Naville, Edouard
The temple of Deir el Bahari (Band 6): The lower terrace, additions and plans — London, 1908

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We met before (pll. XC. and XCL, pll. CXXIV.—
VI.) with scenes of the same character, rejoicings
which take place on the occasion of a festival, dances
and processions in which appeared either the queen
herself, or more frequently her throne carrying her
In this representation we see two trains of .men
coming towards each other; that on the right consists
of " the dancers of the royal boat of . . .," evidently a
kind of corporation which had to take part in religious
festivals. They are quite similar to those we saw
before ; they carry axes, boughs of trees, and standards.
Their words are very much erased : "... they say
there is a voice of praise in the sky in . . . bringing joy
... in order to increase the years of his daughter,
who made his buildings, and who sits on the throne of
Horus of the living, like Ka eternally."
The train of the dancers meets another, at the head

of which is a trumpeter. The inscription says: " there
is rejoicing of the young men of the whole land, the
youths of Thebes, the choicest soldiers of Nubia."
Then come the names of the queen and of Thothmes III.
The first has been erased. The young soldiers are
armed with bows, which the dancers have not.
The scene which follows is a restoration absolutely
similar to that which we saw in pi. CXXIV. "We see
here priests making offerings and others butchering a
bull. Originally the queen and Amon were present.
The words which the god spoke are partly pre-
Then comes another train consisting of higher
officials, " the priests, the noblemen, the chamberlains,
the soldiers of the whole land." They also carry axes,
foliage, and standards. Evidently all the queen's
court took part in this festival, celebrating one of the
glorious deeds of her reign.




This is the dedication of the two obelisks, two sides
of which are represented. On the left is the queen
with mace and stick, on the right Amon standing. The
inscriptions on the four faces are identical, they are a
mere record of the work: " Queen Hatshepsu made
her buildings to her father (Amon). She raised two
obelisks in granite. Their pyramidions are in silver-
gilt. She receives all life like Ka eternally."
The text of the dedication is so much destroyed that

it is impossible to make any consecutive sense out
of it. A line says that " the rays of the sun shine
between them." Rameses II. restored Amon's name,
but he does not seem to have done much to his figure.
The same scene was represented on a construction at
Karnak, the stones of which were re-used.1 It is very
well preserved. In neither of these two scenes are
the obelisks made to scale. They are not much
higher than the human beings.


These three plates belong to the same representation
which is so much erased that we barely recognize the
meaning of the scenes. They show the foundation and
presentation of a temple by the queen and Thothmes III.
to the god Amon.
The preliminary act (pi. CLVII.) is the "gift of the
field four times," meaning that the giver himself fixes
the four sides of the land on which the building is to
be erected. He measures it in long strides such as
that we see him making (see pll. XIX., XXII., XCI1L).
In such cases generally the king holds an oar, or a
mason's square, or a long vase, as we saw before. Here

the king holds a flail in the right hand; the emblem in
the left is destroyed.
In front of the king, who is here Thothmes III., stands
the goddess of the North or the South, who says to
him, " Come and bring." The god to whom the offering
is made is Amon Min, who promises the queen to
give her a great number of Sed periods.
PI. CLVIII. The sculpture is so much destroyed
that we cannot say exactly who is this female figure
clad in a leopard's skin. It may be the queen herself,

1 Legrain and Nayille, L'aile Nord dupyldne d'Amenophis III,
a Karnak, pi. xii. A., p. 13.

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