DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.519#0042
34
BURIALS AND TEMPLE OF THE XXVTH DYNASTY
this list must be added, by association, graves 10, 31
and 34, which also contained types 15, 59, but did
not contain the handled pitchers. The groups of
these graves are here tabulated :
Eyes.
ill I
13 X X XX
14 X XXX
31 X
34 ?
35 *
51 x x x
66 x x x
18, 26, 27, 60 contained only pottery.
From this table it is evident that the features
peculiar to this period, such as the eye amulets and
beadwork coverings, ran right down to the end of its
history, and if any one of the types of eyes began
earlier than another, it certainly lasted on as late.
Ail the three types will be found to be in use at the
same time in the tomb group 69, and two of them at
the same time in tomb group 25, pL xxxii, nos. 1 and 3.
Those eyes wilh the details all marked out in lumpy
black ridges are less common than the other two
types. As was noticed in Hyksos and Israelite Cities,
p. 18, we find here that the amulets and other orna-
ments tended to die out before the xxvith dynasty,
for out of the twelve graves belonging to the very end
of the xxiii-xxvth period, four contained none of
these classes whatever, but only pottery.
60. Description of plates. PI. xxix shews the
tomb group K.A. 34, This tomb was a family vault
containing fifteen burials, the great majority of which
were unfortunately uninscribed, and had nothing
whatever with them. Three, however, had inscriptions
containing the owner's genealogy, and as an inscribed
coffin of each of the generations named was found, it
is possible to trace the gradual decadence of style.
The three are nos. r, 2, 3, of this plate. 1 is
the coffin of Pef-du-Bast, the grandfather, evidently
named after the king Pef-dudu-bast, who was reigning
in 725 B.C. 2 is that of Khnum-em-hat, the father;
and 3 is that of Merneit(?), the daughter. It is quite
apparent that there is considerable decline in art
between that of the coffin of Pef-du-Bast, perhaps
about 630 B.C., and those of the two succeeding
generations. Curiously enough the coffin of the
father Khnum-em-hat is far more decadent in style
than that of his daughter Merneit, for while the
father's coffin is made in the cheapest way possible,
of small pieces of wood, the daughter was buried in
far handsomer style, the coffin being made of massive
planks, and being much more ornamented in a finer
and clearer style of painting. There here appears to
be a marked exception to the general rule that pro-
gressive improvement or decadence in art represents
a succession of periods, by a study of which it is
possible to restore the original sequences. However,
a glance at the plan of the grave (pi. xxxiv) will
explain the anomaly ; for from the position of the
coffins it is evident that Merneit (3), the daughter,
died and was buried before her father Khnum-em-hat
(2), who from his position in the tomb appears to have
been the last of the family to have been buried here,
and to this agrees the evidence of the pot found with
him, which by its shape belongs to the very end of
this period or rise of the next (see previous section).
This is the explanation of the otherwise surprising
fact that the daughter's coffin, which should represent
a later stage of art, actually shews an art better than
that of her father, which should represent an earlier
stage. Thus the rule of sequence turns out not to be
violated by this case, but on the contrary to be vindi-
cated, for the series shews a progressive deterioration
in style. The great necklace painted on the coffin of
Pef-du-Bast stiil occurs on Merneit, but has dis-
appeared entirely on Khnum-em-hat, while the Genii
of the dead of Pef-du-Bast still take up a large part
of the coffin of Merneit, but in Khnum-em-hat are
reduced to a very small size and only occupy an
obscure position.
The coffin of Pef-du-Bast is well made and well
painted on a smooth-surfaced stucco, very different to
the rough bad stucco of the other two, and the hiero-
glyphs are well formed and neatly painted. Merneit's
inscription is very rough, and is reproduced in line
drawing on pi. xxxi, no. 3.
61. Genealogy, On coffin no. 1, Pef-du-Bast is
described as is-ir? Pf-du-b;st-t s| n Imn hn irr.
The Osiris the ? Pef-du-Bast, son of Hen-yrer-
Amen. On coffin no. 2 Khnum-em-hat is described
as is-ir ? hnm-du-h;t sj n ? Pf-du-bjst-t mut-f
irrw. The Osiris the ? Khnum-em-hat son of the ?
