Models of Daily Life in Ancient Egypt

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THE METROPOLITAN MUSEUM
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PUBLICATIONS OF
THE METROPOLITAN MUSEUM OF ART
EGYPTIAN EXPEDITION
VOLUME XVIII
The Sporting Boat
T H E M E T R O P O L I T A N M U S E U M OF A R T E G Y P T I A N EXPEDITION
MODELS
OF DAILY LIFE
IN ANCIENT EGYPT
FROM T H E TOMB OF M E K E T - R E ' AT THEBES
By H. E. WINLOCK
PUBLISHED FOR
THE METROPOLITAN MUSEUM OF ART
BY HARVARD UNIVERSITY PRESS
CAMBRIDGE • MASSACHUSETTS
MCMLV
© COPYRIGHT I 9 5 5
BY THE METROPOLITAN MUSEUM OF ART
DESIGNED BY BURTON J JONES JR.
LIBRARY OF CONGRESS CATALOG CARD NUMBER 5 5 - 5 9 8 1

PRINTED IN THE UNITED STATES OF AMERICA
Foreword
Among the many discoveries made by Herbert Winlock during the

years when he was conducting the excavations of the Metropolitan Mu-
seum of Art in the necropolis of ancient Thebes, perhaps the simplest and
yet to him the most intriguing was the find which forms the subject of
this volume. No difficulties of dating were involved, for to an Egyptolo-
gist so well acquainted with the necropolis its location alone would have
been enough not only to indicate the dynasty during which the deposit
was made, but even to identify the ruler whom its owner served. There
were no problems of reconstruction such as confront the excavator who
uncovers the scanty remains of a temple which for many generations has
been used as a stone quarry. Here a few dabs of glue and bits of thread
were all that was necessary to mend broken joints and torn rigging and
to restore the models to their pristine state. The only inscriptions on any
of the models were two examples of a text written in the clearest of hiero-
glyphs and repeating the commonest of offering formulas. Thus no ques-
tions could arise either in decipherment or in translation.
But in archaeology, generally, and not alone in epigraphy, there is a
stage which follows decipherment and translation, and that is interpreta-
tion. The study of the models of Meket-Re' involved neither of the first
two stages, but the last Winlock attacked with all his vigor.
Our acquaintance with the daily lives of the ancient Egyptians is
derived for the most part from their tombs. Their chief desire as they
contemplated the life after death was to insure a repetition of life on
earth, and they painted on the walls of their tombs pictures of their daily
activities as well as of the provision and preparation of food, so that their
souls in their visits to the offering chambers might enjoy and benefit from
these representations. A device which supplemented such tomb pictures
arose in the late Old Kingdom and became popular in the Eleventh
Dynasty. This was the provision of miniature models depicting activities
like those represented on the tomb walls. It is in this category that the
models of Meket-Re' belong.
130427
M O D E L S F R O M T H E T O M B OF MEKET-RE'
In the literature of Egyptology there are two outstanding works

dealing with ancient Egyptian life. One, Sir J. Gardner Wilkinson's
Manners and Customs of the Ancient Egyptians, was published very
nearly one hundred years ago. The much later work of Adolf Erman ap-
peared in English translation as Life in Ancient Egypt in 1894. Both
treatises are based for the most part on information derived from the
tomb paintings.
The models of Meket-Re' are a very considerable addition to the
available evidence, for they are by far the most comprehensive group yet
given up by the ancient tombs, and in them so many activities are repre-
sented in the greatest detail. Moreover, here there is no difficulty in inter-
preting either design or action as is so often the case in pictures because
of the unaccustomed "perspective."
These factors were of course immediately apparent to Winlock, and
the find was a sort of challenge to bring up to date the published informa-
tion regarding Egyptian life. He accepted the task with enthusiasm, mak-
ing a thorough study of each of the models and of the activities in which
the men and women were engaged. There is no mention in his discussion
of the sailing vessels of the fact that he rigged a round-bottomed boat with
square sail and double rudder oars just to see how maneuverable the an-
cient ships were; nor has he included the fact that his inquiries into the
ancient system of brewing beer led to his submitting the dry lees from
beer jars to representatives of the brewing industry, one of the side re-
sults being the naming of an extinct yeast Saccharomyces Winlocki in
his honor.
Circumstances, unfortunately, did not permit him to complete this
painstaking research. Continuing excavation in the field, and then the
call to the directorship of the Metropolitan Museum, left little time and
energy for such activities. In the course of the years he did add many
notes to his dossiers of various aspects of Egyptian life, but finally ill
health forced him to give up the comprehensive treatment he had envis-
aged. Had it been otherwise the science of Egyptology would already
have been much the richer. As it is, the full descriptions, the complete
photographic record, and the careful drawings which form the bulk of
vi
FOREWORD
this volume provide an accurate picture of many aspects of life as it was

lived in Egypt in the Eleventh Dynasty. They will be of inestimable value
to the future archaeologist who undertakes the task which Herbert Win-
lock was compelled to relinquish.
Had he been able to bring this volume to completion Winlock
would have made acknowledgments to many persons with whom he dis-
cussed various problems arising from his consideration of the models.
They must unfortunately remain nameless except for his immediate col-
leagues who assisted him, first in the field and later in the Museum.
The plans and drawings were made by Lindsley F. Hall and Walter
Hauser except for Plate 55 which shows all the models in position in the
sirdab. This Winlock, himself, made as he removed them from the tiny
room. The photography was the work of Harry Burton, who was also
overseeing the excavations at the moment the models were found. The
burden of putting the material into shape for publication was borne by
Charlotte R. Clark who worked closely with Winlock during the entire
composition of this book. In the latter task as well as in the removal of the
objects from the tomb the undersigned was privileged to lend a hand.
AMBROSE LANSING
Curator Emeritus of the Department of Egyptian Art
Vll
CONTENTS
F O R E W O R D , by Ambrose Lansing v
LIST OF PLATES xi
INTRODUCTION i
I T H E TOMB OF M E K E T - R E '
The Chancellor Meket-Re'. He prepares for another life. His tomb; its
9
two burial places; its two sirdabs. The sirdab of In-yotef. The sirdab of
Meket-Re'; its contents; its entrance is closed. The models are found in
1920.
II T H E MODELS OF M E K E T - R E " S E S T A T E
1. THE RESIDENCE. MODELS A AND B. 17
The two house models; the inside of the house; the porch; the grove and
the pool.
2. CATTLE BREEDING ON THE ESTATE. MODELS C, D, AND E. 19
Meket-Re' counts his cattle; the company in the pavilion; the cattlemen;
the cattle. The cattle are fattened. The butcher shop; the overseers; the
animals and the butchers; the butchers' assistants; the joints of meat.
3. BREAD AND BEER MAKING. MODELS F AND G. 25
Egyptian granaries. Meket-Re 's granary; the granary personnel. The
brewery and bakery; the dough makers; the brewing of beer; the making
of bread.
4. THE SPINNING AND WEAVING SHOP. MODEL H. 29
The weaving shop; rolling the flax fibers; spinning the thread; stretching
the warp; the weavers at the looms; the construction of the loom; the
process of weaving.
5. THE CARPENTER SHOP. MODEL J. 33
The carpenter shop; the sawyer; dressing and smoothing timber; mortising
planks; retempering tools; a tool chest.
III T H E FIGURES OF O F F E R I N G BEARERS

TENANTS BRING OFFERINGS. MODELS K, L, AND M. 39
The big figures; their costumes; their offerings; the ducks. Similar offer-
ing bearers. The procession of offering bearers; their offerings.
ix
CONTENTS
IV T H E MODELS OF M E K E T - R E " S BOATS

i. THE TRAVELING BOAT. MODELS N-Q. 45
The size of the traveling boat; its draft; the forecastle deck; main deck;
poop deck; the rudder post; rudder ropes; the mast stepping. Ships under
sail; setting the mast; the shrouds and stays. The spars are set; the sail
raised; the rigging stowed. The cabin; its construction. The dahabiyeh
brightly painted. The crew. Meket-Re' and his steward; his musicians.
2. THE KITCHEN TENDER. MODELS R AND S. 57
Tender on which food was prepared; its construction; the crew; the
servants.
3. THE YACHT. MODELS T-W. 59
Purpose of these boats; probably represent Meket-Re"s pleasure yacht.
Construction of the hull; the bow and stern; the main deck; the two
steering rudders; the rigging; the canopy. The crew when sailing; when
paddling. The inscribed vases on deck.
4. THE SPORTING BOAT. MODEL X. 64
A fishing and fowling skiff. Its construction; the steering gear; the shelter
on deck. Meket-Re' is presented with birds. The fishermen. The crew.
5. A PAIR OF FISHING CANOES. MODEL Y. 67
Canoes used for fishing; construction of such fishing boats. The fisher-
men and the fish; the crew.
V G E N E R A L REMARKS ON T H E MODELS
The models typically Theban; even to the complexions of the people.
71
Construction of the models; materials used for accessories; for the figures;
their coloring; actual linen costumes. Makers of the models. Scale of the
figures; of the buildings; of the boats. Storage of the models; damage done
to them; ancient fingerprints. Extraneous models of the sirdab; in the
cattle stable. The placing of the models in the sirdab. Condition of the
models.
APPENDIX. C A T A L O G U E OF T H E MODELS
F O U N D IN T H E TOMB 83
REFERENCES CITED 105
PLATES
LIST OF P L A T E S
Frontispiece: The Sporting Boat
i. Meket-Re' and his son as represented on Yacht T
2. The entrance to the sirdab of the tomb of Meket-Re'
3. The brick wall blocking the entrance to the sirdab, and the interior of the
sirdab
4. General view of the sirdab
5. Views of the sirdab after the removal of the first models
6. The largest model, the Inspection of Cattle, as it was found
7. Views of the back of the sirdab after the removal of various models
8. Arab workmen carrying the models from the tomb to the Expedition House
9. Residence A
10. The exteriors of the two models of the residence of Meket-Re'
11. The porch of Residence B, and its roof
12. The residence models as seen from above, and a tree from one of them
13. The large model, the Inspection of Cattle
14. The procession of animals being inspected by Meket-Re'
15. Meket-Re* and his son, the scribes, and the courtiers inspecting the cattle
16. The scribes, courtiers and head cattleman, and bullocks with their drivers
17. The Cattle Stable
18. The Butcher Shop with its roof removed
xi
LIST OF PLATES
19. Detailed views of the courtyard of the Butcher Shop
20. The Granary
21. Figures from various shop models
22. The Brewery and Bakery
23. Detailed views looking into the Brewery and Bakery
24. The exteriors of models of buildings
25. The Weaving Shop
26. The interior of the Weaving Shop
27. Detailed view looking into the Weaving Shop
28. The Carpenter Shop
29. Views of the Carpenter Shop
30. T w o girls carrying baskets of food and drink
31. One of the beer jars and the basket of food carried by Offering Bearers
32. The procession of men and women carrying offerings to the tomb
33. Traveling Boat N under sail
34. The crew raising and trimming the sail on Traveling Boat N
35. Traveling Boat O with the oars laid up in the rowlocks
36. Traveling Boat P with the crew raising and trimming a sail
37. Traveling Boat Q as put in the tomb, and as originally assembled
38. Figures and equipment from the traveling boats
39. The cabins from Boats N and O, and Meket-Re' and his musicians from Boat O
xii
LIST OF PLATES
40. Kitchen Tender R with the crew raising and trimming a sail
41. Kitchen Tender S being rowed
42. Traveling Boat N and Kitchen Tender R
43. Traveling Boat O and Kitchen Tender S
44. The cabins removed from Kitchen Tenders R and S to show food supplies
stored on deck and cooks at work
45. Yacht T rerigged for sailing as originally assembled, and as put in the tomb
46. Yacht U with the paddles stowed on deck as put in the tomb, and with the
crew paddling as originally assembled
47. Yacht V with the crew raising and trimming a sail
48. Yacht W with the paddles stowed on deck as put in the tomb, and with the
crew paddling as originally assembled
49. Meket-Re' and his son In-yotef seated under the canopies on Yachts U and T
50. Figures and equipment from Yachts T and U
51. The Sporting Boat
52. T w o Fishing Canoes dragging a trawl
53. Figures and equipment from the Sporting Boat and the Fishing Canoes
54. Plan and section of the tomb of Meket-Re'
55. Plan and section of the sirdab of the tomb
56. Models of the Residence
57. Details of the models of the Residence
58. The pavilion of the model showing Meket-Re' superintending the counting of
his cattle
59. The Cattle Stable
xiii
LIST OF PLATES
60. The Butcher Shop
61. Equipment of the Butcher Shop
62. The Granary
63. Details of the Granary
64. The Brewery and Bakery
65. Equipment of the Brewery and Bakery
66. The Weaving Shop
67. Equipment of the Weaving Shop
68. The Carpenter Shop
69. Equipment of the Carpenter Shop
70. Traveling Boat N
71. Rigging of Traveling Boat N
72. Traveling Boat O
73. Traveling Boat P
74. Traveling Boat Q
75. Kitchen Tender R
76. Kitchen Tender S
77. Equipment from Boats O, R, S, W
78. Yacht T
79. Yacht U
80. Yacht V
xiv
LIST OF PLATES
81. Yacht W
82. The Sporting Boat
83. Equipment from the Sporting Boat
84. Details of traveling and kitchen boats
85. Details of yachts
86. Equipment from various boats
XV
Introduction
Excavation is serious business for the professional archaeologist, and

in consequence his official reports often seem, to the outsider at least, as
dry as the dust he has to clear away in order to get down to what he's
looking for. Winlock's Museum publications are more readable than
some, but his attitude in them, as in his field work, was that of the scien-
tist—to present the evidence and to draw such conclusions as seem ap-
propriate.
For the general reader of his official reports it is perhaps unfortunate
that he did not allow himself to stray from this prescribed course, for in
conversation he could and did enliven the stories he had to tell with im-
agination and wit. As it happens, this story of the discovery of the funer-
ary models so delighted some of his friends that he was persuaded by
them to write it up for popular publication. It appeared in Scribner's
Magazine for February 1921. So many years have passed since then that
even the most interested of readers would have some trouble in looking
it up. So it has seemed appropriate to reprint excerpts from that vivid ac-
count as an introduction to the somewhat more sober, even if extremely
interesting chapters that follow.
Winlock called his story "Digger's Luck" and began it by speaking
at some length of the very bad luck the Expedition had been having right
through to the middle of February, that is to say, nearly the end of the
normal digging season in Upper Egypt. But here is the story in his own
words:
"I had gotten as far on my way home as the ruins of Medinet Habu.
The walls of the old temple were turning pink in the sunset glow. The
water-wheel that drones and quavers all day under the palms near by was
MODELS F R O M T H E T O M B OF MEKET-RE'
silent for the night. Way up where the purple shadows were creeping
out of the valleys in the tawny mountain I could see little specks of men
and boys winding down the paths from the work at the tomb. The eve-
ning meal was being prepared and the bluish smoke of cook fires was be-
ginning to float over Gurnet Murrai, where the tombs are seething tene-
ments of Arabs and their flocks. At the house they would be getting tea
ready and I was late.
"From the passers-by on the path there broke into my thoughts a
cheerful voice saying: 'May thy night be happy.'
"I looked around and recognized one of our workmen, Abdullahi.
'And may thine be happy and blessed,' I replied, without checking my
donkey, who was far more interested in getting home to his evening
clover than in stopping for wayside greetings.
"But Abdullahi felt otherwise. He must shake hands—quite an un-
called-for politeness, I thought—and evidently wanted to stop and chat.
" 'I am going home,' he informed me, and I said that that seemed evi-
dent. 'And when I get my blankets I am going back to spend the night at
the tomb.' For the life of me I couldn't remember whether we kept
guards up there at night to look after the equipment, but I supposed we
must, and as I started on again I laughingly hoped he had something to
watch. 'The Headman Hamid says I must tell no one, but your Honor
will see something up there,' Abdullahi called after me.
"He had charged his voice with all the mysteriousness he could put
into it and his whole manner would have been strange enough to impress
me at any other time, but I was convinced of failure, and when I remem-
bered that Abdullahi belonged to one of the gangs which were clearing
those corridors, I knew perfectly well there could be nothing to it all.
Daressy had surely dug those corridors out, and our reclearing to draw a
plan could not possibly show up anything new.
"At the house I met Lansing and Hauser coming out. They said
they were going up to the work, and showed me a scrap of paper with a
hastily scribbled note from Burton: 'Come at once and bring your elec-
tric torch. Good luck at last.' This seemed preposterous. Surely it was
another false alarm, and we had had so many of them. However there
INTRODUCTION
was Abdullahi and his mysteriousness, and I decided to let my tea wait a
while and go with them, but I refused to have any hopes, and the three
of us got ready all sorts of sarcasms for Burton's benefit as we trudged
along.
"A little knot of Arabs was standing around the mouth of the tomb
in the twilight. Inside in the gloom we could just make out Burton and
the head men. There was something in the air that made our sarcastic re-
marks sound flat. Burton pointed to a yawning black crack between the
wall of the corridor and the rock floor. He said that he had tried to look
in with matches but they didn't give light enough and told us to try the
torches.
"At least a hole here was unexpected, but we had looked into so
many empty holes. Anyway, I got down flat on my stomach, pushed the
torch into the hole, pressed the button, and looked in.
"The beam of light shot into a little world of four thousand years
ago, and I was gazing down into the midst of a myriad of brightly painted
little men going this way and that. A tall slender girl gazed across at me
perfectly composed; a gang of little men with sticks in their upraised
hands drove spotted oxen; rowers tugged at their oars on a fleet of boats,
while one ship seemed foundering right in front of me with its bow bal-
anced precariously in the air. And all of this busy going and coming was
in uncanny silence, as though the distance back over the forty centuries I
looked across was too great for even an echo to reach my ears.
"I was completely stupefied when I gave my torch to the others and
one by one they looked in through the crack. It was almost night now
and we saw that we could do nothing until the morning. While the other
two went back to the house to get sealing-wax and cord, Burton and I
sat down dazedly to talk it over. He told me how he had been coming
down from the mountain-top, where he had been taking photographs
and had stopped at the work to dismiss the men as usual. As he expected,
they had cleared most of the fallen stone from the corridors, but just be-
fore he had come along one of the men in this one had noticed that the
chips had an unaccountable way of trickling into a crack as fast as he dug.
At first the man hadn't paid much attention. It was just one of those crazy
M O D E L S F R O M T H E T O M B OF M E K E T - R E '
whims of the Americans that had made them want to dig out such a place
anyway. Still he had called the head man of his gang and together they
were scraping away the stones from the crack when Burton had arrived.
"When we left the tomb for the night the crack was stopped up
with stones and stretched across with strings securely sealed with sealing-
wax—quite a little of which was on my fingers. The gang which was
working in the corridor had received all sorts of needless instructions
about keeping some one on watch all night. None of them slept a wink
for the next three nights, I am sure, sitting in the starlight in front of the
tomb discussing the baksheesh they hoped to get. We were no less ex-
cited. That night we sat up late discussing what the place could be and
each one of us dwelling at length on some marvel he alone had seen. I be-
lieve some one claimed to have seen Santa Claus and his eight tiny rein-
deer—or possibly I dreamed I had seen him. Anyway, I for one woke up
in the morning with a raging headache that was made no better by trying
to seem masterfully calm.
"In the morning our work began, and three terrific days followed.
Burton rigged up mirrors to throw sunlight down the corridor and took
a photograph of the crack in the rocks. Then we dug in front of it and
found in the floor of the corridor a little pit, about a yard square and
waist-deep. It had, been carefully filled with chips of the very rock it was
cut in, and both ancient thieves and modern archaeologists had taken this
filling for the living rock of the mountain and passed over it. The side
of the pit under the wall of the corridor was built up of mud bricks, and
when we had photographed them and taken them away we were looking
down into a little low chamber about three yards square and scarcely
four feet high into which no man had entered for four thousand years.
Rock had fallen from the roof—in doing so it had opened up the crack
we had looked into the night before—and had upended one of the boats
and broken others, but except for this nothing had been disturbed. Our
only fear was that as fresh air got into the chamber more would come
tumbling down, and we were torn between a desire to get everything
out safely before we had a catastrophe and to get a complete set of photo-
graphs and plans of everything just as we had found it. It was just luck
INTRODUCTION
that made both possible, for after we were finished tons of rock began to
fall in the tomb. Still we escaped the misfortunes of our French colleagues
digging half a mile away. They had a man killed by rock falling in a
tomb chamber while we were working in this one.
"We photographed, we planned, we carefully cleared away chips
of fallen stone, and then we lifted out one or two of the boats or a group
of little men and began all over again. One night will always remain a
weird picture in my mind. Lansing and I had gone up to clear away more
of the fallen shale to get ready for Burton's photographs in the morning.
From afar off we began to halloo to the guards, for we had lent them a
couple of revolvers and we were afraid of the zeal they might show in
their use in the dark. Duly challenged, we made our way up the slope
and inside the tomb, and lit candles to work by. For hours we worked
away, the shadowy Arabs pattering barefooted back and forth from the
flickering candle-light out to the open, where the brilliant desert stars
seemed to hang right down to the mouth of the gloomy tunnel.
"As we worked along through those three days and nights we began
to realize what it was that we had so unexpectedly discovered. The tomb
was that of a great noble of four thousand years ago. He himself had
been buried in a gilded coffin and a sarcophagus of stone in a mortuary
chamber deep down under the back of the corridor, where the thieves
had destroyed everything ages before our day. Only this little chamber
had escaped and it was turning out to be a sort of secret closet where the
provision was stored for the future life of the great man.
"He could not conceive of an existence in which he would not re-
quire food and drink, clothing and housing, such as he was used to in this
life, and being a rich man, naturally he wanted an estate in eternity like
that which he had owned on earth. His philosophy carried him beyond
that of the savage chieftain who expects a horde of servants to be slaugh-
tered at his grave. He attained the same end by putting in his tomb a host
of little wooden servants, carved and painted, at their daily tasks, work-
ing before little portraits of himself. The spirits of these little servants
worked eternally, turning out spirit food or sailing ships upon a spirit
Nile, and his soul could enter any one of the little portraits of himself at
will to reap the harvest of their labors. In short we had found a picture
of the life the great noble hoped to live in eternity, which was nothing
more or less than the one he had led on earth forty centuries ago.
"The first thing we had seen when we had peeped through the
crack had been a big model nearly six feet long, showing a noble seated
on a porch among his scribes, taking the count of his cattle as they were
driven past. In the back of the room we found, under a lot of other
models, neatly stacked, the stable where these same cattle were being
fattened, and finally when we came to move one big boxlike affair in the
far corner—a model I had tried my best to get a peep into and almost
fallen headlong in the process—we found it was the butcher shop where
the cattle's life history ended. The night we worked in the tomb by
lamplight we got a peep into a granary where diminutive scribes sat writ-
ing down the quantity of grain being measured and carried to the bins by
hardworking laborers. And later we ran across the bakery where the
grain was ground and made into loaves and the brewery where the home
beverage was being fermented in tall crocks and then decanted into
round-bellied jugs. Lansing extricated two canoes manned by fishermen
who hauled a miraculous draft of painted wooden catfish and perch in
a seine, and I picked the fallen stones out of two gardens in which cop-
per ponds—that would hold real water—were surrounded by little
wooden fig-trees and cool, shady porches. Then there was a carpenter
shop and another shop where women spun thread and wove cloth. The
very threads on their distaffs and spindles—frail as cobwebs though they
were with age—had remained unbroken in that eternal stillness.
"The business of the great man entailed a lot of traveling, and his
idle hours were passed in pleasure sails or fishing trips on the Nile or on
the still backwaters of the marshes. On the celestial Nile he would want
to go voyaging or yachting, too, and therefore a dozen model boats were
put in the chamber. We found them setting sail, the captain bossing the
sailors who sway on the halyards and set the backstays. A man throws
his whole weight against the pole as they put off from the bank and an-
other stands by in the bow with a fender in case they bump against an-
other vessel. When they travel down-stream against the north wind the
INTRODUCTION
mast and sail are lowered and the crew man the sweeps. The noble him-
self sits under the awning in front of the cabin smelling a lotus flower
while his son sits on deck beside him and they both listen to a singer and
an old blind harper. Inside the cabin squats a steward beside the bunk, un-
der which are shoved two little round-topped leather trunks. A kitchen-
boat follows, and the cooks get ready a meal to be served when evening
comes and they are moored to the bank. There were yachts, to be sailed
with the wind or paddled against it, and a low raking skiff, from the bow
of which two men are casting harpoons while others land an enormous
fish over the side.
"Thus had the great man lived and so did he expect to live after he
had gone to his 'eternal abode,' as he called it. Finally, the funeral day
had come. His body was brought across the river from his mortal home
in Thebes, through the green fields where the wondering peasants
leaned on their hoes to watch it pass, and then up through the rocky
gorges to his tomb. A long procession followed him, each model borne
on the head of one of his serfs, and a crowd of peasant girls and women
from his estates brought baskets of wine and beer and baked meats for
the funeral banquet. Even their contributions were expected to go on for-
ever, and statues of two of them, half life-sized, had been made to go with
the models in the chamber. There we found them, towering above the
hord of miniature men and beasts, looking over at us with grave, wide-
open eyes. Four thousand years they had stood thus silent—if only we
could have broken that silence and got from them the secret of the pat-
tern their tightly clinging dresses were made on, we were sure we could
have made a killing in the suit and clothing trade in the New York of
today.
"Four thousand years is an eternity. Just saying it over and over
again gives no conception of the ages that have gone by since that funeral.
Stop and think of how far off William the Conqueror seems. That takes
you only a quarter of the way back. Julius Caesar takes you half-way
back. With Saul and David you are three-fourths of the way, but there
remains another thousand years to bridge with your imagination. Yet in
that dry, still, dark little chamber those boats and statues had stood in-
MODELS FROM T H E TOMB OF MEKET-RE'
different to all that went on in the outer world, as ancient in the days of
Caesar as Caesar is to us, but so little changed that even the finger-prints
of the men who put them there were still fresh upon them. Not only
finger-prints but even fly-specks, cobwebs, and dead spiders remained
from the time when these models were stored in some empty room wait-
ing for the day of death and burial. I even suspect that some of his grand-
children had sneaked in and played with them while they were at that
house in ancient Thebes, for some of them were broken in a way that is
hard to explain otherwise. Possibly that is a wild guess, but at any rate
there is no doubt of what had happened to them in the little chamber in
the tomb on the day of the funeral. After all of the models had been
stowed away and the masons had come to brick up the doorway, they
had found one of the boats in their way. So one of them picked it up
and laid it to one side on top of the granary, and under bow and stern he
left a great smear of the mud he had just been mixing for mortar. There
those smears still remain.
"The little models had to be parted after all these ages together.
Half of them went to the Egyptian Government, under the terms of our
concession, and are.now on view in the museum in Cairo. The others can
be seen in the Metropolitan Museum in New York. If any reader should
see them there in their glass cases he will get a far better first view of them
than we did with our electric torches flashing through that crack in the
rock—but none of us would swap places with him. They meant too much
to us that evening when we were wondering where we would dig next."
A. L.
I
THE TOMB
OF MEKET-RE'
A, .BOUT 2000 B.C.1 there died in Thebes a great noble named

