DOI Page / Citation link:
https://doi.org/10.11588/diglit.4859#0045
THE TOMB OF TWO SCULPTORS AT THEBES
Nebamun w^j1 \on„ hai^1 an elaborate collar, bracelets, and a goffered or gathered-
sacrifices to
the gods up overskirt, pours a viscid oil over a heap of meat-offerings placed on
two braziers. Four jars, similar to that which he is using, and showing
proportions nearer to the true size, are piled with additional allowances
of nard.2 The oil of incense is probably not combustible in itself, but is
poured over fragments of charcoal scattered among the offerings; for
these are already in flames.3 Perhaps, when this is burnt out, the pyra-
midal cone, which I take to be a pastille of gum mixed with white fat
for slow burning, will be placed in its dish on top of the pile and ignited.
We might be better instructed about this if the text over the head of the
servant bringing it had not been mutilated by the heretics a few years
later. "[Sntr incense for Am on], king of the gods, presented by (lit. "on
the hands of") [Nebamun] from the hand of the sculptor, Nebnufer."
The inclusion in the pile of gifts of a tailless bird (a quail?), with undevel-
oped wing and colored a speckled yellow, is to be noted. The brightly
plumaged bird in Nebnufer's hand is also exceptional. It is perhaps a
bird whose name makes it one of good omen, like the papyrus which is
held along with it.4
ThePu Thepu carries her menat with her, as a Greek his beads; it is some-
thing between a trinket, a toy, and an amulet. The mantle, which, for
some generations now, had been worn over the simple skirt, is drawn
over her shoulders; but the artist, for his own ends, has allowed it to dis-
1 As often, the little locks are in moulded plaster, one row hanging thickly over that below, no doubt
to give the aspect of a bushy wig. The device betrays the sculptor who is loath to surrender his effects,
though working in paint. The same treatment is sometimes applied to the bead-work of collars, and in Tombs
71 and 100 an ear is moulded on a painted face with satisfying effect. See Mackay, J. E. A., V, p. u4-
2 The four pots are only placed below the stream of incense because their usual position above it is
occupied here by the inscription. The outline of the nard they contain is just like that given to the pomade
applied to the head and body, indicating a lumpy and stiff consistency; perhaps the more broken outline
of the stream of incense may indicate that it has been rendered more fluid by an admixture of oil or other
solvent.
1 The offerings are gathered into a solid mass of color by using a background of blue with black spots
(blue without spots on PI. XIX). Though this exactly resembles a mass of grape berries, I do not think
it is meant for that. It is a departure from the old analytic way of setting out the items separately, as if the
list was to be mentally ticked off; and approximates to the later fashion of setting the offerings in a bed of
greenery. One would think that the latter was a perversion of this very picture, the blue being mistaken
for foliage, and the flames for a fringe of leaves.
* The bird has light blue wings, a pink belly, gray patches on the head and breast, and gray tail feathers.
Cf. Budge, Wall Decorations, PI. 3.
3o
Nebamun w^j1 \on„ hai^1 an elaborate collar, bracelets, and a goffered or gathered-
sacrifices to
the gods up overskirt, pours a viscid oil over a heap of meat-offerings placed on
two braziers. Four jars, similar to that which he is using, and showing
proportions nearer to the true size, are piled with additional allowances
of nard.2 The oil of incense is probably not combustible in itself, but is
poured over fragments of charcoal scattered among the offerings; for
these are already in flames.3 Perhaps, when this is burnt out, the pyra-
midal cone, which I take to be a pastille of gum mixed with white fat
for slow burning, will be placed in its dish on top of the pile and ignited.
We might be better instructed about this if the text over the head of the
servant bringing it had not been mutilated by the heretics a few years
later. "[Sntr incense for Am on], king of the gods, presented by (lit. "on
the hands of") [Nebamun] from the hand of the sculptor, Nebnufer."
The inclusion in the pile of gifts of a tailless bird (a quail?), with undevel-
oped wing and colored a speckled yellow, is to be noted. The brightly
plumaged bird in Nebnufer's hand is also exceptional. It is perhaps a
bird whose name makes it one of good omen, like the papyrus which is
held along with it.4
ThePu Thepu carries her menat with her, as a Greek his beads; it is some-
thing between a trinket, a toy, and an amulet. The mantle, which, for
some generations now, had been worn over the simple skirt, is drawn
over her shoulders; but the artist, for his own ends, has allowed it to dis-
1 As often, the little locks are in moulded plaster, one row hanging thickly over that below, no doubt
to give the aspect of a bushy wig. The device betrays the sculptor who is loath to surrender his effects,
though working in paint. The same treatment is sometimes applied to the bead-work of collars, and in Tombs
71 and 100 an ear is moulded on a painted face with satisfying effect. See Mackay, J. E. A., V, p. u4-
2 The four pots are only placed below the stream of incense because their usual position above it is
occupied here by the inscription. The outline of the nard they contain is just like that given to the pomade
applied to the head and body, indicating a lumpy and stiff consistency; perhaps the more broken outline
of the stream of incense may indicate that it has been rendered more fluid by an admixture of oil or other
solvent.
1 The offerings are gathered into a solid mass of color by using a background of blue with black spots
(blue without spots on PI. XIX). Though this exactly resembles a mass of grape berries, I do not think
it is meant for that. It is a departure from the old analytic way of setting out the items separately, as if the
list was to be mentally ticked off; and approximates to the later fashion of setting the offerings in a bed of
greenery. One would think that the latter was a perversion of this very picture, the blue being mistaken
for foliage, and the flames for a fringe of leaves.
* The bird has light blue wings, a pink belly, gray patches on the head and breast, and gray tail feathers.
Cf. Budge, Wall Decorations, PI. 3.
3o