EGYPT EXPLORATION FUND

THE

TEMPLE OF DEIREL BAHARI

EDOUARD NAVILLE
D.C.L., Ph.D., Litt.D., Hon.F.S.A.

Correspondent of the Institute of France; Fellow of King's GoVeye, London.

PART II.

PLATES XXY.-LY.
THE EBONY SHBINE. NOBTHEBN HALE OE THE MIDDLE PLATEOEM.

PUBLISHED BY ORDER OF THE COMMITTEE.

LONDON:
80LD AT
The OFFICES OF THE EGYPT EXPLORATION FUND, 37, Great Russell Street, W.C.,
and at 59, Temple Street, Boston, Mass., U.S.A.;
and bi KEGAN PAUL, TRENCH, TRUBNER & CO., Patebnostek House, Charing Cboss Road, W.C.
B. QUARITCH, 15, Piccadilly, W.; ASHER & Co., 13, Bedford Street, Covent Garden, W.C.
 EGYPT EXPLORATION FUND

THE

TEMPLE OF DEIR EL BAHARI

BY

EDOUARD NAVILLE
D.C.L., Ph.D., Litt.D., Hon.F.S.A.

Correspondent of the Institute of France; Fellow of King's College, London.

PART II.

PLATES XXV.-LV.
THE EBONY SHKINE. NOETHEEN HALE OE THE MIDDLE PLATEOEM.

PUBLISHED BY ORDER OF THE COMMITTEE.

LONDON:
SOLD AT

The OFFICES OF THE EGYPT EXPLORATION FUND, 37, Great Russell Street, W.C.,
and at 59, Temple Street, Boston, Mass., U.S.A.;
and iiY KEGAN PAUL, TRENCH, TRUBNER & CO., Paternoster Hodse, Charing Cross Road, W.C.
B. QUARITCH, 15, Piccadilly, W.; ASHER & Co., 13, Bedford Street, Covent Garden, W.C.

if31
 EGYPT EXPLORATION FUND.

IPresfoent.

SIE JOHN FOWLER, Bart., K.C.M.G.

IMcesfloresloents.
Major - General Sir Francis
Grenfell, ■ The Hon. Chas. L. Hutchinson (U.S.A.).
G.C.M.G., K.C.B.
Sir J. William Dawson, D.C.L., LL.D., F.R.S.
The Rev. Prof. A. H. Sayoe, M.A., LL.D. (Canada).
Sir Edward M. Thompson, K.C.B.,D.C.L.,LL.D. Prof. G. Maspero, D.C.L. (France).
Charles Dudley Warner, Esq., L.H.D., D.C.L. Prof. Ad. Erman, Ph.D. (Germany).
(U.S.A.).
The Rev. W. C. Winslow, D.D., D.C.L, Josiah Mullens, Esq. (Australia).
(Ron. Sec, U.S.A.). M. Charles Hentsch (Switzerland).

Ibott. treasurers.
H. A. Grueber, Esq., F.S.A. Gardiner M. Lane, Esq. (Boston, U.S.A.).
Clarence H. Clark, Esq. (Penn. U.S.A.).

Members of Committee.
T. H. Baylis, Esq., M.A., Q.C., V.D. Mrs. McClcre.
Somers Clarke, Esq., F.S.A. The Rev. W. MacGuegor, M.A.
The Earl Compton, M.P. A. S. Murray, Esq., LL.D., F.S.A.
J. S. Cotton, Esq., M.A. D. Parrish, Esq. (U.S.A.).
W. E. Crum, Esq., M.A. Francis Wm. Percival, Esq., M.A., F.S.A.
M. J. de Morgan (Directew Gen&al des Anti- F. G. Hilton Price, Esq., F.S.A.
quites de I'Egypte). Mrs. Tirard.
Sir John Evans, K.C.B., D.C.L., LL.D. The Rev. H. G. Tomkins, M.A.
Arthur John Evans, Esq., M.A., F.S.A. The Rt. Rev. The Lord Bishop of Truro.
W. Fowler, Esq. Prof. E. B. Tylor, D.C.L.
F. Ll. Griffith, Esq., M.A., F.S.A. Hermann Weber, Esq., M.D.
Mrs. F. Ll. Griffith. Major-General Sir Charles W. Wilson,
T. Farmer Hall, Esq. K.C.B., K.C.M.G., F.R.S.
John Horniman, Esq., M.P.

^Executive Committee tor 'Cl.S.H.

General Charles G. Loring, M.A. (Chairman). Gardiner M. Lane, Esq. B.A. (Hon. Treasurer).
John C. Gray, Esq., LL.D. Charles Dudley Warner, LL.D. D.C.L.
Hon. Charles L. Hutchinson ( Vice-President). (Honorary Vice-President).
Mrs. Sarah W. Whitman.
Rev. W. Copley Winslow, D.D., LL.D., &•;. (Vice-President and Hon. Secretary).
 PREFACE.

This Part begins with the representation of a fragment, at present unique

of its kind. It is a panel of ebony which formed part of a shrine, and
which lay buried in the debris on the roof of the Northern Speos. It is
described with that portion of the building where it was found.
All the other Plates illustrate the Northern Half of the Middle Platform,
which is on a lower level than the Altar-court described in Part I.
These Plates, like those of Part I., are all new. None of the repre-
sentations here published is to be found in any of the previous works on
the Temple by Duemichen or Mariette; for, except the top of the Shrine
of Anubis, all that side of the building was buried deep in rubbish
before our excavations began.
The sculptures and inscriptions are of various kinds. In the Anubis
Shrine they are merely religious. In the Middle Colonnade they refer to
the queen herself. The back wall of the Colonnade, in its whole length
north and south of the Causeway, was devoted to the biography of
Hatshepsu; the scenes begin with her miraculous birth, and go on with
her education.
In this volume we give only that portion of the legend which refers
to her divine origin and to her early childhood. Her coronation by her
father, as well as the most important event of her reign, her expedition
to the land of Punt, will form the subject of the next number.
As in Part I., Mr. John Newberry kindly undertook to draw the
plans and write the architectural descriptions. The artistic part of the
work, in which the same skill will be recognized which earned the
admiration of the readers of the previous number, is due to Mr. Howard
Carter and Mr. Percy Brown.

EDOUARD NAVILLE.
Malagny,
December, 1896.
 CONTENTS.

PLATE PAGE

XXV. The Ebony Shrine—Left Panel ...... 1

XXVI. ,, ,, „ Leaf of Door 1

XXVII. ,, ,, Outer Face of Panel 3

XXVIII. „ Inner „ 3

XXIX. ,, ,, Leaf of Door 4

XXX. Plan, Elevations, and Sections of North-Western Half of Middle Platform 4

XXXI. Perspective View of the Shrine of Anubis ... 7

XXXII. ,, „ Northern Colonnade 8

XXXIII. Shrine of Anubis—Anubis introducing Hatshepsu into the Shrine 8

XXXIV. Hatshepsu before Osiris—Entrance of a Niche 9

XXXV. ,, between Nekheb and Harmakhis ... 9

XXXVI. „ making Offerings to Amon 9

XXXVII. „ ,, ,, Anubis 9

XXXVIII. Vulture of Upper Egypt [coloured; Plate xxxvi.) 10

XXXIX. Hawk of Lower Egypt (coloured; Plate xxxvii.) 10

XL. Thothmes III. offering Wine to Sokaris 10

XLI. Niche—Anubis and Goddesses of Upper and Lower Egypt 11

XLII. Inscriptions on Architraves 11

XLIII. Hatshepsu between Anubis and Hathor 11

XLIV. „ and Anubis ... 11

XLV. „ drawing off the Veil of Phtah—Thothmes III

offering Water to Sokaris 11

XLVI. Middle Colonnade: Northern Wall—Council of the Gods before Amon ... 13

XL VII. „ ,, „ ,, Amon and Thoth 14

XL VIII. „ „ ,, „ Khnum moulding the Bodies of Hatshepsu

and her Double—Thoth addressing Aahmes 14

XLIX. „ ,, „ „ Aahmes led by Khnum and Heqet—Gods

following Amon 16

L. .. » » „ Amon.................. 16

LT. ,, „ ,, „ Birth of Hatshepsu ... 16

LII. ,, ,, ,, ,, Hathor presenting Hatshepsu to Amon 17

Lin. „ ,, „ „ The Suckling of Hatshepsu and her Doubles 17

LIV. ,, „ „ ,, Thoth and Amon holding Hatshepsu and her

Double 18

LV. „ „ „ ,, Anubis rolling the Disk of the Moon—

Safekhabui recording the duration of
Hatshepsu's reign ... 18
 THE

TEMPLE OF DEIE EL BAHAKL

DESCRIPTION OE PLATES.

PLATES XXV.-XXIX.
THE EBONY SHRINE.

