‘Make it According to Plan’: Workshop scenes in Egyptian tombs of the Old Kingdom 9781407359106, 9781407353968

Table of contents :
Front
Cover
Title
Copyright
Dedication
Acknowledgements
Table of Contents
List of Figures
List of Tables and Graphs
Dating Conversions and Abbreviations
Journal Abbreviations
Publication Abbreviations
Other Abbreviations
Image and Text Credits
Addendum
Part One: Research and Analysis
1. Introduction
2. The Scenes in Context
3. The Scenes in Focus
4. The Texts
5. Conclusions
Part Two:

Scene Catalogue
Notes
Bibliography
Appendices
Index
Back Cover

Citation preview

‘Make it According to Plan’ Workshop scenes in Egyptian tombs of the Old Kingdom MICHELLE HAMPSON

B A R I N T E R NAT I O NA L S E R I E S 3 0 8 3

2022

‘Make it According to Plan’ Workshop scenes in Egyptian tombs of the Old Kingdom MICHELLE HAMPSON

‘Make it According to Plan’

Workshop Scenes in Egyptian Tombs of the Old Kingdom B A R I N T E R NAT I O NA L S E R I E S 3 0 8 3 Michelle Hampson Illustrations by Marcus Herger

2022

Published in 2022 by BAR Publishing, Oxford BAR International Series 3083 ‘Make it According to Plan’ ISBN  978 1 4073 5910 6 paperback ISBN  978 1 4073 5396 8 e-format doi  https://doi.org/10.30861/9781407359106 A catalogue record for this book is available from the British Library © Michelle Hampson 2022 Cover image  Fitting the lid of a sarcophagus. Tomb of Nfr and KA.HA.j. Saqqara. Photograph: Lashien, Chapel of Kahai, pl. 35[b]. Courtesy of N. Kanawati title: From a conversation between metalworkers in the tomb of Jbj. Deir el-Gebrawi. Davies, Deir el-Gebrawi I, pl. XIV. Courtesy of The Egypt Exploration Society The Author’s moral rights under the 1988 UK Copyright, Designs and Patents Act are hereby expressly asserted. All rights reserved. No part of this work may be copied, reproduced, stored, sold, distributed, scanned, saved in any form of digital format or transmitted in any form digitally, without the written permission of the Publisher. Links to third party websites are provided by BAR Publishing in good faith and for information only. BAR Publishing disclaims any responsibility for the materials contained in any third-party website referenced in this work.

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BAR Publishing 122 Banbury Rd, Oxford, ox2 7bp, uk [email protected] +44 (0)1865 310431 +44 (0)1865 316916 www.barpublishing.com

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To my Mum and Dad

iii

iv

Acknowledgements This book, based on my original doctoral thesis but updated to include new research and additional chapters, has been a number of years in the making, and it would be impossible to adequately acknowledge all of those family members, friends and colleagues who have supported and assisted me towards the completion of both. Some individuals, however, are deserving of particular mention. To my Principal Supervisor, Professor Naguib Kanawati of Macquarie University, I owe a special debt of gratitude, not only for his indispensable academic advice but also for the unfailing personal encouragement he provided throughout my studies. To him I say: Naguib, you are truly both a gentleman and a scholar. Shukran. I would also like to express my thanks to the Department of Ancient History at Macquarie University, Sydney for their assistance and inspiration; to the staff of the libraries of Macquarie University, The University of Sydney, The American University in Cairo and The University of Oxford for the use of their collections and facilities; to the Higher Degree Research Office of Macquarie University for the award of a Post-Graduate Research Grant to enable field work to be conducted in Egypt; and to Dr. Zahi Hawass, former Secretary-General of the Supreme Council of Antiquities, Egypt, whose kind permission was granted to access the resources of the Egyptian Museum, Cairo and to inspect and photograph tombs at Giza and Saqqara. To my colleagues in the History Faculty at St. John’s Park High School, Sydney, who followed my progress with interest over the years; to my many students, whose curiosity and enthusiasm provided an added incentive to pursue my research; and to Jane and Marc Andrew, the best of friends, who have championed my studies from the beginning, I extend my gratitude. I also wish to acknowledge Jacqueline Senior (Editor-in-Chief), Frazer Merritt (Editor), Tansy Branscombe (Editor) and Lisa Eaton (Production Editor) of BAR Publishing, Oxford for their encouragement and guidance in bringing this book to fruition and, in particular, Dr. Ruth Fisher (Development Editor), whose expertise and support have been integral to its completion, as well as my reviewers, who provided many insightful and constructive comments which enhanced both the content and presentation of the work. Most deserving of appreciation, however, is my partner and illustrator, Marcus Herger, even though mere words cannot express what is owed to him. Suffice to say that not a single page of this book would have been possible without him and for all that he has done to assist and sustain me I cannot thank him enough. I dedicate this book to my parents, who did not live to see its publication but whose memory I cherish and whose values and principles have guided me to this day, including a love of learning and the willingness to undertake new challenges, one of which has been this project. I hope they are proud that, as we say in Australia, I ‘gave it a go’.



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Michelle Hampson Sydney, Australia

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Table of Contents Acknowledgements v Table of Contents vii List of Figures xi List of Tables and Graphs xiii Dating Conversions and Abbreviations xv Journal Abbreviations xvii Publication Abbreviations xix Other Abbreviations xxiii Image and Text Credits xxv Addendum xxvii Part One Research and Analysis 1-117 ________________________________________________________________________________________________ Chapter 1 Introduction 1.1 Preamble 1.2 Literature Review 1.3 Selection of Theme 1.4 Review of Current Scholarship 1.5 The Case for a Micro-Analytical Approach 1.6 Scope of the Investigation 1.7 Indicative Results of the Investigation 1.8 Research Methodology 1.9 Limitations of the Study

1 1 1 1 1 2 2 2 3 3

Chapter 2 The Scenes in Context 2.1 Overview of Corpus 2.1.1 Definitions 2.1.2 Distribution of Corpus Scenes 2.1.3 Hierarchy of Industries

4 4 4 4 4





2.2 2.2.1 2.2.2 2.2.3 2.2.4 2.2.5 2.2.6 2.2.7 2.2.8

Setting Context of Workshop Products Workshops of the Estates Character and Organisation of Estate Workshops Other Types of Workshops Absence of Personnel Identifications Identification of State Personnel Identification of Palace Personnel Role and Distribution of Personnel Identifications

4 4 8 8 8 9 9 10 10



2.3 2.3.1 2.3.2 2.3.3 2.3.4 2.3.5 2.3.6

Correlation Between Scene Type, Content and Title Social Distribution of Workshop Scenes Common Titles Related to Workshop Activities Nominal v. Substantive Titles Impact of Workshop Titles on Scene Selection Impact of Other Titles on Scene Selection Impact of Status on Scene Innovation

11 11 11 11 13 14 15

2.4 2.4.1 2.4.2 2.4.3 2.4.4 2.4.5

Location of Scenes Location Relative to Chapel Type Impact of Other Factors on Patterns of Placement Placement in Areas of High Visibility Placement Adjacent to Key Architectural Elements Summary of Factors Influencing Scene Placement

15 15 17 18 18 19



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‘Make it According to Plan’ Chapter 3 3.1 3.1.1 3.1.2 3.1.3 3.1.4

The Scenes in Focus Boat Building Overview Identification of Personnel Identification of Materials Common Procedures

20 20 20 20 21 21-34



3.2 3.2.1 3.2.2 3.2.3 3.2.4

Carpentry Overview Identification of Personnel Identification of Materials Common Procedures

35 35 35 35 36-46



3.3 3.3.1 3.3.2 3.3.3 3.3.4

Jewellery Making Overview Identification of Personnel Identification of Materials Common Procedures

47 47 47 47 47-54



3.4 3.4.1 3.4.2 3.4.3 3.4.4

Leatherwork Overview Identification of Personnel Identification of Materials Common Procedures

55 55 55 55 55-59



3.5 3.5.1 3.5.2 3.5.3 3.5.4

Metalwork Overview Identification of Personnel Identification of Materials Common Procedures

60 60 60 60 61-72



3.6 3.6.1 3.6.2 3.6.3 3.6.4

Sculpture Overview Identification of Personnel Identification of Materials Common Procedures

73 73 73 74 75-81



3.7 3.7.1 3.7.2 3.7.3 3.7.4

Stone Vessel Making Overview Identification of Personnel Identification of Materials Common Procedures

82 82 82 82 82-87

Chapter 4 The Texts 4.1 Text Types 4.1.1 Function of Texts 4.1.2 Summary of Text Types

4.2 4.2.1 4.2.2 4.2.3 4.2.4 4.2.5 4.2.6 4.2.7 4.2.8 4.2.9 4.2.10

Analysis of Structure, Content and Purpose Overview Generic Identification of Figures and Objects General v. Explicit Texts Texts as Informers of Technical Procedures Informative Role of Observation Texts Use of Idioms and Invocations Texts Emphasising Speed Texts Emphasising Efficiency and Teamwork Texts Reflecting Concern for Quality Texts Related to Workshop Organisation

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88 88 88 88 89 89 95 95 98 98 98 104 104 105 105

Table of Contents

4.2.11 4.2.12

Texts Describing the Finished Product Expressions of Praise and Reprimands

107 107



4.3 4.3.1 4.3.2 4.3.3 4.3.4 4.3.5 4.3.6

Conclusions Role of Texts Geographical and Temporal Distribution of Texts Generic v. Specific Identification of Personnel Stand-Alone v. Extended Texts Use of Texts as Dating Criteria Text, Image and Selective Captioning

107 107 107 107 108 108 109

Chapter 5 Conclusions 5.1 Objectives 5.1.1 Summary

110 110 110



5.2 5.2.1

Findings Pertaining to Context Setting and Identification of Personnel

110 110



5.3 5.3.1 5.3.2 5.3.3 5.3.4

Findings Pertaining to Distribution and Position Ratio of Memphite to Provincial Cemeteries Industry Hierarchy Status of Tomb Owner and Scene Selection Tomb Position

110 110 110 110 110



5.4 5.4.1 5.4.2 5.4.3 5.4.4

Findings Pertaining to Scene Content Classification of Scenes Methods of Display Methods of Communicating Process Conventional v. Non-Conventional Presentations

111 111 111 112 113



5.5 5.5.1 5.5.2

Findings Pertaining to Artistic Innovation Summary A Special Case: Tomb MQ1

113 113 114



5.6 5.6.1

Findings Pertaining to Scene Inscriptions Text Types and Their Purpose

115 115

5.7

Concluding Remarks

115

Part Two Scene Catalogue 119-281 ________________________________________________________________________________________________ 1.1 1.2 1.3

Explanatory Notes Definitions Summary of Catalogue Numbers by Site [Cat.1] - [Cat.15] Giza [Cat.16] - [Cat.18] Abusir [Cat.19] - [Cat.37] Saqqara [Cat.38] Dahshur [Cat.39] Lisht [Cat.40] - [Cat.41] Maidum [Cat.42] - [Cat.43] Deshasheh [Cat.44] - [Cat.45] Zawyet el-Amwat [Cat.46] El-Sheikh Saïd [Cat.47] - [Cat.50] Deir el-Gebrawi [Cat.51] Meir [Cat.52] - [Cat.53] El-Hammamiya [Cat.54] - [Cat.56] El-Hawawish [Cat.57] - [Cat.59] El-Khokha [Cat.60] Qubbet el-Hawa ix

119 119 119

‘Make it According to Plan’ 1.4 1.5

Key to Catalogue Notations Method of Citation Used in Catalogue

119 119

Notes

283

Bibliography

303

Appendices 317-442 ________________________________________________________________________________________________ Appendix 1 Appendix 2 Appendix 3 Appendix 4 Appendix 5 Appendix 6 Appendix 7 Appendix 8 Appendix 9 Appendix 10 Appendix 11 Appendix 12 Appendix 13

Micro-Features in Scenes of Boat Building Micro-Features in Scenes of Carpentry Micro-Features in Scenes of Jewellery Making Micro-Features in Scenes of Leatherwork Micro-Features in Scenes of Metalwork Micro-Features in Scenes of Sculpture Micro-Features in Scenes of Stone Vessel Making Micro-Features in Workshop Scenes by Catalogue Number Atypical Scene Types in Workshop Scenes and Occurrences Atypical Postures in Workshop Scenes and Occurrences Unique Micro-Features in Workshop Scenes and Occurrences Micro-Features Common to Multiple Workshop Industries and Occurrences Compilation of Text Types

Index

319 332 346 355 359 374 387 393 409 411 413 418 422 443-448

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List of Figures Fig. 1 Tomb owner viewing workshop activities. Tomb of Jbj. Deir el-Gebrawi. After Davies, Deir el-Gebrawi I, pl. XV Fig. 2 Tomb owner viewing workshop activities. Tomb of Nb.j-m-Axtj. Giza. After LD II, 13 Fig. 3 Trimming a hull. Tomb of #w-ns. Zawyet el-Amwat. After LD II, 108[right] Fig. 4 Axe with cross-hatch bindings and fastening hole. Tomb of Nj-anx-£nmw and £nmw-Htp. Saqqara. After Photograph: M. Hampson (2008) Fig. 5 Polishing or sanding a door lock. Tomb of Nfr and KA-HA.j. Saqqara. After Photograph: M. Hampson (2008) Fig. 6 Trimming a lotus column. Tomb of Nfr and KA-HA.j. Saqqara. After Photograph: M. Hampson (2008) Fig. 7 Presenting a collar and box. Tomb of Jntj. Deshasheh. After Kanawati and McFarlane, Deshasha, pl. 28 Fig. 8 Stretching leather. Tomb of §jj. Saqqara. After Wild, Tombeau de Ti III[2], pl. CLXXIV Fig. 9 Leather products. Tomb of anx-m-a-¡r:¤sj. Saqqara. After Kanawati and Hassan, Ankhmahor, pl. 40 Fig. 10 Weighing crude metal. Tomb of KA.j-m-rHw. Saqqara. After Photograph: M. Hampson (2008) Fig. 11 Polishing a jar. Tomb S920. Saqqara. After Photograph: M. Hampson (2008) Fig. 12 Stone vessels. Tomb of KA.j-m-rHw. Saqqara. After Photograph: M. Hampson (2008) Fig. 13 Inscription wdH bjA ‘Pouring metal’. Tomb of Wp-m-nfrt:Wp. Giza. After Hassan, Giza II, fig. 219 Fig. 14 Inscription jrj(=j) m sxr ‘Make it according to plan!’. Tomb of Jbj. Deir el-Gebrawi. After Davies, Deir el-Gebrawi I, pl. XIV Fig. 15 Inscription wAD ‘Malachite’. Tomb of Ppjj-anx:@nj-km. Meir. After Blackman and Apted, Meir V, pl. XVII Fig. 16 Polishing a bowl. Tomb of PtH-Spss. Abusir. After Vachala, Abusir VIII, 181[Fragment 702] Fig. 17 Preparing sandstone abrasive. Tomb of Jj-mrjj. Giza. After Photograph: M. Hampson (2004) Fig. 18 Melting crude metal. Tomb of KA.j-m-rHw. Saqqara. After Photograph: M. Hampson (2008) Fig. 19 Crimping a ewer. Tomb of Nb.j-m-Axtj. Giza. After LD II, 13 Fig. 20 Applying abrasive to a bed frame. Tomb of %nDm-jb:Jntj. Giza. After LD Erganz. II, XIX[left] Fig. 21 Weighing. Tomb of %nDm-jb:MHj. Giza. After LD II, 74[a] Fig. 22 Metal vessels and Dsr(w)-chest. Tomb of PtH-Spss. Abusir. After Verner, Abusir I, pl. 27 Fig. 23 Drilling a jug. Tomb of Mrrw-kA.j:Mrj. Saqqara. After Kanawati et al., Mereruka III[1], pl. 74 Fig. 24 Trimming a staff. Tomb of Mrrw-kA.j:Mrj. Saqqara. After Kanawati et al., Mereruka III[1], pl. 74 Fig. 25 Metalworkers with beards. Tomb of MHw. Saqqara. After Photograph: M. Hampson (2008) Fig. 26 Headrest and carrying chair. Tomb of Nj-anx-£nmw and £nmw-Htp. Saqqara. After Photograph: M. Hampson (2008) Fig. 27 Felling a tree. Tomb of Nfr and KA-HA.j. Saqqara. After Photograph: M. Hampson (2008) Fig. 28 Scales in anthropomorphic form. Tomb of KA.j-jrr. Saqqara. After Lauer, Saqqara, pl. 68 Fig. 29 Beating sheet metal. Tomb of KA.j-m-rHw. Saqqara. After Photograph: M. Hampson (2008) Fig. 30 Pummelling a sandal. Tomb of Jttj:^dw. Deshasheh. After Kanawati and McFarlane, Deshasha, pl. 49 Fig. 31 Carving decorative features into a hull. Tomb of #w-ns. Zawyet el-Amwat. After LD II, 108[right] Fig. 32 Dampening and heating a staff. Tomb of %rf-kA.j. El-Sheikh Saïd. After Davies, Sheikh Saïd, pl. IV Fig. 33 Pectoral and counterpoises on table. Tomb of Jbj. Deir el-Gebrawi. After Davies, Deir el Gebrawi I, pl. XIII Fig. 34 Washing a collar. Tomb of @m-Ra:Jsj. Deir el-Gebrawi. After Davies, Deir el-Gebrawi II, pl. XIX Fig. 35 Trimming a carrying chair. Tomb of +aw and +aw:^mAj. Deir el-Gebrawi. After Davies, Deir el-Gebrawi II, pl. X Fig. 36 Sawing a section of log into planks. Tomb of KA.j-xnt II. El-Hammamiya. After El-Khouli and Kanawati, El-Hammamiya, pl. 69

xi

19 19 26 34 40 46 51 59 59 67 85 87 88 95 98 109 112 115 133 148 151 162 178 178 181 187 193 200 203 234 242 245 249 254 257 267

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List of Tables and Graphs

Table 2.1 Table 2.2 Table 2.3 Table 2.4 Table 2.5 Table 2.6 Table 2.7 Table 2.8 Table 2.9 Table 2.10 Table 2.11 Table 2.12 Table 2.13 Table 2.14 Table 2.15 Table 2.16 Table 2.17 Table 2.18 Table 2.19 Table 2.20

Geographical and Temporal Distribution of Corpus Tombs and Fragments Topographical and Chronological Distribution of Scene Types in Catalogue Order Distribution of Scene Types in Corpus (%) Distribution of Scene Types in Hierarchical Order Personnel Types and Their Main Characteristics Personnel Types with Explicit Identification Personnel Types and Associated Industries Corpus Titles Related to Workshop Authority Distribution of Scene Types According to Office Chapel Type and Number of Scene Types Frequently Occurring Titles and Number of Scene Types Depicted Impact of Status on Scene Innovation Scene Distribution in Old Kingdom Chapels Location of Workshop Scenes - Memphite Chapels Location of Workshop Scenes - Provincial Chapels Scene Types Adjacent to Workshop Activities Location of Selected Workshop Scenes Relative to Chapel Type, Site and Date Register Position of Workshop Scenes Theme Depicted at Eye Level of Viewing Figure Industry Depicted at Eye Level of Viewing Figure

4 5 8 8 9 10 10 11 12 13 14 14 15 15 15 16 17 19 19 19



Table 3.1 Table 3.2 Table 3.3 Table 3.4 Table 3.5 Table 3.6 Table 3.7 Table 3.8 Table 3.9 Table 3.10 Table 3.11 Table 3.12 Table 3.13 Table 3.14 Table 3.15 Table 3.16 Table 3.17 Table 3.18 Table 3.19 Table 3.20 Table 3.21

Suggested Classification and Sequence of Boat Building Procedures Distribution of Boat Building Scenes and Procedures Posture Summary - Boat Building Suggested Classification and Sequence of Carpentry Procedures Distribution of Carpentry Scenes and Procedures Posture Summary - Carpentry Suggested Classification and Sequence of Jewellery Making Procedures Distribution of Jewellery Making Scenes and Procedures Posture Summary - Jewellery Making Suggested Classification and Sequence of Leatherwork Procedures Distribution of Leatherwork Scenes and Procedures Posture Summary - Leatherwork Suggested Classification and Sequence of Metalwork Procedures Distribution of Metalwork Scenes and Procedures Posture Summary - Metalwork Suggested Classification and Sequence of Sculpture Procedures Distribution of Sculpture Scenes and Procedures Posture Summary - Sculpture Suggested Classification and Sequence of Stone Vessel Making Procedures Distribution of Stone Vessel Making Scenes and Procedures Posture Summary - Stone Vessel Making

20 21 27 35 36 41 47 48 52 55 56 58 60 61 68 73 74 79 82 83 86



Table 4.1 Table 4.2 Table 4.3 Table 4.4 Table 4.5 Table 4.6 Table 4.7 Table 4.8

Distribution of Captions in Workshop Scenes Generic Action Captions and Their Application Generic Personnel Captions and Their Application Selected Object Identification Texts, Translations and Corresponding Representations Distribution of Ranked Personnel Captions Geographical Distribution of Text Types Temporal Distribution of Text Types Distribution of Generic v. Specific Personnel Captions

89 91 96 99 105 107 108 109



Table 5.1 Table 5.2 Table 5.3 Table 5.4 Table 5.5 Table 5.6 Table 5.7 Table 5.8

Tomb Position of Workshop Scenes Preferred Methods of Display for Various Industries Core and Secondary Motifs Standard Representation of Core Motifs Elaboration and Expansion of Core Motifs Production Cycle and Scene Distribution Methods of Communicating Process Methods of Varying a Standard Representation

111 111 112 113 114 114 116 117

xiii

xiv

Dynasty

Dating Conversions and Abbreviations Division and Symbol

Early

Dynasty IV

Middle

Late

Early

Subdivision and Reign

Late

Early

Dynasty VI

Middle

Late

First Intermediate Period

Snefru

IV.2

Khufu

IV.3

Raadjedef

IV.4

Raakhaaef

IV.5

Menkaure

IV.6

Shepseskaf

V.1

Userkaf

V.2

Sahurea

V.3

Neferirkarea

V.4

Shepseskarea

V.5

Raaneferef

V.6

Neuserrea

V.7

Menkauhor

V.8

Djedkarea

V.9

Unis

VI.1

Teti

VI.2

Pepy I

VI.3

Merenrea

IV.E

IV.M

2589 - 2454 B.C.

IV.L

V.E

Dynasty V Middle

IV.1

Years

V.M

V.L

2454 - 2297 B.C.

VI.E

VI.M

2297 - 2166 B.C.

VI.4

Pepy II

VI.5

Pepy II

VI.6

Pepy II

VI.7

Late Dynasty VI -Dynasty VIII

2166 - 2120 B.C.

VI.L

IX-X

-

Dynasty IX-X

2120 - 2020 B.C.

XI

-

Dynasty XI

2119 - 2046 B.C.

After Harpur, Decoration, 34. © 1987 Routledge. Reproduced by permission of Taylor & Francis Group After Kanawati, Tomb and Beyond, viii. Courtesy of Casemate Publishers

xv

xvi

Journal Abbreviations AJA American Journal of Archaeology (Baltimore/NewYork/Norwood) AncEg Ancient Egypt/Ancient Egypt and the East (London/New York) Anthropos Anthropos: International Review of Anthropology and Linguistics (Fribourg) Antiquity Antiquity: A Review of World Archaeology (Cambridge) ArOr Archív Orientální: Quarterly Journal of African and Asian Studies (Prague) ArtHistory Art History: Journal of the Association of Art Historians (London) ASAE Annales du Service des Antiquités de lʼÉgypte (Cairo) AW Antike Welt: Zeitschrift für Archäologie und Kulturgeschichte (Zurich/Mainz) BACE Bulletin of the Australian Centre for Egyptology (Sydney) BEM Bulletin of the Egyptian Museum (Cairo) BIAE Boletín Informativo de Amigos de la Egiptología (Online) BIAUL Bulletin of the Institute of Archaeology University of London (London) BIFAO Bulletin de lʼInstitut Français dʼArchéologie Orientale (Cairo) BMFA Bulletin of the Museum of Fine Arts Boston (Boston) BMMA Bulletin of the Metropolitan Museum of Art New York (New York) BrookMusB Bulletin of the Brooklyn Museum. The Brooklyn Institute of Arts and Sciences (Brooklyn) BSEG Bulletin de la Société dʼÉgyptologie Genève (Geneva) CAJ Cambridge Archaeological Journal (Cambridge) CdE Chronique dʼÉgypte: Bulletin périodique de la Fondation Égyptologique Reine Élisabeth Bruxelles (Brussels) DE Discussions in Egyptology (Oxford) EA Egyptian Archaeology: The Bulletin of the Egypt Exploration Society (London) EJARS Egyptian Journal of Archaeological and Restoration Studies (Sohag) Enchoria Enchoria: Zeitschrift für Demotistik und Koptologie (Wiesbaden) Endeavour Endeavour: A Quarterly Magazine Reviewing the History and Philosophy of Science in the Service of Mankind (Amsterdam) Ethnoarch Ethnoarchaeology: Journal of Archaeological, Ethnographic and Experimental Studies (Walnut Creek) ÉtudTrav Études et Travaux: Institut des Cultures Méditerranéennes et Orientales de lʼAcadémie Polonaise des Sciences (Warsaw) Expedition Expedition: The Bulletin of the University Museum of the University of Pennsylvania (Philadelphia) GBA Gazette des Beaux-Arts (Paris) GM Göttinger Miszellen: Beiträge zur ägyptologischen Diskussion (Göttingen) GoldBull Gold Bulletin: The Journal of Gold Science, Technology and Applications (Cham) HBO Hallesche Beiträge zur Orientwissenschaft (Halle-Wittenburg) HTechN History of Technology (London) JAI Journal of the Anthropological Institute of Great Britain and Ireland (London) JANES Journal of the Ancient Near Eastern Society of Columbia University (New York) JAOS Journal of the American Oriental Society (Baltimore/Boston/New Haven) JARCE Journal of the American Research Center in Egypt (Boston/Princeton/New York/Cairo) JEA Journal of Egyptian Archaeology (London) JEOL Jaarbericht van het Vooraziatisch-egyptisch Genootschap Ex Oriente Lux (Leiden) JNES Journal of Near Eastern Studies (Chicago) JSAS Journal of the Serbian Archaeological Society (Belgrade) JSSEA Journal of the Society for the Study of Egyptian Antiquities (Toronto) Kemet Kemet: Die Zeitschrift für Ägyptenfreunde (Berlin) KMT KMT: A Modern Journal of Ancient Egypt (San Francisco/Weaverville) LAAA Liverpool Annals of Archaeology and Anthropology (Liverpool) Levant The Journal of the Council for British Research in the Levant (Jerusalem) Man Man: The Journal of the Royal Anthropological Institute (London) Mariner’s Mirror The Mariner’s Mirror: Journal of the Society for Nautical Research (Hellingly) MDAIK Mitteilungen des Deutschen Archäologischen Instituts Abteilung Kairo (Mainz/Cairo/Berlin/Wiesbaden) MDOG Mitteilungen der Deutschen Orient-Gesellschaft zu Berlin (Berlin/Leipzig) MIFAO Mémoires publiés par les membres de lʼInstitut Français dʼArchéologie Orientale du Caire (Berlin/Cairo) MIO Mitteilungen des Instituts für Orientforschung (Berlin) Nature Nature: International Weekly Journal of Science (London) NGWG Nachrichten von der Königlichen Gesellschaft der Wissenschaften zu Göttingen, Philologisch-historische Klasse (Göttingen) OP Occasional Papers on the Near East (Malibu) OrNS Orientalia: Commentarii periodici Pontificii instituti biblici. Nova Series (Rome) Paléorient Paléorient: Revue pluridisciplinaire de préhistoire et protohistoire de l’Asie du Sud-Ouest (Paris) PJAEE PalArch’s Journal of Archaeology of Egypt/Egyptology (Leiden) PopArch Popular Archaeology (Online)

xvii

‘Make it According to Plan’ PRi PSBA RAr RdE SAK Ta-Mery TechnolCult TechStudFieldFA WorldArch ZÄS

Proceedings of the Royal Institution of Great Britain (London) Proceedings of the Society of Biblical Archaeology (London) Revue archéologique (Paris) Revue dʼÉgyptologie (Paris) Studien zur Altägyptischen Kultur (Hamburg) Ta-Mery: Jaarlijks magazine voor vrienden van het oude Egypte (Leiden) Technology and Culture: The International Quarterly of the Society for the History of Technology (Chicago) Technical Studies in the Field of the Fine Arts (Cambridge) World Archaeology (London) Zeitschrift für Ägyptische Sprache und Altertumskunde (Leipzig/Berlin)

xviii

Publication Abbreviations See Bibliography for Full Citation

Altenmüller, ‘Abwiegen von Metall’ Altenmüller, H., ‘Zum Abwiegen von Metall im Alten Reich und zur Redewendung jw.s m jnr’ Altenmüller, ‘Daily Life’ Altenmüller, H., ‘Daily Life in Eternity-The Mastabas and Rock Cut Tombs of Officials’ Altenmüller, ‘Die Waage’ Altenmüller, H., ‘Ist die Waage im Gleichgewicht?’ Altenmüller, Grab des Mehu Altenmüller, H., Die Wanddarstellungen im Grab des Mehu in Saqqara. Altenmüller, ‘Sokar’ Altenmüller, H., ‘Sokar im Alten Reich und der Wind’ Andrews, Egyptian Jewellery Andrews, C., Ancient Egyptian Jewellery. Auenmüller, ‘Mastaba des Ti’ Auenmüller, J., ‘Bemerkungen zur Datierung der Mastaba des Ti in Saqqara’ Aufrère, Lʼunivers minéral Aufrère, S. H., Lʼunivers minéral dans la pensée égyptienne. Badawy, aAnkmaahor Badawy, A., The Tomb of Nyhetep-Ptah at Giza and the Tomb of aAnkhmaahor at Saqqara. Baer, Rank and Title Baer, K., Rank and Title in the Old Kingdom: The Structure of the Egyptian Administration in the Fifth and Sixth Dynasties. Bárta, Abusir V Bárta, M., Abusir V: The Cemeteries at Abusir South I. Baud, Famille Baud, M., Famille royale et pouvoir sous lʼAncien Empire égyptien. von Bissing and Weigall, Gem-ni-kai Bissing, F. W. von and Weigall, A. E. P., Die Mastaba des Gem-ni-kai. Blackman, Meir Blackman, A. M., The Rock Tombs of Meir I-IV. Blackman and Apted, Meir Blackman, A. M. and Apted, M. R., The Rock Tombs of Meir V-VI. Bolshakov, ‘Early Chronology’ Bolshakov, A. O., ‘Some Observations on the Early Chronology of Meidum’ Borchardt, Denkmäler Borchardt, L., Denkmäler des Alten Reiches (ausser den Statuen) im Museum von Kairo Nr. 1295-1808. Teil I and II. Borchardt, Ne-User-Rea Borchardt, L., Das Grabdenkmal des Königs Ne-User-Rea. British Museum, Hieroglyphic Texts British Museum, Hieroglyphic Texts from Egyptian Stelae etc. in the British Museum VI. Brovarski, ‘Akhmim’ Brovarski, E., ‘Akhmim in the Old Kingdom and First Intermediate Period’ Brovarski, ‘Beaded Collars’ Brovarski, E., ‘Old Kingdom Beaded Collars’ Brovarski, ‘Covington’s Tomb’ Brovarski, E., ‘An Inventory List from ‘Covington’s Tomb’ and Nomenclature for Furniture in the Old Kingdom’ Brovarski, ‘Inventory Offering Lists’ Brovarski, E., ‘Inventory Offering Lists and the Nomenclature for Boxes and Chests in the Old Kingdom’ Brovarski, ‘Metjetji’ Brovarski, E., ‘The Date of Metjetji’ Brovarski, Senedjemib Complex I Brovarski, E., The Senedjemib Complex. Part 1: The Mastabas of Senedjemib Inti (G2370), Khnumenti (G2374) and Senedjemib Mehi (G2378). Brunner, Felsgräber Brunner, H., Die Anlagen der ägyptischen Felsgräber bis zum Mittleren Reich. Capart, ‘Fragment de bas-relief’ Capart, J., ‘Note sur un fragment de bas-relief au British Museum’ Champollion, Monuments Champollion, J.-F., Monuments de lʼÉgypte et de la Nubie. Cherpion, Mastabas et hypogées Cherpion, N., Mastabas et hypogées dʼAncien Empire: Le problème de la datation. Clarke and Engelbach, Masonry Clarke, S. and Engelbach, R., Ancient Egyptian Masonry: The Building Craft. Daoud, ‘Kairer’ Daoud, K. A., ‘The Tomb of Kairer: Preliminary Report on the Field Work Season, 1993’ Daoud, ‘Unusual Scenes’ Daoud, K. A., ‘Unusual Scenes in the Saqqara Tomb of Kairer’ Dasen, Dwarfs Dasen, V., Dwarfs in Ancient Egypt and Greece. Davies, Deir el-Gebrawi Davies, N. de G., The Rock Tombs of Deir el-Gebrawi. Davies, Ptahhetep I Davies, N. de G., The Mastaba of Ptahhetep and Akhethetep at Saqqareh I. Davies, Sheikh Saïd Davies, N. de G., The Rock Tombs of Sheikh Saïd. Drenkhahn, ‘Artisans and Artists’ Drenkhahn, R., ‘Artisans and Artists in Pharaonic Egypt’ Drenkhahn, Die Handwerker Drenkhahn, R., Die Handwerker und ihre Tätigkeiten im alten Ägypten. von Droste zu Hülschoff, ‘Kat.-Nr.1’ Droste zu Hülschoff, V. von, ‘Kat.-Nr.1: Scheintür der Hetepet’ Duell, Mereruka Duell, P., The Mastaba of Mereruka. Dunham and Simpson, Mersyankh III Dunham, D. and Simpson, W. K., The Mastaba of Queen Mersyankh III G7530-7430. Eaton-Krauss, Statuary Eaton-Krauss, M., The Representations of Statuary in Private Tombs of the Old Kingdom. El-Khouli, Meidum El-Khouli, A., Meidum. El-Khouli and Kanawati, El-Hammamiya El-Khouli, A. and Kanawati, N., The Old Kingdom Tombs of El-Hammamiya. El-Metwally, Grabdekoration El-Metwally, E., Entwicklung der Grabdekoration in den altägyptischen Privatgräbern: Ikonographische Analyse der Totenkultdarstellungen von der Vorgeschichte bis zum Ende der 4. Dynastie. Erman, Reden, Rufe und Lieder Erman, A., Reden, Rufe und Lieder auf Gräberbildern des Alten Reiches. Erman and Grapow, Wb. Erman, A. and Grapow. H. eds., Wörterbuch der ägyptischen Sprache. Faulkner, CD Faulkner, R. O., A Concise Dictionary of Middle Egyptian.

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‘Make it According to Plan’ Firth and Gunn, Teti Pyramid Cemeteries Firth, C. M. and Gunn, B. G., Excavations at Saqqara: Teti Pyramid Cemeteries. Fischer, ‘Davies’ Deir el-Gebrawi’ Fischer, H. G., ‘Notes, Mostly Textual, on Davies’ Deir el-Gebrawi’ Fischer, Dendera Fischer, H. G., Dendera in the Third Millennium B.C. down to the Theban Domination of Upper Egypt. Flentye, ‘Duaenra’ Flentye, L. A., ‘The Mastabas of Duaenra (G5110) and Khemetnu (G5210) in the Western Cemetery at Giza: Family Relationships and Tomb Decoration in the Late Fourth Dynasty’ Flentye, ‘Meresankh III’ Flentye, L. A., ‘The Mastaba of Meresankh III (G7530/7540) in the Eastern Cemetery at Giza: An Archaeological and Art Historical Analysis’ Forbes, Technology Forbes, R. J., Studies in Ancient Technology. Gardiner, Grammar Gardiner, A., Egyptian Grammar. Goedicke, Rechtsinschriften Goedicke, H., Die privaten Rechtsinschriften aus dem Alten Reich. Goedicke, Re-Used Blocks Goedicke, H., Re-Used Blocks from the Pyramid of Amenemhet I at Lisht. Gomaà, Ersten Zwischenzeit Gomaà, F., Ägypten während der Ersten Zwischenzeit. Grunert, ‘Statuen’ Grunert, S., ‘Statuen aus Schepnen-Holz?’ Hamann, Ägyptische Kunst Hamann, R., Ägyptische Kunst: Wesen und Geschichte. Hannig, Wörterbuch I Hannig, R., Ägyptisches Wörterbuch I: Altes Reich und Erste Zwischenzeit. Harpur, Decoration Harpur, Y., Decoration in Egyptian Tombs of the Old Kingdom: Studies in Orientation and Scene Content. Harpur, Maidum Harpur, Y., The Tombs of Nefermaat and Rahotep at Maidum: Discovery, Destruction and Reconstruction. Harpur, ‘Old Kingdom Blocks’ Harpur, Y. M., ‘Old Kingdom Blocks from the Tomb of Ḥoremḥeb’ Harpur, ‘Relief Fragments’ Harpur, Y., ‘The Identity and Positions of Relief Fragments in Museums and Private Collections: Reliefs from a Dismantled Tomb in the Saqqara Necropolis’ Harpur, ‘Relief Fragments Miscellaneous’ Harpur, Y., ‘The Identity and Positions of Relief Fragments in Museums and Private Collections: Miscellaneous Reliefs from Saqqara and Giza’ Harpur and Scremin, Kagemni Harpur, Y. and Scremin, P. J., The Chapel of Kagemni. Harpur and Scremin, Niankhkhnum Harpur, Y. and Scremin, P. J., The Chapel of Niankhkhnum and Khnumhotep. Harpur and Scremin, Ptahhotep Harpur, Y. and Scremin, P. J., The Chapel of Ptahhotep. Hasanien, ‘Leather Manufacture’ Hasanien, A. F., ‘Leather Manufacture in Ancient Egypt’ Hassan, Giza Hassan, S., Excavations at Giza. Hassan, Saqqara Hassan, S., Excavations at Saqqara. Hassan, Stöcke und Stäbe Hassan, A., Stöcke und Stäbe im Pharaonischen Ägypten bis zum Ende des Neuen Reiches. Hayes, ‘Middle Kingdom’ Hayes, W. C., ‘The Middle Kingdom in Egypt: Internal History from the Rise of the Heracleopolitans to the Death of Ammenemes III’ Helck, Beamtentiteln Helck, W., Untersuchungen zu den Beamtentiteln des ägyptischen Alten Reiches. Hodjash and Berlev, Reliefs and Stelae Hodjash, S. and Berlev, O., The Egyptian Reliefs and Stelae in the Pushkin Museum of Fine Arts, Moscow. James, Hieroglyphic Texts James, T. G. H. ed., Hieroglyphic Texts from Egyptian Stelae etc. Jánosi, Giza 4. Dynastie Jánosi, P., Giza in der 4. Dynastie: Die Baugeschichte und Belegung einer Nekropole des Alten Reiches I: Die Mastabas der Kernfriedhöfe und die Felsgräber. Jequier, Les frises dʼobjets Jequier, G., Les frises dʼobjets des sarcophages du Moyen Empire. Jones, ‘Boat-Building Scenes’ Jones, D., ‘The Phrase Sd dSr, Sd m dSr in Boat-Building Scenes’ Jones, Boats Jones, D., Boats. Jones, Nautical Titles Jones, D., A Glossary of Ancient Egyptian Nautical Titles and Terms. Jones, Titles Jones, D., An Index of Ancient Egyptian Titles, Epithets and Phrases of the Old Kingdom. Junker, ‘Erz und Erzarbeiter’ Junker, H., ‘Die Hieroglyphen für “Erz” und “Erzarbeiter” ’ Junker, Giza Junker, H., Giza. Junker, ʼIrj Junker, H., Der Maler ʼIrj. Kampp, Die Thebanische Nekropole Kampp, F., Die Thebanische Nekropole: Zum Wandel des Grabgedankens von der XVIII. bis zur XX. Dynastie. Kanawati, Administration Kanawati, N., The Egyptian Administration in the Old Kingdom: Evidence on Its Economic Decline. Kanawati, Deir el-Gebrawi Kanawati, N., Deir el-Gebrawi. Kanawati, El-Hawawish Kanawati, N., The Rock Tombs of El-Hawawish: The Cemetery of Akhmim. Kanawati, Governmental Reforms Kanawati, N., Governmental Reforms in Old Kingdom Egypt. Kanawati, Tomb and Beyond Kanawati, N., The Tomb and Beyond: Burial Customs of Egyptian Officials. Kanawati et al., Mereruka Kanawati, N., Mereruka and His Family. Part III: 1/2: The Tomb of Mereruka. Kanawati and Abder-Raziq, Unis Cemetery Kanawati, N. and Abder-Raziq, M., The Unis Cemetery at Saqqara II: The Tombs of Iynefert and Ihy (Reused by Idut). Kanawati and Evans, Meir II Kanawati, N. and Evans, L., The Cemetery of Meir II: The Tomb of Pepyankh the Black. Kanawati and Hassan, Ankhmahor Kanawati, N. and Hassan, A., The Teti Cemetery at Saqqara II: The Tomb of Ankhmahor.

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Publication Abbreviations Kanawati and McFarlane, Deshasha Kanawati, N. and McFarlane, A., Deshasha: The Tombs of Inti, Shedu and Others. Kaplony, Methethi Kaplony, P., Studien zum Grab des Methethi. Kees, Provinzialkunst Kees, H., Studien zur Ägytischen Provinzialkunst. Kees, ‘Provinzialverwaltung’ Kees, H., ‘Beiträge zur altägyptischen Provinzialverwaltung und der Geschichte des Feudalismus’ Klebs, Reliefs AR Klebs, L., Die Reliefs des Alten Reiches (2980-2475 v. Chr): Material zur ägyptischen Kulturgeschichte. Kloth, Inschriften Kloth, N., Die (auto-)biographischen Inschriften des ägyptischen Alten Reiches: Untersuchungen zu Phraseologie und Entwicklung. Krejči, Abusir XI Krejči, J., Abusir XI: The Architecture of the Mastaba of Ptahshepses. Kuhlmann, ‘Gewicht’ Kuhlmann, K. P., ‘ “Gewicht” und die Redewendung jw. f m jnr “im Gewicht sein” ’ Kuhlmann, ‘Mann des Min’ Kuhlmann, K. P., ‘ “Der ‘Mann des Min’ ist auf der Waage?” ’ Kuraszkiewicz, ‘Decoration Merefnebef’ Kuraszkiewicz, K. O., ‘The Decoration of the Tomb of the Vizier Merefnebef’ Landström, Ships Landström, B., Ships of the Pharaohs: 4000 Years of Egyptian Shipbuilding. Lashien, Chapel of Kahai Lashien, M., The Chapel of Kahai and His Family. Lauer, Saqqara Lauer, J.-P., Saqqara: The Royal Cemetery of Memphis: Excavations and Discoveries Since 1850. LD Lepsius, C. R., Denkmäler aus Aegypten und Aethiopien. LD Ergänz. Lepsius, C. R., Denkmäler aus Aegypten und Aethiopien: Ergänzungsband. LD Text Lepsius, C. R., Denkmäler aus Aegypten und Aethiopien: Text. Louvre, ‘Peintures Métchétchi’ Musée du Louvre, ‘Peintures du Tombeau de Métchétchi’ Mackay, Harding and Petrie, Hemamieh Mackay, E. J. H., Harding, L. and Petrie, W. M. F., Bahrein and Hemamieh. Macramallah, Idout Macramallah, R., Le Masṭaba dʼIdout. MDL, ‘Peinture de Metchetchi’ Musée du Louvre, ‘Peinture murale; Peinture de Metchetchi’ Meeks, Ann.Lex. Meeks, D., Année Lexicographique. Égypte Ancienne. MFA, Giza Archives Museum of Fine Arts, Boston, The Giza Archives. MNW, MW Digital National Museum in Warsaw, Digital Collections of the National Museum in Warsaw. Mogensen, Mastaba Egyptien Mogensen, M., Le Mastaba Egyptien de la Glyptothèque Ny Carlsberg. Montet, Scènes Montet, P., Les scènes de la vie privée dans les tombeaux égyptiens de lʼancien empire. de Morgan, Dahchour Morgan, J. de, Fouilles a Dahchour en 1894-1895. de Morgan et al., Catalogue des Monuments Morgan, J. de, Bouriant, U., Legrain, G., Jequier, G. and Barsanti, A., Catalogue des monuments et inscriptions de lʼEgypte antique. Moussa and Altenmüller, Nefer Moussa, A. M. and Altenmüller, H., The Tomb of Nefer and Ka-hay. Moussa and Altenmüller, Nianchchnum Moussa, A. M. and Altenmüller, H., Das Grab des Nianchchnum und Chnumhotep. Munro, ‘Unas-Friedhof’ Munro, P., ‘Der Unas-Friedhof Nord-West 4: Vorbericht über die Arbeiten der Gruppe Berlin/ Hannover in Saqqara’ Myśliwiec, Merefnebef Myśliwiec, K., Saqqara I: The Tomb of Merefnebef. Myśliwiec, ‘Scheme 2x4’ Myśliwiec, K., ‘The Scheme 2x4 in the Decoration of Old Kingdom Tombs’ Newberry, ‘Sixth Dynasty Tomb’ Newberry, P. E., ‘A Sixth Dynasty Tomb at Thebes’ Nicholson, ‘Gold Beating’ Nicholson, E. D., ‘The Ancient Craft of Gold Beating’ Nims, ‘Family of Mereruka’ Nims, C. F., ‘Some Notes on the Family of Mereruka’ OEE, Database Oxford Expedition to Egypt, Database of Scene Details from Ancient Egyptian Tombs of the Old Kingdom. Osirisnet, ‘Hetepet’ Osirisnet, ‘La redécouverte du mastaba de Dame Hetepet’ Osirisnet, ‘Merefnebef’ Osirisnet, ‘Merefnebef’ Paget and Pirie, Ptah-hetep Quibell, J. E., The Ramesseum and Paget, R. F. E. and Pirie, A. A., The Tomb of Ptah- hetep. Pawlicki, ‘Tepemankh’ Pawlicki, F., ‘Tepemankh in Warsaw: Some Reliefs from Abusir in the Collection of the National Museum in Warsaw’ Penn Museum, Digital Penn Penn Museum, The Digital Penn Museum. Petrie, Medum Petrie, W. M. F., Medum. Petrie UCL, ‘Relief UC14309’ The Petrie Museum of Egyptian Archaeology UCL, ‘Relief UC14309’ Petrie and Griffith, Deshasheh Petrie, W. M. F. and Griffith, F. Ll., Deshasheh: 1897. Pirenne, Institutions Pirenne, J., Histoire des institutions et du droit privé de lʼancienne Égypte. PM Porter, B. and Moss, R. L. B., Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs and Paintings. PM III [2] Porter, B. and Moss, R. L. B., Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs and Paintings, rev. J. Malek. PMFA, ‘Relief of Tep-em-ankh’ The Pushkin State Museum of Fine Arts, ‘Relief from the Tomb of Tep-em-ankh’ Posener-Kriéger, Néferirkarê Posener-Kriéger, P., Les archives du temple funéraire de Néferirkarê-Kakaï (Les papyrus dʼAbousir): Traduction et commentaire. Reisner, Giza Necropolis I Reisner, G. A., A History of the Giza Necropolis I. Reisner, ‘Meresankh’ Reisner, G. A., ‘The Tomb of Meresankh, A Great-Granddaughter of Queen Hetep- Heres I and Sneferuw’ Reisner, ‘Royal Estate Stewards’ Reisner, G. A., ‘A Family of Royal Estate Stewards of Dynasty V’ RMN, ‘Peintures Metchetchi’ Réunion des Musées Nationaux, ‘Peintures du Mastaba de Metchetchi’

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‘Make it According to Plan’ Robins, Art Robins, G., The Art of Ancient Egypt. Rochholz, ‘Statuen’ Rochholz, M., ‘Statuen und Statuendarstellungen im Grab des PtH-Spss’ Rosellini, Monumenti Rosellini I., I Monumenti dellʼEgitto e della Nubia. Russmann, ‘Second Style’ Russmann, E. R., ‘A Second Style in Egyptian Art of the Old Kingdom’ Saleh, Three Old-Kingdom Tombs Saleh, M., Three Old-Kingdom Tombs at Thebes. Saleh Aly, ‘Wnjs-anx’ Saleh Aly, M., ‘The Tomb of Wnjs-anx at Qurna (PM-No. 413)’ Schäfer and Andrae, Die Kunst Schäfer, H. and Andrae, W., Die Kunst des alten Orients. Scheel, Egyptian Metalworking Scheel, B., Egyptian Metalworking and Tools. Scheel, ‘Metallhandwerk I’ Scheel, B., ‘Studien zum Metallhandwerk im Alten Ägypten I: Handlungen und Beischriften in den Bildprogrammen der Gräber des Alten Reiches’ Schneider, Ḥoremḥeb Schneider, H. D., The Memphite Tomb of Ḥoremḥeb, Commander-In-Chief of Tutaankhamūn II: A Catalogue of the Finds. Seyfried, ‘Katalog’ Seyfried, K., ‘Katalog Nummer 1’ Shafik, ‘Mehu’ Shafik, S., ‘Mehu: His Identity and the Architectural and Artistic Features of His Tomb’ Simpson, Kawab Simpson, W. K., The Mastabas of Kawab, Khafkhufu I and II. G7110-20, 7130-40 and 7150 and Subsidiary Mastabas of Street G7100. Smith, HESPOK Smith, W. S., A History of Egyptian Sculpture and Painting in the Old Kingdom. Smith, ‘Old Kingdom Reliefs’ Smith, W. S., ‘The Origin of Some Unidentified Old Kingdom Reliefs’ Steindorff, Grab des Ti Steindorff, G., Das Grab des Ti. Stewart, Egyptian Stelae Stewart, H. M., Egyptian Stelae, Reliefs and Paintings from the Petrie Collection. Part 2: Archaic Period to Second Intermediate Period. Strudwick, Administration Strudwick, N., The Administration of Egypt in the Old Kingdom: The Highest Offices and Their Holders. Strudwick, ‘Three Monuments’ Strudwick, N., ‘Three Monuments of Old Kingdom Treasury Officials’ Vachala, Abusir VIII Vachala, B., Abusir VIII: Die Relieffragmente aus der Mastaba de Ptahschepses in Abusir. Vandier, Manuel Vandier, J., Manuel dʼArchéologie Égyptienne V: Bas-Reliefs et Peintures. Scènes de la vie Quotidienne. Varille, Ni-Ankh-Pepi Varille, A., La tombe de Ni-Ankh-Pepi à Zâouyet el-Mayetîn. Verner, Abusir I Verner, M., Abusir I: The Mastaba of Ptahshepses. Reliefs I/1. Verner, ‘Fetekta’ Verner, M., ‘The Tomb of Fetekta and a Late Dyn. 5- Early Dyn. 6 Cemetery in South Abusir’ Verner, Forgotten Pharaohs Verner, M., Forgotten Pharaohs, Lost Pyramids: Abusir. Verner, Ptahshepses Verner, M. ed., Preliminary Report on Czechoslovak Excavations in the Mastaba of Ptahshepses. Vischak, Community and Identity Vischak, D., Community and Identity in Ancient Egypt: The Old Kingdom Cemetery at Qubbet el-Hawa. Wainwright, ‘Metal-Workers’ Wainwright, G. A., ‘Rekhmire’s Metal-Workers’ Weeks, Cemetery G6000 Weeks, K. R., Mastabas of Cemetery G6000: Including G6010 (Neferbauptah), G6020 (Iymery) and G6040 (Shepseskafankh). Wenig, Ägyptische Museum Wenig, S., Führer durch das Ägyptische Museum, Staatliche Museen zu Berlin. Wild, Tombeau de Ti III[2] Wild, H., Le Tombeau de Ti III: La Chapelle. Part 2. Wilkinson, Egyptian Jewellery Wilkinson, A., Ancient Egyptian Jewellery. Wilson, ‘Artist Old Kingdom’ Wilson, J. A., ‘The Artist of the Egyptian Old Kingdom’ Winlock, Rise and Fall Winlock, H. E., The Rise and Fall of the Middle Kingdom in Thebes. Woods and Swinton, ‘Tomb of Hetepet’ Woods, A. and Swinton, J., ‘Chronological Considerations: Fragments from the Tomb of Hetepet at Giza’ Wreszinski, Atlas Wreszinski, W., Atlas zur altägyptischen Kulturgeschichte. Ziegler, Catalogue des stèles Ziegler, C., Catalogue des stèles, peintures et reliefs égyptiens de lʼAncien Empire et de la Première Période Intermédiaire vers. 2686-2040 avant J.-C.

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Other Abbreviations Abb. Abbildung/illustration ACE The Australian Centre for Egyptology AOS The American Oriental Society ASE Archaeological Survey of Egypt BAR British Archaeological Reports Bl. Blatt/folio BM British Museum BSAE British School of Archaeology in Egypt [Cat.] Catalogue reference Cat. No. Catalogue Number CG Catalogue général des antiquités égyptiennes du Musée du Caire CIE Czech Institute of Egyptology Charles University Prague CNRS Centre National de la Recherche Scientifique (cont.) continued diss. dissertation Dyn. Dynasty E Early EEF Egypt Exploration Fund EES Egypt Exploration Society Fig./fig. Figure/figure FIP First Intermediate Period HU Harvard University IFAO Institut Français dʼArchéologie Orientale Inv. No. Inventory Number JE Journal d’Entrée Egyptian Museum L Late M Middle MDL Musée du Louvre MFA Museum of Fine Arts Boston MMA Metropolitan Museum of Art MNW National Museum in Warsaw MoA Ministry of Antiquities NINO Nederlands Instituut voor het Nabije Oosten Nr. Number OEE Oxford Expedition to Egypt OI The Oriental Institute of the University of Chicago passim throughout Petrie UCL The Petrie Museum of Egyptian Archaeology University College London Photo ID. Photograph Identification Number/Rendition Number pl. planche/plate PMFA The Pushkin State Museum of Fine Arts Ref. with reference to Reg. Register RMN Réunion des Musées Nationaux r/u reused SCA Supreme Council of Antiquities T Transitional Taf. Tafel/plate Tb. Table Teil Part UC/UCL University College London ULB University and State Library of Saxony-Anhalt in Halle (Saale) UP Unpublished UPM University of Pennsylvania Museum / Example or number of examples ? Uncertain

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Image and Text Credits Grateful acknowledgement is expressed by the author for permissions received from the following individuals, institutions and organisations to reproduce and/or adapt maps, plans, text and images as line drawings from their publications and collections on the pages cited. Photographs M. Hampson. Permission courtesy of Z. Hawass, Supreme Council of Antiquities: pp. 34, 40, 46, 67, 85, 87, 112, 115, 180, 181, 185, 186, 187, 192, 193, 197, 202, 203, 205, 214 © Charles University, Faculty of Arts, 2022: pp. 109, 158, 159, 160, 162, 166 © IFAO: pp. 59, 210 © The Metropolitan Museum of Art: pp. 223, 224 © The Trustees of the British Museum: p. 157 Courtesy of American University in Cairo Press: Quote from K. R. Weeks, ‘Art, Word and the Egyptian World View,’ in Egyptology and the Social Sciences: Five Studies, ed. K. R. Weeks (Cairo: American University in Cairo Press, 1979): p. 1 Courtesy of BAR Publishing: pp. 12, 13 Courtesy of Casemate Publishers: pp. xv, 274, 278. Quote from N. Kanawati, The Tomb and Beyond: Burial Customs of Egyptian Officials (Warminster: Aris & Phillips, 2001): p. 3 Courtesy of Göttinger Miszellen: p. 199 Courtesy of Harrassowitz Verlag: Text from R. Drenkhahn, Die Handwerker und ihre Tätigkeiten im alten Ägypten (Wiesbaden: Harrassowitz, 1976): p. 9 Courtesy of Helmut Buske Verlag: p. 213 Courtesy of Musée du Louvre: p. 183 Courtesy of Museum of Fine Arts, Boston: p. 124 Photograph B9160_NS. Giza. Two displaced blocks of relief found in Lepsius 71 court. Mohammedani Ibrahim. 05/29/1939. Giza Archives; p. 135 Photograph B9107_NS. Fragments of limestone relief-Hemiunu. Giza. Giza Archives; p. 141 Photograph A1035_NS. Giza. Menkaure Quarry Cemetery. Mohammed Shadduf. 08/1913. Giza. Giza Archives; p. 155 Photograph B8227_NS. Giza. Fragments of relief. Mohammedani Ibrahim. 04/30/1932. Giza Archives Courtesy of N. Kanawati, The Australian Centre for Egyptology: pp. 51, 59, 168, 176, 178, 226, 230, 233, 234, 251, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273 Courtesy of T. Benderitter www.osirisnet.net: pp. 136, 137, 172, 173 Courtesy of Thames & Hudson: pp. 199, 200 Courtesy of The Egypt Exploration Society: pp. ii, 19, 95, 98, 215, 216, 217, 218, 219, 229, 232, 243, 244, 245, 246, 247, 249, 250, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261 Courtesy of The Griffith Institute, Oxford: Maps and Plans from B. Porter and R. L. B. Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs and Paintings, 7 vols. (Oxford: Clarendon Press/Oxford University Press/ Griffith Institute, 1934-1991): pp. 120, 123, 125, 128, 131, 134, 136, 138, 140, 144, 146, 149, 152, 154, 158, 163, 165, 167, 170, 172, 174, 179, 182, 184, 188, 190, 194, 196, 198, 201, 204, 206, 208, 213, 215, 217, 220, 222, 225, 227, 235, 239, 258, 274, 276, 278, 280 Courtesy of the National Museum in Warsaw: p. 164 Courtesy of The Penn Museum: p. 223 Courtesy of UCL. The Petrie Museum of Archaeology: pp. 171, 207, 225, 226, 227, 228 Reproduced by permission of Taylor & Francis Group: Text from Y. Harpur, Decoration in Egyptian Tombs of the Old Kingdom. Studies in Orientation and Scene Content. 1st Edition (London: Kegan Paul International, 1987) © 1987 Routledge: pp. xv, 15 Reproduced from the originals with permission of Museum of Fine Arts, Boston: pp. 121, 129, 130, 139, 147 Reproduced with permission of Digitization of University and State Library of Saxony-Anhalt in Halle (Saale). CC BY-SA 3.0 DE License: pp. 19, 26, 132, 133, 144, 145, 147, 148, 150, 151, 195, 237, 240, 241, 242 Reproduced with permission of Ministry of Antiquities: pp. 88, 126, 132, 153, 189 Reproduced with permission of The Licensor through PLSclear © Cambridge University Press: p. 280 Copyright holder unable to be identified: pp. 275, 276, 277, 279 Copyright expired (UK Copyright Designs and Patents Act 1988. Amended 1995): pp. 209, 220, 221, 235, 237, 238, 239, 281

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Addendum Shortly before the publication of this study, detailed photographs of the well preserved tomb of  WAH.t, a royal priest, were released by the Egyptian Ministry of Tourism and Antiquities as part of their ‘Experience Egypt from Home. Stay Home. Stay Safe’: Virtual and Guided Video Tours initiative (Episode 10: The Mastaba of Wahty) my.matterport.com Discovered at Saqqara in 2018, among its extensive relief decoration are six registers of workshop scenes on the North Wall, a summary of which is presented below. A number of details in these scenes have been found to impact on the results of the present investigation, and a revision of some conclusions has since been necessary. It is hoped that a more complete and comprehensive study of the tomb scenes in situ will be possible at a later date. Summary of Workshop Scenes in the Tomb of WAH.t Industry

Activity

Carpentry

-

sawing planks trimming a Dd-column polishing or sanding a shrine polishing or sanding a bed frame trimming a divan or back rest trimming and smoothing staffs heating a staff shaping a staff

Leatherwork

- stretching a piece of leather over a trestle stand - cutting out sandal soles - bundling sandal soles together? - cutting out leather straps - completing a sandal

Metalwork

- melting crude metal

Sculpture

-

Stone Vessel Making

- drilling a bowl - polishing a cylinder and jar

Engraving

- engraving a jar

rough shaping a statue carving statues polishing or sanding a statue painting statues painting a Hn-box

Commentary 1. Dating Concordance The tomb of WAH.t is securely assigned to Dynasty V, with estimates ranging from V.3 (Neferirkarea) to V.6 (Neuserrea), and much of the iconography in the scenes supports this dating. Examples which may be cited include the following: - a large rectangular counterweight on a sawing post (V.M) - a sawing post bound horizontally (V.M-L) - two polishing stones held by one workman (V.L) - an unsecured stand and support post on a vice (V.M-L) - a bed frame on bovine-shaped legs with supports (V.E-L) - a sedan chair on base and battens in profile and frontal view (V.M) - a headrest oriented horizontally (V.E-L) - a Dd-column and Hn-box under construction (V.M-L) - a workman with a sack over his shoulder (V.M) - a pointed maul (V.M) - two reed brushes behind the ear of a painter (V.L) - a statue wig with flared base (IV.L-V.L) - statues in dyadic presentation (V.M-L) - a tall trestle stand with wide bridge (V.L)

xxvii

‘Make it According to Plan’ In addition to the above features, the location of the scenes on the wall containing the serdab is also characteristic of Saqqara tombs dated to the same period, with the only other known examples being those of Ra-Spss [Cat.28] and §jj [Cat.34], as is their proximity to the false door, which is most commonly attested in Memphite tombs dated V.6-9. Finally, a number of individual representations are highly reminscent of the workshop scenes contained in two other tombs of Dynasty V provenance, those of PtH-Spss [Cat.16] at Abusir and Nj-anx-£nmw and £nmw-Htp [Cat.25] at Saqqara. In the same manner as the tomb of PtH-Spss, the WAH.t scenes of Carpentry place particular emphasis on the making of staffs, with an unusually high number of workmen, between seven and eight respectively, engaged in the task. The holding of the adze under the opposing arm or leg when trimming sticks in preparation for shaping and the steadying of the staff in the fulcrum of the vice are details also unattested outside these tombs. In the case of the Nj-anx-£nmw and £nmw-Htp scenes, the specific parallels include the trimming of a Dd-column and a divan or backrest, the polishing or sanding of a shrine, a sawing post with a large rectangular counterweight, the painting of a Hnbox, the use of a pointed maul to rough shape a statue and the identical display of a headrest and sedan chairs, the latter in both profile and frontal point of view. The detailed treatment of the making of statues, with up to five phases of manufacture depicted, is also reflective of the Nj-anx-£nmw and £nmw-Htp tomb. The probability is high, therefore, that either these scenes may have been influenced, to some extent, by the earlier WAH.t composition or that the respective decorative programs were completed in the same wab.t tradition.

2. Unique Scene Features While the workshop tableau of WAH.t is largely typical of similarly dated scenes, six innovative details render it potentially unique. These may be summarised as follows:

-

The carving of a seated pair of statues in a scene of Sculpture The use of a chisel blade or mallet to wedge the staff in the fulcrum of the vice in a scene of Staff Making The trimming of a staff with the adze passing underneath the leg of the workman in a scene of Staff Making The storage of preselected sticks or staffs in a container in a scene of Staff Making The use of both hemispherical and ovoid stones to polish or sand a bed frame in a scene of Carpentry The bundling together (?) of completed sandal soles in a scene of Leatherwork

3. Revision of Findings

Micro-Features

Activities

Initial Finding

Revision Based on Tomb of WAH.t

Heating a stick in preparation for making a staff unique to the tomb of ¤rf-kA.j [Cat.46]

A workman heating a stick over a small fire in a scene of Carpentry

Cutting out leather straps unique to the tomb of anx-m-a-@r:%sj [Cat.19]

A workman cutting out leather straps in a scene of Leatherwork

Rough shaping a statue with a maul unique to the tomb of Nj-anx-£nmw and £nmw-Htp [Cat.25]

A workman rough shaping a seated statue with a maul in a scene of Sculpture

Polishing or sanding a bed frame with two stones unique to the tomb of §jj [Cat.34]

A workman polishing or sanding a bed frame with stones of two different varieties in a scene of Carpentry

A sedan chair on a base and battens in profile and frontal view unique to the tomb of Nj-anx-£nmw and £nmw-Htp [Cat.25]

A sedan chair on a base and battens depicted in profile and frontal view in a scene of Carpentry

A workman with a sack over his shoulder unique to the tomb of Jj-mrjj [Cat.1]

A workman with a sack over his shoulder handling a staff in a scene of Carpentry

Standing statues in dyadic presentation unique to the tomb of PtH-Spss [Cat.16]

Seated statues in dyadic presentation in a scene of Sculpture

Two reed brushes behind the ear of a painter unique to the tomb Three painters with two reed brushes behind their ears in a of Jntj [Cat.42] scene of Sculpture

xxviii

thematic analyses of the type envisaged by the present work.17

Part One Research and Analysis

1.3 Selection of Theme The theme chosen for this monograph, that of scenes of workshop activity, cited by Harpur in 1987 as an aspect of the Old Kingdom artistic repertory “........ yet to be studied within a ........ chronological framework”,18 is among those which have frequently suffered from a lack of attention in this regard. Although a proliferation of technical studies pertinent to many of the major industries illustrated may be referenced from the literature, in a significant number of cases only brief mention is made of the extant artistic evidence, and few have been published within the last 10 years.19 Both general surveys, such as those by Petrie,20 Lucas and Harris21 and Nicholson and Shaw,22 together with various industry-specific monographs may be cited. In the latter category, the most current include studies of scenes of Metalwork by Jungst,23 Scheel24 and Davey25 and commentaries on particular aspects of production by Davey,26 Altenmüller,27 Bamberger,28 Garenne-Marot29 and Kuhlmann;30 studies of scenes of Carpentry and Boat Building by Killen,31 Haldane,32 Vinson,33 Jones,34 Rogers35 and Müller-Römer;36 and, to a lesser extent, scenes of Sculpture, Jewellery Making, Leatherwork and Stone Vessel Making by Grunert,37 Brovarski,38 Hasanien,39 Veldmeijer,40 Hester and Heizer41 and Stocks42 respectively.

