DOI Page / Citation link:
https://doi.org/10.11588/diglit.4862#0059
PERSONALIA
Representa-
tions near
the entrance
Puyemre
receives a
bouquet from
Anion
stead of the other wife Tanofret in this formal scene suggests that she
was the elder, surviving, or favorite wife.1
The spaces close to the entrance on the front wall of the outer
chamber are generally devoted to matters personal to the deceased.
Most often he preferred to show himself performing acts of piety towards
the gods, such as he had regarded as his first daily duty in life.2 In this
tomb, however, this subject is relegated to the middle chapel (Plate
LIII), and instead we find presentations to Puyemre to right and left
of the entrance on the upper part of the east wall, and, below these,
two texts by means of which he sought burial boons. These, then, we
shall take in order, though in fact we learn little from them regarding
the hero of our story; one of the four partitions being as good as de-
stroyed, one nearly perfect, and two sadly mutilated. The action of the
rest of the scenes on this wall is totally separate, and is directed towards
figures of Puyemre at the far ends of the corridor.
Taking first the upper scene on the north side of the east wall (on
the extreme right of Plate IX),3 we see Puyemre and his wife Senseneb
seated on chairs and accepting from a servitor the symbolic bouquet
from the temple of Amon, the mere name of which is calculated to im-
part vitality to the recipient.
Puyemre receives the title "companion justly loved" and "child of
the king."4 The ministrant is possibly a wennuti-priest of Amon, for of
1 Where there are corresponding positions on the walls, the balance is held fairly even between the two
women. Perhaps Senseneb is given a slight preference. For three wives depicted at once see Budge,
Egyptian Sculptures, PL VII. Two are shown in Tombs 90, 96 a.
2 Of the south thickness nothing is extant, but scraps of the first column of inscription show that
it began with the title rpcii followed by the name and, no doubt, "He says . . ." So, too, on the north
side. Both scenes faced inwards and cannot depict the worship of the gods. On the north wall there remain
the feet of an upright figure of Puyemre entering, clad in a rippled skirt (as on Pis. IX, LXIV). Possibly
we have parts of a stand of offerings and a slaughtered animal at his feet. The pieces of inscription in broad
columns probably come from this wall (PI. XXII, Nos. 2-6, 18). There were the usual borders and frieze
above.
3 Save for one foot of the figure on the right which was still in place, the whole picture is reconstruc-
tion; but two other fragments on the base line are guaranteed by the inscription below, which is attached
to them and fits in there.
4 Only the two pieces of the inscription which lie between the heads of the two men can be guaranteed,
and this only on condition that the hands and bouquet go with the head on the right. The sdti nisut,
an attribute the value of which is unknown, appears already in the Old Kingdom (Marietta, Les Mastabas,
D 38). It is applied to a prince of the blood in Berlin, Aeg. Insclirijten, II, p. 4g.
36
Representa-
tions near
the entrance
Puyemre
receives a
bouquet from
Anion
stead of the other wife Tanofret in this formal scene suggests that she
was the elder, surviving, or favorite wife.1
The spaces close to the entrance on the front wall of the outer
chamber are generally devoted to matters personal to the deceased.
Most often he preferred to show himself performing acts of piety towards
the gods, such as he had regarded as his first daily duty in life.2 In this
tomb, however, this subject is relegated to the middle chapel (Plate
LIII), and instead we find presentations to Puyemre to right and left
of the entrance on the upper part of the east wall, and, below these,
two texts by means of which he sought burial boons. These, then, we
shall take in order, though in fact we learn little from them regarding
the hero of our story; one of the four partitions being as good as de-
stroyed, one nearly perfect, and two sadly mutilated. The action of the
rest of the scenes on this wall is totally separate, and is directed towards
figures of Puyemre at the far ends of the corridor.
Taking first the upper scene on the north side of the east wall (on
the extreme right of Plate IX),3 we see Puyemre and his wife Senseneb
seated on chairs and accepting from a servitor the symbolic bouquet
from the temple of Amon, the mere name of which is calculated to im-
part vitality to the recipient.
Puyemre receives the title "companion justly loved" and "child of
the king."4 The ministrant is possibly a wennuti-priest of Amon, for of
1 Where there are corresponding positions on the walls, the balance is held fairly even between the two
women. Perhaps Senseneb is given a slight preference. For three wives depicted at once see Budge,
Egyptian Sculptures, PL VII. Two are shown in Tombs 90, 96 a.
2 Of the south thickness nothing is extant, but scraps of the first column of inscription show that
it began with the title rpcii followed by the name and, no doubt, "He says . . ." So, too, on the north
side. Both scenes faced inwards and cannot depict the worship of the gods. On the north wall there remain
the feet of an upright figure of Puyemre entering, clad in a rippled skirt (as on Pis. IX, LXIV). Possibly
we have parts of a stand of offerings and a slaughtered animal at his feet. The pieces of inscription in broad
columns probably come from this wall (PI. XXII, Nos. 2-6, 18). There were the usual borders and frieze
above.
3 Save for one foot of the figure on the right which was still in place, the whole picture is reconstruc-
tion; but two other fragments on the base line are guaranteed by the inscription below, which is attached
to them and fits in there.
4 Only the two pieces of the inscription which lie between the heads of the two men can be guaranteed,
and this only on condition that the hands and bouquet go with the head on the right. The sdti nisut,
an attribute the value of which is unknown, appears already in the Old Kingdom (Marietta, Les Mastabas,
D 38). It is applied to a prince of the blood in Berlin, Aeg. Insclirijten, II, p. 4g.
36