In every Egyptian temple the room constituting the six feet high, together with one of the leaves of the
sanctuary, the crryKos as Strabo calls it, contained a door (pis. xxv., xxvi.).
shrine or naos, in which were hidden the emblems of On the 1st of March, 1893, while clearing the
the god to whom the temple was dedicated. These platform above the Sanctuary of Anubis, the workmen
shrines were often monolithic monuments, sometimes quite unexpectedly came across the panel, lying flat,
even of large dimensions, like that of the god Sopt about two feet above the floor; close to it was the
found at Saft el Henneh, part of which has been leaf of the door. Considerable care was necessary in
preserved. In that case they rested on fixed bases, lifting the panel from the ground, on account of its
varying in height according to the size of the shrines. weight. Moreover, as it is made up of a great
But generally they were made of wood, so that they number of small pieces, any shock or any attempt
could be moved, and either placed on sacred boats or to set it upright would undoubtedly have caused its
carried by means of staves, as was the ark of the collapse. However, we succeeded in laying it upon
Israelites. At the great festivals, when the processions a large board, on which it was carried to my house
were formed, priests of a certain order took the shrine in the village of Gurneh. There it was packed care-
out of the sanctuary and carried it on their shoulders fully under the supervision of Mr. John Newberry,
round the temple, and perhaps even outside. We and afterwards conveyed to the Ghizeh Museum,
know that this was done with the shrine of the where it is now exhibited.
goddess Hathor at Denderah, in order, as the in- The fact of its having been left on the floor shows
scriptions say, " that she might see the face of her that even in ancient times the place on which it was
father—the sun." found was not used as a terrace; it was merely the
All the wooden shrines have perished, except one roof of the Hypostyle Hall in front of the Shrine of
which belongs to the museum in Turin. It is very Anubis. Very soon after the destruction of the naos,
small, only one foot high, and evidently had been of which it had formed part, the panel must have
deposited in a tomb. Except this, all those which been thrown where it lay and covered by the rubbish
are still extant are made of stone, a few of them falling from the cliff ; otherwise it would not have
being still in situ, as the Shrine of floras at Edfu, escaped destruction by the Copts.
while all the rest are scattered in various museums. These two fragments, the panel and the door, show
One of the best finds, therefore, made at Deir el that the whole naos was made of small bits of ebony,
Bahari was certainly that of a wooden panel, which held together by pegs of the same wood. The
formed one of the sides of a large shrine more than ebony tree never grows to a sufficient height or
 DBIR EL BATTARI.

thickness to yield large pieces of timber, and it is cartouche of Thothmes I., instead of ~~^ or qf . with
only towards the core of the trunk that the wood which that of Thothmes II. ends, and which dis-
takes the -fine black colour which gives it its value. tinguishes his name from that of his father. The
Hence it was, that to obtain a large surface, it was mistake is proved by the fact that the accompanying
necessary to join together a great number of small titles are those of the son, and not of the father.
pieces, the larger beams being used for the frame and There are other instances of evident mistakes,
for the cross-bars which strengthened the structure. which seem to show that the engravers in wood were
As far back as the Old Empire we find that ebony not as well trained as those who worked in stone.
was among the kinds of wood held as the most Thus the correct spelling of the second cartouche of
valuable, and for this reason it was employed in Thothmes II. is f ^ 111 J m J > ^ut 'n one °^ tne
manufacturing various objects of temple furniture, horizontal lines on the outside of the panel it is
such as shrines, &c. written (^^ ,7,], and in another (3y[jn]- On
A late text from Denderah mentions an ebony the door, also, the cartouche at the top is written
case which resembled in size the Shrine of Deir el the second sign, ^=, having been omitted.
Bahari. It was 3 cubits (about 5 ft.) high, 2 cubits These are evident errors, and there can be no doubt
(3 ft. C in.) wide, and 3|- cubits (5 ft. 6 in.) deep, and about them; but the case is different with other
contained the bed on which the metal frame of Osiris irregularities, which tend to prove the presence of the
Sokaris lay. queen on the throne as an associate of Thothmes II.,
The Pharaohs of the Old Empire drew their ebony at the time when the shrine was erected. I allude to
from Ethiopia, in the region of the Upper Nile. the feminine pronoun which occurs several times in the
In the inscriptions recording the naval expedition to vertical lines. It is easily discernible in the phototypes
the land of Punt, ebony is mentioned as one of the (pis. xxv., xxvi.) that near the end of two of these lines
products of that country brought back to Egypt by stood the signs ^ ^ g^ " she made for him," and that
the ships of the queen. It is therefore quite possible in both cases the -»— has been carefully erased.
that our shrine was made of ebony from the land of Although the two inscriptions are identical in this part,
Punt, if it was dedicated after the return of the fleet it would be extraordinary that the engraver should
from its voyage to the coast of the Eed Sea. have twice made the same mistake at the same place.
The naos affords a very clear indication of the In the line which is engraved on the stile or edge
time of its construction. It dates from the brief of the panel (pi. xxvii.), we find <=> (I ~~^ instead of
period when Thothmes II. reigned together with his ""2T _„_ (1 ,ww« "to her father Amon Ra." Again, in
sister Hatshepsu. We find in its inscriptions the the scenes of offerings (pis. xxviii., xxix.) we twice
titles and standard-name which belong to that king ; read y ^ ' Zl, the s= having been erased.
his cartouches are the original ones ; they have not Lastly, in another vertical inscription (pi. xxviii.),
been inserted afterwards in inscriptions which were these signs ft Ji- ~~*~ " an(l *° ner ^ca>" have been
not engraved for Thothmes II. preserved, and enough of the beginning to show that
His standard-name is *>gj wJl | i| lea nekht userpekti, it consisted of the names and titles of Thothmes II.
"the mighty bull eminent through his bravery," exactly All this indicates that Hatshepsu did not wish to be
as we find it on the stele which he caused to be en- forgotten, even in inscriptions referring to the king.
graved at Aswan in remembrance of his victories over It is quite possible that the other sides of the Shrine
Ethiopia. Moreover in one of the scenes of offerings were covered with scenes and inscriptions devoted to
he is seen holding the long sceptre and the mace, the queen, and for this reason it is much to be regretted
which were the insignia of a king actually in posses- that the back of the Shrine has not been preserved.
sion of regal power, and the first in rank if he was There the most important representations must have
associated with another ruler on the throne. I am been engraved, and it would have been interesting to
therefore compelled to consider the solitary mention see whether Hatshepsu claimed for herself the merit
of the cartouche of Thothmes I. occurring on one of of having dedicated to Amon this beautiful work of
the vertical inscriptions of the frame as a mistake art. Judging from the panel, the Shrine seems to
of the engraver (pi. xxvii.). The artist engraved have been the special gift of Thothmes II. to Amon.
in the cartouche a [_], which is the last sign of the It may have been dedicated in order to commemorate
 THE EBONY SHRINE.

the king's successful campaign in the Soudan, when,

according to his own account, in the first year of his
(M0
sa Ra n khet-f Tehutimes dr-nf m mennn-f
reign he crushed a rebellion of the negroes who had
son of Ra of his hody Thothmes he made his buildiugs
been subject to his predecessors. As a token of
gratitude he may have presented the god with this
beautiful gift, the value of which was considerable.
n tef Amon Ra drt-nf neter hez
However, neither its precious material nor its exquisite to his father Amon Ra was made for him liolv shrine
workmanship could protect it against the blind hatred
of Khuenaten towards the god Amon and his priests;
for here, as everywhere else in the temple, the figure
6) ^ m f]
m hebni n tepu setw dr-nf dnk/i-t
of Amon has been wantonly cut away. precious of ebony of mountaineers made him living
The panel formed the left side of the Shrine, and
the leaf of the door was also that on the left.
1 TJ 3i
The shrine opened in front ; it was covered with tat-t Ra md zetlo
sculptures inside and out, except the door, which established like Ra eternally
was sculptured on the inside only, while the outside
was strengthened by cross-bars, and still bears the " The good god, lord of the two lands, the pious lord,
bronze rings into which the bolt shot. The out- who takes possession of the crown of the two lands,
ward ornamentation of the panel consists of dedi- the king Aakheper en Ra, the son of Ra, of his loins,
catory inscriptions and representations of amulets; Thothmes, he made his buildings to his father Amon
while inside four scenes of offerings cover the greater Ra. He made a sacred shrine of great value of ebony
part of the surface. The amulets figured are of two of the mountaineers (of Nubia); (the god) made him
kinds, arranged alternately in pairs : the || tet and living and well established for ever."

the m te-t. These often occur together, and seem to

In each of the horizontal lines it is stated that
have had the same significance of stability and duration. Thothmes is a worshipper of Amon Ra, who dwells
They were placed on mummies or in the coffins, and are in Serui (Deir el Bahari), the inscriptions differing
among the commonest funerary objects found. Both only in the epithets. In the top line the king is said
were considered as having magic influence. Probably to be " the living god, the good one who rises as the
their being represented on the monument was supposed eldest son of ........."; 1. 2, "the living god the good
to ensure its preservation and its everlasting duration. one (who conquered all lands) by his victories" ;
The lower register on both sides is carved with the 1. 3, " the living god, the good one, the lord of joy" ;
so-called false door, a motif which appears also along and in 1. 4 he is called " the very brave (like Mentu),
the base of the retaining wall of the Middle Platform. his living image on earth." In each line Thothmes II.
alone is mentioned : 11.1, 3, 4, by his coronation name,
Plates XXV., XXVI.—Photographs op the Shrine. and 11. 2, 5, by his second name, incorrectly written in
both cases.
(See above.)