1. Introduction 1.1 Preamble “Perhaps it is because they (i.e. Old Kingdom reliefs and paintings) have already given us so much information that there is a tendency to look upon these reliefs as an exhausted source that has few other types of data to contribute. Perhaps too because we have been so heavily dependent upon them and so often taken them for granted, there have been few rigorous assessments of the kind of data these reliefs provide, the character and biases those data may possess”. Kent R. Weeks1 1.2 Literature Review The tomb paintings and reliefs of ancient Egypt, while occurring in a specific funerary context and reflecting a specific religious intent, constitute a major source of evidence for the historical and cultural reconstruction of the civilisation to which they pertain, hence it is surprising that the compilation and detailed analysis of the iconographic and textual data present in such material, within a thematic, chronological and geographical framework, remains largely neglected.

While all are invaluable from a scientific point of view, it is to be noted that, in most instances, these works are applicable only in part to the Old Kingdom, draw principally on archaeological, experimental and ethnographical evidence and have as their primary concern the composition, use and development of materials, changes in manufacturing methods and the translation and interpretation of industryrelated texts.

This is particularly true of Old Kingdom tomb decoration, despite the value of such an approach being recognised by scholars for over 80 years. Most notable among these are Weeks, as articulated above in the opening quote published in 1979;2 Bolshakov3 and van Walsem,4 together with contemporary academics such as Fitzenreiter,5 Roeten6 and Staring;7 Frankfort, who as long ago as 1932 called for a more systematic, formal deconstruction of all ancient Egyptian art as a preliminary stage in its interpretation and understanding;8 Kanawati, who has frequently argued for greater emphasis on the observation of scene detail in tomb art, predicated on the argument that “no two scenes are identical”;9 Harpur, who provided an early template for scene analysis with her seminal study of marsh and agricultural activities in Decoration in Egyptian Tombs of the Old Kingdom: Studies in Orientation and Scene Content;10 and Müller, who as recently as 2013 stated that “the study of iconography based on minute analysis of data is probably the most important art historical method today”.11

1.4 Review of Current Scholarship To date, only two published studies have attempted an analysis of workshop representations which may be regarded as germane to the current investigation, but these, too, are subject to a number of limitations. For over four decades, the standard study of craftsmen in workshop settings has been Rosemarie Drenkhahn’s Die Handwerker und ihre Tätigkeiten im alten Ägypten,43 however the objective of her research was not to determine how craftsmen figures were depicted, nor to provide a stylistic or chronological deconstruction of workshop scenes, but to inform on the professional status and social position of the various occupational groups illustrated, as well as their work practices, designations and organisation. Much of her corpus, moreover, has since been superseded by the availability of over 60 supplementary scenes, derived from both the discovery and publication of up to 20 new tombs relevant to the study and the inclusion of scenes of Boat Building, which were not considered thematically compatible with her original analysis. Similarly, The Representations of Statuary in Private Tombs of the Old

In terms of the current literature, fewer than 60 published studies relating specifically to tomb decoration of the Old Kingdom could be accounted for at the time of writing,12 excluding Porter and Moss13 and the standard but now arguably outdated catalogues by Montet,14 Vandier15 and Klebs.16 A majority of these references, moreover, were found to be surveys or discussions of single motifs or particular scene types associated with broader repertory subjects, and none could be classified as comprehensive

1

‘Make it According to Plan’ Kingdom by Marianne Eaton-Krauss,44 while detailing the content of many additional workshop scenes, focuses on a discrete body of evidence, that of scenes of statue making, confining the analysis to nomenclature, methods of processing and statue types.

Giza Archives49 respectively, all of which, however, postdate the commencement of the original research for this monograph and omit up to 80 new or significantly revised identifications proposed throughout the study applying the methodology devised.

In short, given that both studies are now in excess of 30 years old and, for the reasons stated, are less comprehensive in scope, the need for a more substantial treatment of the topic from a predominantly iconographic perspective, utilising the most current corpus of material and applying a micro-analytical approach, is considered long overdue. The development of a classification system which appropriately complements the theme is also desirable.

Above all, because of its focus on the most minor of details, micro-analysis of scene content fosters a deep insight into and admiration for the skill of the ancient Egyptian artist, who, despite working in a relatively confined area and limited to a two-dimensional surface, was able to achieve such variety.50 Testament to this is the illustration in the current work of over 200 scenes featuring more than 100 diverse tasks and procedures, over 1000 figures depicted in approximately 400 different postures and up to 1200 microfeatures, all occurring in a comparatively small corpus of less than 100 provenanced and unprovenanced tombs.

1.5 The Case for a Micro-Analytical Approach Although criticised by Davis as “obscuring the coherence of a system of representation”45 and, more recently, by Müller, who discusses at length the potential for fragmentation of the evidence and other problems associated with the attempted deconstruction and classification of scenes,46 the present study will demonstrate that the micro-analysis of scene iconography is still of undeniable benefit to our continued understanding and appreciation of tomb decoration. As it applies to the chosen theme, such a process helps to quantify scenes of workshop activity relative to other scene types in the Old Kingdom repertory and enables a hierarchy of procedures and actions from most to least commonly illustrated to be established. While subject to artistic convention and often stylised in nature, scene details, when scrutinised, nonetheless can and do provide a valuable reference point for our knowledge of ancient Egyptian methods of manufacture, organisation of labour and design and use of tools, subtle variations to which over time might otherwise remain unobserved in the absence of this approach, particularly when unable to be corroborated in the archaeological record.

1.6 Scope of the Investigation In keeping with the arguments presented favouring a microanalytical approach to the study of scene iconography, the current research has, in short, the following aims: 1. To systematically identify and record all component attributes of scenes of workshop activity in private tombs of the Old Kingdom 2. To establish a classification system which enables these attributes to be compared contextually and across chronological periods and geographical sites 3. To analyse these attributes within the framework set in order to determine the key conventions and patterns of their representation, with procedures relative to industry, figure postures relative to action and internal scene details forming the principal focus areas. 1.7 Indicative Results of the Investigation The analysis will show that the workshop theme in the Old Kingdom was comprised of seven industries, excluding Textile Production, Pottery Manufacture and Stone Engraving for which the evidence is either too limited or to which the definition ‘workshop activity’ does not apply. On the basis of statistical comparison, it will be demonstrated that scenes were dominated by a small core of repetitive actions and images which acted as iconographic abbreviations for each of these industry types, supplemented by a number of secondary and often sequentially related depictions, and that defined criteria pertaining to both placement and content were applied. Expansion of these core motifs with discretionary scenes and procedures continued to be a common practice, however, with significant examples of experimentation attempted. This experimentation, it will be submitted, was not confined to the capital cemeteries of Giza and Saqqara, as might be expected, but was often initiated in the Provinces. Further, it will be shown that it included the regular use of artistic devices designed to convey a sense of ‘process’ or a continuum, in contrast to the view of scholars such as Eyre and Müller, who describe the scenes as lacking

Thorough collation and documentation of all scene attributes makes it possible to determine the core or conventional elements of a particular scene type and discern where an atypical or experimental interpretation has occurred. Close comparison of such details enables patterns to be detected and repetitive elements to be tracked which may reflect a geographical, chronological or individual style. Expansion of the current pool of potential dating criteria for unprovenanced scenes and fragments is an important result. Moreover, the development of a workable database of iconographic material can act as an aid to the identification and possible reconstruction of poorly preserved or partially documented scenes, thus improving the accuracy and completeness of the evidence from which much of our information pertaining to the Old Kingdom is derived. In only the last two decades has this method of compilation of material been recognised as a critical research tool by the Universities of Oxford and Leiden and the Museum of Fine Arts, Boston, in the introduction of such leading online searchable platforms as The Oxford Expedition to Egypt Scene Details Database,47 MastaBase48 and The

2

Introduction review has significantly enhanced the results of the study. Foremost among these are the scenes from the East Wall of Room I in the chapel of ¢wn-Ra [Cat.9] at Giza, dated Dynasty IV, published only in part up until 198455 and unseen in situ for over 90 years. Although now accessible via the online collection of George Reisner’s original 1913 Harvard-Boston Expedition photographs held by the Museum of Fine Arts, Boston, the lower registers of the wall, containing distinct representations of Carpentry, Staff Making and Leatherwork and traces of Jewellery Making and Metalwork, have remained largely unobserved or misinterpreted to date.56 These newly accounted for scenes, described and analysed at length throughout the study, have been pivotal in helping to establish a more accurate chronology of scene types and in providing revised dating criteria for many aspects of the operations shown.

“narrative continuity”51 and “causal sequence”,52 and that it entered the repertory somewhat earlier than is generally assumed.53 1.8 Research Methodology The study is divided into two parts, presenting an original methodology by which other major repertory themes depicted in Old Kingdom tomb decoration could potentially be explored. It introduces the format proposed by the author for a future multi-volume iconographic reference work entitled Henu Box: A Visual Dictionary of Micro-Features in Ancient Egyptian Tombs. Part One comprises the research component of the work, beginning with a chapter in which the context, distribution and tomb position of the scenes under discussion are examined. This is followed by the detailed analysis of the content of the scenes, organised according to the seven major industries identified in the corpus in alphabetical order. For each industry, all procedures observed in the scenes are listed and sub-categorised into a suggested sequence of operations, this being necessary in order to facilitate the comparative aspect of the work, even though the arrangement of procedures in linear or chronological progression, such as would mirror the order of manufacture in reality, may not always be the form presented. These procedures are further quantified by recording the number of examples documented in the corpus and their attribution. A summary of posture types for each procedure is also featured, with sub-divisions based on fixed lower body positions and upper body variables shown in illustration. All postures are arranged in chronological order within their sub-division and according to earliest recording, site and date, this format having the advantage of enabling the origin of the posture in relation to a particular industry to be immediately identifiable and its frequency, regional occurrence and possible copying to be ascertained. A further chapter is devoted to the analysis of all inscriptions pertaining to the scenes and includes a summary of their transcription, application and distribution.

Finally, complementing the main sections of the monograph are a number of detailed appendices. Chief among these are the illustrated tables summarising the complete range of micro-features contained in the corpus, categorised according to industry and type and plotted across broad chronological and stylistic divisions. A compilation table of all scene texts is also included. Other appendices pertain to some of the more unique or atypical elements of scene content, many of which have been previously unidentified or are without current classification. 1.9 Limitations of the Study As frequently acknowledged by scholars such as Harpur57 and O’Connor,58 all studies of ancient Egyptian tomb decoration, irrespective of type, face a number of inescapable problems which may impact and distort the conclusions reached. These include the irregular preservation of the evidence, the under-representation of evidence from particular periods and the fact that art, to quote Robins, “........ may be created to work at more than one level”.59 As applied to the present study, it is recognised that a disproportionate concentration of extant material from late Dynasty V to early Dynasty VI has been collated, with only 38% of scenes recorded outside this range. It is also the case that crucial sections of these scenes which would assist in accurate identification are regularly absent. Within these limitations, however, the analysis has attempted to be as comprehensive as possible, relying on intensive observation of the currently accessible evidence in order to achieve the stated aims. In the words of the scholar who articulates the value of this process best:

Part Two comprises an extensive catalogue in which all research data applicable to the study is centralised for the purpose of cross-referencing. For ease of consultation, a format has been devised whereby the listed scenes are deconstructed in the context of their original setting using a systematic micro-analytical approach, this method contrasting with the often partial, cursory or absent identification of scene components in older tomb reports and the usual separation of scene from tomb and text from image characteristic of other art studies of this kind. Comparison of selected dating estimates and the assignment of a generally agreed date or range of dates, converted to the system devised by Harpur54 in the Dating Conversions and Abbreviations table and applied throughout, is also found here.

“While the tombs and their decoration provide us with a wealth of concrete information for a detailed study of various aspects of Egyptian life and death, it is much more difficult to penetrate the minds of ancient people and to understand their logic and symbolism........ but with scholarly analysis and interpretation our understanding of the true beliefs of the ancient Egyptian is constantly enhanced and we draw closer to a more complete picture of his civilisation”. Naguib Kanawati60

Another key advancement of the catalogue is the inclusion of a number of previously undocumented scenes whose

3

number of scenes of Stone Vessel Making and Leatherwork are recorded.

2. The Scenes in Context

Several explanations to account for these results can be suggested. It may be the case, for which there is some evidence in the study, that the hierarchy reflects the importance or desirability of particular items over others in the provision of the tomb or the perceived status of the product or medium involved. This proposition is supported by the observation that the predominant industries are those requiring a high degree of specialisation and the use of quality raw materials, many of which were often sourced externally and centrally controlled.64 As argued by Harpur, among others,65 it is also possible, indeed likely given their close proximity, that the choice of content in private tombs was influenced, to a large extent, by contemporary scenes recorded in the royal pyramid complexes and temples. Equally plausible is that practical considerations, such as the greater vulnerability of some funerary goods to theft or damage when physically stored within the tomb and the need to symbolically safeguard their continuity, may account for why their manufacture is more commonly represented.

2.1 Overview of Corpus 2.1.1 Definitions The study is based on a corpus of over 200 scenes pertaining to the theme of workshop activity in wall decoration, recorded in 48 tombs and on 21 provenanced and 12 unprovenanced fragments dated to the Old Kingdom.61 Both high officials and members of the royal family are represented in the corpus. For classification purposes, a scene is defined as any depiction of one or more craftsmen engaged in the manufacture of products associated with the industries of Boat Building, Carpentry, Jewellery Making, Leatherwork, Metalwork, Sculpture and Stone Vessel Making, with more than one scene of the same industry, in some cases, appearing simultaneously on different walls within a tomb.62 Scenes of Textile Production, Stone Engraving and Pottery Manufacture are not included in the corpus, either because their infrequent occurrence or poor preservation leads to limited scope for comparison or their definition as a specialised ‘workshop activity’ is in dispute.63 Furthermore, it has been shown, through analysis of corpus scene distribution, that in no case does the manufacture of pottery occur on the same wall as other workshop activities, unless depicted in association with scenes of making bread or brewing beer.

It is recognised, however, that because the corpus is relatively small, it may not necessarily be a reliable indicator of patterns of selection, although selection criteria of some form appear to have been applied. The hierarchy established may simply represent the repertory preferences of the particular individuals and artists encompassed by the study, underscored by the omission of key industries from the decorative programmes of a number of major tombs, such as those of anx-m-a-@r:%sj [Cat.19] and MHw [Cat.23], in which case additional material would need to be recovered before firm determinations in relation to this issue could be made.66 Nevertheless, on present data, it is possible to conclude that workshop scenes, while significant, were not considered an obligatory theme in Old Kingdom tomb decoration.

2.1.2 Distribution of Corpus Scenes The geographical and temporal distribution of the corpus is summarised in Table 2.1, while the topographical and chronological distribution of individual scene types appears in Table 2.2. Analysis of the data presented establishes that a substantially higher proportion of scenes derive from Memphite cemeteries, in particular the necropolis of Saqqara, and that there is a concentration of scenes dated Dynasty V-Early Dynasty VI.

2.2 Setting 2.2.1 Context of Workshop Products All scenes in the corpus are linked thematically, in that they share a common setting: an ancient Egyptian workshop. They depict the manufacture of over forty types of products in a variety of materials, both explicitly and through symbolic display. Whether these objects are to be understood as having strictly a funerary context, serving as provisions

2.1.3 Hierarchy of Industries Allowing for the variables of irregular preservation or incomplete decoration due to premature death, a ʻhierarchyʼ of industries is also evident, as indicated in Table 2.3 and Table 2.4, whereby scenes of Metalwork and Carpentry occur in marginally higher numbers than those of Boat Building, Sculpture and Jewellery Making, and a significantly lower Distribution Geographical

Temporal

Memphite Cemeteries

Provincial Cemeteries

Total

55

68%

26

32%

81

Dyn. IV

Dyn. V

Dyn. VI

Late Dyn. VI-VIII

Total

2

81

9

2

40

11

16

Table 2.1 Geographical and Temporal Distribution of Corpus Tombs and Fragments

4

1

The Scenes in Context

Giza

Abusir

3

G8882

Wp-m-nfrt:Wp



V.5-8

4

G7530 +7540

Mrs-anx III



IV.5-6E

5

G8172 (LG86)

Nb.j-m-Axtj



6

G4000

@m-jwnw

7

-

@tpt



V.6-8?

8

G7150

#wfw-xa.f II



V.6

9

MQ1

#wn-Ra



IV.5

10

G5520 (LG28)

%anx-n-PtH



V.9-VI.1

11

G2370 (LG27)

%nDm-jb:Jntj



V.8M-L

12

G2378 (LG26)

%nDm-jb:MHj



V.9M-L

13

G8154 (LG89)

%xm-kA-Ra



14

G5110 (LG44)

15



IV.5-6



IV.6-V.1



IV.2M-L



V.1-2

_wA-n-Ra



IV.5-6

BM994

Unknown



V.6-9?

16

-

PtH-Spss



V.6L-8E

17

-

&p-m-anx



V.6-9

18

LS1

Ftk-tj



V.6-VI.1

19

-

anx-m-a-@r:%sj



VI.1L

20

D64

PtH-Htp II:*fj



V.9M-L

21

-

Mr.f-nb.f



VI.1L

22

-

Mrrw-kA.j:Mrj



VI.1M-L



Saqqara

Table 2.2 Topographical and Chronological Distribution of Scene Types in Catalogue Order

5

Stone Vessel Making

Jbjj

Sculpture

G7710 (LG71)

Metalwork

2

V.6



Leatherwork

Jj-mrjj

Jewellery Making

G6020 (LG16)

Dynasties IV-VI

Carpentry

1

Fragment(s)

Tomb Owner

Industries Depicted

Boat Building

Date

Cat No.

Wall Relief (in situ)

Site

Status

Tomb/Inventory No.

Catalogue Details

‘Make it According to Plan’

MTTj

25

-

Nj-anx-$nmw and $nmw-Htp



V.6L-7

26

-

Nb-kAw-¡r:Jdw



V.9 r/u VI.4-6

27

-

Nfr and KA-HA.j



V.6

28

LS16 (S902)

Ra-Spss



V.8M

29

-

%SsSt:Jdwt



VI.1E

30

-

KA.j-jrr



VI.1-2

31

D2 (S905)

KA.j-m-rHw

32

LS10

KA-gm-nj:Mmj

33

D11

&p-m-anx II

34

D22

*jj

35

S920

Unknown



36

OK1 OK36

Unknown



37

OK35 OK42-45

Unknown



Dahshur

38

1

%Sm-nfr

Lisht

39

-

Unknown

40

16

Jtt



41

6

Ra-Htp



IV.1L

42

-

Jntj



V.9

43

-

Jttj:^dw



VI.1

44

LD14

Nj-anx-Ppjj: $nmw-Htp-Hpj



VI.2





V.9-VI.1

V.8-9 VI.1E

 

V.2 V.8-9



V.8-9? V.8-9 V.6-VI.1? V.6-VI.1

 

V.8-9?



IV.1M

Maidum

Deshasheh

Zawyet el-Amwat

Table 2.2 Topographical and Chronological Distribution of Scene Types in Catalogue Order (cont.)

6

?

Stone Vessel Making

-

Sculpture

24

VI.2



Metalwork

MHw

Leatherwork

-

Dynasties IV-VI

Jewellery Making

23

Fragment(s)

Tomb Owner

Wall Relief (in situ)

Cat No.

Site

Industries Depicted

Carpentry

Date

Boat Building

Status

Tomb/Inventory No.

Catalogue Details

The Scenes in Context

El-Sheikh Saïd

24

%rf-kA.j



V.8-9E

47

8

Jbj



VI.4E

48

67

!nqw:Jj...f II



VI.2E-M

49

72

@m-Ra:Jsj



VI.1L-2E

50

12

+aw and +aw:^mAj



VI.4-5

51

A2

Ppjj-anx:@nj-km



VI.4-5

52

C5

Ra-Htp



V.1-6

53

A3

KA.j-xnt II



V.8-9

54

M22

@sjj-Mnw



V.8L-9

55

H24

^psj-pw-Mnw:$nj



VI.6L-7

56

H26

KA.j-Hp:*tj-jqr



VI.5-6

57

TT186

JHjj



VI.3-4

58

TT413

Wnjs-anx



VI.1

59

TT405

#ntj



VI.4-5

60

A6 (QH34h)

#w-ns



VI.7

Stone Vessel Making

46

Sculpture

V.8-9

Metalwork



Leatherwork

#w-ns

Jewellery Making

LD2

Dynasties IV-VI

Carpentry

45

Fragment(s)

Tomb Owner

Industries Depicted

Boat Building

Date

Cat No.

Wall Relief (in situ)

Site

Status

Tomb/Inventory No.

Catalogue Details

Deir el-Gebrawi

Meir

?

?

El-Hammamiya

El-Hawawish

El-Khokha

Qubbet el-Hawa 

Example

Industry Recorded

?

Uncertain Identification

Table 2.2 Topographical and Chronological Distribution of Scene Types in Catalogue Order (cont.)

for the perpetual existence of the tomb owner in the next world, or whether they represent domestic items, produced for the tomb owner and his household and used in daily life, has divided scholarly opinion.67 While there is considerable overlap between these retrospective and prospective functions, and the role of tomb scenes, in general, remains unresolved, a number of findings lend support to the view that workshop scenes, in the main, depict the manufacture of goods intended specifically for the tomb or for funerary purposes. This evidence may be summarised as follows: the

nature of some of the items illustrated, for example statues, sarcophagi, stone vessels and collars with falcon-headed terminals;68 the textual clues provided by accompanying inscriptions in which objects are described as qrs.tt ‘funerary equipment’, dbHt-Htp ‘funerary offerings’ and nD.t-Hr ‘gifts’ or their function as a funerary object is explicitly stated; and the observation that, when not occupying a full wall of decoration, the scenes most commonly appear close to those of offering bearers or presentation.

7

‘Make it According to Plan’ such workshops in the same or adjacent registers to those of indoor industries, as in the tombs of ¢wn-Ra [Cat.9], Nfr and KA-HA.j [Cat.27], Jntj [Cat.42], Jbj [Cat.47] and +aw and +aw:^mAj [Cat.50], further reinforces their relevance to the present theme.72 2.2.3 Character and Organisation of Estate Workshops Although highly informative of many aspects of workshop procedure, tomb representations alone cannot be used to accurately determine the physical character and organisation of the js or wxr.t, and in the case of the js, it is unknown whether it was attached to the residential areas of the estate or housed in an independent complex.73 The absence of architectural details, such as walls and shelters, in a majority of scenes implies a lack of spacial separation between the different industries, as does an inscription above two metalworkers in the Saqqara tomb of Nj-anx$nmw and $nmw-Htp [Cat.25], which reads: hA nw Hr spr.w sxwn.w HA Hmw.tj.w ‘These come down on the sheets causing noise around the craftsmen’. As a result, it has been argued by several scholars, principally Drenkhahn, that the same workshop is likely to have been shared.74 If so, the distribution of authority between various overseers or jmj-r of craftsmen, under the supervision of an jmj-r js or ‘Overseer of the Workshop’, is evidence that, in practice, it was highly compartmentalised. Divisions are believed to have been determined on the basis of the raw material worked,75 and the juxtaposition of scene types in the present corpus featuring a common medium, such as wood, metal or stone, is generally consistent.76

Table 2.3 Distribution of Scene Types in Corpus (%)

Scene Type

No. of Examples

2.2.2 Workshops of the Estates A majority of workshops which feature in the corpus appear in the context of the pr-D.t or ‘estate’ and, where identified in the accompanying ‘viewing texts’, are termed the js.69 Such workshops constituted part of the endowment allocated by the king to elite private individuals or members of his family as remuneration for service in the government bureaucracy, and the craftsmen who worked in these workshops, and presumably resided on site, were considered permanent members of the official’s household until his death.70 Evidence from the tombs of *jj [Cat.34] and +aw and +aw:^mAj [Cat.50], where boat builders are identified as craftsmen of the pr-D.t, complemented by scenes in which the tomb owner himself participates in boat construction or views the process, as in the tombs of *jj [Cat.34] and Jtt [Cat.40], suggest that private dockyard workshops or wxr.t were also located on or near estates and can be understood as belonging to a similar pr-D.t setting.71 The illustration of

2.2.4 Other Types of Workshops In contrast to the workshops of the pr-D.t, which were concerned primarily with domestic production, state operated workshops or wab.t are also known to have existed. Two types of wab.tj are attested in the Old Kingdom,77 namely embalming workshops, where preparation of the body for burial was undertaken, and industry workshops responsible Date

Dyn. IV E

M

Dyn. V L

E

M

Dyn. VI L

E

M

L

Metalwork

34









 

 

 

 

 





Carpentry

29











 

 









Sculpture

26









 











Boat Building

24





 





Jewellery Making

23









 

 



Stone Vessel Making

15

















Leatherwork

8























Memphite Tomb

Table 2.4 Distribution of Scene Types in Hierarchical Order

8





Provincial Tomb

The Scenes in Context for tomb construction, decoration and production of funerary goods.78 It is likely that these workshops were sited close to the necropolises on the banks of the Nile, with additional designations and epithets, such as wab.t rsj.t ‘The Southern Workshop’, believed to refer to specific localities or type.79

distinction is associated. 2.2.5 Absence of Personnel Identifications On comparison, the respective tables indicate that, in terms of the listed categories, most of the figures in the scenes are unidentified. Nevertheless, it is reasonable to conclude, given the earlier observation regarding the source of an individual’s tomb goods, that a majority of these, excluding sculptors and painters, represent craftsmen of the pr-D.t.84 Several factors may account for this absence of specific categorisation: the reluctance or inability of the artist to label every figure as such without crowding or otherwise compromising the appearance of the register; the lack of available space, owing to the fact that the pictorial representations were most likely executed first; or the assumption that the accompanying viewing text or product would make the designation of the figures clear, thereby rendering additional inscriptions superfluous.

Given that the funerary endowment of an individual was drawn from part of his estate and, as previously noted, a majority of tomb goods did not differ significantly from those required in daily life, it follows that the bulk of the tomb inventory of an official was probably manufactured by craftsmen of his pr-D.t. However, for the production of specific burial accoutrements and the completion of technically sophisticated work,80 specialist craftsmen from the wab.t and occasionally the royal workshops of the PraA ‘The Palace’ and Xnw ‘The Residence’,81 principally sculptors and painters, would be deployed.82 Thus, in any one scene of workshop craftsmen, a variety of personnel types may be depicted, some permanently attached to the domestic establishment of the tomb owner in question and others employed on temporary commissions by authority of the king. The main characteristics of each category listed above, as established by Drenkhahn,83 are reviewed in Table 2.5 for the purpose of applying them to the present corpus. A summary of their occurrences appears in Table 2.6, while Table 2.7 lists the specific industries with which each status

2.2.6 Identification of State Personnel To date, explicit identification of craftsmen of the pr-D.t occurs in 30 examples, a majority of which are engaged in either Carpentry or Boat Building. In an isolated case, a craftsman of the pr-D.t appears in a scene of Metalwork in the tomb of MHw [Cat.23] at Saqqara but strictly in a supervisory role. Countering the argument that Jewellery

Designation and Transcription

 

 

pr-D.t

wab.t

Personnel Type and Characteristics

Belonged to private estates or households

- engaged in domestic production and production of funerary goods - less specialised - worked in wood, leather, metal and stone - maintained and remunerated by tomb owner - re-assigned to king at completion of term of office unless same office inherited by son - supplemented by additional labourers who were engaged temporarily and then discharged

Worked for the state

- engaged in tomb construction and decoration and production of funerary goods including those of the king - specialised in sculpture and painting - could work in private service by royal favour or request - maintained and renumerated by tomb owner while assigned to household

 

mHnk

Worked for the state

- contracted to work on private estates - designation given in recognition of special status - as visiting craftsmen were entitled to additional benefits from the tomb owner

 

Pr-aA

Attached to the central administration of the palace

- produced goods for the royal court - could be assigned to private service for a limited period particularly sculptors and painters

 

Xnw

Attached to the palace or ‘The Residence’

- could be assigned to private service to fill shortage of suitable personnel

 

nswt

Personal craftsmen of the king

- specialised in producing luxury goods - not assigned to private service

Table 2.5 Personnel Types and Their Main Characteristics. After Drenkhahn, Handwerker, 135ff. Courtesy of Harrassowitz Verlag

9

‘Make it According to Plan’ Carpentry, the implication being that, although a Provincial burial, it was furnished, in part, by craftsmen from the capital, assigned from the workshop of ‘The Residence’ as a measure of Jbj’s favourable standing with the king.94

Total No. of Figures = 45

Table 2.6 Personnel Types with Explicit Identification

Further to the pattern of distribution of status designations, it is noted that such labelling is restricted to particular necropolises, namely Abusir, Saqqara, Deir el-Gebrawi and Meir. Of the 13 tombs from which the data in Table 2.6 is drawn, a majority are located at Saqqara, suggesting that the practice of categorising craftsmen figures, according to the four distinctions identified, was favoured by necropolis workshops at that site. This is supported by the finding that no Giza tomb dated to the corresponding period of V.2-9 contains status designations of any kind, despite, in some cases, their owners being of equal or superior rank, for example %nDm-jb:Jntj [Cat.11] and %nDm-jb:MHj [Cat.12]. In addition, the evidence demonstrates that of the Provincial artists, those based at Deir el-Gebrawi were subsequently most influenced by this design convention.96

Making was not normally an industry of the pr-D.t,85 there is evidence of at least eight figures in the corpus with this specific or implied designation, including both stj.t ‘Stringer’ and ms-nSd ‘Jewellery Maker’ classifications.86 Substantially fewer figures in the corpus are designated craftsmen of the wab.t, although they frequently appear in contexts other than a workshop setting.87 In the present case, all nine figures are associated with the industries of Sculpture and Metalwork, eight of which are identified as either sS wab.t or sS wab.t rsj.t ‘Painters’ or rw wab.t in reference to metal blowers. Each figure actively participates in the manufacture of their respective products, contrary to the view of some scholars that this is rarely attested.88 The remaining figure is identified as a mHnk, translated in this context as ʻIntimateʼ89 or ‘Provided with gifts’,90 a term denoting that he is also a visiting or contracted craftsman of the state91 entitled to special privileges from the deceased.92 That this was a distinction reserved only for sculptors and painters, as argued by Drenkhahn,93 is not supported by the present analysis, given that the example cited from the tomb of MHw [Cat.23] is a worker in metal. 2.2.7 Identification of Palace Personnel The infrequent identification of figures as craftsmen of the Pr-aA or Xnw underscores the privilege with which the allocation of such labour must have been associated. Only four examples of the first category are attested in the corpus, in each case accompanying the titles of named individuals who are either sculptors or painters. They feature in the tombs of two of the highest ranking officials catalogued, these being Mrrw-kA.j:Mrj [Cat.22] at Saqqara and Ppjjanx:@nj-km [Cat.51] at Meir, both of whom held the offices of xtmtj bjtj ‘Sealer of the King of Lower Egypt’ and tAjtj sAb TAtj ‘Chief Justice and Vizier’. The designation Xnw is particularised by its unique occurrence in the tomb of Jbj [Cat.47] at Deir el-Gebrawi, in association with scenes of

pr-D.t wab.t mHnk Pr-aA Xnw nswt Table 2.7 Personnel Types and Associated Industries

10

Stone Vessel Making

Sculpture

Metalwork

Leatherwork

Jewellery Making

Personnel Type

Carpentry

Industry Occurrences

Boat Building



2.2.8 Role and Distribution of Personnel Identifications The limited use of status designations to categorise workshop craftsmen in a majority of scenes in the corpus is evidence that such labels were not considered an essential element of the depictions. Therefore, pertinent information such as setting and origin of the workmen was either inferred from the context of the products being manufactured or was understood. At the discretion of the artist, explicit identifications could be used to distinguish the various figures, with those of wab.t, Pr-aA and Xnw having the effect of reinforcing the status of the deceased by highlighting the privileges made available to him or her in terms of tomb provision. Consequently, the practice is observed only in the chapels of the highest ranking officials, the majority of whom were either xtmtj bjtj, tAjtj sAb TAtj or both.95

Title Held

  

  

     

Transliteration and Translation

jmj-r wab.t

jmj-r wab.tj

Cat. No.

The Scenes in Context

‘Overseer of the Workshop’

‘Overseer of the Two Workshops’

Tomb Owner

Site

Date

Industries Depicted

16

PtH-Spss

Abusir

V.6L-8E

Carpentry Metalwork Sculpture Stone Vessel Making

12

%nDm-jb:MHj

Giza

V.9M-L

Jewellery Making Metalwork Sculpture Boat Building Carpentry Jewellery Making Metalwork Sculpture Stone Vessel Making

22

Mrrw-kA.j:Mrj

Saqqara

VI.1M-L

23

MHw

Saqqara

VI.2

26

Nb-kAw-¡r:Jdw

Saqqara

V.9 r/u VI.4-6

Boat Building

32

KA-gm-nj:Mmj

Saqqara

VI.1E

Metalwork

Metalwork

sHD wab.t

‘Inspector of the Workshop’

27

Nfr and KA-HA.j

Saqqara

V.6

Boat Building Carpentry Jewellery Making

sHD wab.t Pr-aA

‘Inspector of the Workshop of the Palace’

21

Mr.f-nb.f

Saqqara

VI.1L

Jewellery Making

Table 2.8 Corpus Titles Related to Workshop Authority

2.3 Correlation Between Scene Type, Content and Title

Treasuries’102 and jmj-r pr.wjj nbw ‘Overseer of the Two Houses of Gold’,103 which would indicate additional authority over raw materials, is possible in the opinion of Drenkhahn,104 although in the present study, the holding of all three titles concurrently applies only to Mrrw-kA.j:Mrj [Cat.22], MHw [Cat.23] and Nb-kAw-¡r:Jdw [Cat.26].105

2.3.1 Social Distribution of Workshop Scenes A further aspect of the investigation is the social distribution of the scenes and the extent to which the status and profession of the individual, as indicated by their title sequences, may have influenced the inclusion of workshop scenes in their tomb decoration.97 Following a review of the 650 titles and epithets attested in the corpus, it has been determined that only eight of the 60 individuals cited in the study had connections with or held positions of authority known to be related to workshop activity,98 however it is acknowledged that critical variables, such as random preservation of inscriptions and selective omissions due to lack of space, must be factored into the result. A summary of these individuals, their relevant titles and the types of scenes depicted in their tombs is found in Table 2.8.99

2.3.3 Nominal v. Substantive Titles Whether the title jmj-r wab.tj should be understood as indicating only nominal authority in relation to the various wab.tj or actual responsibility for their day to day operations remains unclear. It has been suggested by Brovarski106 that the holder of the lower ranking title jmj-r wab.t ‘Overseer of the Workshop’, of which only PtH-Spss [Cat.16] is an example in the current corpus,107 or jmj-r wab.tj who were not tAjtj sAb TAtj may have functioned in this latter role, while the holders of the dual titles jmj-r wab.tj and jmj-r wab.t, none of whom are attested in Table 2.8, may have been responsible only for the organisation of the personnel and the raw materials.108 It is noteworthy that the major offices usually associated with large scale supervision of workshop craftsmen, such as wr xrp(w) Hmwt ‘Great Director of Craftsmen’,109 jmj-r Hmw.tj(.w) nbt ‘Overseer of all Craftsmen’110 and jmj-r Hmw.tj(.w) wab.t ‘Overseer of Craftsmen of the wab.t’,111 are not in evidence. Similarly, religious titles associated with the cult of Ptah and Sokar, closely connected throughout the Old Kingdom with the holding of craft titles like wr xrp(w) Hmwt,112 are also

2.3.2 Common Titles Related to Workshop Activities The most commonly held title, as evident from the analysis, is jmj-r wab.tj ‘Overseer of the Two Workshops’,100 denoting authority over both the embalming workshops and those to which state craftsmen were attached. A connection between this title and the vizierate from the reign of Unis onwards has been recognised by Brovarski,101 and, accordingly, all holders of the office listed in Table 2.8 are concomitantly tAjtj sAb TAtj ‘Chief Justice and Vizier’. A further association with the offices of jmj-r pr.wjj Hd ‘Overseer of the Two 11

‘Make it According to Plan’

jmj-r jrj(w) anwt Pr-aA

‘Overseer of Manicurists of the Palace’

1

jmj-r wp(w)t

‘Overseer of Commissions’

2

jmj-r wp(w)t Nart

‘Overseer of Commissions of U.E 20 and U.E 21’

1

jmj-r pr

‘Overseer of the House’

1

jmj-r pr Hwt-aAt

‘Steward of the Great Estate’

1

jmj-r pr-Sna

‘Overseer of the Storehouse’

1

jmj-r mnnw nswt

‘Overseer of Royal Fortresses’

1

jmj-r mSa

‘Expedition Leader’

1

jmj-r nswtjw

‘Overseer of the King’s People’

1

jmj-r sXA(w) [sic] aw nswt

‘Overseer of Scribes of the King’s Documents’

1

jmj-r sS(w) a(w) (nw) nswt

‘Overseer of the Bird Pool of the King’

7

jmj-r st xntj(w)-S Pr-aA

‘Overseer of the Department of TenantLandholders of the Palace’

1

jmj-r ^maw

‘Overseer of Upper Egypt’

4

jmj-r kAt

‘Overseer of Works’

1

jmj-r kAt m spAwt Hrjwt-jb ^ma

‘Overseer of Works in the Middle Nomes’

1

jmj-r kAt nbt nt nswt

‘Overseer of All Works of the King’

6

jrj nfr-HAt

‘Keeper of the Headdress’

2

jrj xt nswt

‘Royal Acquaintance’

1

aD-mr wHaw

‘Overseer of Fishers and Fowlers’

1

wr mD ^ma

‘Great One of the Ten of Upper Egypt’

2

rx(.t) nswt

‘Royal Acquaintance’

2

Hmt nswt

‘King’s Wife’

1

xntt-S

‘Official’

1

Hrj-sStA n pr-dwAt

‘Secretary to the Secret of the House of Morning’

4

Hrj-tp aA

‘Great Overlord’

2

Hrjj-tp aA n spAt

‘Great Overlord’

2

HqA Hwt

‘Chief of the Estate’

2

xrp aH

‘Director of the aH-Palace’

2

xrp Hsw(w)

‘Director of Singers’

1

xrp SnDt nbt

‘Director of Every Kilt’

1

xtmtj-bjtj

‘Sealer of the King of Lower Egypt’

13

Xrj-tp nswt

‘Royal Chamberlain’

2

sAb sS

‘Judge and Scribe’

1

sA nswt

‘King’s Son’

1

sA nswt n Xt.f

‘King’s Son of His Body’

6

Table 2.9 Distribution of Scene Types According to Office. Translations after Jones, Titles, 59ff. Courtesy of BAR Publishing

12

Stone Vessel Making

Sculpture

Metalwork

Leatherwork

Jewellery Making

Carpentry

Title Held

Boat Building

Corpus Occurrences

Industries Depicted

The Scenes in Context

sA nswt n Xt.f smsw

‘King’s Eldest Son of His Body’

1

sAt nswt

‘King’s Daughter’

1

sAt nswt nt Xt.f

‘King’s Daughter of His Body’

1

sHD jrj(w) anwt Pr-aA

‘Inspector of the Manicurists of the Palace’

1

sHD Pr-aA

‘Inspector of the Palace’

1

sHD (n) Hsww

‘Inspector of Singers’

1

sS a(w) (nw) nswt xft-Hr

‘Scribe of the Royal Records in the Presence’

1

sSm-tA

‘Nomarch’

1

sDAwtj mDAt-nTr Pr-aA

‘Sealer of the God’s Books of the Palace’

1

tAjtj sAb TAtj

‘Chief Justice and Vizier’

18

Stone Vessel Making

Sculpture

Metalwork

Leatherwork

Jewellery Making

Carpentry

Title Held

Boat Building

Corpus Occurrences

Industries Depicted

Table 2.9 Distribution of Scene Types According to Office (cont.). Translations after Jones, Titles, 59ff. Courtesy of BAR Publishing

unattested. Direct involvement with workshop activities appears to be limited to two individuals, Mr.f-nb.f [Cat.21] and Nfr, son of KA-HA.j [Cat.27], whose respective positions of sHD wab.t Pr-aA ‘Inspector of the Workshop of the Palace’ and sHD wab.t ‘Inspector of the Workshop’ afforded them close contact with highly skilled craftsmen on a regular basis, being a unique area of responsibility in the case of Mr.f-nb.f113 and given precedence in the title sequence of Nfr over his profession xrp Hsw.w ‘Director of Singers’.114

have had a direct bearing on the selection of scene types for the niche area reserved for him in the family chapel,120 with the emphasis on Carpentry activities, to the exclusion of all other industries, perhaps intended to highlight his particular area of responsibility. The quality execution of the work also presumably reflects his ability to access skilled artists via his personal and professional connections, as likewise must have been the case with Mr.f-nb.f as a sHD wab.t Pr-aA.121

2.3.4 Impact of Workshop Titles on Scene Selection Comparison of the scene types appearing in Table 2.8 shows the only common element to be the representation of Metalwork in chapels belonging to holders of the titles jmj-r wab.tj, jmj-r pr.wjj Hd and/or jmj-r pr.wjj nbw and an apparent connection between scenes of Jewellery Making and the office of sHD wab.t. Furthermore, it is noted that Metalwork is the only extant industry depicted in two of the five tombs cited, those of MHw [Cat.23] and KA-gmnj:Mmj [Cat.32], as is Jewellery Making in the case of Mr.f-nb.f [Cat.21]. Given that these chapels are dated to a similar period of V.9-VI.2, however, this is likely to simply reflect a contemporary preference for a particular scene type and may bear little or no relationship to the individual’s professional role. This is best demonstrated by the fact that a further 13 holders of the title jmj-r wab.tj attested in the Old Kingdom at the time of writing have no extant evidence of workshop scenes recorded in their chapels at all.115 The same conclusion applies to a majority of holders of the title jmj-r wab.t,116 jmj-r pr.wjj HD117 and jmj-r pr.wjj nbw118 and to the rarely documented cases of tomb owners with the title jmj-r js, for example %n-%n.119 Again, an exception is likely to be Nfr in this instance, whose position as sHD wab.t appears to

Corridor

Single-Roomed

 







2



3





4





5





6



7



 

Provincial

Two-Roomed

1

Cruciform

Multi-Roomed

No. of Scene Types

L-Shaped

Chapel Type



 

 

 

 



Table 2.10 Chapel Type and Number of Scene Types

13



‘Make it According to Plan’ 2.3.5 Impact of Other Titles on Scene Selection While it may be concluded that a bureaucratic position entailing workshop authority did not automatically increase the probability of workshop scenes appearing in an individual’s tomb, there does exist a correlation between status and scene occurrence and the variety of scene types depicted. As observed in Table 2.9, which summarises the principal secular offices of the tomb owners cited in the corpus,122 a majority of workshop scenes, allowing for incomplete preservation, are concentrated in the chapels of the highest administration officials or members of the royal family.123 It follows, therefore, that the higher the status of the individual, in most cases the greater the variety of industry scene types which will be shown. This can be explained, in part, in terms of chapel size relative to wealth and the availability of wall space for decoration, as seen in Table 2.10,124 but the capacity of such officials to command artists of advanced technical ability with training in a more extensive repertoire of scene types must also be assumed.125 To further illustrate, up to 45% of workshop scenes attested in the corpus are recorded in tombs belonging to holders of the titles sA nswt n Xt.f ‘King’s Son of His Body’, tAjtj sAb TAtj or xtmtj-bjtj. These are frequently held in combination as sA nswt n Xt.f and tAjtj sAb TAtj in examples dated IV.2-V.2, in keeping with the practice of appointing royal princes to the vizierate, or tAjtj sAb TAtj and xtmtjbjtj in examples dated VI.1-VI.5. In tombs dated V.8-VI.1, they are often held in conjunction with the office of jmj-r kAt nbt nt nswt ‘Overseer of All Works of the King’. Table 2.11 establishes that, on average, up to three different scene types are depicted in chapels where at least one of the listed titles is in evidence, most commonly scenes of Metalwork, Jewellery Making and Sculpture. Almost half of all recorded Leatherwork scenes are also found in chapels pertaining to these offices, and a noticeably higher proportion of scenes of Metalwork, Jewellery Making and Sculpture, i.e. between Title Held tAjtj sAb TAtj xtmtj-bjtj

tAjtj sAb TAtj

24

xtmtj-bjtj

14

jmj-r sS(w) a(w) (nw) nswt

11

sA nswt n Xt.f

8

jmj-r kAt nbt nt nswt

6

jmj-r ^maw

12

Hrj-sStA n pr-dwAt

1

jmj-r wp(w)t

3

xrp aH

5

jrj nfr-HAt

5

Hrj-tp aA

1

HqA Hwt

1

Xrj-tp nswt

1

Table 2.12 Impact of Status on Scene Innovation

25-40% of corpus total, occur where the owner is holder of the vizierate. Holders of the above titles also account for almost 55% of the most extensively decorated chapels in the study, that is chapels exhibiting five or more different workshop scenes. Notable in this regard are the tombs belonging to the royal princes, for example Nb.j-m-Axtj [Cat.5] and #wn-Ra [Cat.9], together with the tombs of anx-m-a-@r:%sj [Cat.19], Mrrw-kA.j:Mrj [Cat.22], +aw and +aw:^mAj [Cat.50] and Ppjj-anx:@nj-km [Cat.51], although a number of individual exceptions apply. Of these, the most conspicuous are *jj [Cat.34], who held the elevated positions of jrj nfrHAt ‘Keeper of the Headdress’ and xrp aH ‘Director of

Number of Scene Types Depicted 1

2

 

jmj-r sS(w) a(w) (nw) nswt



sA nswt n Xt.f



jmj-r kAt nbt nt nswt



jmj-r ^maw



Hrj-sStA n pr-dwAt



3

4

5

6





















7

 





 



 

jmj-r wp(w)t

 

xrp aH jrj nfr-HAt

Number of Innovations Recorded

Title Held





 

Hrj-tp aA



HqA Hwt





Xrj-tp nswt





Table 2.11 Frequently Occurring Titles and Number of Scene Types Depicted

14

The Scenes in Context As applied to the current corpus, Harpur’s findings hold true for a majority of scenes, as is evident from Table 2.14 and Table 2.15. For example, analysis of wall position in simple Memphite chapel types supports her conclusion that workshop scenes are found predominantly on the East Wall, in keeping with the symbolic connection of the East to activities of the present world. In Multi-Roomed chapels, an intermediate location, reflecting the transition in subject matter from daily life to funerary, is, in most cases, also confirmed. Frequent association in these locations with scenes of presentation and offering bearers is corroborated by Table 2.16, as is her conclusion that in Provincial chapels, no consistent pattern of scene distribution applies.130

the aH-Palace’ in V.8-9126 but whose prestige was based primarily on his service as jmj-r of various pyramids and sun temples, and Jj-mrjj [Cat.1], who inherited the office of jmj-r pr ‘Overseer of the House’ from his father ^pSS-kAfanx during the reign of Neuserrea but subsequently became a prosperous land owner as a result of estates endowed to him by the king.127 The offices of jmj-r ^maw ‘Overseer of Upper Egypt’, jmj-r wp(w)t ‘Overseer of Commissions’ and Hrj-tp aA ‘Great Overlord’ are most frequently associated with Provincial chapels containing a high proportion of workshop scenes, such as those of Jntj [Cat.42], Jbj [Cat.47] and +aw and +aw:^mAj [Cat.50]. 2.3.6 Impact of Status on Scene Innovation A final observation in relation to the influence of status on scene selection and content is that workshop scenes in chapels belonging to the highest administrative officials and members of the royal family exhibit more attempt at innovation and expansion. As is clear from Table 2.12, where an innovation is recorded in a scene or a standard action deviates from convention, the probability is greater that the tomb owner holds one or more of the principal titles addressed above, in particular sA nswt, tAjtj sAb TAtj or xtmtjbjtj. According to the analysis, new scenes and features are widely distributed chronologically in such tombs and that of these innovations, close to 30% derive from Provincial cemeteries. This indicates a high level of consistency in the link between status and scene content, irrespective of date and location, and could suggest a preference on the part of many elite tomb owners for artists with both creative ability and technical skill.128

Chapel Type

Wall Position and No. of Examples

Simple

Memphite

Memphite

Provincial

Provincial

W

2

5

14?

1

Intermediate

Offering Room

Indeterminable

1

12

5

7

Table 2.14 Location of Workshop Scenes-Memphite Chapels Chapel Type

Wall Position and No. of Examples N

S

E

W

8

7

6

3

Entrance

Intermediate

Offering Room

Indeterminable

Tomb Location

11

9

6

0

Provincial

Table 2.15 Location of Workshop Scenes-Provincial Chapels

Chapel Type

Multi-Roomed

E

Entrance

Multi-Roomed

2.4.1 Location Relative to Chapel Type Fundamental to the issue of context is the location of each of the workshop scenes in question relative to their respective tomb and chapel. To date, only minor attention has been paid to the positioning of thematic subjects in Old Kingdom tomb decoration, with Harpur129 being the first scholar to articulate particular patterns and principles of scene distribution in chapels of various architectural type, as reviewed in Table 2.13.

Single-Roomed Two-Roomed Corridor L-Shaped Cruciform

S

Tomb Location

2.4 Location of Scenes

Cemetery

N

Pattern of Distribution • •

Scenes pertaining to acquisition located on North and East walls Scenes pertaining to presentation located on South and West walls

• • •

Outdoor scenes located close to entrance Banquet, entertainment, cooking, food production and technology scenes located in intermediate position midway between entrance and Offering Room Funerary scenes located in Offering Room

•

Absence of or only sporadic adherence to pattern of distribution

Table 2.13 Scene Distribution in Old Kingdom Chapels. After Harpur, Decoration, 59-60, 226ff. © 1987 Routledge. Reproduced by permission of Taylor & Francis Group

15

1

Table 2.16 Scene Types Adjacent to Workshop Activities

16

Themes Depicted

Full Wall

Goats Browsing

Stone Masons

Attendants

Officials

Textile Production

Poultry Yard

Desert Hunt

Marsh Activities

Fishing

Grooming

Market

Gardening

Entertainment

Estates

Rendering Accounts

Animal Husbandry

Fowling/Bird Catching

Agriculture

Scribes

Food Preparation

Animals/Birds

Offering Bearers

Statue Dragging

Boats/Sailing

Bed Making

Offerings/Offering List

Butchery

Presentation

Baking

Brewing

Vintage/Oil Production

Number of Examples

‘Make it According to Plan’ 50

49

48

47

46

45

44

43

42

41

40

39

38

37

36

35

34

33

32

31

30

29

28

27

26

25

24

23

22

21

20

19

18

17

16

15

14

13

12

10 11

9

8

7

6

5

4

3

2

The Scenes in Context 2.4.2 Impact of Other Factors on Patterns of Placement Further to Harpur’s work, however, is the data presented in Table 2.17, which suggests that other factors, in addition to those already cited, may have played an influential role in governing placement. From the table and accompanying diagrams it can be observed that in cases where a close correspondence exists between chapel architecture, cemetery and date, the same or similar position for the workshop scene has frequently been adopted. Thus, in a Two-Roomed chapel at Giza dated IV.L, the probability is high that such scenes will be depicted on the inside left wall of the entrance doorway to either the first or second

Area

1

2

3

4

5

Chapel Type

Two-Roomed

Corridor + Niche

Multi-Roomed

Single or Multi-Roomed

Multi-Roomed

Room

room, they will be contiguous with the doorway, and their location will be consistent with an East Wall southern-half orientation. The appearance of workshop scenes in the Offering Room of a chapel is most common in Memphite cemeteries in the period V.6-VI.1, whereas the practice of positioning the scenes immediately perpendicular to a door is more characteristic of the period VI.1-2. Distinctive features of placement, such as on the outer wall of the serdab or on narrow wall panels, are confined to Saqqara in the periods V.8-9 and VI.1-2 respectively, while at Deir elGebrawi and El-Hawawish, the identical entrance or facing wall of the Main Room is utilised from VI.E onwards.

Location

Room 1 or 2

Cat. No.

Date

Site

Wall

4

IV.5-6E

Giza

East

5

IV.6-V.1

Giza

East

9

IV.5

Giza

East

27

V.6

Saqqara

East

33

V.2

Saqqara

East

1

V.6

Giza

South

11

V.8M-L

Giza

North

8

V.6

Giza

West

17

V.6-9

Abusir

West

22

VI.1M-L

Saqqara

North

10

V.9-VI.1

Giza

East

16

V.6L-8E

Abusir

East

34

V.8-9

Saqqara

East

Room 1

Outer Room

Offering Room

Offering Room

Table 2.17 Location of Selected Workshop Scenes Relative to Chapel Type, Site and Date

17

‘Make it According to Plan’

Area

6

7

8

9

Chapel Type

Multi-Roomed

Multi-Roomed

Multi-Roomed

Provincial

Room

Location

Cat. No.

Date

Site

Wall

28

V.8M

Saqqara

South

34

V.8-9

Saqqara

South

22

VI.1M-L

Saqqara

East

30

VI.1-2

Saqqara

East

23

VI.2

Saqqara

North

32

VI.1E

Saqqara

North

47

VI.4E

el-Gebrawi

North

48

VI.2E-M

el-Gebrawi

North

49

VI.1L-2E

el-Gebrawi

North

50

VI.4-5

el-Gebrawi

North

Offering Room

Outer Room

Outer Room

Room 1

Family Relationship: Cat.47 + Cat.50 Cat.48 + Cat.49

10

Provincial

55

VI.6L-7

El-Hawawish

South

56

VI.5-6

El-Hawawish

South

Family Relationship: Cat.55 + Cat.56

Main Room

Table 2.17 Location of Selected Workshop Scenes Relative to Chapel Type, Site and Date (cont.)

also been determined, after close comparison of individual decorative programs and supported by in situ examination of selected tombs,131 that a majority of workshop scenes, if not occupying the full area of the wall, are placed at the eye level of the viewer in the middle to lower registers, as seen in Table 2.18.132

2.4.3 Placement in Areas of High Visibility A corollary to the argument that the position of workshop scenes frequently conforms to predictable chronological and topographical patterns of placement is the observation that their location, in many cases, also coincides with areas of high visibility or ritual importance. These areas, shown in illustration in Table 2.17, may be summarised as follows: around doorways at entry and exit points (Areas 1-3 and Areas 7-10); in close proximity to locations associated with the presentation of offerings or points of interface between the living and the deceased (Areas 4-6); or on conspicuous sections of a prominent wall (Area 4). It has

2.4.4 Placement Adjacent to Key Architectural Elements Strategic positioning is similarly utilised when workshop scenes appear adjacent to a key architectural element of the chapel, such as the false door or statue niche, a majority of which are dedicated to the primary tomb owner.133 A visual 18

40

Theme

No. of Examples

The Scenes in Context

Workshop Activities

23

Officials

3

Dancers

2

Vintage

2

Rendering Accounts

2

Presentation

2

Bed Making

2

Offerings

1

Offering Bearers

1

Animal Husbandry

1

Musicians

1

Goats Browsing

1

Marsh Activities

1

Textile Production

1

Oil Production

1

Indeterminable

6

35

30

20

15

Indeterminable

Full Wall

Lower Register

Upper Register

5

Middle Register

10

Register Position Table 2.18 Register Position of Workshop Scenes

connection to that element or vector is further established as a result of the placement of the scenes in a favourable register. These registers may abutt the outer door jamb of the false door and be level with the central niche, as in the tomb of ¢wfw-xa.f II [Cat.8], be level with the offering slab at the foot of the false door, as in the tomb of ¦p-m-anx [Cat.17], or align with the head of the standing statue, as in the tomb of KA.j-xnt II [Cat.53]. The latter position also commonly occurs when the scenes are placed in an upper or middle register of a wall and a viewing figure of the deceased is present. Table 2.19 confirms that in close to 50% of such cases, the scenes are depicted at the eye level of the figure, with Table 2.20 indicating that the predominant industries recorded here are Boat Building and Carpentry.

Fig. 1 Tomb owner viewing workshop activities. Tomb of Jbj. Deir el-Gebrawi. After Davies, Deir el-Gebrawi I, pl. XV. Courtesy of The Egypt Exploration Society

Table 2.19 Theme Depicted at Eye Level of Viewing Figure

Industry

2.4.5 Summary of Factors Influencing Scene Placement In summary, the findings demonstrate that, although not an obligatory theme in the Old Kingdom repertory, when workshop scenes were included in the decorative program of a chapel, they were frequently subject to uniform positioning and that this positioning was influenced by factors unrelated to wall orientation. These comprise the already established examples of family precedent, contemporary layout trends and local borrowing but also, in a significant number of cases, a heightened concern for visibility relative to both potential visitors to the tomb and to symbolic representations of the primary tomb owner him or herself.

No. of Examples

% of Scenes

25

Boat Building

9

Carpentry

5

Sculpture

3

Metalwork

2

Jewellery Making

2

Leatherwork Fig. 2 Tomb owner viewing workshop activities. Tomb of Nb.j-m-Axtj. Giza. After LD II, Stone Vessel Making 13. Digitization of ULB

0 0

Table 2.20 Industry Depicted at Eye Level of Viewing Figure

19

and expansive treatment. In contrast, the tombs of MrrwkA.j:Mrj [Cat.22], Nj-anx-$nmw and $nmw-Htp [Cat.25] and the fragment BM994 [Cat.15] are distinguished by their compressing of multiple activities into a single register.

3. The Scenes in Focus 3.1 Boat Building

Classification

Sourcing the Timber

Preparing the Timber

Constructing the Hull

Adding the Trims

Finishing and Strengthening the Hull Constructing Equipment Quality Control

Procedures in Sequential Order

Provincial

While no one tomb depicts all procedures concurrently, close to 50% or more of tasks are exhibited in the scenes of #wn-Ra [Cat.9], *jj [Cat.34] and #w-ns [Cat.45], which are characterised, in general, by their high degree of variety

Memphite

3.1.2 Identification of Personnel The workmen, where labelled, are designated mDH(.w) wjA ‘Boat Builders’, mDH(.w) ‘Carpenters’ or Hmw.tj(.w) ‘Craftsmen’, while the term sqd(.w) ‘Boat Builders’, based on present evidence, applies only to the non-skilled personnel responsible for the felling of the trees. Consistent with most examples is the appearance of the workmen in disproportionate numbers and sizes relative to the boat under construction, thus enabling a selection of procedures to be illustrated simultaneously and a heightened sense of activity and teamwork to be conveyed. In reality, however, all stages of manufacture would have been completed in chronological order, hence this presentation must be regarded as essentially contrived.135 In only the tomb of KA.j-xnt II [Cat.53] does the boat under construction appear in its completed form without attendant workmen.

3.1.1 Overview Of the seven industries documented in the study, Boat Building features the most extensive number of procedures, as summarised in Table 3.1, and the largest number of participating workmen, in keeping with the size and complexity of the object under construction. It is the only industry in the corpus to illustrate the production cycle in full, from the location, acquisition and preparation of the raw materials, through to completion and dispatching of the finished product,134 although an emphasis on tasks pertaining to the assembly of the hull is more frequently observed.

Date Range

1. Felling a tree

V.1-VI.2

2. Carrying a log

V.1-VI.4E

3. Dressing a log

V.1-VI.4E

4. Carrying a section of log

V.8-9

5. Sawing a section of log into planks

V.6L-9

6. Trimming a plank

V.6L-9

7. Cutting holes or mortices in a plank

V.8-9

8. Sawing a plank into battens

V.8-9

9. Trimming a batten

IV.5-V.9

10. Propping a hull

IV.5-V.9

11. Cutting holes or mortices in a hull

IV.1M-VI.5

12. Lashing planks together

IV.1M-V.6

13. Hammering planks together

V.8-VI.1M-L

14. Checking a plank seam

V.8-9

15. Squaring off a hull

IV.5-VI.5

16. Trimming a hull

IV.1M-VI.1M-L

17. Checking hull specifications

IV.5-VI.1M-L

18. Cutting holes or mortices in a bulwark

V.6-VI.1M-L

19. Positioning a bulwark

V.8-9

20. Hammering a bulwark into place

V.8-9

21. Trimming a bulwark

IV.5-V.9

22. Carving decorative features into a hull

IV.5-V.9

23. Trussing a hull

IV.5-V.9

24. Trimming a trussing pole

V.6L-9

25. Trimming an oar

VI.4-5

26. Supervising construction

IV.5-VI.4E

Table 3.1 Suggested Classification and Sequence of Boat Building Procedures

20

The Scenes in Focus - Boat Building Site

Giza

Abusir

Saqqara

Lisht Maidum Deshasheh Zawyet el-Amwat

Deir el-Gebrawi

El-Hammamiya

Cat. No.

Tomb Owner

Date

Procedures Illustrated from Table 3.1

6

@m-jwnw

IV.2M-L

16

9

#wn-Ra

IV.5

9, 10, 11, 15, 16, 17, 21, 22, 23, 26

13

%xm-kA-Ra

V.1-2

1, 2, 3, 9, 11, 16, 26

14

_wA-n-Ra

IV.5-6

16

15

Unknown

V.6-9?

1, 2, 3, 11, 15

17

&p-m-anx

V.6-9

11, 15, 16, 18, 26

22

Mrrw-kA.j:Mrj

VI.1M-L

11, 13, 16, 17, 18

25

Nj-anx-$nmw and $nmw-Htp

V.6L-7

1, 2, 5, 6, 9, 11, 16, 24, 26

26

Nb-kAw-¡r:Jdw

V.9 r/u VI.4-6

1, 2

27

Nfr and KA-HA.j

V.6

1, 3, 12, 23, 26

28

Ra-Spss

V.8M

3, 8, 9, 10, 16, 21, 23?, 26

34

*jj

V.8-9

3, 4, 5, 7, 8, 9, 11, 13, 14, 15, 16, 18, 19, 20, 21, 22, 24, 26

36

Unknown

V.8-9

16

39

Unknown

V.8-9?

3, 17

40

Jtt

IV.1M

11, 12, 16

41

Ra-Htp

IV.1L

11, 12, 16

42

Jntj

V.9

10, 11, 16, 26

44

Nj-anx-Ppjj:$nmw-Htp-Hpj

VI.2

1, 2, 3

45

#w-ns

V.8-9

1, 2, 3, 6, 7, 9, 11, 16, 22, 23, 26

47

Jbj

VI.4E

2, 3, 11, 15, 26

49

@m-Ra:Jsj

VI.1L-2E

2

50

©aw and ©aw:^mAj

VI.4-5

11, 15, 25

52

Ra-Htp

V.1-6

1, 2

53

KA.j-xnt II

V.8-9

3, 5, 9, 26

Table 3.2 Distribution of Boat Building Scenes and Procedures

3.1.3 Identification of Materials SAb.t or ‘SAb.t-boat’ is the only specific construction term identified in the accompanying texts, as observed in the tombs of Nj-anx-$nmw and $nmw-Htp [Cat.25] and *jj [Cat.34], but it is unclear whether it refers to a variety of wood or is applied generically.136 Where paint is preserved on hulls or hull components, it is coloured red-brown indicating cedar, while examples painted pale yellow in the tombs of Nfr and KA-HA.j [Cat.27] and *jj [Cat.34] also suggest the use of pine.137

applicable postures in sequential and chronological order. Detailed commentary on these and other aspects of the industry is found below. 3.1.4.1 Felling a Tree The sequence begins, where illustrated, with the sourcing of the raw timber and the establishment of the environment via a motif of browsing goats, although in isolated cases, such as in the tombs of Nb-kAw-¡r:Jdw [Cat.26], Nfr and KAHA.j [Cat.27] and KA.j-Hp:§tj-jqr [Cat.56], these elements are depicted independent of a Boat Building scene. Workmen, typically naked or clad in a loincloth or open kilt for ease of movement, are shown felling stylised trees, identified by a majority of scholars as acacias.138 Copper axes of different blade shape and handle length are uniformly employed, such distinctions being of both chronological and technological significance.139 The outdoor and possibly distant location of the work is further communicated in the tombs of %xm-kARa [Cat.13], Nb-kAw-¡r:Jdw [Cat.26] and *jj [Cat.34], by a figure carrying supplies or the illustration of supplies in an adjacent register.

3.1.4 Common Procedures Analysis has shown that the most common procedure attested, in terms of occurrences and number of workmen, is the trimming of the hull. The cutting of holes and mortices and the supervision of construction are also depicted in a majority of scenes. Examination of the complete Boat Building tableau from the tomb of #wn-Ra [Cat.9] at Giza proves that at least 30% of wxr.t activities were already established as standard elements of composition by late Dynasty IV. Table 3.2 summarises the geographical and temporal distribution of all Boat Building scenes and procedures in the corpus, while Table 3.3 presents all

In most cases, the felling posture assumed is an energetic 21

‘Make it According to Plan’ lunging or standing position, with legs widely separated and rear heel raised to emphasise the physical nature of the task. Variations in the placement of the axe to reflect the different phases of the stroke are evident in the depictions, however, ranging from above the head, over the shoulder or level with the waist or knee. The exaggerated thrusting of the chest and rendering of the elbows bent behind the head is an interpretation of the movement confined to the cemetery of Zawyet el-Amwat. Other stylistic and dating criteria provided by the scenes include a leaning tree (Memphite/ Provincial V.E-L), a tree trunk with a visible axe cut (Memphite V.E-M), an axe with cross-hatch bindings (Memphite V.M-L) and an axe with a square blade (Provincial VI.E-M). A tree with its lower branches removed is an innovation recorded only at Zawyet el-Amwat in the tomb of Nj-anx-Ppjj:$nmw-Htp-Hpj [Cat.44], while the illustration of a tree stump, representing the completion of the lopping process, is unique to the Saqqara tomb of NbkAw-¡r:Jdw [Cat.26]. Both adaptations of the conventional tree shape appear at a similar time, however, in V.L-VI.E. The finding that round axe blades are undocumented in Boat Building scenes after V.L may call into question the dating of the tomb of #w-ns [Cat.45] at VI.4-5 by Kanawati,140 given that at least four examples of such axes can be observed here.

turning his head in the opposite direction to his companions is particular to the tomb of #w-ns [Cat.45] at Zawyet elAmwat. This feature, being currently confined in a workshop context to the tombs of Wp-m-nfrt:Wp [Cat.3], dated V.58, §jj [Cat.34], dated V.8-9, and ¡m-Ra:Jsj [Cat.49], dated VI.1L-2E,143 again makes doubtful the assigning of the tomb of #w-ns to mid or late Dynasty VI. Subtle differences in equipment and log shape, particularly in Provincial renditions, also provide potential dating and stylistic criteria. Two examples of the latter are a curved log and a log of parallelogram shape. A contoured beam and excessively long logs, transported by eight or more carriers on multiple slings, have few extant parallels outside the Saqqara or Zawyet el-Amwat sites. Similarly, the shape of the log depicted, the single sling and the configuration of the workmen further support the conclusion that the fragment BM994 [Cat.15] is to be dated earlier than Dynasty VI on artistic grounds. 3.1.4.3 Dressing a Log Scenes of dressing the logs to remove residual bark and branches and even out the trunk surface also contain both conventional and innovative elements. While the lunging and standing postures familiar from tree felling scenes are illustrated in a majority of cases, two new postures are introduced late to the repertory. These are the dressing of the log while sitting astride it, recorded initially in V.8-9, and standing astride the log for the procedure, entering the corpus in VI.2. Select artists at Deir el-Gebrawi and Saqqara also individualise their work by placing the log in an upright position or on blocks. The appearance of the block feature and the identical spacing and orientation of the workmen in the tomb of KA.j-xnt II [Cat.53] at El-Hammamiya suggest a high probability that this scene was adapted from the tomb of Nfr and KA-HA.j [Cat.27] at Saqqara. If so, it may be dated too early at V.1 by scholars such as Baud,144 Brunner145 and El-Khouli and Kanawati146 on artistic grounds.