Meket-Re'. He first appears on the monuments about 2022 B.C. as one of
the party who accompanied King Neb-hepet-Re' Montu-hotpe on a voy-
age up the Nile to the Shatt er Rigal when the king went there to meet
In-yotef, the heir to the throne, and the Chancellor Akhtoy on their re-
turn from a journey into Nubia. On the rocky wall of the little valley at
the Shatt, Meket-Re' had his name cut as the "Truly Beloved of his Lord
and Governor of the Six Great Tribunals." 2 It was probably a few years
later that his name was written among those of the courtiers in the king's
mortuary temple at Deir el Bahri as an "Overseer of the Chancellery," 3
and then followed several years during which he acquired many other
honors. As we learn from a comparatively small number of fragments of
relief from the walls of his tomb, he was "the Hereditary Prince, the
Count, the Treasurer of the King of Lower Egypt, the Hereditary Prince
at the Gateway of Geb, the Great Steward, the Sole Companion and the
Chancellor." *
When first we meet Meket-Re' during the reign of King Neb-

hepet-Re' he bears titles which suggest that he was already a man forty or
fifty years of age, and a score of years later he must have attained his
allotted three score years and ten, or thereabouts. By that time the Chan-
cellor's son, also called In-yotef, had already been made a "Treasurer of
the King of Lower Egypt," and Meket-Re' himself had long been antic-
ipating the grave. Ever since the succession of King Se'ankh-ka-Re'
Montu-hotpe in 2010 B.C. he had obviously been spending great wealth,
and probably much of his own time, on the preparation of a tomb near
that of his new master. The spot which he chose for it was under the
Theban mountain, overlooking the place set aside for the king's own
tomb. Stonecutters, sculptors, and painters must have labored there in
numbers, and even the models which are the subject of this book obvi-
ously came from several different workshops. Probably Meket-Re' had
had objects for his future life made throughout the years of his prosperity.
Originally the tomb of Meket-Re' was the most imposing one in the
Eleventh Dynasty cemetery at Thebes,5 but located as it was behind
Sheikh 'Abd el Kurneh hill and thus hidden from the cemetery watch-
men, it was eventually plundered by robbers and quarrymen of the late
Middle Kingdom or of the early years of the New Kingdom. Today
there is nothing for the visitor to see there, but when the tomb was first
completed it must have been one of the great sights of the necropolis
(Plate 54). It was situated on the south side of a mountain spur which
overlooked the valley bottom, and the hillside was graded for a length of
over 75 meters and a width of nearly 30 meters. A mud-brick wall 160
centimeters, or 3 cubits, thick fenced in this sloping causeway, which
ascended from a gateway at the bottom of the hill. The orders of
Meket-Re' seem to have been to make the causeway some 50 cubits wide
and about 140 cubits long. The lower left-hand (southwest) corner of
this approach had to be quarried out of a little rocky knoll, and in the
boundary wall at this corner three gaps were left to serve as entrances to
little tombs, of which, however, only one had been completed. At the top
of the causeway another small tomb was cut into the rock on the left, and
on the right was the tomb of the Steward Wah, 6 with a small brick off er-
1o
T H E TOMB OF MEKET-RE'
ing chamber built above it. A second small crypt beside that of Wah had
been made to contain embalming materials.
At the top of the causeway a flat space about 7 meters wide was cut
at the foot of the cliff, and since the native limestone rock was far too fis-
sured to give sculptors any chance to display their abilities in such ma-
terial, there was built across the tomb facade a portico of "proto-Doric"
columns painted to imitate granite. The walls of the tomb were faced with
fine white limestone and must have been exquisitely carved, to judge from
the fragments we found. In the center of the facade was the doorway to a
corridor which went straight back into the mountain nearly 20 meters.
At the end of the corridor was a square chapel, with a niche at the back
to house a statue of the deceased, and beneath the chapel floor, a hidden pit
leading to the burial chamber. A curious feature of this tomb is a second
corridor, chapel, pit, and burial chamber of the same proportions as those
of Meket-Re', cut out just to the west in the same portico and so ar-
ranged that the pit leading to the burial chamber would be respectfully a
little to the rear of Meket-Re"s. Without much question it was started
later than the burial place of Meket-Re' himself but certainly before the
latter was completed. A cross passage connected the two chapels, pre-
sumably as a convenience to the mortuary priests who were to perform
the services in them, and also, probably, to assure an entrance to the tomb
of Meket-Re' for the soul of his son In-yotef, who was undoubtedly the
owner of the second tomb. Whether In-yotef was actually buried in this
tomb is, however, open to question. Within little more than ten years
after the funeral of Meket-Re'"' Thebes was abandoned as the capital of
Egypt in favor of It-towe, just south of the head of the Delta. Since the
actual burial chamber provided for In-yotef yielded us nothing whatever
in the way of antiquities, it may be argued that he followed the court and
that his tomb in Thebes was never occupied. However, a few fragments
of models, one bearing his name, were found in the rubbish in the tomb,
and it is possible that he was actually buried there and that plunderers
thoroughly ransacked his burial place.
The tomb causeway and the portico were open to all, and even the
sculptured corridor and the statue chamber were probably entered by
1 I
ancient visitors, on feast days at least. Naturally, no one could get to the
sealed burial chamber, which was, as custom dictated, behind and below
the stela, in front of which the services for the dead were performed. In
the burial chamber with the coffin of the deceased was placed the requisite
funerary equipment. But in the Middle Kingdom it was customary also
for the wealthy person who could afford it to include in his tomb little
models of his house, his workshops, and his boats, with his servants per-
forming their tasks, in order to assure the continued satisfaction of ma-
terial wants and the repetition of pleasures enjoyed on earth. To accom-
modate these models, an additional small chamber was often provided,
not too far from the burial chamber and, like it, sealed and hidden from
anyone who was bent on thievery or wanton mischief. This was an out-
growth of the very early idea of putting a statue of the owner in a special
secret chamber—a sirdab, as the modern Arabs call these little rooms—and
of the addition later of a few figures of servants preparing food and drink
for him eternally. In Meket-Re"s tomb there were two such sir dabs, one
belonging with his own crypt, for in it were models with inscriptions con-
taining his name, and the other doubtless for his son's benefit.
The sirdab which probably belonged to In-yotef was entered from a
little pit dug midway between the entrances to the two tombs in the floor
of the portico and against its rear wall. The pit was a very rough little
hole, about 120 centimeters square at the top and no more than 120 centi-
meters deep. It had been so placed beside the foundations of the rear wall
of the portico that the bricks blocking the doorway came just under the
sandstone footing of the wall. Inside this doorway there was a little passage
which led to the sirdab, a room about 250 centimeters long and slightly
narrower, in which one could not stand upright. Ancient thieves had
plundered it, and in 1895 Daressy found it, as we also did in 1920, abso-
lutely empty.8
Fortunately for us, the sirdab of Meket-Re' remained untouched
(Plates 2, 3, 54, 55), and his name was inscribed on two of the objects in
it. We were the first who had had any inkling of its existence for almost
forty centuries, thanks to the fact that the chips filling its entrance pit
came from the very rock in which the pit itself had been cut. This pit was
1 2
an extremely rough hole, about half way along the left-hand side of the
corridor of the tomb. It measured only about 12 5 centimeters square and
the same in depth. The rock in the neighborhood of the tomb is half way
between a limestone and a shale and is so friable that a good job of cutting
it is impossible. However, being fissured and shattered, there is no diffi-
culty in quarrying it, if one is content to follow its bedding, and so the pit
was not at right angles with the corridor, the little chamber going off at
an angle. The room itself was about 3 meters square but so roughly quar-
ried out that no dimensions can be more than approximate. In height it
was from 125 to 150 centimeters before some of the ceiling just inside the
entrance collapsed.
Into this small chamber had been crowded no less than eight house
models, twelve models of boats, two large figures of offering bearers and
a group of four small ones, and an enormous scene of Meket-Re' inspect-
ing a parade of his cattle (Plates 4-7, 55). Whether these models were
brought to the tomb and deposited in their sirdab at some time before
Meket-Re"s death and burial, or whether they formed part of the funeral
cortege is uncertain, but I am inclined to favor the latter view. The con-
dition in which we found them and the way they were stored in the
sirdab will be discussed later; at the moment reference to the plates will be
sufficient.
When all the models had been put into the chamber the mason
started building a wall across its entrance to seal it up (Plates 2, 3).
Workmen had already brought unbaked mud bricks, 34 x 17 x 8 centi-
meters in size, to be laid in mud mortar which was prepared and waiting.
As the mason laid each brick he spread a handful of mud on top at each
end and laid the next course in these pats of mud. After five courses had
been laid in an orthodox way, with alternating headers and stretchers, the
next five courses of stretchers were run up leaving a wide empty space in
the center of the wall. Into this, broken bricks were dumped in any fash-
ion. By now the mason was within three courses of the top of the door-
way, and he eked out his bricks with bits of stone and narrowed the
course from inside. It was a good, strong wall, easily able to withstand the
pressure when the pit itself was filled. The corridor floor was paved with
13
sandstone slabs which completely hid the sirdab pit from prying eyes,
while the filling of the pit prevented any hollow sound from giving away
its presence. The filling drifted into the chamber only as the bedrock
which formed the lintel of the doorway began to collapse. This happened
when quarrymen removed stones from the corridor during later dynas-
ties, knocking off the top of the brickwork sealing up the entrance to the
chamber below.
For almost four thousand years the models stood in this dark little
chamber in which not a breath of air moved except when an occasional
piece of stone fell from the ceiling. Then, on the 17th of March, 1920,
our workmen unexpectedly disclosed the existence of this miniature
world which had remained a secret for so long.9 In the years that have
passed since then, many references have been made to these models of
Meket-Re', for they are without question the most perfect set ever un-
earthed in Egypt.10
The twenty-four models fall naturally into three groups. One of
these relates to the estate of Meket-Re': his residence and the various
buildings used to provide him with the necessities of life. A second group
consists of bearers of offerings. The third is a remarkable set of river craft
which emphasize the importance of the Nile both as a highway and as a
source of food.
The individual" models are described in this order in three separate
chapters, which are followed by a discussion of the group as a whole. In
the Appendix appears the catalogue of the models and here are listed the
technical details such as dimensions, construction, condition when found,
and the repairs which had to be made in the case of those which were
damaged.
1. In this book it is assumed that the XII Dynasty began in 1991 B.C. (Winlock,
The Rise and Fall of the Middle Kingdom in Thebes, p. 91.)
2. Winlock, Excavations at Deir el Bahri, 1911-1931, p. 118.
3. Winlock, ibid., p. 19; Edouard Naville, The XI Dynasty Temple at Deir el-
Bahari, Pt. II, pi. IX, D.
4. Winlock, Rise and Fall, p. 67. Some of the fragments are in the Metropolitan
Museum, Ace. nos. 20.3.162, 163; 31.3.2, 3, and others unaccessioned.
5. Winlock, Deir el Bahri, p. 17, fig. 2, pis. 24-30.
14
6. Winlock, Deir el Bahri, pp. 29, 222, pi. 30.
7. Winlock, Rise and Fall, p. 67.
8. G. Daressy, Annales du Service des Antiquites de VEgypte, II (1901), p. 135.
He was obviously in error when he wrote that this chamber contained the
embalming materials. In 1920 we discovered the latter in the little crypt just
outside and below the east end of the portico, where they had always been.
9. Winlock, Bulletin of the Metropolitan Museum of Art, December, 1920,
Pt. II, pp. 12-32; Deir el Bahri, pp. 17-30, pis. 24-30.
10. See for example, in addition to those already referred to, Ancient Egypt,
1921, Pt. II, p. 64; Winlock, ibid., 1922, Pt. Ill, pp. 71-74, Fig. 2; Jour-
nal of Near Eastern Studies, Vol. II, No. 4, Oct., 1943, p. 281, Fig. 1,
PI. XXXIX; H . Ling Roth and G. M. Crowfoot, Ancient Egypt, 1921, Pt. IV,
pp. 97-101, frontispiece, and Fig. 2; C. H. Johl, Altagyptische Webestiihle
und Brettcheniveberei in Altagypten (Untersuchungen zur Geschichte und
Altertumskunde Aegyptens, Bd. VIII), 1924, pp. 10 ff., Taf. II, Abb. 45; James
Henry Breasted Jr., Egyptian Servant Statues, 1948, passim.
15
II
THE MODELS
OF M E K E T - R E " S ESTATE
/. THE RESIDENCE. MODELS A AND B.
one of
T . HE
J L fell
which H
RESIDENCE of Meket-Re' is represented by two models,
to the lot of the Cairo Museum in the division of an-
tiquities at the close of the excavations, while the other is now in the Met-
ropolitan Museum in New York (Plates 9-12, 56, 57). They are to all in-
tents and purposes identical, except that in the Cairo model a few details
have been carried a little nearer to completion. The New York model
had been placed where large sections of the roof of the sirdab fell into it,
damaging the trees to such an extent that they had to be removed in order
to repair them. The interior of the model was thus completely exposed to
view, and we were able to photograph not only the entire facade of the
porch but even its ceiling.
The model is in no sense a complete representation of Meket-Re"s
residence, for only the wall separating the interior from the garden is in-
17
eluded. The interior details are indicated by the surfaces of two doors
and a latticed window, carved on the exterior back wall of the model.
Each is painted red to show that it was made of wood. The central door,
the great front door of the house, is double valved and has an elaborate
fanlight above it, designed, after the fashion of modern Arab mushrebiyeh,
to let cool air into the house through its innumerable little openings while
at the same time keeping out the blazing Egyptian sunlight. The fanlight
is made for the most part of djed signs, with two bunches of lotus flowers
above, the whole arranged in a style which goes back to the beginning of
the Old Kingdom and was particularly popular at this period—the early
Middle Kingdom. Below the fanlight arc the two valves of the door, each
elaborately cleated on the inside, with hinge pivots at the top and bottom
of the upper and lower cleats. There is no groove marking the place
where the two leaves of the closed door meet, but at a convenient height
an elaborate lock with a single bolt is carved in high relief. On the out-
side—the porch side—the doors are left plain except for horizontal in-
cised lines extending across the bottom. The smaller, single valve door
at the right of the main door may be a less important entrance to the
house, or it may equally well represent a door between two rooms in the
interior. The very tall, latticed window with narrow openings on the left
of the main door would not let more than a dim light into the house but
it would admit cool breezes. These three openings are all that there is to
suggest the interior of the residence: shaded windows and high fanlight
to let air into the dwelling, but a front door tightly bolted against
intruders.
The house is represented as made of unbaked mud bricks plastered
over with yellow desert clay, the typical construction of all such build-
ings in Thebes. The walls of the porch are decorated with a broad black
dado, above which is a frieze of blue, yellow, and white bands, topped by
a wider white band; the low wall across the front is painted white to show
that it was made of limestone. The porch has a flat roof whose low front
parapet is pierced by three rainspouts, painted white to imitate limestone.
These are long enough for the streams of rain water which might issue
from them to fall into the pool in the garden below and not drip into
18
T H E MODELS OF M E K E T - R E " s ESTATE
the porch. The spouts in the Cairo model are actually pierced so that
water could run through them, but those in the other lack this touch of
realism. In the porch there are two rows of four slender wooden columns,
carved and brightly painted, which rest on white bases. The rear row
simulates clusters of papyrus stalks and the front row, lotus buds bound
together with gaily colored bands of red and blue. The wooden archi-
traves which they support are bespangled with stars, and the wooden
ceiling between them is carved to represent palm trunks split in two,
brightly painted with stripes of green and red. This was the typical ceil-
ing construction in houses of the period.
Beyond the porch the garden wall is painted with stripes like those
on the porch, but is dropped lower than the walls of the house itself. This
was doubtless to show that the level of the garden was a little below that
of the porch, but in both models the garden and the porch floor are ac-
tually on the same level. The master of the house, seated in the shade of
the porch looking out over the garden, would be cooled by the breeze
coming across the pool—clearly the reason for this design of the ancient
landscape architect. In each model the pool takes up the entire center of
the garden, but in real life we have every reason to suppose that the
garden itself was much larger. The sloping sides and the bottom of the
pool are lined with copper, obviously so that it might be filled with water.
Around the pool welcome shade is given by trees, and there can be no
doubt as to what kind of trees they are meant to be. On no Egyptian tree
except the sycamore fig does the fruit grow directly from the trunk and
the main branches, and that is the tree which is represented here. Trunks
and branches are painted green, the leaves a lighter, bluer green, and the
figs reddish brown.
2. CATTLE BREEDING ON THE ESTATE.

MODELS C, D, AND E.
The most outstanding model, both for size and for originality of
subject, is the one which shows the inspection of cattle on the day when
they were counted, and doubtless registered for tax purposes (Plates
l
9
13-16, 58). For a great landowner this was obviously one of the im-
portant events of the year. The scene is laid in a place on Meket-Re"s
estate where he, with his retainers gathered about him, could overlook
the proceedings from a pavilion. In front of it is a part of the wide cattle
yard, which was surrounded by a wall too high for any beast to escape
or for anyone to look over it. Only the portion of this wall at the back
of the pavilion is shown in the model. The floor of the pavilion was
probably about a meter above the level of the yard and was reached from
the left by a flight of steps. Thus Meket-Re' and those with him were
assured of a safe vantage point from which to watch the cattle passing in
front of them. The roof of the pavilion rests on four columns which
have papyrus capitals and stand on bases, painted white to imitate lime-
stone, set in gaps in the low parapet at the front. On the edge of the roof
there are two long white rainspouts to carry the rare rain water far out
into the courtyard. Obviously this is not the garden porch beside the
pool, although built in much the same style as the residence. This pavilion
is somewhere else on Meket-Re"s estate.
Meket-Re' himself is seated on a formal, old-fashioned throne in the
middle of the pavilion, and his son, In-yotef, sits on the floor at his left,
resting his elbow on his knee. To their right there is a row of four scribes,
seated as In-yotef is, each with a roll of papyrus on his lap and a pen in
his right hand, busily writing down the number of cattle as they are
counted (Plates 15, 16). In front of the scribes, lying on large chests in
which the documents will eventually be filed, are their writing palettes,
the ink cakes within easy reach. To the right and left of this central
group are some of Meket-Re"s retainers; one stands beside In-yotef,
another is at the opposite end of the platform next to the scribes, and at
each end of the pavilion, down in the yard itself, two other men stand
ready with their long staves either to beat off obstreperous bulls or to
chastise any hapless cowhand who may arouse the master's ire. These
retainers wear kilts painted white to represent linen, those on the men
with the staves being long enough to reach down to their calves. On top
of the painted kilts in many cases is a bit of real linen, draped in the same
fashion. All these men have smooth-shaven heads and light yellow com-
2o
T H E MODELS OF MEKET-RE"s ESTATE
plexions, showing that they belong to the leisured, educated class. Cloth-
ing, complexion, and shaven heads differentiate them from everyone
else in the scene with one exception. In the yard below is another man of
their class, standing between two sunburned cattlemen, the three of
them keeping count of the animals driven past, on the fingers of their
two hands. Whether this man is Meket-Re"s own scribe or whether he
comes from the government to take account of the cattle for the tax col-
lectors, it would be hard to say, but having two cattlemen checking on
the scribes' count lends a touch of realism to the scene.
The model represents the exact moment when one of the cattlemen,
doubtless the leader, has stopped below the pavilion to bend his knee re-
spectfully and to bow his back in homage, while he touches his left
shoulder with his right hand by way of salute to Meket-Re'.1 The very
humble crossed their two arms over their breasts, touching both shoulders
at once.2 In the model, in addition to the leader, there are ten more cattle-
men, who lend a boisterous and realistic animation to the scene by of-
ficiously beating the animals to make them move faster past Meket-Re'.
All of them are clearly men used to an outdoor life; they have great mops
of hair covering their heads like turbans, to ward off the sun's rays which
otherwise might strike them down,3 and each is burned a deep rich brown
where their skins are exposed. Presumably they are yelling at the beasts
as they drive them past Meket-Re', who calmly watches from his seat on
the pavilion. Two sturdy fellows armed with heavy clubs belabor the
animals to make them form a single file as they hustle by the three men
who are counting them.
With a little imagination we can hear the resounding whacks of the
clubs wielded by the cowherds as they fall on the backs of the beasts.
One hopes that they are well padded with fat. Some animals are not only
beaten; they are also led with ropes tied around their horns or, in the
case of one big black animal, by a rope tied around its lower jaw where
the man leading it can give a most painful tug, if it ever shows signs of
getting fractious. These animals are either bulls or cows, for there is no
evidence of there having been any oxen in ancient Egypt. In spite of the
long horns they were probably not very dangerous animals, for if we
2 I
MODELS FROM T H E TOMB OF MEKET-RE*
are to trust the scale as the model shows it, few of them could have stood
more than a meter high at the shoulder. Food cattle were far smaller
than the great, massive bulls which hauled stone on sledges.* In color they
go all the way from jet black or solid red to piebald beasts with spots of
both colors, and even to a pepper-and-salt breed with little black spots
all over them.
In the next chapter of their story, the cattle of Meket-Re' are in a
stable being fattened for slaughter (Model D; Plates 17, 59). The model
of the stable, like all the estate models, is represented as being plastered
with yellow clay and with doors and door frames painted red to show
that they are made of wood. The doors turn on wooden pins which fit
in holes in long cleats fastened to the wall above and in sockets cut in
the sills below. This is the only instance where the doorsills are painted
red; in all the other models they are painted white to represent limestone.
The back half of the stable is a big stall, doubtless thought of as being
roofed, with one long wall entirely taken up by a manger, its white
color indicating the material of which it is made. In this stall four already
plump animals are eating until there is danger that they will never be able
to get through the rather small door which connects the stall with the
rest of the stable. In all probability the front half of the stable is a yard
and was left entirely unroofed. At least that seems to be the arrangement
in later stables. Here" the animals are given their final hand stuffing before
being led to the butcher shop. One of the two animals can still stand, but
the other has had to lie down. The cattlemen seated in front of them tug
at cords tied around their lower jaws to make them open their mouths
while little balls of food are tossed in for them to chew. They eat through
force of habit only, but they still have a long way to go, for beside the
men is a model of an enormous basket of grain and a pile of straw, rep-
resented by a rough block of wood painted gray, which still have to be
consumed. By the entrance door of the shop sits a doorkeeper, with his
scepter of authority, ready to stop intruders or to prevent the escape of
animals from the stable. The beasts themselves look too fat and lazy to
harbor any such thought, and it is far more likely, therefore, that the
doorkeeper is there to guard against any unauthorized person entering
2 2
T H E M O D E L S OF MEKET-RE"s ESTATE
the stable. The three larger animals in the stall and the one that is stand-
ing in the yard are black or black with white spots, while the small calf
and the animal lying down are plain red.
The butchering of the cattle took place in a shop which was one of
the largest and most interesting buildings on the estate of Meket-Re'
(Model E; Plates 18, 19, 21, 24, 60, 61). The model shows that it had a
large front room with a ceiling even higher than the two stories which
formed the back of the premises. The whole shop was completely roofed,
the roof sloping down from front to back. Apparently this roof was made
separately so that it could be removed, and it is so shown on Plate 18. To
let in air, the main room is open across the upper part of its front wall
and two wooden columns, set on bases let into the top of this wall, sup-
port the front architrave on which the roof rests. Two thicker, full
length columns on wider bases, painted white to represent limestone,
support the architrave in the middle of the room, and two smaller col-
umns, like those in front, set into the parapet along the balcony at the
rear of the shop, support the third architrave. All these plain cylindrical
columns are painted red to represent wood. The entrance to the shop is
through a door in a side wall near the front of the building. A stairway
diagonally across from the door goes up to the balcony where joints of
meat hang from two lines strung from one side to the other in the coolest
and airiest part of the shop. Under the balcony there are three doors
opening into a long undivided space which was empty when we found
the model. It is to be assumed that these doorways led into three separate
storerooms, but no partitions had been put into the model, and when
it was placed in the sirdab all the doors were shut. Apparently Meket-Re'
knew what was supposed to be behind the doors.
In the shop everyone is busy under the watchful eyes of two men
who hold wooden scepters in their right hands. One stands near the en-
trance door with the end of his scepter resting on the shoulder of a man
who holds a bowl to catch blood gushing from the slit throat of a bull.
Perhaps he is chastising him for some carelessness, but more probably it is
mere chance that the scepter is in that position. The other overseer stands
at the bottom of the balcony stairway. He has a writing palette under his
23
left arm and holds a roll of papyrus, painted white, which probably con-
tains a list of the animals to be slaughtered.
At the moment there are only two animals in the butcher shop, both
trussed up and lying on the floor being slaughtered. One has a plain red
hide and the other is piebald black and white, and both have all four feet
tied together.5 So tied, the animals have been easily thrown on their sides,
and the butchers, wearing short kilts spattered with blood, grab the beasts'
muzzles with their left hands and haul their heads around, stretching their
throats before cutting them with the knives held in their right hands.
Meanwhile, men sitting opposite the butchers hold bowls to catch the
blood which comes spouting out of the animals' throats.
Bigger bowls of blood are cooking over two circular braziers tended
by men who sit beside them with fans in their hands, blowing up the fires.
In the model these braziers are of two different designs. One has an upper
rim which rises into four points on which the bowl rests, leaving openings
through which the fire can be fanned: The design of the other brazier is
somewhat different, for there are no crenelations around its top, but a
little door at the bottom of one side makes it possible to tend the fire. One
brazier is painted red and the other black, doubtless to show that real
braziers were made of clay hardened by the heat inside, one even to the
point of turning it red. Fans were probably made of the leaves of dom
palms. Finally, there is a man sitting near the door plucking the feathers
from a pintail duck which he holds by its wings. The striking thing about
this man is that his skin is sunburned a dark red and his hair is long and
bushy, in contrast to the rest of the men in the shop, who have shaven
heads and the lighter complexion of the more sheltered classes. Perhaps
this duck plucker is a more menial servant than the butchers, while every-
one else in the shop is of the scribe, or effendi, stratum of society.
The cuts of beef hanging on the lines on the balcony show how very
different were the practises of the ancient Egyptian butcher from those
of modern times, in Chicago, for example. The biggest cut is a rib roast,
so severed from the rest of the carcass as to extend far forward into what
today is called the chuck, and probably back into the loin and rump. In
other words, practically the whole side of the animal was cut off in one
2
4
T H E M O D E L S OF M E K E T - R E " s ESTATE
piece. Another cut was the round, with the two ends of the hip bone pro-
jecting. The most numerous of all the cuts, however, are long strips of
boneless tenderloin, or other parts of the animal sliced into triangular bits
to look like tenderloins. These last slices make up three-fourths of the
joints on the lines, but all the meat hanging there accounts for just about
half the cuts. We know that at funeral banquets a foreleg—usually the
right one—was cut off in one piece to be offered to the dead or to the
god.6 Furthermore, the tenderloins are shown as being far too large and
too numerous to have come from the same animals that provided the ribs
and joints from the shoulders. However, the chances are that the model
makers felt that the cuts shown would be easily recognized by the soul of
Meket-Re', for it is very unlikely that any ancient Egyptian could be ig-
norant of so common a scene as the cutting up of a beef.
5. BREAD AND BEER MAKING ON THE ESTATE.