Pef-du-Bast, his mother (was) Areru. On coffin
no. 3, Merneit is described as is-ir mr-nt sj-t n ?
hum-m-hjt mut-s hr-pth-kmj-hp. The Osiris
BURIALS AND TEMPLE OF THE XXVTH DYNASTY
this list must be added, by association, graves 10, 31
and 34, which also contained types 15, 59, but did
not contain the handled pitchers. The groups of
these graves are here tabulated :
Eyes.
ill I
13 X X XX
14 X XXX
31 X
34 ?
35 *
51 x x x
66 x x x
18, 26, 27, 60 contained only pottery.
From this table it is evident that the features
peculiar to this period, such as the eye amulets and
beadwork coverings, ran right down to the end of its
history, and if any one of the types of eyes began
earlier than another, it certainly lasted on as late.
Ail the three types will be found to be in use at the
same time in the tomb group 69, and two of them at
the same time in tomb group 25, pL xxxii, nos. 1 and 3.
Those eyes wilh the details all marked out in lumpy
black ridges are less common than the other two
types. As was noticed in Hyksos and Israelite Cities,
p. 18, we find here that the amulets and other orna-
ments tended to die out before the xxvith dynasty,
for out of the twelve graves belonging to the very end
of the xxiii-xxvth period, four contained none of
these classes whatever, but only pottery.
60. Description of plates. PI. xxix shews the
tomb group K.A. 34, This tomb was a family vault
containing fifteen burials, the great majority of which
were unfortunately uninscribed, and had nothing
whatever with them. Three, however, had inscriptions
containing the owner's genealogy, and as an inscribed
coffin of each of the generations named was found, it
is possible to trace the gradual decadence of style.
The three are nos. r, 2, 3, of this plate. 1 is
the coffin of Pef-du-Bast, the grandfather, evidently
named after the king Pef-dudu-bast, who was reigning
in 725 B.C. 2 is that of Khnum-em-hat, the father;
and 3 is that of Merneit(?), the daughter. It is quite
apparent that there is considerable decline in art
between that of the coffin of Pef-du-Bast, perhaps
about 630 B.C., and those of the two succeeding
generations. Curiously enough the coffin of the
father Khnum-em-hat is far more decadent in style
than that of his daughter Merneit, for while the
father's coffin is made in the cheapest way possible,
of small pieces of wood, the daughter was buried in
far handsomer style, the coffin being made of massive
planks, and being much more ornamented in a finer
and clearer style of painting. There here appears to
be a marked exception to the general rule that pro-
gressive improvement or decadence in art represents
a succession of periods, by a study of which it is
possible to restore the original sequences. However,
a glance at the plan of the grave (pi. xxxiv) will
explain the anomaly ; for from the position of the
coffins it is evident that Merneit (3), the daughter,
died and was buried before her father Khnum-em-hat
(2), who from his position in the tomb appears to have
been the last of the family to have been buried here,
and to this agrees the evidence of the pot found with
him, which by its shape belongs to the very end of
this period or rise of the next (see previous section).
This is the explanation of the otherwise surprising
fact that the daughter's coffin, which should represent
a later stage of art, actually shews an art better than
that of her father, which should represent an earlier
stage. Thus the rule of sequence turns out not to be
violated by this case, but on the contrary to be vindi-
cated, for the series shews a progressive deterioration
in style. The great necklace painted on the coffin of
Pef-du-Bast stiil occurs on Merneit, but has dis-
appeared entirely on Khnum-em-hat, while the Genii
of the dead of Pef-du-Bast still take up a large part
of the coffin of Merneit, but in Khnum-em-hat are
reduced to a very small size and only occupy an
obscure position.
The coffin of Pef-du-Bast is well made and well
painted on a smooth-surfaced stucco, very different to
the rough bad stucco of the other two, and the hiero-
glyphs are well formed and neatly painted. Merneit's
inscription is very rough, and is reproduced in line
drawing on pi. xxxi, no. 3.
61. Genealogy, On coffin no. 1, Pef-du-Bast is
described as is-ir? Pf-du-b;st-t s| n Imn hn irr.
The Osiris the ? Pef-du-Bast, son of Hen-yrer-
Amen. On coffin no. 2 Khnum-em-hat is described
as is-ir ? hnm-du-h;t sj n ? Pf-du-bjst-t mut-f
irrw. The Osiris the ? Khnum-em-hat son of the ?
Pef-du-Bast, his mother (was) Areru. On coffin
no. 3, Merneit is described as is-ir mr-nt sj-t n ?
hum-m-hjt mut-s hr-pth-kmj-hp. The Osiris