Also of relevance for dating purposes is the overlapping of the rear legs of the fellers, a feature which is introduced at Saqqara in V.6 in the tomb of Nfr and KA-HA.j [Cat.27] and paralleled only once on the unprovenanced fragment BM994 [Cat.15]. Together with other significant criteria present, this detail confirms the origin of BM994 as Memphite but suggests a date of possibly V.6-9, in contrast to the Dynasty VI estimate proposed by Smith141 and Harpur.142 Of particular note in this category of scenes is the attempt at sequenced animation in the tomb of Njanx-Ppjj:$nmw-Htp-Hpj [Cat.44], whereby two trees are depicted in progressive stages of lopping side by side. 3.1.4.2 Carrying a Log The successful retrieval of the raw timber is augmented by scenes of the logs being trimmed and squared off with axes in preparation for their transport to the dockyard. A wooden beam with rope sling, supported on the shoulders, is utilised to facilitate this process. The leg posture of the carriers is highly standardised in such depictions but arm position is subject to variation after V.M, developing from the characteristic holding of the sling, through to holding the beam independently, to holding the beam and sling in combination. The latter posture is most common in the provinces after V.8-9, while the positioning of the carriers on either side of the log, in contrast to a forward or rear configuration, may constitute a dating criterion for the period V.M-VI.E. An experimental pose in which the artist attempts to show both hands on the beam as it is lifted onto the shoulders is unique to the tomb of @m-Ra:Jsj [Cat.49] at Deir el-Gebrawi, and it is here that one of only two examples of another variant, that of hooking the inner arm over and around the beam, is also found. Similarly, a carrier

3.1.4.4 Carrying a Section of Log To complete these preliminary operations, the log is converted into sections, after which it is carried to a nearby sawing area for further processing. Only one example of this procedure is documented in the corpus, in the tomb of §jj [Cat.34], although the reverse action is paralleled in Carpentry scenes. Thereafter, the motif appears to have been regarded as superfluous and has no extant equivalent post V.8-9. 3.1.4.5 Sawing a Section of Log into Planks The next phase in the construction process begins with the sawing of the planks. In order to minimise movement and vibration, log sections are tied vertically to a post set firmly into the ground and prevented from loosening by a weighted stick wedged between the post and rope bindings.147 The socalled ʻthrough and through’ method of sawing is depicted, whereby a conventional pull saw is manipulated either in a downward pressing action of the blade and handle together or by the handle gripped in both hands as the saw is pulled

22

The Scenes in Focus - Boat Building back.148 The degree to which the blade protrudes through the timber, either at the midway point or tip, as illustrated in the tombs of §jj [Cat.34], Nj-anx-$nmw and $nmw-Htp [Cat.25] and KA.j-xnt II [Cat.53] respectively, may be an artistic device employed to communicate these actions.

adze applied at the level of the shoulder or the knee. Of particular interest is the unorthodox pose introduced in the tomb of #wn-Ra [Cat.9] in this instance, whereby the adze passes under the inner arm of the workman and his inner leg crosses over his outer thigh. A desire to simulate the working of the batten on the anterior side and a concern for maintaining the integrity of the limbs may explain, in part, the use of these devices, which are further attested in the tombs of PtH-Spss [Cat.16], KA.j-m-rHw [Cat.31], #w-ns [Cat.45], +aw and +aw:^mAj [Cat.50] and Ppjj-anx:¡nj-km [Cat.51]. Another Memphite stylistic criterion pertaining to this procedure is the increased length of the batten in tombs dated V.8-9.

Of note is the introduction to the repertory in V.8-9 of an assistant to the sawer, who maintains the tension of the bindings in the absence of a counterweight by tying and untying them as the sawing proceeds. Given that the only other examples of these actions occur in Carpentry scenes, such as in the tombs of %nDm-jb:Jntj [Cat.11] and Ftk-tj [Cat.18], dated V.6-VI.1, the motif is likely to be a V.M-L innovation. The tall sawing post depicted in the tombs of %nDm-jb:Jntj [Cat.11] and KA.j-xnt II [Cat.53] is also a distinguishing feature of this period.

3.1.4.10 Propping a Hull By far the bulk of procedures appearing in the Boat Building repertory are those pertaining to the construction of the hull. The sequence commences with the body being raised on various structures, such as stones, stakes, blocks or posts, to either support it during assembly, hold it level on completion or facilitate easier tightening of a truss.151 The operation appears to have been of particular interest to the artist of the #wn-Ra [Cat.9] scene, as four renditions of the action, specific to the placement of a prop and using the body to lift the hull, can be observed. Enlivening of the workmen with realistic movements and postures, including tucking the elbows into the body and interlocking the arms, is also evident.

3.1.4.6 Trimming a Plank Following the sawing process, shaping and smoothing of the planks is undertaken, but this procedure is of limited attestation in the corpus. Nevertheless, in both extant examples, from the tombs of Nj-anx-$nmw and $nmw-Htp [Cat.25] and #w-ns [Cat.45], common elements are still to be observed. These include the location of the operation on the ground, the plank in a horizontal orientation and the use of an adze as the principal tool. 3.1.4.7 Cutting Holes or Mortices in a Plank Following the trimming procedure, holes and mortices are cut into the planks with a mallet and chisel for the purpose of joining them into sections with a lash or tenon.149 Both procedures are characterised in the corpus by a close correspondence between the necropolis workshop styles of Saqqara and Zawyet el-Amwat. In each case, the plank is rendered in frontal view with a cavity or mortices and either worked on the ground or raised off the ground on forked props. Given that these features are illustrated only in the tombs of Nj-anx-$nmw and $nmw-Htp [Cat.25], *jj [Cat.34] and #w-ns [Cat.45], they may constitute reliable dating criteria for the period V.M-L.

The propping procedure is confined to the tomb of #wnRa [Cat.9] until V.L, when possible influences from the early kneeling and crouching models can be detected in the scenes of Ra-Spss [Cat.28] and Jntj [Cat.42]. Potential dating criteria provided by the prop styles include forkedshaped props (Provincial V.8-9), a block between the hull and prop (Memphite/Provincial V.6-9) and support posts at the bow or stern (Memphite V.6-9). The hobble-type prop tied to the hull is a Zawyet el-Amwat innovation introduced to the repertory in V.8-9. On the basis of these findings, it is suggested that the tomb of &p-m-anx [Cat.17] may be dated too early by Baud152 and Verner153 at V.1-2 and that the tomb of *jj [Cat.34] is more accurately assigned to the period V.89, contrary to the frequently cited estimate of V.6.

3.1.4.8 Sawing a Plank into Battens Another preparatory step illustrated is the sawing of the planks into battens, which were used to cover and secure the internal seams of the hull or join the bulwark.150 Elements such as the seated position of the figure, the use of a onehanded saw for the procedure, the rendering of the stabilising arm as fully extended and the anchoring of the batten with the foot are common to the only two known examples in the Saqqara tombs of Ra-Spss [Cat.28] and *jj [Cat.34]. The first of these, however, is contrasted by its marked elevation of the foot against the timber, with the effect of conveying a greater sense of resistance to the saw.

3.1.4.11 Cutting Holes or Mortices in a Hull The next phase of construction illustrated is the forming of the hull proper by a process known as ʻinternal hull lashingʼ or ʻsewingʼ.154 Rope or leather cords are used to join plank sections together, while mortice and tenon joints or wooden pegs, which eventually superseded the use of lashes, are added for reinforcement and tightly bound.155 The procedure begins with the cutting of the holes or mortices using a mallet and chisel, scenes of which depict multiple variations of posture. Prior to V.M, the mallet is generally held above the head pointing in a forward direction, with the figure either sitting or kneeling in the hull. A further example of the crossed-leg position is recorded in the tomb of #wnRa [Cat.9] in this category, as well as the first entry into the repertory of a figure with one leg suspended over the

3.1.4.9 Trimming a Batten Scenes of trimming and smoothing a batten share a number of consistencies with the sawing motif described above, including the presentation of the figures in a sitting or kneeling position, the extension of the inner arm and the

23

‘Make it According to Plan’ side. This latter posture becomes popular after V.8-9 and is most frequently attested in the Provinces. The rendering of the figure with both legs suspended in a side position or straddling the hull at its narrowest point is unique to the tomb of +aw and +aw:^mAj [Cat.50] at Deir el-Gebrawi.

the use of a narrow chisel blade to check the spacing between the joints suggests that the planks have been successfully aligned. Such activities, in addition to those of hammering the planks together and positioning the bulwark, are the only recognisable depictions of mortice and tenon joinery currently documented in Boat Building scenes.160

The first evidence of the mallet facing outwards while the hull is chiselled is recorded in V.M, at which time experimentation in the arc of the stroke is also attempted. In a small number of examples, however, the forward orientation of the mallet is retained. The placement of the tool in an upright position, consistent with a tapping action, is a Provincial variation, recorded in this context only in the tombs of Jntj [Cat.42], Jbj [Cat.47] and +aw and +aw:^mAj [Cat.50]. Given that a small bulbous mallet is consistently used in the Deir el-Gebrawi examples, it may constitute a reliable dating criterion for the period VI.4-5. What appears to be a spare mallet lying on the hull in the tomb of Jbj [Cat.47] is a feature unique to the same area and period.

3.1.4.15 Squaring Off a Hull The construction of the hull is completed by the levelling off of any rough or uneven plankwork prior to the final smoothing and trim. At the same time, toolmarks and ochre guidelines, if still in evidence, were also removed.161 Both procedures are represented extensively in the corpus and are typified by a lunging or bending posture and the graduated heights at which the axe is held. Again, the earliest and most vigorous interpretations of the movement are recorded in the tomb of #wn-Ra [Cat.9], where a majority of depictions of this scene type presently appear. In only two examples is the activity positioned at the end of the hull, in the tombs of Jbj [Cat.47] and ©aw and ©aw:¥mAj [Cat.50], thus constituting a likely Deir el-Gebrawi signature style.

3.1.4.12 Lashing Planks Together In contrast to the substantial pictorial evidence for the cutting of holes and mortices, the lashing of the planks together is currently attested only in the tombs of Nfr and KA-HA.j [Cat.27] at Saqqara and Jtt [Cat.40] and Ra-Htp [Cat.41] at Maidum, the latter compositions proving to be identical in their elements when compared. The activity is illustrated in two parts: the pulling on the lashings by one workman to tighten them, followed by another workman pounding the lashings with a hammer stone to secure the knot. Excluding the above examples, the procedure is conspicuously absent from the repertory, and depictions of boats with lashings, either real or simulated, are unusually rare.156 This may be reflective of either a decline in the referencing of papyrus skiff building scenes in wooden boat building representations or the advent of technological change. It is also possible, as proposed by some scholars, that many artists encountered difficulties representing an activity which was performed inside the cavity of the hull and was, therefore, obscured from normal view.157

3.1.4.16 Trimming a Hull The trimming of the hull with a long- or short-handled adze is the most commonly depicted scene in the Boat Building corpus, the distinction between tools being determined by whether planing, smoothing or fine work was required and the amount of surface timber to be reduced.162 The standard posture assumed is the bending or lunging position, from which a long-handled adze, pivoted at waist level, is applied to the plankwork. A broad chronological attestation for this posture, specifically IV.M-VI.1, is recorded. Dynamic variations, such as a markedly bent rear leg or raised rear elbow, result in conveying a greater sense of energy and exertion. Kneeling, stretching and crouching postures are also introduced early in the repertory in IV.1L-IV.5. The Giza artists are the first to place the figure under the hull to perform the action, as observed in the tombs of @m-jwnw [Cat.6] and #wn-Ra [Cat.9]. This presentation is subsequently recorded in the tomb of *jj [Cat.34] at Saqqara, where further elaborations, for example the figure working in a recumbent position, extending an arm backwards for support and adzing in a cross-swinging motion, are attested. Other interesting adaptations, specifically the holding of the edge of the bow while trimming, trimming the stern face or trimming with the aid of a small measuring rod or plumb, may also be regarded as Memphite traditions.

3.1.4.13 Hammering Planks Together The hull lashing scene undergoes further development in V.8-9, at which time dramatic hammering motifs begin to emerge. In such scenes, planks are driven together using stone or wooden rammers,158 held high above the head and lowered synchronously to convey a sense of force. On current evidence, the illustration of the procedure is unique to the tombs of Mrrw-kA.j:Mrj [Cat.22] and *jj [Cat.34], suggesting that Saqqara artists were largely responsible for its design. Copying of the *jj scene by the later MrrwkA.j:Mrj artist is likely, however, given the striking similarities between postures and tools.159

Further dating and stylistic criteria pertaining to the scenes include a hull with rounded bottom (Memphite/Provincial V.M-VI.M ) and a hull with defined plankwork (Memphite/ Provincial V.L-VI.M), while a hull with pointed bow and stern is a unique characteristic confined to the tomb of ©aw and ©aw:¥mAj [Cat.50]. The presence of a hull with visible plankwork supports the proposed date of V.8-9 for the tomb of *jj [Cat.34] on artistic grounds, as does the depiction of at least three boats with squared off bow and stern in the

3.1.4.14 Checking a Plank Seam The follow up procedure to hammering the planks together is the checking of the plank seam, which was critical to the attachment process in hull construction. Again, it is recorded only in the tomb of *jj [Cat.34] at Saqqara, where

24

The Scenes in Focus - Boat Building and *jj [Cat.34], but have as their precedent a Dynasty IV scene recorded in the tomb of #wn-Ra [Cat.9]. Although the bulwark is clearly identified as the chosen area of attention, the activity is indistinguishable from other trimming scenes and both long- and short-handled adzes and similar hand actions and postures can be observed.

tomb of #w-ns [Cat.45], a feature which is most commonly recorded late Dynasty V. An adze blade in frontal view also reliably dates a tomb to late Dynasty V or after, irrespective of context. 3.1.4.17 Checking Hull Specifications The final stage of examining the completed hull for structural accuracy or as a precursory step to trussing and positioning the mast163 is not widely represented in the corpus and, on current evidence, is largely associated with Memphite tombs. The procedure is first attested in the tomb of #wn-Ra [Cat.9] and is performed by a smsw wxr.t or ʻElder of the Dockyardʼ.164 Thereafter, with few exceptions, the carrying of a long measuring rod and plumb bob becomes a symbolic abbreviation for this task. An expansion of the procedure to include six participants occurs in the tomb of MrrwkA.j:Mrj [Cat.22], together with the only known scene of a long measuring rope being used to check hull symmetry and proportions.

3.1.4.22 Carving Decorative Features into a Hull Following the completion of the plankwork, a decorative hedgehog head is carved into the hull for the purpose of aiding navigation through symbolic or magical means.168 The action enters the repertory in IV.5 in the tomb of #wnRa [Cat.9] but, on present evidence, is not recorded again until V.8-9 in the tomb of #w-ns [Cat.45]. While the latter is similarly depicted, an important distinction is apparent, in that the carving of the decoration is represented in its preliminary stages, with the features of the animal not yet defined. An alternative to an animal figurehead may be recorded in the tomb of *jj [Cat.34], where it has been argued that a workman is carving a papyrus flower detail into a bow.169

3.1.4.18 Cutting Holes or Mortices in a Bulwark The preparation of the trims, specifically the bulwark or the section of the boat which frames the deck,165 replicates the preparation of the hull in terms of posture and action. Particular to these scenes, however, is that they are restricted to the period V.M-L and are only of Memphite attribution. Internal differences, where present, relate principally to the orientation of the mallet, although in the tomb of *jj [Cat.34], pronounced holes and notches for the mounting of the oars are also visible.

3.1.4.23 Trussing a Hull The trussing of the hull and its removal emerges early in the repertory in the tomb of #wn-Ra [Cat.9], thereby enabling the first recording of the procedure to be dated to IV.5. This represents a significant revision of the assumed terminus ante quem of V.M-L for such a scene type, which was based on a previous concentration of examples from that time.170 The purpose of the action itself is subject to interpretation, having been described as either a means of supporting the hull during repair or construction,171 binding and prestressing the structure once assembled172 or lifting the structure off its blocks in preparation for launching.173 An indicative or implied example of trussing in each of these contexts is documented in the tombs of Nj-anx-$nmw and $nmw-Htp [Cat.25] and *jj [Cat.34], #wn-Ra [Cat.9] and #w-ns [Cat.45] and Nfr and KA-HA.j [Cat.27], which most likely depict the construction, strengthening and launching phases respectively in their scenes.

3.1.4.19 Positioning a Bulwark Another notable innovation in the tomb of *jj [Cat.34] is a scene of the bulwark being positioned. In the first stage of the procedure, workmen are shown aligning the pre-cut mortices of the bulwark over six protruding tenons on the hull, using a short rope to lift and manoeuvre the plank into place. An accompanying figure levers the plank with a stick or mallet to guide and reposition it and to ensure that the tenons do not bend or prematurely join.166 In this regard, the depiction closely resembles that of checking a hull seam, also recorded in the tomb of *jj [Cat.34], although in the latter case the plank has already been laid.

The most detailed illustrations of the trussing procedure are found in relation to the binding of the hull, characterised by multiple figures in animated poses using levers to twist and tighten ropes attached to the frame. The scene in the tomb of #wn-Ra [Cat.9], in particular, is distinguished by its variation of leg positions, including balancing on the bulwark, pressing against the lever and suspended in mid-air, all of which convey a high degree of energy. Individualising of the workmen is also common in the depictions, with the assigning of different roles and attitudes to several of the figures. These include a workman monitoring the taughtness of the truss with his foot and his companion being beaten by an overseer in the tomb of #wn-Ra [Cat.9] and another passively assisting his colleague in the tomb of #w-ns [Cat.45]. In contrast, the launching scene in the tomb of Nfr and KA-HA.j [Cat.27] presents a contracted version of the procedure, reduced to only two participants, interpreted by some scholars as evidence that the truss is no longer

3.1.4.20 Hammering a Bulwark into Place Augmenting the scene of positioning a bulwark is that of hammering it into place, also attested uniquely in the tomb of *jj [Cat.34]. Small stone pounders are used to set and beat the joints together, in preference to the heavier stone rammers employed for final fitting.167 Such apparent understanding of the structural components of the bulwark and critical phases of planking attachment are hallmarks of this extensively decorated tomb and were likely obtained from direct observation of experienced boat builders in the larger estate dockyards. 3.1.4.21 Trimming a Bulwark On current evidence, these scenes occur principally in Saqqara tombs dated V.8-9, such as those of Ra-Spss [Cat.28]

25

‘Make it According to Plan’ necessary and is being removed.174

industry is the presence of an overseer or smsw wxr.t, who supervises all aspects of construction. The conventional pose assumed for the figure is that of standing passively in or to the side of the hull, holding a measuring rod and plumb bob, but this becomes standardised only after V.1-2. Prior to this, the overseer is presented as an active participant in the construction process and may be illustrated disciplining the workmen, holding the end of the hull to evaluate its stability or calling out and motioning instructions. Examples of these respective actions are recorded in the tombs of #wnRa [Cat.9], Nj-anx-$nmw and $nmw-Htp [Cat.25] and *jj [Cat.34].

3.1.4.24 Trimming a Trussing Pole Augmenting the above procedures are scenes depicting the preparation of equipment, such as the forked pole or stanchion on which the trussing rope will be suspended and the oars. Two examples of the first category are included in the corpus, from the tombs of Nj-anx-$nmw and $nmwHtp [Cat.25] and *jj [Cat.34], with identical elements of composition and Saqqara provenance. One of these common features is the working of the object in a squatting or kneeling position inside the hull. Since such a pole is likely to have been utilised only for the trussing action, its depiction may constitute an abbreviation for the procedure as a whole. If so, the total number of corpus examples representing the trussing of a hull could be as high as eight.

Experimentation with the equipment of the overseer most frequently occurs after V.6-7, when the rod and plumb bob are occasionally interchanged or combined with an adze, a mallet, a chisel or a baton. This may be evidence that his responsibilities throughout construction encompassed both checking for structural abnormalities and their physical removal.177 The elongated plumb bob, in contrast to one of sphendonoidal shape, is also more typical of this period. Variation in the length of the kilt is observed over time as well, with the calf- and knee-length garment, traditionally depicted in IV.L-V.E, progressively shortening by V.M-L. A markedly short kilt, particularly with an extended hemline, is common attire for this occupation in the period V.8-9, and it is at this time that the accessory of an amulet on a cord is also added. Based on analysis of the corpus, at least one figure of an overseer is depicted in approximately 50% of all Boat Building scenes.

3.1.4.25 Trimming an Oar To date, only one example of this action has been attested in the corpus, recorded in the tomb of ©aw and ©aw:¥mAj [Cat.50] at Deir el-Gebrawi. In artistic terms, the scene mirrors the complementary action of trimming a trussing pole, in that it is performed either on or inside the hull and the principal tool depicted is an adze. While the description of the object illustrated as an oar has been disputed in the literature,175 its identification here as such is confirmed by its accompanying caption which reads wsr ‘oar’.176 3.1.4.26 Supervising Construction Common to a number of scenes depicting the Boat Building

Fig. 3 Trimming a hull. Tomb of #w-ns. Zawyet el-Amwat. After LD II, 108[right]. Digitization of ULB

26

The Scenes in Focus - Boat Building

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1 2

Giza Saqqara

V.1-2 V.6

13 27

26, 27 15, 26

1 2 3

El-Hammamiya V.1-6 Saqqara V.6 el-Amwat V.8-9

52 27 45

44

1

Saqqara

V.6L-7

25

1 2 3

Giza Saqqara el-Amwat

V.1-2 V.6L-7 V.8-9

13 25 45

4

Saqqara

V.9 r/u

26

5 6

Saqqara el-Gebrawi

V.9 r/u 26 VI.1L-2E 49

1 2

Giza Giza

V.1-2 V.1-2

13 13

1 2 3

Giza el-Amwat el-Gebrawi

V.1-2 V.8-9 VI.4E

13 45 47

1 2 3 4 5 6 7

Saqqara Saqqara el-Amwat El-Hammamiya El-Hammamiya Saqqara el-Amwat

V.6 V.8M V.8-9 V.8-9 V.8-9 V.8-9 VI.2

27 28 45 53 53 34 44

Lunging

1. Felling a tree

1

2

Standing 1

2

44

3

Bending

2. Carrying a log

1

Striding

1

2

5

6

3

4

45?, 52 47 15?, 45, 47 44, 47

15, 39

Lunging

3. Dressing a log

1

2

Bending 1

Standing

2

15, 27

3

1

2

3

5

6

7

4

Table 3.3 Posture Summary - Boat Building

27

53 44

‘Make it According to Plan’

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Saqqara

V.8-9

34

1

Saqqara

V.8-9

34

1 2 3

Saqqara V.6L-7 Saqqara V.8-9 El-Hammamiya V.8-9

25 34 53

1

El-Hammamiya V.8-9

53

1

Saqqara

V.6L-7

25

1

el-Amwat

V.8-9

45

1

Saqqara

V.8-9

34

1

el-Amwat

V.8-9

45

1

Saqqara

V.8M

28

Sitting

6. Trimming a plank

5. Sawing a section of log into planks

4. Carrying a section of log

1

Striding 1

Standing 1

2

3

Squatting 1

Sitting 1

Squatting

7. Cutting holes or mortices in a plank

1

Sitting 1

Squatting

8. Sawing a plank into battens

1

Sitting 1

Table 3.3 Posture Summary - Boat Building (cont.)

28

Other

The Scenes in Focus - Boat Building

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Saqqara

V.8-9

34

1 2 3

Giza Giza Saqqara

IV.5 V.1-2 V.8M

9 13 28

1 2 3

Saqqara Saqqara el-Amwat

V.6L-7 V.8-9 V.8-9

25 34 45

1

el-Amwat

V.8-9

45

1 2

Giza Giza

IV.5 IV.5

9 9

1

Giza

IV.5

9

1

Giza

IV.5

9

1 2 3 4 5

Maidum Maidum Saqqara Saqqara el-Gebrawi

IV.1M IV.1L V.8-9 V.8-9 VI.4E

Other

Squatting 1

9. Trimming a batten

Sitting 1

2

3

Kneeling 1

2

28?

53

3

Squatting 1 28 42

Kneeling

10. Propping a hull

1

2

Crouching 1

Stretching

11. Cutting holes or mortices in a hull

1

Kneeling

1

2

3

4

5

Table 3.3 Posture Summary - Boat Building (cont.)

29

40 41 34 34 47

13? 22, 45

‘Make it According to Plan’

Procedure

Posture

Sitting

Posture Types in Chronological Order

1

2

3

5

6

7

4

Squatting

12. Lashing planks together

1

2

2

Site

Date and Cat. No.

Other

1 2 3 4 5 6 7

Giza Giza Giza Saqqara Deshasheh el-Gebrawi el-Gebrawi

IV.5 IV.5 IV.5 V.8-9 V.9 VI.4E VI.4-5

9 9 9 34 42 47 50

45

1 2 3

Giza Saqqara el-Gebrawi

V.6-9? V.8-9 VI.4E

15 34 47

17, 25?

1 2 3

Maidum Maidum Saqqara

IV.1M IV.1M V.6

40 40 27

41 41

1

Saqqara

V.6

27

1 2

Saqqara Saqqara

V.8-9 VI.1M-L

34 22

1

Saqqara

V.8-9

34

1

Giza

IV.5

9

1 2

Giza el-Gebrawi

IV.5 VI.4E

47, 50?

50

3

Squatting 1

Earliest Recording and Other Occurrences Type

3

Standing

15. Squaring off a hull

14. Checking a plank seam

13. Hammering planks together

1 22

Standing 1

2

Bending 1

Lunging 1

Bending 1

2

Table 3.3 Posture Summary - Boat Building (cont.)

30

9 47

50

The Scenes in Focus - Boat Building

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1

Giza

V.6-9

17

15

1 2 3

Maidum Saqqara Saqqara

IV.1M V.8M V.8M

40 28 28

25, 45 45 36?

1

Maidum

IV.1M

40

9, 13, 14, 17

1 2 3 4 5 6

Maidum Giza Giza Abusir Saqqara Saqqara

IV.1L IV.5 IV.5 V.6-9 V.8-9 V.8-9

41 9 9 17 34 34

17

1

Giza

IV.5

9

42

1 2 3

Saqqara Saqqara Saqqara

V.8-9 V.8-9 V.8-9

34 34 34

6?

1 2 3 4

Saqqara Saqqara Saqqara Saqqara

V.8-9 V.8-9 V.8-9 V.8-9

34 34 34 34

1

Saqqara

V.8-9

34

Standing 1

Bending 1

2

3

Lunging 1

16. Trimming a hull

Kneeling

1

2

5

6

3

4

22, 34 22

Crouching 1

Squatting 1

2

3

Sitting 1

2

3

4

Standing 1

Table 3.3 Posture Summary - Boat Building (cont.)

31

‘Make it According to Plan’

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1

Giza

IV.5

9

1

Saqqara

VI.1M-L

22

1 2

Saqqara Saqqara

VI.1M-L VI.1M-L

22 22

1 2 3

Abusir Saqqara Saqqara

V.6-9 V.8-9 V.8-9

17? 34 34

34

1

Abusir

V.6-9

17

34

1

Saqqara

V.8-9

34

1

Saqqara

V.8-9

34

1

Saqqara

V.8-9

34

1

Saqqara

V.8-9

34

17. Checking hull specifications

Kneeling 1 39?

Standing 1

Bending

18. Cutting holes or mortices in a bulwark

1

2

Squatting 1

2

3

Sitting 1

Kneeling

19. Positioning a bulwark

1

Kneeling 1

Bending

20. Hammering a bulwark into place

1

Squatting 1

Table 3.3 Posture Summary - Boat Building (cont.)

32

The Scenes in Focus - Boat Building

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1

Giza

IV.5

9

28

1

Saqqara

V.8-9

34

1

Saqqara

V.8-9

34

1

Saqqara

V.8-9

34

1 2

Giza Saqqara

IV.5 V.8-9

9 34

1

el-Amwat

V.8-9

45

1

Giza

IV.5

9

45

1

Giza

IV.5

9

45

1 2

Giza el-Amwat

IV.5 V.8-9

9 45

Lunging

21. Trimming a bulwark

1

Squatting 1

Kneeling 1

Standing

22. Carving decorative features into a hull

1

Kneeling 1

2

Sitting 1

Standing

23. Trussing a hull

1

Bending 1

Sitting 1

2

Table 3.3 Posture Summary - Boat Building (cont.)

33

‘Make it According to Plan’

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Saqqara

V.6

27

1

el-Amwat

V.8-9

45

1

Saqqara

V.6L-7

25

1

Saqqara

V.8-9

34

1

el-Gebrawi

VI.4-5

50

1

Giza

IV.5

9

2 3

Giza Giza

IV.5 IV.5

9 9

4

Saqqara

V.1-2

13

5

Saqqara

V.8M

28

Other

Kneeling 1

Lunging

24. Trimming a trussing pole

1

Kneeling 1

Squatting

26. Supervising construction

25. Trimming an oar

1

Squatting 1

Standing

1

2

3

4

27, 28, 34 17?, 25, 53 17, 25, 28, 34, 36, 45, 47

5 Table 3.3 Posture Summary - Boat Building (cont.)

Fig. 4 Axe with cross-hatch bindings and fastening hole. Tomb of Nj-anx-$nmw and $nmw-Htp. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

34

The Scenes in Focus - Carpentry accoutrements are identified explicitly as mDH ‘Carpenter’ or fnx ‘Joiner’. Little differentiation between the two roles is apparent in the pictorial record, except for the assignment of tasks such as sawing and drilling to the joiner and, in some cases, the size of the objects on which they work. In one example, recorded in the tomb of Jbj [Cat.47], the term Hmw.tj(.w) or ‘Craftsmen’ is used to describe two of the workmen featured, but they perform the same task as mDH.w in comparable scenes. The term sSp or ‘Polisher’appears to be a specialist classification, applicable only to the polishing or sanding of large items of furniture, such as beds, shrines and wooden sarcophagi, while in Staff Making, only the operators of the vice are referred to as smjtj or ‘Staff Maker’.

3.2 Carpentry 3.2.1 Overview Carpentry is the second most frequently attested industry in the corpus after Metalwork, with over 200 workmen engaged in 21 procedures, as listed in Table 3.4, pertaining to the construction of wooden furniture, burial accoutrements and staffs. While a common presentation is of paired figures performing the same procedure on a single object positioned centrally in the scene, in a majority of cases the figures work as independent craftsmen. Where collaboration of different types of workers is in evidence, they will almost always be depicted cutting holes or mortices and trimming, as observed in the tombs of Jj-mrjj [Cat.1], #wn-Ra [Cat.9], %nDm-jb:Jntj [Cat.11], Mrrw-kA.j:Mrj [Cat.22] and Nj-anx$nmw and $nmw-Htp [Cat.25]. In scenes of Staff Making, owing to the nature of the operations, a greater emphasis on team work applies, with two figures manoeuvring the vice in all examples. Preparatory tasks, where featured, are always carried out by individuals.

Classification

Preparing the Timber

Constructing Furniture or Fittings

Finishing Maintaining Tools

Making Staffs

Quality Control

Procedures in Sequential Order

Provincial

3.2.2 Identification of Personnel Although the making of staffs is viewed as a corollary of the Carpentry industry in this study, an association implied by its proximity to other woodworking scenes, only those workmen engaged in making furniture or burial

Memphite

3.2.3 Identification of Materials An inventory of at least 20 categories of objects, with multiple variations of type, is recorded in the corpus, featuring woods which were both imported and locally procured. These woods are occasionally specified in accompanying captions as wan ‘juniper’, hb(njj) ‘ebony’, ssnDm ‘ssnDm-wood’ or ^mA ‘Upper Egyptian-wood’ or are recognisable as either cedar or pine, as in the tombs of PtH-Spss [Cat.16], Nj-anx-$nmw and $nmw-Htp [Cat.25], Nfr and KA-HA.j [Cat.27] and *jj [Cat.34], from the colour of the wall paint where preserved.178 As such, they reflect the most commonly identified wood varieties documented in the archaeological record.

Date Range

1. Sawing a section of log into planks

IV.5-VI.7

2. Dressing and stacking planks

V.8-9

3. Carrying a plank

V.6-V.8M-L

4. Splitting a plank

VI.1-VI.7

5. Sawing a plank into battens

V.8-9

6. Trimming a plank or batten

IV.6-VI.7

7. Trimming an object

IV.5-VI.5

8. Cutting holes in a bed frame

V.2-V.8M-L

9. Cutting holes or mortices in a box or chest

V.6-VI.1

10. Drilling a hole in a box or chest

V.8-9

11. Cutting holes or mortices in a door

IV.5-VI.5

12. Fitting the lid of a sarcophagus

V.6

13. Holding an object

IV.5-VI.4E

14. Applying an abrasive before polishing

V.6-V.8M-L

15. Polishing or sanding an object

IV.5-VI.5

16. Sharpening an adze

IV.6-VI.5

17. Trimming a staff

V.6L-VI.1M-L

18. Dampening a staff

IV.5-VI.7

19. Heating a staff

V.8-9E

20. Shaping a staff in a vice

IV.5-VI.7

21. Supervising construction

V.6-VI.6

Table 3.4 Suggested Classification and Sequence of Carpentry Procedures

35

‘Make it According to Plan’ Site

Cat. No.

Tomb Owner

Date

Procedures Illustrated from Table 3.4

1

Jj-mrjj

V.6

1, 3?, 6, 7, 8, 9, 14, 15, 21

3

Wp-m-nfrt:Wp

V.5-8

7, 15, 16

4

Mrs-anx III

IV.5-6E

1, 7, 15

5

Nb.j-m-Axtj

IV.6-V.1

6?, 15, 16

8

#wfw-xa.f II

V.6

7, 15?, 21?

9

#wn-Ra

IV.5

1, 7, 11, 13, 15, 18, 20

10

%anx-n-PtH

V.9-VI.1

6

11

%nDm-jb:Jntj

V.8M-L

1, 3, 7, 8, 9, 14, 15

16

PtH-Spss

V.6L-8E

7?, 17, 18, 20, 21?

18

Ftk-tj

V.6-VI.1

1, 15?

22

Mrrw-kA.j:Mrj

VI.1M-L

1, 7, 11, 15, 16?, 17, 20

25

Nj-anx-$nmw and $nmw-Htp

V.6L-7

1, 7, 8, 15, 21

27

Nfr and KA-HA.j

V.6

1, 7, 12, 13, 15

29

%SsSt:Jdwt

VI.1E

15

30

KA.j-jrr

VI.1-2

15

31

KA.j-m-rHw

V.8-9

6, 15

33

&p-m-anx II

V.2

7, 8, 15

34

*jj

V.8-9

1, 5, 6, 10, 11, 15, 20

37

Unknown

V.6-VI.1?

1, 7?, 9, 15

38

%Sm-nfr

V.6-VI.1

7, 15

42

Jntj

V.9

6?, 13?

43

Jttj:^dw

VI.1

1, 4, 7, 15, 20

Zawyet el-Amwat

45

#w-ns

V.8-9

1, 2, 7

El-Sheikh Saïd

46

%rf-kA.j

V.8-9E

15, 18, 19, 20, 21

47

Jbj

VI.4E

7, 13, 15

50

+aw and +aw:^mAj

VI.4-5

4, 7, 15, 21

51

Ppjj-anx:@nj-km

VI.4-5

1, 4, 6, 11, 15, 16

55

^psj-pw-Mnw:$nj

VI.6L-7

1, 4?, 6?, 18, 20

56

KA.j-Hp:*tj-jqr

VI.5-6

1, 6, 21?

Giza

Abusir

Saqqara

Dahshur Deshasheh

Deir el-Gebrawi Meir El-Hawawish

Table 3.5 Distribution of Carpentry Scenes and Procedures

3.2.4 Common Procedures The dominant procedure depicted is that of polishing or sanding an object, which occurs in 76% of tombs containing Carpentry scenes, thus establishing it statistically as the core motif. The trimming of an object and sawing logs into planks are also popular selections. To date, the most extensive Carpentry tableau is recorded in the tomb of Jjmrjj [Cat.1], where two registers devoted to the industry can be found. The tombs of %nDm-jb:Jntj [Cat.11], *jj [Cat.34] and Ppjj-anx:@nj-km [Cat.51] are equally notable, in that they attempt to include a number of activities outside the conventional range. Variety is also evident in the newly catalogued scenes from the tomb of #wn-Ra [Cat.9], indicating that seven construction phases, as opposed to the widely accepted three, were once displayed. Table 3.5 summarises the geographical and temporal distribution of all Carpentry scenes and procedures in the corpus, while

Table 3.6 presents all applicable postures in sequential and chronological order. Detailed commentary on these and other aspects of the industry is found below. 3.2.4.1 Sawing a Section of Log into Planks The furniture construction sequence begins with the sawing of pre-cut log sections into planks, replicating the techniques, equipment and outfitting of personnel observed in scenes of Boat Building. As acacia, sycamore fig, tamarisk and cedar have been identified in the archaeological record as the woods most commonly used in ancient Egyptian carpentry,179 they are likely to be the timbers illustrated here. The earliest example of the sawing procedure, previously attributed to the tomb of Mrs-anx III [Cat.4], has been shown by the current research to occur in the tomb of #wnRa [Cat.9], where the conventions of the sawer with legs 36

The Scenes in Focus - Carpentry apart, rear heel raised and hands gripping both the blade and handle of the saw are already established. With the exception of the tomb of Jttj:^dw [Cat.43], in which the rear foot has been rendered flat, this lower body posture, emphasising the strenuousness of the task, remains consistent. The additional detail of the overlapping of the rear leg of the sawer with that of an adjacent figure or object is unique in a Carpentry context to the early Giza tombs of Mrs-anx III [Cat.4] and #wn-Ra [Cat.9], while the bending of the inner arm so that the forearm is parallel to the body also constitutes a Memphite adaptation introduced to the repertory in V.6. By contrast, the pressing down on the blade with one hand is a distinctly Provincial interpretation and may establish a reliable dating criterion for the period V.8-9. The pulling action of the saw with both hands on the handle can be traced to the same provenance and date as the pushing posture, that is Giza IV.5-6, although this depiction is less frequently attested. The abbreviated shoulder pose, which concentrates the effort of the movement at the front of the body, is also of Giza origin but does not appear in the repertory until V.8.

to the earlier date of V.3 for Jj-mrjj which is frequently proposed.182 3.2.4.4 Splitting a Plank Once sawn and dried, the timber is shown being cut into lengths suitable for furniture construction, but the scene is rarely documented and is of late attestation. The splitting of the planks with an axe is a Provincial interpretation of the activity, being recorded only in the tombs of Jttj:^dw [Cat.43], +aw and +aw:^mAj [Cat.50], Ppjj-anx:@nj-km [Cat.51] and ^psj-pw-Mnw:$nj [Cat.55]. As the use of the foot to anchor the plank as it is split is a feature of such illustrations, it may constitute a potential dating criterion for the period VI.E-L. 3.2.4.5 Sawing a Plank into Battens This scene type is distinguished from those of splitting a plank by the illustration of a hand saw as the principal tool. In many respects, it is identical to scenes of trimming a plank or batten but in this context is attested only in the tomb of *jj [Cat.34]. The rendering of a defined linear cut on the timber, representing the penetration of the plank from top to bottom, is a distinguishing characteristic of the scene and a unique Memphite stylistic criterion of the period IV.L-VI.E.

An interesting augmentation to the sawing scene is the inclusion of an assistant, examples of which are recorded in the tombs of %nDm-jb:Jntj [Cat.11], Ftk-tj [Cat.18] and Ppjj-anx:@nj-km [Cat.51]. In only the latter case, however, does the figure hold the log itself throughout the procedure, in contrast to the conventional role of controlling the rope. Additional stylistic criteria in sawing scenes particular to the Provinces include the only illustration in the repertory of the separation of the timber at the saw cut, a sawing post with weighted supports, small counterweights, a counterweight attached to a horizontal stick and a counterweight secured in a rope bag.180 The absence of a counterweight on the sawing post in a Carpentry context occurs solely in Memphite tombs in the period V.M-VI.E, while bindings positioned above the saw on the sawing post, in both Carpentry and Boat Building contexts, reliably dates a tomb post V.M.

3.2.4.6 Trimming a Plank or Batten On completion of the sawing process, further shaping and smoothing of the planks or battens takes place in order to prepare the timber for subsequent construction.183 A majority of scenes in this category are characterised by the working of the wood in an upright position, parallel to and at arm’s length from the body. A kneeling, squatting or sitting posture is generally assumed, and the tool is held, in most cases, level with the shoulder or knee. A unique deviation from these conventions occurs in the tomb of Ppjj-anx:@njkm [Cat.51], however, where an overseer uses a horizontal motion to trim an unusually small piece of timber resting between his feet.

3.2.4.2 Dressing and Stacking Planks Following the sawing of the logs, preparation of the timber continues, with the illustration of the rough dressing and stacking of the planks to dry. This step was necessary in order to ‘season’ the timber and to protect it from potential fungal decay.181 Nevertheless, its unique depiction in the tomb of #w-ns [Cat.45] at Zawyet el-Amwat indicates that a majority of artists were uninformed about the process.

3.2.4.7 Trimming an Object The assembly of wooden items is not depicted in the corpus but is implied in random cases by one of two methods: either by the object being rendered in disarticulated form, as in the tombs of Jj-mrjj [Cat.1] and +aw and +aw:^mAj [Cat.50], or by the illustration of an unfinished element, such as an exposed tenon on a bed leg, as in the tomb &p-m-anx II [Cat.33]. Other processes leading to completion are more commonly attested, with the first of these being the cutting, smoothing and planing of the object to shape.

3.2.4.3 Carrying a Plank Scenes illustrating the transferring of sawn planks to other carpenters for further treatment also appear to have been of minor importance in the repertory and are restricted to the Giza necropolis. To date, the only known examples are recorded in the tombs of Jj-mrjj [Cat.1] and %nDm-jb:Jntj [Cat.11], where the similar placement of the carrier next to scenes of trimming and sanding or polishing bed frames could indicate that the compositions were copied. This factor, in addition to other near-identical elements identified elsewhere in the study, suggests that both tombs were decorated in the mid to latter part of Dynasty V, contrary

The typical presentation of this procedure consists of a workman in a squatting or kneeling position, steadying the object with one hand while working the surfaces with an adze. In a majority of poses, the adze is set at the front of the body, however experimentation is evident in V.E-L, with the tool held across the chest or above and behind the head. Given that in a realistic setting, the adze would generally be manipulated in a tight, rhythmic action, the chopping posture may have been selected for artistic effect.

37

‘Make it According to Plan’ Although common, the ground position for trimming, as represented by the baseline, is not the earliest posture attested, with standing or bending over the object recorded as early as IV.5 in the tomb of #wn-Ra [Cat.9]. Deviations, such as turning the free hand outwards to suggest a more relaxed demeanour, sitting on the object with one leg suspended, working from a stool or using a long-handled adze, occur in this context only between V.M-VI.E. The placement of the object at a non-conventional angle is an innovation observed for the first time in VI.E, with examples including an inverted paddle in the tomb of Mrrw-kA.j:Mrj [Cat.22] and a door leaf oriented vertically in the tomb of Jttj:^dw [Cat.43].

order to attach additional panels or battens is the earliest attested motif in scenes of furniture construction, now confirmed by the present study to have entered the repertory in or prior to IV.5. A door leaf or panel shown in frontal view with workmen kneeling or sitting at either end are elements common to three of the four known depictions. In contrast, a more energetic pose is recorded in the tomb of #wn-Ra [Cat.9] in which one leg is drawn up to rest on the door leaf itself. The use of small bulbous mallets in a tapping action characterises the scene from the Provincial tomb of Ppjj-anx:@nj-km [Cat.51], together with one of only two examples of the Memphite inspired cross-legged position occurring in a context other than Boat Building.

3.2.4.8 Cutting Holes in a Bed Frame The cutting of holes and mortices in an object is frequently depicted in the corpus, with tools such as mallets, chisels, reamers and a bow drill used to penetrate the timber. According to the pictorial record, the majority of furniture items subject to this process are bed frames, boxes and doors. The cutting of holes in a bed frame to facilitate the attachment of a woven mattress is confined to Memphite tombs dated V.E-L, with scenes derived from Saqqara recognised by their placement of the workman either on or astride the frame and the mallet raised forcefully above the head. In contrast, the Giza artists render the figure bending over the bed frame, utilising a tapping action in which the mallet is oriented upwards and poised at the shoulder. The identical angle of the upper body and chisel in scenes belonging to Jj-mrjj [Cat.1] and %nDm-jb:Jntj [Cat.11] further reinforces the likelihood that they are contemporary works whose decoration may be attributed to the same necropolis workshop.

3.2.4.12 Fitting the Lid of a Sarcophagus Fitting the lid of a sarcophagus to its corresponding coffer upon completion may be regarded as a miscellaneous scene in the Carpentry repertory, with a single example recorded in the tomb of Nfr and KA-HA.j [Cat.27]. It exhibits similar characteristics to a scene of polishing a sarcophagus in the earlier tomb of #wn-Ra [Cat.9] with respect to size and placement of the object, style of lid and pairing of workmen and, although compared to it in error,186 was probably influenced, to some extent, by the #wn-Ra composition in its design. 3.2.4.13 Holding an Object A second miscellaneous procedure which is sporadically recorded in the corpus is that of steadying an object while it undergoes construction. Regardless of its infrequency, particular conventions of representation still apply. These include the positioning of the arms of the auxiliary figure at either waist or head level and the hooking of an adze over one of the figure’s shoulders. The holding of a shrine is common to two of the known examples, those of #wn-Ra [Cat.9] and Jbj [Cat.47], but the placement of the foot on the object for stability is an adaptation found only in the #wn-Ra scene.

3.2.4.9 Cutting Holes or Mortices in a Box or Chest The cutting of holes or mortices in a box or chest is occasionally recorded in the corpus but, again, is confined to tombs from the Memphite necropolises.184 Parallel elements observed in the scenes of Jj-mrjj [Cat.1] and %nDm-jb:Jntj [Cat.11], such as the workman straddling the object and piercing its upper right edge with an identically angled mallet and chisel, provide additional support for the proposition that they are to be dated to the same period V.MVI.E.

3.2.4.14 Applying an Abrasive Before Polishing To complete the construction sequence, the assembled object is polished, in a process analogous with modern sanding. Over 60 figures in the Carpentry corpus are engaged in this activity, with a variety of one and two-handed strokes representing the rhythmic rubbing and smoothing of the timber. A preliminary step illustrated is the preparation of an abrasive, formed by scraping a block of sandstone with an adze to produce fine granules. Again, this procedure is limited to the tombs of Jj-mrjj [Cat.1] and %nDm-jb:Jntj [Cat.11] in relation to the sanding of a bed frame, where identical actions, tools and configuration of workmen are also observed. The Jj-mrjj scene, however, introduces the additional detail of the granules falling from the adze towards the frame.

3.2.4.10 Drilling a Hole in a Box or Chest The expanded motif of drilling a hole in a box for the purpose of inserting a button handle is likewise of Memphite origin, given that its only attestation to date is in the Saqqara tomb of *jj [Cat.34]. Its depiction of a bow drill in association with the action is unique in the current corpus of Old Kingdom workshop scenes.185 Representations of storage boxes with button handles are also confined to Memphite necropolises when illustrated in a Jewellery Making context, appearing in the tombs of Wp-m-nfrt:Wp [Cat.3], #wn-Ra [Cat.9] and Mr.f-nb.f [Cat.21] in both hn(.w) and dbn forms.

3.2.4.15 Polishing or Sanding an Object The earliest attested polishing or sanding postures occur in Giza tombs dated IV.5-6E and show the workman leaning into or bending over the object at an angle dictated by its size

3.2.4.11 Cutting Holes or Mortices in a Door Cutting holes or mortices in a door or door component in

38

The Scenes in Focus - Carpentry and shape. The latter interpretation of the action is the most widely documented in the corpus, remaining consistent over a broad chronological period IV.L-VI.M. Minor variations to the standard postures, which include anchoring the object with the foot, working from a box or platform, overlapping the hands on top of the polishing stone, polishing with two stones or polishing with one stone held between two workmen, are occasionally of early attestation but are associated principally with Memphite tombs dated V.LVI.E.

The sequence begins with the trimming of the preselected sticks to remove residual bark and branches and clean the surface. Three variations of the action, which consists of the wood being worked at arm’s length with an adze, are recorded in the tomb of PtH-Spss [Cat.16]. The anomalous configuration of the upper limbs of one of the figures in this tomb, whereby the outer arm holding the adze is positioned under the inner arm, is identical to that of a carpenter polishing a bed frame in the tomb of KA.j-m-rHw [Cat.31], suggesting that the scenes may be contemporaneous in date. A subtle difference is observed in the tomb of Mrrw-kA.j:Mrj [Cat.22], however, where the figure holds the adze closer to the blade. This implies a picking rather than a scraping action in relation to the procedure and is more consistent with the removal of a knot. The accompanying inscription Htj jm=f ʻThere is a knot in itʼ supports this interpretation.

Experimentation in the position of the figure relative to the object is also evident in Dynasty V, at which time kneeling, squatting and sitting postures become increasingly common. The wrapping of an arm over or around the object for stability is more frequently documented after V.M, supporting V.8-9 as the correct dating estimate for the tomb of KA.j-m-rHw [Cat.31] on artistic grounds.187 Sitting on top of the object or with the legs on either side are deviations present in this context only in tombs dated VI.E-M, the former being a Deshasheh innovation recorded in the tomb of Jttj:^dw [Cat.43]. The placing of one hand to the side of the object distinguishes the work of Deir el-Gebrawi artists during the same period, as seen in the tombs of Jbj [Cat.47] and +aw and +aw:^mAj [Cat.50]. Other potential dating and stylistic criteria provided by the scenes include a horizontal door leaf and door leaf with battens (Memphite/Provincial IV.L-VI.E), a bed frame with straight edges (Memphite/ Provincial V.M-VI.L), a bed frame with bovine-shaped legs (Memphite V.L), a backrest with bent leg (Memphite V.M) and an ovoid-shaped polishing stone (Memphite IV.LVI.E). A door lock of exaggerated size, with or without a bolt mechanism, is a short-lived addition to the repertory, occurring only in Memphite tombs dated V.6.

3.2.4.18 Dampening a Staff The dampening of the staff with water follows the completion of the trimming in preparation for the final stages of processing. A standing or bending posture typifies the action, whereby the wood is rubbed down vigorously with the hands. The performance of the operation in a squatting position, with the staff and one leg pressed against the vice for leverage, is a variation of the movement unique to the tomb of ^psj-pw-Mnw:$nj at El-Hawawish [Cat.55]. 3.2.4.19 Heating a Staff The heating of the staff to increase its flexibility, which is recorded only in the tomb of %rf-kA.j [Cat.46] at El-Sheik Saïd, exhibits a transitional posture between those associated with motifs of dampening and trimming. Its occurrence in a single tomb suggests that the artist charged with its decoration must have been familiar with the operation and used this knowledge to expand on the existing scene. Illogical ordering of the dampening and heating procedures is, nevertheless, still evident in the composition, in that the staff is shown being heated before the water necessary to soften the wood is applied.189

3.2.4.16 Sharpening an Adze On three or potentially four occasions, scenes are also supplemented by motifs detailing the maintenance of equipment, specifically the sharpening of an adze. The use of a slate whetstone188 and the inversion of the blade as it is honed are common elements in each of these depictions. While those found at Giza are distinguished by the separation of the legs of the figure, such as in the tombs of Wp-m-nfrt:Wp [Cat.3] and Nb.j-m-Axtj [Cat.5], there is no consistency in the illustration of the adze, which may be either short-handled or long-handled in appearance. A possible anomaly in the setting of the action occurs in the tomb of Mrrw-kA.j:Mrj [Cat.22] at Saqqara, where the sharpening of the adze blade, although fragmentary, takes place in association with scenes of Metalwork.

3.2.4.20 Shaping a Staff in a Vice The working of the staff in a vice is the most commonly represented procedure in this category of Carpentry scenes, appearing for the first time in the tomb of #wn-Ra [Cat.9]. A two part operation is depicted in all examples, but there is no agreement as to whether its purpose was to press the wood to remove surface irregularities or achieve the shape.190 Step one illustrates the placement of the staff into the fulcrum of a vice, consisting of a vertical stand, support post and movable lever. Step two shows the lever being manipulated by a workman in a swinging or pushing motion,191 with the support post used to increase momentum. Characteristic of the holding motif is the rendering of the figure in a squatting or sitting position with one leg extended and the staff oriented diagonally level with the knee. Examples in the tombs of Mrrw-kA.j:Mrj [Cat.22] and *jj [Cat.34] are identical in this regard, supporting the dating of the latter to no earlier than the period V.L. The raising of the staff to

3.2.4.17 Trimming a Staff The second category of Carpentry scenes attested in the corpus pertains to the production of wooden staffs, with all phases of manufacture collectively depicted. Evidence of this activity, newly identified in the tomb of #wn-Ra [Cat.9], establishes the terminus ante quem for its depiction as IV.5, pre-dating the current earliest illustration of the procedure in the tomb of PtH-Spss [Cat.16] at Abusir by at least 80 years.

39

‘Make it According to Plan’ shoulder level is a variation attributable to the tomb of #wnRa [Cat.9], with evidence of later copying at Deshasheh in the tomb of Jttj:^dw [Cat.43], while the steadying of the staff in the fulcrum of the vice to prevent it from dislodging individualises the scene in the tomb of PtH-Spss [Cat.16].

a number of completed staffs in a row is also a trademark feature of this tomb. 3.2.4.21 Supervising Construction In at least six cases, based on present evidence, a figure of an overseer carrying a measuring rod and plumb bob is included in a scene, whose role it is to supervise construction. The motif makes a late appearance in the repertory, however, and is concentrated in the period V.M-L. Poses which emphasise authority, such as disciplining the workmen or instructing them to correct the work using the ʻCarpenter’s Signʼ,192 are of Memphite origin, with an adze slung over the shoulder more commonly depicted in this context in V.M. In a majority of scenes, such as those of Jj-mrjj [Cat.1], Njanx-$nmw and $nmw-Htp [Cat.25] and +aw and +aw:^mAj [Cat.50], the overseer supervises the manufacture of a bed frame.

An alternative interpretation of the operation of the lever appears in the tomb of #wn-Ra [Cat.9], where the illustration records the initial pushing on the support post to commence the swinging action. Subsequent renditions, such as those in the tombs of PtH-Spss [Cat.16], Mrrw-kA.j:Mrj [Cat.22] and ^psj-pw-Mnw:$nj [Cat.55], show the workman at a later point in the process, with legs suspended, astride the lever or body slightly recumbent, to signify that the vice was now in motion. The elevation of the leg to rest on the lever is an adaptation of the movement unique to the tomb of Jttj:^dw [Cat.43], which may be intended to capture the action at the half-way point. The expansion of the composition to include

Fig. 5 Polishing or sanding a door lock. Tomb of Nfr and KA-HA.j. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

40

The Scenes in Focus - Carpentry

1. Sawing a section of log into planks

Procedure

Posture

Standing

Posture Types in Chronological Order

1

2

5

6

3

4

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

9

Other

1

Giza

IV.5

1, 27, 34, 37, 45, 56

2 3 4 5 6

Giza Saqqara Giza Giza Meir

IV.5-6E V.6L-7 V.8M-L V.8M-L VI.4-5

4 25 11 11 51

1

Abusir

V.6-VI.1

18

1

Deshasheh

VI.1

43

1

el-Amwat

V.8-9

45

1

Giza

V.8M-L

11

1?

1 2

Deshasheh Meir

VI.1 VI.4-5

43 51

51, 55? 50

1

Saqqara

V.8-9

34

1 2

Giza Giza

IV.6-V.1 V.6

18, 55 51

Sitting 1

Bending

6. Trimming a plank or batten

5. Sawing a plank into battens

4. Splitting a plank

3. Carrying a plank

2. Dressing and stacking planks

1

Bending 1

Striding 1

Bending 1

2

Squatting 1

Kneeling 1

2

Table 3.6 Posture Summary - Carpentry

41

5? 1

‘Make it According to Plan’

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1 2

Saqqara Giza

V.8-9 V.9-VI.1

34 10

31 55?, 56

1 2

Meir Meir

VI.4-5 VI.4-5

51 51

55?

1

Giza

IV.5

9

1, 11, 25

1 2

Giza Saqqara

IV.5 V.6

9 27

16?, 42

1 2 3 4 5 6 7

Giza Giza Dahshur el-Amwat Saqqara el-Gebrawi el-Gebrawi

IV.5-6E IV.5-6E V.6-VI.1 V.8-9 VI.1M-L VI.4E VI.4E

4 4 38 45 22 47 47

1, 3 8, 37, 45

1 2 3 4 5

Saqqara Giza Dahshur Dahshur el-Amwat

V.2 V.6 V.6-VI.1 V.6-VI.1 V.8-9

33 1 38 38 45

1 2 3

Saqqara Saqqara Saqqara

V.6 V.6L-7 V.6L-7

27 25 25

Squatting 1

2

Sitting 1

2

Bending 1

Standing

7. Trimming an object

1

Squatting

Kneeling

2

1

2

3

5

6

7

1

2

4

3

50 50

11 22?

4

5

Sitting 1

2

3

Table 3.6 Posture Summary - Carpentry (cont.)

42

43

The Scenes in Focus - Carpentry

8. Cutting holes in a bed frame

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1 2

Saqqara Saqqara

V.2 V.6L-7

33 25

1

Giza

V.6

1

11

1

Giza

V.6

1

11, 37

1

Saqqara

V.8-9

34

1

Giza

IV.5

9

1

Saqqara

V.8-9

34

1

Saqqara

VI.1M-L

22

1 2

Meir Meir

VI.4-5 VI.4-5

51 51

1

Saqqara

V.6

27

Sitting 1

2

Bending

10. Drilling a hole in a box or chest

9. Cutting holes or mortices in a box or chest

1

Sitting 1

Kneeling 1

Standing

11. Cutting holes or mortices in a door

1

Squatting 1

Kneeling 1

Sitting

12. Fitting the lid of a sarcophagus

1

2

Standing 1

Table 3.6 Posture Summary - Carpentry (cont.)

43

‘Make it According to Plan’

14. Applying an abrasive before polishing

13. Holding an object

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Giza

IV.5

9

27, 42, 47

1

Giza

V.6

1

11

1 2 3

Giza Giza Giza

IV.5 IV.5-6E IV.5-6E

9 4 4

38, 46 3 3, 5, 11, 22, 27, 29, 33, 34, 38, 47, 50

1 2 3 4

Giza Saqqara Saqqara Saqqara

IV.5 V.6 V.6L-7 V.8-9

9 27 25 34

1

Giza

IV.5-6E

4

1 2 3 4

Giza El-Sheikh Saïd Saqqara Saqqara

IV.5-6E V.8-9E V.8-9 VI.1-2

4 46 31 30

47

1 2

Saqqara Deshasheh

VI.1M-L VI.1

22 43

51

1 2

Giza Meir

IV.6-V.1 VI.4-5

5 51

3

Standing 1

Bending 1

Bending

1

2

3

Kneeling 15. Polishing or sanding an object

Other

1

2

3

22?

4 8, 22?, 34

Standing 1

Squatting

1

2

3

37?, 51

4

Sitting

16. Sharpening an adze

1

2

Sitting 1

2

Table 3.6 Posture Summary - Carpentry (cont.)

44

The Scenes in Focus - Carpentry

17. Trimming a staff

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1 2

Abusir Abusir

V.6L-8E V.6L-8E

16 16

1 2

Abusir Saqqara

V.6L-8E VI.1M-L

16 22

1

Giza

IV.5

1

Abusir

V.6L-8E

16

1

El-Hawawish

VI.6L-7

55

1

El-Sheikh Saïd

V.8-9E

46

1 2 3 4 5

Giza Giza Abusir Abusir El-Sheikh Saïd

IV.5 IV.5 V.6L-8E V.6L-8E V.8-9E

9 9 16 16 46

6

Deshasheh

VI.1

43

1 2 3

El-Sheikh Saïd Saqqara Deshasheh

V.8-9E V.8-9 VI.1

46 34 43

Other

Sitting 1

2

Squatting 1

2 9

16, 46

18. Dampening a staff

Standing 1

Bending 1

Squatting

20. Shaping a staff in a vice

19. Heating a staff

1

Squatting 1

Sitting

1

2

5

6

3

4

Squatting 1

2

3

Table 3.6 Posture Summary - Carpentry (cont.)

45

55 22?, 34, 55

22

‘Make it According to Plan’

21. Supervising construction

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

1 2 3

Standing 1

2

Site

Giza Giza Saqqara

Date and Cat. No.

V.6 V.6 V.6L-7

1 8 25

3

Table 3.6 Posture Summary - Carpentry (cont.)

Fig. 6 Trimming a lotus column. Tomb of Nfr and KA-HA.j. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

46

Other

46 16?, 50?

The Scenes in Focus - Jewellery Making above or below, is documented in over 70% of Jewellery Making scenes. Jeweller figures, however, are presented as a separate occupational group, indicated in the composition by title or by the use of sub-registers, vertical separation lines or architectural details to define a different workspace, examples of which are found in the tombs of %nDm-jb:MHj [Cat.12], anx-m-a-@r:%sj [Cat.19], KA.j-jrr [Cat.30] and Ppjj-anx:@nj-km [Cat.51].

3.3 Jewellery Making 3.3.1 Overview The Jewellery Making industry is well represented in the corpus, being characterised, however, by a comparatively lower number of figure depictions, owing to the delicate nature of the work. 15 procedures have been identified in the scenes, as outlined in Table 3.7, which illustrate the construction and embellishment of seven varieties of neck, arm, body and head ornamentation. A configuration of four jewellers at work constitutes the typical presentation, arranged predominantly in teams of two or, less frequently, as individual craftsmen. Beaded and metal jewellery are classified as separate categories in the study to reflect their distinct preparation methods and use of specialised tools.

3.3.3 Identification of Materials Jewellery Making scenes are dominated by the motif of workmen stringing beads onto threading string to form a neck ornament, either in multiple rows of vertical and horizontal patterning consistent with a broad collar (nbjj.t, wsx or Snw),194 a gold collar (nbw), a counterpoise or pectoral, or in a single row or narrow band to form a choker. Beads of semi-precious stone, gold and faience are most frequently attested in these contexts in the archaeological record195 and are identified in inscriptions as either Hrs.t ʻcarnelianʼ, wAD ʻmalachiteʼ or Dam ʻDam-goldʼ or coloured red, blue, green and white to simulate these materials where tomb paint is preserved.196

3.3.2 Identification of Personnel Jeweller figures are seldom identified in the accompanying scene captions but, where done so, specifically in depictions of beaded jewellery manufacture, are designated either ms.w-nSd ʻJewellery Makersʼ or stj.wt ʻStringersʼ in order to distinguish between those workmen who cut and polish the beads and those who assemble them. The study finds only marginally higher representation of dwarf jewellers in the scenes under discussion, contrary to published opinion,193 but their disproportionate depiction as stringers and/or finishers has been observed. The incorporation of a corpulent worker or combination of dwarf and regular-sized figures are departures from convention attested uniquely in the Memphite tombs of Nb.j-m-Axtj [Cat.5] and MrrwkA.j:Mrj [Cat.22].

Classification

Beaded

Preparing the Beads and Strings

Constructing Ornaments

Other

Metal

Finishing

Constructing Ornaments Finishing Quality Control

Procedures in Sequential Order

Provincial

A direct or implied association with Metalwork, either through placement in the same register or one immediately

Memphite

3.3.4 Common Procedures The stringing of beads onto threading string and the holding of a completed ornament are the procedures most commonly depicted in Jewellery Making scenes, with the former verified statistically as the core motif. With the exception of the Provincial tombs of Jntj [Cat.42], !nqw:Jj...f II [Cat.48] and @m-Ra:Jsj [Cat.49], dated V.L-VI.E, at least one of these activities is recorded in all examples documented in the corpus.197 Additional non-core or discretionary procedures, such as cleaning a completed ornament, polishing a completed ornament or securing attachments, are depicted to an otherwise uniform degree.

Date Range

1. Drilling a bead

VI.4E

2. Polishing a bead

VI.4E

3. Twisting threading string

V.5-VI.5

4. Stringing beads onto threading string

IV.6-VI.5

5. Attaching drop pendants

VI.1L

6. Attaching terminals

V.6-VI.1L

7. Stringing and tying a fastening string

V.6-VI.4E

8. Holding a completed ornament

IV.6-VI.2

9. Washing a collar

V.6L-VI.2E-M

10. Drying a collar

VI.1L-2E-M

11. Making a diadem or fillet

V.6L-7

12. Chasing decorative detail 13. Polishing an ornament

VI.1M-L ?

V.9-VI.1L

14. Presenting a completed ornament

IV.5-VI.5

15. Inspecting a completed ornament

IV.6-V.9

Table 3.7 Suggested Classification and Sequence of Jewellery Making Procedures

47

‘Make it According to Plan’ Site

Giza

Saqqara

Cat. No.