MODELS F AND G.
Every ancient Egyptian estate of any size had its own granary, from
which grain was drawn as it was needed.7 Grain was the common medium
of exchange, and when necessary everything could be reduced to terms
of so many bushels of barley or spelt, even though such reckoning often
meant elaborate and tiresome calculations. Good harvests were the very
essence of Egyptian economy: plentiful crops spelled ease, short crops
meant famine. Safe storage bins were necessary to protect these crops,
and the granary was the treasury for the greater part of the riches of the
Nile valley. In practically rainless Egypt there was no need for roofing
the granaries, and even today the shuneh of the modern Egyptian is open
to the sky.8
One of the characteristics of the present-day Egyptian granary is
that it usually has the outer walls peaked up with slightly rounded crene-
lations at the four corners. It is just such peaks that we see on the four
corners of Meket-Re"s granary (Model F; Plates 20, 21, 24, 62, 63). The
entrance has a cleated door, its upper hinge support tied in place with
cord. Just inside is a long vestibule running the whole width of the build-
25
ing, and at the far end of it a second door, its hinge support pegged to the
wall, opens into a stairwell with steps leading up to a broad walk atop a
partition wall between three storage bins. These bins each have a round-
topped doorway below for the removal of the grain, and we must pre-
sume that each opening could be closed with removable planks, omitted
in the model. When deposited in the sirdab all three bins were probably
filled with actual grain, and in two of them there were also put rough
blocks of unpainted wood representing piles of grain, just like the similar
block in the cattle stable. However, when we found the granary there
was very little in the bins except these blocks and a few husks remaining
after mice had finished eating the real grain.
The personnel needed to run this granary numbered at least the six-
teen men whom we see at work, and who are obviously the minimum in
an establishment of this size. In the first place, there is the doorkeeper,
squatting at his post with his scepter in hand. He wears his hair long and
is sunburned too dark a brown to be taken for one of the class of scribes.
Near him sit four scribes, each with smooth-shaven head and light com-
plexion, who are keeping count of the baskets of grain as they are carried
up to the bins. Two of them are writing on large wooden tablets, painted
white to imitate the plaster with which such boards were often covered.
These lie across their knees with their pen cases on them. The right hands
of the scribes are carved as though they held brush pens, although these
are not provided in the model and the tablets are perfectly clean. Between
these men is a large white jar for water to moisten the ink, smudges of
which are represented on the outside. Two other scribes sit opposite the
first pair, each with his left knee raised and with a scroll of papyrus across
his lap, partly unrolled, referring to the records written on them. In front
of each of these men is a square document box with a cleat across its lid
to serve as a handle, and on them are laid the writing palettes which are
liberally bespattered with ink where the pens have been tried out. Under
the outstretched finger and unquestionably under the watchful eye of an
overseer who stands near the door leading to the bins, two laborers meas-
ure the grain. This overseer and another man seated cross-legged on the
floor opposite him are both of the scribal class, as their light, unsunburned
26
T H E M O D E L S OF M E K E T - R E " s ESTATE
complexions and their shaven heads indicate. On the other hand, each has
thrown one corner of his kilt over his shoulder like the porters, as if they
too might take a hand with the grain sacks at any moment. Of the peas-
ants with bushy heads of hair, one squats near the group of men at the
back of the vestibule, and we may take him for a farmer who has just de-
livered grain, or more likely as a peasant keeping count of it on behalf of
his fellows. Beside him two thick-haired men fill a bushel measure and
pour its contents into sacks which are then carried off by half a dozen
sturdy fellows, each of whom wears a corner of his kilt thrown up over
his shoulder as a protection from the rough sacks. Through the door and
up the stairs they toil, and when they have reached the broad walk above
the bins they dump the grain to them.
The wheat, barley, and other grain must each have had its own
household bin in the kitchens of the residence of Meket-Re', whence
small quantities could be drawn as needed. Many kinds of grain could
probably be used both for making bread and for what the Eleventh Dy-
nasty Egyptian obviously looked on as a related household task, the brew-
ing of beer. In 2000 B.C. baking and brewing started out in the same way,
the risen dough in one case being cooked and in the other, soaked in water
and fermented to make beer. Thus bakers and brewers share one building
in Meket-Re"s models (Model G; Plates 22-24, 64, 65). It is a somewhat
elongated structure, divided down its length by a fairly high partition
wall, making two rooms in which the servants are engaged in the two
occupations. A door through the partition wall near one end connects the
rooms. Each room has a roof partly covering it lengthwise. Such a roof
does not appear to be unreasonable, but it is always possible that the
rooms are shown only partly roofed so as to permit observation of the
activities going on in the model. The entrance to the shop is through a
door at the left of the brewery half of the model, and this opens into a
little vestibule where the doorkeeper sits at his post with scepter in hand.
He is shaven headed and light complexioned, as are all the other men at
work in this building. Straight ahead of him is the brewery, and to his left
through a doorway he can also keep an eye on the bakery.
Since both baking and brewing started with the making of dough
2 7
containing yeast to make it rise, the first thing needed was flour, and the
first step in grinding flour was to crack or crush the grain with pestles
on flat limestone mortars laid on the floor. In the brewery half of the
model a man labors at this task with a large wooden pestle which tapers
to a slender handle at the top and swells to a broad bottom, probably as
much as fifteen centimeters in width on an actual pestle (i, on Plates
64, 65). In the bakery three men wield similar pestles. Each blow of these
flat-bottomed implements would crush or split any grain in the mortar
and make it ready for the women who grind it into flour. Two of these
women are so occupied in each half of the shop. They wear white, knee-
length shifts which leave their arms free, and their long hair is gathered
back behind their shoulders so that it will not fall into the mills as free-
hanging tresses would. Their hand mills are practical even if very primi-
tive affairs (2). The bases are painted black, probably to represent Nile
mud, and they are high at the back where the women stand, the top slop-
ing forward so that the ground flour will run into a catch basin in front.
The model millstones are of unpainted wood, which is about the color
of the real gritstone ones, and they are being rubbed back and forth by
the millers. It is somewhat curious to find that the most tiring work in the
shop is being done by the only women in it. However, the mixing of the
dough was a pretty strenuous job, too. This is carried out by two men
standing at their vats in the bakery, but in the brewery one man stands
waist deep in a vat, holding on to its rim, as he mixes the dough by tread-
ing it with his feet.9 The vats are represented as being tall red pottery
vessels liberally smeared around their upper edges with the overflow of
white dough (3).
In the brewery half of the shop the next task is to shape the dough
into rough little cakes which are then allowed to rise. There is enough
yeast in a little old dough mixed in with the new to leaven an entire batch
in the course of a day or so, and probably old dough was kept over in a
flat, black tray which is on the floor near the dough mixer (4). Perhaps a
splash or two of light color in the tray represents some of this crude yeast.
A man stands beside a tall, round, white mixing-table shaping dough into
cakes, which he sets aside to rise (5). The cakes of risen dough were then
28
T H E MODELS OF MEKET-RE"s E S T A T E
mixed with water to make a fermenting mash in barrels (6) .10 Each barrel
is identical in size and shape with the vat in which the dough was mixed
and is painted to imitate pottery, though of a somewhat lighter color than
the vat. Filled with crumbled up bits of risen dough and with water, they
would stand open to the air for a short time, and then their contents
would be dipped out with a jar and poured into four larger pots which
stand in a row along the opposite wall. Three of these pots have already
been filled and stoppered, the sealings being large lumps painted black to
show that they were made of mud (7), and the jar being filled will soon
be sealed in the same way (8).
In the bakery things are even busier than in the brewery. This half
of the model is divided into two small rooms by a low partition wall, and
in each room cooks are at work. After the flour is ground the dough is
mixed in vats by two men whose hands are covered with dough (3). The
dough is put into two lighter colored vessels, like the fermentation tubs
in the brewery, which are placed beside the two cake makers in the inner
room of the bakery (6). One of these men is working up a long, slender
loaf from a lump of dough (9), and his mate, using a slightly larger board,
has made five little round buns and two larger four-cornered loaves (9)."
The baking is done in four ovens, painted black to represent clay, each
of which has an attendant who pokes the fire through a little square door
below and probably throws handfuls of fuel on it to keep up the blaze.
The two circular stoves in the back room are low braziers (10), much
like the one with the flat top in the butcher shop; the ovens in the outer
room are tall and square with sloping tops, and above the fire door there
is a semicircular door into the oven where the bread goes (11). A basket
filled with conical loaves, the long thin tips of which have been baked a
rich brown, stands on the floor of the outer room (12).
4. THE SPINNING AND WEAVING SHOP. MODEL H.

Whoever made the spinning and weaving model was hardly a skill-
ful sculptor, but he seems to have known every step in these crafts from
start to finish so fully that he was able to give an excellent representation
29
of them (Plates 24-27, 66, 67). The model shows that this shop on
Meket-Re"s estate was one large room, at both ends of which there was a
roof just wide enough to cast a shadow over the working ends of the two
looms. Between these roofs the shop is open, but it is hard to say whether
this was the common design of weavers' shops, or whether it was merely
done here to let us look into and admire the model. There is not a single
man in the whole establishment, and it is fair to assume that in Thebes, at
the outset of the Middle Kingdom at least, spinning and weaving were
looked on as women's crafts. In the New Kingdom both men and women
are shown in the weaving shops.
The first thing the women have to do is to prepare slivers, or roves,
as spinners call the lengths of loosely twisted flax fibers, which are ob-
tained when the stalks are soaked and retted. Three women, clad in
simple white shifts, sit in a row along the wall near the door of the shop,
getting these roves ready for the spinners (Plates 26, 27, 67). Each
woman has her right knee tucked under her and her bared left knee raised
so that she can roll the fibers together on it. In front of each woman is a
heap of flax fibers, represented by a block of wood irregularly speckled
over with paint. At first the women let the single-ply rove accumulate in
a pile in front of them, and there it lies, represented by real linen thread,
but every once in a while these long roves are wound up into balls which
lie on the ground in -front of the women. In the model these balls are of
wood, but there can be no question that each is supposed to represent
loosely rolled yarn.
The next step is to twist three roves into a single thread, and for this
purpose three balls of yarn are placed in each of the pots which stand on
the floor behind the three spinners. In the model these pots are solid bits
of wood, painted red outside and white on top, and from a hole in the top
come three roves, here of real linen thread, which are not yet spun to-
gether. Actual pots were made of pottery or limestone and had rings in-
side through which the roves were run to keep the balls from jumping
out of the pots. The spinners have wrapped the roves around wooden
spindles, just under the whorls, which are held at arm's length in their
left hands. Between these spindles and others held in their right hands
3°
there is a single thread which has been spun by the second spindle. On
this second spindle, thread previously spun has been wound just under
the whorl. The spinner on the right in Plate i6 (bottom) stands with
both feet on the ground, winding the finished thread onto the spindle in
her right hand and getting ready to spin some more. The two spinners
on the left have finished winding and have raised their right knees to roll
the spindles rapidly along their bared thighs, in order to make them ro-
tate when they are dropped and hang at the end of the spinning thread.
This twists the three roves into one thread, and the women, with their
two feet on the floor again, will wind it on the spindle and be ready to
repeat the whole operation.
When the spinners in Meket-Re"s shop had wound as much thread
as possible on their spindles they gave them to two women for making
the warps on pegs driven into the wall. Some of the real threads on the
pegs when we first found the model had already been broken, but photo-
graphs taken before it was moved show them as depicted in Plates 26 and
27. The two women are winding the warp threads on groups of three
pegs in such a way that when they are transferred to the beams of the
loom the alternate threads will cross each other, thus making the neces-
sary two sheds. Thus, in the weaving each shot of the shuttle will lay a
weft thread above one half and under the other half of the warp threads.
Little or no thread remained on one set of warping pegs. On the other
set, however, enough was left to show that the model maker did not take
the trouble to wind the warp so that when it was transferred to the loom
the alternate threads would cross to make the sheds;12 it is merely wound
round and round the pegs, and if taken off, would have no crossing in it
at all.
The thread having been spun and the warp set up, everything is
ready for the women who work the two looms. Each of these women
wears a simple white shift with only one shoulder strap, a dress not tight
enough to prevent their sitting on the floor with both knees raised and
their skirts hanging down between their legs. The third woman at the
loom nearest the door sits on the floor by the warp beam, probably to
loosen it and unroll the warp as the other two weavers roll the finished
31
cloth up on the breast beam. She can easily turn around when she has
finished at one loom and be ready at the other; thus no more than five
women were needed to work a pair of looms quickly and easily.
Both looms in this model are solid wooden affairs, shown flat on the
floor of the shop (Plates 27, 66, 67). On each loom a length of cloth al-
ready woven, painted plain white to represent linen except for a fringe
drawn along one side, is shown rolled up on the breast beam. This beam
is a little way from two loom pegs driven into the floor, to which pegs it
is clearly supposed to be lashed by ropes which can be tightened or loos-
ened whenever the warp needs drawing up or letting out. At the opposite
end of the loom the pegs are driven into the floor inside the warp beam,
which must have been lashed to them, because if it had been left loose, it
would have revolved and the warp threads, which are here shown going
around it, would all have fallen slack on the floor. Beyond the finished
cloth the loom is filled by what in reality must have been almost two
meters of yet unwoven warp threads,- represented by parallel black lines
drawn close together, one after another, on the white board which repre-
sents the loom. On the far side of the heddle rod the lines are slightly
staggered and are crossed by a yellow line which indicates where the one
set of warp threads rises from below the other set. On every half dozen
or so of the black lines, where they cross the warp beam, there is a hori-
zontal black line which might be taken as a thread laced in and out of the
warp threads to keep them evenly spaced. However, since there is a
similar dotted line across the already solidly woven part of the cloth
which is wound around the breast beam, we should probably take both
these black lines as merely representing the outlines of the two beams of
the loom, seen vaguely through the cloth and the as yet unwoven warp.
The chief weaver sits at the end of the loom behind the breast beam.
Her assistant sits at the side, facing her, with one hand on the heddle rod
and in the other hand a bit of wood, painted to look like limestone. With
this stone she has just knocked the jack out from under her end of the
heddle rod, causing the other jack to topple over. The jacks which be-
long to both looms lie on the floor beside the ends of the heddle rods, and
the slings which hold up each alternate warp thread to those rods have
32
presumably fallen through the warp. Now a slight raising of the second,
slender rod—the shed stick—whose ends project on either side of the
loom, will permit the shuttle to be thrown through the counter shed so
created, and another weft thread will be in place. Raising the heddle rod
on the jacks again will produce the shed necessary for the next shot.
Whether two shuttles are being used by the weavers at the same time it
is hard to say. Two shuttles exist, one in the chief weaver's hand and the
other lying on the warp threads, both a little longer than half the width
of the loom. However, it is possible to think of one of them as the shuttle
used to weave the fringe on the edge of the cloth, while the other was
used for the cloth itself. Finally, the gigantic beater-in—or sword—lies
between the two layers of warp threads for the weavers to pull firmly to-
ward the breast beam and thus drive the weft thread down after every
shot of the shuttle. One end is pulled by the chief weaver, who sits facing
the loom, and the other end is pushed by the woman who has just
knocked out the jacks.
$. THE CARPENTER SHOP. MODEL J.

In the last of the models of Meket-Re"s shops one can almost hear
the rasping of the ripsaw as its teeth cut through a timber, the chopping
of the adzes, the tapping of mallet on chisel handle, and the grinding of
sandstone planing blocks. Altogether there are a dozen carpenters busily
laboring at their tasks in his carpenter shop for the soul of Meket-Re'
(Plates 24, 28, 29, 68, 69). The greater part of the shop is an open court
without any fixed feature except a rough wooden post set solidly upright
in the middle for the use of the sawyer. The back of the court is sheltered
under a narrow roof, which slopes a little toward the rear to protect the
men who are at work there.
The sawyer's post is a tall piece of hard wood, chopped out roughly,
to which has been lashed a squared piece of pine wood which the sawyer
is ripping into planks. The rope with which the wood is tied in place is
fastened with a simple knot, which can be readily loosened when the
saw reaches it, and the lashing then raised or lowered as needed. The
33
sawyer has thick hair and his skin is burned a dark red. He is using an
exceptionally large saw, which is like shorter ones stored in the tool chest.
Sitting on the floor around three sides of the shop are eight men
dressing timbers with adzes and smoothing the roughly chopped-out
planks. Some of these men wear their hair long and others have shaven
pates, but there is no distinction between the tasks they perform. One
piece of rough pine timber lies on the floor beside the shop door, where
two men are at work on it, apparently dressing it square with their adzes.
Along the wall opposite the door three men labor at the same task, dress-
ing a heavier beam in the same way, while across from them sit three
other carpenters, polishing down a timber with blocks of wood repre-
senting sandstone, which served the same purpose as planes and sand-
paper in present day carpentry. On the floor in the middle of the shop lie
two heavy planks pegged together with two hard wood dowels, the ends
of which have not yet been cut off. We can only suppose that the planks
lie there waiting for this to be done, after which they will be dressed with
an adze to an even thickness.
Since Egyptian joinery depended on dowel pegs or on mortises and
tenons to fasten planks together, it is perfectly natural to find one of the
carpenters cutting a tenon slot in the edge of a plank which he is going to
join to a second board. He has set the timber up on edge and sits on top
of it, straddling it and holding a mortising chisel in his left hand while he
pounds it with the wooden mallet held in his right hand. He has already
finished one slot and has moved along the edge of the plank to cut a sec-
ond in the middle. When that is done he will turn around to cut the third
slot in the end of the timber where he is now sitting.
Finally, under the little roof in the far corner of the shop, three men
sit around a small forge. The man in the middle keeps the fire up with a
blowpipe, the original probably made of pottery because the smaller end,
which he holds in his mouth, is painted a light buff color, while the
somewhat larger, bulbous end which goes into the fire is blackened as if
with soot. The forge consists of a firepot for charcoal, which sits inside a
little black furnace partly covered over by a slab of lighter color. In the
front of the pot is a small round hole into which the man tending the fire
34
T H E MODELS OF M E K E T - R E " s ESTATE
puts his blowpipe. The reason for roofing this end of the shop may have
been to help control the draft and keep the fire at the right heat. The
men on either side of the fireman are doubtless re-tempering tools which
have been heated in the forge. In front of one man there are a light col-
ored bowl, a square dark object something like the yeast tray in the
brewery, and two roughly egg-shaped articles, the purpose of which is
difficult to explain.
These artisans had a supply of spare tools which they kept in a big
chest at the back of the shop. The lid of the chest was securely tied on,
and over the knotted cord was a lump of soft clay, in which had been
pressed a typical Middle Kingdom seal bearing a central device of two
entwined scrolls. We were able to withdraw the knob on the front of the
box and thus remove the lid without breaking the seal. Inside we found
extra carpenters' tools, which we took out, and we then replaced the lid.
These tools included axes, adzes and extra adze blades, saws, mortising
chisels or reamers, ordinary chisels, and bow drills. The axes have large
copper blades lashed into wooden handles with linen cords.13 The extra
copper adze blades exactly duplicate those lashed in place on the adzes
with their wooden handles, and they were obviously provided as spares, to
be used when the mounted blades became dull.14 These adzes are just like
the ones the carpenters are using. The saws are only about two-thirds as
long as the ripsaw being used by the sawyer; they have wooden handles,
and their copper blades have teeth more or less irregularly indicated along
the cutting edge.15 The ordinary chisels have blades which are square in
cross section, the cutting edge flattened and presumably sharpened,16 but
the mortising chisels or reamers have a narrow cutting edge and an extra
thick blade, which will not bend when chips of wood are pried out of
deep and narrow holes." The bow drills have long wooden shafts,
rounded on top where they enter the drill sockets; they vary a good deal
in length and have bits of copper, square in section and with a flat, sharp
edge.18
i. The chief herdsman well illustrates the words of Ptah-hotpe, who advises
that whenever one meets someone "better than thou, bend thine arm and
bow thy back," and in the tale of the Shipwrecked Sailor there is a passage
35
about how "I made answer to him, my arms being bent in his presence." (See
A. Erman and A. M. Blackman, The Literature of the Ancient Egyptians,
pp. 56, 32.)
2. A Middle Kingdom statuette formerly in the Carnarvon Collection and now
in the Metropolitan Museum (M.M.A. 26.7.1393) has the arms in this position.
See also Percy E. Newberry, Beni Hasan, I, pis. XIII, XXX.
3. Winlock, The Slain Soldiers of Neb-hepet-Re' Mentu-hotpe, p. 9.
4. Joints of beef from the tomb of 'Ashayet showed the animals to be 120 cm.
high at the shoulder, while the work bulls bred to haul stone to the temple of
Hat-shepsut were much taller and more massive. (Winlock, Deir el Bahri, pp.
45,73-)
5. This was not the invariable practise, for there are many pictures of animals
with only three legs hobbled together and with one foreleg left loose to be cut
off at the shoulder, but at Thebes also we later found a painted wooden model
of a young slaughtered animal, trussed up like Meket-Re"s, dating from just
about the same time. The model animal was found in the forecourt of the
tomb of Khety (Service No. 311) and is now in the Metropolitan Museum
(26.3.103). Ancient pictures are innumerable.
6. A right foreleg of beef was found with other food offerings beside the coffin
in the tomb of Wah (M.M.A. 20.3.258). See p. 10 above and Winlock, Deir
el Bahri, p. 29.
7. Winlock, Deir el Bahri, pp. 58 ff.
8. According to Reginald Adams, Esq., former manager of the National Bank
of Egypt, even the granaries of that bank are not usually roofed over, except
perhaps in the far north near the sea. In fact, wheat, maize, lentils, and beans
have been found by the bank to do best in the open air, unless the storage
space can actually be hermetically sealed, when cereals may be kept in sacks
for as long as a year. It is only in private storehouses, which will hold less than
500 ardebs, that age-long experience has proved that a closed granary is prac-
tical.
9. This thorough mixing seems to be confined to the brewing art, for the action
is depicted in the wordsign for brewer (see Alan H. Gardiner, Egyptian
Grammar, A 37 in Sign List). A.L.
10. One of the steps in brewing bouza in modern Egypt is to bake loaves lightly
before crumbling them up and mixing with water into mash, but in this model
the cakes of risen dough were obviously not cooked at all, for if that had been
the practise in Thebes during the Eleventh Dynasty, there would be an oven
in the brewery, even if it duplicated those in the bakery. It is improbable that
anything as important as an oven was left out of the model by accident.
11. These are just like the actual loaves of bread found in contemporary founda-
tion deposits (see Winlock, M.M.A. Bulletin, 1924, D e c , II, p. 10, fig. 6).
12. As in the reconstruction of another weaving model of the same period,
36
T H E MODELS OF MEKET-RE"s E S T A T E
M.M.A. 30.7.3 (see Charlotte Clark, M.M.A. Bulletin, Summer, 1944, pp. 26,
27 and illustrations).
13. Lengths 12 cm. One (a selection of these tools went to the Metropolitan Mu-
seum, the remainder went with the chest to the Cairo Museum, Livre d'entree
46722)—M.MA. 20.3.91.
14. Lengths of blades, 6 cm.; of handles, 9 cm. Two—M.M.A. 20.3.95, 9%>
15. Lengths 13 cm. One—M.M.A. 20.3.92
16. Lengths 8.5-9 c m - One—M.M.A. 20.3.94
17. Lengths 8 cm. One M.M.A. 20.3.93
18. Lengths 15.5-18.5 cm. Two—M.M.A. 20.3.96, 97
37
Ill
THE FIGURES
OF OFFERING BEARERS
w HEN the ancient Egyptian set forth on his journey to the

