as that which fills the space under the picture
of the temple on the East wall of Meryra, viz. his reward for the excellent
administration of these two departments . Meryra, indeed, is there probably
sharing the credit and reward of his subordinate's successes ; a share,
however, which may have been due to him .
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