Tomb Owner

Date

Procedures Illustrated from Table 3.7

3

Wp-m-nfrt:Wp

V.5-8

3, 4, 15

5

Nb.j-m-Axtj

IV.6-V.1

4, 8, 15

8

#wfw-xa.f II

V.6

4

9

#wn-Ra

IV.5

14

12

%nDm-jb:MHj

V.9M-L

7, 8

19

anx-m-a-@r:%sj

VI.1L

4, 5, 6, 8, 13

20

PtH-Htp II:*fj

V.9M-L

4, 6

21

Mr.f-nb.f

VI.1L

4, 7

22

Mrrw-kA.j:Mrj

VI.1M-L

4, 8, 12, 13

24

MTTj

V.9-VI.1

8

25

Nj-anx-$nmw and $nmw-Htp

V.6L-7

7, 8, 9, 11

27

Nfr and KA-HA.j

V.6

7, 8

30

KA.j-jrr

VI.1-2

4, 7, 8

31

KA.j-m-rHw

V.8-9

4

34

*jj

V.8-9

?

Deshasheh

42

Jntj

V.9

13?, 14

Zawyet el-Amwat

44

Nj-anx-Ppjj:$nmw-Htp-Hpj

VI.2

4

El-Sheikh Saïd

46

%rf-kA.j

V.8-9E

4, 8, 14, 15

47

Jbj

VI.4E

1, 2, 7

48

!nqw:Jj...f II

VI.2E-M

9, 10?

49

@m-Ra:Jsj

VI.1L-2E

9, 10

50

+aw and +aw:^mAj

VI.4-5

?

51

Ppjj-anx:@nj-km

VI.4-5

3, 4, 14

Deir el-Gebrawi

Meir

Table 3.8 Distribution of Jewellery Making Scenes and Procedures

3.3.4.1 Drilling a Bead The manufacture of beaded jewellery begins with the preparation of the raw materials, but this is illustrated in the corpus to only a limited degree. The perforation of the stone beads to facilitate their stringing onto threading string, for instance, is not attested until VI.4-5 in the tomb of Jbj [Cat.47]. Here, paired workmen operate small hand-held drills, which are used to either bore the disproportionatelysized cylinder-shaped beads featured or centre the hole.198 The placement of the hands of the figures at the top of the drill handle and on the shaft indicate the use of the tap and twist movement known as ʻpercussionʼ for both activites, in contrast to conventional rotation.199 The late and isolated occurrence of the scene type, however, could suggest that a majority of artists were unaware of or unfamiliar with the procedure.

While the tombs of anx-m-a-@r:%sj [Cat.19], Nj-anx-$nmw and $nmw-Htp [Cat.25] and %rf-kA.j [Cat.46] contain the most extensively decorated scenes, with up to five procedures each, the tombs of Wp-m-nfrt:Wp [Cat.3], PtH-Htp II:*fj [Cat.20] and Ppjj-anx:@nj-km [Cat.51] are more notable for their recording of a sequence of operations, beginning with the preparation of the threading string and the stringing of the first row of beads and culminating in the attachment of the terminals and presentation. Furthermore, in contrast to a majority of other examples, excluding counterpoises, which are illustrated as detached, the ornament under construction is shown in an early stage of manufacture or as incomplete. The tomb of Jbj [Cat.47] is significant for a similar reason, in that it sequences the making of the beads. In a small percentage of cases, such as in the tombs of %nDm-jb:MHj [Cat.12], anx-m-a-@r:%sj [Cat.19] and Nfr and KA-HA.j [Cat.27], two different procedures in the sequence, ordered consecutively, are performed on an ornament at the same time. Table 3.8 summarises the geographical and temporal distribution of all Jewellery Making scenes and procedures, while Table 3.9 presents all applicable postures in sequential and chronological order. Detailed commentary on these and other aspects of the industry is found below.

3.3.4.2 Polishing a Bead The second step in the preparation of the raw materials is the polishing of the individual beads, achieved by rolling them in an abrasive material such as moistened quartz-sand or emery.200 A scene in the tomb of Jbj [Cat.47] illustrates how the procedure was performed, with two workmen squatting

48

The Scenes in Focus - Jewellery Making on either side of an anvil in identical position. As it is the only example of its kind in the Old Kingdom repertory, it may be evidence that the process was either not well understood by the ancient Egyptian artist or was considered superfluous.

is stretched horizontally across the work table between the stringers and is drawn oversized relative to the workmen post V.1. Threading from the base of a completed or semicompleted ornament is a variation confined to two Saqqara tombs dated VI.1, those of anx-m-a-@r:%sj [Cat.19] and Mrrw-kA.j:Mrj [Cat.22], which may qualify it as a localised and contemporaneous necropolis workshop style. A single string being threaded, indicating the commencement of the work, is a feature recorded predominantly in the period V.M-L. This supports the dating of the tombs of Wp-m-nfrt:Wp [Cat.3] and %rf-kA.j [Cat.46] within this range on artistic grounds, contrary to the first half of the dynasty or earlier as is frequently proposed.204 Also unique to the examples identified is the illustration of a jeweller moistening the string in his mouth for ease of threading in the tomb of KA.j-m-rHw [Cat.31]. Conversely, closely corresponding figures of stringers in the tombs of Nb.j-mAxtj [Cat.5] and Ppjj-anx:@nj-km [Cat.51], with respect to posture, hand movement and size and orientation of the collar featured, suggest a high probability that the latter scene was influenced by the earlier Giza composition or that elements of it were copied by design.

3.3.4.3 Twisting Threading String While the preparation of the threading string is also sporadically represented, it appears much earlier in the repertory in V.5-8. The twisting together of the string by hand, the composition of which has been identified as linen,201 is an element common to the two known depictions. The holding of one end by the feet in the absence of a companion is particular to the tomb of Ppjj-anx:@nj-km [Cat.51], however, where it may have been adapted from a scene of Textile Production on the South Wall. To date, there is no evidence in any tomb in the corpus of a second method of preparing threading material, namely the rolling of gold metal ribbons between two flat surfaces to produce gold wire.202 3.3.4.4 Stringing Beads onto Threading String The chief characteristic of stringing scenes is the pairing of figures at a work table, who are either sitting on a block, a mat or a stool or squatting on the ground. Both conventions may be classified as Memphite derivatives in this context, and they remain consistent over a broad chronological period IV.L-VI.M. Examples of asymmetrical pairing are infrequent by comparison, a majority of which occur in Saqqara tombs dated V.6-VI.1, such as anx-m-a-@r:%sj [Cat.19], Nfr and KA-HA.j [Cat.27] and KA.j-m-rHw [Cat.31]. Evidence of this arrangement is first attested at Giza, however, in the tomb of Nb.j-m-Axtj [Cat.5], dated IV.6-V.1, so it is likely that the configuration originated here.

Finally, in relation to the hand movements of a stringer three variations are observed. The sliding of the bead onto the threading string with a clenched hand is the most popular presentation, irrespective of site and date, while approximately 20% of scenes depict the string held in the fingertips. The placement of the string between the thumb and forefinger to more accurately convey the delicacy of the operation is less frequently attested, being evident in this context only in the Saqqara tombs of Mr.f-nb.f [Cat.21], Mrrw-kA.j:Mrj [Cat.22] and Nj-anx-$nmw and $nmw-Htp [Cat.25] and in the tomb of Ppjj-anx:@nj-km [Cat.51] at Meir.

Other variations to the standard presentation consist of one leg resting on the edge of the table, as recorded in the tomb of Nb.j-m-Axtj [Cat.5], or the figure sitting on top of the table, as is the case in the tomb of KA.j-jrr [Cat.30]. In the tomb of Mrrw-kA.j:Mrj [Cat.22], a further break with convention is evident, in that the workmen are shown as standing. The latter deviations may constitute design practices specific to Saqqara necropolis workshops in the period VI.1-2, whereas the representation of a stringer as an individual is a Provincial characteristic, seen for example in the tombs of Nj-anx-Ppjj:$nmw-Htp-Hpj [Cat.44] and %rfkA.j [Cat.46]. Further potential dating and stylistic criteria in this context include a work table with brace (Memphite V.M-VI.E) and a rectangular block seat (Memphite VI.E). A block seat in trapezoidal shape, possibly representing the outline of a stool,203 is unique to the tombs of %nDm-jb:MHj [Cat.12] and Nj-anx-Ppjj:$nmw-Htp-Hpj [Cat.44], while a disproportionately-sized seat relative to a dwarf worker is recorded only in the period V.L.

3.3.4.5 Attaching Drop Pendants The stringing of an ornament is followed by the addition of drop pendants to its outermost row and the attachment of terminals to secure the completed beadwork. The first of these was evidently not of major significance in the repertory, as it appears comparatively late in the period and is restricted to the completion of a counterpoise in the tomb of anx-m-a-@r:%sj [Cat.19]. The high proportion of Snw collars illustrated, in comparison with those designated wsx or nbw, may also account for the rarity of the action. The example identified remains of considerable interest, however, in that it depicts the ornament with its lower threading strings still visible and is presented as a work in progress, thus providing unique pictorial information regarding the method by which the individual pendants were strung. 3.3.4.6 Attaching Terminals The attaching of terminals to a collar is more commonly represented but is a design practice limited to Saqqara tombs. In each case, a workman is shown guiding the terminal with one hand, while the other hand pulls on the fastening strings emerging from an exit hole in its upper

The upper body posture of a stringer is defined by the placement of the hands at separate intervals along the threading string to simulate the gentle pushing of the beads into position. In a majority of cases, the ornament

49

‘Make it According to Plan’ edge. No consistent lower body posture is recorded for the procedure, however the example in the tomb of anx-m-a@r:%sj [Cat.19] deviates from convention by depicting the collar being worked on in a horizontal position, currently the only known presentation of its kind. Another dating and stylistic criterion evident in this category of scenes is the use of a falcon-headed terminal, being a Memphite feature of the period V.L-VI.E, with the lunate-shaped terminal having a broader attestation of IV.L-VI.M across all sites.

scenes are applicable in all cases, irrespective of whether a collar or counterpoise is held, but a counterpoise with threading string still visible at its base is a variation unique to the tomb of anx-m-a-@r:%sj [Cat.19]. 3.3.4.9 Washing a Collar The sequence of manufacture is concluded with the washing and drying of the ornaments, procedures which may have been necessitated by frequent handling of the beadwork or were undertaken as a means of tightening the strings.206 Both rinsing and immersion methods are represented in the corpus, with the suspension of a collar over a large vessel of water by two workmen constituting the characteristic elements of the scene.207 The limited occurrence of such depictions and their late entry to the repertory in V.M, however, suggest that they were not regarded as integral to the theme. Nevertheless, an important detail is exhibited in the tomb of Nj-anx-$nmw and $nmw-Htp [Cat.25] at Saqqara, in that the ends of the fastening strings are shown dangling from their ties, in contrast to the upright and less realistic interpretations recognisable in all other scenes. Evidence of direct copying is apparent in the contemporary compositions recorded in the tombs of !nqw:Jj...f II [Cat.48] and @m-Ra:Jsj [Cat.49] at Deir el-Gebrawi, which show the lifting action of the figures, the style and size of the collar and the type of vessel and seat to be near-identical.

3.3.4.7 Stringing and Tying a Fastening String The final step illustrated in the making of a collar is the stringing of beads onto the fastening strings, which is then followed by the tying of the ends. The use of cylindrical or ring-shaped beads for this purpose is attested in the archaeological record,205 but their depiction is dispensed with in the scenes. An accompanying counterpoise, if illustrated, may appear in the sub-register above, as in the tombs of PtH-Htp II:*fj [Cat.20], *jj [Cat.34] and Jbj [Cat.47], or is worked on or held by colleagues. The action is typified by paired figures in either a standing or sitting position, clenching the fastening string of a collar in both hands. Holding the string between the thumb and forefinger to better demonstrate the threading movement, as is the case in the tombs of Mr.f-nb.f [Cat.21] and Nj-anx-$nmw and $nmw-Htp [Cat.25], and propping the feet on a block to prevent them from dangling, which is featured in the tomb of KA.j-jrr [Cat.30], are variations used by Saqqara artists to further enhance the realism of the pose. Other Saqqara innovations include collars with double fastening strings, collars with textured fastening strings and the draping of the fastening string over the arm of the workman. A number of these are also incorporated into Deir el-Gebrawi compositions dated VI.E-M, such as those of @m-Ra:Jsj [Cat.49] and +aw and +aw:^mAj [Cat.50], providing additional evidence of artistic borrowing from the Saqqara site.

3.3.4.10 Drying a Collar On present evidence, the drying of a collar is limited to a single example in the tomb of @m-Ra:Jsj [Cat.49], although it is possible that the same procedure was once illustrated in the tomb of !nqw:Jj...f II [Cat.48] to complete the washing and drying sequence there. While the scene itself is distinguished from its counterpart by the inclusion of a box, the posture of the workmen, the size and style of the collar, the height at which the collar is held and the action of lightly shaking the beads, allowing for fragmentary preservation, remain the same.

3.3.4.8 Holding a Completed Ornament The completion of the threading operation is followed in the pictorial record by the raising and gentle shaking out of the ornament, the purpose of which was to untangle and realign the beads. The defining characteristic of the action, as documented in 15 examples, is the holding of the ornament by the fastening strings in one hand, with the other hand supporting the beadwork from below. Light brushing of the drop pendants in order to spread them is also implied.

3.3.4.11 Making a Diadem or Fillet Procedures specific to the manufacture of metal jewellery or jewellery with metal components are also documented in the corpus, pertaining principally to ornaments made for the neck and head. The preparation methods of the raw material mirror those of other metalworking scenes and in each case where such jewellery making is depicted, a metal processing scene appears in close proximity.

In a majority of cases, conventional squatting, sitting or standing postures are assumed for the procedure, although variations are apparent in the height at which the ornament is held. For instance, while the shoulder or waist position is most commonly attested, exceptions occur in the tombs of anx-m-a-@r:%sj [Cat.19], Mrrw-kA.j:Mrj [Cat.22] and Nfr and KA-HA.j [Cat.27] where the ornaments are instead raised level with the head. The exaggerated proportions of the jewellery and size of the work tables featured are likely to account for the relative differences observed. Hand and finger positions comparable to threading and fastening

The earliest attested procedure is the making of diadems or fillets, which is a scene unique to the tomb of Nj-anx$nmw and $nmw-Htp [Cat.25]. Two workmen are shown in squatting positions, shaping metal foil over a band to form a circlet. Of note is the artist’s method of signifying that the ornament is being turned as it is worked, achieved by placing the palm of one of the figures at an opposing angle against the circlet’s outer edge. The depiction of symmetrical sets of ribbons and the use of the plural in the accompanying caption have been interpreted as evidence that two fillets or diadems are being worked together,208 but

50

The Scenes in Focus - Jewellery Making given that only one circlet is visible and only one workman applies the gold leaf as the other performs the rotation, it may equally represent an attempt at sequenced animation by capturing the ornament in different positions as the work proceeds. A diadem or fillet with short streamers, as seen in this example, may constitute a dating criterion for the period V.M-L, as specimens with long streamers do not emerge in the workshop corpus until VI.E.

elements, such as the earliest example in the corpus of an overseer standing with folded arms in the tomb of Nb.jm-Axtj [Cat.5]. Further Memphite innovations include the display of completed jewellery pieces in or adjacent to a storage box or boxes, storage boxes placed on tables and jewellery pieces positioned next to the work table on the ground. To date, on only two occasions are these variations replicated in Provincial cemeteries in the tombs of Jntj [Cat.42] and @m-Ra:Jsj [Cat.49].

3.3.4.12 Chasing Decorative Detail Another contribution to the repertory from Saqqara is the chasing of a metal ornament, which is unique to the tomb of Mrrw-kA.j:Mrj [Cat.22]. Central to the scene is the depiction of a blunt-edged chisel being used to gently hammer decorative detail onto a pectoral,209 with the absence of drop pendants on the ornament, in contrast to others in the scene, intended to distinguish it as a work in progress. The representation of pectorals in this or any other context is only occasionally observed, however, and limited to the tombs of Nb.j-m-Axtj [Cat.5], Mrrw-kA.j:Mrj [Cat.22], Njanx-Ppjj:$nmw-Htp-Hpj [Cat.44] and Jbj [Cat.47]. 3.3.4.13 Polishing an Ornament The final procedure documented in metal jewellery manufacture is the polishing and refinement of a completed ornament. While leather laps, polishing stones and textiles are known to have been used for this purpose,210 only stones are represented in the current scenes. The leaning into the ornament with both hands raised in front of the body and elbows resting on a central work table defines the action in a majority of examples. This key latter detail, together with the two-handed polishing action and evidence that a counterpoise is being worked, enable traces in the tomb of Jntj [Cat.42] to be restored to a polishing scene similar in content to that of anx-m-a-@r:%sj [Cat.19]. This could suggest that the two tombs are much closer in date than accounted for in prevailing opinion, which often assigns the former to mid Dynasty VI. 3.3.4.14 Presenting a Completed Ornament Concluding the Jewellery Making sequence are scenes of presentation and inspection, which are common to both metal and beaded jewellery categories. The first of these is characterised by a standing or striding figure carrying an ornament towards the tomb owner or an overseer, the latter being recorded in the tomb of %rf-kA.j [Cat.46]. Variety is achieved in the nature of the ornaments depicted or in the addition of accessories, such as the illustration of a storage box in the tomb of Jntj [Cat.42]. Another innovation used to particular effect is the two-handed presentation of a vertically oriented collar in the tomb of #wn-Ra [Cat.9]. Replication of this hand position does not appear again until the tomb of Ppjj-anx:@nj-km [Cat.51] at Meir, where artistic borrowing from Giza compositions has proved to be significant.

Fig. 7 Presenting a collar and box. Tomb of Jntj. Deshasheh. After Kanawati and McFarlane, Deshasha, pl. 28. Courtesy of N. Kanawati

3.3.4.15 Inspecting a Completed Ornament Inspection scenes depicting the checking of a completed ornament also contain some surprisingly unconventional

51

‘Make it According to Plan’

3. Twisting threading string

2. Polishing a bead

1. Drilling a bead

Procedure

Posture

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

el-Gebrawi

VI.4E

47

1

el-Gebrawi

VI.4E

47

1 2

Giza Meir

V.5-8 VI.4-5

3 51

1

Giza

IV.6-V.1

5

2 3 4 5 6 7

Giza Giza Saqqara Saqqara Saqqara el-Amwat

IV.6-V.1 V.5-8 VI.1L VI.1L VI.1-2 VI.2

5 3 19 21 30 44?

1 2 3 4 5

Giza Saqqara Saqqara Saqqara Saqqara

IV.6-V.1 V.8-9 VI.1M-L VI.1L VI.1L

5 31 22 19 19

1

Saqqara

VI.1M-L

22

1

Saqqara

VI.1L

19

1

Squatting 1

Sitting 1

Squatting

2

1

2

3

5

6

7

1

2

4

3

4

5

Standing 1 5. Attaching drop pendants

Other

Squatting

Sitting

4. Stringing beads onto threading string

Posture Types in Chronological Order

Sitting 1

Table 3.9 Posture Summary - Jewellery Making

52

8, 20, 31, 46

51

The Scenes in Focus - Jewellery Making

6. Attaching terminals

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1

Saqqara

V.9M-L

20

1

Saqqara

VI.1L

19

1 2 3

Saqqara Saqqara Saqqara

V.6 V.6L-7 V.9M-L

27 25 12

1

el-Gebrawi

VI.4E

47

1 2 3 4

Giza Saqqara Saqqara Saqqara

IV.6-V.1 V.6 VI.1M-L VI.1M-L

5 27 22 22

1

Saqqara

V.6

27

24, 25

1

El-Sheikh Saïd

V.8-9E

46

12, 30

1 2

Saqqara Saqqara

V.6L-7 V.6L-7

25 25

1

el-Gebrawi

VI.1L-2E 49

Standing 1

Squatting

7. Stringing and tying a fastening string

1

Sitting 1

2

3

Standing 1

Squatting 8. Holding a completed ornament

21 30

1

2

3

4

Standing 1

Sitting

9. Washing a collar

1

Standing 1

2

Sitting 1

Table 3.9 Posture Summary - Jewellery Making (cont.)

53

48

‘Make it According to Plan’

13. Polishing an ornament

12. Chasing decorative detail

11. Making a diadem or fillet

10. Drying a collar

Procedure

Posture

Posture Types in Chronological Order

14. Presenting a completed ornament

Site

Date and Cat. No.

1

el-Gebrawi

VI.1L-2E 49

1 2

Saqqara Saqqara

V.6L-7 V.6L-7

25 25

1

Saqqara

VI.1M-L

22

1

Deshasheh

V.9

42

1 2

Saqqara Saqqara

VI.1M-L VI.1L

22 19

1 2

Giza El-Sheikh Saïd

IV.5 V.8-9E

9 46

1

Meir

VI.4-5

51

1

Giza

IV.6-V.1

5

1 2

Giza El-Sheikh Saïd

V.5-8 V.8-9E

3 46

Other

48

Sitting 1

Squatting 1

2

Sitting 1

Bending 1

Sitting 1

15. Inspecting a completed ornament

Earliest Recording and Other Occurrences Type

2

Striding 1

2

Bending 1

Standing 1

Squatting 1

2

Table 3.9 Posture Summary - Jewellery Making (cont.)

54

42

The Scenes in Focus - Leatherwork 3.4.4 Common Procedures According to the analysis, the stretching of a piece of leather over a stand and the cutting out or pummelling of a sandal sole represent the key recurring images of the Leatherwork industry. In all but isolated cases, one example of at least two of these procedures is recorded in every leatherworking scene. The core nature of the stretching motif is further reinforced by the fact that it is the only procedure selected for illustration in the extensive workshop tableau in the tomb of *jj [Cat.34].

3.4 Leatherwork 3.4.1 Overview Leatherwork is the most under-represented industry in the corpus, accounting for the smallest percentage of documented scenes and the lowest proportion of figures engaged in any workshop activity. As indicated in Table 3.10, a limited number of procedures also characterise the depictions, which are typified by a majority of workmen performing discrete tasks in an individual capacity as opposed to a team. In only two examples, those of Jntj [Cat.42] and Jttj:^dw [Cat.43] at Deshasheh, does the latter configuration apply, where two workmen stretch a cloak or robe. Notwithstanding this narrow scope of material, six different categories of leather products are recorded in the scenes, including clothing, footwear and five varieties of containers and bags.

Despite the ubiquity of these procedures, it has also been observed that, in a majority of scenes, at least one atypical activity is usually included, for example tanning, sewing or preparing the hide. This may be evidence of a deliberate practice to add interest and movement to a composition otherwise lacking in variety and action. In this regard, the most expansive scenes of Leatherwork are currently documented in two Provincial tombs, those of Jntj [Cat.42] at Deshasheh and Ppjj-anx:@nj-km [Cat.51] at Meir, in which a sequence of operations pertaining to the manufacture of a sandal is recorded. Table 3.11 summarises the geographical and temporal distribution of all Leatherwork scenes and procedures, while Table 3.12 presents all applicable postures in sequential and chronological order. Detailed commentary on these and other aspects of the industry is found below.

3.4.2 Identification of Personnel Another feature of the scenes is the minimal use of occupational titles to identify the figures present, with the terms gs ʻCutterʼ and Tbw ʻLeatherworkerʼ being the only classifications recorded in the corpus to date. Where they do occur, specifically in the tombs of *jj [Cat.34] and Ppjjanx:@nj-km [Cat.51] respectively, they are generically applied to both preparation and construction activities. Uniformity of clothing on participating personnel, in the style of short wraparound kilts or loincloths, is also apparent.

Classification

Preparing the Hide or Skin

Treating the Leather Cutting the Leather Constructing a Leather Product

Procedures in Sequential Order

Provincial

3.4.3 Identification of Materials Hide varieties are generally not specified in the scenes with one exception, that of Jttj:^dw [Cat.43], in which a pxA.t n.t bA ʻskin of a leopardʼ is used to make a cloak or robe. In all other cases where captions are included, the terms Xn.t or xn.t are used interchangeably to identify the leather in its various forms, although the latter is attested only in the tomb of Ppjj-anx:@nj-km [Cat.51].

Memphite

3.4.4.1 Soaking a Hide or Skin The construction of a leather article begins pictorially with the preparation of the hide. The first of three steps represented in the corpus is the soaking of the hide to depilate and soften, depicted in the tomb of Ppjj-anx:@nj-km [Cat.51], dated VI.4-5. The key element of the scene is the obscuring of the figure’s inner hand inside the vessel illustrated, which is indicative of the hide either being pushed into the container to commence the steeping process or circulated in the steeping liquid while it is immersed.211 The late provenance of the tomb distinguishes the procedure as one of the last to

Date Range

1. Soaking a hide or skin

VI.4-5

2. Stretching a hide or skin

IV.5

3. Smoothing a hide or skin

VI.4-5

4. Tanning a piece of leather

V.6

5. Stretching a piece of leather

IV.5-VI.7

6. Cutting a piece of leather to shape

V.6-VI.7

7. Assembling cut-out leather pieces

V.9

8. Pummelling leather pieces together

IV.5-VI.1

9. Stitching leather pieces together

VI.1L

Finishing

10. Holding or stretching a garment

V.9-VI.1

Quality Control

11. Presenting a completed product

V.9

Table 3.10 Suggested Classification and Sequence of Leatherwork Procedures

55

‘Make it According to Plan’ Site

Cat. No.

Tomb Owner

Date

Procedures Illustrated from Table 3.10

1

Jj-mrjj

V.6

4, 5, 6

9

#wn-Ra

IV.5

2, 5, 8

19

anx-m-a-@r:%sj

VI.1L

5, 6, 9

34

*jj

V.8-9

5

42

Jntj

V.9

5, 7, 8, 10, 11

43

Jttj:^dw

VI.1

5, 8, 10

Meir

51

Ppjj-anx:@nj-km

VI.4-5

1, 3, 6

Qubbet el-Hawa

60

¢w-ns

VI.7

5, 6

Giza Saqqara Deshasheh

Table 3.11 Distribution of Leatherwork Scenes and Procedures

be established in the Leatherwork repertory.

stake-style anvil, the height of which determines whether a standing or bending posture is assumed. The latter, however, has a broader chronological attestation, with tall stands measuring to waist level, in combination with an upright posture, being absent from the repertory until V.L.

3.4.4.2 Stretching a Hide or Skin Of earlier attestation is the second procedure in the sequence, this being the manual stretching and flattening of the hide after it has dried. The motif is first evidenced in the tomb of #wn-Ra [Cat.9] at Giza and has no other extant parallel in the Old Kingdom corpus. The influence of the presentation is apparent in the Dynasty XVIII tomb of Rx-mj-Ra at Thebes, however, where comparable details such as the stretching of the hide by pulling on its edges, the vertical orientation of the hide with carcass outlined, a flattened hide displayed in the adjacent sub-register and a receding hairline on the participating workman can be found.212

Two interpretations of the hand movement are evident in the corpus, the earliest being the rendering of the outer arm in the lead or forward position in the tomb of #wnRa [Cat.9]. The exaggerated raising of the elbow in this example suggests that the artist has selected an early phase of the process to illustrate, during which the leather piece is initially placed on top of the stand. Alternatively, it may represent an attempt to inform the observer that the leather was twisted and manipulated in a circular direction, in conjunction with the action of being pulled. In either case, the posture is transitional and fails to be adopted in subsequent scenes. Prior to this, the most common rendition attested is the inner arm in the forward position with elbows aligned. The arching of the inner arm over the top of the stand, concentrating the pulling effort on one limb, is a design feature particular to Saqqara, as observed in the tomb of anx-m-a-@r:%sj [Cat.19]. The placement of the hands at either end of the leather, in contrast to the end and middle, is an experimentation also first attested here in the tomb of *jj [Cat.34]. A three-legged trestle stand with either a wide or narrow bridge is predominantly a Memphite stylistic criterion, while a two-legged stand with wide bridge is introduced to the repertory by artists at Deshasheh in VI.1. The placement of the leather across the bridge, as opposed to it being wrapped around its sides, is a unique detail again attributable to the tomb of anx-m-a-@r:%sj [Cat.19].

3.4.4.3 Smoothing a Hide or Skin Following the stretching procedure, the hide is cut into sections, then smoothed and pummelled with a polishing stone in order to remove residual hairs and flesh. Although an obligatory step in the manufacturing process, it is illustrated only in the tomb of Ppjj-anx:@nj-km [Cat.51]. Based on the same example, the displaying of a rectangular piece of prepared leather in a sub-register to supplement the scene is also of late introduction and Provincial origin, whereas the depiction of an uncut hide in a sub-register has its precedent in the tomb of #wn-Ra [Cat.9], dated Dynasty IV. 3.4.4.4 Tanning a Piece of Leather Along with the stretching of a piece of leather over a stand to make it pliable, a secondary process is depicted in the tomb of Jj-mrjj [Cat.1] in which the leather is rubbed with a softening agent and tanned.213 Oil and grease are substances known to have been used for this purpose and, when illustrated, are comparable to these in shape and form.214 The carrying of the material in a large sack over the shoulder leads to the conclusion that it was applied in considerable quantity and, for this reason, was likely sourced off-site. Regardless of this factor, the motif is dispensed with in a majority of scenes, suggesting that most artists understood the stretching and tanning procedures to be as one.

3.4.4.6 Cutting a Piece of Leather to Shape In addition to stretching scenes, the cutting of the leather to shape with a leather knife is also commonly represented in the corpus. Such compositions are strictly conventionalised, with posture, action and object, either a sandal or sandal component, being consistent throughout. Variation, where it exists, is achieved by altering the orientation and internal details of the object worked.

3.4.4.5 Stretching a Piece of Leather The stretching action itself is defined by the pulling of a narrow piece of leather across a tripod-like support or

A sandal or sandal sole held parallel to the anvil is typically associated with the process of cutting and, on present 56

The Scenes in Focus - Leatherwork evidence, is of Giza origin, entering the repertory in the tomb of Jj-mrjj [Cat.1], dated V.6. Thereafter, a high degree of Memphite influence is evident in other corpus examples, with the scene in the tomb of ¢w-ns [Cat.60] at Qubbet el-Hawa, for instance, largely mirroring that of anx-m-a@r:%sj [Cat.19] at Saqqara.

that in the Rx-mj-Ra scene, is also supporting the sandal centrepiece in his mouth. 3.4.4.8 Pummelling Leather Pieces Together The pummelling of leather pieces together, as a pre-step to stitching and binding, is sporadically illustrated in the corpus, entering the repertory early in the tomb of #wnRa [Cat.9] at Giza and subsequently recorded at Deshaheh in the tombs of Jntj [Cat.42] and Jttj:^dw [Cat.43]. In all cases, the pummelling of sandal soles is represented. Such scenes mirror those of cutting in terms of posture and hand action but are distinguished by the holding of the sandal perpendicular to the anvil and the use of a mallet as the principal tool.

Departing from these presentations is the motif showing the cutting of a sandal strap or thong in profile, again recorded in the tomb of anx-m-a-@r:%sj [Cat.19], with a second example possible in the tomb of Ppjj-anx:@nj-km [Cat.51]. Unlike other sandal making compositions, there is no discernable sole or sandal present, so the rendering of a different component of the object may have been selected as a means of individualising the scene. More often the sandal is represented as an incomplete sole with or without the wings or pre-straps used to attach the centrepiece and foot straps to the base. While both styles are documented in equal numbers in the corpus, a sole with wings appears earlier in the chronology in IV.L.

3.4.4.9 Stitching Leather Pieces Together Another procedure illustrated in this category is the stitching together of a leather sack or bag, as observed in the tomb of anx-m-a-@r:%sj [Cat.19] at Saqqara. In order to emphasise that the task is one requiring close work and precision, the sack is placed immediately level with the eye. The holding of the needle or piercer and leather in the customary sewing position also provides additional authenticity to the scene. Of particular note is the way in which the artist symbolically expands the action by depicting completed sandals, containers and seat cushions in the sub-registers, all of which share the same construction technique.

The depiction of a completed sandal in frontal view is an innovation illustrated uniquely at Deshasheh in the tomb of Jttj:^dw [Cat.43], and it is here that the first representation of a heel strap, cited by Siebels215 as a reliable dating criterion for V.L or later, also appears. In the same tomb, the motif is expanded to show a collection of duplicate sandals in a row, in keeping with the artist’s trademark use of repetition to fill interior space. An uneven number of pairs in the grouping is another device incorporated to indicate that the sandal on the anvil, despite its finished appearance, is still a work in progress. This presentation differs markedly from the typical display of sandal soles in a sub-register, which are usually arranged independently in vertical sets of two, although an exception in the tomb of Ppjj-anx:@nj-km [Cat.51] shows the completed soles positioned horizontally.

3.4.4.10 Holding or Stretching a Garment To conclude the Leatherwork sequence, garments are shown being held or stretched to straighten and smooth out surface irregularities and, together with other completed products, are then presented. The procedure is a late inclusion in the repertory, however, and is confined to the tombs of Jntj [Cat.42] and Jttj:^dw [Cat.43] at Deshasheh, dated V.LVI.E. Copying of the earlier scene by the Jttj:^dw artist is confirmed by the almost identical interpretation of the action, with some minor variations in hand position and design of garment. This and other similarities in content, previously highlighted in the discussion, provide further support for the view that Jntj and Jttj:^dw were close contemporaries, contrary to the dating estimates of V.6 and VI.1 respectively proposed by Petrie and Griffith.219

With respect to the cutting action itself, a static alignment of the tool parallel to the anvil is almost universally adopted,216 however the tomb of anx-m-a-@r:%sj [Cat.19] diverges from this convention by angling the knife at 45°. In doing so, a more realistic and accurate depiction of the initial phase of the movement, during which the tip of the knife blade first makes contact with the leather, is achieved.

3.4.4.11 Presenting a Completed Product These scenes conform to conventional presentation criteria and, on current evidence, appear only in the Deshasheh tomb of Jntj [Cat.42]. Workmen wearing loincloths are illustrated striding towards the tomb owner and his wife, carrying a robe, a watersack and a pair of sandals. Other Leatherwork scenes record only the manufacture of the products or the exchange of products at a market, as in the tomb of *jj [Cat.34].

3.4.4.7 Assembling Cut-Out Leather Pieces The sequence of manufacture continues in the pictorial record, with the next steps being the construction of a product and its final processing. The tomb of Jntj [Cat.42] provides the only evidence in the corpus for the method of assembling a sandal, whereby the centrepiece is threaded through a pierced hole in the sole and tied to the sides.217 The relaxed position of the legs of the workman and the holding of the sole level with the head may have been conventional elements of such compositions, given that they are again observed in the Dynasty XVIII tomb of Rxmj-Ra at Thebes.218 If so, the probability is high that, when reconstructed, the figure in the tomb of Jntj, mirroring

57

‘Make it According to Plan’

5. Stretching a piece of leather

4. Tanning a piece of leather

3. Smoothing a hide or skin

2. Stretching a hide or skin

1. Soaking a hide or skin

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Meir

VI.4-5

1

Giza

IV.5

1

Meir

VI.4-5

1

Giza

V.6

1

1 2

Giza Giza

IV.5 V.6

9 1

1

Saqqara

VI.1L

1

Giza

V.6

1

1

Deshasheh

V.9

42

1

Giza

IV.5

9

Other

51

Sitting 1 9

Squatting 1 51

Sitting 1

Standing 1

Bending 1

34, 42, 43, 60

2 19

Standing

8. Pummelling leather pieces together

7. Assembling cut-out leather pieces

6. Cutting a piece of leather to shape

1 19, 51, 60

Sitting 1

Sitting 1

Sitting 1

Table 3.12 Posture Summary - Leatherwork

58

42, 43

The Scenes in Focus - Leatherwork

11. Presenting a completed product

10. Holding or stretching a garment

9. Stitching leather pieces together

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Saqqara

VI.1L

19

1

Deshasheh

V.9

42

1 2

Deshasheh Deshasheh

V.9 V.9

42 42

Other

Sitting 1 43

Standing 1

Striding 1

2

Table 3.12 Posture Summary - Leatherwork (cont.)

Fig. 9 Leather products. Tomb of anx-m-a-@r:%sj. Saqqara. After Kanawati and Hassan, Ankhmahor, pl. 40. Courtesy of N. Kanawati

Fig. 8 Stretching leather. Tomb of *jj. Saqqara. After Wild, Tombeau de Ti III[2], pl. CLXXIV. © IFAO

59

‘Make it According to Plan’ beating a blade, for example, being carried out by both. Distinctions based on rank are apparent in some cases, however, with the forming of a vessel restricted to either a sHD ʻInspectorʼ or jmj-r ʻOverseerʼ in a majority of scenes in which a title is present, such as in the tombs of Jj-mrjj [Cat.1] and %nDm-jb:MHj [Cat.12]. With the exception of this activity and those of carrying and pouring the molten metal, crimping a vessel, polishing a vessel and gilding, Metalwork is presented primarily as a labour intensive industry, with teams of between two and six engaged in processing the metal through its various stages. Up to 20 workmen in total may appear in any given scene, as illustrated in the tomb of Nb.j-m-Axtj [Cat.5].

3.5 Metalwork 3.5.1 Overview Scenes of Metalwork dominate the workshop corpus, as evidenced by their frequency of occurrence, variety of procedures and high proportion of personnel involved. They are further distinguished by the fact that they are usually arranged to form a defined and logical sequence, from the dispensing of the raw material,220 through to refining, casting and processing and concluding with the weighing of the completed product. On current evidence, the most expansive treatments of the industry occur in the tombs of Nb.j-m-Axtj [Cat.5], Mrrw-kA.j:Mrj [Cat.22] and Nj-anx-$nmw and $nmw-Htp [Cat.25], where up to 40% of the procedures listed in Table 3.13 are depicted, while an inventory of fourteen categories of metal objects, including eight varieties of jars and four types of blades, has been documented in the corpus overall.

Classification

Dispensing the Metal

Refining the Metal

Casting the Metal

Processing the Metal

Procedures in Sequential Order 1. Weighing crude metal

Finishing Recording Completed Objects

Gilding

Quality Control

Date Range V.6-VI.4E

2. Recording the weighing

V.8-VI.1L

3. Melting crude metal

IV.5-VI.7

4. Clearing a blowpipe

V.6L-9L

5. Stoking a furnace

V.6L-VI.2

6. Carrying molten metal

IV.6-V.1

7. Pouring molten metal

IV.6-VI.5?

8. Controlling the molten flow

VI.1M-L

9. Cooling molten metal

VI.4-5

10. Beating sheet metal

IV.5-VI.7?

11. Beating a blade Making Metal Objects

Provincial

3.5.2 Identification of Personnel Metalworkers, where identified in the scenes, are labelled either bD.tj ʻMetalworkerʼ or bD.tj nbw ʻGoldworkerʼ, although the latter designation is less frequently applied. No differentiation between the tasks performed by either occupational title is observable in the depictions, with

Memphite

3.5.3 Identification of Materials Specification of raw materials, where recorded in the accompanying captions, is restricted to bjA, which may translate as either a generic term for ʻmetalʼ221 or is to be read as ʻcopperʼ,222 together with nbw ʻgoldʼ and Dam or ʻDam-goldʼ, whose precise identification is somewhat problematic.223 Where colour is preserved, red or red-brown, consistent with copper, is common in the representation of completed vessels, as seen in the tombs of PtH-Spss [Cat.16] and Nj-anx-$nmw and $nmw-Htp [Cat.25], while in the tomb of MHw [Cat.23], cast metal is painted yellow indicating gold.

IV.6-VI.5

12. Sharpening a blade

?

VI.1M-L?

13. Beating a vessel

IV.5-VI.1?

14. Crimping a vessel

IV.6-V.1

15. Polishing a vessel

V.9

16. Weighing a completed vessel

IV.6-VI.2

17. Recording the weighing

V.6-VI.2

18. Heating precious metal

V.6L-VI.7?

19. Stoking a crucible

V.6L-VI.7?

20. Gilding an object

IV.6-V.7

21. Supervising construction

V.6-VI.5

22. Presenting a completed vessel

VI.1M-L-VI.4-5

Table 3.13 Suggested Classification and Sequence of Metalwork Procedures

60

The Scenes in Focus - Metalwork Site

Giza

Abusir

Cat. No.

Tomb Owner

Date

Procedures Illustrated from Table 3.13

1

Jj-mrjj

V.6

1, 3, 7, 10, 13, 21

3

Wp-m-nfrt:Wp

V.5-8

3, 7, 10

4

Mrs-anx III

IV.5-6E

3, 10, 20

5

Nb.j-m-Axtj

IV.6-V.1

3, 6, 7?, 11, 13?, 14, 16, 20

7

¡tpt

V.6-8?

3, 10

9

#wn-Ra

IV.5

11?, 13?

12

%nDm-jb:MHj

V.9M-L

3, 4, 13, 16, 21

16

PtH-Spss

V.6L-8E

3, 4, 7?, 10

19

anx-m-a-@r:%sj

VI.1L

1, 2, 3, 5, 10

22

Mrrw-kA.j:Mrj

VI.1M-L

1, 2, 3, 7, 8, 10, 12?, 22

23

MHw

VI.2

3, 10, 16, 17

24

MTTj

V.9-VI.1

3

25

Nj-anx-$nmw and $nmw-Htp

V.6L-7

3, 5, 11, 13, 18, 19, 20, 21

30

KA.j-jrr

VI.1-2

1, 2, 3, 5, 7, 10

31

KA.j-m-rHw

V.8-9

1, 2, 3, 10

32

KA-gm-nj:Mmj

VI.1E

3

33

&p-m-anx II

V.2

3, 10

34

*jj

V.8-9

1?, 3, 7, 10

37

Unknown

V.6-VI.1

3, 4, 10, 13, 17

Dahshur

38

%Sm-nfr

V.6-VI.1

10?

Deshasheh

42

Jntj

V.9

13, 15, 16

Zawyet el-Amwat

44

Nj-anx-Ppjj:$nmw-Htp-Hpj

VI.2

3

El-Sheikh Saïd

46

%rf-kA.j

V.8-9E

3, 21

47

Jbj

VI.4E

1, 3, 10, 21

49

@m-Ra:Jsj

VI.1L-2E

3, 11, 16, 17, 21

50

©aw and ©aw:^mAj

VI.4-5

3, 10

51

Ppjj-anx:@nj-km

VI.4-5

3, 7, 9, 10, 22

54

@sjj-Mnw

V.8L-9

3, 10

55

^psj-pw-Mnw:$nj

VI.6L-7

3, 10

56

KA.j-Hp:*tj-jqr

VI.5-6

3, 10

57

JHjj

VI.3-4

3

58

Wnjs-anx

VI.1

3, 11

59

#ntj

VI.4-5

3, 11

60

#w-ns

VI.7

10?, 18?, 19?

Saqqara

Deir el-Gebrawi Meir El-Hawawish

El-Khokha Qubbet el-Hawa

Table 3.14 Distribution of Metalwork Scenes and Procedures

3.5.4 Common Procedures Common to a majority of tombs in the Metalwork corpus is the inclusion of a melting scene as the generic representation of the industry, in keeping with its importance as the precursor to all other subsequent stages in production. Its consistency is further underlined by the tombs of MHw [Cat.23], KA-gm-nj:Mmj [Cat.32] and JHjj [Cat.57], where it is selected for decoration in spite of limited space. Other procedures which are frequently attested, linked sequentially to melting and, hence, rarely depicted in isolation, are

the pouring of the molten metal and metal beating. Less conventional procedures such as crimping and gilding are of Memphite derivation, being limited to the tombs of Mrsanx III [Cat.4], Nb.j-m-Axtj [Cat.5] and Nj-anx-$nmw and $nmw-Htp [Cat.25], whereas polishing and cooling the molten metal are practices recorded only in the Provincial tombs of Jntj [Cat.42] and Ppjj-anx:@nj-km [Cat.51]. Table 3.14 summarises the geographical and temporal distribution of all Metalwork scenes and procedures, while Table 3.15 presents all applicable postures in chronological and

61

‘Make it According to Plan’ sequential order. Detailed commentary on these and other aspects of the industry is found below.

may be made in the type of equipment illustrated, however, and additional items such as a bag, a scribal box and water pots are present in the anx-m-a-@r:%sj scene. The standing posture of the scribe, with an ink palette tucked under his armpit, is a further point of difference in the KA.j-jrr and Mrrw-kA.j:Mrj examples and, hence, may be indicative of a signature necropolis workshop style.

3.5.4.1 Weighing Crude Metal The Metalwork sequence begins with the weighing and dispensing of the crude metal ingots,224 in the presence of an overseer and recorded by a scribe,225 the results of which were later compared with the completed vessel.226 Freestanding or hand-held scales and weights of various shapes and sizes serve as standard equipment for the process in the relevant scenes.227 The procedure appears comparatively late in the repertory, however, in contrast to the post-production weighing of the vessel and is primarily a Memphite decorative element attested after mid Dynasty V.

3.5.4.3 Melting Crude Metal The weighing and dispensing of the metal is followed in the pictorial record by depictions of different stages in its processing. The first procedure is the melting of the ingots to remove blisters and impurities prior to portioning the molten material into moulds.228 While such scenes are highly standardised in their representation of the action, marked variation in internal detail is frequently observed. Common to all examples is the grouping of multiple workmen around a furnace, using blowpipes to heat the crucible of crude metal embedded within.229 As this is the only method illustrated in the corpus, irrespective of site and date, it is a reliable indicator of the level of technology of the period.

Central to the action is the holding of the scales by a workman, performed in either a standing or sitting position as determined by the type of apparatus used. The steadying of the weighing pans by holding either the beam or cord is a convention which is common to most representations. Evidence presented in the tomb of Jbj [Cat.47], specifically the depiction of a workman bending with one hand touching the hem of his kilt, supports the tentative reconstruction of a similar figure in the tomb of *jj [Cat.34] as engaged in weighing. The position of the figure at the beginning of the sequence also suggests this.

Metal blowers themselves are typically arranged in teams of four or six, with moderate spacing and overlapping of the workmen occurring throughout.230 Tight overlapping is a feature unique to Memphite artists, while the pronounced separation of the figures, thereby preserving the integrity of the bodies, is recorded only in El-Khokha tombs dated post VI.E. A team of three metal blowers drawn in a semicircular arrangement is a presentation of the action confined to the tomb of Ppjj-anx:@nj-km [Cat.51] at Meir.

Additional stylistic criteria pertaining to weighing scenes, principally Memphite, include standing scales with centre plummet, hand-held scales with joist and plummet, a weighing sling, block-shaped weights and a suspension hook in anthropomorphic form. A number of these features, being common to the period V.L-VI.E, are also potentially significant in terms of dating. The attachment of the joist to the upright of the scales by ropes and the use of multiple cords to suspend the weighing basket are, on present evidence, innovations particular to tombs at Deir el-Gebrawi, as is the depiction of the centre plummet in profile and frontal view in the tomb of Jbj [Cat.47]. The addition of uprights to the joist occurs in both Memphite and Provincial examples but only after the commencement of Dynasty VI.

While a limited range of postures has been documented, with kneeling in various forms constituting the conventional pose, important points of difference are still in evidence. These include the placement of the hands, feet and mouth of the metal blower, the length and thickness of the blowpipe, the shape and size of the tuyure when present, the design of the furnace and/or crucible and the height of the flames. For instance, while the holding of the blowpipe to the mouth is the most common position displayed in the corpus, the placement of the pipe inside the mouth occurs only after V.M. The shielding of the face against the heat of the blazing furnace by placing an open hand at the top of the blowpipe is introduced early to the repertory in IV.L-V.E and remains consistent.

Bold variations attributable to individual artists consist of scales with a narrow conical base and curved beam, as illustrated in the tomb of %nDm-jb:MHj [Cat.12], irregularlyshaped metal ingots, as shown in the tomb of KA.j-m-rHw [Cat.31], and the rendering of the joist in the form of a human figure in the tomb of KA.j-jrr [Cat.30], the latter having no extant parallel in ancient Egyptian art. The use of a storage box to house the weighing equipment or metal ingots is a design feature unique to Saqqara scenes.

Other presentation styles relevant for dating purposes and determining provenance include the holding of the blowpipe in the middle, favoured by artists at Deir el-Gebrawi, ElKhokha and Qubbet el-Hawa during the period VI.M-L, or holding it near the middle and bottom, attested in both Memphite and Provincial tombs post V.M. The depiction of the lower hand as open against the pipe is a detail first recorded in the Giza tomb of Mrs-anx III [Cat.4], with evidence of probable copying by the artist of #ntj [Cat.59] at El-Khokha. In this same tomb, the only representation of a pipe held in one hand in a metal blowing context is also recorded. In spite of these differences, however, in all

3.5.4.2 Recording the Weighing The recording of the weighing of the crude metal prior to processing is limited, on current evidence, to Saqqara scenes dated V.L-VI.E. Specific examples occur in the tombs of anx-m-a-@r:%sj [Cat.19], Mrrw-kA.j:Mrj [Cat.22], KA.jjrr [Cat.30] and KA.j-m-rHw [Cat.31], with scribal figures conventionally depicted where they appear. Distinctions

62

The Scenes in Focus - Metalwork cases the blowpipe is uniformly angled towards the base or side of the crucible, being the recognised optimum areas for even combustion.231 Slight variations, where present, are governed by the distance of the figure from the furnace, the selected arrangement of the figures or a desire to maintain balance and symmetry within the composition.

the process. Textual evidence from the tomb of Nj-anx$nmw and $nmw-Htp [Cat.25], in the form wA(j) mnD.t jm ʻThe cheek forms thereinʼ, suggests that an additional responsibility was to determine when liquification of the metal had been achieved.235 When the latter is the case, the most recognisable characteristic is the leaning or bending of the figure towards the furnace with a rod or stick in hand, which is used to maintain the intensity of the flame and stir the molten metal. The procedure is not introduced until V.M, however, and is a device employed exclusively by Saqqara artists to augment a scene.

Deviations observed pertaining to the placement of the feet of the metal blowers include the raising of the inner heel, as illustrated in the tomb of KA-gm-nj:Mmj [Cat.32], and the full extension of the outer leg with toes pointing upwards, as seen in the El-Khokha tombs of JHjj [Cat.57], Wnjsanx [Cat.58] and #ntj [Cat.59]. These, however, reflect experimentation on the part of a limited number of artists or are confined to a specific site, although, significantly, both presentations enter the repertory in VI.E. Another sitespecific feature is the depiction of markedly long blowpipes by artists at El-Hawawish, as recorded in the tombs of ^psjpw-Mnw:$nj [Cat.55] and KA.j-Hp:*tj-jqr [Cat.56].

3.5.4.6 Carrying Molten Metal On reaching liquification, the molten metal is carried from the furnace and poured from the crucible into a mould for the purposes of casting, apportioning and forming alloys. Preheated examples of these moulds, made of clay, stone or metal, are known from the archaeological record to have been used.236 While the depiction of the pouring action appears in a number of metalworking scenes, only one tomb, that of Nb.j-m-Axtj [Cat.5], illustrates the transfer of the charged crucible from the furnace. Its absence from the repertory thereafter, despite its early introduction in IV.LV.E, suggests that subsequent artists must have regarded the procedure as superfluous. As a result, the carrying and pouring movements in later cases are abbreviated into one. The example cited is further noteworthy for its attempt at sequenced animation by presenting the two movements separately side by side. To reinforce the consecutive nature of the actions, identical posture and arm configurations have also been used.

Of further potential dating importance is the observation that a thick blowpipe is attested only in Dynasty V, while tuyures of unconventional shape and the embedding of the furnace or crucible in charcoal are concentrated in the period V.M-VI.E. A furnace supported by stones or a post and oversized furnaces are Provincial adaptations not occurring in the repertory until VI.E. Taken together, these criteria, in addition to the depiction of a tube-shaped tuyure, more likely place the tomb of MTTj [Cat.24] in the transitional period V.9-VI.1 on artistic grounds, in contrast to the later dates proposed by Harpur232 and Munro.233 Tall flames emerging from a furnace is the most common form of presentation when included in a scene, although an isolated example of short flames is recorded at Deir el-Gebrawi in the tomb of @m-Ra:Jsj [Cat.49]. These differences may reflect subtle developments in technology or, in the latter case, were designed to capture the beginning of the process, but they may equally represent attempts at artistic individuality.

3.5.4.7 Pouring Molten Metal The pouring action, where depicted independently, is characterised by a high degree of standardisation. The principal features of most examples include the bending of the back and the holding of the crucible by its sides, with the added raising of the inner elbow in some examples designed to capture the turning of the arm as the crucible is emptied. A deeply bending posture, as illustrated in the tomb of Ppjjanx:@nj-km [Cat.51], or raised rear heel, as recorded in the tomb of Wp-m-nfrt:Wp [Cat.3], are variations observed in isolated cases, while a straight inner arm distinguishes the figure of the pourer in the tomb of Mrrw-kA.j:Mrj [Cat.22]. The general consistency of the angled back attribute makes it possible to reconstruct the fragmentary figure of a metalworker in the tomb of PtH-Spss [Cat.16] as another likely example of this procedure.

3.5.4.4 Clearing a Blowpipe A subsidiary scene in which a blowpipe is cleared of blockages of accumulated material is introduced late to the repertory in the tombs of %nDm-jb:MHj [Cat.12] and PtHSpss [Cat.16], dated V.M-L, but it is experimental in nature and unattested, on present evidence, outside this range. Its existence, nevertheless, provides corroborating evidence for the argument put forward by Davey that the lower end of the blowpipe was filled with charcoal prior to blowing as a means of preheating the air.234 It is unclear from the %nDm-jb:MHj depiction, however, whether the action has been accurately interpreted in this instance, as it has been influenced, to a large extent, by the presentation of the metal blowers immediately to the right.

The use of protective holding pads to carry the crucible, thought to have been made of wood, stone or clay,237 is a detail present only in Memphite tombs, although the Ppjjanx:@nj-km [Cat.51] example, if correctly classified, may prove an exception. In the absence of holding pads, the hands are placed flat against the crucible to simulate the action of cupping, despite this being contrary to reality. Experimentation with this position also occurs in the tomb of KA.j-jrr [Cat.30], which contains the only extant scene of a charged crucible held by the lip. A small rhyton-shaped

3.5.4.5 Stoking a Furnace In selected scenes of metal blowing, the workmen are accompanied by an overseer, whose role it is to supervise

63

‘Make it According to Plan’ crucible is most commonly documented in the scenes, being of Memphite derivation and the preferred design of the period V.L-VI.E, particularly at Saqqara. Correspondence in shape between the furnace crucible and the crucible used for pouring is a development also traceable to Saqqara artists at this time.

using round or ovoid hammer stones241 and anvils made of metal, stone or wood.242 It may be deduced from the captions accompanying the scenes of Wp-m-nfrt:Wp [Cat.3] that, on occasion, the beating was performed for the purpose of annealing. Statistically, three lower body postures emerge as commonly representing the beating action, namely squatting, kneeling or sitting with knees drawn up. They are depicted in association with a range of arm positions, the earliest of which is the hammer stone held at knee level in IV.E. While probably to be understood as capturing the final phase of the movement, namely the point at which the hammer stone makes contact with the metal, modern simulations and experiments confirm this as the correct degree of force required by the task.243 This suggests that the raised arm position consistently preferred by artists in later dynasties, particularly in the period V.E-VI.M, was selected either to balance the composition or for dramatic effect.

The angle of the molten flow may likewise be indicative of particular necropolis workshops, in that a vertical flow is found only at Giza in the tomb of Wp-m-nfrt:Wp [Cat.3], whereas a pronounced curve to the flow is a design feature more characteristic of tombs at Saqqara, such as those of Mrrw-kA.j:Mrj [Cat.22], KA.j-jrr [Cat.30] and *jj [Cat.34]. The shape of the moulds into which the molten metal is poured appears to be at the discretion of the individual artist, however, as no consistency in their depiction can be discerned. 3.5.4.8 Controlling the Molten Flow To augment a scene of pouring, two additional actions are included, but their occurrence in the repertory, on present data, is extremely rare. The first of these is the use of a stick to hold back impurities in the molten material and regulate the flow,238 which is illustrated uniquely in the tomb of Mrrw-kA.j:Mrj [Cat.22]. This confirms that crucibles, as documented in archaeological contexts, were pierced and plugged at the base of one side to facilitate discharging.239 The procedure itself must have been observed by the artist in an active workshop setting, hence it is likely to be an accurate representation. The arced flow of the molten metal and the height from which it is poured, conversely, appear to have been exaggerated for artistic effect.

Four variations of this raised arm position, corresponding to the trajectory of the hammer stone, are documented in the corpus, these being behind the head, above the head, level with the head or in front of the face. The choice of position is largely determined by the amount of space available in the register, as is clear from the tombs of PtHSpss [Cat.16], anx-m-a-@r:%sj [Cat.19], Ppjj-anx:@nj-km [Cat.51] and #w-ns [Cat.60] where the area is confined. The most frequently attested of the positions is that in which the hammer stone is held behind the head at right angles to the shoulder, being of Memphite derivation and commonly featured in Dynasty V. The striking arm held at a more acute angle to the body and raised high into the air is a deviation of the movement introduced at Giza in the tomb of Jj-mrjj [Cat.1] and subsequently copied at ElHawawish in the tomb of @sjj-Mnw [Cat.54], dated V.8L-9. For this reason, its occurrence in the tomb of MHw [Cat.23] at Saqqara may be indicative of a date closer to the range V.L-VI.E for the owner, contrary to that of VI.5 proposed by Baer244 and Kanawati.245 A stone held at head level with forearm pointing to the rear, as further illustrated in the tomb of MHw [Cat.23], is also strictly associated with tombs dating V.M-VI.E. The holding of the hammer stone above the head with arm parallel or semi-parallel to the body is another identifying characteristic of this period, as seen in the tombs of KA.j-jrr [Cat.30] and *jj [Cat.34].

3.5.4.9 Cooling Molten Metal Of equally limited attestation is the cooling of the cast metal by dowsing it with water, currently recorded only in the tomb of Ppjj-anx:@nj-km [Cat.51] at Meir. The size and shape of the crucible and mould depicted in the scene are in keeping with Davey’s argument that such a procedure was required because a larger volume of material was being cast.240 The accompanying text (r)dj hA(j) nSnw Hr=s qb(b) ‘Let the liquid go down on it to be cool!’, however, implies that the water may have been poured over the metal rather than sprinkled onto it as he suggests. Both controlling and cooling scenes constitute significant attempts at expansion of the repertory and are indicative of greater familiarity with the casting process. Nevertheless, they may have been introduced too late in VI.E-M to be copied or adapted by other artists, particularly those confined to smaller working surfaces. Alternatively, the fact that molten metal had to be filtered and cooled as part of its preparation may have been regarded by a majority of artists as intrinsically understood and, thus, to represent them as defined procedures was considered unnecessary.

The depiction of the hand in relation to the hammer stone, the size and shape of the stone itself and the nature of the cast metal also provide key dating and stylistic information. For instance, manipulation of the stone between the fingers and the thumb may be regarded as the conventional beating position, as evidenced by its occurrence over a broad chronological period. The curling of the hand or the forefinger around the stone is a variation introduced by Memphite artists to the repertory but is restricted to the period V.M-VI.E. A loose arrangement of the fingers to reflect the stretching of the hand around a larger stone is an interpretation of the action found only in the tomb of MHw

3.5.4.10 Beating Sheet Metal In a continuation of the sequence, the cast metal is shown being beaten into sheets suitable for vessel fabrication,

64

The Scenes in Focus - Metalwork beating scene. Given that traces of an adze are visible in hieroglyphic form in the inscription (Gardiner’s Sign List U20), it is likely to have depicted the sharpening of this blade type when originally composed. Its absence from the repertory until later in the period, however, suggests that it was regarded as only of minor artistic importance to the theme.

[Cat.23], while a particular Provincial innovation is the holding of the stone in the palm of the hand, as seen in the tombs of ©aw and ©aw:^mAj [Cat.50] at Deir el-Gebrawi and Ppjj-anx:@nj-km [Cat.51] at Meir. A hand devoid of a hammer stone is a feature also common to Provincial tombs in this context, being first attested at El-Hawawish in the tomb of @sjj-Mnw [Cat.54]. Thereafter, it is recorded in the tombs of KA.j-Hp:*tj-jqr [Cat.56] and Jbj [Cat.47], all of which date to the period post V.L. Other pertinent dating and stylistic criteria particular to these scenes include the use of a large ovoid hammer stone (Memphite IV.L-V.M), a heavy round hammer stone (Memphite V.M-VI.E) and a rectangular hammer stone (Provincial VI.M). Cast metal shown as flattened on the anvil does not appear in the repertory until VI.E, in contrast to the more conventional block-like depictions documented in scenes post V.M. Irregular and ovoid shapes are limited to specific Memphite tombs, with the latter being recorded uniquely at Saqqara in the tombs of MHw [Cat.23] and &p-m-anx II [Cat.33]. The holding of the metal and anvil together is also a Saqqara design characteristic, occurring only in the tombs of MHw [Cat.23] and KA.j-jrr [Cat.30], dated VI.1-2. Of particular interest in the case of MHw is that it has been used to emphasise the transition of the metal from a lump at the commencement of the beating to a flatter, more even form as the beating proceeds. To date, it is the only example of its kind recorded in Old Kingdom Metalwork scenes.

3.5.4.13 Beating a Vessel A second type of beating procedure pertains to the forming of a vessel, typified by the working of the object in an inverse position on a narrow anvil. Although two methods of forming, known as ʻsinkingʼ and ʻraisingʼ, have been documented in the archaeological record,247 only the raising method is represented in the scenes. The principal movement consists of a rhythmic tapping action by one hand of the workman, with the other hand rotating the vessel as the work proceeds. The placement of the hammer stone above the head, as seen in the tomb of Nj-anx-$nmw and $nmwHtp [Cat.25], is an interpretation evident only in V.M but must be considered an anomaly due to the potential of such force to distort the metal. An understanding of this may be evident in the use of the verb srD to describe the action, a term more often associated with carving or chiselling, as it serves to distinguish between beating to shape and sqr meaning beating to flatten. Other variations dated to the same period include the workman sitting on a block and the use of a double-stake anvil tied with rope.

3.5.4.11 Beating a Blade A corollary of beating scenes is the use of the same process to form specific metal objects, such as basins and other vessels and various types of blades. The presentation of both categories is highly conventionalised. For the manufacture of a razor or knife blade, paired workmen are illustrated beating a sheet of metal around an elongated shape from which a narrow piece or visible tang protrudes. A recognisable characteristic of the scene is the asymmetrical arrangement of the beaters, with one workman in a squatting position holding the hammer stone forcefully behind his head, while his companion lightly taps the blade on the anvil. Evidence from the tomb of Nb.j-m-Axtj [Cat.5] shows this to be an apparent modification of the typical sheet metal beating presentation, which depicts a team of four workmen in a symmetrical arrangement carrying out the task.

Of particular note with regard to this procedure are the scenes contained in the tombs of %nDm-jb:MHj [Cat.12] and Jntj [Cat.42]. Although the vessel and anvil are omitted from the tomb of Jntj, its resemblance to the %nDm-jb:MHj example in most other respects makes it possible to conclude that a vessel forming scene was originally intended. Furthermore, similarities in posture and gesture, such as the raising of the hand, together with the apparent absence of a hammer stone and the identical context of the depictions juxtaposed with weighing, is compelling evidence that the scenes are likely to have been copied. Given that %nDm-jb:MHj is securely dated to V.9, it follows that the same approximate terminus ante quem may apply to the tomb of Jntj, on the basis of the above criteria, in contrast to the earlier dates of V.6 and V.8 suggested by Petrie and Griffith248 and Kanawati and McFarlane.249

In contrast, the manufacture of an adze or axe blade is performed by a single workman in each case, who beats and shapes the roughly cast metal to a fine cutting edge.246 As the scene is presently limited to two tombs at El-Khokha, those of Wnjs-anx [Cat.58] and #ntj [Cat.59], it is likely to be an interpretation specific to this site.

3.5.4.14 Crimping a Vessel An alternative method of constructing a vessel known as crimping is also represented in the scenes, whereby pre-cut sheets of metal are manually shaped and pressed into form. Although introduced early to the repertory, in the tomb of Nb.j-m-Axtj [Cat.5], the motif remains undocumented post IV.L. This suggests that, despite being a relatively common method of production,250 its popularity as a decorative subject was somewhat limited. Of note is the attempt by the artist to show the vessel in two stages, both pre-fabricated and complete, by illustrating a finished ewer of corresponding shape above the scene.

3.5.4.12 Sharpening a Blade This activity is currently referenced only in textual form in the corpus, with traces of an incomplete inscription recorded in the tomb of Mrrw-kA.j:Mrj [Cat.22]. An illustration of the procedure, if it existed in antiquity, must have occupied the adjacent wall space as a continuation of the preceding

65

‘Make it According to Plan’ 3.5.4.15 Polishing a Vessel On present evidence, the polishing of a vessel is another motif which is rarely attested in the Metalwork corpus. In the only known example recorded in a private mortuary context, that of Jntj [Cat.42] at Deshasheh, a workman is shown smoothing and rubbing the exterior surface of a jar. Hard polishing stones of granite, limestone or agate251 are believed to have been used to remove course areas and abrasions, which were supplemented by leather laps or textiles to achieve the desired finish.252 In the example in question, however, only the remains of a stone or the suggestion of one, based on the orientation of the hand, can be discerned.

the presentation of the crucible as inverted and resting on its side.255 These elements, where visible, in combination with the similar pairing and postures of the figures, make it possible to reconstruct traces recorded in the tomb of #w-ns [Cat.60] at Qubbet el-Hawa as a scene of heating precious metal. Given that a parallel in the tomb of Nj-anx$nmw and $nmw-Htp [Cat.25] is the only other example of this motif recorded in the current corpus, there is a high probability that it was referred to for inspiration by the artist of the #w-ns scene. 3.5.4.19 Stoking a Crucible Accompanying scenes of heating precious metal are depictions showing the simultaneous stoking of the embers, preserved in full in the tomb of Nj-anx-$nmw and $nmwHtp [Cat.25]. As a probable adaptation of the furnace stoking motif, its most obvious point of difference is that the workman performing the action sits or squats on the ground. The inversion of the crucible is another characteristic, with the placement of any object in this position constituting a possible design feature of Memphite necropolis workshops in the period V.M-L.