next world he had to be provided with food, drink, and other household
equipment which had been necessary in mortal life. Therefore, Meket-
Re"s models included figures of men and women carrying in his funeral
procession baskets of food and drink, a libation vase and a censer with
which to perform the daily ceremonies at his table, and a pile of linen
sheets with which to cover him in his unending sleep. Two half-life-size
statues of girls bearing offerings are among the chief models which
Meket-Re' had in his tomb and were one of the first things to catch the
eye when we looked into the sirdab (Plates 4, 5, 30). They stood there,
facing each other, in the midst of the crowds of diminutive figures filling
the little chamber. A small procession of men and women carrying offer-
ings belongs among the less painstakingly carved figures, although they
too, like their big sisters, are still almost as fresh as the day they were
made.
Far larger in scale than the figures in any of the other models were
the two girls carrying baskets of offerings on their heads and holding
39
ducks in their right hands (Models K, L; Plates 30, 31). The figure on
the left in Plate 30 is now in the Cairo Museum, the one on the right in
New York. The girls are walking along sedately, each with her left foot
forward, upon paths obviously representing black Nile mud, since the
tops of the pedestals are painted black. However, the sides of the blocks
are painted red, like the doors in the shops and all other parts of the mod-
els representing wood, probably because it was realized that these pedes-
tals were merely reproductions. The skin of the girls is painted light
yellow; their eyes and eyebrows are black, with just a touch of red in
the corners of the whites of the eyes; and their finger and toe nails are
white, outlined in red. Their hair is fancifully painted blue to show that
it was not quite black, but this blue has changed to a dark green with
time. We are to understand that both girls had dark brown locks, but
brown is a color rarely used by the Egyptian artist, who often depended
on blue to take its place.
Each girl wears a tightly fitting dress, supported by straps over both
shoulders. Around her neck, wrists, and ankles she has a collar, bracelets,
and anklets of brightly colored beadwork. All these ornaments are sup-
posed to be made of rows of red, green, yellow, and blue cylindrical
beads, with stripes formed of little ring beads between them. The dress
of the girl now in Cairo is made of white linen, over which there hangs
a red and green net of cylindrical and ball beads, making a series of zigzag
chevrons. The girl in New York wears what may have been a dress of
blue linen with narrow white stripes running up and down the lower part
of the skirt, but its color has changed with time to a dark green. The
upper part of the dress is covered by an elaborate beadwork garment in
which the scalelike elements are colored blue, red, green, and yellow,
outlined in white.1
On her head each girl holds a square basket, whose sides flare out
slightly at the top, keeping it in place with her upraised left hand. These
panniers are painted yellow to represent the reeds of which they were
made, the individual reeds outlined with red lines, and the framework on
which they are woven indicated by black bands around the edges and
crossing in the middle of each side of the basket. The Cairo girl has four
40
T H E F I G U R E S OF O F F E R I N G BEARERS
tall red jars in her basket, each 25 centimeters high and stoppered with a
conical lump of clay decorated with white spirals. The girl in the Metro-
politan Museum carries an identical basket filled with meat and bread. At
least it seems to be so filled. Actually, a false bottom supports samples of
the offerings which are supposed to fill the entire basket from bottom to
top. Across the basket lies the foreleg of a beef, skinned down to the shin
joint, the gristle at the shoulder painted pink, the meat below red, and
the hide on the unskinned part spotted black and white. In one corner of
the basket lie four ribs of beef, not yet cut apart, colored red with white
lines between them. A red beef heart stands upright in the opposite
corner. A joint of beef for roasting is also painted red with the white ends
of the bone showing at either side. There are two flat white loaves of
bread—one round and the other triangular—in the middle of the basket,
and at one side lie four slender conical loaves. Each loaf is slightly flecked
with black near its pointed end to show that it has been well baked. Four
flat, elongated objects with pointed ends lie in pairs, three of them
painted blue and the fourth purple. They might be cuts of meat but are
more likely some kind of vegetable, perhaps squashes or melons—it is
difficult to say which.
Each girl has caught a live duck by its wings and carries it in her
right hand. The duck held by the girl in Cairo has brown feathers on its
back and on its breast white ones with pale blue shadings. Its wings are
brown with black and white markings; its pointed tail is yellow with
black details; and its bill and legs are black. The duck being carried by the
girl in New York has a light brown back; its breast, wings, and square
tail are white with brown stripes; and its bill and legs are red.
Few, if any, ancient Egyptian offering bearer figures are better than
these two, but every collection contains some examples, for throughout
the Middle Kingdom the fellow townsmen of Meket-Re' would have a
wooden statuette of a girl bringing offerings to the tomb, if they could
afford one.
The third offering bearer model from the tomb of Meket-Re' is a
group showing a procession of two men and two women, walking along
in step with left foot forward and with left hand raised to support what-
41
ever load they are carrying on their shoulders and on their heads (Model
M; Plate 32). The pedestal on which the four figures stand was painted
with yellow ochre, which must have been varnished on top, for now it
is a bit darker than the sides. The two men have shaven heads, and they
wear short white skirts. The first man has thrown a corner of his kilt up
over his shoulder to protect his skin from the heavy vase he is carrying,
just as the men filling the bins in the granary did to protect their shoul-
ders from the sacks.2 Both men are painted a reddish brown which was
covered with varnish. The two women wear long white dresses, held up
by a strap over the left shoulder. They have yellowish brown skins, dark-
ened somewhat by the varnish which was originally applied to brighten
the paint. The heavy locks of hair hanging on their shoulders are black,
and from under the broad mass of hair behind hangs the counterpoise of
a necklace, a simple black tassel ending in a roundel.
The man who heads the little procession carries over his left shoul-
der an enormous hes vase, painted brown'and varnished, perhaps to show
that it was made of copper. In his right hand he carries a censer with a
light yellow, unvarnished handle and a red bowl, varnished to imitate
shiny metal, and flecked inside with black representing incense. Curi-
ously enough, the hand at the end of the censer is clenched, perhaps about
an invisible handle by which the incense bowl is held. The second man
has a pile of linen sheets 'on his head, all neatly stacked so that the folded
sides are on the left. There is a big white sheet on the bottom, with two
smaller ones above it; then comes a sheet dyed light yellow; and above
that are a white, a red, and lastly another white sheet. Behind this man
comes a woman carrying in her right hand a large brown spotted goose,
while her left hand is raised to steady a big basket on top of her head. In
the basket there are two large stoppered jars like those carried by the big
offering bearer girl (K), and six conical loaves of bread. The basket is
painted light yellow with black edges and crossbars, but the bottom lines
on the sides do not go all the way across. The wine jars are painted red
with white stoppers decorated with black spirals, and the loaves of bread
are yellow. The second woman, bringing up the rear of the procession,
holds a large white goose, the bill and eyes of which are varnished. She
42
T H E F I G U R E S OF O F F E R I N G BEARERS
carries on her head a basket exactly like her companion's, filled with
square white loaves flecked with black.
There are similar groups of offering bearers in different museums,
but we need mention only the fine model from el Bersheh in the Museum
of Fine Arts, Boston.3
i. Such costumes as these make us think of the tale of King Sneferu and the girls
who paddled him around his pleasure lake, only those girls had done away with
linen dresses and only wore the bead nets. (See A. Erman and A. M. Blackman,
The Literature of the Ancient Egyptians, p. 39.) Similar beadwork garments
were apparently common in ancient Egypt, worn over dresses of white linen,
against which they showed excellently well.
2. See above, p. 27.
3. See William Stevenson Smith, Ancient Egypt as Represented in the Museum of
Fine Arts (Boston), 1942, p. 85, fig. 53.
43
IV
THE MODELS
OF MEKET-RE<'S BOATS
/. THE TRAVELING BOAT. MODELS N-Q.
Q "N his inspection trips up and down the Nile Meket-Re'

went on a traveling boat which was represented in his tomb by four
models, two of them showing it under sail as it went up stream before the
prevailing north wind of Egypt, and two showing it with the mast and
sail lowered and the crew rowing down stream into the breeze (Plates
33-37, 70, 72-74). The four models are the work of two different groups
of artisans, one making the feet of the crew out of gesso and giving each
man a thick mop of hair, while the other carved the feet out of the same
wood as the legs and made the heads smooth shaven. The figures have
one thing in common, however: they are made at a larger scale than the
boats themselves. If we assume that the men average about one-eighth of
their actual size,1 even the largest boat would be too small for its crew.
Taking the hull only, the vessel would be about 12.50 meters long and
45
3.30 meters broad on deck, at a scale of 1:10, and about 3 meters longer
and not quite 1 meter wider, if the model was at a scale of 2:25. Such
proportions would give the real dahabiyeh of Meket-Re' a length of be-
tween 25 and 30 cubits and a beam of 6 or 8 cubits, as the Egyptian him-
self would measure it, and a ship of this size would have met all his needs
when he went traveling up and down river.2
The draft of the traveling boat is open to question. No water line is
indicated on the hulls of any of these models, and the underwater profile
is not reliable, since the Eleventh Dynasty model maker carved the hull
deeper than that of an actual boat and made the bottom flat, so that the
model would stand securely. The most likely method of estimating the
position of the water line is to consider that when the deck planks were
taken up for rowing, the oarsmen's feet were about on the water line,
standing perhaps on an assumed second deck or on a series of cross tim-
bers. This method of timbering would give an amidships freeboard of
about 50 or 60 centimeters above the water, which was probably about
what was practical for the ancient Egyptian oarsman. It is possible to
consider that the real ship's sides were higher, with the bow and stern
decks starting just over the points where the hull broke the water. In
one of the models (N) this would give a freeboard of from 85 to n o
centimeters amidships where the vessel was lowest, and as much as 110
to 140 centimeters in the bow. This elevation above the water would
make it impossible to work the oars unless those in the bow were far
longer than those amidships, but since this was probably not the case and
so high a freeboard was unlikely, the lower freeboard is probably nearer
the truth. The assumption is, therefore, that the ancient Egyptian vessel
was much shallower than these models would indicate from their outside
profiles, and that the rowers' feet were practically on the bottom of the
vessel.3
On the dahabiyeh of Meket-Re' almost all the forecastle was out of
water, with its deck tilting up very slightly as it went forward (Plates
70, 72-74). The space below deck was clearly too low for anything ex-
cept rope or other not too bulky objects, with the result that no weight
would be stowed there which would bring the bow of the vessel down.
46
T H E M O D E L S OF M E K E T - R E " S BOATS
The forecastle was merely the place for the lookout and a landing stage
when the ship was run up on the bank. In the ordinary course of events
its deck planks would never need to be lifted. The main framework of
the vessel, painted red, from which the bow was to all intents and pur-
poses suspended, shows clearly between the four white deck planks. It
consists of a central beam with two cross ribs, the wider after rib being
the tread of a step going down into the waist of the vessel; around the
edge is a gunwale lashed in the bow with black tarred rope, indicated by
black paint. In addition to being a landing stage, the bow supported a
timber fastened to the longitudinal deck beam which served as a fender.
This timber grew thicker toward the bow, over which it curled ingeni-
ously to prevent splintering of the deck if the bow struck against any-
thing, and it was lashed with black tarred rope to the central deck beam
just aft of the bow itself and again just aft of the first cross timber of the
forecastle. Then, on each model except one (P) where its omission must
be accidental, a black spot on either side of the fender doubtless repre-
sents the hole through which the mooring or tow rope was passed.
The gunwale continued from forecastle to stern, but aft of the sec-
ond cross timber in the bow the main deck dropped down one step. Then
came ten cross timbers—on Boat O the maker has indicated eleven—on
either side of the longitudinal beam which gave the vessel its greatest
stiffness and from which the bow and stern were hung. This beam served
the purpose of a keel on the under side of the hull, for the ancient Egyp-
tian shipbuilder had not yet invented the keel. Between the timbers of
this framework the white pine deck planking was probably movable, and
on two of the models (O and Q) some of the planks had been removed
to give the rowers a chance to stand on a lower level when they began
their rowing stroke and to sit on the cross timbers at the end of each
stroke. On three of the models (N-P) an obviously movable cabin occu-
pies most of the deck from side to side of the vessel between the last five
timbers. Forward of the cabin on Boat O, being rowed, the planks were
taken up between the next seven timbers on each side next the gunwale,
the center of the deck, however, being covered. Boat Q has a very small
cabin which has been moved from the stern amidships, leaving space for
47
rowers on either side of it the full length of the ship from the forecastle
to the poop deck. In this way it was possible to put eighteen men at the
oars instead of only twelve as on Boat O, and it would seem likely that if
desirable, such an arrangement could always be made when the ship had
a small cabin aboard and extra oarsmen were needed. When the deck
planks were removed there would be about a meter between the cross
beams, or thwarts, which would be ample space for a good rowing stroke.
Each rower would start standing with his leg which was next the gun-
wale raised and his foot on the thwart astern of him and then give a long,
slow heave on the sweep which would end with him sitting on the thwart
forward of where he had been standing. Everyone who has been on the
Nile knows the long, slow stroke still used by the river boatmen.
The poop deck was a step above the main deck, like the forecastle.
The last cross timber of the main deck and the very broad cross timber
of the poop, which came right against it, were bored through to make a
stepping for the tall rudder post. Aft of the last stern cross timber came a
broad pine deck plank, tilting up slightly toward the stern of the vessel
and covering a small space where something might be stowed, if the hold
was crowded. The planking on the outside of the stern rose very sharply
at this point, until it was almost vertical all around the after part of the
ship, forming a rest for the gigantic steering oar. Inside this planking an
additional longitudinal brace, lashed to the inner surface of the hull in
two places, was provided for the after part of the vessel to give it greater
stiffness. Had this rib gone the length of the ship, it could easily have
become a keel, but it seems only to have existed in this high part of the
stern.
The ship's rudder post, apparently of oak or some other hard wood,
was from 3.50 to 4.40 meters high, depending on what we assume the
scale of these models to be (Plate 84). In any case, it must have been tall
enough for the steersman to move freely from side to side of the vessel
under the rudder shaft when the ship was under way, in order to see
around the cabin which was just in front of him. Since this post is always
set amidships, directly forward of the rudder rest in the high stern rail,
the rudder oar had a slight tendency to throw the bow off its straight
48
T H E MODELS OF M E K E T - R E " S BOATS
course, and that tendency in these models is invariably to port. The base
of the post, where it entered the deck, was square in section, but for the
greater part of its height the four corner edges were cut away, and at
the top they were rounded and slightly grooved. On the port side near
the top of the rudder post, a cow's horn was let into it, and the lashing of
black tarred rope at the end of the steering oar was passed several times
through this horn. The horn stopped the rope from running down the
post and the blade of the oar from floating clear of the water and thus
being powerless to turn the boat on its course.
The great single rudder oar was two-thirds as long as the whole hull
of the ship itself, for it measured some 8 or i o meters from one end to
the other. It was of the same hard wood as the post from which it was
hung—probably imported oak. The shaft, or stem, rested in a slight hol-
low carved in the high timbers of the stern, where it was held by one
lashing, and against the top of the rudder post with another lashing, so
that the blade, trailing aft, was partly submerged. It could be rotated by
a long tiller which pierced its shaft below the upper lashing. Since this
tiller was long enough to just clear the deck, the steersman could either
stand beside it, or he could squat on the deck and look along either side
of the cabin to see how the boat was headed.
The three ropes by means of which the great steering oar of the
ship was handled were made especially for these models. This is obvious
because their ends—particularly the looped ends of the black cords which
hold the rudders—are so often neatly finished off. At the top of the rud-
der oar there was the black tarred lashing which held the end of the shaft
against the post, where the horn prevented it from rising or falling.
Across the shaft where it rested in the stern socket another lashing held
the blade down in the water. In its simplest form this lashing was merely
a stout rope tied over the rounded shaft through two loops of tarred cord
passing through holes on either side of the after rest. In a more advanced
form this lashing was a loop of white linen rope made fast on the left
through the black loop, and on the right, held by an oak wood pin which
was permanently tied to the other tarred loop. When the pin was with-
drawn the untarred loop would naturally be freed by the rising oar.
49
Finally, there was a preventer line hitched twice around the rudder shaft
and made fast to a loop in the deck. When the vessel was securely moored
to the bank, the pin was withdrawn from the stern lashing, and the rud-
der blade popped up out of the water. The tiller was then pulled out and
the top rope cast off, after which the preventer line was pulled in and the
rudder was stowed on board the vessel until it was to be set in its rest
once more.
Immediately aft of the third cross timber on the main deck was the
mast stepping (Plates 70, 72-74). It consisted of three oak knees, of
which the central one, practically straight-angled, was pegged fast to the
main central beam of the deck, while the two side ones had horizontal
members bent slightly forward so that their ends could be pegged to the
third cross timber. The longitudinal deck beam of the ship was inter-
rupted aft of this point in the spaces between three cross timbers, and its
structural function was taken over by two lighter beams running length-
wise of the deck and separated by a space a little greater than the thick-
ness of the mast. Between these beams was a narrow deck plank. It is
probably due to an error that on two of the models (N and P) the cross
timber in the middle is painted as going right across this plank, for on the
other two models (O and Q) it stops at the two narrow fore and aft
beams. Perhaps a small block of wood may have been dropped into the
slot to continue the interrupted cross timber when the vessel was under
sail, to give the ship a bit more rigidity. The nature of the mast stepping
below the deck on the bottom of the ship is not known, of course, since
the model hull is a solid block of wood. The butt end of the mast on a
real vessel must have rested on the bottom of the hull, supported by
blocks.
Whenever the breeze favored, the mast was set up and the sail was
bent on the spars (Plates 33, 34, 36). Luckily, on one of the models under
sail (N) everything was fairly well preserved and still in place, but in all
other cases of boats sailing, the rigging had been wrenched away, leaving
nothing except the ends of a few cords which, however, are perfectly
consistent with the one complete sailing vessel we did find. Obviously
this destruction took place before the funeral because so much of the
5°
T H E MODELS OF MEKET-RE"S BOATS
rigging was missing entirely. Even on Yachts T and V where some rig-
ging did exist, both masts were broken, one being burnt and the other
one having a section lost, and there was only an incomplete lot of spars
left.4
When the sail was to be set, the first thing was to cast off any ropes
holding the mast and spars in place in the mast crotch, as shown on
Boat Q, and then to lift the crotch out of the mast stepping, in order to
make way for the foot of the mast itself (Plates 33, 34, 70). The crotch,
when not in use, lay on the deck forward. In hauling the mast up, most
of the work was done with the heavy forestay, made of alternating black
and white ropes for strength and pliability. One end of this was tied to a
ring in the top of the copper masthead and the other end eventually made
fast to the bow fender. The mast was secured aft, as shown on Boat N,
by a white untarred rope tied through the same ring at the masthead and
made fast to the rudder post, and on Boat P by from seven to ten black
tarred backstays made fast, perhaps permanently, to the rudder post on
that vessel. Four men, who stand in the bow of Boat P, and the lookout
were doubtless able to haul the mast up, while four other members of the
crew, and perhaps the steersman, guided it with the stay ropes. When the
mast was erect its foot was probably bound or locked in place in the same
way as on Yachts T and V.B
To hold the mast up there were also three pairs of double untarred
shrouds or stays passing through rings attached to three copper hoops
on the upper part of the mast (Plates 34, 70, 71, 84). The topmost of
these stays went aft to two men who would eventually make them fast
to two cleats on the poop rail, invariably represented by two daubs of
black paint. The middle pair of shrouds went to two men who would
pass them through cleats on the ship's rail abreast of the cabin. These
cleats are shown as being bound with black tarred ropes which not only
secure them to the rail of the vessel but give the cleat itself a roughness
which helps to prevent the shrouds from slipping. The lowest pair of
shrouds usually hung loose and were not attached to the rail, although
on Boat N they are provisionally tied through holes bored under the rail,
opposite the mast, merely to hold the mast in place. On a real boat going
5i
up the Nile, whenever the breeze swung around 20 degrees or more to-
ward the ship's beam, the windward of these two shrouds was made fast
in the windward cleat to give the mast more stiffness.
The spars now had to be set. The boom was fastened to the mast
with a simple cross lashing, and it was hung in place on twenty-six diag-
onal ropes, each one of which was permanently bound around one yard-
arm, carried up and looped about a tie over a hoop of papyrus on the
upper part of the mast, and then brought down and bound to the other
yardarm (Plates 34, 71). This great number of ropes was obviously
needed to support the very long, slender boom at as many points as pos-
sible, to prevent it from swinging from side to side when the vessel rolled.
Add to them the six double stays, passing through rings on the hoops on
the mast at intervals among the boom slings, and there is a veritable forest
of ropes on the upper part of the mast. The tip of the mast was sheathed
in a copper masthead, with a copper ring attached to the top for the
fastening of the fore and back stays, and another ring in front through
which to pass the eight halyards holding the upper yard. A rope from
each end of the boom, where the foot of the sail was made fast, served as
a sheet which was tied around the rudder post on Boat N . Apparently
there were no sheet ropes from the upper yard.
The sail was a rectangular piece of stout linen cloth almost twice as
wide as it was high, with a leech and bolt rope, made of twisted heavy
black and white strands, sewed around the edges (Plates 34, 38, 71). At
the four corners a tack rope was attached, which was wound around the
ends of the two spars and finished off with a hitch, spreading the sail out.
Across the head and foot of the sail a second rope, somewhat lighter than
the bolt rope and made of white strands only, was knotted at the four
corners of the sail and laced through the tack rope at intervals. At the
top of the sail this line was bound to the yard by another rope, which
was wrapped around it twice in each interval, and in addition, the hal-
yards were knotted around this rope, perhaps by an error on the part of
the model maker, for this means that the halyards had to be cast off every
time the sail was unbent. Today the foot of the sail on Boat N is made
fast to the boom at its corners only, leaving the light rope through which
52
the lace line at the top passes functionless. It would seem that the lace line
at the bottom was omitted by error, or that it was broken and we did not
recognize the fragments among the innumerable bits of cordage.
Five members of the crew are shown pulling on the eight halyards
which pass through the ring on the masthead (Plates 33, 34, 36, 70, 71).
The lack of pulleys with revolving sheaves and the friction of these ropes
one on another obviously made the raising of such a large sheet of canvas
an arduous task. It must have been possible, however, and once the sail
was up, the crew had only to make the halyards fast. This action is not
shown on the two traveling boat models, but those of the yacht show that
there was a loop of black tarred rope provided for the purpose in the deck
beside the mast stepping.6 To trim the sail, there were two sheet ropes,
tied to the ends of the boom, and they are shown on the models as made
fast to the rudder post. If the wind varied from dead astern, the boom
was hauled around with these ropes, and the bottom shroud, on the side
of the ship from which the breeze came, was set to take up some of the
strain on that side, as we have already noted; but if it veered more and
more broadside to the vessel's course, the round bottom and lack of keel
would allow too much leeway to be made, and the sail had to be lowered
and the oars got out, to avoid running aground.
When the ship was being rowed down river into the wind the rig-
ging was stowed so as not to interfere with the oarsmen (Plates 37, 72,
74). Loosing the central tie of the lower yard permitted it, with the up-
per yard, to be swung parallel to the mast. This was then removed from
its stepping, and the crotch was set in its place. The mast with its two
spars was laid in it, with the butt end of the mast toward the bow and its
head aft. The crotch was almost as high as a man and was apparently
made of pine, as it is invariably painted white. While we found one such
crotch in place on Kitchen Tender S, no spars and mast were resting in it,
but they obviously had been so placed. Since they would have rolled off
the rounded cabin roof and got in the way of the steersman, they must
have been laid in the shallow groove on top of the rudder post, where
they could be lashed in place, as we put them on Traveling Boat Q on
Plate 37. The sail had already been unlaced from the spars, for on that
53
model we found it folded up and laid on deck aft, but it is fair to suppose
that it would have been stowed below deck on a real ship.
The oars used on the traveling boat had spoon blades which were
painted white, the handles being red. When found, the oars were in-
variably slipped into the loops of rope which served as rowlocks, as they
would have been when the ship was under sail, to prevent their being
broken or lost when the models were being carried to the tomb, but on
Plates 37 and 72 they are shown as they would have been when the boat
was being rowed. The tops of the handles were whittled to fit into the
hands of the rowers.
The cabin of the traveling boat was probably a light, movable shel-
ter, usually set up over the after part of the main deck but occasionally,
as in one model (Q), moved forward to a point just aft of the mast step-
ping and facing aft instead of forward (Plates 33, 35-39, 70, 72-74). On
these models the cabin varies from a simple shelter open in front and
walled all the way across behind, to a more complicated structure which
was probably closer to reality, the differences probably being due to the
idiosyncrasies of the makers of the models, since each type of cabin is
fairly consistent on the two types of models. In its simplest form the sides
of the round-topped cabin are shown as covered with varicolored rugs,
like curtains, and the end wall is painted white to represent linen canvas;
the two most elaborate cabins are decorated in addition with bull's hide
shields, hanging in pairs on either side.
The two most complete models, Boats N and Q, show that in reality
the structure of the cabin was about as follows (Plates 38, 39, 84). The
framework was of wood, covered inside with white linen canvas. There
was a door in the back wall, just to starboard of the rudder post on the
axis of the ship, and another door in the middle of a partition which
closed the sleeping quarters off from a little porch in front. In every case
an actual wooden door was hung in the doorway, hinged in a loop of rope
above and in a wooden socket which was attached to the doorsill below,
so that when the cabin was moved the door went with it. The shallow
porch at the front of the cabin was just deep enough to shelter a chair.
The inside room had a barred window on each side, which could be
54
closed by the rugs covering the cabin roof. The cabin on Boat O has the
rugs rolled up to let the breeze blow through to cool it off. Inside the
cabin on Boat N there is a bed with legs like those of the deck chair,
turned inward and resting on knobs. Under this bunk there are stowed
two little traveling trunks with vaulted lids, painted brown to imitate
leather. In the cabin of Boat Q the trunk is a simple wooden box, painted
white.
These models of the dahabiyeh of Meket-Re' are all brightly colored,
from the glistening red copper masthead to the yellow hull of the vessel
(Plates 33-39). The colors are unquestionably those of the real ship, but
since the models were never intended to be put into water, the paint on
them did not have to resist dampness, and simple water colors were there-
fore sufficient.7 The outside of the entire hull was painted with yellow
ochre up to the rail. The interior of the hull and the gunwale were given
a coat of red ochre, as were the deck beams, the rudder post, the steering
oar, and the bow bumper. The deck planks were presumably of imported
pine or some similar wood, for they are invariably painted white. The
cabin was a brightly colored structure with its top covered over with
green and yellow linen rugs, except for the back which was of plain white
linen canvas, or canvas fastened to the red wooden framework in which
the red door was hung. The shields hanging on the sides of the cabin were
of spotted black and white or red bulls' hides, with the hair left on them.
The cordage was natural white linen, except such fixed stays and lashings
as needed extra strength and did not have to be pliable, and those were all
black to represent tarring. The mast was painted yellow, and its head
and three shroud hoops were of copper; the spars were yellow with
black stripes; and the mast had a complicated pattern of white papyrus
lashings and black ropes crisscrossing to support the white linen sail.
To man this vessel a crew of from fifteen to twenty-one is shown
upon its deck (Plates 33-37). First there is the captain, who is always
shaven headed, since he is of the effendi class, and this is true even on
Boats N and O where all the rest of the crew have thick mops of black
hair. He wears a long white skirt from his waist to his ankles, because he
was never supposed to do any heavy work, and on Boat N he carries a
55
staff of office. On the other three models he stands on deck facing