Plate XXVII.—Outer Pace op Panel. Three out Plate XXVIII.—Inner Pace op Panel. Above the
of the four vertical columns of inscription on the dado, which on the inner as well as the outer face of
panel are practically identical, and the variation in the the panel consists of a row of " false doors" sur-
fourth would seem to have been but slight (pi. xxviii.). mounted by one of amulets, we find four scenes of
They contain the formula of dedication to Amon. offerings, the first of the series being that on the left

ii s of the lower row, and the last that just above the first,
in the upper row. We begin with Thothmes II. before
neter nefer neb to-ui neb dr khet tet nefer
god good lord of tlie two lands ord pious taking good Amon, consecrating to the god a table of offerings,
now entirely erased. The legend reads: y /J j 8 ^\
4 m GEE3E3 suab uthu, " consecrate a table of offerings." Thothmes
hez to-ui suten nt Aa keeper n Ra holds in his hand the long staff or lance and the mace,
the white crown of the two lands King Aakheper en Ea which were the insignia of the reigning king. It was
 DEIR EL BAHARI.

customary in the Egyptian ritual, that the king should ing away from Amon Khem and going out. The
bear these insignia when presenting the god with an explanatory text reads : j\ ^ tf ant rat, " to bring
altar or a table covered with a huge pile of vegetable back the foot," i.e. to retrace one's steps. In his left
and animal offerings (see pis. xiv., xvi., xxiv.). Above hand the king holds a long band, which we know
the king's head are engraved the usual titles and from other texts to have been called rQ <gv c ^
promises. hat en. According to Brugsch's explanation, it was a
Next to the last-named scene, on the right, comes long strip of papyrus, stuck down the seam of the
an offering; of frankincense and cold water, A ii door so that it should be closed hermetically.
art seneter qebh, " offering of incense and cold water."
The incense, which is one of the numerous kinds of Plate XXIX.—Leap ok the Door. The outer
resins used by the Egyptians in their religious rites, surface has no sculptures, only cross-bars, likewise
is represented as burning. The offering of water of ebony, and the bronze rings for the bolt. On the
consisted of sprinkling two altars placed before the inner face are two scenes of offerings. Below the
god with water poured from a tall and slender king is represented wearing the head-dress of Upper
vase. Egypt, and in the act of adoration : ] * .... neter tua
Above is a scene somewhat obscure, the upper sign sep aft, "adoration (repeated) four times." We have
of the explanatory text having been destroyed. The already seen the same act performed by Thothmes I.
king, who holds the ■¥- in his right hand, seems to (pi. ix.). In the erased inscription containing the
be addressing the god; at the same time he is said usual promises we can still trace the feminine pronoun
to bring to Amon what is called | r-w-i J x neter
sheb, which may be either a food offering or a clepsydra. The upper scene represents the offering of the
Behind Amon we read the following promise : "I give white pointed loaf: |l__^ ^ n | A seq ta hez, "to
thee years eternal, U !>■ * 1T1 ma merer t n{a) prepare the white loaf." A corresponding scene
zetto, because of thy love to me eternally." Here occurs in the North-western Hall of Offerings (pi. xx.),
we have an instance of the erasure of the feminine where the presentation is made by Hatshepsu. Here,
pronoun s=>. as in the former instance, the offering is brought to
In the last scene Thothmes II. is represented turn- Amon Khem.

PLATES XXX.-XXXII.
PLAN, ELEVATIONS, SECTIONS AND PERSPECTIVE VIEWS ; NORTHERN HALF OF MIDDLE PLATFORM.

Situation and Extent. the largest piece of work that had to be done in
Plate XXX.—Plan, Elevations and Sections of the whole temple. It was begun on the 22nd of
North-western Half of Middle Platform. This March 1893, shortly before the end of the first
plate gives the plan of the north-west portion of the season. Four days only were given to it, but the
Middle Platform, namely, that part which lies between result enabled me to form an idea of what the
the northern cliffs and the Central Causeway. Its inscriptions were which covered the wall behind the
level is some twenty feet below that of the Upper Middle Colonnade. During the whole of the next
Platform. Here are comprised the northern half of season, from the 14th of December to the 14th of
the Middle Colonnade, the Northern Speos with its March, a large body of men with tramways and
Hypostyle Hall and Chambers beyond, and the Northern trucks were busy removing the mounds between the
Colonnade. Plates xxxiii.-lv. are also to be referred Causeway and the cliff. A considerable mound, how-
to the same section of the building. ever, still remained, and nearly six weeks of the third
season were occupied in removing it. On the 17th of
Excavation. January, 1895, the northern side of the platform was
The excavation and complete clearing of the
northern half of the Middle Platform was by far 1 Mariette, Abydos, i., p. 56.
 NORTHERN HALF OF MIDDLE PLATFORM.

at last absolutely cleared. The time spent on the far back as the Saite period. Finally, there were
clearance will give some idea of the amount of enormous heaps of limestone chips from the moun-
rubbish which lay heaped upon the spot. tain, unmixed, and apparently untouched. Doubtless
In 1893, before our work was begun, the Terrace they were contemporary with the construction of the
which runs along the Upper Court was covered with temple; this part of the temple having been built last
ruins of Coptic buildings. The Middle Platform had of all, and never finished. In the Northern Colonnade
been filled up level by pulling down and breaking the architrave was not carried further than the eighth
up the walls of the Pharaonic temple, and the remains column ; it remained roofless ; no paintings nor sculp-
of the convent extended on this higher level over tures adorned the chambers prepared for them. In
the Middle Colonnade and the upper part of the the Hypostyle Hall, the vestibule of the Anubis Shrine,
Causeway. Beyond, the rubbish rose in high mounds, a dedicatory inscription on one of the columns was
the top layers consisting of the debris thrown there left off before the cartouche of the queen was finished.
by Mariette when he excavated the southern side of Evidently, the completion of the building had been pre-
the temple. With the exception of two capitals, vented by the death of the queen or some other political
the whole of the Northern Colonnade was entirely event; the result was that the heaps of chips produced
hidden in the debris, and no one could tell its by the levelling of the ground for the pavement and
length, nor where and how it ended. The corner of from the cutting down of the rock where the wall was
the retaining wall of the Upper Terrace was visible, to be built against it, were left where they lay.
and a few of the square pillars along that wall. Strange to say, no one took the trouble to remove
In the corner towards the Anubis Shrine, M. Maunier, them. This part of the temple, therefore, has never
the French consular agent, had excavated two mummy- been so fully displayed as at the present time.
pits and discovered several coffins. This was about In the course of the excavations we found that the
the year 1854, and in 1893 the refuse of his excavation rubbish mounds had been used for a burial-ground, as
was still to be seen. Mariette, following in his foot- indeed was the case with the whole of the temple, in
steps, penetrated into the Hypostyle Hall, the vestibule which many mummy-pits had been dug, chiefly for
of the Anubis Shrine, which was full of mummies of a the priests of Mentu. On the top were Coptic
late epoch. These he removed, leaving behind the mummies. The bodies were wrapped in linen, with
rough stone coffins which had contained them. He thick exterior bandages, but without amulets or orna-
did not, however, clear out the Hypostyle Hall; he ments. Several wooden labels inscribsd in Coptic
left it full of earth, and as rubbish had fallen from or Greek proved the late date of these burials. A
the adjacent mounds, it was barely possible to creep few wore of a richer class.1 On the outer wrapping
into it beneath the architraves. Mariette also dis- in front was sewn a painted cloth, reaching to be-
covered the westernmost columns of the Northern low the waist, with a mask for the head. On the
Colonnade, and the entrance to the first chamber mask was moulded a wreath of flowers. These
behind them. This appears in the plan made by his mummies are doubtless Christian. To one of them
architect, M. Brune. a Coptic label was attached by a piece of string.
The materials of which these high mounds were The hands, also painted, hold an ear of corn and a
composed were of various kinds. At the top were glass containing red liquid, i.e. wine. These two
the debris from Mariette's excavations : further down symbols I take to be those of the Eucharist; but
was rubbish, being waste matter and ashes from the here, as in the paintings in the catacombs at Koine,
Coptic convent. At this level we collected ostraca there is a mixture of Pagan symbols with the
and inscribed pieces of limestone, most of which had Christian. Below the waist is painted the boat of
been through fire. Beneath the convent itself were Sokaris, with a figure of Anubis on either side.
blocks and fragments of stone from walls broken Underneath the Coptic burials were some Pharaonic
down by the Copts in order to fill up the Platform interments, many being in rude mummy-shaped
and raise the level for the continuation of their own coffins, with painted heads. Most of them seem to
buildings. A great deal of loose rubbish must have
fallen from the cliffs before the Copts came. It
covered burials, of which we found many dating as 1 See Archaeological Report, 1894-5, pi. ii.
 DEIR EL BAHARI.

have belonged to the XXVIth Dynasty. This is of cloth or of durra stalks, for protection from the
certainly the case with one that we discovered lying sun while they were at work.
on the pavement of the Platform, and which was the Now that the Middle Platform is entirely cleared,
only fine one of the lot. It is the coffin of a woman, its large level area, bounded on two sides by colon-
the head being remarkably well cut. Mythological nades, produces a very fine effect. In my opinion it
scenes are carefully painted over the whole coffin, as corresponds in purpose to the colonnaded courts built
well as on the cartonnage case in which the body was at the entrance of other great temples.
enclosed. The bandaging of the mummy was good,
but there were no amulets or ornaments. This woman
The Northern Half op Middle Colonn-ade.1
was called = ? "|\ [J (j f^ ® fl Tenkhaihhetes, with-
out any title. It is curious that this fine mummy This portion is illustrated on pi. xxx. in plan and
should have been among those of so much poorer a elevation.

