Theban Tomb 69 (TT 69) is located in Sheikh Abd el-Qurna, part of the Theban
Necropolis, on the west bank of the Nile, opposite Luxor. It is the burial
place of the ancient Egyptian official named Menna, whose titles included
‘Overseer of Fields of Amun’, and ‘Overseer of Fields of the Lord of the Two
Lands’. Traditionally, TT 69 has been dated to the reign of Thutmosis IV.
However, recent art historical studies of artistic style suggest the majority
of the tomb was decorated during the reign of Amenhotep III.
The layout of TT 69 is typical of 18th Dynasty Theban tombs with an outer
courtyard, a T-shaped rock cut chapel, and a subterranean burial chamber. The
tomb sits on an east–west axis, with the central shrine oriented to the west,
and the entrance to the tomb oriented to the east. This east–west alignment
placed the tomb within the solar cycle, associating the shrine with the
setting sun, and thus death and the realm of the dead, and the entrance with
the sunrise, and with rebirth and life.
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Climbing towards the Tomb of Menna
To go from the Tomb of Nakht (TT52) to the Tomb of Menna (TT69) we only
have to climb another 100m (330 ft) of the same road.
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The Tomb of Menna (TT69) is located 100m (330 ft) northeast of the
Tomb of Nakht (TT52).
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Tomb of Menna Plan
Plan Legend:
- Courtyard
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Entrance Passageway
- Menna and his wife entering the tomb
- Menna and his wife facing the outside of the tomb
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Transverse Chamber
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Menna and his wife worship Amun-Ra, Harakhty, Osiris and Hathor
- Menna receives offerings while assisting in field work
- The representation of a tomb doorway
- The adoration of Osiris by Menna and his wife
- Menna and his wife receiving offerings
- The typical banquet
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Passageway
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Menna and his wife face towards the main entrance of the tomb,
towards the rising sun
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Longitudinal Chamber
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Journey to and return from Abydos and Ceremony of the "Opening of
the Mouth
- Funeral ceremony of Menna, on the journey towards Osiris
- Hunting in the marshes
- The weighing of the heart
- Menna seated with his wife
- Niche
- Shaft
- Subterranean Chambers
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Courtyard (Plan No. A)
The entry to the tomb is fronted by an almost square courtyard. A ramp leads
into the sunken courtyard from the east. Modern wall sections of stone and
brick hide much of the original side-cheeks and facade. At the west of the
south wall, at the TT69 facade end, is the entrance to the later tomb No.312,
originally surrounded by old bricks.
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Courtyard (Plan No. A)
The approximate size of the Courtyard (Plan No. A) is 9 m (30 ft) east
to west (entry direction) and 10 m (33 ft) across (north to south).
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Although the entrance and inner chambers were excavated into the solid
rock, the facade was added to create a vertical surface, then
plastered.
- The actual entry is certainly modern and undecorated.
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Entrance Passageway (Plan No. B)
Both walls of the Entrance Passageway (Plan No. B) have retained some of the
imagery at the rear, inner end.
Scene 1
On the right side wall, the scene portrays Menna and his wife entering the
tomb. They both have their hands raised in worship. On Menna's head are his
wig and a yellow cone of grease. Menna wears a kilt, fastened at the waist
with a belt, and a short sleeved shirt of a pink colour. There is still
evidence of a multi-row necklace and on his arms there are both armlets and
bracelets.
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Scene 1
The image of Menna is also largely lost and his face has been destroyed.
Only partially preserved, on his head, are his wig and a yellow cone of
grease, whilst of his legs, only one part of his right thigh remains.
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In this very damaged scene all that remains of Menna's wife is the
palm of her hand.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 2
On the left side wall, Menna and his wife are facing the outside of the tomb,
with one of their daughters standing between them.
Menna, at the front, has his hands raised, palms forwards, in adoration of the
raising sun. He wears bracelets on his arms and a long semi-transparent
garment with short sleeves.
His wife is portrayed with yellow flesh and wearing a white dress, her right
breast exposed. Also seen is part of her broad necklace. On her right arm, she
wears armlets and bracelets. This arm is held across her chest, with the hand
holding a yellow necklace. Her left arm can be seen hanging down the side of
her body holding a yellow sistrum.
Standing between them, is their daughter, also with yellow flesh. In her left
hand she holds a small vessel containing two white conical loaves. She is
wearing a white dress and a blue and white headband, with a lotus flower at
the front.
Above the figures are several columns of multicoloured hieroglyphs. This is a
hymn to Amon-Ra, which would have been recited by Menna, as he raised his
hands in adoration.
Transverse Chamber (Plan No. C)
The Transverse Chamber (Plan No. C) consists of two wings, one to the right
(north) of the Entrance (Plan No. B) and one to the left (south) of the
Entrance (Plan No. B). Thus, six large areas were created to form panels for
decoration. These panels were then subdivided. Whilst the scenes of the right
(north) wing have a funerary and ritual character, those of the left (south)
wing refer to the civil duties of Menna.
Scene 3
The scenic decoration of this wall is effectively divided into two registers,
the upper one being twice the height of the other. This upper register is
further divided into two scenes, thus creating three in total: 1) The
right-hand area of the top register is the largest and is associated with the
image of Menna and his wife, pictured at far right, with the area behind them
being further sub-divided. 2) The left-hand part of this top register is also
devoted to another image of Menna and his wife. 3) An independent register
occupies the lower area of the wall decoration.