Meket-Re' with his arms humbly crossed over his breast, awaiting the
orders of the great man. Next in rank are the steersman, who stands or
sits beside the tiller, and the lookout, who stands in the bow, holding a
bumper covered with spotted bull's hide in his right hand and pointing
out the course with his left. Both helmsman and bowman on Boats N
and O have bushy hair, showing that they are only members of the crew.
On both models of the ship under sail the four men who have just hauled
on the forestay and made it fast to the bow stand just aft of the forecastle,
with no further duties for the present; five others pull on the halyards be-
side the mast; and four more squat on the deck holding shrouds and back
stays, ready to belay them to the cleats on the gunwale beside the cabin
and abreast of the step up to the poop. The crew, including the captain,
thus consists of sixteen men on the two vessels making sail. On Boat O,
where the crew has the oars out, there are twelve men rowing, who, with
the captain, lookout and steersman, make fifteen in the ship's company,
while on Boat Q there are eighteen men rowing, who, with the three
others, make a total of twenty-one.
On all four traveling boats Meket-Re' himself, clad in a long white
garment draped over one or both shoulders, is seated on a stool or on a
low-bottomed, high-backed chair (Plates 38, 39). He is smelling a lotus
bud or a partly opened lotus flower, and listening to his musicians or giv-
ing orders to the captain, who stands before him. Usually he is in the cool
shade of the cabin porch, but on Boat Q where the crew of eighteen oars-
men is tugging away at the oars as the vessel heads into the wind, he has
ordered the movable cabin to be turned around so that its open end faces
aft out of the wind, while he has had his stool moved up on the forecastle
deck. There he sits to windward of the crew. On this boat and on the
large vessel sailing up stream (N) a steward sits inside the cabin, keeping
a watchful eye on the master's luggage and handy to his call.
To beguile the tedium of long hours of river travel, a singer, seated
on the deck beside Meket-Re"s chair, is shown on Boats N and O, and on
the latter ship a harpist accompanies him (Plates 38, 39, 77). The singer
pats his lips to give his voice a warbling note, still much affected by solo-
56
THE MODELS OF MEKET-RE"S BOATS
ists along the Nile. The harpist is blind but, as is so often the case in
Egypt today, that disability does not prevent his accompanying the singer
on his instrument. With someone to lead him around, a blind musician
was not so badly off. The musician's harp is in front of him, sitting in its
special wooden rest on the deck. This rest, painted red, has a crosspiece
mitered near the back to make it sit squarely, a block in front with a
socket in it to hold the foot of the harp, and a slightly curved and hol-
lowed-out cradle in which the instrument stands. The harp itself is
painted yellow, and its sounding box is painted to represent a covering of
black and white spotted bull's hide. Its white wooden bridge is pierced
for seven strings, and there are seven alternating black and yellow pegs
let into the end of the curved neck. Originally the harp had real gut
strings.
2. THE KITCHEN TENDER. MODELS R, S.

Meket-Re"s river travels were evidently such that a kitchen boat had
to accompany his dahabiyeh in order to provide food and drink for him
and his companions (Plates 40-44, 75, 76). Two models of such a tender
were found in the sirdab of his tomb (R, S). Since the traveling boat was
not very large, cooking meals on board would have been a nuisance to
the great man, and therefore the kitchen boat followed behind and was
moored alongside at meal times. As in the case of the traveling boats, the
two models probably represent only a single real boat, in one case (R)
sailing and in the other (S) being rowed, but the activities vary on the
two models. On Boat R, now in Cairo, jars of beer and wine standing in a
rack, joints of meat hanging on ropes strung between two posts, and two
baskets, probably assumed to be filled with bread, are all stowed inside the
cabin, while forward on deck near the mast stepping there are a large
jar with domed stopper, presumably full of fermenting beer, and a brazier
for cooking. On Tender S, now in New York, flour is being ground,
dough mixed and shaped into loaves and cakes, and the bread baked. On
shipboard, as on shore, the tasks of baking and brewing went hand in
hand.
57
The construction of the kitchen tender was exactly like that of the
traveling boat, described above, and both models are obviously the work
of the same makers (Plates 75, 76, 84). The cabin on Tender R is deco-
rated with two bull's hide shields on each side; on Boat S the cabin is un-
derrated and is closed at the back. The small post in front of the cabin
on the former boat was specially erected so that the ends of the ropes on
which the cuts of meat were hung could be attached to it; the other ends
of the ropes were made fast to the rudder post at the rear of the cabin.
The personnel of the crew on the kitchen tender was the same as on
the traveling boat, fourteen men being needed when the boat was under
sail, and only ten when it was being rowed, of which the lookout and the
helmsman were two in each case (Plates 40-44, 86). All the men in the
crew, as well as the menservants, are painted dark red and have smooth-
shaven heads. The crew on Tender R is in the act of hoisting the sail,
but this and its mast and spars were missing when the model was found
by us. The mast crotch was lying on deck forward. The ropes from the
sail still remained in the hands of the men, showing that the boat was fully
rigged when the model was made. The lookout holds in his right hand a
black and white spotted bumper such as we have already seen in use on
the traveling boat. A mooring peg was found on the deck. Fewer oarsmen
were apparently needed on the kitchen boat, only four on each side be-
ing shown on Tender S, but this may be because there was not room
enough for more, since the hull is shorter, even though wider, than that
of the traveling boat. The men are seated on the thwarts as they row and
not standing as on the traveling boats. In the photograph of the traveling
boat with its kitchen tender now in the Metropolitan Museum (Plate 43),
the oars have been removed from the rowers' hands on the kitchen boat
and have been slipped in the oarlock loops lengthwise along the gunwale,
as they would have been when the vessel was under sail. It was in this
position that we found them, for they had been so placed for convenience
and safety in carrying the model to the tomb.
In addition to the crew there is one manservant at work on Tender R
(Plates 40, 41, 44, 77). He is seated on the forward deck, beside a four-
legged brazier on which a bowl of stew or pudding is cooking. In his right
58
hand he holds a fan to blow up the fire in the brazier. The servants at
work on Tender S consist of two women grinding flour, four men mixing
dough and shaping it into loaves and cakes, and one man tending a baking
oven. The hand mill in front of each of the women is single and not
double like the heavier ones in the bakery and brewery model already de-
scribed, and it is set on broad feet front and back instead of having a solid
pedestal, since it needed to be light and easy to move for use on board
ship. The mills are painted yellow and the millstones the women are using
are left in the natural color of the wood, to represent gritstone. Like the
women in the bakery model, these servants wear white shifts, with a strap
over the left shoulder, and have their hair drawn back over both shoul-
ders to keep it out of the way. Behind the two women is a rectangular
tray like the one in the brewery, probably for the dough containing the
yeast left over from the last batch, and it also is set up on four feet so that
it can be moved easily. Near these women is one of the men mixing
dough in a vat, and in the center of the deck near the mast crotch is the
oven with a man tending it. Inside the cabin are three other men, one of
whom is standing in a red vat mixing the mash with his feet, while at the
same time he is shaping dough into loaves on a round white slab set on
top of a similar red vat. A second man makes lumps of dough into cakes
on a sloping rectangular board before which he is seated. Beside him are
two barrels, probably containing flour or perhaps already-mixed dough.
The third man stands before a vat on top of which is a tray of cakes he is
arranging for the baker. The baking oven is a tall square stove like two
in the bakery model except that it is set up on feet. It is painted black
with streaks of red on top to show that it is hot. The baker, fan in hand,
is seated before the fire hole in the front of the oven, on top of which is
a black pot with a lid.
5. THE YACHT. MODELS T-W.

It is hard to say whether the makers of the four boats T - W (Plates
45-50) thought of them as models of an actual yacht in which Meket-Re'
took his ease in the cool of the evening on the river, or of a funerary
59
barque for the voyage of the dead man to and from Abydos. Perhaps
their makers were not very clear on this point themselves.
On all four boats a figure of Meket-Re' sits enthroned on a primitive,
blocklike chair which probably had not been used in actual life for count-
less ages, as if his dead spirit were thought of (see Plate i ) . But on two
boats (T, U) he is accompanied by his son, In-yotef, who is seated on
the deck beside him with one leg under him and the other knee up, an
attitude which would not be adopted if the son were sitting beside a
funerary statue of his father. The carving of these four little figures is
the work of a real sculptor, who lavished great care on them, and they
are more statuesque perhaps than the figures, of Meket-Re' on the travel-
ing boats. In front of Meket-Re' on one of the models (T) there stand
three offering bearers or priests, shaven-headed and wearing long white
skirts, who hold respectively a censer, a ceremonial leg of beef, and a
papyrus scroll on which is inscribed in black ink, "a thousand of bread
and beer, a thousand of beef and fowl."' On all four boats there is also a
large hes vase, in two cases (T, U) bearing Meket-Re"s name; These de-
tails suggest a funerary ceremony, but since Meket-Re' and In-yotef are
similarly represented on the Sporting Boat (X), which can in no sense be
thought of as a funerary barque, the idea that these models were to be
buried with their deceased owner must have influenced the makers in
their representation of him. Personally I am inclined to consider the fig-
ures of Meket-Re' as those of the living man and their likeness to tomb
statues as an idiosyncrasy of the makers, and therefore I shall refer to
these boats as yachts and not as funerary barques.
The hull of the yacht is lighter and narrower than that of the trav-
eling boat. The four models average 13 2 centimeters in length, but they
have a beam amidships of only 28.5 centimeters and narrow rapidly both
fore and aft (Plates 78-81). We have no accurate data on which to base
an idea of how much freeboard there was on a real yacht, but it was prob-
ably very little. Here the boat was propelled by men who squatted on the
deck and held their paddles upright, so that less freeboard was necessary
than on the traveling boat. That the yacht sat very low in the water is
more than likely, for it had a half-round splash rail running the length of
60
the waist of the vessel. The hull on the models is painted light green,
ornamented along the gunwale with a band of stripes of various colors—
blue, white and yellow, or yellow, red, white and black in different
combinations.
The striking difference, however, between the hulls of the yacht
and of the traveling boat was in the bow and stern (Plates 78-81, 84, 85).
Both bow and stern were exaggeratedly long and roughly cylindrical, the
bow-piece turning up almost vertically and the stern-piece curving for-
ward and then up, and they terminated in large knobs, or buttons, obvi-
ously imitating conventionalized ends of bound papyrus stalks cut off just
above a tie. This is typical of a class of vessel usually connected with
funerary barques, the form of which was carried over from the primitive
papyrus raft into boats of wood.8 Prow and stern are painted yellowish
brown, in two cases with blue zigzag and in two with black crisscross
lines on broad white bands on either side, representing formalized stitch-
ing. Obviously the model is decorated to simulate a bow and stern
sheathed in some sort of fabric, possibly leather, laced tightly in place.
A band of colored stripes indicates the tie at the base of the knob.
The main deck was not sunk below the bow and stern as on the
traveling boat, but otherwise it was constructed in the same way, with
beams painted red and the deck planks white (Plates 78-81). Since the
paddler did not have to tug on the shaft of a long, almost horizontal oar
and could squat on deck, the deck planks are all in place on these model
yachts, but they are represented as being movable.
The steering gear of the yachts was doubled by having a rudder oar
on both sides of the high stern post, which because of its shape prevented
a single rudder from being installed on the ship's axis, as on the traveling
boat (Plates 78-81). The next to the last cross timber—or the second
from the last, as it is represented on two of the models—was apparently
thicker and stronger than the rest, and close to its outer ends two sturdy
rudder posts were erected. On two boats (V, W ) the top of each post
was decorated with a hawk's head. To these posts the upper ends of the
rudder oars were lashed. The stern narrowed to almost nothing, and
above its last cross timber a beam was attached, half round in section and
61
long enough to overhang the water on either side of the stern, thus pro-
viding a firm rest for the two steering oars. The oars were lashed to this
rudder rest with ropes which passed through loops of tarred rope let into
the rest on either side of each oar. Preventer lines to counteract the drag
on the rudders were tied to loops of tarred rope let into the deck (T, U)
or into the ends of the rudder rest (V, W ) . The lashing of the upper ends
of the rudder oars to the posts was of the simplest, the oars being longer
than those on the traveling boat and the tillers set forward of the posts,
thus stopping the rudders from drifting free of the lashing, if the pre-
venter lines went adrift.
The models of Meket-Re"s yacht, like the traveling boats and
kitchen tenders, show it being sailed up river before the following breeze
(T, V) and being paddled down stream (U, W ) (Plates 45, 78, 85).
When they were sailing there was very little difference in the simple rig-
ging of the two classes of vessel—the yacht and the traveling boat. Models
T and V were fully rigged when they were made, and on Plate 45 Yacht
T is shown with the rigging replaced as far as possible, considering the
condition in which we found it.9 The forestays were made fast around
the top of the prow, and the halyards were tied through heavy loops of
tarred rope let into the deck aft of the mast stepping. On Yacht T a simi-
lar loop of tarred rope let into the forward deck doubtless was used to
make fast a mooring rope, thus serving the same purpose as the hole in the
bow fender of the traveling boat. On one yacht (T) a loop of tarred
rope was tied through holes on either side of the mast stepping, and when
the mast was set in place a wooden pin was slipped through these two
loops, effectively holding the mast in the stepping; and on the other (V) a
stout rope was wound round and round the upright part of the mast step-
ping to hold the mast in place. Bits of shrouds and backstays of thin tarred
cordage existed on Yacht V, tied through holes in the rails and in the
rudder rest on the after deck.
There was no real cabin on the yacht, a simple canopy to shade the
owner from the blazing rays of the sun being all the shelter needed on
such a pleasure boat (Plates 45-49). The construction of the canopy was
that of an ancient type of shrine or baldachin, and a form of it appeared
62
on all funerary barques. The light roof, arching up from a cavetto cor-
nice across the front, was supported by four tent-pole columns, the shafts
of which were decorated with blue and yellow horizontal bands. The
open sides allowed the cool river breezes to pass across the deck. Because
the deck sloped forward slightly under the canopy, a wedge-shaped plat-
form, painted white, was put under Meket-Re"s chair, to make a level
place on which it could sit.
In addition to Meket-Re', In-yotef, and the offering bearers already
referred to, there are on Yacht T five officers, whose skins seem to be
painted the same dark color as the crew but who are distinguished by
their longer white kilts. Two of these men hold scepters in their right
hands, and their left arms hang at their sides; two others are in a more
subservient attitude with both arms crossed on the chest; and still another
has the left arm only so crossed and holds a scepter in his right hand. The
crew of this yacht consists of thirteen men, nine of whom are in the act
of hoisting the sail, which is now missing (Plates 45, 47, 50). In the stern
are the two steersmen, standing beside the tillers on the rudders; on the
forward deck there is a man holding a hide-covered bumper and another
man with a punting pole, who leans forward pushing the boat off. On
the deck near these last two lie another punting pole, a mast crotch, two
mooring pegs and the mallet for driving them in, and a gangplank. The
other model of the yacht sailing (V) has only one officer apparently, and
he stands before Meket-Re' with both arms crossed on his chest. Three
men on the forward deck may be officers but are more likely additional
members of the crew. The latter consists of eight men hoisting sail, now
missing, and the two steersmen.
On the two models of the yacht being paddled (U, W ) there are
five officers on Yacht U and probably only two on Yacht W (Plates 46,
48, 86). The man on the forward deck may have held a scepter, but it is
more likely that he is the lookout, who held in his right hand a bumper,
now missing, as on Yacht T. The crew on these yachts consists of sixteen
paddlers, eight on each side, and the two steersmen at the rudder oars.
The paddles are painted black, with yellow bands just above their flat,
pointed blades.10
63
On each of the yachts there stands on deck in front of Meket-Re' a

large hes vase, painted yellow with white bands, those up the side deco-
rated with black zigzag lines representing stitching (Plates 50, 77). On
Yachts T and U the vases are inscribed around the shoulder, below the
white band, with a horizontal line of hieroglyphs containing the name of
Meket-Re', confirming his ownership of the boats. The inscription is an
offering formula:
"A boon given by the king (and by) Osiris, Lord of Busiris; an invoca-
tion-offering (consisting of) bread, beer, beef, and fowl, for the one in
honor, the Hereditary Prince, Meket-Re'."
4. THE SPORTING BOAT. MODEL X.

Two other boats, to supply Meket-Re' with fowl and fish through
the ages, completed his fleet of vessels, if we may judge from the models
found in his tomb. The first of these is a Sporting Boat (X)—a fishing and
fowling skiff, which was a modification of the types of boat used for
traveling and pleasure (Frontispiece and Plate 51).
The hull of the skiff was fairly long but very narrow and low-sided,
and on the model it is painted black outside, with the deck beams red and
the planks white (Plates 82, 86). There was no fender attached to the
bow as on the traveling boat. The deck amidships, provided with wide
rails, was a little below the level of the fore and after decks. The stern
was low and open, since the outer planking did not rise abruptly around
the afterdeck, as on the traveling boat, and it terminated in a broad, flat-
topped knob, similar to that on the yacht. The skiff is shown being pad-
dled, the crew of six men who wield the paddles sitting on deck with one
leg under them and one knee raised. The usual mast stepping existed, so
the boat could be sailed if desired, but the mast must have been short and
light, for the stepping and the slot for the mast were smaller than on the
traveling boat. A small mast crotch and a fragment of the mast were
found near the model.
64
The steering gear on the sporting boat was a curious combination of

the two types we have already discussed. Because of the shape of the
stern, the rudder oar could not be mounted as in the traveling boats. In-
stead of two oars as in the yachts there was only one extending from the
longitudinal beam, where it was lashed to a rudder post, to the starboard
side just forward of the stern. The rudder presents no new features, but
the method of hanging it shows two differences. In the first place, the
rudder post was an oblong plank with a square crotch in the top in which
the upper end of the rudder oar rested and was lashed, with the tiller for-
ward of the post. The rudder rest on the starboard quarter of the hull was
a wooden hook, lashed to the gunwale by two wide ties, which are repre-
sented on the model by patches of black paint. The rudder oar was held
in place in this hook by a rope wound round and round them and tied to
a hole bored in the gunwale just aft of the hook. Apparently no preventer
line was needed on the rudder oar. Thus the rudder was permanently set
to throw the boat's bow to starboard. To steer the bow to port, the tiller
would have to be thrown hard over, and the boat would lose a good deal
of headway. Obviously, speed was not possible or required on this type of
vessel.
In place of a cabin on the sporting boat there was only a shelter with
a rounded top supported on a grille of light wooden poles (Plates 51,
82, 83). The top of the shelter is represented as covered with a colored
rug, and on either side of it hangs a black and white spotted bull's hide
shield, attached by red crisscross lines indicating stitching. Lashed to each
side of the grille below the covering are four black poles for a clap-net in
which ducks and other birds were snared. Just below the rounded top of
each pole is a groove for the net cord; the bottom end is pointed, to stick
into the muddy bottom of the marshes. There were also nine black net
pegs, four of them with notched tops to hold the ropes, which were
found tied together with cord.
Meket-Re' and his son sit on deck watching the various activities
taking place on the boat (Plates 51, 53). Meket-Re' himself is seated on
a blocklike chair similar to the one on the yacht. In-yotef sits on deck be-
side his father, with his left knee raised and his right leg under him. Both
65
Meket-Re' and In-yotef have shaven heads and are painted the light
yellow color indicative of members of the leisure class. Their figures are
too large in scale to sit under the shelter, but the maker of the model
probably intended that they should do so. Perhaps, however, the shelter
was supposed to serve only as a place to store the birds which had been
caught in the clap-net before it was dismantled and stowed away. Some
of the birds are being brought to Meket-Re' by a girl and a man. The girl
wears a long white shift, over the shoulders of which is a bead net,
painted green, red, and yellow, which is not unlike that on the offering
bearer girl described above, but is much shorter. She also wears a broad
collar, bracelets, and anklets, made of beads of various colors, and around
the top of her head is a white fillet with its ties hanging down behind. In
her right hand she carries a mallard duck by its wings. The man accom-
panying her has been engaged in netting birds for he has a broad white
band over his left shoulder to protect it, and in each hand he carries a
bunch of coots tied together by their legs. The man standing in the waist
of the skiff is an overseer, obviously a member of the effendi class like
those shown in the models of Meket-Re"s estate, since he is painted light
yellow and has a shaven head.
In addition to the man carrying coots, there are four men who are
engaged in harpooning fish and attending to them after they are landed
on deck (Plates 51, 53, 83). All these men are represented as dark-
skinned from exposure to the sun and have heavy heads of hair. Two men
on the forward deck are throwing harpoons, and on their left wrists hang
the reels on which the lines from the harpoon points were wound. Two
large fish have been caught, one a long red Mormyrus which is being car-
ried on the shoulder and outstretched arm of the fisherman standing be-
side Meket-Re'. The other, a flat white Tilapia nilotica, or bolti, lies on
deck at the feet of a fisherman, who is kneeling down to remove the har-
poon point from it. The men all wear short white kilts and have a broad
white strap over the left shoulder to protect the skin when hauling on the
ropes of the bird net.
The lookout on the forward deck, who holds a forked punting pole,
the helmsman at the tiller in the stern, and the six men paddling the skiff,
66
three on each side, constituted the personnel needed for such a boat.
Lying on deck at the feet of the lookout is a mooring peg. The paddles in
the hands of the men are similar in all respects to those used on the yachts.
j . A PAIR OF FISHING CANOES. MODEL Y.

