Tomb of Sennefer Plan - Nobles Tombs - Luxor, Egypt- Part X

Tombs of the Nobles, Luxor, Egypt.
Sennofer or Sennefer, Tombs of the Nobles, Luxor, Egypt.
In this delightful tomb the boxed-in effect has been broken. The 'oriental tent' atmosphere of most tombs is missing because the entire ceiling has been painted with a creeping vine. Interesting use has been made of the rough surfaces of the rock to make the grapes and vine-tendrils more realistic, and the experiment has succeeded.

Both the first small chamber and the main hall, which is supported by four pillars, have been decorated in this manner.

Sennofer (Sennefer) was the overseer of the gardens of Amon under Amenhotep II. His tomb,which was excavated only in the 20th century, was found to have mostly religious inscriptions but the condition of the frescoes is almost perfect and their freshness and

A steep flight of stairs takes us down to the first chamber, and the first representations we meet on the left-hand wall (a) show Sennefer being brought offerings from his daughter and ten priests. Circling the chamber clockwise we see on the two rear walls (b) and (c) drawings of the deceased with his wife worshiping Osiris who is represented above the doorway of the main chamber. On the right-hand wall (d) the deceased is seen entering and leaving his tomb while servants bring sacred offerings and his daughter stands behind him.

Above the doorway of the main chamber lie two representations of Anubis. Touring the chamber clockwise we come first to a scene of the deceased and his wife emerging from the tomb (c), and further along seated on a bench. On the left-hand wall at (f) are servants bringing furniture to the tomb and setting up two obelisks before the shrine. At (g) are funerary ceremonies and the nobleman himself (to the left) looks on. On the rear wall (h) the deceased and his wife are at a table of offerings while priests offer sacrifices to the dead. Further to the right (i) are scenes of the voyage to Abydos, statues of the deceased and his wife in a shrine in a boat being towed by another boat. Thus the deceased nobleman satisfied himself of favor with Osiris by showing that he had the intention of performing the sacred pilgrimage.

One of the most beautiful representations is that of the deceased and his wife in an arbour (j) praying to Osiris and Anubis. At (k) a priest clad in a leopard skin purifies them with holy water and at (l) is the scene before a table of offerings where Sennefer puts a lotus blossom to his nostrils and his wife tenderly holds his leg.

The pillars have representations of Sennefer and his wife. Perhaps the most attractive is to be found on the left-hand pillar at (m).

Luxor, Egypt

Egypt: Tomb of Seti I Plan - Valley of the Kings - Part III Largest Tomb

Giovanni Belzoni, who discovered the tomb in 1817, was a circus man who originally came to Egypt to market an irrigation pump he had designed in England. The project fell through but he arranged the transportation of the colossal head of Ramses II from the Ramasseum to the British Museum in London.

This is a classical tomb that far surpasses all others
in the Valley of the Kings both in size and
 in the artistic execution of the sculptured walls.
 Every inch of wall space of its entire 100 meter length 
is covered with representations which were carried 
out by the finest craftsmen.

He turned his energies to the Valley of the Kings and made this remarkable find just one year later. When the Turkish officials in Egypt heard of the discovery they straightway made for the tomb, bent on the delightful thought of acquiring priceless treasure. Down the corridors they went, ran sacking every corner only to find to their disappointment that the tomb contained no more than an empty sarcophagus.A steep flight of stairs leads to the entrance of Seti's tomb which is covered with sacred texts along its full length from the highest reaches down to the bed rock. The first corridor (I) is carved in high relief. On the left-hand wall (a) the sun-disc bearing a scarab, and the ram-headed Sun God can be seen between a serpent , acrocodile and two cows' heads. The texts which start on the left are continued to the right (b). The roof is painted with flying vultures.

The second corridor (2), which is staircased, has thirty-seven forms of the Sun God depicted on the upper part of the recesses on both sides. As we descend to the third corridor , Maat, goddess of truth, faces us with outstretched wings above the doorway (r). Isis is represented on the left-hand side (d), and Nephthys (Nebethet) on the right (e), and they both kneel on the hieroglyph for 'gold' and place their hands upon a seal ring. Above them, on each side of the corridor, the jackal-god Anubis can be seen. The wall reliefs here have not been completed but we can see the outlines in black, the master's touch in red, and the accuracy with which the relief is carved from the bottom up wards.