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Scene 3
In Scene 3, the deceased and his wife worship Amun-Ra, Harakhty, Osiris
and Hathor, and offer libations together with sons and daughters
carrying bouquets of flowers. A man offers a bouquet of flowers to the
seated couple while three musicians sing.
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At the top right corner, positioned next to the entry
passageway, the scene portrays two large figures of Menna with his
wife standing behind him. They stand in front of a large pile of food
offerings, placed on a mat, below which are three pedestal altars,
also piled with offerings. Before Menna, at a smaller scale, is a
young man who presents him with a tall pointed offering on a dish.
Menna and his wife are dressed as in so many other scenes. He holds in
his raised hands two small pedestals, on top of which are his
offerings of birds, two on the one in his right hand and one on the
other, emitting from them the fumes of incense. In her right hand,
placed alongside her body, she holds a bouquet. Also in this hand, she
also holds a gold sistrum. In the other, held to her breast, she holds
a menat-necklace.
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In the top center, the register is sub-divided and in which are
shown two processions consisting of two sons, three daughters and also
servants. These bring further offerings.
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At the top left corner, a single scene of Menna and his wife,
seated, receiving offerings from a man with shaven head. This is
possibly their son.
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On the bottom, the register is occupied by 17 people, who can
be divided into 4 groups. A group of four men bring various items
towards what was possibly a pile of what could be burnt offerings. A
group of three women, chantresses, who are portrayed standing and
clapping their hands and singing a song to accompany the burning of
the offerings. An uncertain group consists of two figures, facing each
other, who are either independent of those on either side of them or
they are the musicians of the three women. The next scene is one of
slaughtering or sacrificing of a white ox with black spots. The final
group of six men walk forwards carrying more offerings.
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Scene 4
The decoration of this section of the wall is horizontally divided into two
parts/registers. At the left end of the two registers, next to the entry
passageway, sits Menna without his wife, overlooking the agricultural work
being carried out in front of him in two sub-registers. Even more images of
him appear in the sub-registers. The activity in the four sub-registers is
very intense, but the only descriptive text is associated with Menna himself.
As is frequently found, the registers (and sub-registers) are to be followed
in the sequence of bottom to top; hence here, from the tilling of the land to
the measurement of the land, after reaping the harvest.
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Scene 4
In Scene 4, Menna receives offerings (including jars of honey) from his
three daughters, who play sistri, while assisting in field work. Some
officers and officials witness the loading, registration, and
transportation of grain on wagons, in the presence of a man playing a
sort of bagpipe.
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The lower register has, at its left extremity, a single scene
involving Menna and his three daughters. To the right of this, and
taking up most of the register, the area is divided into two
sub-registers with agricultural scenes.
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The upper register has, at its left extremity, a seated Menna
receiving goods. However, both the goods and those that bring them are
divided into two groups, on the left end of the two sub-registers
facing him. These sub-registers, behind the two groups just mentioned,
include the threshing and measurement of the grain (lower) and
measurement of the agricultural area followed by receipt of foreign
gifts (upper).
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Scene 4 Detail
This detail from scene 4 shows harvesting flax (lower register),
carrying the harvest and preparing the area for threshing the harvest
(middle lower register), threshing and winnowing of the grain (left of
the middle upper register), treading of the wheat on the threshing floor
(right of the middle upper register), and a moored boat (upper
register).
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In the lower register, is a scene of harvesting flax by three
men. Bent, they thresh the long stems of the plants, whose seeds are
used in many professions. At the right extremity, are represented two
piles of the flax not yet threshed.
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In the middle lower register, separating the actual final scene
from the men carrying the harvest, is a tree which fills the height of
the sub-register. This marks the end of the crop area. A black
goatskin hangs from one of its branches. At the foot of the tree are
seated two men, each on a stool, both wearing a wig and short kilt.
The one on the left appears to have fallen asleep with his elbow
resting on his knee. The other reclines against the tree, playing a
flute. The kilt of the flute player is pleated. In the final scene two
men spread sheaves of wheat on a threshing floor from the large piles
on either side of them. The two men, each wearing only a kilt and
provided with a long fork, prepare the area for threshing the harvest.
They are overlooked by their supervisor, represented with quite a
paunch, easily visible above his kilt. He supports himself with a long
staff and has the heel of the front foot raised, possibly suggesting
that he is handicapped.
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In the middle upper register, the actual activity begins with
the treading of the wheat on the threshing floor. The sheaths of wheat
are piled in two large heaps, at the center of which they are crushed
by the trampling of four oxen, two red-brown and two white. They are
yoked together by a single band which passes around their neck. The
man who controls them holds a long stick in his hand. Due to the small
amount of space available for the scene, the cattle do not appear to
have much room to move. The two men who help him stand on the heaps to
either side. Behind him, on the right, his companion holds a rake to
push the sheaths progressively on to the treading area. The other man,
standing at the other side, who also holds a rake, has his back turned
away from the work to watch what is happening elsewhere. This one has
black hair with a balding front, whereas the other two have their
heads covered by a white scarf tied at the back of the neck. All three
men wear a short white kilt.
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In the upper register, at the far right, is displayed a moored
boat resting on a blue oblong, representing the river or an inland
waterway. This could either represent the means of transportation and
the official vessel of Menna, the method to transport the taxed volume
of the harvest or the boat which has just brought the four men of the
upper sub-division. The two ends of the craft are decorated with blue
lotus with another design nearer the main body. The rear is equipped
with a steering-paddle whilst the mooring rope is seen to the left.
Its cabin is composed of a multicoloured tent cloth supported on a
frame, on the roof of which are placed three yellow and white chests.