The model of two canoes with a trawl between them (Y) which was
found with Meket-Re"s other boat models was also included to provide
food for him. This model obviously represents actual papyrus rafts, made
of bundles of papyrus reeds bound together at frequent intervals—the
earlier craft made by the Egyptians and especially suited for use in
swamps and marshes (Plates 52, 53).11
In the model the canoes are painted bright green, with yellow ochre
lines indicating the binding of the bundles to each other. The bow and
stern curved upward above the last tie, the stern ending in a thick knob
and the bow in a similar but much smaller knob, representing the cut-off
ends of the reeds. An extra bundle was added on each side to form a
round gunwale, and a large bundle, roughly rectangular in shape, was
placed inside to make a level deck, marked on the model with longitudinal
black lines. To accommodate the trawl net stretched between them, the
two model canoes were mounted on a flat board, painted green to repre-
sent water. The net, a big pocket, its opening facing in the direction in
which the canoes were paddled,12 was made of white rope with heavy
black rope around the edge of the opening and reinforcing the center of
the bottom. The upper edge of the net opening was supported by eight
floats of unpainted wood on the presumed surface of the water, and the
lower edge was held down by seven sinkers, probably of lead or stone
since they are painted a dark color. To either side of the opening were
tied the heavy ropes which went to the hands of three men on board each
of the canoes, who dragged the trawl along as the boat was propelled
through the water. Because the net was heavy when full, each of these
men wore a wide white band over his left shoulder, to protect his skin
when he threw his whole weight into the job of hauling on the rope.
In addition to the three men dragging the net, there is on one of
67
the canoes in the model another fisherman, who also wears a band over
his shoulder but is seated on deck, helping to land the fish as they are
caught. He holds a fish in his left hand, and two others lie on deck near
him. These fish and several others caught in the net can be identified as
well-known kinds of Nile fish—the bolti, bynni, Mormyrus, and Nile
perch. The fishermen are shown as dark-skinned, with heavy heads of
dark hair, and they wear short white skirts.
Each canoe was paddled by two men sitting on deck fore and aft.
Except that they have no band over the shoulder, they are just like the
fishermen. At the time the photographs shown on Plate 52 were taken,
the canoes were by error assembled with the paddlers sitting as though
they were rowing, facing the stern instead of the bow, and with their
paddles grasped in their hands like oars. This mistake was due to the fact
that when the canoes were cleared of the debris on them, the men did face
in the wrong direction and must have been turned around on the pegs
which held them in place on deck by mistake when they were made.
Because of the position of the men, we also turned the trawl around and
wrong side up, but it should, of course, face in the direction it is being
dragged and not toward the stern, as in the photographs. However, the
open end of the trawl was facing forward as it should be when we found
the model, as can easily be seen in Plate 5. The paddles are just like the
ones already seen in use 6n the yacht and the sporting boat, painted black
with white lashings.
1. See below, p. 76.
2. See R. O. Faulkner, Journal of Egyptian Archaeology, vol. 16 (1940), pp. 3-9.
3. Cf. two actual contemporary ships found at Dahshur and now in the Cairo
Museum: J. de Morgan, Fouilles a Dahchour, mars-juin, 1894, pp. 81-83, pis.
XXIX-XXXI; G. A. Reisner, Models of Ships and Boats {Catalogue general
des antiquites egyptiennes du Musee du Caire), 1913, p. 83, no. 4925; p. 85,
no. 4926.
4. See below, pp. 98, 100.
5. See above, p. 62.
6. See plates 76 and 84.
7. Possibly the hull of an actual boat had a coating of beeswax applied at least to
all parts which were submerged or exposed to the wet, but there is no evidence
on this point other than the obvious fact that a boat coated with watercolor
68
could scarcely have made a single river voyage without ending a very sorry
sight. The use of beeswax is suggested because it would not greatly alter the
colors of the paint, and it would resist dampness, while the ancient Egyptian
varnish, which was merely a water-soluble gum, dissolves when it is wet even
today.
8. Reisner, ibid., pp. xvii-xxi. Cf. M.M.A. 14.3.23.
10. When the model was found the paddles had been stacked on deck, as shown
in Plate 46, for convenience in carrying the model to the tomb, but the ends
were whittled to fit into the paddlers' hands, which in some cases were stained
with the black paint on the paddles.
11. Reisner, ibid., p. xvii; James Henry Breasted, Journal of Egyptian Archaeol-
ogy, IV (1917), pp. 174 ff. and see also p. 255.
69
V
GENERAL REMARKS
ON THE MODELS
T . HERE can be no doubt about the purely Theban character

of these representations of ancient Egyptian life. Models from the north
always have houses and shops painted gray to represent Nile mud plaster,
for in the Memphite region there is no desert clay which would serve to
cover over mud-brick walls. Theban models like those belonging to
Meket-Re' invariably have walls and ground painted with yellow ochre
to represent the desert clay called hib by the modern Egyptians. Then,
too, the subjects shown in Upper Egyptian models are not always the
same as those of the neighborhood of Memphis. This is not so much that
the people of Upper and Lower Egypt had different customs as that the
model makers of the two regions were in the habit of showing different
activities. Thus, carpenter shops found at Sakkareh usually have a man
with an adze making a wooden pillow on a chopping block, or using a
bow drill—things never shown in Theban models. Sometimes groups
from the North show potters and stone vase makers, but apparently no
such trades are to be found in any southern models. On the other hand,
7i
it would seem that a residence, such as A and B, or a cattle census, like C,

are representations not known in the North. At the time Meket-Re' was
a young man Egypt had been separated into two countries for some
eighty years,1 and it was apparently just at this time that the making of
large wooden groups of figures became general.
The color used to paint the skins of the men and women in the
various models belonging to Meket-Re' is typical of what we should ex-
pect among the people of Upper Egypt. Men of the higher social classes
are usually represented in the models as having light complexions and
shaven heads. This is always true of Meket-Re' himself and his son, when
the latter is shown with his father. The same smooth heads and light
colored skins are given to offering bearers, scribes, and overseers, to all
but one of the butchers, to the cooks and brewers, and to four of the
carpenters, all of whom worked in the house. Herdsmen, cattle feeders,
a man plucking a goose in the butcher shop, and all carpenters except the
four mentioned seem to have led outdoor lives, for they have heavy black
hair and all are sunburned and therefore painted a rich, red ochre color.
The same convention holds on one pair of boats—one boat under sail (N)
and one being rowed (O)—as well as on the Sporting Boat (X) and the
Fishing Canoes (Y). Here again, Meket-Re' and his son, the officers car-
rying batons, the stewards, and the musicians did not have to expose
themselves to the sun and had their hair shaved off for coolness. On these
ships, however, all sailors, the fowlers, and the fishermen, who led out-
door lives, have thick black hair as a protection from the hot sun and are
dark complexioned. On the other boats—Traveling Boats P and Q, the
Kitchen Tenders (R, S), and the four yachts (T-W)—no such distinc-
tion is made between those who led sheltered and those who led exposed
lives. The men in those models have shaven heads. All women, of course,
have long hair and light colored complexions.
The native sycamore-fig tree supplied the wood for those bulkier
parts of the models such as the hulls of the boats and the walls of the shop
models which required no detailed carving. The latter were constructed
of sycamore boards from 2 to 3 centimeters thick, they usually had a
cleat underneath each end, and in the better-made ones the corners were
72
GENERAL REMARKS ON THE MODELS
mitered. Good joinery was impossible, however, with such soft and
coarse-grained timber, and the cracks and joints—some clumsily wide—
were filled with plaster and glue (gesso) which was spread smoothly over
the whole surface. When a crack developed in the poorly seasoned planks
of which the large cattle review model (C) was made, it was hidden
under a repair of such gesso, and in the models on which a roof was put
after their completion (E, J) painted gesso was used to mask the cracks.
The paintbrushes were made of black hairs, a few of which were shed in
the paint and are still stuck to the models. Only the two models of the
Residence (A, B) were made of better material—a straight-grained, co-
niferous wood which was probably a pine or cedar imported from Asia
Minor or Syria. In these two models not only was the material better but
the joinery was excellent, with mitered corners masked on top in the
manner of the best Middle Kingdom boxes and coffins.
Almost all accessories which required a certain amount of detailed
carving were also made of the same coniferous wood as models A and B.
Exceptions were the bulky bodies of cattle which might be made of syca-
more, but if they were, the legs, ears, horns, and tails were of pine. Other
exceptions were dictated by a desire for realism. In the Carpenter Shop
(J) the plank being ripsawed is pine, but the sawyer's post fixed upright
in the court is native acacia, as it very likely was in actuality. For the
same reason mooring pegs and mallets on boats might be of native tama-
risk (U, W ) , and mast steppings and steering oars of an imported hard
wood, which is probably oak (N-S). Likewise, copper was used for the
blades of carpenters' tools (J) and for the fittings on a mast ( N ) . The use
of copper to line the tanks in the residence models (A, B) was, of course,
not realistic but was due to the desire to make them capable of holding
water. The sails of the boats were of linen, and the cords were made espe-
cially for the models. The heavy cord in the cabin of Boat O was made
by taking a bunch of linen threads about 260 centimeters long, doubling
them over in the middle, twisting them together, and knotting them at the
end. The same method was employed in making all the lashings of rud-
ders, the doubled-over end of each cord providing the necessary loop.
All the figures of men and women were carved out of coniferous
73
MODELS F R O M T H E T O M B OF MEKET-RE*
wood. Those of Meket-Re' and his son on Yachts T and U were made by
special artists. Those of workmen and sailors were turned out by other
makers in quantity, the bodies and legs carved in one piece, and the arms
made separately and pegged on, with the joints at the shoulders liberally
smeared with gesso. In this fashion a few stock types of bodies could be
put to an infinite number of uses. A squatting man could be made into a
carpenter, a sailor or a cook according to the arms given him, and a stand-
ing man could be a herdsman, a harpooner, or a worker in a granary.
Even the arms themselves were whittled out in quantities, and clenched
hands were usually drilled through, whether they were to hold anything
or not. Two methods were in vogue for the treatment of the feet. Some
makers carved them in one piece with the legs, and set pegs under them
for fastening the figures in place. This was almost invariably the way the
figures of women were made, except for the two big Offering Bearers
(K and L), whose left feet are separate pieces of wood.2 The other
method was to have the legs terminate in' pegs which were set in holes in
the pedestals, the feet being modeled separately in gesso, which was
squeezed into place while still soft.
Hair was painted black, shaven heads light red, eyes black and white,
and garments white; flesh tones were brown and yellow. Both flesh and
hair were varnished with a water-soluble gum, and the colors as they exist
today probably vary somewhat depending on the grade of varnish used.
The brown of the figures on Boat S, and presumably in all other cases
where this color exists, was made by varnishing over a deep yellow ochre.
This can be seen on the legs of the man kneading dough in the tub on
Boat S, where by an oversight the varnish was omitted and where the
color therefore remains unaltered. Yellow was probably obtained by var-
nishing a very light ochre. This varnish has darkened from exposure to
sunlight since the models were unearthed.
Nearly every figure of a man or woman had a bit of linen wrapped
around it to represent clothing—an additional touch of unnecessary real-
ism, since all were carved as clothed figures. The only ones without this
bit of cloth were the large Offering Bearers (K, L) and the well-carved
statuettes of Meket-Re' and his son on Boats T and U. These bits of linen
74
covered the modeled and painted clothes, being merely wrapped around
the waists of men wearing short skirts but covering the whole body of
Meket-Re' and of women in long dresses. Usually the scraps of cloth
were square bits torn from sheets, in a few cases wrapped around the
figure with the fringed end up at the waist. On Boat X the linen skirts
were most carefully done, an extra little strip of cloth being provided for
a sash or belt, while the white painted bands over the left shoulders of
the fishermen were covered with an actual strip of linen. Insects had
eaten holes in most of the pieces of linen, however, and had reduced many
to mere shreds. None were restored by us because it was thought more
interesting to leave the figures entirely visible, but those pieces of cloth
which were in good condition and which remained in place were left so,
and in one or two cases were made fast with glue.
It seems likely that one group of artisans whittled out the bodies of
the figures, while others constructed boat hulls or buildings. To a certain
extent we can recognize the output of several such groups of workmen,
and we gather the impression that Meket-Re' patronized a number of
different model makers' shops in preparing his tomb equipment. For ex-
ample, the two models of the Residence (A, B) are clearly the work of
the same hands. The materials and the workmanship are excellent, and
the subject so rare that no other examples have survived. The Butcher
Shop (E) and the Bakery and Brewery (G) come from another source,
and the Granary (F) and Carpenter Shop (J) from a third, both of
which did very good work. A cruder group of models comprises the
Inspection of Cattle (C) and the Stable (D), the Weaving Shop ( H ) ,
and the fishing boats (X, Y). The figures of Meket-Re' and his son in
models C and X show a striking similarity. Of traveling boats there were
two sets from the hands of two different groups of makers. One was the
larger pair of boats (N, O) on which the sailors have thick black hair,
and the other, the pair of boats to smaller scale (P, Q) on which every-
one has a shaven head. Perhaps the pair of Kitchen Tenders (R, S) be-
long with these last, since the men have shaven heads. It is possible that
the larger set was procured from the shop which produced F and J and
that the smaller pair came from the makers of E and G. Likewise, there
75
were two pairs of yachts (T, U and V, W ) coming from two different
sources. Some of the figures on the second pair of yachts are very sug-
gestive of certain figures in the Inspection of Cattle (C). Furthermore,
one should not forget that all these yachts have the figures of the crews as
well as those of higher class personages shown with shaven heads. The
figures of Meket-Re' and his son come from other hands than those which
fashioned the crews, and those on Yachts T and U, although somewhat
hard, wooden, and staring, have a surprising dignity for their size and
show a wonderful care in the modeling of even the smallest details. Fore-
heads, noses, knees, calves, and even the exposed sole of In-yotef's foot are
all carved with conscientious exactness. These two yachts at least were
made to order, for they bear the name of Meket-Re' on the vases stand-
ing on the decks.
It would hardly have been in character for the ancient Egyptian to
feel bound to consistent proportions, and we can scarcely expect to find
that the makers of these models adhered to a uniform scale. Figures of
men might be as large as one-seventh life size (22-24 centimeters high);
they were sometimes a little less than one-eighth (20-21 centimeters);
rarely they were one-ninth (19 centimeters); but the helmsmen on the
four yachts ( T - W ) were as small as one-tenth (averaging 17 centi-
meters) . These proportions are based on the assumption that the figures
represent men from about 164 to 170 centimeters (5 feet, 4 inches to
5 feet, 6 inches) in stature. Such figures were too large ever to have gone
through the doors of the shops in which they stood, and they would have
swamped the boats they were on, if the boats were proportionately no
larger than they are shown.
In fact, in proportion to the buildings the men are nearly twice too
large. If we assume that the details of each building are roughly to the
same scale—a condition which is not improbable—we may take as a
handy unit of measure the heights of the door openings. The doors should
be almost two meters high, and calculating from them we arrive at a scale
of about one-fifteenth full size for four of the shops (D, G, H, J). Two
others (E, F) are as large as one-twelfth actual size, and the porch from
which the cattle are reviewed (C) would appear to be at about the same
76
scale. The two models of the residence (A, B) are obviously at a much
smaller scale. If the intercolumnar spaces as well as the doors are con-
sidered, the scale of these two models can hardly be larger than one-
twentieth and may be less.
For the vessels perhaps the most convincing calculation is one which
can be made on the timbering of the decks of the Traveling Boats ( N - Q ) .
The assumptions here are that to row in Egyptian fashion the space re-
quired for each rower is from 80 to 100 centimeters and that the correct
number of thwarts is shown on the models.2 Based on these assumptions
we arrive at a scale somewhere between one-tenth and two-twenty-fifths,
which is consistent for their cabins and for the bed inside the cabin on
Boat N. Calculations on the yachts are somewhat less certain, but in all
probability the scale to which they were made differs little from that of
the traveling boats.
Not only did Meket-Re' procure his models from several sources
and perhaps at different times, but he seems to have acquired them well
in advance of his death and burial, for there is evidence that many, if not
all, had been stored in some accessible place for an appreciable length of
time. Dead spiders and cobwebs, and the nests, gnawings, and droppings
of mice, which were obvious on at least half of the models, could well
have got on them after the sealing of the sirdab. The Theban necropolis
must have been infested with mice which made their way through fissures
in the rocks and lived on the offerings to the dead.3 But flies never could
have survived in the darkened chamber, and some of the models—notably
A, B, and C—were liberally spotted with flyspecks which could only
have come while they were kept in some light room above ground.
From four of the boats (P, R, T, V) complete riggings had been so
badly broken away that nothing was left except parts of the masts and
spars of two of them and a few broken cords still tied in place. This
wrenching away of the rigging was not done to get the models into the
sirdab, for the largest fully rigged boat (N) was easily put in there.
Again, smaller parts of various boats were missing, obviously as the result
of accident or petty pilfering. We never found part of the mast of Boat X,
the metal masthead, part of a spar, and one jaw of the mast crotch of Q,
77
a jaw of the mast crotch of S, the staff from an officer's hand on T, the
arm of a man on Y, and the wooden pins from the steering gear of N
and Q. Since it is the boats which have suffered these losses, one is
tempted to picture small boys playing with them surreptitiously while
they were stored in the house of Meket-Re'. On the other hand, there
seem to have been stray bits of the models separated from their proper
places and just dumped into the sirdab. For example, between the block-
ing of the door and Boat Q we found parts of the masts and spars which
we assumed belonged to Boats T, V, and X, and which seem to have been
put there just before the sirdab door was sealed. If so, they may be taken
as evidence of the careless handling of the models when they were car-
ried up to the tomb. The mast of one boat (V) was burned in two, and a
wisp or two of burnt straw were in one of the residence models, which
would indicate that a torch was used by the burial party, causing the
damage to the mast.
Another curious thing about the handling of the models remains to
be noted. After we had brought all of them to the Expedition House and
had carefully blown the dust from them with a pair of bellows, we saw
that they were literally covered with fingerprints, and fine dust was stick-
ing to the paint where the models had been touched by sweaty hands.
They were not the fingerprints of any of us, for we had been very care-
ful never to touch any of the models until we had covered our hands with
clean handkerchiefs. Clearly we were looking at the fingerprints of those
ancient Thebans who had handled the models about four thousand years
before.
We also found things which did not fit any of the models of
Meket-Re' stored in his sirdab. One figure of a man, found near Boat Q,
was about 19 centimeters high, had both arms raised as though he were
hauling a rope, and had one foot up as if to rest it on the gunwale of a
vessel. There is no place for such a figure on any model found by us, and
it was not found near enough to the entrance of the sirdab to have fallen
in by chance, as may have been the case with another stray figure. This
second little man was 24 centimeters high, was painted a chocolate brown
color, and had a somewhat different look from any of the figures in
78
Meket-Re"s models. One outstretched arm, which seemed to belong to
him and would make him the lookout who signals the fowlers to haul the
rope and shut the bird net, was found outside the sirdab in the tomb
passage. Perhaps these men belonged on another set of models, those de-
posited in the little sirdab which we believe to have been provided for
In-yotef. There was also the broken handle of a model axe, which may
have belonged with the fragmentary models which we found in the plun-
dered burial chamber.
In another category were a quantity of model tools found inside the
Cattle Stable (D). This model was at the back of the sirdab under Resi-
dence Model B, and its entire contents were found exactly as they were
left by the burial party. The tools found in it had no possible significance
there, for all but one are weavers' implements, and although they were
near the Weaving Shop (H), they are much larger in scale.4 One of them
is a carpenter's square, and in scale and in workmanship all are like models
of carpenters' tools which we found in the plundered burial crypt.
The items which we have been discussing indicate that the models
had been in existence for some time before their deposit in the sirdab—
long enough for damage and confusion to have resulted. Whether they
were walled up in their little chamber before Meket-Re"s death is open
to question. The probability is that they were borne from his residence
to the tomb as part of the funeral procession. From their position in the
sirdab when we first opened it, it was obvious that the models of the
estate must have been brought in first and placed at the back. Then fol-
lowed the two big offering bearer girls and the smaller group of tenants
bringing offerings. The boats came next and were deposited at the front
of the sirdab, but then it was found that there was not room for all of
them to be placed on the floor. The Granary (F) was not placed for some
time, for a reason which escapes us, and so was nearer the entrance than
the other estate models. The largest model, that of the Inspection of
Cattle (C), seems to have been put in toward the last, after most of the
boats were in, for in pushing it back to the spot where we found it, it had
knocked over the Sporting Boat (X) and had damaged Yacht T.
Except for the minor injuries which the models suffered, all were in
79
remarkably fresh condition when they were found by us. It will be noted
that no harm whatever had been suffered by models A, D, G, K, and M.
Only minor, and in many cases trivial, restorations were required by
models E, F, H, J, L, P, and S to W . The most serious injuries had be-
fallen models B, C, N , O, Q, X, and Y. In the detailed notes in the
Appendix the condition described is that in which the models stood when
work was finished on them in the Expedition House in Kurneh in 1920.
Thus, all restorations described are those made by me personally in the
field before the models were divided between the museums of Cairo and
New York, at a time when there was every opportunity to find the
original position of each figure or object which had fallen from its place.
There were no real questions involved in making these repairs. Where
there were cracks they were refilled with a gesso made of plaster and
glue, as they originally had been, and this gesso was tinted with water
color. No other retouching of paint was made anywhere else. In some
cases on the boats broken cords had to be pieced out with new thread,
and in a very few cases entirely new cords had to be made, but in practi-
cally every instance there was ample evidence to guide the restorations
made at the time of the discovery. It may safely be said that rarely has
any find been made under more auspicious circumstances.
1. Thebes was in rebellion from about 2143 until 2061 B.C. (See Winlock, Journal
of Near Eastern Studies, II, no. 4, Oct., 1943, pp. 252, 266, 281.)
3. Winlock, The Tomb of Queen Meryet-Amun at Thebes, pp. 28, 52.
4. The weaving implements were all made of coniferous wood and included 50
shuttles, lengths 9 to 12.5 cm., the ends tapered and split with a saw; 50 spindles,
lengths 15 to 18.5 cm., each whittled out of a single piece of wood; 52 reels (?),
lengths 6.3 to 9 cm. The carpenter's square was 15 cm. x 11.5 cm. Cairo Mu-
seum, Livre d'entree, 46734; M.M.A. 20.3.14-90.
80
APPENDIX
C A T A L O G U E OF THE MODELS
APPENDIX
CATALOGUE OF THE MODELS
A. RESIDENCE
PHOTOGRAPHS • Plate 7 in the tomb; plates 9, 10, 12 in detail
DRAWINGS • Plate 55 in the tomb; plates 56, 57 in detail
CAIRO MUSEUM • Livre a"entree 46721
DIMENSIONS • Length 84 cm.; width 42.5 cm.; height (front) 27.5 cm.,
(back) 39.5 cm.
CONSTRUCTION • The workmanship is excellent. The model is made entirely
of coniferous wood. It has not been thickly covered with gesso as is
the case in some of the other models, but the paint is applied directly
to the wood. The bottom, a heavy block 11 cm. thick, out of which the
pond is carved, has shrunk, making it narrower now than the top of the
model. The sides, 4 cm. thick, are mortised and tenoned to the bottom,
and the corners have mitered joints, masked on top. The doors and win-
dow in the exterior back wall are carefully carved. The architraves of
the porch are mortised into the walls, and the roof is a separate plank
fitted on them; the rainspouts in the gutter are pierced all the way
through. The pond is lined, to make it watertight, with a single sheet of
copper fastened around the edges with copper nails. The trees are of
wood covered with gesso and painted, and their branches, leaves, and
fruit are carved separately and doweled into one another. At the base
of each tree is a tenon, 3 cm. long, glued into a hole in the bottom block,
and the joint around the base is filled with gesso.
83
CONDITION • This model showed signs of having been stored a long time
after it was made, and in some places it was specked b y flies. W h e n
placed in the tomb muddy fingerprints were left on it, and bits of burnt
straw were dropped in it, possibly from a torch. In it there were cobwebs
and dead spiders, and all over it there was dirt left b y mice, showing that
there was water in the pond at the time it was placed in the tomb.
RESTORATIONS • None
LOCATION • In the far right-hand corner of the chamber, on top of the
Butcher Shop ( E ) .
B. RESIDENCE
PHOTOGRAPHS • Plate 7 in the tomb; plates 10-12 in detail
METROPOLITAN M U S E U M • A c e . no. 20.3.13
DIMENSIONS • Identical with A