Proceeding beneath Maat with her outstretched wings we pass into the third corridor (3), which has dramatic representations of the fifth hour of night from the fifth chapter of the Book of the Dead. Towards the middle of the left-hand wall (f) the sun-boat (damaged) is driven through the netherworld by seven gods and seven goddesses and in front of it march four gods and the goddess Isis. On the right-hand wall (g) the Sun God and his retinue are drawn through a land inhabited by demons and monsters (top and bottom rows) and we see a serpent with three heads, wings and human legs. But the Sun God is safe, drawn by Horus and Thoth (middle row) who carry an eye as a protection against evil. The ceiling is blackened from the candles of the early Christians who hid in the tomb, as it is believed.

From the third corridor onwards the quality of the color on the reliefs is superb. We now come to a small ante-chamber (4). The walls, both to left and right, show the Pharaoh between Harmachis and Isis offering wine to Hathor. We now enter a square chamber with four pillars (s) . On the pillars themselves the Pharaoh is shown before the various deities: Isis and Nephthys (Nebethet) the sister-wife and the sister of Osiris, Harbor the goddess of joy and love who was also the goddess of Dendera to whom the cow was sacred, Selket the goddess to whom the scorpion was sacred, Horus the universal Sun God, and Harsiesis and Harmaches who were special forms of Horus; also of course Anubis, the jackal-god of embalming. The walls, especially those at the sides, have marvelous representations of the sun travelling through the fourth region of the underworld. On the rear wall (h) Osiris is enthroned before Hathor while the Pharaoh is led into his presence by the hawk-headed Horus. This is a superb mural with intricate detail and rich color. Near the corner of the left-handwall (i) the four chief races of men known at the time stand before Horus: these are Egyptians, Asiatics with pointed beards and colored aprons, four backs and four Libyans with feathers on their heads and tattooed bodies.The chamber (6), situated to the right and entered via an arrow flight of steps, was never completed. Whether this was because it was discovered that the walls were of inferior material, or as a blind to mislead grave-robbers, is not known, but the sketches on the walls are bold and compelling and show the touch of a master craftsman. The original sketch was done in red. The corrections in black were probably the work of the senior artist , after which the carvers took over. The left-hand wall (j) shows the journey during the ninth hour of the underworld: the sacred cow, ram, bird and human head guarding the procession against the fiery serpents. On the rear-wall (k) is the tenth hour with the hawk joining the protective deities and the spirits carrying arrows and lances. On the right-hand wall (I) is the eleventh hour with the condemned in the 

lower row. The enemies of the Sun God are being burned under the supervision of the hawk-headed Horus in strange furnaces, whilst fire-breathing goddesses stand watch with swords.

(The picture above is for the ceiling of the tomb 
of Seti I at the Valley of the Kings)

We retrace our steps to the chamber of pillars (s), to the left of which a stairway, carefully concealed by the builders of the tomb, descends to the fourth corridor (7). To the left of this corridor (m) is a figure of the Pharaoh (destroyed) seated at an offering table. Above him hovers a hawk and before him stands a priest.
We descend a few more steps into a small corridor (8) which is decorated with texts of the ceremonies performed before the statue of the deceased Pharaoh in order that he may eat and drink in the hereafter. On the right-hand wall (n) is a list of offerings.

The picture above is of an unfinished 

relief work at the tomb of Seti I

The picture above is for a scene 

from burial chamber of Seti I's tomb

The ante-chamber (9) is decorated with the gods of the dead including Anubis, Isis, Hathor, Harsiesis and Osiris. Finally we come to a large hall (10). Here a slight incline with steps at the sides takes us to the mummy-shaft, which comprises two portions. The front portion has pillars and the rear portion a vaulted ceiling. It was in the front section that the alabaster sarcophagus of the Pharaoh stood when
the tomb was discovered. It was made out of a single piece of alabaster, carved to a thickness of two inches and with the exquisite reliefs filled in with blue paste. This magnificent piece is comparable only to the alabaster vase found in Tutankhamun's tomb which is today in the Cairo Museum. The mummy, which was one of those found at Deir el Bahri (Hatshepsut's Temple), is in the same museum. The sarcophagus lies in the Soane Museumin in London. When Belzoni, who was commissioned to transport it, took it to the British Museum, the trustees considered the price set too high and the treasure was without a buyer until 1824 when Sir John Soane paid £2,000 for it. The decorations on the walls of the pillared portion of the hall show the journey through the first region of the underworld on the left entrance-wall (0) and through the fourth region of the underworld on the left-hand wall (p). In a small recess at the end of this wall (q) is a beautiful representation of Anubis performing theopening-of- the-mouth ceremony before Osiris. On the right-hand entrance wall (r) and the right-hand wall (s) are representations of the journey through the second region of the underworld. The vaulted ceiling has been painted with astrological figures. From early times, of course, the Egyptians had mapped out the heavens, identified some of the fixed stars and were able to determine the positions of others. This ceiling is unusual in that it has not been painted in the familiar balanced, repetitive form. Adjoining the tomb chamber are four side-rooms. The first one on the right (11) has the text of a myth that concerns the rebellion of mankind against the Sun God, their punishment and final rescue. On the rear wall is a magnificent relief of the heavenly cow of the myth supported by Shu, the god of the atmosphere,and bearing on its back two boats of the sun.