At the mooring end, the stern, stands a man holding a whip on his
shoulder. He is dressed as so many others on this wall, wearing a
transparent shirt and a short kilt. Above the craft is a horizontal
line representing the bank, on which are piled round white objects and
in another pile, oblong blue-green objects.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 4 Detail
This detail from scene 4 shows two girls, one of whom is pulling a thorn
from the other's foot (lower register), and two girls quarreling with
each other (upper register).
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In the lower register, close to a tree, are seated two girls
dressed in long transparent dresses. The one on the right pulls a
thorn from her friend's left foot. Between (above) these girls, is
represented a large basketwork bag.
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In the upper register, under the net of the net bearers pair,
are two small girls dressed in a similar way to those in the lower
register, one of whom was pulling a thorn from the other's foot.
However, these two quarrel with each other and pull at each other's
hair. A basket lies on the ground between them, so it would appear
that they were also gathering ears of wheat before they started their
argument.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 4 Detail
This detail from scene 4 shows the measurement of fields.
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The scene of the measurement of fields takes place in the presence of
scribes and occupies the large central section of the register. This
may at first seem strangely out of sequence, because the crop is ripe
and has not yet been harvested. The reason for it taking place at this
time would be to ascertain the portion of the crop which would belong
to the estate of Amon.
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In total there are five scribes, which include the two scribes on the
left, next to the offerings. The others are positioned along the
measuring rope, identified by their clothing. Towards the middle of
the rope two scribes stand next to each other and it is difficult, at
first glance, to see both of them. All of these scribes would belong
to the records office and be responsible for the taxation of the land.
It can be assumed that those nearest the offerings are of a higher
rank as they are shown holding their staff of office. All the scribes
wear a pleated kilt over a tripartite kilt, with a semi-transparent,
short sleeved shirt and all hold their scribal materials in one hand.
They all wear a black wig. None, however, seem to be taking notes.
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Two assistants carry out the actual measurement, the one at the rear
holds the end of the rope, keeping it taught, whilst the other, at the
front, holds the remains of the coil. Both of these men have spare
coils. They only wear the tripartite kilt (no shirt) and a pink head
covering (this could actually represent that they have shaven heads).
The three scribes alongside the rope are accompanied by two children,
one of which (the rear-most) carries a bag and a spare palette.
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Walking behind the lead measurer is a man of a slightly shorter
stature. One side of his white loincloth descends down his leg. His
imagery gives the impression of him being blind, because he holds a
long cane in his left hand, whilst his other is placed on the head of
the young naked boy who stands in front of him, as if to guide him.
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At the far right, the possible owner of the land, followed by a woman
who could be his wife, approaches the lead measurer. The man wears a
loincloth of the same style as the "blind" man. In his hand he holds a
sheaf of wheat, interpreted by Egyptologists as the "bride" symbol,
still found today in the Egyptian countryside at the time of the
harvest. In his other hand he holds a dish on which is placed a
pointed cone of bread. The woman wears a long wig and is dressed in a
white sheath dress with a single strap, revealing her breast. She
carries a yellow basket on her head supported by her right hand. This
is filled with produce. With the other hand, she holds a goblet, the
content of which is unknown.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 4 Detail
This detail from scene 4 shows Menna stands in a pavilion/shelter (left
side of the lower register), the winnowing of the wheat (center of the
lower register), and a beating is being carried out by a servant of
Menna (right side of the upper register).
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In the left side of the lower register, Menna, who is at the
left of the total sub-scene, stands in a pavilion/shelter constructed
of reeds. He overlooks all of the work which takes place in front of
him. He wears a shoulder-length wig and is clothed in a
semi-transparent robe with short-sleeves, under which he has a kilt
which is folded across at the front. In his left hand he holds his
staff of office, whilst with the other he holds the usual folded piece
of white cloth. A servant stands, bending slightly forwards, in front
of the shelter placing two dark red vessels, possibly containing wine
or water for his master to drink. He is represented with a naked upper
torso, wearing only a white kilt. His age is emphasised by his grey
hair, balding slightly at the front, and his emphasised overweight
shown by the bulge of his stomach extending over his belt.
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In the center of the lower register, the scene represents the
winnowing of the wheat, which is executed by nine agriculturists. They
are all dressed in short white kilts and all wear a scarf hiding their
hair. Two groups of three stand on either side assisted by three
others who work in the middle. The men of the outer groups each hold a
pair of scoops, with which they toss the chaff and grain, obtained
from the piles at the side of them. The chaff, being lighter, flies
away, whilst the heavier grain fall to the ground. The three men in
the middle, with brushes in their hands, move the dust and straw,
leaving the grain. Behind the left middle worker is a pair of scoops,
perhaps he does both jobs.
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In the right side of the upper register, a beating is being
carried out by a servant of Menna, on a man who is lying face down in
front of him, possibly accused of fraud or some other deed. A third
man, who kneels behind, has his arms raised, as if asking for mercy.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 5
The decoration has a representation of a tomb doorway at the center, inside of
which are reproduced characters and divinities, whilst in either side of it
are: Menna (at the top) and his wife (below).
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Scene 5
Scene 5 shows a representation of a tomb doorway (center), inside of
which are reproduced characters and divinities, and in either side of it
are Menna (at the top) and his wife (below)
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The lintel contains, at its center, a winged sun disk which has now
lost much of its detail, appearing as a large black area.