Of significance in terms of dating are three features in the scene: the depiction of a markedly tall stake-style anvil on which the work is performed; the presentation of the vessel perpendicular to the anvil; and the free hand of the workman being used to support the vessel around its outer edge. As comparable elements are also featured in the Metalwork scene excavated from the Causeway of Unis at Saqqara, dated late Dynasty V,253 it may be additional evidence that the tomb of Jntj is to be assigned to the same period on artistic grounds. The similarities also further underline the influence of Memphite traditions on Deshasheh decoration, as first recognised by Harpur.254

3.5.4.20 Gilding an Object The second phase of the gilding process shows the covering of selected objects with the prepared metal leaf, characterised by the rendering of the workman with an outstretched arm to simulate the pressing and glueing action associated with the task.256 Intervening preparatory steps, such as the cooling and separation of the metal, are unattested in the current documentation and in two examples, those of Mrsanx III [Cat.4] and Nb.j-m-Axtj [Cat.5], the prior heating of the metal has been omitted. The distinctive raising of the inner arm of the figure as the metal is positioned is a feature also common to both tombs, thus enabling the Nb.j-m-Axtj scene, previously identified as a scene of crimping,257 to be more accurately classified as a scene of gilding. That this may have been representative of a particular necropolis workshop style is further supported by the identical date and provenance of the tombs and their filial connection.258 The detail, at any rate, is not maintained in the later scene of Nj-anx-$nmw and $nmw-Htp [Cat.25] at Saqqara, where a rigid arm interpretation was apparently preferred. In the same tomb, a greatly expanded treatment of the procedure, achieved by repetition of similar figure types, is also evident.

3.5.4.16 Weighing a Completed Vessel The production process concludes with the weighing and recording of the completed vessels, the depictions of which are near-identical to their earlier counterparts in terms of posture and equipment. They are distinguished, however, not only by their contrasting position in the register but by the fact that in two of the five examples documented, those of Nb.j-m-Axtj [Cat.5] and Jntj [Cat.42], the weighing procedure is performed while sitting down. To date, a completed metal basin is the most common vessel illustrated in such compositions. 3.5.4.17 Recording the Weighing Three scenes of this procedure are attested in the corpus, two of which are recorded at Saqqara. While conventionally represented, subtle variations are discernable in the tomb of MHw [Cat.23] and on Block OK35 [Cat.37], such as the depiction of a reed brush behind the ear, a feature which categorises a scene in any workshop context as belonging to the period V.M-VI.E. The holding of the papyrus and reed brush at shoulder height is also a prominent detail in the tombs of MHw [Cat.23] and @m-Ra:Jsj [Cat.49].

3.5.4.21 Supervising Construction Relative to other workshop industries, depictions of static overseers supervising manufacture are largely negligible in Metalwork scenes, as a higher proportion of such figures are illustrated participating in construction. Where documented, they adopt a conventional standing pose and, in a majority of cases, hold a staff or rod. While limited in the current corpus to the period V.L-VI.E, they are, nonetheless, represented in both Memphite and Provincial tombs. Examples in Provincial areas exhibit more internal detail, however, such as a flexed arm in the tomb of %rf-kA.j [Cat.46] and one hand shielding the face in the tomb of @m-Ra:Jsj [Cat.49].

3.5.4.18 Heating Precious Metal Included in the Metalwork repertory is a second sequence of operations, illustrating the preparation of gilt and its application. While scenes of these activities are documented from an early period, they are limited, on present evidence, to a small number of tombs. The procedure commences with the heating of the precious metal in a crucible using a blowpipe, this action being differentiated from other melting scenes by the depiction of a single workman and

66

The Scenes in Focus - Metalwork 3.5.4.22 Presenting a Completed Vessel The final step in the Metalwork sequence is the presentation of the completed vessel as an offering, although limited in a workshop setting to the tombs of Mrrw-kA.j:Mrj [Cat.22] and Ppjj-anx:@nj-km [Cat.51]. More commonly, completed vessels are shown grouped in a sub-register or displayed on

a table or in a stand, the latter interpretations being design features sporadically employed in the period V.L-VI.M. Of the 33 variations of vessel types documented in the corpus, the nms.t-jar and basin with tapered sides are most frequently represented, irrespective of context, site or date.

Fig. 10 Weighing crude metal. Tomb of KA.j-m-rHw. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

67

‘Make it According to Plan’

Procedure

Posture

Posture Types in Chronological Order

Bending

1. Weighing crude metal

1

2

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1 2 3

Giza Saqqara el-Gebrawi

V.6 VI.1M-L VI.4E

1

Giza

V.6

1

Saqqara

V.8-9

31

1

Saqqara

VI.1L

19

1

Saqqara

V.8-9

31

1 2

Saqqara Saqqara

VI.1M-L VI.1-2

22 30

1

Giza

IV.5-6E

4

2

Giza

IV.6-V.1

5

3

Giza

V.5-8

3

4 5

Saqqara El-Khokha

V.8-9 VI.1

34 58

Other

1 22 47

3 1

47

Standing 1

Squatting 1

Sitting

2. Recording the weighing

1

Squatting 1

Standing 1

3. Melting crude metal

19, 30

Kneeling

1

2

2

4

3

5

Table 3.15 Posture Summary - Metalwork

68

1?, 5, 7, 16, 22, 23, 25, 30, 31, 33, 44, 46, 47, 49, 50, 57? 3, 16, 19, 23, 32, 33, 34, 54?, 55, 56 7, 12, 24, 33, 51 57, 59

The Scenes in Focus - Metalwork

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Saqqara

V.8-9

31

1

Saqqara

VI.1L

19

1

Abusir

V.6L-8E

16

1

Giza

V.9M-L

12

1

Saqqara

V.6L-7

25

1

Saqqara

VI.1L

19

1

Giza

IV.6-V.1

5

1

Giza

IV.6-V.1

5

Other

Sitting 1

Squatting

4. Clearing a blowpipe

1 37?

Kneeling 1

Sitting

5. Stoking a furnace

1

Standing 1

Bending

7. Pouring molten metal

6. Carrying molten metal

1

Striding 1

Standing 1

Table 3.15 Posture Summary - Metalwork (cont.)

69

30

‘Make it According to Plan’

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Giza

V.5-8

3

1

Saqqara

VI.1M-L

22

1

Meir

VI.4-5

51

1

Giza

IV.5-6E

4

2 3

Abusir Saqqara

V.6L-8E VI.1L

16 19

1 2 3

Saqqara Saqqara Saqqara

V.2 V.8-9 VI.1M-L

33 34 22

4 5

Saqqara Saqqara

VI.1L VI.2

19 23

1 2 3 4 5

Giza Abusir Saqqara el-Gebrawi el-Gebrawi

V.5-8 V.6L-8E VI.1-2 VI.4E VI.4-5

3 16 30 47 50

1 2

Giza el-Gebrawi

IV.6-V.1 5 VI.1L-2E 49

Other

1, 16?, 22, 30, 34, 51

Bending

9. Cooling molten metal

8. Controlling the molten flow

1

Sitting 1

Squatting 1

Sitting

10. Beating sheet metal

1

Kneeling

1

2

2

3, 16, 51 51, 60

3

3

4

31 54?, 55, 56 23

5

Squatting

1

2

3

1, 37 38?

4

11. Beating a blade

5

Squatting 1

2

Table 3.15 Posture Summary - Metalwork (cont.)

70

9?, 25 58?, 59

The Scenes in Focus - Metalwork

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

1

Site

Date and Cat. No.

Other

Saqqara

V.6L-7

25

9?, 49

1 2 3

Giza Giza Giza

IV.5 V.6 V.9M-L

9 1 12

42?

1 2

Giza Saqqara

IV.6-V.1 V.6L-7

5 25

1

Giza

IV.6-V.1

5

1

Deshasheh

V.9

42

1 2

Giza Deshasheh

IV.6-V.1 V.9

5 42

1

Giza

V.9M-L

12

1

Saqqara

VI.2

23

Sitting

13. Beating a vessel

12. Sharpening a blade

1

No Illustrations

Sitting 1

14. Crimping a vessel

3

Squatting 1

15. Polishing a vessel

2

2

Sitting 1

Sitting 1

16. Weighing a completed vessel

Sitting 1

2

Bending 1

Standing 1

Table 3.15 Posture Summary - Metalwork (cont.)

71

37?

‘Make it According to Plan’

19. Stoking a crucible

18. Heating precious metal

17. Recording the weighing

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1 2

el-Gebrawi Saqqara

VI.1L-2E 49 VI.1-2 30

23 37?

1

Saqqara

V.6L-7

25

60?

1

Saqqara

V.6L-7

25

1

el-Hawa

VI.7

60?

1 2

Giza Saqqara

IV.5-6E V.6L-7

4 25

1 2

El-Sheikh Saïd el-Gebrawi

V.8-9E 46 VI.1L-2E 49

1

Saqqara

VI.1M-L

22

1

Meir

VI.4-5

51

Squatting 1

2

Kneeling 1

Squatting 1

Sitting

22. Presenting a completed vessel

21. Supervising construction

20. Gilding an object

1 5

Squatting 1

2

Standing 1

2

Standing 1

Bending 1

Table 3.15 Posture Summary - Metalwork (cont.)

72

12, 23

The Scenes in Focus - Sculpture shrine, as is the case in the tombs of PtH-Spss [Cat.16], anxm-a-@r:%sj [Cat.19] and Ppjj-anx:@nj-km [Cat.51]. With the exception of Metalwork, proportionally more figures are ranked jmj-r ʻOverseerʼ, sHD ʻInspectorʼ or mHnk ʻIntimateʼ in scenes of Sculpture than in any other industry. In keeping with the prevailing view that sculptors enjoyed a higher status than other craftsmen,262 the title jmj-r qs.tj(.w) Pr-aA ʻOverseer of Sculptors of the Palaceʼ is unique to the tomb of Mrrw-kA.j:Mrj [Cat.22], and in at least 25 examples, both sculptors and/or painters are identified individually by name.263

3.6 Sculpture 3.6.1 Overview The Sculpture and Painting industry is commonly represented in the study, with the frequency of the scenes, the majority of which depict the manufacture of statues or statue shrines, affirming the cultic significance of these items to the tomb owner. The scenes themselves, however, are distinguished by a comparatively limited number of procedures, as evident in Table 3.16. In addition, they are performed by a smaller than average cohort of workmen, owing to the near absence of motifs pertaining to the acquisition and early preparation of the raw materials. To date, the only exception to scenes of making statues and their accoutrements is found in the tomb of Jbj [Cat.47] at Deir el-Gebrawi, where a sculpture of a lion is worked with a mallet and chisel.

As observed by Drenkhahn,264 Hmw.tj(.w) or ʻCraftsmenʼ are charged only with the rough shaping of the statue or its final polishing, although, as seen above, the latter could equally be the responsibility of the qs.tj.265 In a majority of cases, painters are labelled either sS ʻPainterʼ or sS qdw.t ʻPainter and Draughtsmanʼ, with the title sS wab.t ʻPainter of the Workshopʼ appearing exclusively in the Saqqara tombs of anx-m-a-@r:%sj [Cat.19] and KA.j-jrr [Cat.30]. Little differentiation between the categories in terms of tasks can be determined from the pictorial evidence, with all groups engaged in the painting of statues and the sS qdw.t in the painting of both statues and shrines. The sS qdw.t, however, to judge from the tombs of Mrs-anx III [Cat.4] and Nj-anx$nmw and $nmw-Htp [Cat.25], may have been assigned to paint only the finer details of these items, such as the collar, the wig and the exterior panels. A sS is the only category of painter employed in the finishing of a jar, as evident from the tomb of Ppjj-anx:@nj-km [Cat.51].

Irrespective of the stage of manufacture represented, the approximately 70 statues and shrines featured are often depicted as complete, recognisable as such in form and by the use of painted decoration where preserved. A significant finding, however, is that in up to 25% of examples, this convention, considered typical by scholars,259 has not been observed. The omission of internal details and accessories on some statues, such as facial features, clothing and a staff, together with the presentation of a shrine as disarticulated panels, may be devices used contextually in these cases to indicate a work in progress.260 In any event and in spite of these distinctions, until the ʻOpening of the Mouthʼ ceremony, which was designed to enable the tomb owner to reanimate, all forms remained only potentially capable of fulfilling their ritual function.261

Classification

Preparing the Block

Refining the Statue Shape

Finishing Quality Control

Procedures in Sequential Order 1. Rough cutting a statue

Provincial

3.6.2 Identification of Personnel Sculpture and Painting scenes are distinguished in the corpus by their more frequent use of occupational titles to classify the workmen featured. Of these, the most common is the designation qs.tj or ʻSculptorʼ, generally associated with carving but also with polishing, trimming or painting a

Memphite

Although the largely standardised bodies of extant statues point to the likelihood that more than one sculptor was responsible for their manufacture,266 in respect of the current corpus, a majority of sculptor figures work as individuals. This presentation also consistently applies to painters, unless the figures are engaged in the completion of a shrine or Hnbox, in which case they are illustrated in pairs. Other teams of two are documented principally in relation to the carving of the statue and are characterised by their asymmetrical

Date Range V.6L-7

2. Rough shaping a statue

V.6L-9

3. Carving a statue or sculpture

IV.5-VI.7

4. Trimming a statue

V.6L-VI.5

5. Modelling the face or wig of a statue

V.5-9

6. Carving the navel of a statue

V.6L-7

7. Polishing or sanding a statue

IV.5-VI.5

8. Painting a statue

IV.5-VI.4E

9. Painting a statue shrine or Hn-box

IV.6-VI.5

10. Supervising construction

V.6L-VI.4E

Table 3.16 Suggested Classification and Sequence of Sculpture Procedures

73

‘Make it According to Plan’ Site

Giza

Abusir

Cat. No.

Tomb Owner

Date

Procedures Illustrated from Table 3.16

1

Jj-mrjj

V.6

8

2

Jbjj

IV.5-6

3

3

Wp-m-nfrt:Wp

V.5-8

3, 5

4

Mrs-anx III

IV.5-6E

8

5

Nb.j-m-Axtj

IV.6-V.1

3, 8, 9

8

#wfw-xa.f II

V.6

3, 8

9

#wn-Ra

IV.5

3, 7, 8

10

%anx-n-PtH

V.9-VI.1

3

11

%nDm-jb:Jntj

V.8M-L

3, 5?, 8?

12

%nDm-jb:MHj

V.9M-L

3, 5?, 9?

16

PtH-Spss

V.6L-8E

4, 5, 7

19

anx-m-a-@r:%sj

VI.1L

3, 7, 8

22

Mrrw-kA.j:Mrj

VI.1M-L

3?, 8?, 9?

25

Nj-anx-$nmw and $nmw-Htp

V.6L-7

1, 2, 3, 6, 8, 9, 10

30

KA.j-jrr

VI.1-2

4, 8

31

KA.j-m-rHw

V.8-9

3, 5

34

*jj

V.8-9

2, 3, 4, 7, 8?

37

Unknown

V.6-VI.1?

7?, 9

Deshasheh

42

Jntj

V.9

7, 9

Zawyet el-Amwat

44

Nj-anx-Ppjj:$nmw-Htp-Hpj

VI.2

9

47

Jbj

VI.4E

3, 8

50

©aw and ©aw:^mAj

VI.4-5

3, 4, 8

51

Ppjj-anx:@nj-km

VI.4-5

3, 7, 8, 9

54

@sjj-Mnw

V.8L-9

3

55

^psj-pw-Mnw:$nj

VI.6L-7

3

56

KA.j-Hp:*tj-jqr

VI.5-6

3

Saqqara

Deir el-Gebrawi Meir El-Hawawish

Table 3.17 Distribution of Sculpture Scenes and Procedures

3.6.3 Identification of Materials Colour conventions, simulated texturing and structural elements, such as absence of negative space and the holding of a staff, identify 40% of statues worked in relevant scenes as wood, increasing to over 60% if a proportion of those classified by attitude as being either stone or wood are also calculated.267 This supports the proposition put forward by Eaton-Krauss that wood was as highly regarded as stone during the Old Kingdom period,268 now substantiated by additional examples in the tombs of ^psj-pw-Mnw:$nj [Cat.55] and KA.j-Hp:*tj-jqr [Cat.56]. In comparison, less than 10% of statues may be definitively identified as stone, based on structural features such as the presence of a back pillar or back slab. This increases to almost 35% when the same proportioning as described above is theoretically applied. The type of wood or stone used in production is rarely indicated in the scenes, with the tomb of anx-m-a@r:%sj [Cat.19] containing the only textual references to the specific varieties of Spnn ʻshepenen-woodʼ and ksb.t

arrangement and use of diverse postures and arm positions to contrast the figures. Rare examples of the use of symmetry in Sculpture and/or Painting compositions occur in the tombs of *jj [Cat.34], Jntj [Cat.42] and Nj-anx-Ppjj:$nmw-HtpHpj [Cat.44], while a three member team configuration is an unconventional interpretation recorded only in the tomb of PtH-Spss [Cat.16]. This collaboration differs from similar presentations observed in other industries where larger than average teams are involved, in that the workmen are not engaged in complementary tasks. Because examples in which different procedures are executed simultaneously on a statue by teams of two are also limited, being attested only in the tombs of #wn-Ra [Cat.9], anx-m-a-@r:%sj [Cat.19], *jj [Cat.34] and ©aw and ©aw:^mAj [Cat.50], such depictions are probably best understood as contractions of a longer sequence due to space considerations rather than as evidence of a regular workshop practice. To date, in only one example, that of ©aw and ©aw:^mAj [Cat.50], is a statue drawn complete without attendant craftsmen.

74

The Scenes in Focus - Sculpture ʻkesebet-woodʼ. The painting of statues as black in the tomb of Ppjj-anx:@nj-km [Cat.51], pink with specks of dark red in the tomb of PtH-Spss [Cat.16] and red or red-brown in the tombs of Nj-anx-$nmw and $nmw-Htp [Cat.25], *jj [Cat.34] and Jbj [Cat.47], however, provides evidence that materials such as ebony, granite and coniferous woods were also used.269 Placement of statues in separate registers or separation of different examples using register dividing lines are design features which further serve to distinguish between materials in a number of cases.

material, as is the case in the tomb of Nb.j-m-Axtj [Cat.5]. In only one tomb, that of Nj-anx-$nmw and $nmw-Htp [Cat.25], is a progressive sequence of operations illustrated, from the initial shaping of the block, through to its refinement and decoration and concluding with the preparation of its shrine. The tombs of anx-m-a-@r:%sj [Cat.19] and *jj [Cat.34] are also notable for their expansive treatments of the industry, although in both compositions no logical order or arrangement of operations applies. This is the case in a majority of depictions, where at each stage of processing, a different statue, recognisable from its stance, clothing and wig style, is more often observed. Table 3.14 summarises the geographical and temporal distribution of all Sculpture scenes and procedures, while Table 3.15 presents all applicable postures in sequential and chronological order. Detailed commentary on these and other aspects of the industry is found below.

Despite the preponderance of wooden statues relative to stone in corpus depictions, analysis has shown that when more than one statue is illustrated, a combination of both wood and stone varieties is generally preferred. This convention is best exemplified in the tomb of Nj-anx-$nmw and $nmw-Htp [Cat.25], where preparation of each type in its preliminary stages, including the cutting and shaping of the block, is presented before subsequent manufacturing processes are merged. Qualifying this finding, however, is the observation that when a single material is selected for the composition, such as in the tombs of Jj-mrjj [Cat.1], %anx-n-PtH [Cat.10], Mrrw-kA.j:Mrj [Cat.22] and ^psj-pw-Mnw:$nj [Cat.55], the choice in all cases continues to be wood. Irrespective of these factors, all statues under construction are treated intrinsically as stone, in that they are represented as solid with the integrity of the body maintained, unlike wooden statues, which, in practice, were carved from several pieces and pegged together.270 Acknowledgment of this distinction is implied in the conversation between sculptors in the tomb of Wp-m-nfrt:Wp [Cat.3], which, in part, reads: n A Dd=k n(=j) jw xt mj aA.t ‘Indeed, you wouldnʼt say to me wood is like stone’. The manufacture of metal statues by either of the two known methods, that is the wrapping of sheet metal around a wooden core and cire perdue, is unattested.271

3.6.4.1 Rough Cutting a Statue According to the pictorial record, the opening procedure in the Sculpture and Painting sequence is the preparation of the block, two methods of which are illustrated corresponding to the type of raw material worked. The first of these, the hewing of a wooden block with an axe to roughly form the statue shape, is attested uniquely in the tomb of Njanx-$nmw and $nmw-Htp [Cat.25]. Not only is the scene informative, both visually and textually, as to the process followed by the ancient Egyptian craftsman, its unorthodox depiction of the statue in a recumbent position is without parallel. It is also the only scene in the corpus in which a sculptor is represented with a receding hairline. 3.6.4.2 Rough Shaping a Statue The second method of preparation, whereby a drafted stone block is reduced to shape by pounding or chipping away layers with a hammer stone or maul,273 is also of limited attestation. The shared provenance of the two known examples, recorded in the tombs of Nj-anx-$nmw and $nmw-Htp [Cat.25] and *jj [Cat.34], suggests that only Saqqara artists in the period V.M-L were capable of illustrating the procedure and that a large surface area on which to work, applicable to both of these elaborately decorated tombs, may have been the dominant factor influencing its selection. Internal details such as a rounded maul, a statue with a back pillar and a sculptor using a deep lunging movement to pound the stone are among the innovative features contributed to the workshop repertory by these scenes.

3.6.4 Common Procedures Of the ten procedures documented in the corpus, by far those most commonly illustrated pertain to the carving of the statue and its subsequent painting. The former activity, being featured in at least 80% of tombs, may be defined as the core motif of the industry. Both procedures are frequently represented in the same scene in close proximity to each other, but this arrangement is too inconsistent to be regarded as conventional. Analysis finds that where only one of the procedures, either carving or painting, is selected for illustration, carving predominates by a ratio of 3:1. This is particularly pronounced in Provincial cemeteries, where, of the eight tombs documented, a painting scene appears in only three examples, those of Jbj [Cat.47], ©aw and ©aw:^mAj [Cat.50] and Ppjj-anx:@nj-km [Cat.51]. Thus, in artistic terms, precedence was given to the forming of the statue in preference to its decoration, which was likely to have been a more specialised task.272

3.6.4.3 Carving a Statue or Sculpture As previously noted, the procedure of carving dominates the Sculpture corpus, during which the contours of the statue or other object are defined using a mallet and chisel. To date, 19 variations of posture pertaining to this activity have been documented. The sculptor figure, in most cases, is conventionally depicted in a standing position, with tools held comfortably at the front of the body. A rhythmic hammering action is suggested by the 45° angle at which the mallet is usually drawn and its orientation in either a

Other procedures regularly recorded in the Sculpture corpus include the polishing of the statue and the painting of the statue shrine. The latter is occasionally separated from its companion scenes, however, on the basis of a different raw

75

‘Make it According to Plan’ forward or backward direction. Such a pose is attested over the broad chronological period of IV.L-VI.M and may be found in either Memphite or Provincial tombs. Minor deviations particular to specific compositions include the resting of the front foot on the base of the statue to steady it, as seen in the tomb of #wn-Ra [Cat.9], and the raising of the front heel, as recorded in the tomb of %nDm-jb:MHj [Cat.12]. The angle of the chisel and point of contact with the statue are also differentiating features. The tapping of the mallet base against the chisel and the swinging of the mallet in a wider arc above the head or behind the shoulder are variations to the typical standing action generally found in Memphite tombs dated V.M-L, examples of which include #wfw-xa.f II [Cat.8] and *jj [Cat.34].

comfortable arrangement of the legs and close working distance between sculptor and statue are features present only in the carving and painting scenes in the tomb of *jj [Cat.34], while the resting of the toes on the statue base for stability is a distinctive attribute of the scene recorded in the tomb of Ppjj-anx:@nj-km [Cat.51].275 To date, the only deviation in either the standing or sitting position for the procedure occurs in the tomb of Nj-anx-$nmw and $nmwHtp [Cat.25], where the figure kneels on his rear leg to perform the task. Augmenting the scenes of carving with a mallet and chisel are those in which a chisel is used independently to refine the statue shape. Two varieties of tool and corresponding hand movements are associated with this activity, these being the double-fisted grip on a mortice indicative of a scraping or chipping action, as illustrated in the tomb of anx-m-a-@r:%sj [Cat.19], and a tapping motion used in conjunction with a fine-bladed chisel, as depicted in the tomb of Ppjj-anx:@njkm [Cat.51]. The motif appears to have enjoyed only limited popularity in the repertory, however, with the key examples being recorded post V.M.

Of particular interest in terms of the manipulation of the mallet are two scenes also of Memphite origin but dated to the earlier period IV.L-V.E. The first of these, in the tomb of #wn-Ra [Cat.9], is unique in its depiction of the abovethe-head position and forward orientation of the mallet, the result being the creation of a distinctive and dynamic overarm motion. This feature, together with the parallel configuration of the tools, is in marked contrast to the more static representations described above. While space constraints may have played a role in the need to modify an existing movement, it may equally be concluded that the posture is an attempt at innovation. A reluctance on the part of the artist to repeat the same or similar movement on successive figures, given that another sculptor in the register is drawn in conventional form, may also have prompted this unusual interpretation. The second example, found in the tomb of Nb.j-m-Axtj [Cat.5], places the mallet, drawn upside down in error, at an extreme angle to the body of the figure, positioned behind the outer shoulder and pointing inwards towards the back. This posture is otherwise seen only in Boat Building scenes in the tomb of *jj [Cat.34] at Saqqara but without conveying the same degree of force. Since no definitive correlation can be established between the intensity of the action and the nature of the material worked, it must be assumed that the postures in question were conceived for artistic effect. Their identical provenance, close correspondence of date and possible but unproven filial connection274 points to the likelihood that they originated from the same royal workshop attached to Giza.

3.6.4.4 Trimming a Statue A further refinement process illustrated in the corpus is the trimming of the statue, at which time the contours of the previously sculptured shape are smoothed with an adze. Although argued by a number of scholars that the use of such a tool denotes the working of either soft stone or wood,276 the latter has been identified as the material of a majority of statues in the relevant scenes. While no defined or consistent posture is recorded for the task, a frequent characteristic is the hooking of the free hand of the sculptor around the arm or leg of the statue to steady it, as evident in the tombs of PtH-Spss [Cat.16] and *jj [Cat.34]. Irrespective of orientation, if a striding attitude is depicted on the statue, the grasping of the lead or inner leg will always be maintained. An adze blade in frontal view immediately assigns a scene to the period V.L or later, confirming the dating for *jj on artistic grounds as V.8-9, given that it is only here and in the tombs of anx-m-a-@r:%sj [Cat.19], dated VI.1L, and +aw and +aw:^mAj [Cat.50], dated VI.4-5, where the detail can be found. Of particular note is the scene located in the tomb of KA.jjrr [Cat.30] in which experimentation in both posture and equipment is discerned. An unusually tall, high-backed stool is of central interest in the depiction, as it appears to be facing towards the attendant craftsman, who straddles the seat from the front. Such attributes, having no extant parallels in the current corpus of workshop scenes, further reflect the innovative style of the KA.j-jrr artist, whose individual interpretation and presentation of standard objects is consistently observed.

Based on current evidence, the first depiction of a sculptor carving a statue from a seated position enters the repertory in or about V.M, thereafter becoming a popular presentation, particularly in Provincial tombs dated VI.E-M. Figures are occasionally drawn in a squatting position on the baseline, corresponding to the lower areas of the statue or sculpture on which they work, but are more frequently illustrated sitting on a block or stool. In a majority of examples, the mallet is held above or behind the head to simulate a powerful striking action, with the latter capturing the starting point of the swing. Details pertaining to the placement of the feet and legs in this context may, in some cases, be indicative of a signature style. For example, the toe-to-ground position,

3.6.4.5 Modelling the Face or Wig of a Statue Following the shaping of the statue by the methods outlined above, the modelling of the finer details takes place, two aspects of which are illustrated in the pictorial record. The

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The Scenes in Focus - Sculpture 3.6.4.8 Painting a Statue The final procedure in the completion of a statue is the painting of its face and body, the purpose of which was to individualise and enliven its appearance. Painting to imitate a preferred stone or wood, such as granite or ebony, is also depicted in the scenes, with the latter represented in the tomb of Ppjj-anx:@nj-km [Cat.51] at Meir.

first of these is the incising of the facial features and wig of the statue, which is distinguishable from the similarly depicted polishing procedure by the use of a narrower, pointed stone.277 All scenes, whether securely or tentatively classified, are confined to Memphite tombs dated V.M-L, with a particular concentration in the period V.8. This would indicate, on present evidence, that the inclusion of this procedure in a composition was a tradition of the capital. Given its infrequent occurrence in the repertory, however, it appears that it was added to a register as an extension of the shaping and refining process only if sufficient wall space was available. Its sequential link with these processes is reinforced by its placement immediately adjacent to a sculptor engaged in carving or trimming, as seen in the tombs of Wp-m-nfrt:Wp [Cat.3] and KA.j-m-rHw [Cat.31]. For this reason, and because the principal identifying characteristic of the action is present in trace form, namely one arm stretched towards the head or face of the statue with the other in a supporting position, additional figures in the tombs of %nDm-jb:Jntj [Cat.11] and PtH-Spss [Cat.16] are also likely to be participating in modelling.

With few exceptions, analysis has determined that Painting postures are highly standardised in presentation, owing to the fixed lower body position in which the action is performed. The conventional pose, illustrated in up to 70% of cases, comprises a static standing figure holding a paint palette or container and a reed brush. Almost half of the figures recorded hold the tools in close proximity to each other and aligned with the shoulder and chest, consistent with a dabbing action in which the brush is repetitively applied. The associated statue in any scene of this kind may be either standing or seated. Deviating slightly from this interpretation, but observed in the same number of examples, is the holding of the palette in a less animated position and at a comfortable distance level with the waist. Irrespective of the pose selected and in a majority of cases, the upper parts of the statue, corresponding to the chest, shoulder, collar and wig, typically remain the focus of attention. The only recorded exceptions, those of anx-m-a-@r:%sj [Cat.19] and Ppjj-anx:@nj-km [Cat.51], depict the painting of the midriff, which is a departure confined to tombs dated Dynasty VI. The use of a separate platform on which to work is a detail particular to the tomb of Mrs-anx III [Cat.4] at Giza, where the use of the statue front projection for elevation is also introduced. Thereafter, the latter feature is replicated in a painting context only at Saqqara in the tomb of anx-m-a-@r:%sj [Cat.19]. The dominant presentation of a painter figure, however, in a majority of examples, inclusive of Giza and Saqqara compositions, is with both feet fixed firmly to the baseline.

3.6.4.6 Carving the Navel of a Statue The cutting out of the indentation of the navel on a statue is another aspect of detailing attested in the corpus, but it is currently recorded only in the tomb of Nj-anx-$nmw and $nmw-Htp [Cat.25]. A tapping action on the head of a chisel is used to effect the shaping, which, together with apparent traces of red-brown paint in situ, suggests that the statue being worked on is made of wood. Based on the manufacturing sequence illustrated in the tomb, the carving of the navel was likely to have been the final step in the modelling of the sculpture prior to its sanding and painting. 3.6.4.7 Polishing or Sanding a Statue The Sculpture sequence is concluded by the perfecting of the statue, at which point its surface is polished or sanded with a stone rubber and abrasive.278 The action is immediately recognisable by the sitting or kneeling position which the workman conventionally assumes, supported on a block or hassock at the discretion of the artist. As a consequence of this position, it is the mid to lower areas of the statue, namely the buttocks, thigh, midriff, back, forearm, kilt or chair, which are typically refined. Again, the motif is principally of Memphite derivation but of broad chronological attestation IV.L-VI.M. The illustration of an overlapping hand movement in relation to the polishing stone, by contrast, is more indicative of the narrower period V.M-L. Individuality is observed in the scenes on several occasions. For example, the placement of the feet of the workman in the tomb of #wn-Ra [Cat.9] suggests that he is pressing against the statue base while his free hand grasps the statueʼs ankle, effectively anchoring the sculpture as the rhythmic force of the polishing stone is applied. In the tomb of Jntj [Cat.42], an action consistent with straddling is recorded but with the outer leg extended to support the base from above, and in the tomb of Ppjj-anx:@nj-km [Cat.51], the only extant motif of a workman seated on a block with knees drawn up and heels resting on its outer edge is found.

Both varieties of standing posture enter the repertory simultaneously in the tomb of Mrs-anx III [Cat.4], dated IV.5-6E, the first of those described above becoming the preferred presentation in all Giza tombs cited until V.L. This factor enables the remains of a painting scene in the tomb of Jj-mrjj [Cat.1] to be reconstructed almost identically to that recorded in the tomb of Nb.j-m-Axtj [Cat.5]. It also aids in verifying the identification of a second figure in the latter tomb as painting a shrine.279 Similarly, on the basis of comparison, the remains of a workman in the same context in the tomb of %nDm-jb:Jntj [Cat.11] are probably to be restored to resemble the painter featured in the tomb of Mrsanx III [Cat.4]. Despite their frequent occurrence, neither posture so far accounted for is the first to be recorded in the corpus, with the unique and more dynamic painting action of the figure in the tomb of #wn-Ra [Cat.9] dated earlier at IV.5. In a departure from convention, the painter is rendered leaning forward to apply the finishing touches, supporting himself on the forearm of the statue and raising his inner heel in an

77

‘Make it According to Plan’ attitude of care and concentration. Internal details such as the clutching of the palette in the hand and its presentation in profile are also unattested in any other tomb. A scene of carving in the contemporaneous tomb of Mrs-anx III [Cat.4], which corresponds in terms of placement of the free hand, raising of the inner foot and style and manipulation of the brush, appears to have been modelled on the #wn-Ra example when altered in antiquity.

a standing or striding statue is a design feature particular to Saqqara necropolis workshops operating V.L-VI.E, whereas a naked seated statue, on present evidence, is found predominantly in Provincial tombs dated VI.M. Accessorising of the statues occurs, for the most part, in Memphite tombs, and it is here that the widest variety of wig and kilt styles are also recorded. Shoulder length, striated, flared and echelon-curled wigs, for example, are currently undocumented on statues in Provincial workshop scenes, where close-cropped hair devoid of visible wig is the typical presentation. In terms of statue attire, the tomb of Ppjjanx:@nj-km [Cat.51] provides the only known evidence of a statue wearing a calf-length kilt in a manufacturing context, while the complementing of the attire with jewellery items, such as collars and chokers, is a design practice observed principally at Giza.

The painting of a statue in a seated position is not in evidence in the corpus until V.L at the earliest, allowing for the possibility that at least one of the fragmentary figures in the tomb of *jj [Cat.34] illustrates this action. Parallel elements between this tomb and those of Jbj [Cat.47] and +aw and +aw:^mAj [Cat.50], such as the painter sitting on a high-stepped stool, the elevation of the inner knee and the suspension of one leg, indicate that the Deir el-Gebrawi artists in question may have been influenced, to some extent, by the earlier Saqqara model. The tucking of the foot under the thigh by the painter, as also illustrated in the tombs of Nj-anx-$nmw and $nmw-Htp [Cat.25] and Jbj [Cat.47], again suggests this.

3.6.4.9 Painting a Statue Shrine or Hn-box Following the completion of the statue, its accompanying shrine or Hn-box is shown being painted in a limited number of examples in preparation for its housing and transportation to the tomb. Although the motif is attested early in the repertory in the tomb of Nb.j-m-Axtj [Cat.5], on current evidence it is more common in the period post V.L.

Further attempts at innovation in the category of painting in a seated position occur in the tombs of KA.j-jrr [Cat.30] and Ppjj-anx:@nj-km [Cat.51]. In the first of these, the presentation is reinterpreted by fixing the legs of the painter rigidly to the statue base, enabling the palette to be supported on his lap, and having him stretch above his head to paint the wig. For similar reasons, the scene in the tomb of Ppjjanx:@nj-km may also be regarded as unconventional. Here, the artist paints a ⅓ life-size statue from a seated position, with the paint container supported on his knee. While the posture has been dictated by the small scale of the statue, itself an unusual feature, and a desire to maintain isocephalic proportions,280 the use of the baseline position in this context marks a break with tradition.

To a large extent, the depiction of the procedure parallels the main elements of statue painting scenes, being consistent in terms of posture, brush and palette and placement of equipment. Two significant new details, however, can be discerned: the securing of the brush behind the ear of the painter and the illustration of a defined brush stroke as contact with the painting surface is made. The origins of the first detail may be traced to the tomb of Nj-anx-$nmw and $nmw-Htp [Cat.25] in this context, subsequently appearing in the tomb of anx-m-a-@r:%sj [Cat.19] but in relation to the painting of a statue. Its occurrence in both tombs confirms it as an innovation deriving from Saqqara. Obvious influence is apparent in the tomb of Jntj [Cat.42] at Deshasheh where a brush is similarly placed behind the painter’s ear, although in this case, two brushes have been depicted to individualise the scene. The second detail is recorded in the tomb of Ppjjanx:@nj-km [Cat.51], where the downward movement of the splayed fibres of the brush against a small shrine which is being painted is captured with a high degree of realism.281

In addition to the above criteria, attributes of a more general nature are also evident in statue making scenes which may prove useful in assigning date and provenance to similar compositions. For example, with regard to seated statues, a block seat with or without an interior border is a Memphite stylistic feature recorded predominantly V.M-L, as is a block seat with back slab and front projection and a block seat with a back support covered with a cloth. Other aspects of presentation in this category specific to Memphite tombs include a statue with a closed fist resting on the thigh and a statue holding a handkerchief with or without an accompanying staff. It is also in Memphite tombs where, without exception, the depiction of a striding statue on a base with front projection, irrespective of length, is to be found.

3.6.4.10 Supervising Construction To complement scenes of Sculpture and Painting, a figure of an overseer may be present, but the motif is currently limited to one example in the tomb of Nj-anx-$nmw and $nmw-Htp [Cat.25]. The use of the so-called ʻCarpenter’s Signʼ to direct the participating workmen is a feature of this scene, one of two such illustrations included in the workshop tableau on the East Wall. Since the detail is associated only with the manufacture of wooden products, as established by the same tomb and that of #wn-Ra [Cat.9], the statue which is worked on, in addition to its recognisable structural elements, is confirmed as wood.

In terms of dating, the absence of a base entirely for both standing and striding statues is more pronounced in the period V.M-VI.L, while internal details such as fisted hands, belly button, nipple, goatee and toenails are concentrated in tombs dated V.M-V.L. The defining of the genitals on

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The Scenes in Focus - Sculpture

1. Rough cutting a statue

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Saqqara

V.6L-7

25

1 2

Saqqara Saqqara

V.6L-7 V.8-9

25 34

1

Saqqara

V.6L-7

25

1

Saqqara

V.6L-7

25

1

Giza

IV.5

2 3 4 5 6 7

Giza Giza Giza Giza Giza Giza

IV.5 IV.5-6 IV.6-V.1 V.6 V.8M-L V.9M-L

9 2 5 8 11 12

1 2 3 4 5 6 7

Saqqara Saqqara Saqqara Saqqara Saqqara Meir El-Hawawish

V.6L-7 V.6L-7 V.8-9 V.8-9 VI.1L VI.4-5 VI.6L-7

25 25 31 34 19 51 55

Other

Bending 1

2. Rough shaping a statue

Sitting 1

2

Lunging 1

Standing 1

3. Carving a statue or sculpture

Standing

1

5

Sitting

2

6

3

4

9

3, 5, 10, 12?, 22?, 31, 47, 50 51 34 19

7

1

2

3

5

6

7

4

Table 3.18 Posture Summary - Sculpture

79

56?

‘Make it According to Plan’

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1

Saqqara

V.6L-7

25

1 2

el-Gebrawi El-Hawawish

VI.4E VI.6L-7

47 55

54?

1

Abusir

V.6L-8E

16

50

1

Abusir

V.6L-8E

16

1

Saqqara

V.8-9

34

1

Giza

V.5-8

3

1

Saqqara

V.6L-7

25

1 2 3

Giza Abusir Meir

IV.5 V.6L-8E VI.4-5

9 16 51

37?, 42

1

Abusir

V.6L-8E

16

19

Kneeling 1

Squatting 1

2

4. Trimming a statue

Standing 1

Sitting 1

2

Kneeling

7. Polishing or sanding a statue

6. Carving the navel of a statue

5. Modelling the face or wig of a statue

1

Standing

11?, 12?, 16, 31

1

Sitting 1

Sitting 1

2

3

Standing 1

Table 3.18 Posture Summary - Sculpture (cont.)

80

The Scenes in Focus - Sculpture

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

Other

1 2

Saqqara Saqqara

V.8-9 V.8-9

34 34

1

Giza

IV.5

9

4

1 2

Giza Giza

IV.5-6E IV.5-6E

4 4

1, 5, 8 11?, 19, 22?, 25

1 2 3

Saqqara Saqqara Meir

V.8-9 VI.1-2 VI.4-5

34? 30 51

47, 50?

1 2

Giza Saqqara

IV.6-V.1 V.6L-7

5 25

12?, 22? 37?

1 2 3

Saqqara Deshasheh Meir

V.6L-7 V.9 VI.4-5

25 42 51

44

1

Saqqara

V.6L-7

25

Kneeling 1

2

Bending

8. Painting a statue

1

Standing 1

2

Sitting

10. Supervising construction

9. Painting a statue shrine or Hn-box

1

2

3

Standing 1

2

Sitting 1

2

3

Bending 1

Table 3.18 Posture Summary - Sculpture (cont.)

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‘Make it According to Plan’ personnel, irrespective of the phase of manufacture illustrated, in keeping with the relatively small size of the object they produce. It is one of only two industries under discussion, the other being Jewellery Making, where no evidence of team labour, in the sense of multiple craftsmen working simultaneously on the same object, can be observed.

3.7 Stone Vessel Making 3.7.1 Overview The last of the industries to be analysed, Stone Vessel Making, is represented in the study to only a limited extent, with its intermittent scenes being equal to less than 10% of corpus total. This contrasts unexpectedly with the ubiquity of such items in early tomb inventories but may be an accurate reflection of the general decline in the industry over the course of the Old Kingdom, particularly towards the end of the period.282 To date, the absence of depictions is most pronounced in Provincial cemeteries, where only four tombs record the remains of relevant scenes. Since the illustration of the industry in the tomb of +aw and +aw:¥mAj [Cat.50] is inconclusive, even if suggested by the display of completed vessels adjacent to other partially destroyed workshop scenes, the final number of Provincial tombs containing depictions of this activity may be as few as three. Countering these results, however, is the observation that when scenes of making stone vessels appear in Memphite necropolises, without exception they are recorded in the largest and most prestigious of extant tombs. From this it can be concluded that availability of wall space must have been a critical factor in the inclusion of this activity in the tableau to complement the other workshop industries shown.

3.7.3 Identification of Materials Analysis has determined that a common component of Stone Vessel Making scenes is the display of completed examples in an adjacent sub-register. In most cases, several different forms and sizes are depicted to emphasise the variety of types needed to adequately furnish the tomb. Materials are rarely specified, with only mntt or ʻdioriteʼ appearing in an accompanying text in the tomb of %nDm-jb:Jntj [Cat.11]. Preserved colour in the tombs of Jbj [Cat.47] and Ppjjanx:@nj-km [Cat.51] also allows for the identification of alabaster as another common stone type illustrated in the scenes.283 3.7.4 Common Procedures Scenes of Stone Vessel Making are characterised by a narrow range of procedures, as evident from Table 3.19, of which the hollowing out of a vessel with a drill, based on its frequency of occurrence, is the core motif. The subsequent use of the ideogram of the drill to represent ʻcraftʼ or ʻartʼ in a broad sense,284 as well as a generic designation for ʻcraftsmanʼ, supports this finding. Polishing of the vessel exterior is also regularly represented in the corpus, appearing in over 50% of tombs where the industry is featured.

3.7.2 Identification of Personnel Where occupational titles are present in Stone Vessel Making scenes, the designation Hmw.tj or ʻCraftsmanʼ is universally applied, irrespective of the procedure undertaken. Conversely, when jmj-r Hmw.tj(.w) or ʻOverseer of Craftsmenʼ are labelled in the compositions, as applies in the tombs of %nDm-jb:Jntj [Cat.11] and anx-m-a-@r:%sj [Cat.19], they perform tasks related only to the forming of the vessel shape. The painting of the vessel, as depicted in the tomb of Ppjj-anx:@nj-km [Cat.51], is also represented as a specialised activity, performed in separate environs by a Ss or ʻPainterʼ. This suggests that on completion, the stone vessel was transferred to a different workshop or workshop area for final decoration.

The most expansive treatment of the industry is recorded in Tomb S920 [Cat.35] at Saqqara, where four procedures are depicted in semi-sequence. To a large extent, however, this detail is achieved by the repetition of like-figures engaged in identical procedures so that compositional symmetry can be maintained. A similar technique is adopted in the tomb of Ppjj-anx:@nj-km [Cat.51] at Meir in a scene in which a row of four drillers, their actions partially synchronised, is shown. In the same tomb, the only extant example of a stone vessel being painted, separated from other painting scenes to differentiate the process, is also found.

In total, over 40 figures of stone vessel makers have been documented in the corpus, all of whom work as independent

Forming the Vessel Refining the Vessel Shape Finishing

Quality Control

1. Shaping the exterior of a vessel

Provincial

Procedures in Sequential Order

Memphite

Classification

To date, the tomb of anx-m-a-@r:%sj [Cat.19] provides the

Date Range VI.1L

2. Hollowing the interior of a vessel

IV.5-VI.7

3. Smoothing the interior of a vessel

V.8-9?

4. Polishing the exterior of a vessel

IV.5-VI.4E

5. Painting a vessel

VI.4-5

6. Holding a vessel

V.8-9?

7. Presenting a completed vessel

VI.4-5

3.19 Suggested Classification and Sequence of Stone Vessel Making Procedures

82

The Scenes in Focus - Stone Vessel Making Site

Cat. No.

Tomb Owner

Date

Procedures Illustrated from Table 3.19

1

Jj-mrjj

V.6

4

5

Nb.j-m-Axtj

IV.6-V.1

2, 4

9

#wn-Ra

IV.5

2, 4

11

%nDm-jb:Jntj

V.8M-L

2

16

PtH-Spss

V.6L-8E

4

19

anx-m-a-@r:%sj

VI.1L

1, 2, 4

22

Mrrw-kA.j:Mrj

VI.1M-L

2

30

KA.j-jrr

VI.1-2

2

31

KA.j-m-rHw

V.8-9

2, 4

34

*jj

V.8-9

2

35

Unknown

V.8-9?

2, 3, 4, 6

47

Jbj

VI.4E

2, 4

50

©aw and ©aw:^mAj

VI.4-5

?

Meir

51

Ppjj-anx:@nj-km

VI.4-5

2, 5, 7

El-Hawawish

55

^psj-pw-Mnw:$nj

VI.6L-7

2

Giza

Abusir

Saqqara

Deir el-Gebrawi

Table 3.20 Distribution of Stone Vessel Making Scenes and Procedures

3.7.4.2 Hollowing the Interior of a Vessel The shaping of the exterior of the vessel is followed in the sequence by the hollowing out of its interior with a drill. Two designs and purposes of this tool have been suggested from examination of surviving archaeological examples: a tubular drill turned by hand or a bow to hollow out the central core of the vessel and a crescent-shaped drill to enlarge the cavity.286 Only the latter variation, consisting of a wooden shaft curved at the top to form a handle, a stone or metal drill bit and stone counterweights attached to the shaft by rope, is illustrated in the corpus,287 with a central shank being a unique addition to the example found in Tomb S920 [Cat.35].288 To date, substitution of the counterweights with a drill cap, in the form of a single dome-shaped stone, is observed only in the tombs of Ppjj-anx:@nj-km [Cat.51] and ^psj-pw-Mnw:$nj [Cat.55] and may constitute a late Provincial style of presentation. If, in fact, this detail is to be interpreted as evidence of technical modification of the drill, then the change can be dated significantly earlier than the Dynasty XVIII estimate proposed by Hartenberg and Schmidt.289 It is agreed by a majority of scholars that an abrasive, possibly quartz-sand, was fed into the drill as it was operated,290 but this process is absent from all extant compositions.

only evidence in which the sequence of forming, refining and finishing a vessel is demonstrated, although several tombs, for instance those of Nb.j-m-Axtj [Cat.5], #wn-Ra [Cat.9] and KA.j-m-rHw [Cat.31], illustrate the drilling and polishing of a vessel in consecutive order. Together, an inventory of four different classifications of vessels, with multiple sub-varieties, representing the major categories of cylinder, jar, jug and bowl are depicted. Table 3.20 summarises the geographical and temporal distribution of all Stone Vessel Making scenes and procedures, while Table 3.21 presents all applicable postures in sequential and chronological order. Detailed commentary on these and other aspects of the industry is found below. 3.7.4.1 Shaping the Exterior of a Vessel The production of stone vessels, as illustrated in the pictorial record and corroborated by archaeological remains, begins with the shaping and smoothing of the vessel exterior. This is achieved by rotating and working a roughly hewn block with a sandstone rubber and abrasive.285 As is the norm in all scenes pertaining to this industry, however, the vessel is shown as already complete. Because the sole example of this procedure is confined to the tomb of anx-m-a-@r:%sj [Cat.19], it is reasonable to conclude that the motif originates from Saqqara and that it constitutes a potentially reliable dating criterion for an elite burial at this necropolis in the period VI.E. It is distinguishable from similarly depicted polishing scenes by the presence of a block anvil to support the pounding action and the cupping of the work hand around the shaping stone. Other defining characteristics particular to the scene include the off-centre placement of the vessel on the anvil and the positioning of the free hand, consistent with the vessel being turned.

No consistent posture is associated with the drilling procedure, as it is largely determined by the height and dimensions of the tool, although statistically more examples of the standing position are attested. A drill inclusive of a long shaft is the most common interpretation, with the tombs of %nDm-jb:Jntj [Cat.11] and *jj [Cat.34] being distinguished by their illustration of a drill more than double the average size. In addition, the tomb of %nDmjb:Jntj, together with that of #wn-Ra [Cat.9], are the only cases currently documented in which a combination of

83

‘Make it According to Plan’ standing and sitting positions, corresponding to both short and tall drill types, applies. Given the limited number of scenes, however, it cannot be established whether this was a particular preference of the Giza site. The observation that the working of a small vessel with a disproportionately large drill appears only in V.L may narrow the date for Tomb S920 [Cat.35], currently estimated as Dynasty V and where the detail is featured twice, to a similar period. This is further supported by the data, in that the drilling of a bowl, also documented in the scene, has no occurrence in the corpus after VI.E.

the drill shaft at an angle. Given that the shaft is held in a vertical orientation in all other examples of the procedure, the respective artists may be attempting to show the drill in the process of being positioned or the movement of the tool from side to side.295 3.7.4.3 Smoothing the Interior of a Vessel As a probable extension to the drilling procedure and to further effect the thinning of the walls, the smoothing of the interior of a vessel with a hard stone is also illustrated, albeit confined to a single example in Tomb S920 [Cat.35]. While it corresponds in appearance to conventional polishing scenes, unlike these the action is performed in a standing position, with the figure bending at the waist to reach inside the jar. Of note are two internal details: the raising of the inner elbow of the workman and the defined musculature of his arms and legs, both of which are recorded predominantly post V.6. Again, this suggests that Tomb S920 is unlikely to pre-date this period on artistic grounds.

The main point of differentiation between drilling scenes, as determined by the analysis, is how the drill is held by the workman and the phase of the operation which is shown. Six distinct positions have been identified. The first of these, depicting one hand on the counterweights, corresponds to the moment at or before the initiation of the rotation, during which the counterweights are positioned by the driller and subsequently turned. The other hand is placed either on the handle or the shaft, forming two sub-categories. The illustration of both hands on the handle, as in the tomb of KA.j-m-rHw [Cat.31], captures the ensuing moment when the counterweights are probably in motion,291 while the most common position, that of one hand on the handle and the other on the shaft, is thought to depict the steadying of the drill against the drill point as the tool is pushed and pulled.292 This position is varied in some cases, for example in the tombs of #wn-Ra [Cat.9], %nDm-jb:Jntj [Cat.11], anx-m-a-@r:%sj [Cat.19], Mrrw-kA.j:Mrj [Cat.22] and that of Ppjj-anx:@nj-km [Cat.51], by the workman placing one hand on or around the body of the vessel instead. To date, there is no evidence in the pictorial record of the securing of the vessel in a hole in the ground or a socket for support.293

3.7.4.4 Polishing the Exterior of a Vessel Upon completion of the drilling process, the outer surface of the vessel is shown being polished, using a sandstone rubber and either sand or stone powder as an abrasive, together with leather laps and mud.296 Although represented across a broad chronology of IV.L-VI.M, there is little evidence of the procedure outside well-decorated Memphite tombs. Typically, the vessel is worked in a squatting or sitting position, being further characterised by the frequent holding of the vessel above the baseline level with the head. The consistency of this detail, which appears in more than 60% of scenes, together with the near-identical attitude of a workman in the tomb of KA.j-m-rHw [Cat.31], makes it possible to reconstruct the activity of a similar figure in the tomb of Jj-mrjj [Cat.1] as one of polishing.

While the scenes may collectively record all steps in the drilling operation, it has been found that no tomb presents more than one of the positions described above in chronological order. An attempt at sequenced animation pertaining to the same position, however, may be evident in the tomb of *jj [Cat.34]. Here the artist, contrary to convention, illustrates three counterweights on each drill but from multiple perspectives, perhaps to simulate the spinning motion as momentum is gained.294 The depiction of large counterweights, as seen in this example, is found only in Memphite tombs, the majority of which are dated Dynasty V, with the securing of the counterweights in a rope bag being unique to the tombs of KA.j-jrr [Cat.30] and S920 [Cat.35]. The finding that this attribute appears otherwise only in a scene of Carpentry in the tomb of Jttj:^dw [Cat.43] lends further support to the assigning of a V.8-9 date to the Tomb S920 scene.

Another feature common to such scenes is the placement of the free hand of the workman in one of four positions relative to the vessel, either around the body, under the base, parallel to the body or across the rim of the mouth, to indicate that it is being rotated and repositioned as the polishing proceeds. A small stake anvil, an example of which is depicted in the tomb of PtH-Spss [Cat.16] adjacent to a bowl, may have been erected to facilitate this process. 3.7.4.5 Painting a Vessel From archaeological contexts it is known that stone vessels were frequently decorated, either with rope or net patterns, incised hieroglyphic inscriptions or relief,297 but pictorial evidence for this procedure in the Old Kingdom is surprisingly rare. To date, only the tomb of Ppjj-anx:@njkm [Cat.51] illustrates the painting of a large bAs-cylinder, but the nature of the decoration is undefined. A second vessel on the East Wall exhibits traces of orange colour and discernable banding and, for this reason, is more likely to be ceramic.298 In both cases, the action is performed using conventional equipment and methods, but the proportions of the cylinder have been exaggerated to ensure that it is at the immediate eyeline of the painter. In keeping with other

Since no pattern of distribution has been determined pertaining to the movement of the drill, it must be assumed that it was decided by the individual artist. In this regard, the Memphite tombs of Nb.j-m-Axtj [Cat.5], %nDm-jb:Jntj [Cat.11] and KA.j-jrr [Cat.30] are distinguished among current drilling scenes by their atypical presentation of

84

The Scenes in Focus - Stone Vessel Making painting scenes in the same tomb, an ankle-length kilt is worn by the figure.

in a workshop context is again found only in the tomb of Ppjj-anx:@nj-km [Cat.51], where it forms part of a series illustrating the offering of a representative product of Jewellery Making, Metalwork and Stone Vessel Making on the West Wall.

3.7.4.6 Holding a Vessel The holding of a vessel in the absence of active processing is unique to the Saqqara tomb of S920 [Cat.35], but as the vessel is complete, it is unclear whether the action is in preparation for inspection or final polishing. While the positioning of the vessel at the level of the chest or shoulder is of broad attestation IV.L-VI.M, the depiction of a tj.t-bowl is otherwise recorded only in VI.E. This again supports the assigning of Tomb S920 to late Dynasty V as previously argued.

Much like scenes of Metalwork, completed stone vessels are more frequently grouped on tables or in a stand and only rarely appear as individual objects, as is the case in the tombs of #wn-Ra [Cat.9], S920 [Cat.35] and Ppjj-anx:@nj-km [Cat.51]. The selection of a bAs-cylinder for presentation in the latter example is in keeping with the general observation that the most common vessel types depicted in Stone Vessel Making scenes, irrespective of context or procedure, are cylinders, nms.t-jars and shouldered jars with narrow mouth.

3.7.4.7 Presenting a Completed Vessel The presentation of a completed vessel to the tomb owner

Fig. 11 Polishing a jar. Tomb S920. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

85

‘Make it According to Plan’

1. Shaping the exterior of a vessel

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Saqqara

VI.1L

1

Giza

IV.5

9

2

Giza

IV.6-V.1

5

1

Giza

IV.5

9

1

Saqqara

VI.1M-L

22

1

Meir

VI.4-5

51

1

Saqqara

V.8-9?

35

1 2 3

Giza Abusir Abusir

IV.5 V.6L-8E V.6L-8E

9 16 16

1

Giza

IV.6-V.1

5

19

Sitting 1

Standing

1 2. Hollowing the interior of a vessel

Other

31, 34, 47 11, 35, 55

2 11?, 19, 22, 51

Sitting 1 30

Squatting 1

Bending

4. Polishing the exterior of a vessel

3. Smoothing the interior of a vessel

1

Bending 1

Sitting 1

2

19

3

Squatting 1

Table 3.21 Posture Summary - Stone Vessel Making

86

1, 31, 35, 47

The Scenes in Focus - Stone Vessel Making

7. Presenting a completed vessel

6. Holding a vessel

5. Painting a vessel

Procedure

Posture

Posture Types in Chronological Order

Earliest Recording and Other Occurrences Type

Site

Date and Cat. No.

1

Meir

VI.4-5

51

1

Saqqara

V.8-9?

35

1

Meir

VI.4-5

51

Squatting 1

Standing 1

Bending 1

Table 3.21 Posture Summary - Stone Vessel Making (cont.)

Fig. 12 Stone vessels. Tomb of KA.j-m-rHw. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

87

Other

‘Make it According to Plan’ 4. Command Texts Command Texts appear as isolated captions or are recorded as part of a dialogue or conversation. In the latter form, the most common exchanges are between workmen and their colleagues, but instructions issued by senior craftsmen to other workmen or by workmen to their apprentices are also attested. While some commands are general in nature and applicable to any workshop activity, the greater number contain recognisable idioms and jargon which render them industry-specific.

4. The Texts 4.1 Text Types 4.1.1 Function of Texts Over 280 texts, in the form of labels, captions and dialogues, have been catalogued in the current corpus of Old Kingdom workshop scenes. Their function is to complement the associated iconographic image by identifying more explicitly the action, personnel or object represented or, in some cases, by providing additional technical information pertaining to the processes shown through the use of industry-specific jargon and workshop idioms. On a religious level, they are also designed to enhance the efficacy of the tomb decoration as a whole. A compilation of these texts in transliteration, grouped into eight distinct sub-types and arranged alphabetically within categories, together with the translation used in the current study, selected bibliographic and lexicographic citations for the given translation and references to alternative readings, is found in Appendix 13.

5. Response Texts This category of texts comprises phrases spoken by an individual, either a colleague or a subordinate, in response to the issuing of a command. While many are commonplace replies occurring in other thematic contexts, an equal number are unique to workshop scenes. 6. Observation Texts These texts take the form of either declarations and exclamations expressed in relation to the completion of the work. Both statements of fact pertaining to a product or a procedure and comments indicating satisfaction with the result may be inscribed.

4.1.2 Summary of Text Types 1. Task Identification Texts On the basis of statistical analysis, the most commonly attested sub-type is the Task Identification Text, which accounts for nearly 60% of extant corpus total. In its simplest form, a present participle is inscribed to denote the activity illustrated. Qualification of the stated action is achieved by specification of the tool or type of craftsman featured or by identification of a particular object, material or amount. A combination of these elements is evident in at least 30% of examples, while in sporadic texts, a phrase communicating the purpose of the object is observed. In rare cases, a description of the condition of the object is recorded.

7. Praise and Reprimand Texts Praise and Reprimand Texts are relatively few in number. They consist of both standard and non-standard expressions of encouragement and disapproval, communicated either from supervisor to subordinate or from colleague to colleague, in relation to the quality of their performance. 8. Miscellaneous Texts These texts appear in workshop scenes as isolated inscriptions or invocations related contextually to the theme and are included as part of a dialogue or as a response to a command.

2. Personnel Identification Texts Another frequently occurring text type is the Personnel Identification Text. A majority of these inscriptions are generic and repetitive in nature, with distinctions made on the basis of rank, identity and origin. In isolated cases, the identification consists of a title unrelated to workshop activities or of secondary importance in the title sequence. In the absence of other descriptors, the caption may simply state the name of the individual represented. 3. Object Identification Texts Objects in workshop scenes are identified chiefly by standalone labels, in either a pre- or post-completion context. Further categorisation is based on whether a particular type of object or a specific material and/or quantity is also described. In rare cases, the name of the tomb owner for whom the objects have been made forms part of the inscription.

Fig. 13 Inscription wdH bjA ʻPouring metalʼ. Tomb of Wp-m-nfrt:Wp. Giza. After Hassan, Giza II, fig. 219

88

The Texts 4.2 Analysis of Structure, Content and Purpose

Notable exceptions may be cited from the following tombs: Jj-mrjj [Cat.1] and ¡m-Ra:Jsj [Cat.49], where the respective use of the descriptors s(j)n.t ‘Rubbing’ and sSr ‘Drying’ help to clarify actions which are otherwise indistinguishable; ¤nDm-jb:Jntj [Cat.11], Mrrw-kA.j:Mrj [Cat.22] and KA.j-jrr [Cat.30], where the specified material being worked is no longer able to be discerned from any extant colour; and PtH-Spss [Cat.16], anx-m-a-@r:%sj [Cat.19] and ¦p-m-anx II [Cat.33], among others, in which selected workmen are referred to individually by rank or name. The more significant texts in the corpus take the form of conversations between workmen, however these are recorded in fewer than 30% of scenes.

4.2.1 Overview In analysing the texts assigned to complement the theme of workshop activities, a number of discussion points relating to their structure, content and purpose have been identified. The first of these is the observation that, allowing for incomplete preservation, a majority of workshop scenes are inclusive of inscriptions, being present in approximately 75% of corpus tombs, as established by Table 4.1. The greater proportion of these texts take the form of simple one or two word labels or verbal phrases, such as appear in Table 4.2, which typically reinforce what is already visible in the scene. From this it can be concluded that their function in the decoration was primarily aesthetic.

1

G6020 (LG16)

Jj-mrjj

V.6

2

G7710 (LG71)

Jbjj

IV.5-6

3

G8882

Wp-m-nfrt:Wp

V.5-8

4

G7530 + 7540

Mrs-anx III

IV.5-6E

5

G8172 (LG86)

Nb.j-m-Axtj

IV.6-V.1

Uninscribed

6

G4000

¡m-jwnw

IV.2M-L

Uninscribed

@tpt

V.6-8?

?

7 Giza

Abusir

-

Date

8

G7150

#wfw-xa.f II

V.6

9

MQ1

#wn-Ra

IV.5

10

G5520 (LG28)

¤anx-n-PtH

V.9-VI.1

11

G2370 (LG27)

¤nDm-jb:Jntj

V.8M-L

12

G2378 (LG26)

¤nDm-jb:Mhj

V.9M-L

13

G8154 (LG89)

¤xm-kA-Ra

V.1-2

14

G5110 (LG44)

_wA-n-Ra

IV.5-6

Indeterminable

15

BM 994

Unknown

V.6-9?

Uninscribed

16

-

PtH-Spss

V.6L-8E

-

&p-m-anx

V.6-9

Uninscribed

Ftk-tj

V.6-VI.1

?

anx-m-a-¡r:¤sj

VI.1L

PtH-Htp II:§fj

V.9M-L

17 18

LS1

19 20 Saqqara

Tomb Owner

Activities

Tomb/ Inventory No.

Personnel

Cat. No.

Objects

Site

D64

21

-

Mr.f-nb.f

VI.1L

22

-

Mrrw-kA.j:Mrj

VI.1M-L

23

-

MHw

VI.2

24

-

MTTj

V.9-VI.1

25

-

Nj-anx-$nmw and $nmw-Htp V.6L-7

Table 4.1 Distribution of Captions in Workshop Scenes

89

Uninscribed

Communications

Captioned Scenes

‘Make it According to Plan’

26

-

Nb-kAw-¡r:Jdw

V.9 r/u VI.4-6

27

-

Nfr and KA-HA.j

V.6

Ra-Spss

V.8M

28

LS16 (S902)

Tomb Owner

Date

29

-

¤SsSt:Jdwt

VI.1E

30

-

KA.j-jrr

VI.1-2

31

D2 (S905)

KA.j-m-rHw

V.8-9

32

LS10

KA-gm-nj:Mmj

VI.1E

33

D11

¦p-m-anx II

V.2

34

D22

§jj

V.8-9

35

S920

Unknown

V.8-9?

36

OK1 OK36

Unknown

V.8-9

37

OK35 OK42-45

Unknown

V.6-VI.1?

Dahshur

38

1

¤Sm-nfr

V.6-VI.1

Lisht

39

Saqqara

Maidum Deshasheh Zawyet el-Amwat El-Sheikh Saïd

Deir el-Gebrawi

Meir El-Hammamiya

El-Hawawish

El-Khokha Qubbet el-Hawa

Unknown

V.8-9?

40

16

-

Jtt

IV.1M

41

6

Ra-Htp

IV.1L

-

Jntj

V.9

-

42 43

?

Jttj:¥dw

VI.1

44

LD14

Nj-anx-Ppjj:£nmw-Htp-Hpj

VI.2

45

LD2

¢w-ns

V.8-9

46

24

¤rf-kA.j

V.8-9E

47

8

Jbj

VI.4E

48

67

!nqw:Jj...f II

VI.2E-M

49

72

@m-Ra:Jsj

VI.1L-2E

50

12

+aw and +aw:¥mAj

VI.4-5

51

A2

Ppjj-anx:¡nj-km

VI.4-5

52

C5

Ra-Htp

V.1-6

53

A3

KA.j-xnt II

V.8-9

Uninscribed

54

M22

¡sjj-Mnw

V8L-9

?

55

H24

^psj-pw-Mnw:£nj

VI.6L-7

56

H26

KA.j-Hp:§tj-jqr

VI.5-6

57

TT186

JHjj

VI.3-4

Uninscribed

58

TT413

Wnjs-anx

VI.1

Uninscribed

59

TT405

¢ntj

VI.4-5

Uninscribed

60

A6 (QH34h)

¢w-ns

VI.7

Uninscribed

Table 4.1 Distribution of Captions in Workshop Scenes (cont.)

90

Uninscribed

Uninscribed

?

