Tomb of Menna (TT69), Luxor

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.

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. The Tomb of Menna (TT69) is located 100m (330 ft) northeast of the Tomb of Nakht (TT52).

Tomb of Menna Plan. Plan Legend: Courtyard Entrance Passageway Menna and his wife entering the tomb Menna and his wife facing the outside of the tomb Transverse Chamber 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 Passageway Menna and his wife face towards the main entrance of the tomb, towards the rising sun Longitudinal Chamber 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

Courtyard (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.

Courtyard (A). The approximate size of the Courtyard (A) is 9 m (30 ft) east to west (entry direction) and 10 m (33 ft) across (north to south). 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.

Entrance Passageway (B)

Both walls of the Entrance Passageway (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.

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. 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.

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 (C)

The Transverse Chamber (C) consists of two wings, one to the right (north) of the Entrance (B) and one to the left (south) of the Entrance (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.

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. 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. 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. 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. 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.

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.

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. 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. 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).

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). 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. 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. 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. 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.

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). 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. 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.

Scene 4 Detail. This detail from scene 4 shows the measurement of fields. 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. 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. 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. 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. 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.

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). 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. 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. 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.

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).

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) The lintel contains, at its center, a winged sun disk which has now lost much of its detail, appearing as a large black area. 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. 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. 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). 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. The middle register is occupied by two couples, represented sitting back to back, each pair being Menna and his wife. 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. 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.

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.

Scene 6. Scene 6 shows Osiris (right), an abundant pile of offerings, Menna, behind him stands his wife, and two men (left). 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. 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. 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. 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. 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.

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.

Scene 7. Scene 7 shows Menna and his wife receiving offerings. 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. 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. 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. 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.

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.

Scene 8 detail. Scene 8 shows the typical banquet. 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. 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. 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.

Passageway (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 (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.

Scene 10. Scene 10 shows the journey to and return from Abydos and the ceremony of the "Opening of the Mouth". 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. 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. The right side of the middle register is made up of two sub-registers. 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. 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. 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.

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.

Scene 11. Scene 11 shows the funeral ceremony of Menna, on the journey towards Osiris. 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. 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.

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.

Scene 12. Scene 12 shows the hunting in the marshes. 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. 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. 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.

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.

Scene 13. Scene 13 shows the weighing of the heart. 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. 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. 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. 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.

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.

Scene 14. Scene 14 shows Menna seated with his wife. 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. 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.

Niche (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.

Niche (F). Niche (F) shows a door framing a niche and on either side four men bringing gifts towards it. 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. 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. 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." 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. 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.

Shaft (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 (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

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.

See also

• Xxxx

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Sources

• Menna - Wikipedia
• TT69 - Wikipedia
• TT69 Menna - OsirisNet

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Location