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Between the arch of the doorway and the horizontal text area, on the
left hand side, can still be recognised the image of Anubis in his
form of the jackal, preceded (to the right) by the udjat-eye,
the shen-sign and a small red goblet with a wide top. Although
greatly damaged, it would appear, from the remains of the two signs
near the center of the arch, that the right-hand side contained the
same imagery.
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The inner white area is encircled by a blue line which evokes the
celestial space. This area is sub-divided into three registers, each
with a long reed mat forming the bottom boundary. The top register
contains the divinities, the middle one Menna and his wife, the bottom
one has characters facing the center.
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On the right, facing east, the direction of the rising sun, sits
Re-Horakhty accompanied by Hathor (or Isis, but she is usually shown
with Harsiesis).
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Facing west (left), the direction of the setting sun, is Osiris.
Behind him is Imentet, with her back to the previous divinities. In
front of Osiris, facing him, is Anubis.
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The middle register is occupied by two couples, represented sitting
back to back, each pair being Menna and his wife.
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The lower register imagery consists of two symmetrical and identical
groups, each consisting of three characters who face towards the
middle. It is almost certain that the two leading characters, of each
group, are a son and a daughter of Menna, followed by a servant. The
center of the register is now lost through damage. Here probably stood
a pile of offerings.
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On either side of the door frame are represented standing images of
Menna (at the top) and his wife (below). They each have their hands
raised in worship, each standing on a reed mat, in front of a pile of
offerings.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 6
This register represents the adoration of Osiris by Menna and his wife. They
are followed by two servants portrayed one above the other.
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Scene 6
Scene 6 shows Osiris (right), an abundant pile of offerings, Menna,
behind him stands his wife, and two men (left).
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Osiris is portrayed on the right. His flesh is green and he is
identified as "Osiris Wennefer, the great god, sovereign ruler, lord
of forever, maker of eternity", sits inside a kiosk, with the
yellow-ochre background. He wears a wig surmounted with the
atef-crown. He wears a white tight-fitting garment and with his
free hands he tightly holds the crook and flail. Inside the kiosk,
attached to the front upright, is a bouquet, consisting of three
umbels of papyrus and lotus blooms which are turned to face him. The
stems are secured to the upright by six ties.
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An abundant pile of offerings, stand in front of the kiosk, separating
Menna and his wife (who offer them) from the recipient, Osiris. Of
these offerings, several are on top of a single pillared table. Those
on top include a leg, head, and ribs of an ox, birds, fruit, cakes and
breads. Whilst below, next to the pillar stand, are three tall
vessels.
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Menna wears a kilt which folds at the front and a long
semi-transparent over-garment. He is decorated with a necklace,
armlets and bracelets. His hands are raised in a gesture of worship.
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Behind Menna stands his wife. Dressed in a long transparent dress,
which reaches down to her feet and widening appreciably from her waist
downwards, it reveals her total body. On her head she has the
traditional wig and wears a large earring at the side. The large
floral necklace conceals her chest, with her arms decorated with
bangles and bracelets. One hand, the left, is held against her chest,
tightly holding the sistrum, whilst with the other, which holds a
menat-necklace, hangs at her side.
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The two men represented one above the other, at the extreme left of
this register, behind Menna's wife, are porters of offerings. The one
at the top wears a wig and a white kilt with a belt, over which he
wears a long transparent garment with short-sleeves. In his right hand
he holds three umbels of papyrus with long leafy stems, whilst in the
other he holds a bunch of two lotus flowers and buds, the stems being
wrapped around his hand. The bottom character wears the same wig but
only wears short kilt, with no over-garment. He carries a small
portable altar which is decorated with lotuses, which hang from the
base, the umbels of which face the ground. On top of the altar is a
whitish substance arranged in a heap.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 7
The scenic decoration is divided into two registers, each having an area which
is further sub-divided. The upper register includes, at the left extremity, a
seated image of Menna and his wife receiving offerings. The area to the right
is divided into two sub-registers. The lower register has, at both its left
and right extremities, a single scene involving Menna and his wife in front of
offerings, presented by a sem-priest, recognised by his leopard skin,
worn over his other clothes. Between these two scenes, and taking up a large
part of the register, the area is divided into two sub-registers. The upper
one is associated with the seated couple on the left. The lower one is
actually further sub-divided: the major left-hand section is again associated
with the couple on the left, the right-hand side belongs to the image of the
couple on the right.
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Scene 7
Scene 7 shows Menna and his wife receiving offerings.
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In the left extremity of the upper register, Menna and his
wife, Henuttawi, are seated on chairs, black for the husband and a
pale wood colour for the wife. These rest on a green reed mattress
with yellow bindings. In front of them stands a man with dark red
flesh. He has a shaven skull. With his right hand he makes a gesture
as if to say "these offerings are yours". In the other hand he holds
upright a large multicoloured bouquet of papyrus and lotus flowers.
Between Menna and the man is a large pile of offerings, supplies for
the couple for their journeys in the afterlife. Standing on the ground
are four jars on supporting stands, under which are bunches of dates.
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In the right extremity of the upper register, three men and a
woman progress to the right, carrying offerings to a pile placed in
front of the image of the tomb entrance.
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In the left extremity of the lower register, Menna and his
wife, seated, are receiving offerings from a sem-priest. He
wears a short white kilt with a longer outer transparent one, over
which extends, from the shoulders, a yellow panther skin with black
spots, the tail of which extends to the floor. The panther skin is the
identifying garment of a sem-priest. He has his right arm
raised in the gesture of presentation, whilst in the other he holds a
white scroll on which would be inscribed the formulas for him to
recite. Behind the priest, in the upper sub-register, is a procession
of ten porters.