Communications

Tomb/ Inventory No.

Activities

Cat. No.

Objects

Site

Personnel

Captioned Scenes

The Texts Transcription

Transliteration

Translation

Industry

Objects Worked

 

jaj.t

ʻWashingʼ

Carpentry Jewellery Making

- staff - collar

 

jnj.t

ʻBringingʼ

Carpentry

- board

Carpentry Jewellery Making Leatherwork Metalwork Sculpture Stone Vessel Making

-

bed frame batten diadem or fillet sandal hide basin jar/jug statue

 

jr.t

ʻMaking/Carrying out’

 

amj

ʻCaulkingʼ

Boat Building

- boat hull



wbA

ʻDrillingʼ

Jewellery Making Stone Vessel Making

- bead - jar

  

ws.t

ʻSawingʼ

Boat Building Carpentry

- log section - plank

  

wdH

ʻPouringʼ

Metalwork

- molten metal

 

wDa

ʻCutting outʼ

Leatherwork

- sandal sole

  

fAj.t

ʻWeighingʼ

Metalwork

- crude metal ingots

 

fsj.t

ʻHeatingʼ

Carpentry Metalwork

- staff - precious metal

Boat Building Carpentry

-

  

mnx

ʻChisellingʼ

Table 4.2 Generic Action Captions and Their Application

91

boat hull bulwark plank bed frame box or chest door leaf or panel

‘Make it According to Plan’ Transliteration

Translation

  

mnx

ʻStringingʼ

Jewellery Making

- collar

 

nbj.t

ʻMeltingʼ

Metalwork

- crude metal ingots

 

nSD

ʻDecoratingʼ

Sculpture

- statue



Transcription

Industry

Objects Worked

  

nDr

ʻFashioningʼ

Boat Building Carpentry Sculpture

-

  

rx.t

ʻReckoningʼ

Metalwork

- crude metal ingots

  

rdj.t

ʻPresentingʼ

Jewellery Making

- collar

 

htj

ʻDrillingʼ

Carpentry

- box



Hwj

ʻPolishingʼ

Carpentry

- bed frame - box

  

xnd

ʻBendingʼ

Carpentry

- staff



Xnm

ʻJoiningʼ

Jewellery Making

- counterpoise

Table 4.2 Generic Action Captions and Their Application (cont.)

92

boat hull bulwark log batten plank bed frame door bolt door leaf chest carrying chair backrest sceptre spear oar bow statue

The Texts Transcription

Transliteration

Translation

  

sjn.t

ʻRubbingʼ

 

swrD

ʻStrengtheningʼ

 

swS

   

Industry

Objects Worked

Leatherwork

- leather

Carpentry

- staff

ʻBundlingʼ

Jewellery Making

- threading string

sp.t

ʻLashingʼ

Boat Building

- plank

smH

ʻRammingʼ

Boat Building

- plank

-

sarcophagus sceptre bed frame shrine chest bead jar statue

  

snaa

ʻPolishingʼ

Carpentry Jewellery Making Sculpture Stone Vessel Making

 

srD

ʻCarvingʼ

Carpentry Sculpture

- door leaf - statue

 

srD

ʻBeatingʼ

Metalwork

- basin



sS

ʻPaintingʼ

Sculpture

- statue

 

sSr

ʻDryingʼ

Jewellery Making

- collar

Metalwork

-



sSr

ʻGildingʼ

Table 4.2 Generic Action Captions and Their Application (cont.)

93

sceptre staff girdle knot apron flap

‘Make it According to Plan’ Transcription

Transliteration

Translation

 

sqr

ʻBeatingʼ

 

sqdw.t

ʻBoat buildingʼ



stj.t

ʻStringingʼ

 

Sa

 

Industry

Objects Worked

Metalwork

- blade - sheet metal

Boat Building

- boat hull

Jewellery Making

- collar - counterpoise

ʻFellingʼ

Boat Building

- tree

Sd.t

ʻBuildingʼ

Boat Building

- boat hull - batten - trussing pole

 

THs

ʻStretchingʼ

Leatherwork

- leather

 

Tsj

ʻModellingʼ

Sculpture

- statue

 

dw

ʻPresentingʼ

Jewellery Making

- counterpoise

 

dm

ʻSharpeningʼ

Carpentry Metalwork

- adze

 

dqa

ʻFashioningʼ

Boat Building

- oar



DbA

ʻCompletingʼ

Leatherwork

- sandal strap

Table 4.2 Generic Action Captions and Their Application (cont.)

94

The Texts 4.2.2 Generic Identification of Figures and Objects Of the 192 captioned figures of workmen in the corpus, more than 50% are generically described, with common labels for personnel including mDH ‘Carpenter’, qs.tj ‘Sculptor’, bD.tj ‘Metalworker’ and Hmw.tj ‘Craftsman’. As seen in Table 4.3, a majority of these terms have broad application within their designated categories and, with the exception of mDH and Hmw.tj, which are associated with more than one industry, identify occupations readily able to be deduced from the given context. Objects are similarly labelled, with only 25% of examples providing additional information specifying type, material or purpose. These include the captions wrH(.w) aA(.wt) ntt Htp-tj ‘ointment jars and stone vessels which are offered’, pxA.t n.t bA ‘skin of a leopard’ and xn.t At n.t Hr n( ) ‘strong leather for the face/top of ........’, inscribed in the tombs of PtH-Spss [Cat.16], Jttj:^dw [Cat.43] and Ppjj-anx:¡nj-km [Cat.51] respectively.

adze with round blade, a mdw may be represented with a rounded, straight or papyriform top, and aA can describe both an assembled door leaf or a single panel. The same observations are applicable to the identification of metals, with the terms bjA ‘metal’, nbw ‘gold’ and dam ‘dam-gold’ corresponding to representations of these materials in each of their crude, cast and pre-fabricated forms, including ovoid or irregularly-shaped lumps, straight-sided or hemispherical blocks, flattened sheets or molten metal being poured into a mould. In the case of damgold, the designation is also associated with a completed item of jewellery or apparel, such as a belt or bracelet, comprising elements of this metal in its construction. Finally, similar anomalies are evident in relation to collars, in that nbjj.t may encompass both wsx and Snw varieties or be assigned to individual collar components such as counterpoises. Again, no differentiation is made in the usage of the term, whether the collar is depicted at an early stage of manufacture or complete. In the same way, a ‘sTp.tbox’ can be illustrated with either a flat or vaulted lid and be supported on a frame, a sled or wooden battens, Xn.t can refer to either a smoothed sheet or strip of leather or one with residual fibres, and Tb(.t) may apply to both a sandal sole or strap. Lastly, unlike rpt, the identifying term for a female statue, which in all extant illustrations is associated with the standing form, the designation twt is used to describe a male statue only but in any configuration, size and style.

4.2.3 General v. Explicit Texts The extent to which this general versus explicit interrelationship between text and image holds true throughout the corpus is evident from Table 4.4, where it is demonstrated that diverse renderings of an object are frequently identified using the same or similar caption. In cases where textual variations are recorded, the corresponding representations are indistinguishable. For instance, the term ATw.t is applied to all illustrations of a wooden bed frame, irrespective of whether straightedged, angled or papyrus flower terminals are exhibited or bovine-shaped, bent-style or leonine-shaped legs are shown. Moreover, no structural differentiation is discernable between a ATw.t ‘bed’, a ATw.t n.t hb(njj) ‘bed of ebony’ and a ATw.t n.t ss(n)Dm ‘bed of ssnDm-wood’ or a mr.t ‘board’ and a mr.t ^mA ‘board of Upper Egyptianwood’. Similarly, a qrs(w) ‘coffin’ and a qrs(w) n wan ‘coffin of juniper’ and xt ‘wood’ and xt ssnDm ‘ssnDmwood’ are likewise of identical appearance when depicted. Analysis also indicates that the term an.t may refer to either a long-handled adze with square blade or a short-handled

While some minor exceptions to this pattern of nonspecificity do emerge in Table 4.4, including the distinction made between common plank types and sbn-planks with defined mortices and between xt ‘dressed wood’ and x.wt mdA.wt ‘wooden stakes’ with visible bark, it, nevertheless, remains the case that proportionally more short captions serve a function which is essentially generic.

Fig. 14 Inscription jrj(=j) m sxr ʻMake it according to plan!ʼ. Tomb of Jbj. Deir el-Gebrawi. After Davies, Deir el-Gebrawi I, pl. XIV. Courtesy of The Egypt Exploration Society

95

‘Make it According to Plan’ Industry

1. Boat Building

Transcription and Transliteration

Translation



mDH

‘Carpenter’

 

mDH wjA

‘Boat Builder’



Hmw.tj

‘Craftsman’

sqd

‘Boat Builder’

    

fnx

-

sawing logs into planks trimming planks trimming a boat hull cutting holes/mortices in a boat hull or hull components

- trimming battens - trimming a boat hull

Tools/Equipment -

saw sawing post short-handled adze mallet and chisel

- short-handled adze - long-handled adze

- cutting holes/mortices in a boat hull - mallet and chisel

- felling trees

- axe

‘Joiner’

-

sawing logs into planks assisting with sawing carrying planks cutting holes/mortices in furniture polishing or sanding furniture drilling a container trimming furniture trimming burial accoutrements trimming equipment sharpening tools

-

saw sawing post rope mallet and chisel polishing stone abrasive powder bow drill short-handled adze stone whetstone

trimming planks trimming furniture trimming burial accoutrements cutting holes/mortices in furniture polishing or sanding furniture sharpening tools

-

short-handled adze long-handled adze mallet and chisel polishing stone stone whetstone

 

2. Carpentry

Tasks



mDH

‘Carpenter’

-



Hmw.tj

‘Craftsman’

- polishing or sanding furniture

- polishing stone

smjtj

‘Staff Maker’

- shaping or pressing sticks

- vice

- preparing abrasive powder - polishing or sanding furniture

-

- drilling beads - polishing beads

- percussion drill - anvil

- stringing beads

-

    

sSp

‘Polisher’

  

ms-nSd

‘Jewellery Maker’

3. Jewellery Making



stj.t

‘Stringer’

Table 4.3 Generic Personnel Captions and Their Application

96

adze stone abrasive powder polishing stone

threading string beads work table block footrest

The Texts Industry

Transcription and Transliteration

 

Translation

Tasks

gs

‘Cutter’

Tbw

‘Leatherworker’

Tools/Equipment

- stretching leather

- trestle stand

- cutting leather

- anvil - leather knife -

4. Leatherwork



5. Metalwork

   

melting crude metal ingots pouring molten metal beating sheet metal beating a blade

bD.tj

‘Metalworker’

-

bD.tj nbw

‘Goldworker’

- beating sheet metal - beating a blade

- anvil - hammer stone

mxA.tj

‘Weigher’

- weighing crude metal ingots

- scales - weights - storage box



Hmw.tj

‘Craftsman’

- melting crude metal ingots - beating a blade

-



Hmw.tj

‘Craftsman’

- rough shaping a statue - polishing or sanding a statue

- stone maul - polishing stone - stool or block

- painting a statue - painting a vessel

-

paint palette reed brush spatula water bowl or cup block

- painting a statue - painting a Hn-box

-

paint palette reed brush water bowl platform or block table storage box

-

-

mallet and chisel short-handled adze polishing stone paint palette reed brush stool



sS

‘Painter’

6. Sculpture

  

7. Stone Vessel Making

blowpipe crucible furnace holding pads mould hammer stone anvil

sS qdw.t

‘Painter and Draughtsman’



qs.tj

‘Sculptor’



Hmw.tj

‘Craftsman’

carving a statue or sculpture trimming a statue polishing or sanding a statue painting a statue

- drilling a vessel - polishing a vessel - presenting a vessel

Table 4.3 Generic Personnel Captions and Their Application (cont.)

97

blowpipe crucible furnace anvil hammer stone

- borer drill - polishing stone

‘Make it According to Plan’ 4.2.4 Texts as Informers of Technical Procedures A second observation regarding content is that when textual detail is conveyed by the artist, particularly information of a technical or procedural variety, it is most frequently done so in the form of a command. Indicative of this finding are two inscriptions recorded in the tomb of *jj [Cat.34] in relation to Boat Building, specifically the planking of a hull. Implicit in the instruction hA(j) AT(pw) ntt smH saA ‘Lower the load which rams the bulwark!’, issued by an overseer to two workmen engaged in hammering a bulwark into place, is the requirement for sustained force from the participants in order to drive the plank tightly onto the protruding tenons. Similarly, in the same tomb, the command nn Htp.t Hrj(.t)-jb ‘Do not rest in the middle!’, directed by a workman to his colleagues in another scene of plank attachment, is likely to be a reference to the critical need to ensure that the strakes are evenly aligned.

annealing was a common metallurgical treatment at this time. In the same way, a text accompanying a scene of Leatherwork in the tomb of anx-m-a-@r:%sj [Cat.19], which reads j(w)=s snDm.t(j) wr.t ‘It is very supple’, augments the visual representation of how a hide was softened, and an inscription in the tomb of ¥psj-pw-Mnw:$nj [Cat.55] pertaining to Staff Making, mAA m xt wAH ‘Look on the wood which is pressed!’, appears to confirm the action of the vice in the depiction as one of flattening. 4.2.6 Use of Idioms and Invocations It is also noted in the analysis of Command and Observation Texts that they are occasionally expressed in idiomatic form, most obviously those associated with scenes of metal blowing. Typical examples are found in the tombs of Jj-mrjj [Cat.1], ¡m-Ra:Jsj [Cat.49] and Ppjjanx:¡nj-km [Cat.51] and include the phrases wnj=k r Hr nfr ‘Hurry to the beautiful face!’ and m=k sw r Hr nfr ‘Behold, it is the beautiful face!’ and their variants, in reference to the reflective appearance of the metal in its molten form. Similarly, the command sAH mnD.wt=f n.tj Hna(=j) ‘Reach its cheeks, comrade!’, recorded in the tomb of Mrrw-kA.j:Mrj [Cat.22], describes the outer walls of the crucible as ‘cheeks’ using workshop jargon. Finally, in the tombs of KA.j-m-rHw [Cat.31] and ¦p-m-anx II [Cat.33], acknowledgement of Sokar, patron deity of craftsmen, in the form Hnq.t n ¤kr (j) Jtjj ‘Beer of Sokar, O Sovereign!’ and Hw(j) Hmsw n ¤kr Hmw.tj pw ‘Drive off sloth for Sokar, this craftsman!’ is evident, indicating that invocation was also a common element of workshop vernacular.

A number of Command Texts also afford practical insights into some of the methods and materials used in Carpentry. For instance, the instruction jaj(.t) mdw pw ‘Dampen this staff!’, delivered from one workman to another in the tomb of PtH-Spss [Cat.16], is evidence that in preparing the staffs for processing, it was necessary to firstly moisten the surface of the stick. In the same way, the exchanges between teams of carpenters polishing or sanding a sarcophagus and a door leaf in the tomb of Wp-m-nfrt:Wp [Cat.3], in which the directions dj mw dj Sa ‘Put water, put sand!’ and sS mw=k mnx sn ‘Spread your water well, brother!’ are given, indicate that the primary abrasive agent in smoothing a wooden surface was a liberally applied sand base mixed with water.

Carpentry is another industry in which idioms are used in communications between workmen, but they appear only in the context of sawing in the current corpus of workshop scenes. Two noteworthy examples occur in the tombs of *jj [Cat.34] and Ppjj-anx:¡nj-km [Cat.51]. The first of these is the phrase mj kjj srf.w ‘Come with another, it being warm!’, which employs the euphemism ‘warm’ to describe either an abraded saw blade or a freshly cut plank, while the second phrase, sDr=f ‘It lies down’, is likely to be a reference to a sawn plank separating from the log and falling to the ground.

The most informative of Command Texts, however, are those accompanying scenes of Metalwork, as they suggest, among other things, that ancient Egyptian craftsmen were familiar with the principles of thermodynamics and combustion. For example, the commands issued between workmen in the tombs of Wp-m-nfrt:Wp [Cat.3] and *jj [Cat.34], specifically ps(j) nn bjA ‘(Re)heat this metal!’ and dj spr pw r fs(j) ‘Let this sheet reheat!’, appear to reference the process of annealing, whereby metal is repeatedly heated and cooled to increase its ductility. Similarly, the common instruction from one metal blower to another w(dj) r Tb.t=f ‘Place at its sole!’, as inscribed in the tombs of Jj-mrjj [Cat.1], ¤nDm-jb:MHj [Cat.12] and anx-m-a@r:%sj [Cat.19], reveals an understanding that in order to achieve maximum temperature in a crucible, the airflow must be directed towards the base. 4.2.5 Informative Role of Observation Texts To some extent, Observation Texts also play a role in informing the viewer about specialised manufacturing methods, particularly in scenes of Metalwork, Leatherwork and Carpentry. Phrases such as jw wSr and jw=f twA(w) ‘It is brittle’ and n wnt Sd ‘There is no hollow space’, recorded in the tombs of Wp-m-nfrt:Wp [Cat.3] and *jj [Cat.34] for instance, reinforce the conclusion that

Fig. 15 Inscription wAD ʻMalachiteʼ. Tomb of Ppjj-anx: ¡nj-km. Meir. After Blackman and Apted, Meir V, pl. XVII. Courtesy of The Egypt Exploration Society

98

The Texts Text

Translation

ATw.t

‘Bed’

ATw.t n.t hb(njj)

‘Bed of ebony’

Representation

Funerary and Domestic Items

ATw.t n.t ss(n)Dm ‘Bed of ss(n)Dm-wood’

jmjt-r

‘Staff of office’

jTn.t

‘jTn.t-box’

a

‘Bowl’

aA

‘Door’

aA.wt

‘Stone vessels’

abA

‘abA-sceptre’

abA n(.jj) Dam

‘abA-sceptre of Dam-gold’

afD.t

‘Box’

wAH.w(j)

‘Fillets’

wrH(.w)

‘Ointment jars’

wsx

‘Collar’

bAs

‘Ointment jar’

pr-wab

‘Shrine’

Table 4.4 Selected Object Identification Texts, Translations and Corresponding Representations

99

Funerary and Domestic Items

‘Make it According to Plan’ Text

Translation

pxA.t n.t bA

‘Skin of a leopard’

mxt(m)(.t)

‘mxtm(.t)-box’

mdw

‘Staff’

nbjj.t

‘Collar’

nms.t

‘nms.t-jar’

nD.t-Hr

‘Gifts’

rw-Abw

‘Lion’

rpt

‘Statue’

hn(.w)

‘hn(.w)-box’

hn(.w) n abA

‘hn(.w)-box of the abA -sceptre’

xwd.t

‘Carrying chair’

Representation

xwd.t (n.t) hbnjj ‘Carrying chair of ebony’

Xnm

‘Xnm-jug’

Table 4.4 Selected Object Identification Texts, Translations and Corresponding Representations (cont.)

100

The Texts

Funerary and Domestic Items

Text

Translation

s

‘Door bolt’

sH-nTr

‘Shrine’

sH-nTr n wan

‘Shrine of juniper’

sxm

‘sxm-sceptre’

sTp.t

‘sTp.t-chest’

qrH(.t) n.t mntt

‘Vessel of diorite’

qrs(w)

‘Coffin’

qrs(w) n wan

‘Coffin of juniper’

qrs(w) (n mAT)

‘Coffin (of granite)’

gsAw.t

‘Backrest’

twt

‘Statue’

twt n Spnn

‘Statue of shepenenwood’

twt n ksb.t

‘Statue of kesebet-wood’

Tb.t

‘Sandal’

Ts.t

‘Girdle knot’

Representation

Table 4.4 Selected Object Identification Texts, Translations and Corresponding Representations (cont.)

101

‘Make it According to Plan’

Raw Materials

Tools and Equipment

Text

Translation

dbHt-Htp

‘Funerary offerings’

dSr

‘Boat’

dSr SAb.t

‘SAb.t-boat’

jnr

‘Weight’

an.t

‘Adze’

wsr

‘Oar’

bDA

‘Crucible’

mjb.t

‘Axe’

mnx

‘Chisel’

mxA.t

‘Scales’

snH.t

‘Drill’

tf

‘Saw’

jsnw

‘Threads’

wAD

‘Malachite’

bjA

‘Metal’

pAk.t

‘Sheet metal’

Representation

Table 4.4 Selected Object Identification Texts, Translations and Corresponding Representations (cont.)

102

The Texts

Other

Raw Materials

Text

Translation

mnx

‘String’

mr.t

‘Board’

mr.t ^mA

‘Board of Upper Egyptian-wood’

nbw

‘Gold’

nSnw

‘Liquid’

Hrs.t

‘Carnelian’

x.wt mDA.wt

‘Wooden stakes’

xt

‘Wood’

xt

‘Tree’

xt ssnDm

‘ssnDm-wood’

Xn.t

‘Leather’

spr

‘Sheet’

Dam

‘Dam-gold’

pH

‘Stern’

mnD.wt

‘Cheeks (of crucible)’

msDr

‘Ear’

Representation

Table 4.4 Selected Object Identification Texts, Translations and Corresponding Representations (cont.)

103

‘Make it According to Plan’ Text

Translation ‘Apron flap’

Hr-jb

‘Middle (plank)’

xt

‘Fire’

saA

‘Bulwark’

sbn

‘Plank’

sx.t

‘sx.t-plank’

Other

ns

Representation

Table 4.4 Selected Object Identification Texts, Translations and Corresponding Representations (cont.)

4.2.7 Texts Emphasising Speed A third discussion point arising from the analysis is the degree to which workshop texts emphasise various aspects of performance, such as speed, efficiency, teamwork and quality production. The desire for rapid completion of a task is best illustrated by the repetitive use of the directive ‘Hurry!’, expressed in the form wn Tw or any of its five recorded variants: w(n) Tw wr.t ‘Hurry greatly!’; wr [sic] wr.t n.tjj Hna=(j) ‘Hurry greatly, comrade!’; wn Tw r=f ‘Hurry with it!’; wn Tw r=s mrjj ʻHurry with it, my dear!ʼ; or wn Tw jmj xpr ‘Hurry, get it done!’. While typically generic in nature, the phrase wn Tw is occasionally qualified in a workshop context as a result of its identification with an associated object. Such is the case in the tomb of Wpm-nfrt:Wp [Cat.3], where the instruction wn Tw r nbjj.t pn r arq=f ‘Hurry with this collar to finish it!’ is recorded. The adverb sjn or ‘Quickly!’ is used to similar effect in the tomb of Ppjj-anx:¡nj-km [Cat.51] in the inscription nDr xt pw sjn (r)dj=Tn n sw jrj(=j) kA.t jm=f ‘Fashion this wood quickly and give it to me, that I may do the work with it!’, as is the phrase (j) jrj Tn wnj ‘Make haste ........!’ in the tomb of MHw [Cat.23], where it takes the form (j) jrj Tn wnj n.t(jj) (Hna=j) (Hn)k n mxA.t m (jr.t) m hrw pn ‘Make haste, comrade, for the pan of the scale on this day!’.

praise, although I am tired because of the work, mHnk’, is an indirect example of how expectations of urgent completion of a task are also conveyed. 4.2.8 Texts Emphasising Efficiency and Teamwork The requirement for efficiency is similarly emphasised in the texts and may be expressed directly, as in the instruction wAH (r) mnx ‘Press efficiently!’ in the tombs of Mrrw-kA.j:Mrj [Cat.22] and *jj [Cat.34], or is suggested by the use of the adverbs jqr, nfr, mnx and aA.t, meaning ‘well’. Such texts include sk (j)pXr mnx ‘Lo, circulate well!’, jsp pH=f nfr ‘Cut its stern well!’, nDr aA.t ‘Fashion well!’ and jrj kA.t jqr ‘Do the work well!’, recorded in the tombs of *jj [Cat.34], Jbj [Cat.47] and Ppjj-anx:¡nj-km [Cat.51] respectively. References to teamwork, both explicit and implicit, are also regularly observed in the inscriptions, whereby workmen either address each other affectionately as sn ‘brother’, mrjj ‘my dear’ or Hna=(j) ‘comrade’ or a partnership between them may be presumed. Illustrative examples occur in the Memphite tombs of Wp-m-nfrt:Wp [Cat.3], Mrrw-kA.j:Mrj [Cat.22] and MHw [Cat.23], expressed in the form sS mw=k mnx sn ‘Spread your water well, brother!’, wn Tw r=s mrjj ‘Hurry with it, my dear!’ and (j) hA(j) jr=k n.t(jj) Hna(=j) ‘O, come down, comrade!’. In the latter category, dialogues may be cited from the tombs of MHw [Cat.23] and Ppjj-anx:¡nj-km [Cat.51], including phrases such as jdn snw=k ‘Replace your companion!’, m=k wj rdj.t n=k sj Xr Dba.w=k ‘Behold, I am placing it for you under your fingers!’ and ........ (r)dj=Tn n sw jrj(=j) kA.t jm=f ‘........ give it to me, that I may do the work with it!’, which provide direct evidence of workshop collaboration.

In other cases, the demand for speed in meeting a production deadline is implied rather than stated, as is evident in a conversation between two stringers in the tomb of Wp-mnfrt:Wp [Cat.3] in which one says to the other jn=k kA.t tp ra nfr ‘You are delaying work which made a good start’. The response of a metal blower to a directive in the tomb of MHw [Cat.23], in the form jrj=j r Hst=k jw.j wrD.kw Hr kA.t mHnk ‘I will do in accordance with that which you

104

The Texts 4.2.9 Texts Reflecting Concern for Quality Exchanges between workmen also frequently reflect a concern for quality and correct procedure, with instructions stressing the importance of maintaining high standards of production. Examples, where attested, typically focus on early phases of manufacture and design, as seen in the phrase jr(=j) m sxr ‘Make it according to plan!’, recorded in the tomb of Jbj [Cat.47] in relation to metal beating, and in a scene of hull construction from the tomb of Ra-Spss [Cat.28] in which boat builders are directed to snxt n=k ‘Make it strong!’. A third example in the tomb of Wp-mnfrt:Wp [Cat.3] takes the form nDrw nw mnx n.tjj m-a=k ‘Hold tight this string which is in your hand!’ with respect to the threading of a collar.

subordinate making stone vessels in the tomb of anx-m-a@r:%sj [Cat.19]: rdj sxpr=s jr(j) n(=j) sjn ‘Get it done! Do it for me quickly!’



jrj=j Hs(t)=k jmj-r ‘I will do that which you praise, Overseer’

Acknowledgement of seniority between colleagues is also evident in several cases, such as in a scene of boat builders dressing logs in the tomb of Jbj [Cat.47]:

4.2.10 Texts Related to Workshop Organisation In addition to the common themes of teamwork and productivity, particular texts also provide valuable insights into workshop organisation, with the regular occurrence of captions identifying ranked or titled personnel being indicative of a hierarchically supervised workplace. As quantified in Table 4.5, over 40 figures depicted in the corpus are labelled either jmj-r ‘Overseer’, sHd ‘Inspector’ or smsw wxr.t ‘Elder of the Dockyard’. Examples in the tombs of PtH-Spss [Cat.16], anx-m-a-@r:%sj [Cat.19] and Nj-anx-£nmw and £nmw-Htp [Cat.25] establish that at least 10% of these figures are responsible for the issuing of all instructions and commands. This model of organisation is further reinforced by expressions of respect, usually generic, for ranked or more experienced craftsmen, as can be noted in the exchange between an overseer and his



nDr aA.t ‘Fashion well!’



jrj(=j) st kA.w=k ‘I will do that which your kas desire.’

Finally, pairings of command and response texts reflecting authority and obedience are also apparent in the tombs of MHw [Cat.23], KA.j-jrr [Cat.30] and Ppjj-anx:¡nj-km [Cat.51], while the deferential interaction between two carpenters working a door in the tomb of Wp-m-nfrt:Wp [Cat.3] could be indicative of the existence of apprentices:

sS mw=k mnx sn ‘Spread your water well, brother!’



jw(=j) r sbA.w ‘I will be a pupil’

Total

jmj-r

jmj-r js



   

‘Overseer’

5

-

5

‘Overseer of the Workshop’

2?

-

2

‘Overseer of the Workshop of the Metalworkers’

-

1

1

‘Overseer of Metalworkers’

7

1

8

Transliteration

        

Provincial

Transcription

Memphite

Category

No. of Examples

 

Overseer



jmj-r js n bD.tj.w

 

jmj-r bD.tj.w

Table 4.5 Distribution of Ranked Personnel Captions

105

Translation

‘Make it According to Plan’

   

Overseer

          

jmj-r bD.tj.w n pr-D.t ‘Overseer of Metalworkers of the Estate’

1

-

1

jmj-r mDH.w

‘Overseer of Carpenters’

-

6

6

jmj-r Hmw.tj.w

‘Overseer of Craftsmen’

2

-

2

jmj-r qs.tj.w

‘Overseer of Sculptors’

3?

1

4

‘Overseer of Sculptors of the Palace’

1

-

1

Elder

jmj-r qs.tj.w Pr-aA

      

smsw wxr.t

‘Elder of the Dockyard’

2

1

3

Elder

   

Translation

Total

 

Transliteration

Provincial

Transcription

Memphite

Category

No. of Examples

     

smsw wxr.t

‘Elder of the Workshop’

-

2

2

sHD js.t

‘Inspector of the Gang’

2

-

2

‘Inspector of Metalworkers’

1

-

1

Inspector

  

sHD bD.tj.w

 

sHD Hmw.tj.w

‘Inspector of Craftsmen’

1

-

1

 

sHD qs.tj.w

‘Inspector of Sculptors’

3

-

3

Table 4.5 Distribution of Ranked Personnel Captions (cont.)

106

The Texts

Although uncommon, examples of praise and reprimand texts are, nonetheless, recorded across a broad range of industries. For instance, in a scene of Boat Building in the tomb of §jj [Cat.34], two workmen are illustrated hammering a plank into place and are encouraged by a third workman to maintain the effort: nfr jrr=Tn ‘You are doing well!’. Likewise, in a scene of making stone vessels in the tomb of Ppjj-anx:¡nj-km [Cat.51], a driller of a jar is motivated by another team member to do his best work: m=Tn sr Hr Hst=Tn ‘Behold, the noble is praising you!’. In contrast, however, in a scene of Sculpture from the tomb of Wp-m-nfrt:Wp [Cat.3], the text is more negative in tone, in that one sculptor criticises another for his unprofessional attitude: Twt wxA(r) rx.t=k kA.t ‘You are ignorant concerning your estimation of the work’.

4.3.2 Geographical and Temporal Distribution of Texts It has also been determined, on the basis of the data presented in Table 4.6 and Table 4.7, that workshopthemed texts were subject to temporal and geographical patterns of distribution. Statistically, the most commonly inscribed text of any kind is the Task Identification phrase, such as stj.t nbjj.t ‘Stringing a collar’ or nbj.t bjA ‘Melting metal’, whose occurrence dominates Memphite tombs, in particular, and is consistent across all chronological periods. By contrast, Praise and Reprimand Texts appear to have been regarded as superfluous in a majority of workshop scenes, being markedly under-represented in the data and confined to the same four tombs: Wp-m-nfrt:Wp [Cat.3]; §jj [Cat.34]; Jbj [Cat.47]; and Ppjj-anx:¡nj-km [Cat.51]. The ratio of uninscribed to inscribed tombs in other categories, for example Object Identification Texts, Command Texts and Observation Texts, is also noteworthy. 4.3.3 Generic v. Specific Identification of Personnel With respect to other categories of texts, a conspicuous feature of the corpus, as demonstrated in Table 4.8, is the No. of Examples Text Type

Uninscribed

4.2.12 Expressions of Praise and Reprimands A third, more indirect method of conveying the achievement of quality standards in textual form is through expressions of praise and compliments. Conversely, failure to achieve the required standard is indicated in the form of a rebuke. With the exception of an inscription in the tomb of Wpm-nfrt:Wp [Cat.3], in which an overseer praises jewellers for their work on a collar with the phrase jH wn=k n nb=f mAA(=j) n nw ‘You will please its owner, who will see this’, analysis reveals that both praise and reprimands are most often communicated from colleague to colleague.

4.3.1 Role of Texts The above analysis demonstrates that texts accompanying scenes of workshop activity, while often generic and repetitive in nature, play an integral role in the representation of the theme and that it is possible to categorise them into a number of identifiable sub-types. Of these, Command Texts, Response Texts and Observation Texts are the most illuminating, in many cases offering compelling evidence of workshop practices, organisation and dynamics. They provide support for the proposition that, far from being arbitrary and formulaic as is often argued, particular inscriptions must have been informed, to some degree, by physical observation of craftsmen at work in authentic settings.

Provincial

A second device identified in describing a finished product is the inclusion of an adverbial modifier, the use of which also recognises that expectations of quality have been met. Accordingly, in a scene of weighing crude metal in the tomb of MHw [Cat.23] and a scene of beating sheet metal in the tomb of Wp-m-nfrt:Wp [Cat.3], this form is employed to emphasise a successful production outcome in the phrases fA nw r mAa ‘This is weighed correctly’ and ps(j).t=f mnx ‘It is heated well’.

4.3 Conclusions

Memphite

4.2.11 Texts Describing the Finished Product A final aspect of content identified from the analysis is the repetition of expressions alluding to the aesthetically pleasing appearance of the materials and objects being worked, common to which is the use of the adjective nfr or ‘beautiful’. For example, when accompanying scenes of metal blowing, three variations of phrasing are recorded to describe the glow of the metal in its molten form: wnn nfr ‘It is beautiful!’ in the tomb of Jbj [Cat.47]; m=k sw r Hr nfr ‘Behold, it is the beautiful face!’ in the tomb of Ppjj-anx:¡nj-km [Cat.51]; and jw nfr Hr r wr.t ‘The face is more than very beautiful!’ in the tomb of Mrrw-kA.j:Mrj [Cat.22]. Completed objects are occasionally referred to using the same terminology, as in the case of a stone vessel jw Xnm pn nfr wr.t ‘This Xnm-jug is very beautiful!’ and a choker j(w)=f nfr wr.t n.tj Hna(=j) ‘It is very beautiful, comrade!’ in the tomb of Mrrw-kA.j:Mrj [Cat.22]. The attributing of luminous properties to a finished product is further evident in the tomb of Jbj [Cat.47], where a sanded shrine is described metaphorically as stj.t mj.t xt n.t mrH.t ‘Glittering like something of oil’.

1. Task Identification

34

17

22

2. Personnel Identification

25

11

28

3. Object Identification

12

9

41

4. Command

19

6

40

5. Observation

14

6

43

6. Praise

2

1

55

7. Reprimand

1

1

56

8. Miscellaneous

1

2

56

Table 4.6 Geographical Distribution of Text Types

107

‘Make it According to Plan’ extent to which generic Personnel Identification captions, such as mDH ‘Carpenter’ and bD.tj ‘Metalworker’, outnumber their more specific variants of mDH(.w) n.w Xnw ‘Carpenters of the Residence’ and bD.tj.w n pr-D.t ‘Metalworkers of the Estate’ for instance, particularly in Memphite tombs. The limited use of personal names for workmen in Provincial scenes is also obvious, with a majority of examples identifying the sculptors, painters and mHnk of high ranking officials, such as Jbj [Cat.47], +aw and +aw:^mAj [Cat.50] and Ppjj-anx:¡nj-km [Cat.51], with large estates at Deir el-Gebrawi and Meir. This finding may prove significant in determining whether elite craftsmen of this kind did, in fact, reside permanently on site, as is frequently assumed, forming close working relationships with tomb owners or if they were deployed from the capital for short periods only and remained largely anonymous as a result.

Observation Texts and conversations between workmen, share a similar chronological profile to that of Object Identification Texts, being unattested in corpus tombs until V.E-M. As evident from the data, the highest concentration of these text types is found in large, well-decorated tombs, suggesting an interrelationship between the recording of detailed inscriptions to complement a scene and the availability of wall space. Such tombs include those of Wp-m-nfrt:Wp [Cat.3], PtH-Spss [Cat.16], §jj [Cat.34] and Ppjj-anx:¡nj-km [Cat.51]. Of particular note is the greater percentage of captions within the category of extended texts whose content may be classified as technologically-specific or industry-based. Examples include jaj(.t) mdw pw ‘Dampen this staff!’ and n wnt Sd ‘There is no hollow space’, which indicate empirical familiarity with the subject matter on the part of individual artists. On present evidence, such texts are found predominantly in Memphite cemeteries and are most popular in the period V.L-VI.E.

4.3.4 Stand-Alone v. Extended Texts A surprising aspect of the analysis is the infrequent use of simple stand-alone inscriptions, either generic or specific, to identify objects in workshop scenes, irrespective of their context. Such texts are entirely absent from corpus tombs dated Dynasty IV, including from the extensive decorative programmes of Mrs-anx III [Cat.4], Nb.j-m-Axtj [Cat.5] and ¢wn-Ra [Cat.9], and are not definitively attested until V.M. They are, however, commonly incorporated in Task Identification phrases, and occasionally in Command and Observation Texts, suggesting an emphasis on action over static labelling. This may reflect a desire to reinforce the visual representation of the workshop environment as productive and dynamic.

4.3.5 Use of Texts as Dating Criteria In addition to the above features of content and distribution, the analysis has also isolated examples of identical sets of inscriptions whose unique occurrence in particular instances may potentially prove useful in proposing date and provenance. This is best demonstrated in the Giza tombs of Jj-mrjj [Cat.1] and ¤nDm-jb:MHj [Cat.12], as well as those of KA.j-m-rHw [Cat.31] at Saqqara and Jbj [Cat.47] at Deir el-Gebrawi, where duplicate texts appear in scenes of Metalwork. Such texts include wdj r Tb.t=f (n) ds mA pw ‘Place at its sole, (for) this is a new vessel!’, jpXr nfr m bD ‘Circulate well in the crucible!’ and j(w)=s m jnr ‘It leans to the weight’, their close resemblance suggesting either

Captions in a more extended form, such as Command and

Date Text Type

Dyn. IV E

Dyn. V

Dyn. VI

L

E

M

L

E

M





 

        

 







     

 







   

 





  





 







 





 





6. Praise





7. Reprimand



1. Task Identification

M



2. Personnel Identification



3. Object Identification



4. Command



5. Observation

8. Miscellaneous

 

Table 4.7 Temporal Distribution of Text Types

108





L

The Texts

Type

No. of Examples Memphite

Provincial

Total

Generic Caption

74

29

103

Specific Caption

10

3

13

Personal Name

32

12

44

Table 4.8 Distribution of Generic v. Specific Personnel Captions

copying of earlier decorative programs by later artists or, in the case of Jj-mrjj and ¤nDm-jb:MHj, completion of both tombs by the same wab.t. Evidence of copying may also be present in the Saqqara tombs of §jj [Cat.34], dated V.L, and Mrrw-kA.j:Mrj [Cat.22], dated VI.E, where identical or near-identical phrases are recorded in relation to the making of staffs. These consist of the command wAH (r) mnx ‘Press efficiently!’ and the observations jw mdw pw (n) ‘This is (for) a staff’, Htj jm=f ‘There is a knot in it’ and wr H(t)j n.t(j) jm=f ‘The knot which is in it is great’. Other examples of duplication include the phrase SmSm TAw Hr sn.f ‘The air is hot because of breathing’, which appears only in the tombs of PtH-Spss [Cat.16], Nj-anx-£nmw and £nmw-Htp [Cat.25] and KA.j-m-rHw [Cat.31] in relation to metal blowing, and the command j hA(j) ‘O, come down!’, which is found only in the tombs of Ppjj-anx:¡nj-km [Cat.51] and ¥psj-pw-Mnw:$nj [Cat.55] in the context of sawing logs. Such texts, where present, are likely to establish a tomb, either Memphite or Provincial in origin, as belonging to the periods V.M-L or VI.M-L, given that they are currently unattested outside this range.

4.3.6 Text, Image and Selective Captioning In addition to the above conclusions, the analysis has also provided important insights into the association between text and image, the principal finding being that in labelling an object, it is the common attributes of that object and not the context in which it appears which determines its identification. As demonstrated in Table 4.4, this pertains to items such as staffs (mdw), raw timber (xt), beds (ATw.t), doors (aA), metals (bjA, Dam), collars (nbjj.t), statues (twt, rpt) and stone vessels (aA.wt, wrH.w), in particular, where the defining characteristic of each designation, despite differences in application, is the raw material. The question of selective captioning in workshop scenes is more problematic, however, as the analysis does not point to any discernable patterns of distribution in the evidence, with the exception of the concentration of particular text types in the period V.L-VI.E and their complete omission from tombs dated Dynasty IV. It is likely, therefore, that the presence or absence of labels may simply reflect the design preferences of the individual tomb owner or artist commissioned to decorate the tomb or was influenced by the availability of wall space and/or convention.

Fig. 16 Polishing a bowl. Tomb of PtH-Spss. Abusir. After Vachala, Abusir VIII, 181[Fragment 702]. © Charles University, Faculty of Arts, 2022

109

artistically as a suite of scenes, some of which must have been considered discretionary, and that the chief determining factor in whether the complete range of industries was depicted in a tomb was the availability of wall space. While it has not been possible to identify any consistent patterns of selection, it has been shown that where wall space is restricted, one of only three industry types will be displayed, either Metalwork, Carpentry or Boat Building. Where wall space is sufficient but a choice is made to limit the number of workshop scenes, it has been argued that, in these cases, either Boat Building or Jewellery Making will most often be observed.

5. Conclusions 5.1 Objectives 5.1.1 Summary The aim of the preceding study has been to catalogue and examine scenes of workshop activity in private tombs of the Old Kingdom, with the objective of classifying and evaluating the content featured using the methodology devised. It was proposed that a micro-analytical approach could be applied to both figures and other scene details in order to establish the conventions of their representation and identify geographical, chronological and individual styles. In addition, it has been argued that such an approach could facilitate a better understanding of the skill and mentality of the ancient Egyptian artist and could act as an effective aid to reconstruction and potential dating.

These findings imply that selections were not random but were based on defined and regularly applied criteria, the nature of which have been unable to be determined with any certainty. The funerary importance or perceived prestige of the product or material, the number and/or skill of the workmen involved in the industry or the intrinsic interest of the industry itself have been considered as possibilities, but it has also been established that contemporary trends and apparent copying from other tombs played a significant role. Practical imperatives, such as the design and location of the room, the limitations of the space and concern for the final layout and overall appearance of the composition, cannot be discounted. The role played by the personal preferences of the tomb owner and the artist or artists commissioned to draft and complete the scenes can only be conjectured but is likely to have been considerable.

5.2 Findings Pertaining to Context 5.2.1 Setting and Identification of Personnel All scenes depict the manufacture of products by craftsmen in a workshop setting, 85% of which are situated pictorially in what may be presumed to be indoor or covered outdoor locations, while outdoor settings, specifically boat building dry docks, account for the remaining 15% of scenes. Based on their explicit identification or deduced from the activity in which they are engaged, up to 89% of the approximately 1,000 figures depicted are craftsmen of their respective estates or pr-D.t. A further 10% are employed as craftsmen of the state (wab.t), while fewer than 1% are attached to the administration of the palace (Pr-aA) or to the palace itself (Xnw). Based on present evidence, it is concluded that the labelling of workshop personnel with such distinctions was a design practice employed principally by Saqqara artists in the period V.L-VI.E and was used as a means of further reinforcing the status of the deceased by highlighting the extent of royal privilege he or she enjoyed in the provisioning of their tomb.

5.3.3 Status of Tomb Owner and Scene Selection A correlation between the status of the tomb owner and the inclusion and variety of workshop scenes in his or her chapel is demonstrated in the evidence, in that almost half of all workshop scenes appear in tombs belonging to holders of the very highest administrative titles or to members of the royal family. Chapel size relative to wealth and, again, the availability of wall space are likely to account for this. There is, however, no correlation between the office held and the type of workshop scenes depicted except in isolated cases, such as those of Mr.f-nb.f [Cat.21] and Nfr, son of KA-HA.j [Cat.27].

5.3 Findings Pertaining to Distribution and Position

The average number of industries recorded in a tomb is estimated to be at least two to three. Analysis of the full complement of workshop scenes from the tomb of #wnRa [Cat.9] confirms that all seven industries were already established as standard components of the workshop theme by late Dynasty IV.

5.3.1 Ratio of Memphite to Provincial Cemeteries Allowing for the variable of uneven preservation, a higher proportion of workshop scenes are recorded in Memphite tombs compared with Provincial cemeteries by a ratio of approximately 2:1. Nevertheless, on present data, close to 35% of innovative scene types and experimental postures and 40% of all unique micro-features derive from the Provinces.

5.3.4 Tomb Position Relative to the current total of extant decorated tombs, the number of chapels containing workshop scenes is unexpectedly small. From this it can be deduced, particularly if found to be consistent across newly discovered sites, that the theme, while popular, was not an obligatory one in Old Kingdom tomb decoration. Rather, it implies that the inclusion of the theme was subject to a high degree of personal preference and input from the tomb owner,

5.3.2 Industry Hierarchy In terms of the current corpus, a statistical hierarchy of industries is evident, with the most frequently occurring industry being that of Metalwork. Scenes of Leatherwork are the least frequently recorded but where they do occur, are illustrated only in large, elite and well-decorated tombs. This suggests that the workshop theme was conceived

110

Conclusions Area

Position of Scene (N.B. More than one category may apply)

% of Corpus Tombs

1

Exit and entry points immediately right or left of a door

33%

2

On a prominent or focal wall in the middle or lower register

19%

3

Adjacent to a ritual area of the chapel where offerings or censing would be performed

12%

4

Directly opposite a statue niche or the principal false door and hence permanently visible to the ka of the deceased symbolically dwelling therein

24%

5

In a register directly at the eye level of a viewing figure of the deceased

34%

Table 5.1 Tomb Position of Workshop Scenes

which supports the view that, to some extent and for some individuals, the scenes may have been a reflection of reality.

the available evidence, it can be argued that depictions of workshop activities were possibly among the most select of scenes in the Old Kingdom repertory.

Although apparently optional, the study has shown that when workshop scenes were included in the decorative program of a tomb, they were frequently assigned a prominent visual position. This was achieved by placing scenes in one of five strategic locations, as outlined in Table 5.1, coinciding with the eye line of potential visitors to the tomb or in close proximity to representations of the deceased.

5.4. Findings Pertaining to Scene Content 5.4.1 Classification of Scenes A primary objective of this study has been the establishment of a new classification system for workshop scenes, and it has been shown that it is possible to sub-divide the theme into multiple categories based on industry, procedure and complementary actions. While no tomb can be cited as containing the full range of procedures, the sequence devised for each industry confirms that all phases of manufacture, from the acquisition and preparation of the raw materials, through to completion, dispatching and presentation of the product, are collectively represented in the corpus.

These findings can be explained, in part, as a reflection of contemporary layout trends and, in a number of cases, may be the result of a preferred East Wall orientation. However, given that such locations are common to over 85% of corpus tombs, it is proposed that their placement was also strongly influenced by a desire for the scenes to be noticed. In doing so, the status of the deceased and notable aspects of their identity, such as the extent of their assets and resources, the number and expertise of the craftsmen they maintained, their enjoyment of royal privilege in the equipping of their tomb and the quality and range of their burial accoutrements, could be communicated more explicitly in perpetuity.

5.4.2 Methods of Display Each industry or sub-theme in the workshop repertory has been found to consist of a set of discrete tasks or procedures by which the different steps in the manufacture of various objects could be illustrated. It has been established that particular industries lent themselves to preferred methods of display by the artist, as summarised in Table 5.2.

The frequency with which the workshop registers are placed in close proximity to the line of vision of a figure of the deceased, either in the so-called ʻviewing sceneʼ or in other significant ritual contexts, suggests that for these individuals, observing craftsmen at work may have been of particular personal interest. On balance, to judge from

The analysis has also determined that for each industry or sub-theme, a particular procedure can be defined as the core motif, which was capable of acting as an iconographic abbreviation for that industry as a whole. Other procedures,

Method of Display

Example

Industry Carpentry Jewellery Making Stone Vessel Making

Selection of representative procedures

Arrangement of several procedures in sequential order to form a continuum

Metalwork Leatherwork

Compression of several procedures into one scene performed concurrently

Boat Building Sculpture

Table 5.2 Preferred Methods of Display for Various Industries

111

‘Make it According to Plan’ Industry

Core Motif

Secondary Motif

Boat Building

Trimming a hull

Cutting holes or mortices in a hull

Carpentry

Polishing or sanding an object

Trimming an object

Jewellery Making

Stringing beads onto threading string

Holding a completed ornament

Leatherwork

Stretching a piece of leather

Cutting a piece of leather to shape

Metalwork

Melting crude metal

Beating sheet metal

Sculpture

Carving a statue or sculpture

Painting a statue

Stone Vessel Making

Hollowing the interior of a vessel

Polishing the exterior of a vessel

Table 5.3 Core and Secondary Motifs

where depicted, may be described as either secondary or discretionary in nature.

may be cited from the tombs of Wp-m-nfrt:Wp [Cat.3], MHw [Cat.23], Nj-anx-£nmw and £nmw-Htp [Cat.25], §jj [Cat.34] and Ppjj-anx:@nj-km [Cat.51] in relation to the making of a collar, the beating of sheet metal, the cutting of a wooden statue block, the positioning of a bulwark and the splitting and trimming of a plank respectively.

Common to a majority of core motifs is that they often appear early in their respective sequences and are generally associated with the transformation of the product from its crude state to a more recognisable form. This may be significant in an allegorical sense, as it may symbolise the conquering of the raw material and establishment of order and control over its shape and appearance. The key motifs, both core and secondary, appear in Table 5.3, while the standard figure types corresponding to the first category are described and illustrated in Table 5.4. It must be assumed that most ancient Egyptian artists were trained initially in these common representations, with the more skilled artists being capable of the kind of elaboration and expansion demonstrated in Table 5.5.

The incorporation of these devices into a composition, in addition to raising questions about the absence of causality, suggests greater familiarity with the subject matter on the part of the artist responsible and a degree of practical knowledge regarding the manufacturing processes involved. These examples, together with scenes in which details are rendered realistically and unique technical aspects are illustrated with reference to the correct procedures and tools, are compelling evidence that certain workshop depictions must have been drawn from direct observation. Such scenes may be summarised as follows: measuring the symmetry and dimensions of a hull; checking a plank seam and securing hull components; separating a plank at the saw cut to prevent pinching; drying and seasoning planks; preparing and applying abrasives to bed frames; attaching drop pendants to a counterpoise; stitching leather pieces together; crimping a ewer; rough cutting a statue; and shaping and smoothing a stone jar.

All procedures, whether core, secondary or discretionary, can also be further classified under one of seven broad divisional headings according to their order in the production cycle. Table 5.6 summarises these classifications and presents the frequency of each category relative to the total number of procedures illustrated. 5.4.3 Methods of Communicating Process While no tomb in the corpus illustrates procedures in progressive or linear order, such as could be equated with a modern production line, the analysis has demonstrated that other methods of communicating a sense of ʻprocessʼ or development of a product, both artistic and linguistic, are in evidence. This is contrary to the conventional view that objects are always shown as complete in order to fulfil their ritual function and the argument that little or no continuity within scenes or between actions is to be found. These devices, some of which are semi-narrative in nature, in that they depict different points in time in the progress of an object towards finalisation, are summarised in Table 5.7. Texts in the form of conversations and commands are a further means of suggesting process by linking workmen in a structured team dynamic. Examples of such inscriptions

Fig. 17 Preparing sandstone abrasive. Tomb of Jj-mrjj. Giza. After Photograph: M. Hampson (2004). Permission courtesy of SCA

112

Conclusions 5.4.4 Conventional v. Non-Conventional Presentations All figure types, irrespective of industry or task, have been found to exhibit a common range of movements, and for any given action, a standard or generalised means of representation applies. The posture summary for each industry, in which a particular figure type is seen to predominate, supports this finding.

attention in the past, have been shown in the present analysis to have had a pivotal role in contributing to the interest and individuality of a composition and in distinguishing a particular artist, trend or style. 5.5 Findings Pertaining to Artistic Innovation 5.5.1 Summary Through close and systematic examination of the available corpus of material, the study has established that the ancient Egyptian artist consistently adhered to a core set of actions and images in the representation of the workshop theme, but it has also been concluded that the extent of creativity and

Where variety is attempted by the artist, independent of the above conventional representations, it is achieved by subtly altering the internal details of the scene, as demonstrated in Table 5.8. Such details, often regarded as incidental minutiae and, as a consequence, regularly subject to only minimal

Industry

Core Motif

Standard Representation •

Boat Building

Trimming a hull

•

• Carpentry

Polishing or sanding an object

•

• Jewellery Making

Stringing beads onto threading string

• • •

Leatherwork

Stretching a piece of leather

• •

• Metalwork

Melting crude metal

•

• Sculpture

Carving a statue or sculpture

•

• Stone Vessel Making Hollowing the interior of a vessel

• •

lunging figure with raised rear shoulder and wide separation of feet adze held at waist level by two hands placed at either end of handle

bending figure with slight separation of feet arms stretched forward with polishing stone held in two hands against object figure seated on block or stool at work table with feet flat end of ornament held at shoulder level with one hand other hand placed perpendicular to beadwork to simulate stringing moderately bending figure with marked separation of feet elbows slightly raised hands gripping leather piece at end and midpoint and pulled over trestle stand kneeling figure with one leg raised and forward foot flat blowpipe held top and bottom at chest level with upper hand shielding face standing figure with prominent forward leg mallet and chisel held at shoulder or upper chest level in front of body and tapped against statue standing figure with feet moderately separated and arms stretched forward at shoulder and waist level one hand on shaft of drill other hand on counterweights or handle to simulate rotation

Table 5.4 Standard Representation of Core Motifs

113

Example

‘Make it According to Plan’ Industry

Core Motif

Elaboration

Expansion

Boat Building

Trimming a hull

Measuring the dimensions and symmetry as the hull is trimmed

Trimming the bulwark

Carpentry

Polishing or sanding an object

Overseer beating a workman as he polishes

Applying abrasive to the object before polishing

Jewellery Making

Stringing beads onto threading Moistening the string in the mouth string as the beads are strung

Preparing the threading string

Leatherwork

Stretching a piece of leather

Applying tanning agent as the leather is stretched

Preparing the hide before sectioning

Metalwork

Melting crude metal

Melting the crude metal while an overseer stokes the furnace

Carrying the molten metal from the furnace to a mould

Sculpture

Carving a statue

Carving the navel, face or wig of the statue

Rough cutting or shaping the block of stone

Hollowing the vessel using a complex drill

Smoothing the interior of the vessel after hollowing

Stone Vessel Making Hollowing the interior of a vessel Table 5.5 Elaboration and Expansion of Core Motifs

experimentation in such representations was still significant. Crucially, it has enabled a number of truly innovative interpretations of procedures, movements and objects to be identified which, on present evidence, are non-derivative and were never copied or imitated in any other workshop scene. Contingent upon further discoveries, they may, therefore, be described as unique. In this regard, the tombs of anx-m-a-@r:%sj [Cat.19], Nj-anx-$nmw and $nmw-Htp [Cat.25], KA.j-jrr [Cat.30], *jj [Cat.34], Jttj:^dw [Cat.43], #w-ns [Cat.45] and Ppjj-anx:@nj-km [Cat.51] are most noteworthy, owing to the many examples of standard objects in unconventional presentations, decorative additions to functional equipment, detailed finishing of objects and lifelike depictions of action and interaction recorded in their scenes.

and other points of difference highlighted throughout the study, appeared determined to inject as much animation and realism as possible into his depictions. Another significant element is his attempt at characterisation of the workmen and the enlivening and individualising of the figures with different attitudes, gestures, head sizes, nose shapes and styles of wig. Other specific design features, such as his apparent reluctance to repeat similar movements in the Sculpture sequence, his balancing of seated and standing 35

30

25

5.5.2 A Special Case: Tomb MQ1 Warranting particular attention in regard to experimentation in the presentation of the workshop theme is the tomb of #wn-Ra [Cat.9] at Giza. The analysis has found that of the approximately 100 innovative postures and micro-features catalogued, the tomb of #wn-Ra accounts for over 10%. This is equal to the larger and more extensively decorated tombs of *jj [Cat.34] and Ppjj-anx:@nj-km [Cat.51] but twice and often triple that of a majority of other listed tombs. Four of the postures documented are otherwise unattested in the current workshop repertory and may be summarised as follows: the trimming of the hull from below, with the back arched to reach the highest point of the stern; the trimming of a batten with the adze passing under the inner arm to suggest the working of the anterior side; the cutting of holes or mortices in a door leaf with one leg drawn up against the chest and resting on the panel; and the carving of a statue with a dramatic overhead movement as the inner foot steadies the base against the blow. Such unorthodox contortions of the figures are indicative of the creative skill of the #wn-Ra artist, who, to judge from these

20



Stage in Production Cycle

Table 5.6 Production Cycle and Scene Distribution

114

Repair of tools

Forming material into product

Preparation of material

Allocation of material

Acquisition of material

5

Presentation and inspection

10

Refinement and finishing of product

% of Scenes

15

Conclusions stone vessel makers, his semi-symmetrical arrangement of carpenters and regular alternation of kneeling and lunging boat builders, as well as his strategic positioning of figures to frame the scene, indicate a heightened concern for overall aesthetics. In short, the style of the #wn-Ra artist, while clearly informed by convention, when compared with other scenes of its type is distinctly idiosyncratic, lending greater authenticity to the composition and capturing more successfully than most the true dynamics of craftsmen in a workshop setting. The scenes from the tomb, when presented in full, thus provide an unparalleled insight into the mentality of an ancient Egyptian artist and challenge the presumption that the peak of creativity in Old Kingdom tomb decoration was not achieved until Dynasties V and VI. 5.6 Findings Pertaining to Scene Inscriptions 5.6.1 Text Types and Their Purpose Although principally an iconographic study, the present analysis has also addressed the role of scene inscriptions in defining the physical and social environment of ancient Egyptian craftsmen and evaluated their contribution to the presentation of the theme. It has been found that such texts may be divided into a number of sub-categories, whose purpose was either descriptive or explanatory. Some of these categories, particularly when in the form of conversations or commands, had the added function of informing the viewer about the organisation of the workshop and its practices. From this it can be concluded that such inscriptions must

have been derived, in part, from familiarity with local industrial settings, best demonstrated by examples in the tombs of Wp-m-nfrt:Wp [Cat.3], MHw [Cat.23], §jj [Cat.34] and Ppjj-anx:¡nj-km [Cat.51]. Other key findings include the fact that texts used to identify workshop objects are invariably attribute-based, whereas those identifying personnel are determined by context, and that a majority of all inscriptions pertaining to the workshop theme are recorded in Memphite tombs belonging to the period mid Dynasty V-mid Dynasty VI. Such texts, it is suggested, in conjuction with the iconographic evidence accompanying them, may prove a valuable aid in assigning date and provenance to other workshop scenes. 5.7 Concluding Remarks In conclusion, the methodology devised for this study has sought to demonstrate that intensive micro-analysis of scene content, both iconographic and textual, has the potential to further enhance our understanding of the ancient Egyptian system of representing a repertory theme and, when applied to the recording of workshop activities or indeed to any other preserved thematic content, can contribute to a better appreciation of the wealth of illuminating detail contained therein. By building on the work of previous Egyptologists and developing news ways of engaging with such evidence, including micro-analysis, deeper insights into the art of this extraordinary civilisation and fresh perspectives on the people who created it will continue to be gained.

Fig. 18 Melting crude metal. Tomb of KA.j-m-rHw. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

115

‘Make it According to Plan’

Artistic Device

Example

Trimmingdampeningshaping a staff Depiction of near-complete sequences Weighingmeltingpouringbeatingsharpening a metal blade in which the raw material is worked Weighingmeltingpouringbeating a metal sheet 1 through multiple steps towards a finished Dampeningheatingshaping a staff or semi-finished state Soakingsmoothingcutting a sandal strapcutting a sandal sole

Cat. No. 16 22 34 46 51

Continuity of actions between two workmen or two groups of workmen 2 whereby the raw material or product is passed to its next phase of treatment or construction

Twisting threading stringstringing beads onto the thread Carrying a crucible of molten metalhanding crucible to pourer Sawing log into plankscarrying sawn plank to carpenters Trimming a plankworking hull with identical missing section Washing collar over vesseldrying identical collar Melting metalpouring water over the molten metal to cool

3 5 11 25 48, 49 51

Attempts at sequenced animation whereby consecutive movements are 3 depicted and the same object is shown in a more advanced stage of processing

Dampening upper part of staffdampening middle part of staff Rotation of diadem or filletstreamers present on opposite side Rotation of drillcounterweights shown in front of and behind shaft Felling of treetree with lower branches removed

16 25 34 44

Repetition of identical actions with subtle changes to the object worked 4 indicating that progress has been made by the participating workmen

Beating lumps of metalmetal flattened Dressing a loglog reduced in size

23 53

Presentation of movements in ‘real 5 time’

Scraped granules of abrasive falling onto bed frame Trajectory of flow of molten metal defined Drill held at angle to suggest pushing and pulling motion Fibres of paint brush splayed and angled to define downward stroke

1 5, 22, 34, 51 5, 11, 51 51

Presentation of objects as incomplete or in an early stage of manufacture 6 suggesting that further processing is to take place

Sandal sole(s) without pre-straps Collar in early stage of stringing Cut-out shape of metal vessel Statue without staff Half-strung counterpoise Sandal strap without sole Pectoral being decorated or chased Statues without facial features Hull with missing plank section Unfinished bindings on hull truss Uneven pair of sandals Half-strung pectoral Features of decorative animal head on boat bow undefined Terminals absent from collar Shrine partially decorated

1, 9, 42, 51 3, 20, 31, 46 5 9, 10, 51, 55 19 19 22 25 25 27 43 44 45 51 51

Presentation of objects as incomplete 7 adjacent to a completed example of similar or identical appearance

Single string of beadscompleted collar on work table Cut-out shape of metal vesselcompleted vessel in sub-register Attaching pendants to counterpoisecompleted counterpoise on table Single threading stringcompleted collars on table in sub-register Staff in vicecompleted staffs in a row Stringing a collaridentical completed collar in sub-register

3 5 19 31 43 51

Preparing the timberconstructing objectsfinishing objects completed wooden furniture, burial accoutrements and accessories Preparing the hidecutting the leatherconstructing an object completed leather containers and cushions

1, 9, 25, 34

Door leaf, lock and bolt worked separately Door leaf worked separately Leg of bed frame worked separately Uneven pair of sandals Panel of shrine painted separately Seat, panel and armrest of carrying chair worked separately Door section and batten worked separately

1 3, 4, 9, 22 33 43 44 50 51

Presentation of objects of the same material but different type at the end of 8 a series of actions or in a sub-register suggesting successful completion of processing using similar procedures

Presentation of objects or sets of objects 9 as disarticulated suggesting subsequent assembly when complete

Table 5.7 Methods of Communicating Process

116

19

Conclusions Method

Selected Examples

Cat. No.

1

Altering the disposition of the head, limbs and/or extremities

Turning the head to observe or talk to companions

3

2

Altering the orientation and/or style of tool or equipment

Suspension hook in shape of human forearm

23

3

Modifying or diversifying the shape, size or design of the object worked or displayed

Shrine with doors open

9

4

Rendering the object worked or displayed from a simple outline to more defined or defined with additional embellishment

Sarcophagus with ‘palace facade’ decoration

9

5

Repositioning the object worked or displayed from a central to peripheral area of the scene

Completed sarcophagi displayed on margin

1

6

Altering the viewpoint of the object to show single or multiple perspectives

Platform of sedan chair viewed from above

33

7

Repositioning the figure or figures in relation to the object

Door leaf overlapped by workman

1

8

Rendering the internal details of the figure such as the hands, legs, feet or genitals in a distinctive manner

Defined musculature on arms and/or legs of workman

35

9

Individualising the figure by means of clothing and accessories or different body types, facial expressions and wigs

Workman with beard

23

10

Selecting a single component of an object to illustrate

Section of door panel

51

Table 5.8 Methods of Varying a Standard Representation

117

Standard

Variation

118

Part Two

Industries Depicted: a summary of the industries depicted in the scenes according to the seven major categories.

Scene Catalogue

Site Plan: the location of the tomb marked on a plan of the site or specific cemetery. All plans reinterpreted from relevant sections of maps published in PM and other sources as cited.

1.1 Explanatory Notes All data pertaining to the present study is summarised systematically in the Catalogue for ease of consultation. Scenes and inscriptions appear in their original context, arranged alphabetically within geographical site according to tomb owner.

Tomb Plan: the location of the scene(s) in the tomb chapel if known. All diagrams reinterpreted from plans published in PM and other sources as cited.

1.2 Definitions Catalogue Number: as assigned in the present study 1-60 and referred to throughout.

Room Plan: the position of the scene(s) relative to other immediate decoration reinterpreted in original isometric drawings based on tomb plan. Relevant registers shaded. Register contents and placement identified and transcribed with reference to PM and other published photographs, line drawings and descriptions as cited.

Site: the geographical location of the tomb in Egypt arranged north to south. Cemetery: the specific cemetery within the geographical site.

Plate: reproduced in line drawing from in situ photographs and/or published photographs and figures as cited. Registers and workmen identified by number and letter respectively. All plates redrawn by author.

Tomb/Inventory No.: the conventional field or inventory number for the tomb as assigned by PM, relevant excavation report or museum.

Scene Content: succinct identification of all actions and objects recorded in the scene(s). Figures read left to right or right to left as determined by the sequence of operations, direction of hieroglyphic inscriptions or artistic convention. Registers read top to bottom for consistency.

Tomb Owner: the name of the tomb owner recorded in transliteration. PM Reference: the specific page citation for the relevant scene.

Inscriptions: transliterated in full with suggested translation. See Appendix13 for applicable citations.

Tomb Type: as assigned in PM or relevant excavation report.