CONSTRUCTION • T h e workmanship is not so good as A, but the makers were
doubtless the same in both cases. T h e construction is like that of A
except that the doors and window on the exterior back wall are not so
well carved, the rainspouts in the gutter are not pierced all the w a y
through, the garden is not so carefully made, and there is no gesso around
the base of the trees.
CONDITION • A heavy fall of rock from the ceiling had broken most of the
trees. T h e r e were the same traces of fingerprints, etc., as on A.
RESTORATIONS • T h e trees were removed to repair them and were then put
back in place.
LOCATION • In the middle of the back of the chamber, on top of the Cattle
Stable ( D ) .
C. INSPECTION OF CATTLE
PHOTOGRAPHS • Plates 4-6 in the tomb; plates 13-16 in detail
DRAWINGS • Plate 55 in the tomb; plate 58 in detail
CAIRO M U S E U M • Livre d''entree 46724
84
CATALOGUE OF T H E MODELS
DIMENSIONS • Entire model: length 175 cm.; width 72 cm.; height (back
wall) 20-22 cm. Pavilion: length 55 cm.; width 19.5 cm.; height 55.5
cm.; width of stairs 7.5 cm.; height of platform 12 cm.; height of parapet
1.5 cm.; height from floor to ceiling 30 cm. Twenty-six men: average
height 22 cm. Nineteen cattle: average height at shoulder 13.2 cm., ex-
cept large black bull which is 17 cm. high.
CONSTRUCTION • The workmanship is the crudest of all the models. Sev-
eral of the figures, including Meket-Re' and his son, are very much like
those on the Sporting Boat (X). The wood is for the most part sycamore,
and the pegs acacia. The bottom of the model is made of rather rough
sycamore boards, 3 cm. thick, held together with three cleats under-
neath. The numerous cracks are filled with bits of wood and gesso. A crack
had appeared after the model was made, and this was roughly plastered
and the model was partly repainted after the figures were in position.
The bodies of the animals are each carved from one piece of sycamore
wood; the legs, sometimes of coniferous wood, are mortised and the
horns, ears, and tails pegged in place. The men are made of coniferous
wood, with feet carved in one piece with the legs. Both men and ani-
mals are covered with gesso and rather carelessly painted, and the men
are then varnished.
CONDITION • A large stone had fallen from the ceiling on the rear right-hand
corner of the model, splitting it off, and straining and partly separat-
ing the boards throughout. The boards had warped, widening some of
the cracks, and the gesso in them was often pulverized. Smaller stones
from the ceiling had loosened most of the men and animals, and a few
of the latter had fallen oft behind the model onto the floor of the
chamber.
RESTORATIONS • The ground and pavilion had to be largely taken apart be-
cause of chips of stone in the cracks. They were then reassembled, with
new gesso added where necessary. All figures in place, or near their
places, were numbered and their positions noted before removal from
the tomb. The placing of the few remaining figures could easily be de-
termined by the peg holes. Minor repairs had to be made on both white
animals with small black spots and the right horn of the large red animal.
Some of the men's arms needed reattachment.
LOCATION • On top of the models at the back of the chamber, one end rest-
ing on the Brewery and Bakery (G), and the other on the Sporting
85
MODELS FROM THE TOMB OF MEKET-RE'
Boat (X). The Sporting Boat was upset in the process of sliding this large
model into the chamber.
D. CATTLE STABLE
PHOTOGRAPHS • Plate 7 in the tomb; plate 17 in detail
METROPOLITAN MUSEUM • Ace. no. 20.3.9
DIMENSIONS • Building:length 72.5 cm.; width 57 cm.; height 28.5 cm. Cattle:
average height at shoulder 18 cm., except small brown animal which is
15 cm. high
CONSTRUCTION • The workmanship is crude. The building is made of syca-
more boards 2.5 cm. thick, not mitered at the corners, and without cleats
on the bottom. The figures and accessories are made of coniferous wood.
The paint is applied more carelessly than on any other models except
C and H.
CONDITION • Perfect
LOCATION • In the back of the chamber on the floor between the Butcher
Shop (E) and the Weaving Shop ( H ) , well protected by Residence B,
which was placed on top of it. The front half of the stable, which was
next to the Weaving Shop, was filled with tools which did not belong in
either model (see p. 79).
E. BUTCHER SHOP
PHOTOGRAPHS • Plate 7 in the tomb; plates 18, 19, 21, 24 in detail
DIMENSIONS • Building: length 76 cm.; width 58 cm.; height (back) 45.5 cm.,
(front) 51.5 cm. Men: average height 22 cm.
CONSTRUCTION • Made of sycamore boards 2.5 cm. thick. The bottom is held
together by two cleats. The roof, which completely covered the build-
ing, was added after the model was made and painted, and the cracks be-
86
tween roof and walls were stopped up with gesso and roughly painted
with a black hair brush. T h e figures of the men are made of coniferous
wood, the cattle probably being of sycamore. T h e feet of some of the
men are cut out of the same wood as the legs, and the others are modeled
in gesso.
CONDITION • Having a roof, it had escaped practically all damage. T h e outer
door had fallen down when the model was put in the chamber, and mice
had nested on it and gnawed it. T h e cords on which the meat was strung,
most of which remained, had fallen in pieces and could not support the
meat. T h e duck had fallen out of the hands of the man plucking it.
RESTORATIONS • T h e roof was removed to repair the interior. T h e meat
strings were copied exactly, and the joints of meat were restrung in the
order in which they lay. T h e duck was put back in the hands of the man
plucking it.
LOCATION • In the far right-hand corner of the chamber on the floor under
Residence A.
F. GRANARY
METROPOLITAN M U S E U M • A c c . n o . 20.3.11
DIMENSIONS • Building: length 74 cm., width 58 cm., height 36.5 cm. Men:
average height 20 cm.
CONSTRUCTION • T h e model is carefully made and painted. T h e building is
constructed of sycamore boards, 2.5-3 c m - thick, with mitered corners
and t w o cleats underneath. T h e figures and accessories are of coniferous
wood. T h e men's legs end in pegs driven into holes in the floor, and the
feet are modeled separately in gesso.
CONDITION • Before being brought to the tomb the model had been handled
a good deal. Muddy water had been splashed on it, possibly during the
building of the brick wall which sealed up the sirdab. A-louse droppings
in the grain in the bins may have come either before or after the model
was placed in the tomb. Some damage was caused to the figures b y fall-
ing stones from the ceiling of the chamber. A man from Boat N had
fallen into the corridor of the model.
87
RESTORATIONS • The man carrying a grain sack on his back was mended. A
few arms and the five sacks in the hands of the men dumping grain into
the bins were put back in place.
LOCATION • On the floor just inside and to the left of the door of the chamber,
partially covered by Traveling Boat N .
G. BREWERY AND BAKERY

PHOTOGRAPHS • Plate 7 in the tomb; plates 22-24 m detail
METROPOLITAN MUSEUM • A c C n o . 2O.3.I2
DIMENSIONS • Building: length 73 cm., width 55 cm., height 29 cm. Men and
ivomen: average height 21 cm.
CONSTRUCTION • The building is made of sycamore boards, 2.5 cm. thick,
with mitered corners and two cleats underneath. The figures and acces-
sories are of coniferous wood. The feet of the men are modeled in gesso;
those of the women are carved out of the same wood as the legs.
CONDITION • Perfect
LOCATION • In the far left-hand corner of the chamber on top of the Weaving
Shop ( H ) . The Inspection of Cattle (C) was placed above it and pro-
tected it from stones falling from the ceiling.
H. WEAVING SHOP
PHOTOGRAPHS • Plate 7 in the tomb; plates 24-27 in detail
CAIRO MUSEUM • Livre d''entree 46723
DIMENSIONS • Building: length 93 cm., width 45 cm., height 25 cm. Women:
average height about 17 cm.
CONSTRUCTION • The workmanship is crude. The building is made of syca-
more boards, 2.5-3 c m - thick, without mitered corners and without cleats
underneath. The figures and accessories are of coniferous wood. The
88
feet of the women are carved in one piece with their legs. There are a
number of superfluous peg holes in the floor for which there are neither
figures nor objects. The paint on the figures is carelessly applied.
CONDITION • The threads in the hands of the women spinning and stretching
the warp were broken in places. One of the round wooden balls repre-
senting balls of spun thread had shifted, but its position was shown by
the glue on the floor.
RESTORATIONS • The triple threads from the pots to the spinners' hands were
glued back in their hands.
LOCATION• In the far left-hand corner of the chamber on the floor under the
Brewery and Bakery (G), which effectually protected it.
/. CARPENTER SHOP
PHOTOGRAPHS • Plate 7 in the tomb; plates 21, 24, 28, 29 in detail
DRAWINGS • Plate ^ in the tomb; plates 68, 69 in detail
CAIRO MUSEUM • Livre d'entree 46722
Selection of tools from tool chest in Metropolitan Museum, Ace. nos.
20.3.91-98
DIMENSIONS • Building: length 66 cm., width 52 cm., height 26.5 cm. Men:
average height about 20 cm.
CONSTRUCTION • The building is made of sycamore boards, 2-2.5 c m - thick,
with two cleats underneath; the corners are not mitered. The roof was
added after the model was made, as in the case of the Butcher Shop (E).
A peg hole in the floor in front of the tool chest was probably a mistake
of the maker; no object or figure was found for it. The men and the
timbers on which they are at work are of coniferous wood. The feet of
the men are carved in one piece with their legs. The blades of the tools
are copper. The chisel in the hand of the man putting mortise holes in a
plank did not fit exactly, and therefore an extra wedge was added; a
wedge was also placed behind his foot to keep him seated upright on the
plank. The ends of the planks of the big tool chest are mitered, with
tongues on the side boards overlapping the ends, but the bottom of the
box lacks the cleats which would be necessary to hold the planks to-
gether. The lid of the chest is held in place at the back by means of two
89
pegs in the cleat on its underside which slide into holes in that end of the
chest, and in front it is fastened b y a cord wrapped round and round t w o
knobs, one on the lid and the other on the front end of the chest. This
tie is sealed with a dab of clay bearing the impression of a scarab.
CONDITION • Fingerprints were noted around the edge where someone's hands
touched it when it was carried to the tomb. T h e r e were bits of reed and
some mud in the model, perhaps splashed inside b y the brick layers who
built the sealing of the door. T h e damage from falling stone was slight.
RESTORATIONS • T h e right arm and the adze of the man nearest the door of the
shop were repaired. T h e left thumb of the next man was put back in
place. T h e man sawing planks was put upright on his feet, both of which
were mended, and the saw handle was put back in his hand. T h e grinders
were glued in place on the beam, where spots of the ancient glue showed
they belonged. T h e mallet in the hand of the man cutting mortises was
repaired. T h e tool chest was opened b y withdrawing one peg, and this
was put back after the tools had been removed.
LOCATION • O n the floor of the chamber in front of the Butcher Shop ( E ) ,

with the Fishing Canoes (Y) placed on top of it, partially protecting it.
K. OFFERING BEARER BRINGING DRINK

PHOTOGRAPHS • Plates 4-7 in the tomb; plates 30, 31 in detail
DRAWINGS • Plate 55 in the tomb
CAIRO M U S E U M • Livre d'entree 46725
DIMENSIONS • Height (figure) 85.5 cm., (pedestal) 8 cm., (over-all) 122 cm.
Pedestal: length 47 cm., width 16.7 cm. Basket: length 20.5 cm., width
18.5 cm., height 16.5 cm.
CONSTRUCTION • T h e workmanship is excellent. T h e entire figure is made of
coniferous wood. All joints are glued. T h e head, body, legs, and right
foot are in one piece; the front part of the left foot and the arms are
added. Tenons under the feet are set into the pedestal and pegged
through from the side. T h e arms are pegged on. T h e body of the duck
is in one piece and the wings in another, the t w o being joined by a long
peg which runs through the girl's hand. T h e basket is an open box; its
sides, mitered at the corners, are 1 cm. thick, and the bottom is 3 cm.
thick. In placing it on the girl's head, the maker got his pegs in the wrong
90
place and had to saw them off. Gesso is used on the wig and the offerings
only; the rest of the painting is on the bare wood.
CONDITION • Fingerprints were very evident on the statue and its base, and
the top of the pedestal had been splashed with m u d d y water.
LOCATION • In the far left-hand corner of the chamber, facing Offering
Bearer L, which stood on the opposite side of the room.
L. OFFERING BEARER BRINGING FOOD

PHOTOGRAPHS • Plates 3, 4 in the tomb; plates 30, 31 in detail
DIMENSIONS • Height (figure) 86 cm., (pedestal) 8 cm., (over-all) 112 cm.

Pedestal: length 46.5 cm., width 16.7 cm. Basket: length 20 cm., width
19 cm., height 16 cm.
CONSTRUCTION • Same as Offering Bearer K, except that the basket has a false
bottom 3 cm. below the rim, and the contents are piled on it. A peg runs
through the girl's left hand to balance the basket, and the duck is made as
in model K.
CONDITION • A falling stone had broken the basket loose from its pegs but
had wedged it in place so that it was still in position, and had also broken
the leg of beef and loosened the rib joint. T h e duck had been knocked
out of the girl's hand. Fingerprints were very evident, and the top of the
pedestal was spotted with m u d d y water.
RESTORATIONS • A slight repair was made on the corner of the basket. T h e
hoof was glued on the leg of beef, and the ribs of beef were re-pegged
in place. T h e duck was put back in the girl's hand.
LOCATION • O n the right side of the chamber, facing Offering Bearer K on
the opposite side of the room.
M. PROCESSION BRINGING OFFERINGS

PHOTOGRAPHS • Plate 7 in the tomb (between the models at center right);
plate 3 2 in detail
91
METROPOLITAN MUSEUM • A c C n o . 2O.3.8
DIMENSIONS • Pedestal: length 47.5 cm., width 7.2 cm., height 3 cm. Figures:
height 24 cm.
CONSTRUCTION • T h e pedestal is made of sycamore, and the figures of conif-

erous wood. T h e feet of three of the figures are modeled in gesso; those
of the first woman are carved in one piece with the legs. T h e right hand
of the second man was drilled through but never held any object.
CONDITION • T h e r e were fingerprints on the pedestal, the hes vase, and the
head of the first man.
LOCATION • O n the floor at the back of the chamber, between the Cattle
Stable ( D ) and the Butcher Shop ( E ) .
N. TRAVELING BOAT-SAILING
PHOTOGRAPHS • Plate 4 in the tomb; plates 33, 34, 38, 39, 42 in detail
CAIRO M U S E U M • Livre d!entree 467 20
DIMENSIONS • Hull: length (over-all) 122 cm., (water line) 40 cm., (with
rudder) 163 cm.; width (beam) 36 cm.; height ( b o w ) 26 cm., (amid-
ships) 17.5 cm., (stern) 37.5 cm. Rigging: mast: height (above deck)
81.3 cm., diameter (at base) 2 cm., (at truck) 1 cm.; spars: length 67 cm.,
greatest diameter 1.5 cm., least diameter 0.7 cm.; sail: width 62 cm.,
height 43.5 cm. Men: average height 22-23 c m -
CONSTRUCTION • T h e hull is carved from a single block of sycamore wood,

the cabin is of thin sycamore boards, and the mast stepping and rudder
oar are of oak ( ? ) ; all other accessories and the figures are of coniferous
wood. T h e fittings at the masthead are of copper. T h e feet of the men
are modeled separately in gesso.
CONDITION • T h e boat had been tipped over b y a stone which had fallen on
it from the ceiling and had damaged the rigging and the figures, as fol-
lows: Cabin: Loops of cord for the upper pivots of the cabin doors were
92
broken. Steering gear: All ropes had become loosened; the pin in the
stern lashing of the rudder was missing; the rudder post and tiller were
broken. Mast and spars: The mast had fallen out and was crushed in the
middle. The two spars were broken. Rigging: The forestay was broken
off at the bow. The backstay was complete, and the coil on the end
reached exactly to the tiller and fitted around it when the latter was put
back in place. Stays: loops in rings on the middle hoop on the mast ex-
isted; the remainder was lacking. Yard slings: four on starboard side
were unbroken; the others had parted. Halyards: ends of four were
found tied to each yard arm; other ends were found passing through the
hands of five men standing at the foot of the mast and were tied around
the mast itself. Yard braces: free ends of cord found on each end of yard;
bits of white cord, tied to the horn on the rudder post, could be nothing
else but the ends of these braces. Figures: Aden had fallen on the granary
and behind it, and bits of them were thrown and crushed against the
door blocking. The arms of many of them had been knocked off. Hull:
There was one muddy hand print on the hull.
RESTORATIONS • Cabin: Loops of cord for upper pivots of cabin doors re-
stored. Steering gear: Top lashing of rudder rewrapped; new pin for
stern lashing of rudder made; rudder post and tiller mended. Mast and
spars: Mended. Rigging: Forestay: new cord continued from the lower
end, where it was broken, to the bow. Backstay: coil on the end slipped
over the end of the mended tiller. Stays: two sets of stays restored en-
tirely. As there were no holes through the men's hands, the stays were
wrapped around them. Shrouds: entirely restored. Yard slings: all but
the four unbroken ones were tied together as far as possible with black
thread. Halyards: new string tied over old knots on yard arm and
brought down and tied to broken ends of original cords in the hands of
the men hauling them. In order to support the weight of the sail and the
yard without putting any strain on the remaining parts of the old hal-
yards, the restored halyards were knotted in the ring on the masthead.
Yard braces: new cord was tied to the existing part of the port brace and
carried back to the fragment on the horn on the rudder post; the star-
board brace was entirely restored. Figures: All the feet and many of the
arms of the men were reglued.
LOCATION • Just inside the entrance, on top of the Granary (F). Doubtless it
had been placed upright but was knocked over later by a falling stone
from the ceiling. Bow pointed west.
93
O. TRAVELING BOAT-ROWING
PHOTOGRAPHS • Plates 5, 7 in the tomb; plates 35, 38, 39, 43 in detail
DRAWINGS • Plate 55 in the tomb; plates 72, 77, 84 in detail
METROPOLITAN M U S E U M • A c C . n o . 2 0 . 3 . 1
DIMENSIONS • Hull: length (over-all) 128 cm., (water line) 47.5 cm., (with
rudder) 175 cm.; width (beam) 29.5 cm.; height ( b o w ) 25 cm., (amid-
ships) 15.5 cm., (stern) 37 cm. Men: average height 19 cm.
CONSTRUCTION • Identical with N
CONDITION • T h e cabin was crushed b y t w o large stones which had fallen
from the ceiling, badly splintering and warping it. T h e entire steering
gear was knocked off. T h e cord on the bumper, the chair, and the gut
strings and bridge on the harp were all broken.
RESTORATIONS • T h e cabin was reassembled, but warping made some insignifi-
cant differences in its dimensions. T h e top lashing on the rudder (origi-
nal) was rewrapped, and the preventer line was restored. T h e cord on
the bumper was restored. Some unimportant mending was done on the
figures of the men.
LOCATION • In the center of the chamber on the floor, partially covered b y
the Inspection of Cattle ( C ) , and b y the Sporting Boat ( X ) and the
Fishing Canoes ( Y ) . Bow pointed west.
P. TRAVELING BOAT-SAILING
PHOTOGRAPHS • Plate 5 in the tomb; plates 36, 38 in detail
CAIRO M U S E U M • Livre d'entree q6j 19
DIMENSIONS • Hull: length (over-all) 112 cm., (water line) 37.5 cm., (with
rudder) 151.5 cm.; width (beam) 29.5 cm.; height ( b o w ) 24 cm., (amid-
ships) 14.5 cm., (stern) 33 cm. Men: average height 20 cm.
CONDITION • Almost perfect. T h e boat had been rigged, but the mast, spars,
and practically all ropes were missing. One of the preventer lines on the
rudder and the cord on the bumper were broken.
94
RESTORATIONS • T h e preventer line and the bumper cord were mended.
LOCATION• In near left-hand corner of the chamber, partly under Boat R.
Bow pointed west.
Q. TRAVELING BOAT-ROWING
PHOTOGRAPHS • Plate 4 in the tomb; plates 37, 38 in detail
rudder) 157 cm.; width (beam) 27 cm.; height (bow) 20.5 cm., (amid-
ships) 13.7 cm., (stern) 30.5 cm. Rigging: mast: height 78 cm.; diameter
(at base) 2.2 cm., (at truck) 0.9 cm.; spars: length 66 cm., greatest diam-
eter 1 cm., least diameter 0.6 cm.; sail: 65 x 42 cm. Men: average height of
sailors 18 cm., of officers 20.5 cm.
CONDITION • A heavy piece of stone from the ceiling had fallen on the stern,
upending the boat and damaging it as follows: Cabin: Roof broken.
Steering gear: T h e top lashing of the rudder was broken, the pin in the
stern lashing was missing, and the preventer line was snarled around the
rudder. Mast and spars: T h e mast was broken and lay near the door of
the chamber; the metal head was missing. T h e crotch was broken, and
one jaw was missing. T h e spars, one of which was broken and part of it
missing, also lay near the door. T h e r e is no definite proof that the mast
and spars belong to this boat except that they almost surely go together
and that they are the right size for the sail, which was found folded up
on the deck. T h e y may have been thrown off the boat when it was u p -
ended. Oars: T h e oars had been knocked out and lay under stone chip,
and all but three of the oarlock cords were broken. Figures: Many of
them had been knocked off the boat when it was upended and lay under
chips of stone, with most of their arms and legs broken.
RESTORATIONS • Cabin: Roof mended. Steering gear: T h e top lashing of the