class. Probably it was to be put into a mummy-pit, Its pavement is 3 feet 4 inches above the Middle
but either want of room or neglect caused it to be left Platform, from which it is approached at the south end
among the dead whose coffins were merely covered by four steps placed against the retaining wall of the
with sand or rubbish, and whose relatives could not Central Causeway, and on the north by three steps
afford to have a pit cut for them. next to the Hypostyle Hall. It measures 87 feet
When the Northern Colonnade was cleared, we 3 inches in length and 20 feet 9 inches in width, to
found that brick walls had often been built between the edge of the pavement. The western boundary
the columns, forming small cells or chambers. From forms the retaining wall to the Terrace above, the
the remains found in them, consisting of broken beads, Central Causeway being on the south, and a thick wall
fragments of papyri, and pots containing nitre, we dividing it from the Hypostyle Hall on the north.
gathered that these chambers were occupied by em- Twenty-two square pillars in two rows formerly
balmers who dwelt also on the slope outside the temple. supported longitudinal architraves, on which rested a
There we found, in the second year of our excavations, flat stone ceiling, painted blue with yellow stars, of
very clear indications of the presence of such craftsmen. which only fragments now remain at the northern
Just above the wall of the Colonnade were several and southern ends. The pillars are set out at regular
large jars, some of which were filled with chopped intervals, and vary from 2 feet 7 inches to 2 feet
straw used for stuffing the mummies, while others 9 inches square at the base, tapering to 2 feet 5 inches
contained numbers of little bags of nitre or some salt at the top, which is also the width of the architrave.
used in mummification. Among the jars was a very The pillars measure 13 feet 3 inches in height, the
fine coffin, well painted, with the face dark brown. total height from floor to ceiling being 15 feet
The inscriptions showed that it had been made for 6 inches: their angles are very slightly rounded, and
a priest of Mentu of the XXIInd Dynasty called they are ornamented with incised dado lines round
TK ~~™ (I Kamenkhetamon, wno was of high them and sculptures in low relief above. Nearly all
birth, his great-grandfather being King Osorkon I. of them have their upper portions destroyed, probably
of the XXIInd Dynasty. When the coffin was opened by the giving way of the ceiling above.
it was found that there was no body inside, but several The pavement is well preserved : a mummy-pit,
hundreds of little bags full of nitre. It is to be some 10 feet deep, was discovered between the four
presumed that the coffin was not paid for, or that northernmost pillars, and another in the corner near
the purchasers, having changed their minds, had the wall of the Hypostyle Hall: both of them had
left it, and the embalmers used it for storing their been rifled. The four pillars still erect next the
chemicals. Hypostyle Hall support a stone architrave, upon
Near the causeway a few pillars have been built up, which rests the ceiling above, with a piece of the
without order or plan, with blocks taken from various lower member of its cornice. This appears to show
parts of the building, and regardless of the sculptures conclusively that the cornice and parapet on the
upon them. It is not improbable that this also was
the work of the embalmers, who may have put them
1 The following architectural descriptions have been written by
up to support an awning or shelter, made perhaps Mr. Jonx E. Newberry.
 NORTHERN SPEOS, OR SHRINE OF ANUBIS.

Hypostyle Hall were continued across the Middle Plate XXXI.—Perspective View of the Northern
Platform, interrupted only by the Causeway, the upper Speos, or Shrine of Anubis. A perspective view,
sides of the ceiling-stones forming a continuation of drawn on the spot, of the facade of the Hypostyle
the Terrace pavement, as is still the case with those Hall, and embracing its four external columns with
of the Hypostyle Hall. those behind appearing between. The slope of the
The western or end wall has a considerable slope or steps leading to the Middle Colonnade is shown on
" batter," and is in good condition, except for some the left, and a part of the first column of the Northern
stones that probably fell from the upper part with Colonnade appears on the right. A portion of the
the ceiling. The side walls are nearly vertical and retaining walls, which are built against the surround-
are quite complete. A dado, marked off by incised ing cliffs, are shown above the parapet (see also
lines similar to and of the same height as that on the pi. xxx., Section and Elevation looking north, and
pillars, is carried round these walls, their upper part Elevation looking west).
being sculptured in low relief.1 The pavement consists mostly of the solid rock,
and is 2 feet 6 inches below that of the Middle
The Nouthern Speos or Shrine op Anubis. Colonnade, and only slightly raised above the Middle

The Northern Speos comprises the Hypostyle Hall Platform. Opposite to each other and in the centre of
with the three chambers behind it, and is illustrated the north and south walls are two small niches with
architecturally on plates xxx. and xxxi. Its situation flat ceilings: they are 3 feet wide by 3 feet 6 inches
is immediately north of the Middle Colonnade, and deep, and vary from 6 feet 2 inches to 6 feet 0'5 inches

it occupies the north-western angle of the Middle in height. In the centre of the west wall is a flight of
Platform, the surrounding cliffs evidently having been four steps leading up to a lofty doorway, which gives
excavated to receive the various chambers. access to the chambers beyond : it measures 9 feet
The Hypostyle Hall is in a very perfect state : the 5 inches in height and 3 feet 7-5 inches in width, and
fiat stone ceiling resting on massive architraves, and the jambs have a slight projection worked upon them
the columns supporting the latter being all intact. of 0'5 inch. (See pi. xxx., section through Hypostyle
This ceiling is painted blue and powdered with yellow Hall looking west, in which the two central columns
stars; the architraves are also painted. Internally are omitted in order to show this doorway completely.)
the measurements average about 36 feet 5 inches in The First Chamber opening out of the Hypostyle
width by 21 feet 7 inches in depth, and 18 feet Hall measures 13 feet 10 inches in length by 6 feet
4 inches in height from floor to ceiling. in width and 10 feet 6 inches in height, and its axis is
The twelve columns are sixteen-sided, measuring arranged centrally with that of the outer Hall. The
2 feet 7 inches in diameter just above their shallow ceilings of this chamber and of those beyond are of
circular bases, and they are 15 feet 9 inches in height. an approximately elliptical form similar to those in
Their upper diameter is 2 feet 4 inches. The abacus the Chapel of Thothmes I.: like them they have level
is square and flush with the square of the shaft. A instead of radiating joints, as would be the case in a
simple band of hieroglyphs expressing a dedication, in true arch.

some cases to Amon Ra, in others to Anubis, appears The Second Chamber opens out of the north wall
on the west (inner) side, or sometimes on the east of the first, and is at right angles to it. Its dimensions
side, of each. The spacing of the columns is wider in are 17 feet 3 inches in length by 4 feet 4 inches in
the centre, to form a better approach to the chamber width and 9 feet 7 inches in height, and its floor is
beyond. Externally the columns are surmounted by raised 6 inches above that of the First Chamber.
a cornice and parapet similar in design to those of When this part was excavated the jamb-stones of the
the Altar, and consisting of a large bead or torus doorway leading to the chamber were found to have
worked on the architrave and a hollow or cavetto been displaced, and there was danger of the lintel and
above. The parapet is 1 foot 5 inches wide, 1 foot upper part falling in. It had therefore to be very
10-5 inches high, and is slightly rounded on the top. carefully shored up, the jambs taken out, the interior
of the wall built solidly in cement, aud the old stone-
1 For the scenes and inscriptions on these walls, see pis. xlvi. work carefully put back in its original position. At
et ieqq., and the description of thern on p. 12 et seqq.
the north end of this chamber is a stone seat, 2 feet
 DEIR EL BAHARI.

wide and 1 foot 8'5 inches high, the projecting mould- spot, and gives the general effect of this part of the
ing or nosing of which is carried along the western temple: on the left a small piece of the architrave to
wall, and forms the threshold to the doorway of the the Hypostyle Hall is visible, and above the parapet
innermost chamber. It may be noticed that the are seen the retaining walls beyond. The steep cliffs
dimensions and architectural arrangement of this and which occur above are not shown. In the foreground
the innermost chamber are very similar to those of are pieces of the cornice and parapet found during
the Chapel of Thothmes I. (see pi. i.). the excavations.
The Third Chamber or Niche is raised 1 foot The four chambers are raised one step above the
8*5 inches above the outer floor, and measures 6 feet Colonnade level. Their dimensions vary from 5 feet
] 1*5 inches in length by 2 feet 7 inches in width. 0*5 inch to 5 feet 2 inches in width, and 10 feet
The curved ceilings throughout these Chambers 4"5 inches to 8 feet 7 inches in length. The three
have yellow stars painted on a blue ground ; their eastern chambers have raised seats across their
walls also, as well as those of the Hypostyle Hall and northern ends, similar to the seat in the Second
its niches, are all elaborately painted with scenes and Chamber of the Northern Speos. The ceilings are of
inscriptions, most of which are restorations, the original an approximately elliptical form, but neither they nor
bas-reliefs having been erased.1 the walls show any trace of ever having been painted.
Apparently this Colonnade was the last portion of
the temple undertaken, and it was never completed.
The Northern Colonnade. The walls and columns have been covered with a
The Northern Colonnade is shown in plan, elevation thin coating of plaster, but there is no sign of any
and section on pi. xxx. and in perspective on pi. xxxii. decoration having been applied.
It is built against the steep cliffs on the north side of A displaced ceiling stone was found here, measuring
the Middle Platform, and consists of a retaining wall 8 feet by 2 feet 11 inches by 1 foot 8 inches, but it
117 feet 3 inches long, pierced with four small chambers, does not appear that the ceiling was ever formed for
and a colonnade in front of the wall composed of a the greater part of the Colonnade.
single row of sixteen-sided columns, fifteen in number. When this portion of the temple was excavated,
The whole stands on a pavement, which is raised some rough mud brick walls were found to have been built
1 foot 9 inches above the Middle Platform, and is in the Colonnade, forming small apartments about
12 feet 11*5 inches wide. The architrave, cornice and 6 feet high, and it is supposed that in them some
parapet line with and form a continuation of those embalmers of the XXIInd Dynasty carried on their
of the Hypostyle Hall, but the material of the archi- trade. The bricks of these walls measured 14 inches
traves is here a sandstone. This was probably because by 7 inches by 4-5 inches. A quantity of broken
the limestone used everywhere else in the temple had pottery, blue beads, scarabs, &c, were also discovered
been found brittle and not to be relied upon. here; but these will be described in a subsequent
Plate XXXIT. is a perspective view, drawn on the volume.

