DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.4147#0016
ADDITIONS.
CLXVII. are fragments collected from various places,
some of which have been pieced together.
This text is a coronation inscription of the same kind
as that found in the middle colonnade, and another
at Karnak. It is the coronation of Thothmes I. His
royal name is given him and all the various epithets
and titles which form the official
protocol. One may wonder why
it is the coronation of Thothmes I.,
whom we have seen worshipped
by his daughter, after his death
(pi. CXXIX.). The explanation
of this fact is in these words
which are engraved in front of the
inscription. It is Thothmes III.
000
«$$
SSSSSS
who has done it; and it seems probable that in these
words, now very fragmentary, he said that he restored, re-
engraved this inscription with the name of Thothmes I.
I consider that the broken cartouche is that of this king.
Thus Thothmes III. erased an inscription which referred
to his aunt, and replaced it by the coronation of his
grandfather. It is the only inscription mentioning a
restoration by Thothmes III. which was found in the
temple; all the others recall restorations made by
Kameses II. "We must place this inscription at the end
of the reign of Thothmes III. From the texts
discovered at Deir el Bahari, and chiefly from those at
Karnak, we may gather that Thothmes III. did not
erase the name of his aunt and co-regent immediately
when he found himself alone on the throne. He
began doing it only after he had reigned for several
years.
PLATE CLXVIII
The custom of putting deposits in the foundation of an
edifice prevailed nearly through the whole duration of
the Egyptian empire. Deposits are generally, as was
discovered by Mr. Petrie, in the corners, but they may
be sometimes in other places, under the pavement.
There are deposits of various kinds ; they may be
valuable, or they may be rude models of instruments
like those represented in this plate. This is the style
of the XVIIIth Dynasty ; there are some quite similar,
of the time of Thothmes III., in the Museum at Cairo.
As for Hatshepsu, she probably put a great many in
her construction. Some of them were discovered many
years ago. Rosellini brought back a set to the Museum
of Florence. He calls them utensils and instruments
found in Theban tombs.
As they are usually in a place where something has
been founded, we were very much surprised, when
clearing the passage between the middle platform and
the enclosure wall, we suddenly came upon a small pit
about three feet deep, covered with a mat, and contain-
ing the following set of objects: a few pots of rough
and common pottery, 50 models of wooden hoes with-
out their strings, each having the name of the queen
TlfoBul, but no other royal name; 10 wooden
models of the i"—-, an instrument used in some cere-
monies, for instance, the opening of the mouth ; 1 bronze
knife without cartouche; 1 rather rude model of an axe,
with cartouche ; 4 bronze plaques, with the name of the
queen ; 11 baskets with a hollow in the middle, which
look like moulds for making bread ; 11 bronze adzes
with wooden handles, bearing the cartouche; 2 balls
of leathern strings for the hoes ; 10 small alabaster pots
for oil or incense, and 50 specimens of the tool which is
drawn above the alabaster pot, each having the name of
the queen, and the use of which we did not understand
at first. On the whole about 150 objects, nearly every
one of which had the queen's cartouche, her first
cartouche alone, as we found on many stones of the
masonry.
The reason why this deposit was put in this spot is
that, according to Mr. Somers Clarke's view, here was
the foot of the ramp extending from the passage to the
Hathor shrine.
As for the wooden instrument consisting of two
segments of a circle joined by six bars, M. Legrain
discovered its purpose. It is what is called in French
" ascenseur oscillant," a rocking lifter, which is a very
simple and convenient instrument for raising stones.1
Thus, as usual, the deposits were chiefly models of
the instruments and tools used in building, with two
or three objects having a religious character.
1 For the use of this instrument, see Choisy, L'art de bdtir cliez
les Egyptians, pp. 80 and ff.
CLXVII. are fragments collected from various places,
some of which have been pieced together.
This text is a coronation inscription of the same kind
as that found in the middle colonnade, and another
at Karnak. It is the coronation of Thothmes I. His
royal name is given him and all the various epithets
and titles which form the official
protocol. One may wonder why
it is the coronation of Thothmes I.,
whom we have seen worshipped
by his daughter, after his death
(pi. CXXIX.). The explanation
of this fact is in these words
which are engraved in front of the
inscription. It is Thothmes III.
000
«$$
SSSSSS
who has done it; and it seems probable that in these
words, now very fragmentary, he said that he restored, re-
engraved this inscription with the name of Thothmes I.
I consider that the broken cartouche is that of this king.
Thus Thothmes III. erased an inscription which referred
to his aunt, and replaced it by the coronation of his
grandfather. It is the only inscription mentioning a
restoration by Thothmes III. which was found in the
temple; all the others recall restorations made by
Kameses II. "We must place this inscription at the end
of the reign of Thothmes III. From the texts
discovered at Deir el Bahari, and chiefly from those at
Karnak, we may gather that Thothmes III. did not
erase the name of his aunt and co-regent immediately
when he found himself alone on the throne. He
began doing it only after he had reigned for several
years.
PLATE CLXVIII
The custom of putting deposits in the foundation of an
edifice prevailed nearly through the whole duration of
the Egyptian empire. Deposits are generally, as was
discovered by Mr. Petrie, in the corners, but they may
be sometimes in other places, under the pavement.
There are deposits of various kinds ; they may be
valuable, or they may be rude models of instruments
like those represented in this plate. This is the style
of the XVIIIth Dynasty ; there are some quite similar,
of the time of Thothmes III., in the Museum at Cairo.
As for Hatshepsu, she probably put a great many in
her construction. Some of them were discovered many
years ago. Rosellini brought back a set to the Museum
of Florence. He calls them utensils and instruments
found in Theban tombs.
As they are usually in a place where something has
been founded, we were very much surprised, when
clearing the passage between the middle platform and
the enclosure wall, we suddenly came upon a small pit
about three feet deep, covered with a mat, and contain-
ing the following set of objects: a few pots of rough
and common pottery, 50 models of wooden hoes with-
out their strings, each having the name of the queen
TlfoBul, but no other royal name; 10 wooden
models of the i"—-, an instrument used in some cere-
monies, for instance, the opening of the mouth ; 1 bronze
knife without cartouche; 1 rather rude model of an axe,
with cartouche ; 4 bronze plaques, with the name of the
queen ; 11 baskets with a hollow in the middle, which
look like moulds for making bread ; 11 bronze adzes
with wooden handles, bearing the cartouche; 2 balls
of leathern strings for the hoes ; 10 small alabaster pots
for oil or incense, and 50 specimens of the tool which is
drawn above the alabaster pot, each having the name of
the queen, and the use of which we did not understand
at first. On the whole about 150 objects, nearly every
one of which had the queen's cartouche, her first
cartouche alone, as we found on many stones of the
masonry.
The reason why this deposit was put in this spot is
that, according to Mr. Somers Clarke's view, here was
the foot of the ramp extending from the passage to the
Hathor shrine.
As for the wooden instrument consisting of two
segments of a circle joined by six bars, M. Legrain
discovered its purpose. It is what is called in French
" ascenseur oscillant," a rocking lifter, which is a very
simple and convenient instrument for raising stones.1
Thus, as usual, the deposits were chiefly models of
the instruments and tools used in building, with two
or three objects having a religious character.
1 For the use of this instrument, see Choisy, L'art de bdtir cliez
les Egyptians, pp. 80 and ff.