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In the right extremity of the lower register, as on the
opposite side of the register, but facing left, Menna is accompanied
by his wife, both seated and receiving the offerings, presented to
them by a sem-priest. Behind the priest, advance eight men.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 8
The scenes which originally occupied this wall are almost lost and what does
still exist is in a very poor state. From what remains, it is evident that the
overall display had been of a typical banquet, displayed on two registers,
each with the seated couple of Menna and his wife seated on the left, further
sub-divided in front of the couple.
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Scene 8 detail
Scene 8 shows the typical banquet.
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In the upper register, seated on the left are Menna and his
wife. Only detail of her chair has survived, being of plain wood with
a back-rest and legs in the shape of those of an animal and resting on
a reed mat. She holds her husband's right arm in a gesture of
affection, her left arm first passing behind him. She wears a
tight-fitting white dress, a black wig edged at the bottom with fine
plaits, a floral headband with a lotus at the front and a fragrance
cone on her head. As in other scenes, she wears a large necklace,
armbands and bracelets. Under her seat can be seen the scribe's
palette and the bag protruding from a tall narrow box with a blue, red
and yellow checker design. This probably contains the scribe's other
instruments. These items are probably Menna's, though it is not
impossible that they belong to Henuttawy. Very little can be said
about Menna, other than he wears his usual shirt, a black wig and a
broad necklace.
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In the lower register, here again the couple is seated facing
right. Both chairs are visible and are black. Menna has a short black
wig, surmounted by the cone of grease. He is wearing his usual
garments, adorned with a large multicoloured necklace, arm-bands and
bracelets. He holds his left hand across his chest, grasping the stem
of a lotus, with the blossom held to his nostrils. His wife, seated
behind him, is dressed a little different to how she appears in the
image above, with pleats visible at the level of her chest, and with a
slightly different necklace. Here she again embraces her husband, but
this time her left hand can be seen resting on his shoulder. This
time, under her chair, is placed her own necessary of toiletry,
composed of a yellow mirror with a black handle and a container with a
narrow neck and a flat lip. From the vase emerges the end of the
stiletto which would aid in applying the makeup.
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Directly in front of them stand several people, facing them. The
nearest one holds a bouquet of flowers towards his face.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Passageway (Plan No. D)
Directly facing the main entrance passageway is the entry to the rear,
longitudinal chamber. The right (north) wall now contains no decoration,
although it does appear to have been applied with a surface coating. It may
have been deliberately left empty, perhaps being the wall against which a door
rested when open. This is the case in many other tombs, where evidence exists
of hinges and bolt holes.
Scene 9
Although having lost much of its decoration, the left (south) thickness still
retains a large portion at its longitudinal chamber end. On this wall, Menna
and his wife face towards the main entrance of the tomb, towards the rising
sun.
Longitudinal Chamber (Plan No. E)
The content of the two long side walls (left and right on entry), due to the
amount of wall space available, includes a large amount of detail, sub-divided
both horizontally and vertically. The left side (south wall) is composed of
funerary scenes, finishing, at the far end, with the weighing of Menna's
heart. The right (north) wall depicts the various events by which he becomes
possessed with his soul: the mystical trip to Abydos, the celestial pastimes,
which include fowling and spearing fish, and banquet ceremonies for himself
and his wife.
Scene 10
The upper scene represents the journey to and return from Abydos, the holy
city of Osiris. Although the four craft appear on a common stretch of water,
those on the right journey straight towards the city, whilst those on the left
make the return journey. All the rudders of these boats are decorated, at
water level, with falcon heads. Below the pilgrimage to Abydos are the scenes
of the ceremony of the "Opening of the Mouth", performed on the mummy of
Menna, or perhaps some may be that of his wife. This restores the vital
functions of the deceased, before burying him inside his tomb for eternity. At
the left is the magnificent black sarcophagus held by a priest.
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Scene 10
Scene 10 shows the journey to and return from Abydos and the ceremony of
the "Opening of the Mouth".
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In the upper register, the journey to Abydos, is a journey in
the same direction as the flow of the river current, thus no sails are
required, only a method to manoeuvre around obstacles and areas of
shallow water. The return from Abydos, is indicated by the expanded
sail (needed to travel against the current of the river) of the
leading boat on the left. Menna and his wife have paid homage to the
god of the dead, Osiris, and now return to the west bank at Thebes.
The arrival on the west bank would be a time of celebration. The
quayside is represented by two super-imposed kiosks, protecting their
contents from the heat of the sun. These are constructed of three
papyrus columns supporting a colourful roof. Inside each are drinks
and food.
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In the left side of de middle register are two priests and an
upright black sarcophagus between them. The one at the rear (left)
supports the sarcophagus, whilst the one in front would have performed
the "Opening of the Mouth" ceremony. This sem-priest has been
destroyed, as have all the other actual sem-priests, who would
have been easily recognised by their leopard skin over-garment. The
other priest is simply dressed in a white kilt with a long
semi-transparent garment over it.
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The right side of the middle register is made up of two
sub-registers.