PLATES XXXIII-XLII.
HYPOSTYLE HALL OF NORTHERN SPEOS (SHRINE OF ANUBIS).

Plate XXXIIL—East End op South Wall. With here are very extensive, and affect the inscriptions as
this plate wo enter the Hypostyle Hall which formed well as the figure of Hatshepsu. Here and there a
the Vestibule leading to the Shrine of Anubis. This few signs or little bits of text have been restored;
part of the temple is particularly well preserved. The but as they do not always fit in exactly with the old
colours are very bright. Unfortunately the erasures text a translation is sometimes hardly possible.
The first ceremony performed in a temple or in a
1 For the scenes and inscriptions from these walls see pis. xxxiii.- sanctuary was always the introduction of the king by
xlv., and the description of them below. the gods. They take him by the hand and lead him
 \

VESTIBULE OP THE SHRINE OP ANUBIS.

themselves to the place where he is to act as their ^ « . =HM°!

priest. The scene of the introduction, therefore, is neb sat mert unn(d) hem her sotep sa-t
always at the entrance. Here it is Anubis alone who all daughter beloved I am indeed protecting- thee
performs this duty for the queen. Hatshepsu, whose
figure has been entirely destroyed, was seen stand-
ing, and wearing the head-dress called slchent, the
km
dm neteru neb
emblem of the dominion over both parts of Egypt. among gods all

tt p T=f\ Hh j> " Anubis Amut, the lord of Toser," " I have come full of joy because of my love to
holds her by the hand, and shows her the way into his
thee, my hands are full of all life and purity. I am
sanctuary. The text reads :
protecting thee among all gods." Harmakhis says:

a° *- iQj^ k in " I give thee millions of years

yt an suten bes m neter hez k HA - '5 %li

going in going out royal introduction into the sacred shrine m suteny to-ui nes Seb
with the royal power two lands the throne of Seb

o\ ©*~-^ Mm
w iiii
nt Anepu tep tu-f khent Send >=SlI
0
rnx'
Q
f
of Anubis on his mountain in Semi Turn da.u pesshti m ankh
and of Turn dignity of the two halves with life
" The going in and out, the introduction of the king
into the sacred shrine of Anubis on his mountain, with the royal power over the two lands, the throne
who resides in Serui." of Seb and Turn, the dominion over the two halves
The other columns of text, nearly destroyed, (of Egypt), with life and purity, because of thy love
contained the usual promises : to me, eternally."

M- Plates XXXVI. and XXXVII.—West Wall, south

m as %i nen dr nt n(d) and north or the Doorway. The west wall of
as reward for those things thou hast done tor me the Vestibule, in which is the doorway to the
" as a reward for all thou hast done for me." Sanctuary, is still remarkable for the beauty of its
colours, wherever the sculptures have not been
destroyed. It is covered with two scenes sym-
Plate XXXIV.—Middle of South Wall. At the metrically arranged, one on each side of the door.
top the queen (erased), making an offering of cold The text has been erased, but not so completely as to
water to Osiris : be illegible; as to the figure of the queen, it can no
longer be distinguished. As usual in such cases, the
two scenes are connected with the division of the
TJsdr khenti Ament neter aa neb pet
country into North and South. The scene on the
Osiris residing in the West the great god the lord of the sky
left of the door is the Southern, and is marked by
Beneath is the entrance to the southern niche. the beautiful vulture, the colours of which are perfect
The inscriptions around it contain nothing but the (pi. xxxviii.); it is the emblem of Xekheb, the goddess
name and titles of the queen, mostly erased. of the South, and spreads its wings over the queen.
On the right side, corresponding to it, is the hawk
Plate XXXA7.—West End op South Wall. The of Horus, here an emblem of the North (pi. xxxix.).
If the figures of the queen had been preserved, we
queen, of whom nothing is visible, stood between
should have found that on the left she wore the
the goddess Xekheb of Upper Egypt and Harmakhis.
white head-dress, A, and on the right the red
The goddess says to her:
one, y.
The gods are Amon on the South, and Anubis on
y n(d) ha n meru tot-ui meh m ankh uas the North. Both of them are preserved, even Amon,
I came full of joy loving my hands full of life purity and both are painted red. In front of them are
D
 10 DEIR EL BAHARI.

collected offerings of all kinds, of the produce of the "I will join for thee the two lands in peace, thou
land : vases containing liquids, wine, milk, vinegar ; raisest the double crown, thou shinest with it, thy
all kinds of vegetables, especially onions and lettuce ; will is powerful over all lands, like Ea Turn in his
lotus-flowers of various colours; meat offerings, joints years of rising, full of joy, on the throne of Horns for
of slaughtered bulls, calves, and antelopes, and also ever."
dressed geese. We have already seen in the chapel Anubis (pi. xxxvii.) is not less grateful than Amon.
of Tbothmes I. the king and the queen making the " Said by Anubis Amut, the great god, the lord of
same offerings, but on a smaller scale (pis. xv. and Toser, the lord of the sky:
xvi.). Here, as before, the ceremony is called
t= art utennu, " making a presentation," and V 1 Earaaka 1

further, A 'z£P [By ^ tut ma aat, " giving rightful yu n(d) sep sen m hotep set nt khet ltamaka
come to me, twice, in peace daughter of body Ramaka
offerings in great number."
Amon Ka, lord of the throne of the two lands, lord
of the sky and prince of Thebes, of course gives to t §i OOO I

mert nezt mennu sentt pa

the queen the usual reward for her great munificence:
beloved diligent making buildings lanning ray house
"I will give thee all life, all health, all joy in my
possession."
^VJWi AWA* e
WW^A 1 I I
D
a ^ sment
establishing
ranu
names
smenkht
increasing
pat
offerings
szeft
enriching
smen khau-t apen neferu seru an-i
established thy diadems those beautiful sacred handsome
<s^-
^ I Til V
*-)kt: khatu art mer m art n khet neb
»i nefer-t ur-t m sekhem-t to-u neb altars making (what I) love in giving all things
through thy beauties great by thy might lands all

ffi
(<=>)

¥ t 0 i n- uabt
■^f «■
rnenkh
nefert rut
k/ier tebt-t tu (t) sat nezt art abundant
good pure plentiful
under thy sandals for thou art daught
" Come to me, come in peace, daughter of my loins,
i?
IIIMIIIII

Ramaka beloved, diligent, making buildings, planning

mennu n eferu my house, establishing the names (of the gods), in-
buildings beautiful creasing the offerings, enriching the altars, doing
" These beautiful and sacred diadems are well estab- what pleases me when thou bringest in abundance all
lished (on thy head), thou art fair through thy beauties, things good and pure. I will give thee as reward all
thou art great through thy might. All the lands are life, stability and purity, like Ra. I will renew for
under thy sandals ; for thou art my daughter, the thee millions of Sed periods in great number, thou art
diligent one who makes beautiful buildings." crowned as king on the throne of Horus, the lord of
And the god adds : all living beings, like Ra eternally."

k m \i- Plates XXXVIII. and XXXIX. — Vultuke and

sma n(d) n-t to-ai m hotepu utes-t
Hawk peom West Wall. Coloured drawings of the
I will join for thee the two lands in peace thou raisest
symbolical birds mentioned in the description of
pis. xxxvi., xxxvii.
............ k/ia-t ams n aa
the double crown thou shinest through it for great
Plate XL.—MtDDr.E of North Wall. In the corner
of the North wall was a representation, nearly destroyed,
of the queen standing before Anubis Amut. The god
bau-t her to-u is in the form of a skin on a pole, a very frequent
thy will over the lands emblem, already shown on pi. ix. Next to it comes
 SHEINB OJ? ANUBIS. 11

a scene in a perfect state of preservation. Thothmes its god. We have on this plate the three sides of
III., painted dark red, offers two vases of wine, the niche. At the end stands the god Anubis ; the
h ""TT £& arp, to the god Sokaris. ^^ w ] | ^^ queen, who was before him, is now completely
Selceri neter da neb pet, " Sokaris the great god, the destroyed. On the two sides are the goddesses of
lord of the sky." Sokaris is one of the forms of INorth and South. The goddess of the South, _L J
Osiris. He is generally represented as here, under NeMebt, promises the queen «JiL ^-=^ qent neb, " all
the form of a man with a hawk's head. The formulae power," j nekht neb, " all strength, f q 4j
consist of promises of health, joy, and millions of Sed dhd-a, " my duration." The goddess of the North,
periods. Q Tept, on the right, promises also power, strength
Beneath is the entrance to the Northern niche. The and joy. It is to be remarked that, although the
inscriptions contained the cartouches of Hatshepsu goddesses speak to the queen, the pronoun to thee
and of her nephew. Everything referring to the ^2 tu n(a) nil, " I will
queen on the lintel and on the door-posts has been give thee."
erased, while the names and titles of Thothmes III.
have been respected. Plate XLII.—Architraves of the Hypostyle Hall.
The inscriptions of the architraves in the Vestibule
Plate XLI.—The Three Sides op the Northern contain nothing except the name of the queen, who
Niche. The Northern niche was dedicated to Anubis; is said to be a worshipper of Amon and Anubis, the
while opposite to it the Southern one had Anion for two gods to whom the shrine was dedicated.

PLATES XLIII.-XLV.

INNER CHAMBERS OF THE NORTHERN SPEOS, OR THE SHRINE OF ANUBIS.