1.3 Summary of Catalogue Numbers by Site [Cat.1] - [Cat.15] Giza [Cat.16] - [Cat.18] Abusir [Cat.19] - [Cat.37] Saqqara [Cat.38] Dahshur [Cat.39] Lisht [Cat.40] - [Cat.41] Maidum [Cat.42] - [Cat.43] Deshaheh [Cat.44] - [Cat.45] Zawyet el-Amwat [Cat.46] El-Sheikh Saïd [Cat.47] - [Cat.50] Deir el-Gebrawi [Cat.51] Meir [Cat.52] - [Cat.53] El-Hammamiya [Cat.54] - [Cat.56] El-Hawawish [Cat.57] - [Cat.59] El-Khokha [Cat.60] Qubbet el-Hawa

Chapel Type: as assigned in relevant excavation report or deduced from plan. Typology based on Harpur, Decoration, 59-60. Location of Scene: the specific room and wall location of the scene(s) if known. Bibliography: selected references for the applicable plate arranged alphabetically. Suggested Dates: selected dating estimates arranged alphabetically according to author. Converted to abbreviation system devised by Harpur, Decoration, 34 for ease of comparison. Assigned Date: based on critical examination of the above estimates and supporting criteria. Although it is appreciated that the establishment of a sound chronological framework is essential to a study of this kind, due to the stated objectives of the research, detailed discussion of dating is not provided. Comparison of the estimates has revealed agreement in a majority of cases or placement within a similar range, however, while acknowledging that artistic criteria alone must be used with caution in this regard, further refinements may be suggested in the course of the analysis if considered necessary.

1.4 Key to Catalogue Notations N North Location of Scene 1 Register Number A Figure Identification 1.5 Method of Citation Used in Catalogue See Publication Abbreviations for identification of short title references and Bibliography for full citation.

119

‘Make it According to Plan’

[Cat.1] Site: Giza Cemetery: West Field: Cemetery G6000 Tomb/Inventory No.: G6020 (LG16) Tomb Owner: Jj-mrjj PM Reference: PM III [2], 171[3] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room I: South Wall299 Bibliography: Champollion, Monuments IV, pl. CCCCXI[2], pl. CCCCXII[1] LD II, 49[b] Weeks, Cemetery G6000, 33-36, fig. 30, pls. 13-14 Suggested Dates: V.3 Baer, Rank and Title, 287[21] V.6 Baud, Famille I, 55 Note 279 V.3 Cherpion, Mastabas et hypogées, 227 V.3L Harpur, Decoration, 265[14] V.6 Kanawati, Administration, 82[12] V.6 OEE, Database, Tombs_04 V.6 or later PM III [2], 171 V.6M Reisner, ʻRoyal Estate Stewardsʼ, 31 V.6 Smith, HESPOK, 196 V.6 Weeks, Cemetery G6000, 5-6

N

Site Plan: Based on PM III [2], Plan VII

Assigned Date: V.6 Industries Depicted: Carpentry Leatherwork Metalwork Sculpture Stone Vessel Making

N Tomb Plan: Based on PM III [2], Plan XXIX 120

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Weeks, Cemetery G6000, fig. 30

1 A

B

C

D

E

F

2 F

E

D

C

B

A

3 L

K

I

J

H

G

D

C

E

F

B

A

4 E

D

C

B

A

Plate: After Weeks, Cemetery G6000, fig. 30. Permission of Museum of Fine Arts, Boston 121

‘Make it According to Plan’ Scene Content: Reg.

1

Figure

Identification

A

Carrying a plank

B

Inscription

Translation

mr.t

‘Board’

Cutting holes in a bed frame

mnx

‘Chiselling’

C

Trimming a bed frame

nDr (jn) fnx

‘Fashioning (by the) joiner’

D

Applying abrasive to a bed frame302

Hwj

‘Polishing’

E

Polishing or sanding a bed frame

sHD js.t Ra(wr)

‘The Inspector of the Gang, Rawer’

F

Overseer

sHD js.t Hm-kA (

Sarcophagus

qrs(w) (n mAT)?

‘Coffin (of granite)’?

Sarcophagus

qrs(w) n wan

‘Coffin of juniper’

Shrine

sH-nTr n wan

‘Shrine of juniper’

A

Sawing a section of log into planks

ws.t

‘Sawing’

B

Cutting holes or mortices in a box mnx or chest304

‘Chiselling’

C

Trimming a door bolt

nDr s (jn) fnx

‘Fashioning a door bolt (by the) joiner’

2

300 301

303

Door lock

)A

‘The Inspector of the Gang, the Hm-kA Priest, ........a’

305

D

Trimming a door leaf 306

mDH?

‘Carpenter’?

E

Trimming a door leaf

nDr msDr (jn mDH)?

‘Fashioning the ear (by the carpenter)’?

F

Trimming a plank

fAj.t bjA rx.t

‘Weighing metal’ ‘Reckoning’

Scribal document case Box

3

A

Weighing crude metal

B

Overseer

C-D

Melting crude metal

nbj.t bjA wd(j) r Tb.t=f ds mA pw

‘Melting metal’ ‘Place at its sole!’ ‘This is a new vessel’

E-F

Melting crude metal

wn Tw wr.t r Hr nfr jpXr nfr m bD

‘Hurry greatly to the beautiful face!’ ‘Circulate well in the crucible!’

G

Pouring molten metal

H

Beating a basin

sHD bD.tj(.w) KAj [sic]

‘The Inspector of Metalworkers, Kai’

Hm-kA bD.tj KA(j)-m-anx

‘The Hm-kA Priest and Metalworker, Kai-emankh’

Ewers and basin I-J

Beating sheet metal

K

Beating sheet metal

L

Beating sheet metal Jars and spouted bowl

4

A

Painting a statue307

B

Polishing a cylinder?308 Spouted jar and cylinder

C

Stretching a piece of leather

THs Xn.t

‘Stretching leather’

D

Tanning a piece of leather

s(j)n.t

‘Rubbing’

E

Cutting out a sandal sole

wDa Tb.t

‘Cutting out a sandal’

309

310

122

Scene Catalogue

[Cat.2] Site: Giza Cemetery: East Field Tomb/Inventory No.: G7710 (LG71)?311 Tomb Owner: Jbjj PM Reference: PM III [2], 202 Tomb Type: Rock-Cut/Stone Casing Chapel Type: Cruciform Location of Scene(s): Room III: East Wall312 Bibliography: MFA, Giza Archives, G7710: Photo ID. B9160_NS[right] Suggested Dates: V Harpur, Decoration, 265[21] V PM III [2], 202 IV.5-6 Reisner, Giza Necropolis I, 219

N

Site Plan: Based on PM III [2], Plan XVIII

Assigned Date: IV.5-6 Industries Depicted: Sculpture

Unknown

Tomb Plan: Not Recorded313 123

‘Make it According to Plan’

Unknown

Room Plan: Not Recorded

A

Plate: After MFA, Giza Archives, G7710: Photo ID. B9160_NS[right]. Photograph © 2022 Museum of Fine Arts, Boston

Scene Content: Reg.

Figure A

Identification Carving a statue?

Inscription

Translation ‘........rf’ ‘Judge and Scribe ........’

( )rf sAb sS ( )

124

Scene Catalogue

[Cat.3] Site: Giza Cemetery: Central Field East Tomb/Inventory No.: G8882 Tomb Owner: Wp-m-nfrt:Wp PM Reference: PM III [2], 282[6]314 Tomb Type: Rock-Cut/Masonry Chapel Type: Two or More Rooms Location of Scene(s): Room IV: East Wall N

Bibliography: Hassan, Giza II, 190-99, fig. 219, pl. LXXIV, pl. LXXVI Suggested Dates: V.8M-9E Baer, Rank and Title, 289[109] V.5-6 Baud, Famille I, 369[46] V.5 Cherpion, Mastabas et hypogées, 228 V.6-9 Goedicke, Rechtsinschriften, 31 V.6-8? Harpur, Decoration, 266[56] V.5 or later Hassan, Giza II, 200 IV.2 Junker, Giza I, 8 V.8M Kanawati, Administration, 153[72] V.6-8? OEE, Database, Tombs_08 V.6-9 PM III [2], 281 V.5 or later Smith, HESPOK, 199 Note 1

Site Plan: Based on PM III [2], Plan XX

Assigned Date: V.5-8 Industries Depicted: Carpentry Jewellery Making Metalwork Sculpture

N

Tomb Plan: Based on PM III [2], Plan XXXIV 125

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Hassan, Giza II, fig. 219

1

G

F

E

D

C

A

B

2

A

B

C

D

3

B

A

C

D

4

A

B

C

Plate: After Hassan, Giza II, fig. 219 126

D

E

Scene Catalogue Scene Content: Reg.

1

2

Figure

Identification

Inscription

A-B

Melting crude metal

nbj.t bjA

‘Melting metal’

C

Melting crude metal

w(n) Tw wr.t wdj r Tb.t=f

‘Hurry greatly!’ ‘Place at its sole!’

D

Melting crude metal

bD.tj

‘Metalworker’

E

Pouring molten metal

wdH bjA bD.tj

‘Pouring metal’ ‘Metalworker’

F

Beating sheet metal

ps(j) nn bjA jw wSr sSp pw

‘(Re) heat this metal!’ ‘It is brittle’ ‘It is shining’

G

Beating sheet metal

n wnt Sd ps(j).t=f mnx

‘There is no hollow space’ ‘It is heated well’

A

Polishing or sanding a sarcophagus

snaa qrs(w) dj mw dj Sa

‘Polishing a coffin’ ‘Put water, put sand!’

B

Polishing or sanding a sarcophagus

sSp.w

‘Polishers’

C

Carving a statue

Abd wa r nn n hr ww Dr wdj(=j) a(=j) m twt pn n.tj m-a(=j)

‘It has been one month since I first put my hand to this statue which is in my charge’

D

Modelling the face of a statue315

Twt wxA(r) rx.t=k kA.t

‘You are ignorant concerning your estimation of the work’ ‘Indeed, you wouldn’t say to me wood is like stone’

n A Dd=k n(=j) jw xt mj aA.t

3

Translation

A

Sharpening an adze

fnx BAw-wr mr dj pAq bAk nw n.tjj m-a=k

‘The Joiner, Bau-wer’ ‘Do not make too thin this work which is in your hand!’

B

Trimming an oar

n rdj(=j) mrjj fnx Nbw.f

‘I will not do (it, my) dear’ ‘The Joiner, Nebu-ef’

C

Polishing or sanding a door leaf

sS mw=k mnx sn mDH Nfr-f-Ra-anx

‘Spread your water well, brother!’ ‘The Carpenter, Nefer-ef-Ra-ankh’

D

Polishing or sanding a door leaf

jw(=j) r sbA.w sSp

‘I will be a pupil’ ‘Polisher’

A

Twisting threading string

nDrw nw mnx n.tjj m-a=k jn=k kA.t tp ra nfr

‘Hold tight this string which is in your hand!’ ‘You are delaying work which made a good start’

B

Twisting threading string

jSst pw m=k bjA r-gs=k

‘What is the matter?’ ‘Behold, the metal is beside you!’

C

Stringing a collar

wn Tw r nbjj.t pn r arq=f

‘Hurry with this collar to finish it!’

D

Stringing a collar

mj PtH mrj Tw mrj(=j) r (s) arq.f mjn

‘As Ptah loves you, I want to finish it today’

Choker and collar on table

4

Collar on table Box E

Overseer

jH wn=k n nb=f mAA(=j) n nw ‘You will please its owner, who will see this’

127

‘Make it According to Plan’

[Cat.4] Site: Giza Cemetery: East Field Tomb/Inventory No.: G7530 + 7540 Tomb Owner: Mrs-anx III PM Reference: PM III [2], 197[2-3] Tomb Type: Stone-Built Mastaba Chapel Type: Two or More Rooms Location of Scene(s): Plate 1: Room I: East Wall Plate 2: Room I: South Wall316 Bibliography: Dunham and Simpson, Mersyankh III, 12, 16, fig. 5, fig. 8, pl. III[b], pl. V[a-b], pl. IX[d] Reisner, ʻMeresankhʼ, 78, figs. 11-12 Suggested Dates: IV.5-6 Baer, Rank and Title, 140[513B] IV.4-5? Baud, Famille II, 461[76] IV.3 Cherpion, Mastabas et hypogées, 226 IV.5E Dunham and Simpson, Mersyankh III, 3, 8 IV.2-6 El-Metwally, Grabdekoration, 131 IV.6 Flentye, ʻMeresankh IIIʼ, 75 IV.6 Harpur, Decoration, 267[98] IV.2 or later Jánosi, Giza 4. Dynastie, 355 V.1 Junker, Giza I, 9 IV.6 OEE, Database, Tombs_05 IV.2-6 PM III [2], 197 IV.5 Reisner, Giza Necropolis I, 310 IV.6E Reisner in Dunham and Simpson, Mersyankh III, 8 Note 9 IV.6 Smith, HESPOK, 163, 166 IV.5 Strudwick, Administration, 38

N

Site Plan: Based on PM III [2], Plan XVIII

Assigned Date: IV.5-6E Industries Depicted: Carpentry Metalwork Sculpture

N

Tomb Plan: Based on PM III [2], Plan XXX 128

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Dunham and Simpson, Mersyankh III, fig. 5, fig. 8

1

B

A

2

F

E

D

C

B

H

3 M

L

K

I

J

A

G

D

F

C

B

E

A

Plate 1: After Dunham and Simpson, Mersyankh III, fig. 5. Permission of Museum of Fine Arts, Boston

129

‘Make it According to Plan’

1

A

Plate 2: After Dunham and Simpson, Mersyankh III, fig. 8. Permission of Museum of Fine Arts, Boston

Scene Content: Plate 1 Reg.

Figure

Identification

Inscription

Translation

Dragging a statue 1

2

3

A

Painting a statue317

qs.tj Jnj-kA.f

‘The Sculptor, Ini-kaf’

B

Painting a statue

(sS) qdw.t Ra-HAjj

‘The Painter and Draughtsman, Ra-hay’

A

Sawing a section of log into planks318

B

Trimming a false door319

C

Polishing or sanding a door leaf

D

Trimming a box?

E

Polishing or sanding a sarcophagus320

F

Polishing or sanding a sarcophagus

Hmw.tj

‘Craftsman’

A-B

Trimming a box?

C-D

Polishing or sanding a carrying chair

E

Trimming a box

F

Trimming a Dd-column?321 Box on frame

G-H

Gilding a table?

I-L

Melting crude metal

M

Beating sheet metal322

Plate 2 Reg.

Figure

1

A

Identification Painting a statue

Inscription sS qdw.t Ra-HAjj

130

Translation ‘The Painter and Draughtsman, Ra-hay’

Scene Catalogue

[Cat.5] Site: Giza Cemetery: Central Field North Tomb/Inventory No.: G8172 (LG 86) Tomb Owner: Nb.j-m-Axtj PM Reference: PM III [2], 231[6] Tomb Type: Rock-Cut Chapel Type: Two or More Rooms Location of Scene(s): Room II: East Wall Bibliography: Hassan, Giza IV, 141-42, 148[18], fig. 81, fig. 100, LD II, 13 Suggested Dates: IV.6 Baer, Rank and Title, 291[248] IV.4-6 Baud, Famille II, 487[113] IV.4 Cherpion, Mastabas et hypogées, 226 V.1 Eaton-Krauss, Statuary, 109 IV.6-V.1 Harpur, Decoration, 267[122] IV.4 Hassan, Giza IV, 128 IV.4-6 Jánosi, Giza 4. Dynastie, 366 IV.4L Kanawati, Administration, 153[168] IV.6-V.1 OEE, Database, Tombs_06 IV.4-5 or later PM III [2], 230 IV.5L-6 Reisner, Giza Necropolis I, 247 IV.6-V.1 Smith, HESPOK, 166 IV.6 Strudwick, Administration, 108[81]

N

Site Plan: Based on PM III [2], Plan XXI

Assigned Date: IV.6-V.1 Industries Depicted: Carpentry Jewellery Making Metalwork Sculpture Stone Vessel Making N Tomb Plan: Based on PM III [2], Plan XXXII 131

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Hassan, Giza IV, fig. 81; LD II, 13

1 G

F

E

D

C

B

A

2 A

B

3 H

G

F

E

D

C

B

A

4 C

B

A

D

E

F

G

H

J

I

K

L

5 A

B

C

Plate: Composite. After LD II, 13. Digitization of ULB; Hassan, Giza IV, fig. 100323 132

D

E

Scene Catalogue Scene Content: Reg.

1

Figure

Identification

A-B

Stringing a collar

C-D

Stringing a collar

E

Holding a pectoral

F

Overseer

G

Overseer

Inscription

Collars, chokers, counterpoises? in Dsr(w)-chests?

2

A

Painting a shrine324

B

Sharpening an adze Filling jars Operating an oil press

A

3

4

Trimming a plank or batten?325

B-C

Polishing or sanding a chair

D-E

Carving a statue326

F

Painting a statue

G

Drilling a jar

H

Polishing a cylinder?

A-F

Melting crude metal

G

Carrying molten metal

H

Pouring molten metal?327

I-L

Beating a blade328 Baboons

5

A

Beating a jar?329

B

Gilding a sedan chair330

C

Crimping a ewer Ewer

D-E

Weighing a basin

Fig. 19 Crimping a ewer. Tomb of Nb.j-m-Axtj. Giza. After LD II, 13. Digitization of ULB

133

Translation

‘Make it According to Plan’

[Cat.6] Site: Giza Cemetery: West Field: Cemetery G4000 Tomb/Inventory No.: G4000 Tomb Owner: @m-jwnw PM Reference: PM III [2], 123 Tomb Type: Stone-Built Mastaba Chapel Type: Corridor Location of Scene(s): Room I: South Wall331 Bibliography: MFA, Giza Archives, G4000: Photo ID. B9107_NS[25-12301] Smith, ʻOld Kingdom Reliefsʼ, 527, fig. 14[25-12-301] Suggested Dates: IV.2M-L Baer, Rank and Title, 104[331], 292[331] IV.2 Baud, Famille II, 516[151] IV.2 El-Metwally, Grabdekoration, 115[5.3.2.1] IV.2 Harpur, Decoration, 268[165] IV.2 Junker, Giza I, 8, 13 IV.2M-L Kanawati, Administration, 154[220] IV.2 OEE, Database, Tombs_03 IV.2 PM III [2], 122 IV.2L Reisner, Giza Necropolis I, 296 IV.2M-L Smith, ʻOld Kingdom Reliefsʼ, 523 IV.2M-L Strudwick, Administration, 117[96]

N

Site Plan: Based on PM III [2], Plan VII

Assigned Date: IV.2M-L Industries Depicted: Boat Building332

N

Tomb Plan: Based on PM III [2], Plan XV 134

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 122

A

Plate: After MFA, Giza Archives, G4000: Photo ID. B9107_NS[25-12-301]. Photograph © 2022 Museum of Fine Arts, Boston Scene Content: Reg.

Figure A

Identification

Inscription

Trimming a hull333

135

Translation

‘Make it According to Plan’

[Cat.7] Site: Giza Cemetery: West Field Tomb/Inventory No.: Not Recorded Tomb Owner: @tpt PM Reference: PM III [2], 298 Tomb Type: Mud Brick Mastaba Chapel Type: L-Shaped Location of Scene(s): Room II: East Wall Bibliography: Osirisnet, ʻHetepetʼ, n_02_18

N

Suggested Dates: IV.3 Cherpion, Mastabas et hypogées, 125-26 IV von Droste zu Hülschoff, ʻKat.-Nr. 1ʼ, 11 V Hamann, Ägyptische Kunst, 150 V-VI Harpur, Decoration, 268[176] VI.6-7 Junker, Giza V, 52 VI.1-4 OEE, Database, Tombs_08 V Osirisnet, ʻHetepetʼ, n_02_18 V-VI PM III [2], 298 V-VI Schäfer and Andrae, Die Kunst, [250], 649 V-VI Seyfried, ʻKatalogʼ, 1 IV Wenig, Ägyptische Museum, 45-46 V.1-6 Woods and Swinton, ʻTomb of Hetepetʼ, 142 IV Wreszinski, Atlas I, Taf. 376

Site Plan: Based on PM III [2], Plan VII

Assigned Date: V.6-8?334 Industries Depicted: Leatherwork335 Metalwork

N Tomb Plan: Drawing M. Hampson. Based on Osirisnet, ʻHetepetʼ, n_02_18, MoA_19. Courtesy of T. Benderitter 136

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Osirisnet, ʻHetepetʼ, n_02_18, MoA_29-35

1

C

A

B

Plate: After Osirisnet, ʻHetepetʼ, n_02_18, MoA_29. Courtesy of T. Benderitter

Scene Content: Reg. 1

Figure

Identification

A

Melting crude metal

B

Melting crude metal

C

Beating sheet metal

Inscription

(

)n(

)

137

Translation

‘........n........ʼ

‘Make it According to Plan’

[Cat.8] Site: Giza Cemetery: East Field Tomb/Inventory No.: G7150 Tomb Owner: #wfw-xa.f II PM Reference: PM III [2], 191[7]336 Tomb Type: Stone-Built Mastaba Chapel Type: Single Room Location of Scene(s): Room I: West Wall Bibliography: Simpson, Kawab, 26, fig. 50, pls. XLV[a-b] Suggested Dates: V.6 Baer, Rank and Title, 292[376] V.6 Baud, Famille II, 541[180] V.6 Cherpion, Mastabas et hypogées, 228 V.6 Harpur, Decoration, 269[184] V.6 Jánosi, Giza 4. Dynastie, 439 V.6 OEE, Database, Tombs_05 V.6 PM III [2], 190 V.8-9 Reisner, Giza Necropolis I, 313 V.6-9 Simpson, Kawab, 21 V.8-9 Smith, HESPOK, 198 V.3-6E Strudwick, Administration, 124[105]

N Site Plan: Based on PM III [2], Plan XVIII

Assigned Date: V.6 Industries Depicted: Carpentry Jewellery Making Sculpture

N Tomb Plan: Based on PM III [2], Plan XXX 138

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Simpson, Kawab, fig. 50

1

G

F

E

D

C

B

A

Plate: After Simpson, Kawab, fig. 50. Permission of Museum of Fine Arts, Boston

Scene Content: Reg.

1

Figure

Identification

Inscription

Translation

A

Overseer

B

Trimming a Dd-column

C

Polishing or sanding a sceptre?338

s(na a )?

‘Polishing’?

D-E

Stringing a collar

stj.t nbjj.t

‘Stringing a collar’

F

Painting a statue

G

Carving a statue

337

139

‘Make it According to Plan’

[Cat.9] Site: Giza Cemetery: Menkaurea Cemetery Tomb/Inventory No.: MQ1 Tomb Owner: ¢wn-Ra PM Reference: PM III [2], 294[1] Tomb Type: Rock-Cut Chapel Type: Two or More Rooms Location of Scene(s): Room I: East Wall Bibliography: Eaton-Kraus, Statuary, pl. XXVII339 MFA, Giza Archives, MQ1: Photo ID. A1035_NS Suggested Dates: IV.5 or thereabouts IV.5 IV.5 IV.5 IV.5 IV.5 IV.5 IV.5

Baud, Famille II, 536[176] Harpur, Decoration, 269[188] Jánosi, Giza 4. Dynastie, 429 Junker, Giza II, 35 OEE, Database, Tombs_08 PM III [2], 293 Reisner, Giza Necropolis I, 310 Smith, HESPOK, 166

N Site Plan: Based on PM III [2], Plan III

Assigned Date: IV.5 Industries Depicted: Boat Building Carpentry Jewellery Making Leatherwork Metalwork Sculpture Stone Vessel Making

N

Tomb Plan: Based on PM III [2], Plan XXXV 140

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. MFA, Giza Archives, MQ1: Photo ID. A1035_NS

1

G

N

J O

M

L

K

I

H

F

E

D

C

B

A

M

2 N

L

K

J

I

H

G

F

E

D

C

B

A

K

3

J I

H

4

G

D

F

E

E

F

G

H

I

B A

D

C

J

B

K

A

L

C F

5 A

B

C

D

E

G

H

I

Plate: After MFA, Giza Archives, MQ1: Photo ID. A1035_NS. Photograph © 2022 Museum of Fine Arts, Boston 141

‘Make it According to Plan’ Scene Content: Reg.

1

2

3

Figure

Identification

A

Overseer

B

Trussing a hull

C

Trussing a hull

D

Trussing a hull

E

Trussing a hull

F

Trussing a hull

G

Trussing a hull

H

Propping a hull340

I

Propping a hull

J

Trimming a hull

K

Trimming a bulwark

L

Checking hull specifications

M

Squaring off a hull

N

Cutting holes or mortices in a hull

Inscription

Translation

O

Propping a hull

A

Overseer

B

Propping a hull

C

Carving decorative features into a hull

D

Cutting holes or mortices in a hull

mnx

‘Chiselling’

E

Trimming a batten

mDH wjA

‘Boat Builder’

F

Overseer

G

Trimming a hull

mDH wjA

‘Boat Builder’

H

Trimming a hull

I

Cutting holes or mortices in a hull

J

Trimming a hull

K

Squaring off a hull

L

Squaring off a hull

M

Trimming a hull

mDH wjA

‘Boat Builder’

N

Trimming a hull

A

Polishing or sanding a statue

B

Carving a statue

C

Painting a statue341

D

Carving a statue

E

Holding a shrine

F

Trimming a shrine

G

Polishing or sanding a sarcophagus

H

Polishing or sanding a sarcophagus

I

Drilling a jar

J

Drilling a jar Spouted jar

4

K

Polishing a bowl

A

Dampening a staff342

jaj.t mdw

‘Dampening a staff’

B

Shaping a staff in a vice

xnd mdw

‘Bending a staff’

142

Scene Catalogue Reg.

Figure C

Identification

Inscription

Translation

Shaping a staff in a vice Sedan chair343 Destroyed

4

D

Beating sheet metal

(jmj)-r?

‘Overseer’?

E

Beating a blade?

bD.tj sqr

‘Metalworker’ ‘Beating’

F

Beating a blade?

G

Beating a basin or bowl?

(jr).t sS(w)?

‘(Making) a vessel’?

H

Beating a jar?

(jmj)-r bD.tj(.w)

‘Overseer of Metalworkers’

rx.t

‘Reckoning’

344

Boxes I

Scribe Collar and choker on table

J

Presenting a collar345

K

Scribe

sS Nfr

‘The Scribe, Nefer’

L

Scribe

sS ¤bj

‘The Scribe, Sebi’

A

Stretching a hide or skin Hide

B

Stretching a piece of leather

C

Pummelling a sandal sole346 Sandal soles

D

Polishing or sanding a headrest347

E

Engraving a seal Chest

F

Polishing or sanding a divan348 Box on table

5

Bed with mattress Box on frame G

Trimming a door leaf

H

Cutting holes or mortices in a door leaf

I

Sawing a section of log into planks Filling jars Jar Destroyed

143

‘Make it According to Plan’

[Cat.10] Site: Giza Cemetery: West Field: Cemetery en Échelon South Tomb/Inventory No.: G5520 (LG28) Tomb Owner: %anx-n-PtH PM Reference: PM III [2], 164 Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room IV: East Wall349 Bibliography: LD Text I, 58-59

N

Suggested Dates: V.9-VI.1 Eaton-Krauss, Statuary, 123 V.9-VI.1? Harpur, Decoration, 269[210] VI LD Text I, 59 V.9-VI.1? OEE, Database, Tombs_04 V.9 or VI PM III [2], 164 V.9-VI.1 Strudwick, Administration, 131[118]

Site Plan: Based on PM III [2], Plan VII

Assigned Date: V.9-VI.1 Industries Depicted: Carpentry Sculpture

N

Tomb Plan: Based on LD Text I, 58. Digitization of ULB 144

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. LD Text I, 59

1

C

B

A

Plate: After LD Text I, 59. Digitization of ULB Scene Content: Reg. 1

Figure

Identification

Inscription

Translation

A

Carving a statue

qs.tj

‘Sculptor’

B

Carving a statue

qs.tj

‘Sculptor’

C

Trimming a plank

nDr

‘Fashioning’

145

‘Make it According to Plan’

[Cat.11] Site: Giza Cemetery: West Field: Cemetery en Échelon North Tomb/Inventory No.: G2370 (LG27) Tomb Owner: %nDm-jb:Jntj PM Reference: PM III [2], 86[6-7]350 Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room II: North Wall Above Doorway Bibliography: Brovarski, Senedjemib Complex I, 52-54, fig. 45, pl. 27[b] LD Ergänz. II, XIX[left] LD Text I, 57 Suggested Dates: V.8M Baer, Rank and Title, 293[455] V.8 Baud, Famille II, 573[215] V.8M-L Brovarski, Senedjemib Complex I, 23 V.8M-L Harpur, Decoration, 269[219] V.8L Kanawati, Administration, 154[294] V.8M-L OEE, Database, Tombs_02 V.8 PM III [2], 85 V.8L Reisner, Giza Necropolis I, 313 V.8-9 Smith, HESPOK, 84 V.8L Strudwick, Administration, 133[120]

N

Site Plan: Based on PM III [2], Plan VII

Assigned Date: V.8M-L Industries Depicted: Carpentry Sculpture Stone Vessel Making

N

Tomb Plan: Based on PM III [2], Plan XXVI 146

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Brovarski, Senedjemib Complex I, fig. 45; LD Ergänz. II, XIX[left] 1

2

H

G

F

E

D

C

B

A

3 D

C

B

A

4

C

B

A

5

C

B

A

Plate: Composite. After LD Ergänz. II, XIX[left]. Digitization of ULB; Brovarski, Senedjemib Complex I, fig. 45.351 Permission of Museum of Fine Arts, Boston 147

‘Make it According to Plan’ Scene Content: Reg.

Figure

3

Inscription

Translation

Destroyed

1

2

Identification 352

A

Sawing a section of log into planks

ws(.t)

‘Sawing’

B

Controlling the binding rope on a sawing post353

fnx

‘Joiner’

C

Carrying a plank

mr.t ^mA

‘Board of Upper Egyptian-wood’

D

Polishing or sanding a bed frame

sn(aa) A(Tw.t) (jn) fnx

‘Polishing a bed (by the) joiner’

E

Applying abrasive to a bed frame354

dm ap(.t) [sic] jn sSp sSp

‘Sharpening an adze by the polisher’ ‘Polisher’

F

Carrying a plank

jn(j).t mr.t jn fnx

‘Bringing a board by the joiner’

G

Trimming a bed frame

nD(r) (jn) mDH

‘Fashioning (by the) carpenter’

H

Cutting holes in a bed frame

mnx ATw.t jn fnx

‘Chiselling a bed by the joiner’

A

Cutting holes or mortices in a chest

B

Trimming a chest355

C

Trimming a chest

nDr (jn mDH)?

‘Fashioning (by the carpenter)’?

D

Trimming a chest

A

Drilling a jar

Hmw.tj

‘Craftsman’

Jars 4

5

B

Drilling a jar

wbA a qrH(.t) n.t mntt jn jmj-r Hmw.tj(.w)

‘Drilling a bowl and vessel of diorite by the Overseer of Craftsmen’

C

Modelling the face of a statue

twt

‘Statue’

A

Carving a statue

(s)rD twt

‘Carving a statue’

B

Carving a statue

jmj-r (qs.tj.w)?

‘Overseer of (Sculptors)’

C

Painting a statue?

356

Fig. 20 Applying abrasive to a bed frame. Tomb of %nDm-jb:Jntj. Giza. After LD Erganz. II, XIX[left]. Digitization of ULB

148

Scene Catalogue

[Cat.12] Site: Giza Cemetery: West Field: Cemetery en Échelon North Tomb/Inventory No.: G2378 (LG26) Tomb Owner: %nDm-jb:MHj PM Reference: PM III [2], 88[6] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room II: East Wall Bibliography: Brovarski, Senedjemib Complex I, 147-49, figs. 116[a-b] LD II, 74[a] LD Text I, 52[lower] Suggested Dates: V.8M-V.9E Baer, Rank and Title, 293[456] V.8-9 Baud, Famille II, 573[216] V.9M Brovarski, Senedjemib Complex I, 29 V.9 Cherpion, Mastabas et hypogées, 229 V.9 Harpur, Decoration, 269[220] V.9L Kanawati, Administration, 154[295] V.9 OEE, Database, Tombs_02 V.9 PM III [2], 87 V.9 Reisner, Giza Necropolis I, 152, 313 V.8-9 Smith, HESPOK, 58 V.9M Strudwick, Administration, 134[121]

N

Site Plan: Based on PM III [2], Plan VII

Assigned Date: V.9M-L Industries Depicted: Jewellery Making Metalwork Sculpture

N Tomb Plan: Based on PM III [2], Plan XXVI 149

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. LD II, 74[a]; LD Text I, 52[lower]

1

F

E

D

C

B

A

2

I

J

D

3

B

H

D

C

B

E

C

A

Plate: Composite. After LD Text I, 52[lower]; LD II, 74[a]. Digitization of ULB357 150

F

G

A

Scene Catalogue Scene Content: Reg.

1

2

Figure

Inscription

Translation

A

Carving a statue

B

Carving a statue

C

Modelling the face of a statue?358

D

Carving a statue?359

E

Carving a statue

F

Painting a Hn-box?

A

Overseer

jmj-(r) (jpXr nfr)? m bD

‘Overseer’ ‘(Circulate well) in the crucible!’?

B

Melting crude metal

nbj(.t) (bjA)

‘Melting (metal)’

C-D

Melting crude metal

wdj r Tb.t=f n ds mA (p)w

‘Place at its sole, for this is a new vessel!’

E

Melting crude metal

rn(j) [sic] Tw wr.t r Hr (nfr)

‘Hurry greatly to the beautiful face!’

‘Look!’

F-G

Melting crude metal

H

Clearing a blowpipe360

I

Weighing a basin361

mAA jr=k

J

Beating a basin

wA(=j) jmj-r (

A-B 3

Identification

) Ffj

‘I am already there’ ‘The Overseer ........ Fefi’

Holding a collar

C

Stringing and tying the fastening string of a collar

D

Holding a collar Choker Collars

Fig. 21 Weighing. Tomb of %nDm-jb:MHj. Giza. After LD II, 74[a]. Digitization of ULB

151

‘Make it According to Plan’

[Cat.13] Site: Giza Cemetery: Central Field North Tomb/Inventory No.: G8154 (LG89) Tomb Owner: %xm-kA-Ra PM Reference: PM III [2], 233[1], 234[4] Tomb Type: Rock-Cut Chapel Type: Two or More Rooms Location of Scene(s): Room I: SouthWall Above Doorway362 N

Bibliography: Harpur, ʻRelief Fragments Miscellaneousʼ, 40-42, fig. 10 Hassan, Giza IV, 110, 115[2], fig. 57, fig. 60 LD Ergänz. III, XXXVI LD Text I, 108 Vandier, Manuel V, 662-63, fig. 265 Suggested Dates: V.2 Baer, Rank and Title, 130, 293[471] V.2 Baud, Famille II, 575[218] V.2 Cherpion, Mastabas et hypogées, 227 V.2 Harpur, Decoration, 269[229] IV.5-6-V.1-2 Hassan, Giza IV, 106 IV.5 Jánosi, Giza 4. Dynastie, 379 V.1-2 Kanawati, Administration, 154[302] V.2 OEE, Database, Tombs_06 IV.4-V.1-2 PM III [2], 233 IV.4-V.2 Reisner, Giza Necropolis I, 220 IV.5-V.1-2 Smith, HESPOK, 166 V.1-2 Strudwick, Administration, 136[125]

Site Plan: Based on PM III [2], Plan XXI

Assigned Date: V.1-2 Industries Depicted: Boat Building

N

Tomb Plan: Based on PM III [2], Plan XXXII 152

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Hassan, Giza IV, fig. 57; LD, Ergänz. III, XXXVI

A

B

Plate 1: After Hassan, Giza IV, fig. 57

A

B

C

D

E

F

Plate 2: After Hassan, Giza IV, fig. 60363 Scene Content: Plate 1 Reg.

Figure

Identification

Inscription

Translation

Goats browsing A

Trimming a hull

B

Overseer

C

Trimming a hull

D

Cutting holes or mortices in a hull

(Sd.t m)? dS(r)

‘(Building the) boat’?

Plate 2 Reg.

Figure

Identification

A

Felling a tree

B

Carrying a log364

C-E F

Inscription

Dressing a log Trimming a batten

153

Translation

C

D

‘Make it According to Plan’

[Cat.14] Site: Giza Cemetery: West Field: Cemetery en Échelon South Tomb/Inventory No.: G5110 (LG44) Tomb Owner: _wA-n-Ra PM Reference: PM III [2], 148365 Tomb Type: Stone-Built Mastaba Chapel Type: Cruciform Location of Scene(s): Room I: East Wall366 Bibliography: Flentye, ʻDuaenreʼ, 104 MFA, Giza Archives, G5110: Photo ID. B8227_NS[14-1252], Photo ID. B8227_NS[14-11-98] Suggested Dates: IV.4 or 5 Baud, Famille II, 606[248] IV.4-5 Flentye, ʻDuaenreʼ, 101 IV.6 Harpur, Decoration, 271[294] IV.5E Kanawati, Administration, 155[394] IV.6 OEE, Database, Tombs_04 IV.4-5 PM III [2], 148 IV.5 Reisner, Giza Necropolis I, 146, 218 IV.5 Smith, HESPOK, 169 Note 1 IV.5-6 Strudwick, Administration, 163[161]

N

Site Plan: Based on PM III [2], Plan VII

Assigned Date: IV.5-6 Industries Depicted: Boat Building367

N

Tomb Plan: Based on PM III [2], Plan XXVII 154

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Flentye, ʻDuaenreʼ, figs. 6-7, figs. 13-14, fig. 16

B

Plate 1: After MFA, Giza Archives, G5110: Photo ID. B8227_NS[14-12-52][lower left]. Photograph © 2022 Museum of Fine Arts, Boston

A

Plate 2: After MFA, Giza Archives, G5110: Photo ID. B8227_NS[14-11-98][lower left]. Photograph © 2022 Museum of Fine Arts, Boston

Scene Content: Plate 1 Reg.

Figure

Identification

Inscription

Translation

Inscription

Translation

Hull on props

Plate 2 Reg.

Figure A-B

Identification Trimming a hull368

155

‘Make it According to Plan’

[Cat.15] Site: Giza?369 Cemetery: Not Recorded Tomb/Inventory No.: BM994 Tomb Owner: Not Recorded PM Reference: PM III [2], 309

Unknown

Tomb Type: Not Recorded Chapel Type: Not Recorded Location of Scene(s): Not Recorded Bibliography: British Museum, Hieroglyphic Texts, 6[XVII], pl. 17[72] Capart, ʻFragment de bas-reliefʼ, 73, pl. 1 James, Hieroglyphic Texts, 26[3], pl. XXV[3] The British Museum Images, ‘BM994’. ID. 00030428001 Suggested Dates: IV-V British Museum, Hieroglyphic Texts, 6[XVII] VI Harpur, Decoration, 271[321] V James, Hieroglyphic Texts, 26[3] VI.4-5 OEE, Database, Tombs_08 V PM III [2], 309 VI Smith, HESPOK, 209

Site Plan: Not Recorded

Assigned Date: V.6-9? Industries Depicted: Boat Building

Unknown

Tomb Plan: Not Recorded 156

Scene Catalogue

Unknown

Room Plan: Not Recorded

J

I

H

G

F

E

D

C

B

A

Plate: After The British Museum Images, ‘BM994’. ID. 00030428001. Photograph © The Trustees of the British Museum

Scene Content: Reg.

Figure

Identification

A

Felling a tree?370

B

Felling a tree371

C-F

Carrying a log

G-H

Dressing a log

I

Cutting holes or mortices in a hull

J

Squaring off a hull

Inscription

157

Translation

‘Make it According to Plan’

[Cat.16] Site: Abusir Cemetery: Neuserrea Pyramid Tomb/Inventory No.: Not Recorded Tomb Owner: PtH-Spss PM Reference: PM III [2], 342[11] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed N

Location of Scene(s): Plate 1: Room IV: East Wall Plate 2: Between Rooms XXV and XXVI Plate 3: Room XXIII Plate 4: Room XIV Plate 5: Room VII Plate 6: Room XI Bibliography: Vachala, Abusir VIII, 172-73[Fragment 138] [Fragment E 1507], 180-81[Fragment 702], 252-53[Fragment A 59], 278-79[Fragment 338]372 Verner, Abusir I, 46-61, pls. 26-28, Photos 41-43 Verner, Ptahshepses, fig. 29

Site Plan: Based on PM III [2], Plan XXXVII

Suggested Dates: V.9M-VI.1E Baer, Rank and Title, 290[167] V.6M Baud, Famille II, 451[67] V.9 Eaton-Krauss, Statuary, 128 V.6-8E Harpur, Decoration, 272[327] V.9E Kanawati, Administration, 153[106] V.6-7 OEE, Database, Tombs_08 V.6 PM III [2], 340 V.6 Smith, HESPOK, 192 V.6L-8E Strudwick, Administration, 90[52] V.6 Vachala, Abusir VIII, 8 V Verner, Abusir I, i Assigned Date: V.6L-8E Industries Depicted: Carpentry Metalwork Sculpture Stone Vessel Making

N Tomb Plan: Based on Krejči, Abusir XI, fig. 12. © Charles University, Faculty of Arts, 2022 158

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 342

G

1

A

B

C

D

E

F

2 D

C

B

A

3 A

B

C

D

4

H G

F

E

D

C

B

Plate 1: Composite. After Verner, Abusir I, pls. 26-28. © Charles University, Faculty of Arts, 2022 159

A

‘Make it According to Plan’

A B

Plate 3: After Vachala, Abusir VIII, 173[Fragment 138]. © Charles University, Faculty of Arts, 2022

Plate 2: After Vachala, Abusir VIII, 173[Fragment E 1507]. © Charles University, Faculty of Arts, 2022

D

A

C

B

A

Plate 4: After Vachala, Abusir VIII, 181[Fragment 702]. © Charles University, Faculty of Arts, 2022

B

B

A

Plate 5: After Vachala, Abusir VIII, 253[Fragment A 59]. © Charles University, Faculty of Arts, 2022

A

Plate 6: After Vachala, Abusir VIII, 279[Fragment 338]. © Charles University, Faculty of Arts, 2022 160

Scene Catalogue Scene Content: Plate 1 Reg.

Figure

Identification

A

Trimming a staff

B

Trimming a staff

Inscription

Translation

Bed frame 1

C

Dampening a staff

D

Dampening a staff

jaj(.t) mdw pw

‘Dampen this staff!’

E

Shaping a staff in a vice

xnd mdw jn sm(j)t(j)

‘Bending a staff by the staff maker’

SmSm TAw Hr sn.f jnj n=k jw r Hr nfr

‘The air is hot because of breathing’ ‘Remove!’ ‘It will become the beautiful face’

sqr jrj(=j) m pAq.t jmj-r bD.tj.w *nw

‘Beat!’ ‘Make it into sheet metal!’ ‘The Overseer of Metalworkers, Tjenu’

nf xt wr.t Sm(m)t

‘Blow the fire strongly!’ ‘Heat it!’

sqr wr.t n S(mm)a

‘Beat strongly!’ ‘It is not hot’

F

Shaping a staff in a vice

G

Trimming a staff

A

Melting crude metal373

B

Clearing a blowpipe374

Dsr(w)-chest Cylinders, jars, tray and spouted bowl

2 C

Beating sheet metal

D

Beating sheet metal

Cylinders and ewer and basin Mirror, flask and jar A

Melting crude metal

B

Melting crude metal Jars

3

C

Beating sheet metal

D

Beating sheet metal Jar, cylinder, flask and spouted bowl Jars and flask

4

A

Polishing or sanding a statue375

sHD qs.tj(.w) PtH-Spss

‘The Inspector of Sculptors, Ptah-shepses’

B

Trimming a statue

(nDr)?

‘(Fashioning)’?

C

Modelling the face of a statue?

sHD qs.tj(.w) WAS-kA(.j) Ra-mj-jrj-mH-rj

‘The Inspector of Sculptors, Wash-kai’ ‘Ra-mi-iri-meh-ri’

D

Trimming a statue376

qs.tj Jr-n-Ra

‘The Sculptor, Ir-en-Ra’

E

Trimming a statue

sHD qs.tj(.w) PtH-Spss

‘The Inspector of Sculptors, Ptah-shepses’

F

Polishing or sanding a statue

sHD Hmw.tj(.w) Mmj

‘The Inspector of Craftsmen, Memi’

G

Polishing or sanding a statue

Jrj-n-$nmw

‘Iri-en-Khnum’

H

Modelling the wig of a statue

%Abj

‘Sabi’

Plate 2 Reg.

Figure A

Identification Trimming a shrine

Inscription

Translation ‘Chest’?

xtm

161

‘Make it According to Plan’ Plate 3 Reg.

Figure

Identification

A

Destroyed

B

Overseer?

Inscription

Translation

Inscription

Translation

Plate 4 Reg.

Figure

Identification

A

Polishing a jar

wrH(.w) aA(.wt) ntt Htp-tj

‘Ointment jars and stone vessels which are offered’

B

Polishing a bowl

Hmw.tj

‘Craftsman’

C

Polishing a cylinder

D

Polishing a bowl Anvil? Bowls on tables

Plate 5 Reg.

Figure

Identification

A

Destroyed

B

Pouring molten metal?377

Inscription (

) n(.jj) nbw

Translation ‘........ of gold’

Plate 6 Reg.

Figure

Identification

A

Beating sheet metal

B

Destroyed

Inscription (

Translation ‘........ hot’

) tA

Fig. 22 Metal vessels and Dsr(w)-chest. Tomb of PtH-Spss. Abusir. After Verner, Abusir I, pl. 27. © Charles University, Faculty of Arts, 2022

162

Scene Catalogue

[Cat.17] Site: Abusir Cemetery: Neuserrea Pyramid Tomb/Inventory No.: MNW[199579/1-3] Tomb Owner: &p-m-anx PM Reference: PM III [2], 343 Tomb Type: Brick/Stone-Built Mastaba Chapel Type: Multi-Roomed N

Location of Scene(s): Room IV: West Wall378 Bibliography: Borchardt, Ne-User-Rea, 122, Abb. 103[b] MNW, MW Digital, 199579/2 MNW Pawlicki, ʻTepemankhʼ, 523-24, figs. 1-2 Vandier, Manuel V, 674-75, fig. 269 Suggested Dates: V.1-2 Baud, Famille I, 71 V.6 Borchardt, Ne-User-Rea, 9 V.6-9 Harpur, Decoration, 272[328] V.8M Kanawati, Administration, 155[365] V.6-9 OEE, Database, Tombs_08 V.6 Pawlicki, ʻTepemankhʼ, 521 V.6-9 PM III [2], 343 V.6-7 Smith, HESPOK, 193-94 V.1-2 Verner, Forgotten Pharaohs, 80

Site Plan: Based on PM III [2], Plan XXXVII

Assigned Date: V.6-9 Industries Depicted: Boat Building

N Tomb Plan: Based on PM III [2], Plan XL[1] 163

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Pawlicki, ʻTepemankhʼ, 523-25

I

H

G

F

E

D

C

B

A

Plate: Composite. After MNW, Inv. No. 199579/1-3. Collection of the National Museum in Warsaw. Courtesy of the National Museum in Warsaw Scene Content: Reg.

Figure

Identification

A

Trimming a hull

B

Cutting holes or mortices in a hull380

C

Overseer

D

Cutting holes or mortices in a bulwark

E

Cutting holes or mortices in a hull

F

Trimming a hull381

G

Squaring off a hull382

H

Trimming a hull

I

Overseer?

Inscription

379

164

Translation

Scene Catalogue

[Cat.18] Site: Abusir Cemetery: Abusir South Tomb/Inventory No.: LS1 Tomb Owner: Ftk-tj PM Reference: PM III [2], 351[5]383 Tomb Type: Stone-Built Mastaba Chapel Type: Corridor N

Location of Scene(s): Room I: NorthWall Bibliography: Bárta, Abusir V, 104-05, fig. 3.18 Suggested Dates: V.6-9 Bárta, Abusir V, 121 V.6-VI Harpur, Decoration, 272[334] V.6-8 OEE, Database, Tombs_09 V.6 or VI PM III [2], 351 V.9E Posener-Kriéger, Néferirkarê, 486 VI Smith, HESPOK, 205 VI.1 Verner, ʻFetektaʼ, 305

Site Plan: Based on PM III [2], Plan XXXVII

Assigned Date: V.6-VI.1 Industries Depicted: Carpentry

N

Tomb Plan: Based on PM III [2], Plan XL[2] 165

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Bárta, Abusir V, fig. 3.18

1

C

B

A

Plate: After Bárta, Abusir V, fig. 3.18. © Charles University, Faculty of Arts, 2022

Scene Content: Reg.

1

Figure

Identification

A

Controlling the binding rope on a sawing post

B

Sawing a section of log into planks

C

Polishing or sanding a divan384

Inscription (

) (pr-)D.t

166

Translation ‘........ the Estate’

Scene Catalogue

[Cat.19] Site: Saqqara Cemetery: Teti Pyramid Tomb/Inventory No.: Not Recorded Tomb Owner: anx-m-a-@r:%sj PM Reference: PM III [2], 513[7] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room II: South Wall N

Bibliography: Badawy, aAnkhmaahor, 21-23, fig. 32, pls. 35-39 Kanawati and Hassan, Ankhmahor, 34-36, pls. 6-7[a], pl. 40 Wreszinski, Atlas III, 34 Suggested Dates: VI.1 Badawy, aAnkhmaahor, ix VI.2 Baer, Rank and Title, 64[94] VI.1 Cherpion, Mastabas et hypogées, 230 VI.1L-2E Harpur, Decoration, 273[374] VI.1M Kanawati, Administration, 152[60] VI.1L-2 Kanawati and Hassan, Ankhmahor, 18 VI.1L-2E OEE, Database, Tombs_011 VI.1-2 PM III [2], 512 VI.1 Smith, HESPOK, 205 VI.1M-L Strudwick, Administration, 75[30]

Site Plan: Based on PM III [2], Plan LII

Assigned Date: VI.1L Industries Depicted: Jewellery Making Leatherwork Metalwork Sculpture Stone Vessel Making

N Tomb Plan: Based on PM III [2], Plan L 167

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Kanawati and Hassan, Ankhmahor, 34-36

1

2

B

M

G

N

F

3

L

G H

K

I

B

A

A

C

J

J

I

H

K

E

D

D

N

L

M

C

E

O

P

F

R

Q

Plate: After Kanawati and Hassan, Ankhmahor, pl. 40. Courtesy of N. Kanawati

Scene Content: Reg.

Figure

1

Identification

Inscription

Translation

Textile Production Storage box with metal ingots A

Weighing crude metal

jmj-r bD.tj.w

‘Overseer of Metalworkers’

mAA Hr=f ds mA pw (w)dj m Tb.t=f wr.t n.t(jj) Hna=(j) Hn=k m anx

‘Look at its face!’ ‘This is a new vessel’ ‘Place strongly in its sole, comrade, by your life!’

Scribal equipment 2

B

Recording the weighing

C

Melting crude metal

D

Melting crude metal

168

Scene Catalogue Reg.

Figure E

Inscription

Translation

mAA

‘I will do in accordance with that which you praise’ ‘See!’

Beating sheet metal

sqr nbw r qrs.tt

‘Beating gold for the funerary equipment’

J

Carving a statue

jmj-r qs.tj(.w)

‘Overseer of Sculptors’

K

Painting a statue

sS wab.t rsj(.t) Msj twt n Spnn

‘The Painter of the Southern Workshop, Mesi’ ‘Statue of shepenen-wood’

Child385

JS(

‘Ish........ʼ

Painting a statue386

sS twt n ksb.t

‘Painter’ ‘Statue of kesebet-wood’

Child

JSfj

‘Ishfiʼ

M

Polishing or sanding a statue

jmj-r qs.tj(.w)

‘Overseer of Sculptors’

N

Carving a statue

A

Holding a counterpoise

B

Stringing a collar

C

Holding a counterpoise

stj(.t)

‘Stringing’

F

Melting crude metal

G

Stoking a furnace

H-I 2

Identification Melting crude metal

L

jrj=j r Hst=k

)

Counterpoise on table D

Attaching a terminal to a collar

E

Scribe Scribal equipment

F-G

Polishing a counterpoise

H-I

Stringing a collar Counterpoise in box

3

J

Stringing a collar

K

Attaching drop pendants to a counterpoise

X(nm)

‘Joining’

L

Stretching a piece of leather

jmj-r js THs Xn.t j(w)=s snDm.t(j) wr.t

‘Overseer of the Workshop’ ‘Stretching leather’ ‘It is very supple’

M

Cutting out a sandal strap

DbA Tb.t ( ) (js)?

‘Completing a sandal’ ‘........ of the Workshop’?

Watersacks, bags, containers, sandals? and seat cushions? N

Stitching a sack387

O

Shaping a cylinder388

jmj-r Hmw.tj(.w)

‘Overseer of Craftsmen’

P

Drilling a jar

rdj sxpr=s jr(j) n(=j) sjn jmj(-r) ( )

‘Get it done!’ ‘Do it for me quickly!’ ‘Overseer of ........ ’

Q

Drilling a jar

jrj=j Hs(t)=k jmj-r (s)nDw [sic]?

‘I will do that which you praise, Overseer’ ‘Making (it) pleasing’?

R

Polishing a jug

Hmw.tj

‘Craftsman’

169

‘Make it According to Plan’

[Cat.20] Site: Saqqara Cemetery: West of Step Pyramid Tomb/Inventory No.: D64 Tomb Owner: PtH-Htp II:*fj PM Reference: PM III [2], 600[16] Tomb Type: Stone-Built Mastaba Chapel Type: Single Room Location of Scene(s): Room I: North Wall

N

Bibliography: Davies, Ptahhetep I, 9, pl. XXX[lower] Paget and Pirie, Ptah-hetep, 26, pl. XXXV Suggested Dates: V.9M Baer, Rank and Title, 290[161] V.8 Cherpion, Mastabas et hypogées, 229 V Davies, Ptahhetep I, 1 V.9M-L Harpur, Decoration, 274[400] V.9M Kanawati, Administration, 152[7] V.9M-L OEE, Database, Tombs_014 V.8 Paget and Pirie, Ptah-hetep, 33 V.8-9 PM III [2], 600 V.8-9 Smith, HESPOK, 192 V.9L Strudwick, Administration, 88[50]

Site Plan: Based on PM III [2], Plan XLVI, Plan LVIII

Assigned Date: V.9M-L Industries Depicted: Jewellery Making389

N

Tomb Plan: Based on PM III [2], Plan LX 170

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 600[16]

1

A

B

C

D

Plate: After Paget and Pirie, Ptah-hetep, pl. XXXV. Courtesy of UCL. The Petrie Museum of Egyptian Archaeology

Scene Content: Reg. 1

Figure

Identification

A-B

Stringing a collar390

C-D

Attaching a terminal to a collar

Inscription

Counterpoises, chokers and collars in boxes on frames

171

Translation

‘Make it According to Plan’

[Cat.21] Site: Saqqara Cemetery: West of Step Pyramid Tomb/Inventory No.: Not Recorded Tomb Owner: Mr.f-nb.f PM Reference: Not Recorded Tomb Type: Mud Brick Mastaba Chapel Type: Rock-Cut Location of Scene(s): Room I: South Wall

N

Bibliography: Kuraszkiewicz, ʻDecoration Merefnebefʼ, 259[44], fig. 6[44] Myśliwiec, Merefnebef, 150-51, Drawing 9[34], pl. XXII, pl. LXVII, pl. LXX[a], pl. LXX[c] Suggested Dates: VI.1 Kuraszkiewicz, ʻDecoration Merefnebefʼ, 253 VI.1L-VI.2 Myśliwiec, Merefnebef, 247 VI.1L-2E Myśliwiec, ʻScheme 2x4ʼ, 192 VI.2L OEE, Database, Tombs_015

Site Plan: Based on PM III [2], Plan XLVI, Plan LVIII

Assigned Date: VI.1L Industries Depicted: Jewellery Making391

N Tomb Plan: Based on Osirisnet, ‘Merefnebef’, pl. _006, pl. _008. Courtesy of T. Benderitter 172

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Myśliwiec, Merefnebef I, 149-59

1

D

C

B

A

Plate: After Osirisnet, ‘Merefnebef’, pl. _070c. Courtesy of T. Benderitter Scene Content: Reg.

Figure

Identification

Inscription

A-B

Stringing and tying the fastening string of a collar

Translation

stj.t r nbjj.wt

‘Stringing collars’

stj(.t) r (nbjj.t)

‘Stringing (a collar)’

Counterpoise on table 1

Counterpoise beside table C-D

Stringing a counterpoise392 Counterpoise beside table

393

Boxes on frames

173

‘Make it According to Plan’

[Cat.22] Site: Saqqara Cemetery: Teti Pyramid Tomb/Inventory No.: Not Recorded Tomb Owner: Mrrw-kA.j:Mrj PM Reference: PM III [2], 528[20], 532[76]394 Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Plate 1: Room III: East Wall Plate 2: Room XIII: North Wall Bibliography: Duell, Mereruka I, 17-18, pls. 29-33 Duell, Mereruka II, pl. 152 Kanawati et al., Mereruka III[1], pls. 20-21, pls. 74-75 Kanawati et al., Mereruka III[2], 21-22[10.1-10.12], pl. 74, pl. 77 Wreszinski, Atlas III, 19[left], 33, 37

N

Site Plan: Based on PM III [2], Plan LII

Suggested Dates: VI.1 Baer, Rank and Title, 290[197] VI.1 Baud, Famille II, 467[83] VI.1 Cherpion, Mastabas et hypogées, 230 VI.1M Duell, Mereruka I, 6 VI.1M-L Harpur, Decoration, 274[420] VI.1E Kanawati, Administration, 153[131] VI.1L Kanawati, Mereruka III[1], 33 VI.1 Nims, ʻFamily of Mererukaʼ, 647 VI.1M OEE, Database, Tombs_012 VI.1 PM III [2], 525 VI.1 Smith, HESPOK, 205, 357 VI.1L Strudwick, Administration, 101[68] Assigned Date: VI.1M-L Industries Depicted: Boat Building Carpentry Jewellery Making Metalwork Sculpture Stone Vessel Making

N

Tomb Plan: Based on PM III [2], Plan LVI 174

Scene Catalogue

Room Plan 1: Drawing: M. Hampson. Register Contents: Ref. Kanawati et al., Mereruka III[1], pls. 74-75

Room Plan 2: Drawing: M. Hampson. Register Contents: Ref. Kanawati et al., Mereruka III[2], pl. 74, pls. 77-78 175

‘Make it According to Plan’

1

C

B

A

E

2 B

A

C

D

3 I

H

G

F

E

A

B

C

D

4

5 A

B

EDC

FGH

I

J L K

M N

O

P

Q

6 G

F

E

D

C

B

A

Plate 1: After Kanawati et al., Mereruka III[1], pl. 74. Courtesy of N. Kanawati

1

A

B

C

D

E

F

G

H

I

J

K

L

Plate 2: After Kanawati et al., Mereruka III[2], pl. 74. Courtesy of N. Kanawati Scene Content: Plate 1 Reg.

1

Figure

Identification

Inscription

Translation

A

Painting a statue?

Jdw

‘Idu’

B

Carving a statue

jmj-r qs.tj(.w) Pr-aA +aam

‘The Overseer of Sculptors of the Palace, Djaam’

C

Painting a shrine?

A

Drilling a jug

jw Xnm pn nfr wr.t

‘This Xnm-jug is very beautiful!’

B

Drilling a bowl

wn Tw r=f

‘Hurry with it!’

2

395

Cylinders, jugs, jars, Hst-jar and bowl on ring stand C

Trimming a staff396

176

Scene Catalogue Reg.

Figure

Identification

D

Shaping a staff in a vice

E

Shaping a staff in a vice

2

Inscription

Translation

wAH r mnx jw mdw p(w) n Htj jm=f

‘Press efficiently!’ ‘This is for a staff’ ‘There is a knot in it’

Carrying chair397

3

A

Trimming a sceptre?398

B

Sawing a section of log into planks

C-D

Polishing or sanding a shrine

E

Trimming an oar

F

Cutting holes or mortices in a door leaf

mnx m (aA)

‘Chiselling (the door)’

G

Trimming a door leaf

srD m aA mDH wn Tw r=s mrjj

‘Carving the door’ ‘Carpenter’ ‘Hurry with it, my dear!’

H

Polishing or sanding a bed frame

mDH

‘Carpenter’

I

Polishing or sanding a bed frame

snaa ATw.t mDH

‘Polishing a bed’ ‘Carpenter’

mxA.tj jmj-r pr Jxj

‘Weigher’ ‘The Steward, Ikhi’

Dragging a statue

4 A

Weighing crude metal Storage boxes with weights

5

B

Recording the weighing

sS m fAj.t bjA

‘Noting the weighing of the metal’

C

Melting crude metal

ds mA pw sAH mnD.wt=f n.tj Hna(=j)

‘This is a new vessel’ ‘Reach its cheeks, comrade!’

D-H

Melting crude metal

jw nfr Hr r wr.t

‘The face is more than very beautiful!’

sqr Dam

‘Beating Dam-gold’

dm (an.t)?

‘Sharpening (an adze)’

wn Tw jmj xpr

‘Hurry, get it done!’

j(w)=f nfr wr.t n.tj Hna(=j)

‘It is very beautiful, comrade!’

Spouted jars, cylinders on ring stands and flasks on table I

Pouring molten metal

J

Controlling the molten flow

K-N

Beating sheet metal Ewers and basins on table, spouted jars in stand and cylinders on ring stands

O P-Q

6

Sharpening an adze blade?399 Presenting a spouted jar and ewer and basin

A

Stringing a collar

B

Polishing a pectoral400

C

Chasing decorative detail on a pectoral401

D

Stringing a choker

E

Stringing a choker

F-G

Holding a collar Pectoral, diadem or fillet, counterpoises on tables, chest, collar, chokers, counterpoise and pectoral on table

177

‘Make it According to Plan’ Plate 2 Reg.

1

Figure

Identification

A

Trimming a hull

B

Hammering planks together

C

Trimming a hull

D

Cutting holes or mortices in a hull

E

Hammering planks together

F

Trimming a hull

G-L

Inscription

Checking hull specifications402

Fig. 23 Drilling a jug. Tomb of Mrrw-kA.j:Mrj. Saqqara. After Kanawati et al., Mereruka III[1], pl. 74. Courtesy of N. Kanawati

Fig. 24 Trimming a staff. Tomb of Mrrw-kA.j:Mrj. Saqqara. After Kanawati et al., Mereruka III[1], pl. 74. Courtesy of N. Kanawati

178

Translation

Scene Catalogue

[Cat.23] Site: Saqqara Cemetery: Unis Pyramid Tomb/Inventory No.: Not Recorded Tomb Owner: MHw PM Reference: PM III [2], 620[11] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room II: North Wall Bibliography: Altenmüller, Grab des Mehu, 146-48, Taf. 42, Abb. 8[27.1-3] Suggested Dates: VI.1 Altenmüller, Grab des Mehu, 82 VI.5 Baer, Rank and Title, 290[202] VI.2 Baud, Famille II, 471[89] VI.2 Cherpion, Mastabas et hypogées, 230 VI.2M-3 Harpur, Decoration, 274[424] VI.5 Kanawati, Administration, 153[136] VI.1 Munro, ʻUnas-Friedhofʼ, 24 VI.2M-3? OEE, Database, Tombs_015 VI.2 or later PM III [2], 619 VI.1-2 Shafik, ʻMehuʼ, 111 VI.2E-M Strudwick, Administration, 102[69]

N

Site Plan: Based on PM III [2], Plans LXI-LXII

Assigned Date: VI.2 Industries Depicted: Metalwork

N Tomb Plan: Based on PM III [2], Plan LXIII 179

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 620; Altenmüller, Grab des Mehu, Abb. 8

1

A

B

C

D

2

B

A

C

D

3

A

B

Plate: After Photograph: M. Hampson (2008). Permission courtesy of SCA 180

C

Scene Catalogue Scene Content: Reg.

1

2

3

Figure

Identification

Inscription

Translation

A

Beating sheet metal

(j) jrj Tn wnj n.t(jj) (Hna=j) (Hn)k n mxA.t m (jr.t) m hrw pn jdn snw=k

‘Make haste (comrade) for the (pan) of the scale on this day!’ ‘Replace your companion!’

B

Beating sheet metal

jrj=j r Hst=k

‘I will do in accordance with that which you praise’

C

Beating sheet metal

sqr Dam jn jmj-r bD.tj.w (j) hA(j) jr=k n.t(jj) Hna(=j)

‘Beating Dam-gold by the Overseer of Metalworkers’ ‘O, come down, comrade!’

wr [sic] wr.t n.tjj Hna(=j) jw bDA ( )

‘Hurry greatly, comrade!’ ‘The crucible is ........’

jrj=j r Hst=k jw.j wrD.kw Hr kA.t mHnk

‘I will do in accordance with that which you praise, although I am tired because of the work, mHnk’

D

Beating sheet metal

A

Melting crude metal

B

Melting crude metal

C

Melting crude metal

D

Melting crude metal

A

Weighing a jar

jmj-r bD.tj.w n pr-D.t

‘Overseer of Metalworkers of the pr-D.t’

B

Weighing a jar403

fA nw r mAa jw s-njj-Mnw Hr tp mxA.t

‘This is weighed correctly’ ‘The Man of Min supervises the scale’

C

Recording the weighing

jmj-r bD.tj.w sAb sS BA-bA.f

‘The Overseer of Metalworkers, Judge and Scribe, Ba-ba-ef’

Fig. 25 Metalworkers with beards. Tomb of MHw. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

181

‘Make it According to Plan’

[Cat.24] Site: Saqqara Cemetery: Unis Pyramid? Tomb/Inventory No.: MDL[E25516] Tomb Owner: MTTj PM Reference: PM III [2], 646 Tomb Type: Stone-Built Mastaba Chapel Type: Not Recorded Location of Scene(s): Not Recorded Bibliography:404 Lourve, ʻPeintures Métchétchiʼ, 2 MDL, ‘Peinture de Metchetchi’, [E25516] RMN, ʻPeintures Metchetchiʼ, ID.00_017814[E25516] Ziegler, Catalogue des stèles, 125[E25 516], 141[lower] Suggested Dates: VI.1 Baer, Rank and Title, 291[203B] VI.1-VI.2 Brovarski, ʻMetjetjiʼ, 106-07 V.9 Cherpion, Mastabas et hypogées, 229 VI.2? Harpur, Decoration, 274[426] V.9-VI.1 Kaplony, Methethi, 7 Note 2, 87 VI.7-FIP Munro, ʻUnas-Friedhofʼ, 98 Note 33 VI.2 OEE, Database, Tombs_016 VI.1 PM III [2], 646 VI RMN, ʻPeintures Metchetchiʼ, ID.00_017814 V.9 Russmann, ‘Second Style’, 274[50] VI.1 Ziegler, Catalogue des stèles, 122

N

Site Plan: Based on PM III [2], Plans LXI-LXII

Assigned Date: V.9-VI.1 Industries Depicted: Jewellery Making Metalwork

Unknown

Tomb Plan: Not Recorded 182

Scene Catalogue

Unknown

Room Plan: Not Recorded

A

B

C

Plate: After MDL, ‘Peinture de Metchetchi,’ [E25516]. Courtesy of Musée du Louvre Scene Content: Reg.

