DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.4858#0097
THE TOMB OF NAKHT
The scene of deeply by hanging on to straps suspended from a beam overhead. It
vintage
is characteristically Egyptian that this beam should be decorated with
hanging sprays of foliage. The juice runs out through a spout into a
smaller trough whence it is conveyed away in large jars.1
The association of the vintage with the waste lands is too constant
to be ignored. Apparently vines were not only planted round the
mansion, but were abundant in the wilder districts where a poorer
soil perhaps gave better results. It can scarcely be that they grew
wild, though artificial training is not made clear in this instance. The
press with its two papyrus columns might be a very simple affair,
though pictures in other tombs show elaborate structures which could
only belong to the homestead.
The use of The means of netting the wild-fowl is simple. The framed net is
net spread below the surface of the shallow pool among the papyrus reeds.
Those who operate it conceal themselves in the thicket and when the
surface of the water is swarming with birds, the leader, peering through
the reeds, gives the sign and the two wings of the net are clapped to
by pulling the rope suddenly. If we are to believe the picture, not
one victim escapes. The birds are dealt with on the spot. One man
with a deft action of the fingers plucks off the feathers; another cuts
the birds open on a board and cleans them, and after being dried in
the sun on an improvised rack, they are packed (perhaps with the
coarse salt which the desert hard by might furnish) into the jars which
we see in readiness.
Recapituia- Such were the scenes with which Nakht hoped to gratify himself
when he passed from his Theban homestead to the quieter resting-
place in the necropolis, and from which he may have vaguely expected
to draw some more solid advantage still. The pictures are excerpts,
no doubt, from stock Theban designs, and only the selection, if that,
can betray individual character and habit. Yet many valuable details
are enshrined in the familiar scenes, and their excellent preservation
1 The gray tops represent the clay stopping, and the two black marks are the stamps which indicated
the place of origin and the quality.
70
tion
The scene of deeply by hanging on to straps suspended from a beam overhead. It
vintage
is characteristically Egyptian that this beam should be decorated with
hanging sprays of foliage. The juice runs out through a spout into a
smaller trough whence it is conveyed away in large jars.1
The association of the vintage with the waste lands is too constant
to be ignored. Apparently vines were not only planted round the
mansion, but were abundant in the wilder districts where a poorer
soil perhaps gave better results. It can scarcely be that they grew
wild, though artificial training is not made clear in this instance. The
press with its two papyrus columns might be a very simple affair,
though pictures in other tombs show elaborate structures which could
only belong to the homestead.
The use of The means of netting the wild-fowl is simple. The framed net is
net spread below the surface of the shallow pool among the papyrus reeds.
Those who operate it conceal themselves in the thicket and when the
surface of the water is swarming with birds, the leader, peering through
the reeds, gives the sign and the two wings of the net are clapped to
by pulling the rope suddenly. If we are to believe the picture, not
one victim escapes. The birds are dealt with on the spot. One man
with a deft action of the fingers plucks off the feathers; another cuts
the birds open on a board and cleans them, and after being dried in
the sun on an improvised rack, they are packed (perhaps with the
coarse salt which the desert hard by might furnish) into the jars which
we see in readiness.
Recapituia- Such were the scenes with which Nakht hoped to gratify himself
when he passed from his Theban homestead to the quieter resting-
place in the necropolis, and from which he may have vaguely expected
to draw some more solid advantage still. The pictures are excerpts,
no doubt, from stock Theban designs, and only the selection, if that,
can betray individual character and habit. Yet many valuable details
are enshrined in the familiar scenes, and their excellent preservation
1 The gray tops represent the clay stopping, and the two black marks are the stamps which indicated
the place of origin and the quality.
70
tion