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The upper sub-register is comprised of eight scenes, all
separated by a vertical line. The sub-scenes all contain an upright
mummy, on the left, with a mask on the head and the body wrapped in a
white shroud. In all but one scene, the fourth from the left, they all
included a single priest. The image of any sem-priest has been
destroyed, those of the wab-priest (identified by his shoulder
strap which crosses his chest) have remained. The activities performed
by the priests are as follows, from left to right. The first holds a
dish filled with grain, but what he holds to the mouth of the mummy is
lost through damage. The next is lost, but the third holds a leg of
meat towards the mummy's mouth. Next is the scene with the three
priests, the main one lost, so the action is unknown. The fifth
executes the ritual with an adze which he holds close to the
deceased's mouth. Scene six is unknown, but in seven, he recites a
formula written on the scroll of papyrus he holds in his hands. The
final priest is again lost through damage.
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The lower sub-register includes seven scenes. Here there are no
separating vertical lines. They contain an upright mummy attired as in
the sub-register above and the images of actual sem-priests
have been destroyed. The scenes are again described from left to
right. The first two images are of the ritualist placing something to
its mouth. In the next image the priest is destroyed. The fourth has a
priest, holding two long bands of white material, advances towards the
mummy; he is accompanied by his helper. The priest is again missing
from the fifth image. The final two scenes are different from all the
others, although they do include an erect mummy with an officiant
standing behind it. In the first of these is a character laid down on
a bed which is of a lion shape, whilst the other is seated on a stool.
The characters are wrapped in a yellow shroud. These figures are
referred to "tekenu" and represent a sem-priest in another
form.
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The "tekenu" is the sem-priest who is awakened from his trance
at the beginning of that ceremony at the tomb of the deceased. The
Sem states that he was "asleep" but had visited the deceased in
the otherworld. The Sem then is a shaman undergoing a trance
like dream state in the guise of the tekenu. As the
tekenu he is transported to the tomb wrapped in a shroud to
help facilitate his "death" so that he can be transported to the other
world. Thus having visited the spirit world, the Sem was imbued
with powers which enabled him to perform the succeeding "Opening of
the Mouth" ceremony for the deceased.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 11
Scene 11 fills the large section to the left (east) of the wall, and is
divided into two registers, both relating to the funeral ceremony of Menna, on
the journey towards Osiris. The journey to the west is the start of the
activity of the wall. These registers are further sub-divided. The lower
register is first in sequence, dealing with the transportation of the deceased
across the Nile, heading towards Anubis, standing at the west end of the
register. The occupants of the upper register head towards the image of
Imentet. The sub-registers of both are also in the sequence of lowest first.
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Scene 11
Scene 11 shows the funeral ceremony of Menna, on the journey towards
Osiris.
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The lower register has, at its west end, the standing image of
Anubis. The god is represented, as usual, with a human body but with
the head of a jackal. He wears a green-blue upper garment supported by
straps which extend over his shoulders. This is overlaid from the
waist downwards with a white kilt and, at the back, a yellow
over-lapping section which is fastened at the front. He has a golden
necklace and a green bracelet on each wrist. In his right hand he
holds a was-sceptre in front of him and in the other, which
extends at his side, he holds the ankh-sign. He faces the two
sub-registers which include a variety of scenes, importantly the
transporting of the deceased across the Nile.
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The upper register has, at its west end, the standing image of
Imentet, the goddess of the west (the underworld). Imentet wears a
tripartite wig, around which is a white ribbon and standing on top is
a falcon symbol, the ideogram of her name. Normally the falcon is
displayed on top of the symbol of "west". Here, Imentet wears a slim
tight fitting white dress, reaching down to just above her naked feet.
The dress is supported by two straps extending over both shoulders.
She is adorned with armlets, bracelets and a necklace. In her right
hand, she holds in front of her a was-sceptre, whilst in the
other, which is at her side, she holds the ankh-sign. She faces
the two sub-registers, filled with a procession which heads towards
her. In sequence, the lower one comes first, as this includes the
crossing of the Nile.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Scene 12
The theme of the hunting in the marshes is classical and can be found in many
tombs dating from since the Old Kingdom. In the New Kingdom, however, it is
always composed of two hunting activities, the capture of birds by use of a
throwing stick and fishing with a harpoon. Although the two activities are
different, they are portrayed as almost mirror images. In both, Menna stands
in a papyrus boat, but the prow is different in each case: the right-hand one
is in the form of a lotus button, the one on the left is an open bloom, the
stern of both is also an open bloom. Standing behind him in both is his wife,
Henuttawi.
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Scene 12
Scene 12 shows the hunting in the marshes.
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On the right side of the scene, fishing is represented. Menna
leans slightly forwards, holding with both hands a long harpoon, with
which he has speared two large fish. He wears a heavily pleated white
kilt, which overlaps at the front, and a long semi-transparent
over-garment over it. He has a broad multicoloured necklace and
bracelets on his wrists. Standing astride, his left foot (at the rear)
is raised on its toes, which emphasises his action. His wife wears her
usual long white dress. She can still be seen to have a broad necklace
and arm jewellery. Her gold earring is just visible protruding from
her black wig which is held in place by a decorated band, with a lotus
button at the front. She physically supports her husband with her
right arm, which passes behind him. In her left hand she holds three
lotus flowers, a bloom and two buttons. Between Menna's legs, kneels a
young woman, probably one of his daughters. She is dressed and adorned
as her mother. With her right hand, she holds her father's right leg,
whilst with the other, she holds a single lotus bloom. Standing at the
front of the craft is a young man, probably one of his sons. He is
clothed in only a short white kilt, his head is shaven. In his left
hand he holds a duck, in the other he has a lotus flower.
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On the left side of the scene, bird hunting is represented.