Leaving the Hypostyle Hall, we enter the Shrine, the queen, who stood between them, long life and
which opens out of the western wall. It consists protection.
of two separate chambers, the second being at right
angles to the first. In the western wall of the second, Plates XLTV. and XLV.—Eastern Wall of Second
exactly as in the chapel of Thothmes I., is a raised Chamber. The side walls of the second chamber were
niche. In the first chamber, which is the larger, we decorated almost exactly like those of the chapel of
see several representations of Amon standing; the Thothmes I., to which we may refer (pis. ix.-xi.).
figures of the queen who was officiating before him The scenes of offerings are well known. First comes
are destroyed. Amon holds here a similar position to Anubis, twice represented, to whom probably were
that which he occupies in the Altar Court. He is the offered grains of frankincense called 3 bet (compare
god of the whole temple, but he allows a shrine or pi. ix.). After him comes Osiris, who receives four
altar to be dedicated to another god, Anubis; this red vases of water (compare pi. xi.). In the next
explains why he is figured at the entrance to this scene it is Thothmes III. who officiates; his head is
shrine, as on the door and in the Vestibule leading beautifully sculptured, and in a very good state of
to the Altar Court belonging to Harmakhis. preservation. He offers four vases, called hun or
nem, to Sokaris, who is called here ^S? ^z? <~» '
Plate XLIII.—End Wall of Second Chamber. In Selceri neb qerert, " Sokaris, lord of the cave."
the second chamber, we see at the end Anubis and a In the last scene we see the queen again. She opens
goddess, K^l T ^^ Rat hor her tep set, " Hathor, the shutters of the shrine of Phtah and draws away
the lady of the mountain." They both promise to the veil from the face of the god (compare pi. xi.).
 ....

» J&
12 DEIR EL BAHARI.

PLATES XLVI-LV.
MIDDLE COLONNADE, NORTHERN WALL (LOWER REGISTER).

These following plates reproduce the sculptures found published in the great posthumous work which
and inscriptions engraved on the north side of the appeared under his name.2 Since then they have
retaining wall of the Upper Platform. The scenes been copied again and published by Mr. Gayet.3 If
on this wall are particularly interesting, because we compare the texts and sculptures at Luxor with
they describe the birth of the queen and her
education up to the time when her father thought
those which we have at Deir el Bahari, we find a
striking similarity. There are a few variants in the
>*
her old enough to become his associate on the scenes, but several of the texts are identical, word
throne. for word; so that it is evident that Amenophis III.
But her enthronement by her father was not merely copied most of what he found inscribed on the
sufficient to establish the claim of Hatshepsu to walls of Deir el Bahari.
regal power; probably her rights were contested This legend of divine paternity, which, as we
'

in consequence of strong opposition to a woman have stated, probably goes back as far as the Old
occupying the throne. She wished therefore to Empire, was current as long as the Egyptian religion
emphasize the fact that she was the legitimate heir endured; but curiously, with the exception of the
to the kingdom by attributing to herself a divine cases of Hatshepsu and Amenophis III., we never
origin. According to the legend which she caused find it referring to human beings, i.e. to kings
to be engraved on this wall, she was the daughter or queens. It seems to be the stereotyped form
of Amon himself; "the great god, the lord of the of the description of the birth and enthronement
sky, the lord of the thrones of the two lands, who of the gods, especially in Ptolemaic temples. We
resides at Thebes," was her father, and her birth find these identical scenes in all the so - called
might thus be considered as miraculous. mammisi or birth-temples, which are generally small
"We have here the oldest version known of a legend, edifices in close vicinity to the great sanctuaries;
the origin of which probably goes back as far as the some of them have been preserved with their sculp-
Old Empire. An allusion to a fable of the same tures at Denderah, Erment, Edfoo, Philae and else-
nature occurs in connexion with the three first where. At Ombos the mammisi is nearly destroyed.
kings of the Vth Dynasty, who were supposed to At Esneh, the latest of the Roman temples, the birth-
be sons of Ra.1 But the legend in its whole length scenes have been engraved in the great columned hall
and with all its details is found here for the first at the entrance. Even at Philae, where Horus is said
time. to be the son of Osiris, Amon is the prominent
One of the successors of Hatshepsu, Amenophis III. divinity as at Luxor, and asks Khnum to shape the
of the same dynasty, also desired to be considered as body of the young god. We have here an example of
the son of the god whose name was incorporated in the extraordinary persistence of legends in Egyptian
his own, and left in the temple which he erected worship. Moreover, we are led by this fable to one
at Luxor a record of his divine birth. East of of the creations of Greek mythology. As has been
the sanctuary of this great temple, the walls of a observed, this myth bears an extraordinary resem-
whole room are covered with sculptures, beginning blance to that of Jupiter and Alcmene. According
with the announcement by Thoth to the queen to the Greek poets, the god took the form of
Muteinua that she will be the mother of a son, and Amphitryo, Alcmene's husband, exactly as Amon
ending with the coronation of Amenophis III. by appears to the queen Aahmes under the form of her
Amon himself. Champollion was the first to notice husband Thothmes I.
these interesting sculptures, part of which are to be This wall and the chapel of Thothmes I. are the

2 Monuments de VEgypte et de la Ntibie, vol. iv., pis. 339-342.

Pap. Westcar, pi. ix., 1. 21, et seqq. 3 Mission Archtologique Frangaise au Caire, T. xv., pi. 62, et i
 MIDDLE COLONNADE, NORTHERN WALL. 13

parts of the temple where erasure has been most fragmentary; some of them have been entirely rubbed
completely carried out. Nothing of the original work away. A complete translation is therefore impossible,
has been spared, except two figures of Aahmes, one and we must be satisfied with ascertaining the purport
of Thothmes [. enthroning his daughter, and two of the inscriptions accompanying each scene. In a
of Turn of Heliopolis. Apart from these, all the few places some help may be derived from the
figures now extant have been restored ; they are publication of the text of Luxor already referred to.
carved and painted on a thin coating of plaster. The wall on which our scenes are engraved is about
The names of the gods have been re-engraved, and fifteen feet high, and is divided into two horizontal
only a few hieroglyphs added. These new signs registers of equal height. The series of repre-
are incised, instead of being sculptured in relief sentations begins with the lower row on the left side,
like the original work, as it may be seen in the the first scene being on that part of the retaining
signs accompanying the figures which have escaped wall of the Causeway which limits the Colonnade on
destruction. Several times we come across the ever- the South. The next scenes follow in succession
recurring inscription of Rameses II., saying that on the retaining wall of the Platform from end to
" he renewed these buildings to his father Amon." end, the last scene being at the North angle of the
This inscription is often cut right through the old Colonnade, on the wall which separates it from the
text without any regard for what was underneath. Hypostyle Hall. For the second part of the series we
Evidently Rameses II. was concerned only with the have to go back to the South end, where the upper
restoration of the figures, and did not care for the row begins and runs parallel to the lower one. In
text, which gave prominence to the queen, whose the second part of the legend the queen is no longer
legitimacy as a ruler of Egypt he did not recognize. a child; we see there what happened in her youth
Who was the author of this wanton destruction and the ceremonies of the coronation.
thus imperfectly repaired ? I have no doubt that
it was the heretic king Amenophis IV., Khuenaten, Plate XLVI. — First Scene. So little remains
who erased unmercifully all that referred either of the inscription, that the explanation to be
to the queen or to the Theban gods. I cannot given of the meaning of this scene is not quite
attribute it to Thothmes III., for I see no reason certain. Amon is seated on a throne ; he has
why he should have defaced all the figures of the summoned before him the great gods of Egypt.
gods. If, as is generally supposed, the hatred which These gods are twelve in number, headed by one
he felt towards his aunt drove him to eradicate as of the great divinities of Thebes, Mentu, "the lord
much as possible everything connected with the of Thebes," the hawk-headed god wearing two
remembrance of Hatshepsu, he undoubtedly would feathers and a disk. He is followed by Turn, the
have respected the figures of the god whom he great god of Heliopolis, and his cycle, consisting
himself worshipped. The king who ordered this of Shu, " the son of Ra," Tefnut, " the lady of the
destruction was certainly no friend of Amon and sky," Seb, "the father of the gods," Nut, "the
of the priests of the great god of Thebes; on the mother of the gods," Osiris, " who dwells in the
other hand, he dared not touch the figure of Turn, West," Isis, " the lady of the sky, the sovereign of
the great Heliopolitan deity. This fact clearly points the two lands," Nephthys, " the sovereign of all the
to Amenophis IV., whose constant efforts were gods," Set, " the great living god." With these come
directed towards wiping out of Egypt the worship also Horns, " the son of Isis, the great god, the lord
of Amon. His reason probably was a political one; of eternity," and Hathor, " the lady of the West, the
he was afraid that the growing power of the priests sovereign of the two lands." All these figures have
of Thebes might become a danger to the throne, been restored except that of Turn, which is painted
and therefore he established and upheld in the whole in bright red and is original.
land another cult, which, however, was not new, This council of the gods seems to have been called
for its Heliopolitan nature and origin are clearly together to receive an important announcement from
discernible. Amon. The great god of Thebes probably told them
In spite of the restorations which Rameses II. that a mighty princess would be born, that her reign
boasts to have made, most of the texts are still very would be glorious and powerful, and he asked them
E
14 DEIR EL BAHARI.