The Tomb of Seti I, Book of the Dead

The chamber on the left (12) has a shelf decorated with a cornice running around the three main walls. It contains more dramatic representations of the Pharaoh's progress through various provinces, safeguarded by the spells of Isis, the sacred Ibis and the ostrich feather - symbol of justice and truth. Spirits and demons (left-hand wall (t), middle row) greet the procession. The foes of Osiris are beheaded by a lion-headed god (top row), and dwellings of the deceased gods and spirits open their doors as the Sun God approaches (rear wall (u), middle row), showing the dead restored to life, and serpents with heads of genii of the dead upon their backs, or with swords in their hands, rising in unison to annihilate the foes of the Sun God at the end of the journey.

The Pharaoh will overcome. With the help of the Sun God the doors of the hereafter are open to him. He will enter with his valuables and possessions; with the ability to eat and drink; and imbued with life so as to reign again. This is his ultimate hope.

Egypt: Small and Upper Courts, Sanctuary - Hatshepsut Temple part VI Plan

Hatshepsut Temple (Deir El-Bahri), Luxor, Egypt: 

To the right of the Birth Colonnade is a small court (E) comprising twelve sixteen-sided columns in three rows, and leading to the chapel of Anubis, which has three chambers. The walls of the court have excellently preserved reliefs, though representations of the queen have all been damaged. On the right-hand wall (m) above the small recess is a scene of the monarch making a wine-offering to the hawk-headed Sokaris, god of the dead. On the rear wall offerings are made to Amon (to the left) and Anubis (to the right) with the sacrificial gifts heaped up before each.

The upper Court (F) was the part of the temple that suffered most severely at the hands of the Christian monks. It has been closed to visitors for more than a year for reconstruction. It includes a small vestibule leading to one of the few altars (C) to come down to us from antiquity on their original sites, and to a sacrificial hall (H) with reliefs adorning the walls. At the back of the court are a number of small recesses, some larger than others, and the central recess leads into the sanctuary itself which was cut directly into the cliff backing the temple. The granite portal forming the entrance dates from the time of the Ptolemies. The Sanctuary (I) comprises three chambers. The first two have vaulted ceilings and adjoining recesses. In the first chamber is a scene (on the upper reaches of the right-hand wall) of Hatshepsut, Thutmose III and their little daughter, Princess Ranofru, sacrificing to the barge of Amon. Behind them are the queen's father Thutmose I with his wife Ahmose and their little daughter Bitnofru. A similar scene, somewhat damaged, is represented on

the left-hand wall with Thutmose III kneeling. In the inner room of the sanctuary the reliefs show a marked deterioration from the worthy representations in the reign of Hatschepsut. This room was restored by Euergetes II.

As already mentioned, Hatshepsut's mummy was never found. It was neither in the tomb she constructed in the Valley of the Kings, nor in the one excavated south of the mortuary temple, nor in the shaft at Deir el Bahri, nor in the tomb of Amenhotep II , the 'Safety Tomb' . Whether she was poisoned that Thutmose III might take over the throne, stabbed by her lover, killed by officials jealous of Senmut's favor, or died a natural death remains a matter for speculation.

Egypt : Mortuary Temple of Queen Hatshepsut Plan (Deir El Bahri)

Hatshepsut Temple (Deir El-Bahri), Luxor, Egypt:
Framed by steep cliffs and poised inelegant relief, stands the temple of Deir el Bahri . Justly deserving its name Most Splendid of All, it was the inspiration of the beautiful Queen Makere Hatshepsut, daughter of Thutmose I. What strikes one. first when approaching this temple is its unity with nature. Far from being belittled by the stark purity of the cliffs behind, the temple was so designed that the cliffs form a backcloth.