rudder was mended and put back, the pin in the stern lashing was re-
stored, and the preventer line was put back in place. Mast and spars:
T h e mast and spars were mended and were laid in the crotch, as they
probably originally were, for one photograph. Oars: T h e oars were put
95
lengthwise through the oarlock loops for one photograph and in the
men's hands for the other. The oarlock cords were restored. Figures:
The arms and legs of most of the men were mended.
LOCATION • In the center of the chamber between Boat O and the Gran-
ary (F). Bow pointed east.
R. KITCHEN TENDER-SAILING
rudder) 156 cm.; width (beam) 30.8 cm.; height (bow) 28 cm., (amid-
ships) 15 cm., (stern) 35 cm. Men: average height 22 cm.
CONSTRUCTION • Practically identical with N , so far as the ship itself goes.
CONDITION • This boat must originally have been fully rigged. The mast step-
ping still had lashings around it where the foot of the mast had been; in
holes provided for them in either side of the gunwale opposite the mast
there were bits of the shrouds; and fragments of ropes were held in the
hands of the men hauling the halyards. However, the mast and rigging
had been torn out, breaking all the ropes. The mast, spars, and sail were
missing, and of the rigging only a snarl of black and white ropes re-
mained on the deck. The preventer line of the rudder was broken where
it crossed the gunwale, and the bumper cord was broken. The cabin had
fallen off the boat, the strings for the meat had broken, and the meat was
lying on the deck. Apparently by an oversight there was nothing to
which to attach the strings of meat in the back of the cabin, and it would
seem that the meat had always been lying there.
RESTORATIONS • The preventer line was pieced out with a small bit of cord,
and the bumper cord was restored. The strings for the meat were re-
stored, and because there was nothing to attach them to in the back of
the cabin, these cords were fastened to the rudder post for the detailed
photographs shown on Plate 44, before the cabin was put back in place.
LOCATION • Just inside the chamber to the left, partly on top of Traveling
Boat P, and partly supported under the stern by two bricks like those
used for sealing the entrance to the chamber. Bow pointed west.
96
C A T A L O G U E OF T H E MODELS
S. KITCHEN TENDER-ROWING
rudder) 147 cm.; width (beam) 33 cm.; height (bow) 28 cm., (amid-
ships) 16.5 cm., (stern) 40 cm. Men and ivomen: average height 20 cm.
CONSTRUCTION • Identical with Kitchen Tender R. The feet of the women
are carved in one piece with the legs and are attached to the deck with
pegs.
CONDITION • When the Inspection of Cattle (C) was broken the steering gear
of this boat was knocked off, breaking all the ropes except the lashing at
the top of the rudder. One jaw of the mast crotch was missing, and the
oarlock cords and the bumper cord were broken. The poker from the
hand of the man tending the fire in the oven was missing.
RESTORATIONS • The stern lashing and the preventer line on the rudder were
restored on the basis of the existing fragments. The oars were placed in
the hands of the rowers for photographing. The mast crotch, and the
oarlock cords and bumper cord were restored.
LOCATION • In the back of the chamber on the floor under the Inspection of
Cattle (C), which protected it except in the stern. Bow pointed west.
T. YACHT-SAILING
PHOTOGRAPHS • Plates 4-7 in the tomb; plates 45, 49, 50 in detail. See also
plate 1
METROPOLITAN MUSEUM • Acc.no. 20.3.4
rudders) 159 cm.; width (beam) 28.5 cm.; height (bow) 45.5 cm.,
(amidships) 16 cm., (stern) 40 cm. Rigging: mast: height (deck to
truck) 94 cm., diameter (at base) 2 cm.; spars: lengths 78, 80 cm. (both
were originally 80 cm., but the shorter had one end broken off an-
ciently). Men: average height 23 cm.; steersmen, 20 cm.
97
CONSTRUCTION • The hull is carved out of a block of sycamore wood, with

the bow and stern ornaments carved separately and pegged on. The
steering gear, mast and spars, canopy, figures, and accessories are of co-
niferous wood, except the mooring pegs and mallet, which are of tama-
risk. The figures of Meket-Re' and his son were specially carved of very
straight-grained coniferous wood by a master sculptor (see Plate i ) .
CONDITION • The stone which had fallen on the Inspection of Cattle (C) had
badly damaged the stern, and the Sporting Boat (X) had rolled over on
it, breaking the roof of the canopy. Hull: The stern post was broken off.
Steering gear: The port rudder was broken, and the rudder rest was
broken off. The lashings of both rudders to the posts and to the rudder
rest were broken when the latter was broken off. Mast and spars: The
mast was found near the door, burned in two about 15 cm. below the
head. The metal truck was missing. This mast was certainly in the step-
ping at one time, for it is whittled away on one side to fit the stepping,
and marks of the stepping still show on its foot. The spars, one with an
old break at one end, were also found near the door. Rigging: The boat
had been fully rigged at one time, but the mast had been torn loose,
breaking all the ropes, before the boat was put in the tomb. The forestay
was tied to the bow post but was lying on the deck, with the loop at its
other end, for fastening it to the mast truck, broken. A fragment of the
white rope backstay was tied to a black rope ring in the rudder rest, and
fragments of black rope backstays were tied to the port rudder post.
Ends of sidestays were still tied to loops of rope in the gunwale opposite
the canopy, and ends of shrouds were looped through holes in the gun-
wale opposite the mast. The end of one halyard was found around the
upper spar, and fragments of halyards passed through the hands of the
men hauling them and then through a loop of cord in the deck. Figures:
The arms of some of the men were broken, and the scepter in the hand
of one of the officers was missing.
RESTORATIONS • Hull: The stern post was put back in place. Steering gear:
Port rudder was mended, rudder rest was reglued, and lashings of rud-
ders to posts were entirely restored. Mast and spars: The mast was
mended. It was assigned to this boat because its height exactly corre-
sponded to the length of the forestay, its foot fitted the mast stepping,
and its decoration was like that on the columns of the canopy. The spars
were tied to the mast. Rigging: The forestay was tied to the top of the
mast, the fragment of backstay in the rudder rest was pieced out to fasten
98
it to the top of the mast, and the halyards in the hands of the men hauling
them were pieced out and attached to the masthead. Cabin: The roof was
mended. Figures: The man poling the boat was put back in place on the
port side of the deck. The arms of some of the men were mended.
LOCATION • On the floor of the chamber, in the center between Boats O and S.
Except for the stern it was protected by the large model of the Inspec-
tion of Cattle (C) placed above it. Bow pointed west. The mast and
spars were found near the entrance to the chamber.
U. YACHT-PADDLING
CAIRO MUSEUM • Livre cFentree 46716
rudders) 140.5 cm.; width (beam) 25 cm.; height (bow) 47 cm., (amid-
ships) 14.5 cm., (stern) 37 cm. Men: average height 23-24 cm.; steers-
men, 14, 16.5 cm.
CONSTRUCTION • Identical with Yacht T
CONDITION • Almost perfect. The top lashing of the starboard rudder was
broken, and the canopy roof and two columns had fallen over. The
paddles were found stacked on deck.
RESTORATIONS • The top lashing of the starboard rudder was completely re-
stored. The canopy was put back in place. The mast crotch was put in
the stepping, and the paddles were put in the paddlers' hands as they had
originally been assembled.
LOCATION • On the floor of the chamber at the left of the entrance between
Boats P and W . Bow pointed west.
V. YACHT-SAILING
99
rudders) 134.5 c m -; width (beam) 29 cm.; height (bow) 47 cm., (amid-
ships) 16.5 cm., (stern) 33 cm. Rigging: mast: two fragments each 22 cm.
long. Men: average height 22 cm.; steersmen, 17 cm.
CONDITION • The boat had originally been fully rigged, but the rigging was
missing except for broken cordage and two fragments of the mast, found
near the door. A piece was broken off the knob on the stern post. The
starboard rudder post and the rudder rest had become unglued. The top
lashing of the port rudder was loosened, but the ropes were intact.
RESTORATIONS • The broken piece was put back on the knob of the stern post.
The rudder rest and the starboard rudder post were glued in place. The
top lashing of the port rudder was rewrapped.
Yachts T and W . Bow pointed west. Pieces of the mast probably belong-
ing to this boat were found near the door.
W. YACHT-PADDLING
METROPOLITAN MUSEUM • A c C . n o . 20.3.5
DIMENSIONS • Hull: length (over-all) 132.5 cm., (water line) 38 cm., (with
rudders) 140.5 cm.; width (beam) 30.5 cm.; height (bow) 47.5 cm.,
(amidships) 17 cm., (stern) 31.5 cm. Men: average height 23 cm.; steers-
men, 17.5 cm.
CONDITION • Almost perfect. The preventer line on the port rudder was
broken. The paddles were found stacked on deck, but paint marks show
that they were originally held in the hands of the paddlers.
RESTORATIONS • The preventer line on the port rudder was mended. The
mast crotch was put in the stepping, and the paddles were placed in the
men's hands, as they had originally been assembled.
I OO
Yachts U and V. Bow pointed east.
X. SPORTING BOAT
PHOTOGRAPHS • Plates 5, 6 in the tomb; plates 51, 53 in detail; frontispiece in
color
METROPOLITAN MUSEUM • A c C . n o . 20.3.6
DIMENSIONS • Hull: length (over-all) 114.5 cm., (water line) 43 cm., (with
rudder) 123.5 cm-"> width (beam) 23.5 cm.; height (bow) 19 cm., (amid-
ships) 12 cm., (stern) 26.8 cm. Men: average height 22.5-23 cm.; boy
with ducks, 20 cm.
CONSTRUCTION • The hull is carved from a block of sycamore. The steering
gear, canopy, figures, and accessories are of coniferous wood. The feet
of the figures are carved in one piece with the legs. The figures of
Meket-Re' and his son are identical with those in the Inspection of Cat-
tle (C). Some alterations had been made in the placing of the figures,
and the old peg holes remained; for example, the man kneeling to land a
fish was originally where the girl is. The position of the tiller had been
changed, and the mast stepping was twisted out of place to admit the
figure on the port side and then cut away on the starboard side. The
paddles are a miscellaneous lot of various shapes and conditions.
CONDITION • When the boat was knocked over on its left side at the time the
Inspection of Cattle (C) was placed in the chamber, the top of the cabin
was broken off but its grilled sides remained in place. The net poles
lashed to the port side of the cabin fell off; those on the starboard side
remained in place. The net pegs were found lying opposite the stern.
The steering oar cleat was unglued. Most of the figures had fallen off
the boat, and the arms of many were broken. The strings tying the coots
in the boy's hands were broken. The body of the duck in the girl's hand
was broken off from the wings. The harpoon reels had fallen off the
harpooners' arms.
RESTORATIONS • The top of the cabin was put on. The net poles were tied to
the port side of the cabin. The steering oar cleat was reglued. The fig-
ures were put back in place, their positions being determined by the peg
I O I
holes in their feet and in the deck, and by the color of the paint stuck in
the glue where their feet had been. Their arms were mended. The punt-
ing pole was put back in the bowman's hand. The strings tying the coots
in the boy's hands were restored, imitating the old ones exactly. The
body of the duck in the girl's hand was put back in place. The oxyrhyn-
chus fish was put on the shoulder of the fisherman standing next to
Meket-Re'; something had been glued there and tied with thread to his
hand, and this fish seemed to fit. The harpoon reels were hung on the
harpooners' arms where glue spots indicated they belonged.
LOCATION • The boat had probably been placed on top of Boats S and T, but
it had been rolled over on its side on to Boats O and T by the placing of
the Inspection of Cattle (C). Bow pointed northwest. Part of the mast
and the mast crotch were found near the entrance.
Y. FISHING CANOES
PHOTOGRAPHS • Plates 3-5 in the tomb; plates 52, 53 in detail
CAIRO MUSEUM • Livre d'entree 46J15
DIMENSIONS • Canoes: lengths 90 and 95 cm.; widths (beam) 15.5 and 18 cm.;
heights (bow) 24 and 26 cm., (amidships) 10 and 12 cm., (stern) 23.5
and 32 cm. Board (water): length 56 cm., width 30 cm., thickness 2.5
cm. Men: average height 20 cm., if standing upright
CONSTRUCTION • Hulls and board (water) are made of sycamore. Both canoes
are pegged to the board very carelessly, and the joints around the bot-
toms are filled with sticks and gesso. The men are made of coniferous
wood, their feet carved in one piece with their legs. The outer edge of
the trawl, representing the rope around its mouth, is made of wood and
the net proper of string, the whole coated with gesso. A peg under the
bottom of the net in the board holds the net up at the back. The fish are
made of coniferous wood. Marks on the net and on the fish show that
the latter were glued inside the bottom of the net.
CONDITION • The model was badly damaged by stones which fell from the
ceiling, breaking off all but four of the men and also most of their arms,
and partly crushing the net. However, the bottom of the net was intact,
and the hands on some loose arms of the men still held the net hauling
102
ropes. The stern post of the smaller canoe was broken off. One man on
the larger canoe lacked an arm, which could not be found in the tomb.
RESTORATIONS • The men were put back on the decks according to peg holes
and marks there. The arms of most of the men were reattached, but no
attempt was made to restore the hauling ropes in their hands. The mouth
of the net was put together, a sufficient number of pieces fitting together
to give the outline. Since some minute fragments could not be replaced
and the net thus held solidly together, it was necessary to mend the body
of the net with string and gesso. The position of the net was given by
the peg in the board. The stern post of the smaller canoe was put back
in place.
LOCATION • At the back of the chamber on the right, on top of the Carpenter
Shop (J). Bows pointed east.
I03
REFERENCES CITED
Breasted, James Henry. "The Earliest Boats on the Nile." The Journal of
Egyptian Archaeology, vol. IV (1917), pp. 174 ff.
Breasted, James Henry, Jr. Egyptian Servant Statues. The Bollingen Series
XIII. New York, 1948
Clark, Charlotte R. "Egyptian Weaving in 2000 B.C." The Metropolitan Mu-
seum of Art Bulletin, vol. Ill, no. 1, Summer, 1944, pp. 24 ff.
Crowfoot, G. M., and H. Ling Roth. "Models of Egyptian Looms." Ancient
Egypt, 1921, part IV, pp. 97 ff.
Daressy, G. "Trois points inexplores de la necropole thebaine." Annales du
Service des Antiquites de VEgypte, Tome II, Cairo, 1901, pp. 133 ff.
Erman, Adolph, and Aylward M. Blackman. The Literature of the Ancient
Egyptians. London, 1927
Faulkner, R. O. "Egyptian Seagoing Ships." The Journal of Egyptian Archae-
ology, vol. 26 (1940), pp. 3 ff.
Gardiner, Alan H. Egyptian Grammar. Oxford, 1927
Johl, C. H. Altdgyptische Webestilhle und Brettchenweberei in Altagypten
(Untersuchungen zur Geschichte und Altertumskunde Aegyptens, VIII.
Band). Leipzig, 1924
Morgan, J. de. Fouilles a Dahchour, mars-juin, 1894. Vienna, 1895
Naville, Edouard. The Xlth Dynasty Temple at Deir el-Bahari, part II.
London, 1910
Newberry, Percy E. Beni Hasan (Egypt Exploration Fund. Archaeological
Survey of Egypt), part I. London, 1893
Reisner, G. A. Models of Ships and Boats (Catalogue general des antiquites
egyptiennes du Musee du Caire). Cairo, 1913
Roth, H. Ling, and G. M. Crowfoot. "Models of Egyptian Looms." Ancient
Egypt, 1921, part IV, pp. 97 ff.
Smith, William Stevenson. Ancient Egypt as Represented in the Museum of
Fine Arts. Boston, 1942
105
Winlock, H. E. "Digger's Luck." Scribner's Magazine, February, 1921, pp.
207 ff.
"The Eleventh Egyptian Dynasty." Journal of Near Eastern Studies,
vol. II, no. 4, October, 1943, pp. 249 ff.
Excavations at Deir el Bahri, 1911-1931. New York, 1942
"Excavations at Thebes." Bulletin of The Metropolitan Museum of Art,
vol. XV (1920), December, part II, pp. 12 ff.
"Heddle-jacks of Middle Kingdom Looms." Ancient Egypt, 1922, part
III, pp. 7 iff.
• "The Museum's Excavations at Thebes." Bulletin of The Metropolitan
Museum of Art, vol. XIX (1924), December, part II, pp. 5 ff.
The Rise and Fall of the Middle Kingdom in Thebes. New York, 1947
The Slain Soldiers of Neb-hepet-Re' Mentu-hotpe (Publications of The
Metropolitan Museum of Art Egyptian Expedition, vol. XVI). New
York, 1945
The Tomb of Queen Meryet-Amun at Thebes (Publications of The
Metropolitan Museum of Art Egyptian Expedition, vol. VI). New York,
1932
I 06
PLATES
1. Meket-Re' and his son as represented on Yacht T, in the Metropolitan Museum of Art
\
i:.
2. The entrance to the sirdab of the tomb of Meket-Re' as we first saw it and
after we had uncovered the brick wall which blocked it
~''*4tB&Ff&Z>"f*£:
mmss* *£S
<*
rrmnmnmnmnm
3. The brick wall blocking the entrance to the sirdab. Below, the interior of the sirdab
as we first saw it, looking over the lower courses of the wall
4. General view of the sirdab with the models in place as we found them
5. Views of the sirdab after the removal of the first of the models
6. The largest model, the Inspection of Cattle (C), in position as it was found
7. Views of the back of the sirdab after the removal of various models
.' 1<s(K<f*S6£,';'£.'"^''*fcv
8. Arab workmen carrying the models from the tomb to the Expedition House
9. Residence A in the Cairo Museum
10. The exteriors of the two models of the residence of Meket-Re'
11. The porch of Residence B, in New York, and its roof, with the trees in the garden removed
12. The residence models in Cairo (A, left) and New York (B, right) as seen from above, and a tree from the latter
13. The large model (C), the Inspection of Cattle
14. The procession of animals being inspected by Meket-Re' (C)
*p
IS. Meket-Re' and his son, the scribes, and the courtiers as they inspect the cattle from the pavilion,
with the head cattleman. (View of model C taken during repair)
16. The scribes, courtiers and head cattleman, and bullocks with their drivers, from the Inspection of Cattle (C)
17. The Cattle Stable (D)
18. The Butcher Shop (E) after its roof had been removed
19. Detailed views looking into the courtyard of the Butcher Shop (E)
20. The Granary (F)
21. Figures from various shop models
22. The Brewery and Bakery (G)
23. Detailed views looking into the Brewery and Bakery (G)
ABOVE:
24. The exteriors of models of buildings
25. The Weaving Shop ( H )

26. The interior of the Weaving Shop ( H )
27. Detailed view looking into the Weaving Shop ( H )
28. The Carpenter Shop (J)
29. Views of the Carpenter Shop (J)
/^
*y.
.vw
•AVty
vW\y
WW
vyvy
-AV
31. One of the beer jars and the basket of food carried by Offering Bearers K and L
LEFT:
30. Two girls carrying baskets of food and drink to the tomb (K, L)
32. The procession of men and women carrying offerings to the tomb (M)
33. Traveling Boat N under sail
34. The crew raising and trimming the sail on Traveling Boat N
35. Traveling Boat O with the oars laid up in the rowlocks, as it was put in the tomb
36. Traveling Boat P with the crew raising and trimming a sail now lost
37. Traveling Boat Q as it was put in the tomb, and as originally assembled
38. Figures and equipment from the traveling boats
* ' . < \.' - <** tf.\.' « -
39. The cabins from Boats N and O. Below, Meket-Re' and his musicians from Boat O
40. Kitchen Tender R with the crew raising and trimming a sail now lost
41. Kitchen Tender S being rowed
42. Traveling Boat N and Kitchen Tender R in the Cairo Museum
43. Traveling Boat O and Kitchen Tender S in the Metropolitan Museum
44. The cabins removed from Kitchen Tenders R and S to show food supplies stored on deck and cooks at work
45. Yacht T rerigged for sailing as originally assembled, and as it was put in the tomb
46. Yacht U with the paddles stowed on deck as it was put in the tomb, and
with the crew paddling as originally assembled
47. Yacht V with the crew raising and trimming a sail now lost
48. Yacht W with the paddles stowed on deck as it was put in the tomb, and
with the crew paddling as originally assembled
49. Meket-Re' and his son In-yotef seated under the canopies on Yachts U and T
r
- ••••-— ~ - ^ , '
50. Figures and equipment from Yachts T and U

51. The Sporting Boat (X)
52. Two Fishing Canoes (Y) dragging a trawl between them
53. Figures and equipment from the Sporting Boat (X) and the Fishing Canoes (Y)
54. Plan and section of the tomb of Meket-Re'
^^^^M^mm^m^^^m&^^^mmMim^^m^^m^^m^^':
SCALE
55. Plan and section of the sirdab of the tomb of Meket-Re'

SECTION
O 5 10 20 30 40 5 0 CM.
PLAN
56. Models of the Residence (A, B)
fsssxa (i n n RSKSSS ESS33SI
3 C
riiiiiiMISi liiii
D
II
cc
END ELEVATION
^ r i gSKKXHStfK>^
Ml
\Q£t$SX&l\ II KXKXXK2 |
n • [==i a n |
IfflXXKKl
r a • era
• aQ n
wll lora
SECTION A-B
57. Details of the models of the Residence (A, B)
ELEVATION
END ELEVATION
SCALE
0 10 20
H H H 3L"
58. The pavilion of the model showing Meket-Re' superintending the counting of his cattle (C)
PLAN
O 5 10 20 30 4-0 CM.
M M l-l ^ =3~ —F=
SECTION
59. The Cattle Stable (D)
SECTION A-B
PLAN
SCALE
o s 10 20 30
SECTION
4-0 CM.
M H l-l -
C-D
60. The Butcher Shop (E)

61. Equipment of the Butcher Shop (E)
SECTION C-D
PLAN
O 5 10 20 30 4 0 CM.
M M 1-1 ^
62. The Granary (F)

B
63. Details of the Granary (F)

SECTION A-B
O 5 10 30 40 SO CM.
A 'D
PLAN SECTION C-D
64. The Brewery and Bakery (G)

65. Equipment of the Brewery and Bakery (G)
o OQ?O°C?
PLAN
4 0 CM.
SECTION
66. The Weaving Shop (H)

67. Equipment of the Weaving Shop ( H )
SECTION
SCALE
O 5 10 20 30 4 0 CM.
M M M I E
PLAN
68. The Carpenter Shop (J)

69. Equipment of the Carpenter Shop (J)
PLAN
SCALE
5 0 CM.
3
70. Traveling Boat N

PLAN
SCALE
O 5 10 40 50 CM.
• J—J i—• •— i
72. Traveling Boat O

PLAN
73. Traveling Boat P

PLAN
SCALE
O 5 10 SO CM.
SECTION
IO 5 O
74. Traveling Boat Q

PLAN
SCALE
O 5 lO
75- Kitchen Tender R

PLAN
SCALE
O 5 10 30 40 50 CM.
76. Kitchen Tender S

77. Equipment from Boats O, R, S, W
PLAN
SCALE
0 5 10 40 50 CM.
l B B l
78. Yacht T
PLAN
79. Yacht U
PLAN
SCALE
O 5 10 20 30 40 50 CM.
80. Yacht V
PLAN
SCALE
O S 10
1. Yacht W
PLAN
SCALE
O 5 10
i a a
82. The Sporting Boat (X)

;
s^^ g fi=- St 12. cm. 5 —
83. Equipment from the Sporting Boat (X)

3:8
84. Details of traveling and kitchen boats

85. Details of yachts
86. Equipment from various boats

Models of Daily Life in Ancient Egypt

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• •• '• • • ; • • •

DESIGNED BY BURTON J JONES JR.

LIBRARY OF CONGRESS CATALOG CARD NUMBER 5 5 - 5 9 8 1

Among the many discoveries made by Herbert Winlock during the

In the literature of Egyptology there are two outstanding works

this volume provide an accurate picture of many aspects of life as it was

III T H E FIGURES OF O F F E R I N G BEARERS

IV T H E MODELS OF M E K E T - R E " S BOATS

REFERENCES CITED 105

Frontispiece: The Sporting Boat

i. Meket-Re' and his son as represented on Yacht T

2. The entrance to the sirdab of the tomb of Meket-Re'

4. General view of the sirdab

5. Views of the sirdab after the removal of the first models

6. The largest model, the Inspection of Cattle, as it was found

10. The exteriors of the two models of the residence of Meket-Re'

11. The porch of Residence B, and its roof

13. The large model, the Inspection of Cattle

14. The procession of animals being inspected by Meket-Re'

17. The Cattle Stable

18. The Butcher Shop with its roof removed

20. The Granary

21. Figures from various shop models

22. The Brewery and Bakery

23. Detailed views looking into the Brewery and Bakery

24. The exteriors of models of buildings

25. The Weaving Shop

26. The interior of the Weaving Shop

27. Detailed view looking into the Weaving Shop

28. The Carpenter Shop

29. Views of the Carpenter Shop

30. T w o girls carrying baskets of food and drink

33. Traveling Boat N under sail

35. Traveling Boat O with the oars laid up in the rowlocks

37. Traveling Boat Q as put in the tomb, and as originally assembled

38. Figures and equipment from the traveling boats

41. Kitchen Tender S being rowed

42. Traveling Boat N and Kitchen Tender R

43. Traveling Boat O and Kitchen Tender S

47. Yacht V with the crew raising and trimming a sail

50. Figures and equipment from Yachts T and U

51. The Sporting Boat

52. T w o Fishing Canoes dragging a trawl

54. Plan and section of the tomb of Meket-Re'

55. Plan and section of the sirdab of the tomb

56. Models of the Residence

57. Details of the models of the Residence

59. The Cattle Stable

61. Equipment of the Butcher Shop

62. The Granary

63. Details of the Granary

64. The Brewery and Bakery

65. Equipment of the Brewery and Bakery

66. The Weaving Shop

67. Equipment of the Weaving Shop

68. The Carpenter Shop

69. Equipment of the Carpenter Shop

70. Traveling Boat N

71. Rigging of Traveling Boat N