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the whole of the northern wall of the niche in the
Chapel of Thothmes I. This part of the Chapel is the
best preserved, and as its wall paintings are good
examples of the art at Deir el Bahari, the scene is
here reproduced in colours. The western end
of the scene is, however, omitted, since the seated
figure of Anubis which it contained has completely

Two royal personages are here making an offering
of fruits, vegetables and meat to the god Anubis.
Again the king is Thothmes I., the father of Hatshepsu.
He holds in his left hand a mace and a spear, as does
also Hatshepsu when represented as engaged in per-
forming the same rite (pi. xvi. and xxiv.); his right
hand is extended towards the god. The ceremony is

s I o 5

art uten neter hotejju

making the presentation of divine offerings

Behind him stands a queen, whom we know from
an ostracon in the Berlin Museum to have been his
mother (Introductory Memoir, p. 14). The cartouche
of (| »~~ n "j" I Senseneb was here found for the first

It is curious that, while all representations of
divinities and of Hatshepsu have been erased every-
where throughout the temple, there seems to have
prevailed a special veneration for the queen's family,
her father, her mother, and even for her grand-

Plate XVI.—South Wall of Niche. The decora-
tion of this side corresponded with that of the
north wall of the niche, but has suffered far more
serious erasures. The queen stood holding mace and
sceptre. Behind her stands her mother Aahmes,
whose portrait is frequently found in the temple,
especially on the wall of the Middle Colonnade.
Aahmes is styled—

suten sent hvmet ur suten mut . . .

the royal sister, the first wife, the royal mother, . . .


neb toui Aahmes

the lady of the two lands Aahmes

She is " royal sister," as being sister of Thothmes I.
She also ranks as his first or chief wife, having pre-
cedence over the mother of Thothmes II., and she is
"royal mother," as being the mother of Hatshepsu.
(Introductory Memoir, p. 14.)

The offerings lie between the queen and the deity.
Some of the vases are supposed to be specially dedicated
by the sovereign whose cartouche they bear; but these
cartouches are evidently late additions. Two vases
are inscribed with the name of Thothmes III., one
as from Thothmes I., one as from Ramaka, and one

bears (<

j Aahmes Nefertari, the name of

the queen of Aahmes I., who very soon after her
death acquired a semi-divine character, and is often
represented in funerary scenes.

The god to whom the offerings are presented is
Amon Ra, seated on his throne, and who commences
his speech with the usual formula, saying :

A-Zf k**= JL I r>

tu n(d) nt wnkh . . . m dsu mennu pen nefer uab rut

menkh drnt n(d)

" I will give thee life . . . &c, as reward for this
building, good, pure, gorgeous, perfect, which thou
hast made for me . . ." And the god adds :

tu n(d) nt n renpetu n heh tu nt urert m tept


anhht Ita md zetto

" I will give thee years eternal, thou raisest the crown
on thy head, living like Ra eternally."




Plate XVII.—Inner Side of the Door. On the lintel
and the jambs of the door itself, we have nothing but
the names of the queen and her titles. She is said to be
r IJUQ Amon Ra, meryt, " lover, i.e., worshipper

o I

of Amon," as might be expected, considering that it
is to this deity that the Hall is exclusively dedicated.
The epithets peculiar to Hatshepsu are : f j j j uazt
renpetu, which may be translated " prosperous in her