to grant her their protection and to help as much as exert with might her royal power over the whole
they could to make her prosperous and rich. As for land; she will rule over the two parts of Egypt
himself, his intentions towards her are nothing but and guide the living.
kindness ; we may judge of them by the few signs All this scene had been completely destroyed ; the
left: figures have been restored in paint over a thin coating
of white plaster, and their artistic value is not to be
compared with the few remains of the original work,
sam n(d) ns to-ui m hotep
some specimens of which exist in the further scenes.
I will join for her the two lands in peace
The short lines above the heads of the figures are
also restored. But, strange to say, the engraver did
a__d q in
not restore the name of Queen Aahmes, the wife of
du rtun(d) ns to-u nebu setu neb Thothmes I. ; he introduced another, that of the wife
I will give to her lands all countries all of King Aahmes L, the queen Aahmes Xefertari, who
at the time of Eameses II. had already been deified,
"I will join for her the two lands in peace.......I will
and was often represented in the tombs among the
give her all lands and all countries." "We cannot see
deities protecting the deceased. The visit of the god
the answer of the ] | | Put neteru, "the cycle of
the gods."
to the queen is never omitted where the birth of a
The whole scene is an introduction to what is to king or of a deity is described; hence we find
similar scenes at Denderah, Edfoo, Philae, Esneh
follow, viz., the birth of the queen, her education and
and Luxor.
her coronation, all which events have been agreed
upon and prepared in an assembly of the gods.
Plate XLVIII.—Fifth to Seventh Scenes. After
leaving the queen, Amon calls on Klmum, the
Plate XLVII.—Second to Foukth Scenes. The ram-headed god who will shape the body of the
first two scenes on this plate are very much erased. offspring of Amon and also of its ha or double.
It is hardly possible even to recognize the figures. Khnum is the potter, fl „ fa qeten; his residence
Moreover, the restorations of Rameses II., having is the city of ^ ^=t ©, Herur, in Middle Egypt,
been made right across the old text, add to the in the XVIth nome, the nome of the oryx, the
defacement of the original inscriptions. metropolis of which had for its cemetery the famous
In the first scene we see Amon and Thoth. This tombs of Beni Hasan. Mr. P. Newberry identifies
last god plays in this legend very much the same Herur with the present village of Hur, four miles
part as that which is given to Hermes or Mercury in north of Beni Hasan. There Khnum had a temple
the comedy of Amphitryo. He addresses Amon, he with his divine consort, the frog-headed Heket,
names to the god queen Aahmes, and he induces him whom we shall see appearing in the next scene. It
to visit her, and cause her to inhale the breath of is much to be regretted that most of the inscriptions
life. In the next scene Thoth again holds Amon by have been lost, and that we have not much more
his hand, and leads him to the entrance of the palace than the ever-recurring inscription of Rameses II.
of the queen. Amon is standing before Khnum and addressing this
Further, we see Amon, who, as the text says, has god. He is evidently asking him to model the body
taken the form of the queen's husband, the king of his daughter, who will exceed in glory and power
Aakheperkara, Thothmes I., sitting opposite the all her predecessors, and who is particularly dear to
queen and giving her the -¥-, the sign of life, which him, for he will join for her the two lands (in peace),
she receives in her hand and in her nostrils. God and he himself is protecting her every day " with the
and queen are supported by two goddesses, Neith on god who is in his day."
Amon's side and Selk on the queen's. The two Khnum, who has been sent for by Amon, answers
goddesses are seated on a couch. The interview that he is ready to comply with the wish of Amon,
between the queen and the god is described in the and that he is going to shape the body of his daughter
accompanying text, which ends by Amon saying that according to his desire. We can trace his answer in
the daughter to whom Aahmes will give birth will the few signs left:
 SHAPING OF THE BODY OP HATSHEPSU. 15

abundance. I will give thee to rise on the throne

of Horus, like Ra."
qeten n(d) sat ten ............... dru-s r
1 will shape daughter this her appearance above A UU
U T
m k fe- I*
tu n(d)
I will give
nt
thee
unen

to be
khent
the first
l;au
of beings
ankhu
living
neb
all
neteru sahu-s ?i swien »<
S 1 @s I___
gods because her dignity high of king of Upper and
Lower Egypt H2
k/iat m suten nt nen ma vt
" I will shape for thee thy daughter [I will endow
rising as king of Upper and Lower Egypt these as ordered
her with life, health, and strength, and all gifts], I
will make her appearance above the gods, because of r-
O
her dignity of king of Upper and Lower Egypt."
n-tef t Anion Ra merer tn
The potter is not slow in executing what he has
thy father Anion Ra who loves thee
promised to do, as is shown by the scene before
us. We must remember that all these scenes were ' I will give thee to be the first of living beings,
engraved by Hatshepsu's command, and that the when thou risest as king of Egypt. This is all
chief desire of the queen was always to be represented according to the order of thy father Anion Ra, who
loves thee."
as a man. Hence we see on the god's table two
boys, both exactly alike, one being the little queen Amon has appeared to the queen; Khnum has
and the other her ha, her Double, which is indis- shaped the body of the child which is to be born.
solubly united to her from the day of her birth. Now Thoth addresses the queen, and declares to her
These two human beings are lifeless. When Khnum all the dignities which will be bestowed upon her, all
has finished his work, when the two boys are standing the titles which will be added to her name, since she
before him, life is given them by his divine consort, is to be the mother of such an illustrious offspring.
the frog-headed Heket, who holds before their nostrils This part of the wall is particularly interesting, for
the sign of life. here we have a figure which is untouched, that of
The first two columns of the speech of Khnum are Queen Aahmes, and also portions of the original text.
incomplete ; they probably read as follows: Said by The figure of Aahmes and the hieroglyphs which are
Khnum, the potter, the lord of Herur: "I have in front of her are of the most exquisite workmanship.
shaped thee with these limbs, daughter of the lord The whole of the inscription which is under Thoth's
of Thebes." arm is original, except the group ^ ^j, reading
ba, which occurs twice, and which, meaning the ram,
*=» —
m refers either to Amon or to Khnum, both of which
y n(a) nt r qema(m) t r neteru gods were the objects of the hatred of Khuenaten.
i thee to create thee above gods The following is what remains of the words of
vJji>- ^37 = = S ^=^ 1 | I Tehuti neb Shmun neb neter
A f 1 da, " Thoth, the lord of Hermopolis, the lord, the
nehu tu n(&) nt .dnkh uds neb tet-t nebt great god " :
all 1 will give thee life purity all stability all
PUP
m sahu-t aa n rpatt urt
in thy dignity ffreat of princess the great
dudbt nebt kher-d
joy all within me

" I have come to thee to create thee higher than all ^_ III h\ Y7

dmtu urt hestu hont

the gods. I will give thee all life, all purity, all of the favourites the great of the preferred the sovereign
stability, all joy within me." The other promises
are those repeatedly met with, " I will give thee "^3L
I

all health, all lands, I will give thee all countries, nezem db urt bert dat niert Hor i
all mankind. I will give thee all offerings, all well pleasing the great of affection the great of love Horus
IB
DEIR EL BAHARI.

IIP
III &3k? :\ the admirable modelling of the delicate and refined
features, and the smiling expression, give to her face a
maat Set maat ba merijt zettu
beauty which bears witness to the skill of the Egyptian
seeing Set seeing the ram loving
artists, and causes us to regret more keenly that so
little has been left of the original work.
Beyond stood three rows of divinities, twelve in
I) a samyt Hor meryt-f zett number; they seem to be accompanying Aahmes into
the vam consort of Horns loving him said
the chamber, whither she is led by Khnum and Heqet.
The long text which was engraved in front of Amon
(pi. L.) is completely desti*oyed.
khet neb drtu lis
things all done to her
Plate LI.—Ninth Scene. Birth op Hatshepsu
"............ in thy high dignity of princess, the head and of her lea (Double). A scene much erased;
of the favourites and the head of the preferred, the the figures have been partially restored, but only in
well-pleasing mistress, very affectionate and loving, paint. The queen Aahmes, the royal mother, is
who sees Horus and Set, who loves the sacred ram, seated on a throne placed upon a long couch.
......... the sacred ram, the consort of Horus, who She has the child in her arms. In front of her are
loves him ; these are the things done to her." divine nurses and midwives, holding in their hands
If we compare these titles with those of the queens several of the ka of the future queen. Behind the
of the Old Empire, we find a remarkable similarity, queen-mother is an unknown goddess, touching the
especially in two of them, which have a symbolical head of Aahmes with the sign of life, together
meaning, v^ ^T (1(1 <= Hor samyt, " she who is united with Nephthys, Isis and other deities. Beneath the
to Horus," the consort of Horus, is generally joined couch are genii with crocodile and human heads, also
to the analogous title, C\ IH <=> Hor semert, "the holding the sign of life. These I take to be the
friend of Horus," which occurs in the next plate. genii of the East and of the West, for on the lower
Both together form a combined expression, v\ 1 fi row are other genii with heads of jackals and
Y Y^ <=> Hor semert samut, "the friend and consort hawks which are well known : they are called the
of Horus." spirits of Z. Pe, and oa Nekhen, viz. of North and
In this expression " Horus " is probably not a god; South. Thus at the birth of Hatshepsu the deities
it is the divine name of the king, whose titles generally presiding over the four cardinal points are all present.
begin with 'igy Hor nvb, " the golden Horus." I have Just below the seat of the queen are two human
supplied the name of Set in the erasure under the arm figures with raised hands, having on their heads the
of Thoth, on the analogy of the titles of the queens palm of years. This probably means that millions of
of the Old Empire, who are styled v\ "xl *sJp <K\ ^ years or of Sed periods are given to the child which
Hor Set maat, " who sees Horus and Set." I can give is just born, that she is to have eternal duration.
no explanation of this title, which may mean that The same idea is expressed by the •¥■ and the u
the queen's dominion extended over both parts of which are between these figures.
Egypt. Later we shall see the god Set appearing In the lower row, towards the right, we find two
at the coronation of Hatshepsu. divinities, generally represented on the cornices or on
the entrances of the mammisi or birth temples. The
Pis. XLIX. and L.<—Eighth Scene. Aahmes is grotesque appearance of both, and especially of the
being led by Khnum and Heqet into the chamber male god, suggested that such buildings were dedicated
where she will give birth to Hatshepsu. The to Typhon: the old guide-books often speak of a
hieroglyphs engraved above her head are similar Typhonium, built close to a great temple. These
to those in the preceding plate; they give her deities are the dwarf god Bes, and the female
titles and dignities, with the addition of ^z^ hippopotamus, called either Thueris, Beret, Api, or
hont hemtu neb, " the sovereign of all women." The Apet. The large blank space next to Bes con-
figure of Aahmes is perhaps the finest piece of work in tained a text having symbolical connexion with
the whole temple. Though it is in a very low relief, the birth. It referred to the lighting of a flame or
 BIRTH OF HATSHEPSU. 17