Menna is in the same stance as before, his rear foot raised onto the
toes. He wears the same garments and jewellery. In his raised right
hand, positioned behind him, he holds a throwing stick for striking
the birds. In his right hand, raised in front of him, he grasps the
legs of two water fowl; perhaps these are used as bait. Again his wife
stands behind him, with her arms raised in a position of worship. She
also wears the same as previously, except that this time she has a
perfume cone on top of her black wig. Hanging from her left elbow
joint is a bouquet of lotus flowers. At the front of the craft is
another youth, slightly taller than the previous one. His head is
turned towards Menna. In his left hand he holds the wings of three
water fowl and with the other he appears to point into the tall reeds,
possibly to indicate the position of more birds. Between the legs of
Menna is another girl, but this time she is naked, except for a
coloured belt around her waist and the multitude of bangles on her
arms. She bends over the edge of the craft towards the water, from
which she extracts a bud of a lotus flower with both hands. In this
scene there is an additional passenger, another girl, on the craft,
almost certainly a daughter. She stands behind Menna's wife and
although her feet face towards the wife, her head is turned in the
other direction. She wears a slim fitting white dress and has thick
round earrings, armlets and bracelets. Her black wig has braids at the
lower edge and is held in place by a white headband. In her right hand
she holds three ducks by their wings and in her left she has lotus
flowers, with several also suspended over her left arm. Above this
last young woman, at the top left of the scene, is represented
another. This one is kneeling on a reed mat, holding lotus flowers in
each hand. She is also dressed the same as the one below her and also
has braided hair.
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In the central area and actual water level a narrow section of
the papyrus marshes is shown between the two craft. At the top, on the
umbels, can be seen several nests containing eggs. Also, both standing
and in flight, are several birds including an ibis. A striped cat and
a brown weasel, head towards the nests and the birds. Amongst the
birds can be seen two butterflies. Several of the birds have already
been hit by the throwing sticks (which can be seen) from Menna. The
marsh water, at the bottom of the scene, is full of life. Between the
leaves and lotus flowers, which float on the water, are several
species of fish: perch, mullet and tilapia. Some birds are also found
here, in search of food. There is even a crocodile, seen with its open
jaws, which gets ready to devour a fish. Protruding from the central
area, the water is displayed as rising into a bulge (which is also
typical of this scene in other tombs). This bulge includes the two,
beautifully imaged, fish being speared by Menna from the craft on the
right. These fish, as usual, are shown in an upright position.
- Facsimile, Tempera on paper by Nina de Garis Davies.
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Scene 13
This is the main focus of the wall, where Menna must now be judged in the
ceremony called "the weighing of the heart". This takes place before Osiris,
the god of the dead, who is shown at the end of the wall.
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Scene 13
Scene 13 shows the weighing of the heart.
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On the right side of the scene, Osiris is identified as
"Osiris-Wennefer, Lord of the Sacred Land, the great god. Lord of
Eternity" and is enthroned in his nao-form pavilion which rests on a
plinth with a sloping front, the Maat (truth) symbol. Osiris is seated
on a solid chair with a padded backrest. The chair and Osiris' feet
rest on a reed mat, which then rests on white structure with dark grey
markings. His green flesh is enveloped in a tight fitting white
garment, from which emerges his head and his hands which hold the
royal sceptres, crook and flail. He has his usual false beard and
wears the white atef-crown. Around his neck is a blue collar
with a multicoloured counterweight, which hangs down his back.
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On the left side of the scene, Menna stands in the respectful
attitude, with his right hand on his left shoulder and his other
grasping the forearm. He is dressed in a long semi-transparent garment
over the usual short white kilt, which overlaps at the front. He is
barefooted and he wears no jewelry. Eight columns of text surround
him, stating: "The scribe of the estate of the Lord of the Two Lands,
Menna, triumphant. He says: O my heart of (which comes from) my
mother, O my heart of my mother, O my heart of my existence, do not
rise up against me, with the keeper [of the balance] as a witness
against me; do not be an enemy against me before the divine powers, do
not cause a fall [of the scale] against me in the presence of the
keeper of the balance, you who are my Ka which is in my body.
The creator [the god Khnum] has made my limbs sound : come you forth
[to] the happiness which we go to; pleasant it is for you, pleasant
the hearing [on] the day of weighing of words." In front of him,
facing him, are the two gods who perform the weighing and recording of
the result, which is meant to evaluate whether the deceased is
"justified" to enter into the realm of the gods, or whether he fails
and is damned for eternity.
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On the lower side of the scene, the image portrays the
falcon-headed Horus, who adjusts the scales. On the trays of the
balance are the heart of Menna on the left, and the effigy of seated
goddess Maat on the other. Maat is the goddess of truth and often it
is just her feather emblem that the deceased's heart is weighed
against. If Menna's heart is heavier than Maat he has failed, and will
spend eternity with the damned.
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On the upper side of the scene, the second god, with the head
of an ibis, is Thoth, who, with the help of his palette and his reed
writing implement, records the verdict of the judgement assigned to
Menna.
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Scene 14
At the far left of the right (north) wall are two registers, one above the
other, where Menna is seated with his wife.
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Scene 14
Scene 14 shows Menna seated with his wife.
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In the upper register, Menna and Henuttawi are seated on two
different colour chairs, his being black, both resting on a reed mat.