Hatshepsut, whose royal line age to the Great Royal wife of Ahmose made her the only lawful heir among Thutmose I's children, his sons being by minor wives, was prevented by her sex from succeeding as Pharaoh. She consequently married her half-brother Thutmose II. During his reign and her subsequent co-regency with Thutmose III she retained power in her capable hands.
To appreciate the temple of Deir el Bahri one must know a little of the character of the beautiful woman who conceived it. She was indisputably iron-willed and not willing to let the fact that she was a woman stand in her way. She assumed a throne name-Makere. She wore a royal shirt and ceremonial beard, the badges of kingship.She proved her right to the throne in numerous reliefs of her divine birth.

Once Hatshepsut had secured her right to the throne she embarked on the building of temples and monuments and also on the restoration of damaged sanctuaries. This was perhaps especially important to her since she could hardly record her name in history through military conquest and sought to do so through architectural magnificence. The obelisks she had erected in Karnak temple were so placed that the glittering tips should inundate the Two Lands just as it appears in the horizon of heaven. And she planned her mortuary temple to be no less spectacular. Her architect Senmut, whilst drawing inspiration from the adjacent 11th Dynasty temple of the Pharaohs Mentuhotep II and III, carried it out on a very much larger scale. Adopting the idea of the terrace and adding an extra tier, he made such imposing use of it that he deserves special credit. He designed a terraced sanctuary comprising courts, one above the other with connecting inclined planes at the center. Shrines were dedicated to Hathor and Anubis and chambers devoted to the cult of the queen and her parents.

It was a labor of love, for Senmut, who first entered the service of Hatshepsut as tutor to her daughter Neferure, had ambitions and abilities that took him high on the ladder of success. He not only ended with no fewer than forty titles but conducted himself as a member of the royal family, enjoying privileges and prerogatives never before enjoyed by a man of humble birth. He was Hatshepsut's supporter and lover and doubtless also her political adviser. He was also granted a privilege accorded to no official before or after : that of constructing his tomb near the mortuary temple of his monarch.

Hatshepsut had two tombs. Her body was found in neither. The first she had dug in the Valley of the Kings, where all members of the royal family were laid to rest in the 18th Dynasty. The second, after she became monarch, was in the Taker Zeid Valley, south of Deir el Bahri and overlooking the Valley of the Kings. The former tomb was so designed that the corridors, burrowed 213 meters beneath the barrier hill, should lead to the tomb chamber itself directly beneath the mortuary temple. It was as though, while wishing to construct her tomb in the royal valley, she wanted at the same time to conform to the ancient practice of linking the tomb with the mortuary temple. She never achieved her goal. Bad rock or other causes led to the passage being continued in a swerve of 98 meters below ground level and then abandoned. It is devoid of relief and inscription and, apart from limestone slabs relating chapters from the Book of the Dead in red and black sketch form, is a rather pathetic and crude passage. In her red sand stone sarcophagus the body of her father Thutmose I had been laid to rest, until the priests of the 20th Dynasty removed his mummy to the shaft of Deir el Bahri for safe keeping. In fact Hatshepsut's sarcophagus had been enlarged to receive his body. Why was Thutmose I laid to rest in his daughter's tomb? Because his own had already been used by Thutmose II, who died prematurely after a short co-regency with Hatshepsut. And Hatshepsut's mummy?It probably suffered the same fate as her statues and representations in murals. For, when Thutmose III finally asserted himself and expelled her from the throne, his years of frustrated energy swelled forth in a campaign of destruction when he obliterated from every temple throughout the land, but from Deir el Bahri in particular, every reference to the female Pharaoh.

Later, when Akhenaten removed references to Amon from the temples of Egypt , the inscriptions of Deir el Bahri were further mutilated. Ramses II endeavored to restore them but the workmanship was inferior. And in this condition the beautiful temple remained, with only minor alterations taking place until Christian monks setup a convent there. Sadly, but understandably, they too scraped the walls and added to the overall desecration.

Explore Deir el Bahri (Hatshepsut's Temple) in details:
Lower and Central Courts - Hatshepsut's Temple - Deir El Bahri - Part II
Punt Colonnade - Mortuary Temple of Queen Hatshepsut (Deir El Bahri) - Part III
Shrine of Hathor - Mortuary Temple of Queen Hatshepsut (Deir El Bahri) - Part IV
Birth Colonnade - Mortuary Temple of Queen Hatshepsut (Deir El Bahri) - Part V
Srnall and Upper Courts, Sanctuary - Hatshepsut Temple part VI