of a lamp by Api. A flame was supposed to be At the sight of the child the god addresses her in
an emblem of life ; therefore, when life began, at the the following words :
birth, or on anniversaries like the Sed festival, when n

the duration of the king's life was celebrated, or in (o£u] ,^

sat tit khet(a) Bamako, dtt k/iu pert Merit
the other world when life was supposed to be restored
daughter of my body Ramaka form sacred issue first
to the deceased, we find the ceremony of lighting a
lamp. At Luxor, in the scene of the birth of " daughter of my loins, sacred form, my first issue
Amenophis III., there are a few words left of this . .......... as king thou takest possession of the two
text, which must have been very like Chap. 137 of lands on the throne of Horus like Ra."
the Book of the Dead. At the time of the XVIIIth Amon is well pleased with the sight of his
Dynasty this chapter was written in two different daughter. He takes her from the hand of Hathor;
versions. The vignette1 which accompanies one of the text says that he loves her exceedingly; he kisses
them shows a female hippopotamus, called " Api the her and embraces her; he salutes her with the formula
goddess of protection," lighting a lamp with the which we have had before repeatedly: " Come to me,
symbol of fire which she holds in one of her come to me in peace, daughter of my loins, beloved
paws. Ramaka, thou art the king who takes possession of the
In front of the couch a goddess is seated. She is diadem on the throne of Horus of the living, eternally."
called (i I J!L | Meskhent; she is another form of On the right is the goddess Selk. Probably in front of
Heqet or Nekhebt. Meskhent appeared at the her stood another figure, now destroyed and covered
cradle of the child at the instant it was born. She by the inscription of Rameses II. Selk is said to be
is the head-nurse of the young queen, and therefore the lady of a place called Yf „ t\ © Qetenem, the
she says to her: " I am protecting thee behind thee site of which is unknown. I should think from Selk
like Ra." The long text which is above her head is being mentioned on the next plate that she was one
a mere repetition of the commonplace promises which of the goddesses who superintend the suckling of
occur in nearly every scene. These promises of the child.
health, strength and prosperity are made to the
queen and to her lea as well. PI. LIII.—Twelfth and Thirteenth Scenes. The
queen-mother is kneeling on a high couch, underneath
PI. LII.—Tenth and Eleventh Scenes. Amon which is a row of A te-t amulets. A female figure
has not yet seen his daughter, and probably is places on her head the head-dress known by the
impatient to make her acquaintance. The introduction
Latin name " modius." Before her two cow-headed
of the child to her father is the object of two scenes. Hathors are suckling Hatshepsu and her lea. Below
It is Hathor herself who shows Hatshepsu to Amon. them are also two Hathors l'epresented as cows.
The goddess is seated on a chair and holds the These figures are not original; they have been
restored on a reduced scale. On the walls there are
little boy on her hand. What remains of the text
shows that Amon came expressly— traces of the original horns, showing the size of those
which have been defaced. The artist who painted
V' am n the new figures did it quite carelessly; he forgot the
two most important ones, the two boys under the
r maa sat-f mert-f llamaha aiikht
to see his daughter who loves him Ramaka living' cows being suckled by the sacred animals.
In the text, which is very much destroyed, among
fliPMIMP the usual repetitions we find the command :
m khet
after
niesu-s
her birth
ask
for
db-f
his heart
nezem r hat urt
pleased very much n UU
U
menu. holds hna, kem-s nehu
" to see his daughter who loves him, the queen to suckle her majesty and her ka all
Ramaka, for his heart was exceedingly pleased."
" to suckle her majesty and all her lea."
A human being might have as many as fourteen lea.
1 Naville, Todt., i., pi. 151. In this scene we see the execution of the order
E
 18 UE1R EL BAHAHI.

just given. Twelve nurses are holding children in First we see Anubis rolling a large disk. We find
their arms. The nurses have as head-dress alternately the same god with his disk in all the birth-temples,
the sign LI and the emblem of Neith in the Saitic except at Luxor, where he is seen holding a sceptre.
nome. The children are all lea of the queen, and if From the text at Denderah I gather that this disk is
we add to them the two suckled by the Hathors we the moon, and that the god is presiding over the
arrive at the sum of fourteen. renewal of the moon, which means that he regulates
The nurses hand over the children to two male the calendar of the gods. Among the promises which
figures, who present them to three seated gods. If we he makes to the queen he grants her
compare this scene with the representation at Luxor,
i
the first figure, the one that holds the children, would ® \ C E Q HI

be j? enf Ildpi, " the Nile," and the other | u toll wbu setu nebt rekhytu nebt Hanebtu

Helea.u, a god who is little known, and who is con- lands all countries all Rekhyt all Hanebtu

sidered as representing the " magic power of speech."

If this be so, Hapi would give to the child the power ft
^ in
of growth, and Hekau that of speech. The hiero- nebt Hamemtu nebt Patu nebt
glyphs are obscure; they seem to mean that these all Hamemtu all Patu
men take Ramaka out of the room where she was
" all lands, all countries, all inhabitants of Egypt, all
born, in order that she may be purified by Horus
and Set. "We shall see further on this kind of strangers, all future and all past generations."
In front of Anubis stands Khnum. Next we see
Egyptian baptism, performed for Hatshepsu, not
however by Horus and Set, but by Horus and Amon. in the upper room the queen and her lea being still
carried on the hands of a nurse, who seems to hand
PL LIV.—Fourteenth Scene. The child passes them over to a man who receives them.
through the hands of several gods ; we do not see Underneath we see again the two nurses, but the
exactly why. Hatshepsu and her lea now appear in children are older, they are able to walk. In front
the hands of Thoth and Amon. It may be that of them a woman holds an inkstand, in which the
Amon entrusts her to Thoth in order that this god goddess Safekhabui dips her reed in order to record
may determine what her future will be, and may grant that she has allotted to the young queen a great
her a reign of many years. Thoth and his consort number of years : millions of Sed periods on the
Safekhabui are the divinities presiding over the throne of Horus. I cannot explain who is the man
measurement of time. behind the goddess holding a long staff and the ■¥-.
This is the last scene of the lower row. We have
PI. LV.—Fifteenth Scene. This scene is also now to go back to the other end of the terrace, where
somewhat obscure. The texts which are still legible we shall find various episodes of the childhood and
are only common-place formulas, and do not give youth of Hatshepsu, beginning with her purification
any clue to the meaning of the representation. by the gods.

FEINTED UY GILBEliT AND BIVINGTON, LTD., ST. JOHN'S HOUSE, CLEKKENWELL, E.C.
EBONY SHRINE.

LEFT PANEL.
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 Deir el Bahari.

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 SHRINE OF ANUBIS. Plate XXXVI.

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 SHRINE OF ANUBIS.
Plate XXXVII.

HATSHEPSU MAKING OFFERINGS TO ANUBIS.

 SHRINE OF ANUBIS.

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 SHRINE OF ANUBIS.
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 SHRINE OF ANUBIS.

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 SHRINE OF ANUBIS.
Plate XLIll.

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HATSHEPSU BETWEEN ANUBIS AND HATHOR.

 SHRINE OP ANUBIS. Plate XLIV.

HATSHEPSU
HATSHEPSU. HATSHEPSU ERASED.
 SHRINE OF ANUBIS.
Plate XLV.

HATSHEPSU DRAWING OFF THE VEIL OF PHTAH. THOTHMES III OFFERING WATER TO SOKARIS. OSIRIS.
^^■^■■■H ^^^■■^^■1 i^^^^^^m^^^^

MIDDLE COLONNADE. NORTHERN WALL. Plate XLVI.

 Plate XLVII.

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AMON AND THOTH.
 Plate XLVIII.
MIDDLE COLONNADE. NORTHERN WALL.

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THOTH ADDRESSING AAHMES.
KHNUM MOULDING THE BODIES OF HATSHEPSU AND HER DOUBLE.
 IDDLE COLONNADE. NORTHERN WALL. Plate XLIX.

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AAHMES LED BY KHNUM AND HEQET.

GODS FOLLOWING AMON.
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MIDDLE COLONNADE. NORTHERN WALL. Plate L.

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BIRTH OF HATSHEPSU.
MIDDLE COLONNADE. NORTHERN WALL.
 Plate LIN.

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THE SUCKLING OF HATSHEPSU AND HER DOUBLES.

 MIDDLE COLONNADE. NORTHERN WALL.
Plate LIV.

THOTH AND AMON HOLDING HATSHEPSU AND HER DOUBLE.

 MIDDLE COLONNADE. NORTHERN WALL.

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SAFEKHABUI RECORDING THE DURATION OF HATSHEPSU'S REIGN.

ANUBIS ROLLING THE DISK OF THE MOON.
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