Menna is clothed as in most of the other scenes and decorated with a
broad necklace and arm bracelets. In one hand he holds the stem of an
umbel of lotus from which he breathes the perfume. His wife is in her
usual attire, with a broad necklace but with no arm decoration. She
affectionately wraps her left arm around his back, whilst holding his
upper right arm with her right hand. In front of them is a single
pillared table laden with baskets of fruit, a goose and a cluster of
grapes. Under the top of the table are four closed ovoid jars, two on
either side, each with a lotus bloom wrapped around it and between
each pair is a plant. Above the provisions provided for the afterlife
is a conventional rectangular menu area, providing the numbers,
measures, and quantities of many other things for them, among which
are wine, geese, beer, fruit, etc. Facing the couple is one of their
sons, Kha, and behind him is possibly his sister. He has the white
kilt with the shoulder strap and white sandals, his head is also
shaven. The young woman is dressed in a long flowing semi-transparent
dress and a long black wig with small locks at the end. She has a
broad necklace, arm bands and bracelets. In her hands she holds lotus
flowers and two large vases dominated by blooms. Close to the first
red and blue vase is written the hieroglyphs indicating the content:
"milk" (jrtt). The other vase is totally blue. Such a deep blue
colour indicates that the artist probably had either a faience or
glass vessel in mind: this scene is one of the first showing man-made
glass in Egypt.
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In the lower register, the couple is sitting on black chairs.
They are dressed almost identically to their image above, but this
time Henuttawi has bracelets on her arm. She again holds him with her
hands. He holds a kherep sceptre in his right hand and places
the other on the foods of the table in front of him. The table is not
portrayed standing on the floor in front of them, but on a raise
horizontal line, perhaps this indicates that it was positioned to one
side. Recognisable items on it are breads (long and round), a basket
of fruit, a goose, pieces of meat, a gourd and a bouquet of lotus
laying across the top. This time, under the top are only three ovoid
jars and two large plants. Also this time there is no tabular list
above the table. In this lower scene, the image of his other son, Sa,
has been destroyed, there is no doubt that he was dressed as a
sem-priest, in his leopard skin over-garment. Behind him stand
two young women, probably daughters. Both wear long semi-transparent
dresses and a wig. Both have jewelry which includes a broad necklace,
earrings and several bracelets on their arms. The first carries a vase
on the upturned palm of her right hand, lotus flowers hanging from it
and one which extends above above it. In her left hand she holds long
stems of papyrus. The one standing behind her only holds a lotus
flower in her right hand, her other hand hangs at her side.
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Niche (Plan No. F)
Centrally there is a door framing a niche, and on either side are two
registers, each containing an image of a man bringing gifts towards it.
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Niche (Plan No. F)
Niche (Plan No. F) shows a door framing a niche and on either side four
men bringing gifts towards it.
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The central section, which divides this wall, is decorated as a
door frame, which surrounds a deep niche. The niche has no internal
decoration on its white surfaces. It was created to receive a statue
of the seated couple, Menna and Henuttawi, of which now only their
lower portion and the solid seat remains. The actual framing of the
door, which is painted black, includes above it a more decorated area,
at the top of which is a rounded arch. This top section is divided
into two areas, the upper arched area consists of a frieze of
djed-pillars on either side of a double floral motif consisting
of two tied papyrus blooms. In the lower area there are two
djed pillars at either side of a framed Hathorique head.
Outside of the arch, in the upper corners, on an orange background,
are two udjat-eyes. Below the niche is a strange decoration
which even looks as if it could be a library of modern books.
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The top left side contains the image of a man dressed in a
short kilt and a long semi-transparent overgarment. He also wears a
black wig and a bracelet on each wrist. He holds a stand with both
hands on which is a rounded stack of fruits. On top of the fruits
rests a lotus blossom. From a rung of the stand hang two lotus buds
and a lotus flower.
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The top right side contains the image of a man dressed
identically to the one facing him, but he has no bracelets on his
wrists. He balances on his right hand a reed mat on which is a jar
(red and blue) and two circular loaves of bread. Hanging from this
hand is a lotus flower and two buttons. Above him is a horizontal line
of text, the only one on this wall, stating: "Bringing all good things
to the Osiris, the great god."
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The bottom left side image contains a character dressed as the
previous two, but he also has no wrist adornments. He holds three long
sheaves of foliated papyrus in his right hand and in the other he
holds a lotus flower and two buttons.
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The bottom right side image contains a man dressed differently.
He still has the semi-transparent overgarment, but his kilt is
different from his companions. He also has no wrist adornments. He,
like the man facing him, carries long sheaves of foliated papyrus in
one hand and lotus blossom and buds in the other. But to be different
from the other, the stems of his lotus plants are rolled around his
hand.
- Photograph by Ovedc, distributed under a CC-BY 4.0 license.
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Shaft (Plan No. G)
Two internal descents, one in the southern part of the transverse chamber and
one at the rear of the longitudinal chamber, lead to burial chambers, located
below the floor level of the tomb. The room beneath the south end of the first
chamber is entered via a shaft (depth unknown) and is approximately 3 m (9.8
ft) long (east-west) by under 1.5 m (4.9 ft) wide, with the entrance being in
the easterly end of the ceiling. The one in the longitudinal chamber descends
to the burial chamber, possibly of Menna himself, via a flight of steps which
lead to the right, curving through 90 degrees.
Subterranean Chambers (Plan No. H)
The chamber itself being rectangular, approximately 2 m (6.5 ft) long
(east-west) by 1.5 m (4.9 ft) wide, with the entrance being on the right-hand
side of the east (narrow) wall. Currently, both of these chambers are closed
and no further details are available.
Leaving the Tomb of Menna
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Leaving the Tomb of Menna
On the right side we can see the wall of the Tomb of Nakht (TT52). In
the background is the Nile River.
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See also
Sources
Location