Figure

Identification

A

Melting crude metal

B

Melting crude metal

405

Inscription (w)dj m (Tb.t=f) ds (mA pw)?

Box C

Holding a collar

183

Translation ‘Place in (its sole)!’ ‘(This is a new) vessel’?

‘Make it According to Plan’

[Cat.25] Site: Saqqara Cemetery: Unis Pyramid Tomb/Inventory No.: Not Recorded Tomb Owner: Nj-anx-$nmw and $nmw-Htp PM Reference: PM III [2], 642[7], 643[19] Tomb Type: Stone/Rock-Cut Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Plate 1: Room II: North Wall Above Doorway Plate 2: Room V: East Wall Bibliography: Moussa and Altenmüller, Nianchchnum, 72-75, 134-38, Abb. 8, Taf. 20-21, Taf. 62-64 Suggested Dates: V.6 Cherpion, Mastabas et hypogées, 229 V.6L-7 Harpur, Decoration, 274[431] V.6L-7 Moussa and Altenmüller, Nianchchnum, 45 V.6L-7 OEE, Database, Tombs_016 V.6 or 7 PM III [2], 641 V.8 Strudwick, ʻThree Monumentsʼ, 49 Assigned Date: V.6L-7

N Site Plan: Based on PM III [2], Plans LXI-LXII

Industries Depicted: Boat Building Carpentry Jewellery Making Metalwork Sculpture

N

Tomb Plan: Based on PM III [2], Plan LXVI 184

Scene Catalogue

Room Plan 1: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 642

Room Plan 2: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 643

1

B

A

2 A B

C

D

E

F

G

H

I

J

K

L

M

Plate 1: After Photographs: M. Hampson (2008). Permission courtesy of SCA 185

N

O

P

Q

‘Make it According to Plan’

1 A

B

C

D

E

F

G

H

I

J

K

L

M

2 P

O N

M

L K

J

I

H

G

F E

D

B

C A

3 M

L K

J

I

H

G

F

E D

C

B

A

Plate 2: After Photographs: M. Hampson (2008). Permission courtesy of SCA Scene Content: Plate 1 Reg.

Figure

Identification

Inscription

Translation

Goats browsing Skinning a goat

1

2

A-B

Felling a tree

A-H

Carrying a log

Sa xt jn sqd

‘Felling a tree by the boat builder’

(S)d.t m dSr SAb.t

‘Building the SAb.t-boat’

I

Cutting holes or mortices in a hull

J

Trimming a hull

K

Overseer

L

Trimming a trussing pole

M

Trimming a batten

N

Overseer

O

Trimming a plank406

nDr sx.t jn mDH

‘Fashioning a sx.t-plank by the carpenter’

P

Sawing a section of log into planks

mDH

‘Carpenter’

Q

Overseer

smsw wxr.t

‘Elder of the Dockyard’

Plate 2 Reg.

1

Figure

Identification

A-C

Rough shaping a statue407

D

Rough cutting a statue408

E

Overseer

F-G

Carving a statue

H

Carving a statue

I

Carving the navel of a statue

J

Painting a statue

Inscription

Translation

jdr jS.t=k m X.t=f Sn.t(j)

‘Take away your possession from its belly, it being already round!’

sS qdw.t

‘Painter and Draughtsman’

Palettes on table Spouted bowl and palette in box K

Painting a Hn-box

L

Painting a Hn-box

sS qdw.t

‘Painter and Draughtsman’

M

Official

jmj-r pr anx-rdwj-nswt

‘The Steward, Ankh-redwi-nisut’

186

Scene Catalogue Reg.

Figure A

2

Identification Stoking a furnace

Inscription

Translation

SmSm TAw Hr sn.f wA(j) mnD.t jm nDr.w

‘The air is hot because of breathing’ ‘The cheek forms therein’ ‘Observe!’

B-E

Melting crude metal

F-G

Beating a blade

hA nw Hr spr.w sxwn.w HA Hmw.tj.w

‘These come down on the sheets causing noise around the craftsmen’

H

Beating a basin

srD m Xr

‘Beating the underside’

I

Stoking a crucible

J

Heating precious metal

fs(j).t nbw n qrs.tt

‘Heating gold for the funerary equipment’

sSr sxm n qrs.tt

‘Gilding a sxm-sceptre for the funerary equipment’

sSr Ts.t ns

‘Gilding a girdle knot and apron flap’

Dsr(w)-chest K

Gilding a sceptre

L

Gilding a girdle knot

M

Gilding an apron flap

N

Gilding a staff

sSr (mdw) n qrs.tt

‘Gilding (a staff) for the funerary equipment’

O-P

Making a diadem or fillet

jr.t wAH.w(j) n qrs.tt

‘Making fillets for the funerary equipment’

A-B

Stringing and tying the fastening string of a collar

stj.t nbjj.t jn stj.(w)t n pr-D.t

‘Stringing a collar by the stringers of the Estate’

C-D

Holding a collar

stj.t nbjj.t

‘Stringing a collar’

E-F

Washing a collar410

jaj.t nbjj.t

‘Washing a collar’

Hm-kA mDH +aa mnx ATw.t

‘The Hm-kA Priest and Carpenter, Djaa’ ‘Chiselling a bed’

fnx mDH n pr-D.t

‘Joiner and Carpenter of the Estate’

409

Sedan chair Sedan chair Headrests

3

G

Overseer

H

Cutting holes in a bed frame

I

Trimming a bed frame

J

Trimming a Dd-column Box on frame and box

K

Polishing or sanding a shrine

snaa sH-nTr

‘Polishing a shrine’

L

Trimming a backrest

nDr gsAw.t

‘Fashioning a backrest’

(ws).t

‘Sawing’

Headrest and carrying chair M

Sawing a section of log into planks

Fig. 26 Headrest and carrying chair. Tomb of Nj-anx-$nmw and $nmw-Htp. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

187

‘Make it According to Plan’

[Cat.26] Site: Saqqara Cemetery: Unis Pyramid Tomb/Inventory No.: Not Recorded Tomb Owner: Nb-kAw-@r:Jdw PM Reference: PM III [2] , 628[10] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room II: South Wall Bibliography: Hassan, Saqqara I, 28-30, figs. 12-13, pl. XIX[A-C] Suggested Dates: V.8M-V.9E Baer, Rank and Title, 291[249] V.9 r/u VI.7 Harpur, Decoration, 274[437] V.9 or VI Hassan, Saqqara I, 5 V.9 r/u VI.4-6 OEE, Database, Tombs_015 VI PM III [2], 627 VI Smith, HESPOK, 205 Assigned Date: V.9 r/u VI.4-6

N

Site Plan: Based on PM III [2], Plans LXI-LXII

Industries Depicted: Boat Building

N Tomb Plan: Based on PM III [2], Plan LXIV 188

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Hassan, Saqqara I, 28-32 1

2 B

A

3 A

B

C

D

E

F

G

H

I

Plate: Composite. After Hassan, Saqqara I, figs. 12-13, pl. XIX[C] Scene Content: Reg.

Figure

1

2

Identification

Inscription

Translation

Goats browsing Destroyed A

Felling a tree

B

Felling a tree

sqdw.t

‘Boat building’

sqd

‘Boat Builder’

Skinning a goat Birds Tree stump411 A

Felling a tree Goats browsing

3

Goat kid and cattle Goats, jar, cloth bundle and jars in bag B-I

Carrying a log 412

189

‘Make it According to Plan’

[Cat.27] Site: Saqqara Cemetery: Unis Pyramid Tomb/Inventory No.: Not Recorded Tomb Owner: Nfr and KA-HA.j PM Reference: PM III [2], 640[1-3] Tomb Type: Rock-Cut Chapel Type: Corridor plus Niche Location of Scene(s): Plate 1: Room I: East Wall Plate 2: Room II: East Wall Bibliography: Lashien, Chapel of Kahai, 32, 36-37, pl. 20[a], pls. 28-29, pls. 32-33, pls. 34-36, pl. 81, pl. 83 Moussa and Altenmüller, Nefer, 25, 27-28, pl. 1, pl. 9, pls. 18-22[b] Suggested Dates: V.6 Harpur, Decoration, 274[439] V.6L Kanawati, Administration, 153[170] V.6-7 Lashien, Chapel of Kahai, 16 V.6E Moussa and Altenmüller, Nefer, 18 V.6 OEE, Database, Tombs_016 V.6-9 PM III [2], 639

N Site Plan: Based on PM III [2], Plans LXI-LXII

Assigned Date: V.6 Industries Depicted: Boat Building Carpentry Jewellery Making

N Tomb Plan: Based on PM III [2], Plan LXV 190

Scene Catalogue

Room Plan 1: Drawing: M. Hampson. Register Contents: Ref. Lashien, Chapel of Kahai, pl. 78[a]

Room Plan 2: Drawing: M. Hampson. Register Contents: Ref. Lashien, Chapel of Kahai, pl. 78[b] 191

‘Make it According to Plan’

D

1

C

A

B

Plate 1: After Photograph: M. Hampson (2004). Permission courtesy of SCA

1

2 K

J

I

H

G

F

E

D

C

B

A

3 H

G

F

E

C

D

B

A

4 A

B

C

D

E

F

Plate 2: After Photographs: M. Hampson (2008). Permission courtesy of SCA 192

G

H

I

Scene Catalogue Scene Content: Plate 1 Reg.

1

Figure

Identification

A

Stringing and tying the fastening string of a collar

B

Holding a collar413

C

Stringing and tying the fastening string of a collar

D

Holding a collar

Inscription

Translation

‘Se-nefer-Ra’414

%-nfr-Ra

Plate 2 Reg.

Figure

1

Identification

Inscription

Translation

Goats browsing A-B

Lashing planks together

C-D

Trussing a hull415 Monkey

2

E

Overseer Baboon

F-K

Launching a hull416 Tomb owner and attendant

3

A-B

Felling a tree

C-D

Felling a tree

E

Felling a tree

F-H

Dressing a log

A

4

Sawing a section of log into planks

B-C

Fitting the lid of a sarcophagus

D-E

Polishing or sanding a bed frame

F

Polishing or sanding a door lock

G-H I

Trimming a lotus column Holding a lotus column

Fig. 27 Felling a tree. Tomb of Nfr and KA-HA.j. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

193

‘Make it According to Plan’

[Cat.28] Site: Saqqara Cemetery: North of Step Pyramid Tomb/Inventory No.: LS16 (S902) Tomb Owner: Ra-Spss PM Reference: PM III [2], 495[6] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room II: South Wall417

N

Bibliography: LD II, 61[b] Vandier, Manuel V, 673-74, figs. 268.1-2 Suggested Dates: V.8 Baer, Rank and Title, 292[315] V.8 Baud, Famille I, 75 Note 388 V.8 Cherpion, Mastabas et hypogées, 229 V.8 Gomaà, Ersten Zwischenzeit, 6 Note 10 V.8M Harpur, Decoration, 275[456] V.8L Kanawati, Governmental Reforms, 14 V.8M OEE, Database, Tombs_010 V.8 PM III [2], 494 V.8 Smith, HESPOK, 192 V.8M Strudwick, Administration, 117[95]

Site Plan: Based on PM III [2], Plan XLVI, Plan LVIII

Assigned Date: V.8M Industries Depicted: Boat Building

N Tomb Plan: Based on PM III [2], Plan XLIX 194

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. LD II, 61[b]

1 D

C

B

A

2 J

I

H

G

F

E

D

C

B

Plate: After LD II, 61[b]. Digitization of ULB Scene Content: Reg.

1

Figure

Dressing a log?418

B

Trimming a batten

C

Sawing a plank into battens

D

Destroyed

A

Overseer

B

Trimming a batten

C-D

2

Identification

A

Inscription

Translation

snxt n=k

‘Make it strong!’

nD(r) m sn.t [sic]

‘Fashioning with an adze’

Trimming a hull

E

Overseer

F

Propping a hull? Hull with truss and support posts

G

Trimming a bulwark419

H

Overseer

I

Trimming a hull

J

Trimming a batten

195

A

‘Make it According to Plan’

[Cat.29] Site: Saqqara Cemetery: Unis Pyramid Tomb /Inventory No.: Not Recorded Tomb Owner: %SsSt:Jdwt PM Reference: PM III [2], 618[12] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room III: East Wall420 Bibliography: Kanawati and Abder-Raziq, Unis Cemetery II, 50, pl. 60[a] Macramallah, Idout, 18, pl. X[C] Suggested Dates: VI.3-4E Baer, Rank and Title, 288[57] VI.1 Baud, Famille II, 564[202] VI.1 Cherpion, Mastabas et hypogées, 230 V.9/VI.1-2E? Harpur, Decoration, 275[487] V.9L Kanawati, Administration, 152[36] VI.1E Kanawati and Abder-Raziq, Unis Cemetery II, 37 VI.1-2 Macramallah, Idout, 1 Note 2 V.9/VI.1-2E? OEE, Database, Tombs_015 VI PM III [2], 617 VI Smith, HESPOK, 205 VI.1 Strudwick, Administration, 63[15] Note 3

N

Site Plan: Based on PM III [2], Plans LXI-LXII

Assigned Date: VI.1E Industries Depicted: Carpentry

N

Tomb Plan: Based on PM III [2], Plan LXIII 196

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Kanawati and Abder-Raziq, Unis Cemetery II, 50

1

B

A

Plate: After Photograph: M. Hampson (2004). Permission courtesy of SCA Scene Content: Reg. 1

Figure

Identification

Inscription

Translation

A

Polishing or sanding a box421

(

)(

)t

ʻ........ ........tʼ

B

Polishing or sanding a box

(

) (m)nx?

‘........ well!’?

197

‘Make it According to Plan’

[Cat.30] Site: Saqqara Cemetery: Unis Pyramid Tomb/Inventory No.: Not Recorded Tomb Owner: KA.j-jrr PM Reference: PM III [2], 631[9] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room II: East Wall Bibliography: Daoud, ʻKairerʼ, 39-40, pl. III422 Daoud, ʻUnusual Scenesʼ, 6-7 Lauer, Saqqara, pl. 68 Suggested Dates: VI.1-2 Daoud, ʻKairerʼ, 37 VI Daoud, ‘Unusual Scenes’, 6 VI.1-2 Eaton-Krauss, Statuary, 134 VI.2? Harpur, Decoration, 276[520] VI.2 OEE, Database, Tombs_015 V.9 or VI PM III [2], 631 VI Smith, HESPOK, 205

N Site Plan: Based on PM III [2], Plans LXI-LXII

Assigned Date: VI.1-2 Industries Depicted: Carpentry Jewellery Making Metalwork Sculpture Stone Vessel Making

N Tomb Plan: Based on PM III [2], Plan LXV 198

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 631; Daoud, ʻKairerʼ, 39-40

G

1

H

E

F

D

C

B

A

2 G

A

B

C

D

E

F

J

I

H

Plate: Composite. After Lauer, Saqqara, pl. 68. Courtesy of Thames & Hudson; Daoud, ʻKairerʼ, pl. III. Courtesy of Göttinger Miszellen423 199

‘Make it According to Plan’ Scene Content: Reg.

Figure

Identification

A

Painting a statue424

B

Holding a counterpoise

C-D

Inscription (sS) wab.t (

Stringing and tying the fastening string of a collar

E

Stringing a counterpoise

F

Polishing or sanding a table?

)

Translation ‘(The Painter) of the Workshop, ........’

(stj.t) nbjj.t (jn stj.wt) n pr-(D.t)

‘(Stringing) a collar (by the stringers) of the Estate’

Box

2

G

Drilling a bowl

H

Official

A

Scribe

B

Weighing crude metal

jmj-r pr mxA

‘Steward’ ‘Weigh!’

C

Recording the weighing

jrj=j mxA.t

‘I will make it balanced’

D

Scribe

sS Swn n pr

‘Scribe of the House’

E-F

Melting crude metal

G

Stoking a furnace?

H

Pouring molten metal

wdH Dam m Hnjw

‘Pouring Dam-gold from a jar’

I

Beating sheet metal

j h(Aj) jnj Hm ns +Hwtjj Htp(w)

‘O, come down, remove assuredly the flame!’ ‘May Thoth be satisfied!’

J

Beating sheet metal

jw mhjj tw=j %t(X) jj(.w)

‘If I am as one forgetful, may Seth come!’

425

Fig. 28 Scales in anthropomorphic form. Tomb of KA.j-jrr. Saqqara. After Lauer, Saqqara, pl. 68. Courtesy of Thames & Hudson

200

Scene Catalogue

[Cat.31] Site: Saqqara Cemetery: North of Step Pyramid Tomb/Inventory No.: D2 (S905); CG[1534] Tomb Owner: KA.j-m-rHw PM Reference: PM III [2], 486[2] Tomb Type: Stone-Built Mastaba Chapel Type: Corridor Location of Scene(s): Room I: East Wall Bibliography: Egyptian Museum, CG[1534] Borchardt, Denkmäler I, 234-35, Bl. 48 Mogensen, Mastaba Egyptien, 39-45, figs. 38-45 Wreszinski, Atlas I, Taf. 402, Taf. 404 Suggested Dates: V.8M-V.9E Baer, Rank and Title, 294[526] V Borchardt, Denkmäler I, 232[1534] V.6 Cherpion, Mastabas et hypogées, 228 V.8 Harpur, Decoration, 276[523] V.6 Mogensen, Mastaba Egyptien, XII V.8 OEE, Database, Tombs_010 V.8-9 PM III [2], 485 V.8-9 Smith, HESPOK, 195 V Wreszinski, Atlas I, Taf. 402

N

Site Plan: Based on PM III [2], Plan XLVI, Plan LVIII

Assigned Date: V.8-9 Industries Depicted: Carpentry Jewellery Making Metalwork Sculpture Stone Vessel Making

N

Tomb Plan: Based on PM III [2], Plan XLIX 201

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Wreszinski, Atlas I, Taf. 402

P

O

N

M

L

K

I

J

H

G

F

E

D

C

B

Plate: After Photographs: M. Hampson (2008). Permission courtesy of SCA426 Scene Content: Reg.

Figure A

Identification

Inscription

Translation

Drilling a jar Jugs and jar on table Cylinders on table Cylinders and jar on table

B

Polishing a cylinder Cylinder, bowl on stand, jars and jars on stands

C-D

Modelling the wig of a statue

E-F

Carving a statue

G

Weighing crude metal

j(w)=s m jnr

‘It leans to the weight’

n wnt j(w)=s n bjA

‘No, it leans to the metal’

Box H

Recording the weighing

202

A

Scene Catalogue Reg.

Figure

Identification

Inscription

Translation

I

Melting crude metal

SmSm TAw Hr sn.f

‘The air is hot because of breathing’

J

Melting crude metal

Hnq.t n %kr (j) Jtjj

‘Beer of Sokar, O Sovereign!’

K

Beating sheet metal

stj(.t) nbjj.t

‘Stringing a collar’

Jar on ring stand, bowl, cylinders on ring stands, handled basin and ewer and basin, libation jar on ring stand, jar, bowl on stand and spouted jar on ring stand L-M

Stringing a collar427

N

Trimming a batten

O-P

Polishing or sanding a bed frame Collars and counterpoise on table,428 Dsr(w)-chest, backrest, carrying chair and sedan chair

Fig. 29 Beating sheet metal. Tomb of KA.j-m-rHw. Saqqara. After Photograph: M. Hampson (2008). Permission courtesy of SCA

203

‘Make it According to Plan’

[Cat.32] Site: Saqqara Cemetery: Teti Pyramid Tomb/Inventory No.: LS10 Tomb Owner: KA-gm-nj:Mmj PM Reference: PM III [2], 522[14] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Room III: North Wall Bibliography: von Bissing and Weigall, Gem-ni-kai I, 7[W][Y], Taf. XXX[6] Harpur and Scremin, Kagemni, 393, pl. 140, pl. 495[10] Suggested Dates: VI.1E Baer, Rank and Title, 45-46, 295[548] VI.1 Baud, Famille II, 604[244] VI.1 von Bissing and Weigall, Gem-ni-kai I, 1 VI.1 Cherpion, Mastabas et hypogées, 230 V.8-VI.1 Firth and Gunn, Teti Pyramid Cemeteries I, 20 VI.1 Fischer, Dendera, 34 VI.1M Harpur, Decoration, 276[534] VI.1E Kanawati, Administration, 155[361] VI.1E-M OEE, Database, Tombs_012 VI.1 PM III [2], 521 VI.1 Smith, HESPOK, 205 VI.1E Strudwick, Administration, 155[151]

N

Site Plan: Based on PM III [2], Plan LII

Assigned Date: VI.1E Industries Depicted: Metalwork

N Tomb Plan: Based on PM III [2], Plan LV 204

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 522

1

B

A

C

D

Plate: After Photograph: M. Hampson (2004). Permission courtesy of SCA

Scene Content: Reg.

Figure A-B

1

Identification

Inscription

Translation

Melting crude metal429

C

Destroyed

D

Destroyed

jmj-r (bD.tj.w)

205

‘Overseer (of Metalworkers)’

‘Make it According to Plan’

[Cat.33] Site: Saqqara Cemetery: North of Step Pyramid Tomb/Inventory No.: D11; UC[14309]; PMFA[I.1.a 5566] Tomb Owner: &p-m-anx II PM Reference: PM III [2], 484[5] Tomb Type: Stone-Built Mastaba Chapel Type: Corridor plus Niche Location of Scene(s): Room I: East Wall Bibliography: Hodjash and Berlev, Reliefs and Stelae, 32-33, pl. 3 Smith, ʻOld Kingdom Reliefsʼ, 516, fig. 6 Stewart, Egyptian Stelae, 7[23], pl.4 Petrie UCL, ‘Relief UC14309’ PMFA, ‘Relief Tep-em-ankh’, I.1.a 5566 Suggested Dates: V.3L-8M Baer, Rank and Title, 295[559] V.5-6 Baud, Famille I, 71 V.2 Cherpion, Mastabas et hypogées, 227 V.5-6? Harpur, Decoration, 277[541] V.1-2 Hodjash and Berlev, Reliefs and Stelae, 32[3] V.5-6? OEE, Database, Tombs_010 V.5-6 PM III [2], 483 V PMFA, ‘Relief Tep-em-ankh’, I.1.a 5566 V.1-5 Smith, HESPOK, 182 Note 1 V.2? Smith, ʻOld Kingdom Reliefsʼ, 516 V Stewart, Egyptian Stelae, 7[23]

N

Site Plan: Based on PM III [2], Plan XLVI, Plan LVIII

Assigned Date: V.2 Industries Depicted: Carpentry Metalwork N

Tomb Plan: Based on PM III [2], Plan XLIX 206

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Smith, ʻOld Kingdom Reliefsʼ, figs. 5-6

F

E

C

B

D

A

Plate: After Petrie UCL, ‘Relief UC14309’. Courtesy of UCL. The Petrie Museum of Egyptian Archaeology430 Scene Content: Reg.

Figure

Identification

Inscription

Translation

A

Polishing or sanding a bed frame431

mDH (pr)-D.t (

B

Cutting holes in a bed frame

mDH N(j)-kAw-Ra

‘The Carpenter, Ni-kaw-Ra’

C

Trimming a sedan chair

mDH Bb-jb

‘The Carpenter, Beb-ib’

Hw(j) Hmsw n %kr Hmw.tj pw

‘Drive off sloth for Sokar, this craftsman!’

jmj-r bD.tj.w KA-xr-PtH

‘The Overseer of Metalworkers, Ka-ikher-Ptah’

432

)

‘The Carpenter of the Estate, ........’

Headrests D

Melting crude metal

E

Beating sheet metal

F

Beating sheet metal

207

‘Make it According to Plan’

[Cat.34] Site: Saqqara Cemetery: North of Step Pyramid Tomb/Inventory No.: D22 Tomb Owner: *jj PM Reference: PM III [2], 473[35-36] Tomb Type: Stone-Built Mastaba Chapel Type: Multi-Roomed Location of Scene(s): Plate 1: Room VI: East Wall Plate 2: Room VI: South Wall

N

Bibliography: Steindorff, Grab des Ti, Taf. 119-20, Taf. 132-34 Wild, Tombeau de Ti III[2], CLXXIII-CLXXIV Wreszinski, Atlas III, 35-36, 70, 86[B] Suggested Dates: V.6 Auenmüller, ʻMastaba des Tiʼ, 17 V.8M-V.9E Baer, Rank and Title, 295[564] V.6 Baud, Famille I, 20, 99 Note 523, 484 V.6 Cherpion, Mastabas et hypogées, 228 V.8-9 Harpur, Decoration, 277[543] V.8E Kanawati, Administration, 155[370] V.3-6 Lauer, Saqqara, 49 V.7-8E OEE, Database, Tombs_010 V.6-9 PM III [2], 468 V.6-9 Smith, HESPOK, 191 V.2-6 Steindorff, Grab des Ti, 6 V.6L Strudwick, Administration, 159[157] V.6 Strudwick, ‘Three Monuments’, 50

Site Plan: Based on PM III 2, Plan XLVI, Plan LVIII

Assigned Date: V.8-9 Industries Depicted: Boat Building Carpentry Jewellery Making? Leatherwork Metalwork Sculpture Stone Vessel Making

N

Tomb Plan: Based on PM III [2], Plan XLVIII 208

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 473-76 P

1 O

N

V

M

T

L

K

J

I

H

G

F

E

D

C

K

R

U

S

Q

P

O

N

A

H

L

F

2 W

B

M

J

I

G

A E

D

C

B

G

3 D

C

B

A

E

F

H

I

J

Plate 1: After Steindorff, Grab des Ti, Taf. 119 209

K

L

M

N

O

P

Q

‘Make it According to Plan’

1

A

C

B

D

E

F

G

H

C

A

B

2

M

L

K

J

I

G

F

H

G F

E D

3 J

I

H

E

D

C

B

A

4 A

B

C

Plate 2: Composite. After Wild, Tombeau de Ti III[2], pls. CLXXIII-CLXXIV. © IFAO Scene Content: Plate 1 Reg.

Figure A-B C

Identification Cutting holes or mortices in a hull

Inscription

Translation

Sd(.t) m dSr

‘Building the boat’

(Sd.t m dSr SA)b.t jn mDH.w n.w pr-D.t

‘(Building the SAb.t-boat) by the carpenters of the Estate’

Trimming a bulwark? Family member with dog?

D-E

1

2

Trimming a hull

F

Overseer

G

Carving decorative features into a hull

H

Trimming a hull

I

Destroyed

J

Cutting holes or mortices in a bulwark

K

Trimming a trussing pole

L

Sawing a plank into battens

M

Cutting holes or mortices in a bulwark

N

Trimming a bulwark

O

Trimming a hull

P

Cutting holes or mortices in a hull

mnx

‘Chiselling’

A

Trimming a batten

nDr x.wt mDA.wt

‘Fashioning wooden stakes’

B

Trimming a hull

C

Cutting holes or mortices in a hull

mnx

‘Chiselling’

210

Scene Catalogue Reg.

2

3

Figure

Identification

Inscription

Translation

D

Hammering planks together

E

Checking a plank seam

nfr jrr=Tn nn Htp.t Hrj(.t)-jb

‘You are doing well!’ ‘Do not rest in the middle!’

F

Hammering planks together

smH Hr-jb

‘Ramming the middle’

G

Trimming a hull

H

Cutting holes or mortices in a hull

mnx

‘Chiselling’

I

Overseer

smsw wxr.t

‘Elder of the Dockyard’

J

Trimming a hull

K

Trimming a hull

nDr mDH

‘Fashioning’ ‘Carpenter’

L

Scribe

M

Trimming a hull

nDr jn mDH

‘Fashioning by the carpenter’

N

Cutting holes or mortices in a bulwark

mnx jn mDH

‘Chiselling by the carpenter’

O

Trimming a bulwark

nDr jn mDH

‘Fashioning by the carpenter’

P

Tomb owner

smr watj *jj

‘The Sole Companion, Ty’

nDr

‘Fashioning’

Q-R

Cutting holes or mortices in a bulwark

S-U

Trimming a hull

V

Trimming a hull

W

Scribe

A

Dressing a log

nDr m mjb.t

‘Fashioning with an axe’

B

Dressing a log

nDr m an.t

‘Fashioning with an adze’

C

Dressing a log

nDr m mjb.t

‘Fashioning with an axe’

D

Carrying a section of log

E

Trimming a hull

nDr m an.t

‘Fashioning with an adze’

F-G

Trimming a hull mnx jn mDH

‘Chiselling by the carpenter’

hA(j) AT(pw) ntt smH saA

‘Lower the load which rams the bulwark!’

jdr n=Tn a(.w)=Tn Xr(.jj)=n

‘Take away your hands which are under us!’

H

Cutting holes or mortices in a bulwark

I

Hammering a bulwark into place

J

Positioning a bulwark

K

Overseer

L

Hammering a bulwark into place

M

Positioning a bulwark

N

Trimming a hull

nDr

‘Fashioning’

O

Sawing a section of log into planks

ws.t

‘Sawing’

Cutting holes or mortices in a plank434

mnx sb(n)

‘Chiselling a plank’

P-Q

433

Plate 2 Reg.

Figure

Identification

Inscription

Translation

Collars, counterpoises and chokers on tables435 1

A

Weighing crude metal?436

B

Melting crude metal

mj r=k Hna(=j) nn (

C

Melting crude metal

j(

)

‘Come with me comrade, do not ........!’ ‘O, ........’

)

211

‘Make it According to Plan’ Reg.

2

Figure

Identification

D

Melting crude metal

E

Melting crude metal

Inscription

Translation

sk (j)pXr mnx

‘Lo, circulate well!’

dj spr pw r fs(j) jw=f twA(w)

‘Let this sheet reheat!’ ‘It is brittle’

F

Pouring molten metal

G

Beating sheet metal

H

Beating sheet metal

A

Drilling a spouted jar on ring stand

jr.t kA.t m snH.t Hmw.tj

‘Carrying out work with a drill’ ‘Craftsman’

B

Drilling a cylinder

Hmw.tj

‘Craftsman’

C

Rough shaping a statue

jr.t kA.t jn Hmw.tj twt

‘Carrying out work by the craftsman’ ‘Statue’

D

Rough shaping a statue

Hmw.tj

‘Craftsman’

E

Polishing or sanding a statue

snaa jn qs.tj twt

‘Polishing by the sculptor’ ‘Statue’

F

Polishing or sanding a statue

snaa jn qs.tj

‘Polishing by the sculptor’

G

Carving a statue

qs.tj twt

‘Sculptor’ ‘Statue’

H

Trimming a statue

nDr

‘Fashioning’

I

Carving a statue

jr.t (kA.t) jn qs.tj

‘Carrying out (work) by the sculptor’

J

Painting a statue

K

Painting a statue?

L

Painting a statue?

M

Carving a statue?

A

Drilling a hole in a box

htj afD.t jn fnx fnx

‘Drilling a box by the joiner’ ‘Joiner’

B

Polishing or sanding a bed frame439

sSp

‘Polisher’

C

Polishing or sanding a bed frame

snaa ATw.t n.t hb(njj) jn sSp pr-D.t

‘Polishing a bed of ebony by the polisher of the Estate’

437

438

Box and headrest

3

4

D

Sawing a plank into battens

ws.t m tf

‘Sawing with a saw’

E

Cutting holes or mortices in a door panel440

j mnx dj wmt sTA.wt=k

‘O chisel, let your cuts penetrate!’

F

Sawing a section of log into planks

ws.t fnx mj kjj srf.w

‘Sawing’ ‘Joiner’ ‘Come with another, it being warm!’

G

Trimming a plank

nDr xt n ssnDm jn mDH

‘Fashioning ssnDm-wood by the carpenter’

H

Polishing or sanding a box

Hwj hn(.w) m sn.wt jn sSp.w n.w pr-n-D.t wn Tw

‘Polishing a hn(.w)-box with polishing stones by the polishers of the Estate’ ‘Hurry!’

I

Polishing or sanding a box

jrj=j

‘I will do so’

J

Polishing or sanding a shrine

sSp snaa pr-wab

‘Polisher’ ‘Polishing’ ‘Shrine’

A

Shaping a staff in a vice

wAH mnx jw mdw pw (n) wr H(t)j n.t(j) jm=f

‘Press efficiently!’ ‘This is (for) a staff’ ‘The knot which is in it is great’

B

Shaping a staff in a vice

C

Stretching a piece of leather

THs Xn.t gs

‘Stretching leather’ ‘Cutter’

212

Scene Catalogue

[Cat.35] Site: Saqqara Cemetery: North of Step Pyramid Tomb/Inventory No.: S920; JE39866 Tomb Owner: Not Recorded441 PM Reference: PM III [2], 499 Tomb Type: Stone-Built Mastaba Chapel Type: Two or More Rooms Location of Scene(s): Room I: South Wall

N

Bibliography: Harpur, ʻRelief Fragmentsʼ, 112-15, Plan 1, fig. 3 Suggested Dates: V Clarke and Engelbach, Masonry, 203 V Harpur, Decoration, 277[561] V.6-8? OEE, Database, Tombs_010 V PM III [2], 499 V Smith, HESPOK, 194

Site Plan: Based on PM III [2], Plan XLVI, Plan LVIII

Assigned Date: V.8-9? Industries Depicted: Stone Vessel Making

N

Tomb Plan: Based on Harpur, ʻRelief Fragmentsʼ, Plan 1. Courtesy of Helmut Buske Verlag 213

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Harpur, ʻRelief Fragmentsʼ, Plan 1

A

B

C

D

E

Plate: After Photograph: M. Hampson (2008). Permission courtesy of SCA Scene Content: Reg.

Figure

Identification

Inscription

Translation

A

Drilling a cylinder

Hmw.tj

‘Craftsman’

B

Polishing a cylinder

bAs

‘Ointment jar’

C

Smoothing a jar

nms.t

‘nms.t-jar’

jr.t nms.t

‘Making a nms.t-jar’

Bowl D

Drilling a bowl

E

Polishing a jar

F

Holding a bowl

214

F

Scene Catalogue

[Cat.36] Site: Saqqara Cemetery: Findspot Only Tomb/Inventory No.: OK1; OK36 Tomb Owner: Not Recorded PM Reference: Not Recorded Tomb Type: Not Recorded Chapel Type: Not Recorded

N

Location of Scene(s): Plate 1: Tomb of Horemheb: First Courtyard Plate 2: Tomb of Horemheb: North Wing of Pylon Bibliography: Schneider, @oremHeb II, 83, 87, pl. 87[OK1], pl. 93[OK36], pl. 104[OK1]

Site Plan: Based on PM III [2], Plan LVIII, Plan LXII

Suggested Dates: V.8-VI.1 Harpur, ʻOld Kingdom Blocksʼ, 81 V.9 OEE, Database, Tombs_018 V.8-9 OEE, Database, Tombs_019

North Pylon

Assigned Date: V.8-9 Courtyard 1

Industries Depicted: Boat Building

N

Tomb Plan: Findspots. Based on Schneider, @oremHeb II, fig. 4, pl. 5. Courtesy of The Egypt Exploration Society 215

‘Make it According to Plan’

Unknown

Room Plan: Not Recorded

1

A

2

A

Plate 1: After Schneider, @oremHeb II, pl. 87[OK1]. Courtesy of The Egypt Exploration Society

1 A

2

Plate 2: After Schneider, @oremHeb II, pl. 93[OK36]. Courtesy of The Egypt Exploration Society

Scene Content: Plate 1 Reg.

Figure

1

A

Trimming a hull442

Identification

2

A

Overseer

Inscription smH(jj)? (

)b443

Translation ‘Boat ........’?

Plate 2 Reg.

Figure

1

A

2

Identification

Inscription

Translation

Trimming a hull

444

Destroyed

(n)Dr (jn) mDH445

216

‘Fashioning (by the) carpenter’

Scene Catalogue

[Cat.37] Site: Saqqara Cemetery: Findspot Only Tomb/Inventory No.: OK35; OK42-45446 Tomb Owner: Not Recorded PM Reference: Not Recorded Tomb Type: Not Recorded Chapel Type: Not Recorded

N

Location of Scene(s): Plate 1: Tomb of Horemheb: Chapel E Plate 2: Tomb of Horemheb: Unspecified Plate 3: Tomb of Horemheb: Shaft Complex I Plate 4: Tomb of Horemheb: Shaft I Plate 5: Tomb of Horemheb: Shaft Complex I Room B

Site Plan: Based on PM III [2], Plan LVIII, Plan LXII

Bibliography: Schneider, @oremHeb II, 87-89, pl. 92[OK35], pl. 94[OK42], pl. 95[OK43-45] Suggested Dates: V8-VI.1 Harpur, ʻOld Kingdom Blocksʼ, 81 V-VI OEE, Database, Tombs_019 Assigned Date: V.6-VI.1?

Shaft I

Industries Depicted: Carpentry Metalwork Sculpture

447

N

Chapels

Tomb Plan: Findspots. Based on Schneider, @oremHeb II, fig. 4, pl. 5. Courtesy of The Egypt Exploration Society 217

‘Make it According to Plan’

Unknown

Room Plan: Not Recorded

B

A

C

Plate 1: After Schneider, @oremHeb II, pl. 94[OK42]. Courtesy of The Egypt Exploration Society

A

B

C

Plate 2: After Schneider, @oremHeb II, pl. 92[OK35]. Courtesy of The Egypt Exploration Society

A

B

C

Plate 3: After Schneider, @oremHeb II, pl. 95[OK43]. Courtesy of The Egypt Exploration Society

B

A

Plate 4: After Schneider, @oremHeb II, pl. 95[OK45]. Courtesy of The Egypt Exploration Society 218

D

Scene Catalogue

A

C

B

Plate 5: After Schneider, @oremHeb II, pl. 95[OK44]. Courtesy of The Egypt Exploration Society

Scene Content: Plate 1 Reg.

Figure

Identification

Inscription

Translation

A

Clearing a blowpipe?448

(n)Drj [sic]

‘Fashioning’?

B

Melting crude metal

(

)f

‘........f’

C-D

Melting crude metal

j(

)r.t

‘Making ........’

Plate 2 Reg.

Figure

Identification

A

Beating sheet metal

B

Beating a basin

Inscription

Translation

Ewer C

Recording the weighing449

‘Noting 20’?

sS Dbatjj

Plate 3 Reg.

Figure

Identification

Inscription

A

Polishing or sanding a statue?

B

Painting a shrine451

N(

C

Painting a shrine

KA-p(

Translation

450

)-ptH )

‘N........-Ptah’ ‘Ka-p........’

Plate 4 Reg.

Figure

Identification

A

Sawing a section of log into planks

B

Trimming an oar?452

Inscription

Translation

Inscription

Translation

Plate 5 Reg.

Figure

Identification

A

Polishing or sanding a box or table

B

Cutting holes or mortices in a box or chest453

C

Destroyed

219

‘Make it According to Plan’

[Cat.38] Site: Dahshur Cemetery: Amenemhet II Pyramid Tomb/Inventory No.: 1 Tomb Owner: %Sm-nfr PM Reference: PM III [2], 891[I] Tomb Type: Mud Brick Mastaba Chapel Type: Corridor Location of Scene(s): Room I: East Wall? Bibliography: de Morgan, Dahchour II, 2, fig. 6 Suggested Dates: V.1 Baud, Famille I, 74 VI or later Borchardt, Denkmäler II, 202[1781] V.6-VI.1? Harpur, Decoration, 279[615] V.6L Kanawati, Administration, 154[311] IV-V Klebs, Reliefs AR, 5 IV.1 de Morgan, Dahchour II, 1 V.6-9? OEE, Database, Tombs_019 V.6-9 or VI PM III [2], 891[I]

N

Site Plan: Based on PM III [2], Plan LXXIV

Assigned Date: V.6-VI.1 Industries Depicted: Carpentry Metalwork

N Tomb Plan: Based on de Morgan, Dahchour II, fig. 2 220

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. PM III [2], 891454

1

C

B

A

2

F

E

D

C

B

A

Plate: After de Morgan, Dahchour II, fig. 6

Scene Content: Reg.

Figure

Identification

Inscription

Translation

Bowls and basins 1

2

Beating sheet metal?

(sqr)? D(am) j(n) (bD.tj)? nbw

‘(Beating) Dam-gold by the (goldworker)’

B-C

Polishing or sanding a chest

(s)Tp(.t)

‘sTp(.t)-chest’

A-B

Trimming a chest

C-D

Polishing or sanding a chest

A

E

Trimming a sceptre455

(nDrj)? n (mDH)? m (abA)

‘(Fashioning) the (abA-sceptre) by the (carpenter)’?

F

Polishing or sanding a chest

snaa m sT(p).t n.t wab.t

‘Polishing the sTp.t-box of the workshop’

Box on frame

mxt(m)(.t) (n).t sS.tA(.w)

‘mxtm(.t)-box of secret things’

221

‘Make it According to Plan’

[Cat.39] Site: Lisht456 Cemetery: Findspot Only Tomb/Inventory No.: UPM[58-10-3] Tomb Owner: Not Recorded PM Reference: Not Recorded Tomb Type: Not Recorded Chapel Type: Not Recorded Location of Scene(s): Plate 1: Pyramid of Amenemhet I: West Pavement Plate 2: Pyramid of Amenemhet I: Pyramid Core Plate 3: Pyramid of Amenemhet I: Pyramid Core Bibliography: Goedicke, Re-Used Blocks, 118-21, Blocks[69-71] Penn Museum, Digital Penn, Object[58-10-3]

N

Site Plan: Findspots. Based on PM IV, 78

Suggested Dates: IV or V Goedicke, Re-Used Blocks, IX, 118, 120-21 IV.2-4? Harpur, Decoration, 84 IV Penn Museum, Digital Penn, Object[58-10-3] Assigned Date: V.8-9?457 Industries Depicted: Boat Building

Unknown

Tomb Plan: Not Recorded 222

Scene Catalogue

Unknown

Room Plan: Not Recorded

A

Plate 1: After Penn Museum, [Object 58-10-3]. Courtesy of The Penn Museum

Plate 2: After Goedicke, Re-Used Blocks, Block[70]. Photograph © The Metropolitan Museum of Art 223

‘Make it According to Plan’

1 A

B

2

Plate 3: After Goedicke, Re-Used Blocks, Block[71] by Lindsley Foote Hall. © The Metropolitan Museum of Art

Scene Content: Plate 1 Reg.

Figure

Identification

Inscription

Translation

Inscription

Translation

Inscription

Translation

Trees

458

A

Dressing a log

Plate 2 Reg.

Figure

Identification Branches of a tree

Plate 3 Reg.

Figure

Identification Destroyed459

1 2

A

Checking hull specifications?460

B

Destroyed Destroyed

(

) amj (

224

)?

‘........ caulking ........’?461

Scene Catalogue

[Cat.40] Site: Maidum Cemetery: North Mastaba Field Tomb/Inventory No.: 16 Tomb Owner: Jtt PM Reference: PM IV, 93[B] Tomb Type: Mud Brick Mastaba Chapel Type: Cruciform Location of Scene(s): Room IV: South Wall N

Bibliography: El-Khouli, Meidum, pl. 44[30] Harpur, Maidum, 87-88, fig. 87 Petrie, Medum, 26-27, pl. XXV Suggested Dates: IV.1 probably Baer, Rank and Title, 291[260] IV.1 Baud, Famille II, 490[117] IV.1M Bolshakov, ʻEarly Chronologyʼ, 18 IV.1 Cherpion, Mastabas et hypogées, 224 IV.1 El-Khouli, Meidum, 35 IV.1-2 El-Metwally, Grabdekoration, 39 IV.1 Harpur, Decoration, 279[619] IV.1E-M Harpur, Maidum, 29 IV.1 Kanawati, Administration, 153[179] IV.1M OEE, Database, Tombs_019 IV.1 Petrie, Medum, 26 III PM IV, 90 IV.1 Smith, HESPOK, 149 IV.1M? Strudwick, Administration, 111[86]

Site Plan: Based on PM III [2], Maidûm. Key-Plan

Assigned Date: IV.1M Industries Depicted: Boat Building N

Tomb Plan: Based on Petrie, Medum, pl. VII. Courtesy of UCL. The Petrie Museum of Egyptian Archaeology 225

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Petrie, Medum, pl. XXV

1 E

F

C

D

B

A

Plate: Composite. After Petrie, Medum, pl. XXV. Courtesy of UCL. The Petrie Museum of Egyptian Archaeology; El-Khouli, Meidum, pl. 44[30]. Courtesy of N. Kanawati462 Scene Content: Reg.

Figure A-B

1

Identification

Inscription

Translation

Lashing planks together

C

Trimming a hull

D

Cutting holes or mortices in a hull

E

Trimming a hull

F

Cutting holes or mortices in a hull

nD(r)

‘Fashioning’

(S)d(.t) m dSr

‘Building the boat’

226

Scene Catalogue

[Cat.41] Site: Maidum Cemetery: North Mastaba Field Tomb/Inventory No.: 6 Tomb Owner: Ra-Htp PM Reference: PM IV, 91 Tomb Type: Mud Brick Mastaba Chapel Type: Cruciform Location of Scene(s): Room III: East Wall Above Doorway N

Bibliography: Harpur, Maidum, 102, fig. 94 Petrie, Medum, 23, 37, pl. XI Suggested Dates: IV.1-2 Baer, Rank and Title, 292[307] IV.1-2? Baud, Famille II, 512[143] IV.1L Bolshakov, ʻEarly Chronologyʼ, 11, 13 IV.1-2 El-Metwally, Grabdekoration, 48 IV.1-2 Harpur, Decoration, 279[620] IV.1L-2E Harpur, Maidum, 29 IV.1L Kanawati, Administration, 154[208] IV.1L OEE, Database, Tombs_019 IV.1-2 Petrie, Medum, 37 III PM IV, 90 IV.1-2 Smith, HESPOK, 149

Site Plan: Based on PM III [2] , Maidûm. Key-Plan

Assigned Date: IV.1L Industries Depicted: Boat Building N

Tomb Plan: Based on Petrie, Medum, pl. VII. Courtesy of UCL. The Petrie Museum of Egyptian Archaeology 227

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Petrie, Medum, pl. XI

1

D

C

B

A

Plate: After Petrie, Medum, pl. XI. Courtesy of UCL. The Petrie Museum of Egyptian Archaeology Scene Content: Reg.

Figure A

1

B-C D

Identification

Inscription

Translation

Cutting holes or mortices in a hull463

mnx

‘Chiselling’

Lashing planks together464

sp.t

‘Lashing’

Trimming a hull

228

Scene Catalogue

[Cat.42] Site: Deshasheh Cemetery: 7th Spur Tomb/Inventory No.: Not Recorded Tomb Owner: Jntj PM Reference: PM IV, 121[1] Tomb Type: Rock-Cut Chapel Type: Provincial

N

Location of Scene(s): Room I: East Wall Bibliography: Kanawati and McFarlane, Deshasha, 25-26, pl. 28 Petrie and Griffith, Deshasheh, 8, pl. XIII

Site Plan: Based on Petrie and Griffith, Deshasheh, pl. II. Courtesy of The Egypt Exploration Society

Suggested Dates: VI.3-4E Baer, Rank and Title, 288[44] V.6-9 Brunner, Felsgräber, 38, 80 VI.4 Fischer, Dendera, 11 Note 51, 66 VI.3 or later Gomaà, Ersten Zwischenzeit, 120 VI.3-4E Harpur, Decoration, 279[622] VI.4 Kanawati, Administration, 152[30] V.8 Kanawati and McFarlane, Deshasha, 19 V.9-VI.1? OEE, Database, Tombs_019 V.6 Petrie and Griffith, Deshasheh, 4 III-VIII PM IV, 121 VI.4 Smith, HESPOK, 219 N

Assigned Date: V.9 Industries Depicted: Boat Building Carpentry Jewellery Making Leatherwork Metalwork Sculpture

Tomb Plan: Based on Petrie and Griffith, Deshasheh, pl. III. Courtesy of The Egypt Exploration Society 229

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Kanawati and McFarlane, Deshasha, pls. 26-28

F

1 I

H

G

E

C

D

B

A

2 A

B

O

J

I

H

G

F

Plate: After Kanawati and McFarlane, Deshasha, pl. 28. Courtesy of N. Kanawati 230

N

L

K

3

E

D

C

C B

M

A

Scene Catalogue Scene Content: Reg.

1

Figure

Identification

A

Overseer?465

B

Destroyed

C-D

Trimming a hull

E

Propping a hull

F

Cutting holes or mortices in a hull

G

Polishing or sanding a statue466

H

Painting a Hn-box

I

Painting a Hn-box

Inscription

Translation

Jjj

‘Iy’

(nD.t)-Hr?

‘Gifts’?

Tb(.t)

‘Sandal’

Nfr-jr-nb

‘Nefer-ir-neb’

Destroyed Scribal equipment Scribal document case Attendant and dog 2

Dog A

Trimming a plank467

B

Destroyed468

C

Holding a fan Box?

A-B C

Holding or stretching a cloak or robe Stretching a piece of leather Sandal soles

D

Assembling sandal pieces Sandal soles

E

Pummelling sandal soles Counterpoise?

F-G

Polishing a counterpoise?469 Box

3

H

Presenting a collar and box

I

Presenting a water sack and sandals

J

Presenting a cloak or robe Box

K

Destroyed

L

Polishing a jar470

M

Beating a basin?471

N

Weighing a basin Axe blade and chisels472

O

Scribe

231

‘Make it According to Plan’

[Cat.43] Site: Deshasheh Cemetery: 4th Spur Tomb/Inventory No.: Not Recorded Tomb Owner: Jttj:^dw PM Reference: PM IV, 122[10] Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: South Wall Bibliography: Kanawati and McFarlane, Deshasha, 52-53, pl. 49 Petrie and Griffith, Deshasheh, 10[16], pl. XXI473

N

Suggested Dates: VI.4 Baer, Rank and Title, 288[73] VI.4 Brunner, Felsgräber, 80 VI.1 Cherpion, Mastabas et hypogées, 229 VI.1 Fischer, Dendera, 11 Note 51, 66 VI Gomaà, Ersten Zwischenzeit, 120 VI.4 Harpur, Decoration, 279[623] VI.4-5 Kanawati, Administration, 152[47] VI.1 Kanawati and McFarlane, Deshasha, 44 VI.1-2? OEE, Database, Tombs_019 VI.1 Petrie and Griffith, Deshasheh, 4 VI.1 or later PM IV, 122 VI.1 Smith, HESPOK, 220

Site Plan: Based on Petrie and Griffith, Deshasheh, pl. II. Courtesy of The Egypt Exploration Society

Assigned Date: VI.1 Industries Depicted: Carpentry Leatherwork

N Tomb Plan: Based on Petrie and Griffith, Deshasheh, pl. III [lower]. Courtesy of The Egypt Exploration Society 232

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Kanawati and McFarlane, Deshasha, pls. 48-49 1 A

2

B

A

C

3

D

A

B

C

4

D

C

B

Plate: After Kanawati and McFarlane, Deshasha, pl. 49. Courtesy of N. Kanawati 233

A

‘Make it According to Plan’ Scene Content: Reg.

Figure

1

A A-B

Identification

Inscription

Translation

Splitting a plank?

474

Polishing or sanding a bed frame

(

) (A)Tw.t nD.t-Hr

‘........ bed and gifts’

Headrests, boxes on frames, table and box

2 C

Sawing a section of log into planks

A

Trimming a door leaf

nDr aA

‘Fashioning a door’

Shaping a staff in a vice

srwD jmjt-r n.t S rsj

‘Strengthening the staff of office of the Southern Lake’

Splitting a plank

nDr xt

‘Fashioning wood’

Holding or stretching a cloak or robe

pxA.t n.t bA

‘Skin of a leopard’

Stretching a piece of leather

THs Xn.t

‘Stretching leather’

jr.t nD.t-Hr

‘Making gifts’

Staffs 3

B-C D A-B C

4

Mirror case, bag and sandals D

Pummelling a sandal Mirror case, bag and jar

Fig. 30 Pummelling a sandal. Tomb of Jttj:^dw. Deshasheh. After Kanawati and McFarlane, Deshasha, pl. 49. Courtesy of N. Kanawati

234

Scene Catalogue

[Cat.44] Site: Zawyet el-Amwat Cemetery: North Tomb/Inventory No.: LD 14 Tomb Owner: Nj-anx-Ppjj:$nmw-Htp-Hpj PM Reference: PM IV, 137[14][1]475 Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Plate 1: Room I: South Wall Plate 2: Room I: East Wall Plate 3: Room IV: North Wall Bibliography: LD II, 111[b] Varille, Ni-Ankh-Pepi, 14-16, 19-20, pl. VII[lower left] [lower right], pl. IX[FG][GH], pl. X[left], pl. XI[MN] Suggested Dates: VI.2 or later Baer, Rank and Title, 84[211] VI.4-7 Brunner, Felsgräber, 80 VI.2 or VI.4-6 Cherpion, Mastabas et hypogées, 232 VI Fischer, Dendera, 67 Note 86 VI Gomaà, Ersten Zwischenzeit, 115 VI.2-7 Harpur, Decoration, 280[630] VI Kanawati, Administration, 100[144] VI.2? OEE, Database, Tombs_020 VI PM IV, 134 VI Smith, HESPOK, 218 VI Varille, Ni-Ankh-Pepi, 7

N

Site Plan: Based on Varille, Ni-Ankh-Pepi, pl. I

Assigned Date: VI.2 Industries Depicted: Boat Building Jewellery Making Metalwork Sculpture

N

Tomb Plan: Based on PM IV, 132 after LD I, 57 235

‘Make it According to Plan’

Room Plan 1: Drawing: M. Hampson. Register Contents: Ref. Varille, Ni-Ankh-Pepi, pl. XXI

Room Plan 2: Drawing: M. Hampson. Register Contents: Ref. Varille, Ni-Ankh-Pepi, pl. XXI 236

Scene Catalogue

1

A

B

2

C

B

A

3

H

G

F

E

D

C

B

Plate 1: Composite. After LD II, 111[b]. Digitization of ULB; Varille, Ni-Ankh-Pepi, pl. IX[FG]476

1

A

Plate 2: After Varille, Ni-Ankh-Pepi, pl. IX[GH] 237

A

‘Make it According to Plan’

1

2 B

A

3

4 B

A

Plate 3: After Varille, Ni-Ankh-Pepi, pl. XI[MN]

Scene Content: Plate 1 Reg.

Figure

Identification

1

A

Felling a tree

B

Felling a tree

A-C

Dressing a log

Inscription

Translation

Inscription

Translation

Inscription

Translation

Goats browsing

2 3

Skinning and cooking a goat A-H

Carrying a log

Plate 2 Reg.

Figure

1

A

Identification Melting crude metal

Plate 3 Reg.

Figure

1 2

Collar on table A-B

3 4

Identification Stringing pectorals? Offering bearer

A-B

Painting a shrine477

238

Scene Catalogue

[Cat.45] Site: Zawyet el-Amwat Cemetery: North Tomb/Inventory No.: LD2 Tomb Owner: #w-ns PM Reference: PM IV, 135[8-9] Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Plate 1: Room I: West Wall East Pilaster Plate 2: Room I: East Wall Bibliography: Champollion, Monuments IV, CCCCII[1-3], CCCCIII[4] LD II, 108 Rosellini, Monumenti II, XXVIII[3-4], XLIII[5] Suggested Dates: V.8M-VI.4E Baer, Rank and Title, 293[383] V.6-9 Brunner, Felsgräber, 35 VI Fischer, Dendera, 11 Note 51, 19 Note 83 VI Gomaà, Ersten Zwischenzeit, 116 Note 22 V.8-9? Harpur, Decoration, 280[631] VI.4-5 Kanawati, Administration, 154[250] V.8-9? OEE, Database, Tombs_019 VI PM IV, 134 VI Smith, HESPOK, 216, 218

N

Site Plan: Based on Varille, Ni-Ankh-Pepi, pl. I

Assigned Date: V.8-9 Industries Depicted: Boat Building Carpentry N

Tomb Plan: Based on PM IV, 132 after LD I, 57 239

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. PM IV, 135; LD II, 108

1 C

B

A

2 C

B

A

3 C

B

A

4 C

B

A

5 B

A

Plate 1: After LD II, 108[left]. Digitization of ULB 240

Scene Catalogue

1

2 D

C

B

A

3 A

B C

D E

F

G

4 F

E

D

C

B

A

5 M

L

K

J

I

H

G

F

E

D

C

B A

Plate 2: After LD II, 108[right]. Digitization of ULB Scene Content: Plate 1 Reg. 1

2

3

4

Figure

Identification

Inscription

Translation

A

Trimming a spear?

nDrj

‘Fashioning’

B

Trimming an oar

nDrj

‘Fashioning’

C

Trimming a spear

nDrj

‘Fashioning’

A

Trimming a bow

nDrj

‘Fashioning’

B

Trimming a bow

nDrj

‘Fashioning’

C

Trimming a bow

nDrj

‘Fashioning’

A

Trimming an oar

nDrj

‘Fashioning’

B

Trimming an oar

nDrj

‘Fashioning’

C

Trimming a spear

nDrj

‘Fashioning’

A

Trimming an oar

nDrj

‘Fashioning’

B

Trimming an oar

nDrj

‘Fashioning’

C

Trimming an oar

nDrj

‘Fashioning’

478

479

Oars A 5

Sawing a section of log into planks Box

B

Dressing and stacking planks480

Plate 2 Reg. 1

Figure

Identification

Inscription

Goats browsing Skinning a goat

241

Translation

‘Make it According to Plan’ Reg. 2

3

Figure

Translation

B-D

Dressing a log

A-E

Carrying a log481

F

Trimming a plank

sbn nDrj

‘Plank’ ‘Fashioning’

G

Cutting holes or mortices in a plank

mnx

‘Chiselling’

A

Trimming a batten

(smsw wx)r(.t)?

‘(Elder of the Dockyard)’?

Trimming a hull

D

Cutting holes or mortices in a hull

E

Cutting holes or mortices in a hull

F

Overseer

A

Trimming a batten

B-G 5

Inscription

Felling a tree

B-C 4

Identification

A

Trussing a hull

H

Carving decorative features into a hull482

I-L

Trussing a hull

M

Overseer (unfinished)

Fig. 31 Carving decorative features into a hull. Tomb of #w-ns. Zawyet el-Amwat. After LD II, 108[right]. Digitization of ULB

242

Scene Catalogue

[Cat.46] Site: El-Sheikh Saïd Cemetery: Lower Range Tomb/Inventory No.: 24 Tomb Owner: %rf-kA.j PM Reference: PM IV, 188[3] Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: West Wall Bibliography: Davies, Sheikh Saïd, 13, pl. IV Suggested Dates: V.8M-V.9E Baer, Rank and Title, 293[457] V.1-5 Brunner, Felsgräber, 28 V.1 Cherpion, Mastabas et hypogées, 227 V.1 Davies, Sheikh Saïd, 40 V Fischer, Dendera, 11 Note 51, 65 Note 261 V Gomaà, Ersten Zwischenzeit, 107, 113 V.8-9E Harpur, Decoration, 280[639] V.8L Kanawati, Administration, 154[296] V.8-9 Kees, Provinzialkunst, 31 V.8-9E OEE, Database, Tombs_020 III-VIII PM IV, 187 V.1-5 Smith, HESPOK, 215

N

Site Plan: Based on Davies, Sheikh Saïd, pl. I. Courtesy of The Egypt Exploration Society

Assigned Date: V.8-9E Industries Depicted: Carpentry Jewellery Making Metalwork

N

Tomb Plan: Based on Davies, Sheikh Saïd, pl. III. Courtesy of The Egypt Exploration Society 243

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Davies, Sheikh Saïd, pls. IV-V

1

G

I

J

B

C

D

E

F

H

2

G

F

E

D

C

Plate: After Davies, Sheikh Saïd, pl. IV. Courtesy of The Egypt Exploration Society 244

B

A

A

Scene Catalogue Scene Content: Reg.

Figure

Identification

A

Stringing a collar?

B

Holding a collar

Inscription

Translation

stj.t nbjj.t

‘Stringing a collar’

Diadem or fillet? C

Stringing a collar Chokers

1

D

Presenting a collar and diadem or fillet

rdj.t nbjj.wt r mAA

‘Presenting collars for inspection’

E

Overseer

wab nswt Mn-Htp

‘The Royal wab Priest, Men-hetep’

F

Overseer

&(

‘T........a’

G-H

Melting crude metal

nbj.t (bjA) bD.tj

‘Melting (metal)’ ‘Metalworker’

I-J

Melting crude metal

)A

Bowl,483 ewer and basin, mirror, spouted jar, saw blade, axe blade and adze484 A

Heating a staff

(f)sj mdw tp

‘Heating the tip of a staff’

B

Dampening a staff

(j)aj.t mdw

‘Dampening a staff’

Shaping a staff in a vice

xnd mdw.w

‘Bending staffs’

E

Polishing or sanding a sarcophagus

mDH

‘Carpenter’

F

Polishing or sanding a sarcophagus

snaa qrs(w)

‘Polishing a coffin’

G

Overseer

jmj-r mDH(.w)

‘Overseer of Carpenters’

C-D 2

Fig. 32 Dampening and heating a staff. Tomb of %rf-kA.j. El-Sheikh Saïd. After Davies, Sheikh Saïd, pl. IV. Courtesy of The Egypt Exploration Society

245

‘Make it According to Plan’

[Cat.47] Site: Deir el-Gebrawi Cemetery: Southern Cliff Tomb/Inventory No: 8 Tomb Owner: Jbj PM Reference: PM IV, 244[12-13]485 Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: North Wall Bibliography: Davies, Deir el-Gebrawi I, 18-21, pls. XIII-XVI Kanawati, Deir el-Gebrawi II, 46-50, pls. 26-28, pl. 53 Suggested Dates: VI.4E Baer, Rank and Title, 288[32] VI.3 Brunner, Felsgräber, 80 VI.4-6 Cherpion, Mastabas et hypogées, 231 VI.3-4 Davies, Deir el-Gebrawi I, 30 VI.4 Fischer, Dendera, 84, 86 Note 383 VI.2-6 Gomaà, Ersten Zwischenzeit, 73 VI.4E Harpur, Decoration, 280[643] VI.4 Kanawati, Administration, 152[19] VI.3-4 Kanawati, Deir el-Gebrawi II, 19 VI.4E OEE, Database, Tombs_020 VI PM IV, 243 VI.3-6 Smith, HESPOK, 221

N Site Plan: Based on Davies, Deir el-Gebrawi I, pl. I. Courtesy of The Egypt Exploration Society

Assigned Date: VI.4E Industries Depicted: Boat Building Carpentry Jewellery Making Metalwork Sculpture Stone Vessel Making

N

Tomb Plan: Based on Davies, Deir el-Gebrawi I, pl. II. Courtesy of The Egypt Exploration Society 246

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Davies, Deir el Gebrawi I, pls. XI-XVI

1 L

K

J

I

H G

F E

D

C

B

A

2 L

K

J

I

H

G

F

E

D

C B

A

3 M

L

K

J

G

H

I

N

O

F

E

D

C

B

A

4 P

O

N

M

L

K

J

I

H

G

F

E

D

C

B

A

Plate: Composite. After Davies, Deir el-Gebrawi I, pls. XIII-XVI. Courtesy of The Egypt Exploration Society 247

‘Make it According to Plan’ Scene Content: Reg.

Figure

A

Identification

Inscription

Translation

Jugs in stand

(jr).t dbHt-Htp Hmw.tj Xrj-Hbt

‘Making the funerary offerings of the craftsman and lector’

Polishing a bowl

Hmw.tj

‘Craftsman’

(Hmw).tj

‘(Craftsman)’?

Hmw.tj

‘Craftsman’

Hwj m sn.wt jTn.t n.t wab(.t)

‘Polishing with polishing stones a jTn.t-box of the workshop’ ‘Carpenters of the Residence’

Jars B

Drilling a jar Jug

C

Polishing a jug Jugs and jar in stand

D-E 1

Polishing or sanding a box

mDH(.w) n.w Xnw F-G

Polishing or sanding a box

Hwj m sn.wt hn(.w) n abA m pr ( )

‘Polishing with polishing stones the hn(.w)box of the abA-sceptre from the House of ........’ ‘Carpenters of the Estate’

mDH(.w) n pr-D.t H

Polishing or sanding a sceptre Box

I

Holding a shrine486

J

Holding a shrine

stj.t mj.t xt n.t mrH.t jmj-r mDH(.w)

‘Glittering like something of oil’ ‘Overseer of Carpenters’

K

Carving a statue487

srD m twt jn qs.tj

‘Carving the statue by the sculptor’

L

Holding a goose

jw Apd pn DdA wr.t

‘This bird is very fat’

Jars in stand

snaa aA.wt

‘Polishing stone vessels’

A

Stringing and tying the fastening string of a collar

stj.t nbjj.t

‘Stringing a collar’

B

Stringing and tying the fastening string of a collar

stj.t nbjj.t

‘Stringing a collar’

Pectoral and counterpoises on table C

Stringing and tying the fastening string of a collar

mnx nbjj.t

‘Stringing a collar’

D

Stringing and tying the fastening string of a collar

mnx nbjj.t

‘Stringing a collar’

Collars and counterpoise on table

2 E

Carving a statue

srD j(n) qs.tj %nj

‘Carving by the sculptor’ ‘Seni’

F

Carving a lion sculpture

kA.t m rw-Abw j(n) qs.tj

‘Working on the lion by the sculptor’

G

Painting a statue488

Ts(j) Hr twt

‘Modelling the face of a statue’

H

Scribe

mHnk sS Msn.j

‘The mHnk and Scribe, Mesni’

I

Trimming a carrying chair

nDr xwdd [sic] jn mDH

‘Fashioning a carrying chair by the carpenter’

J

Trimming a sceptre

nDr jn mDH m abA

‘Fashioning the abA-sceptre by the carpenter’

snaa m ATw.t jn Hmw.tj(.w)

‘Polishing the bed by the craftsmen’

K-L

Polishing or sanding a bed frame Box

3

A

Weighing crude metal489

f(Aj).t bjA

‘Weighing metal’

B

Overseer

mAA sj j(w)=s m jnr

‘Look at it!’ ‘It leans to the weight’

Drilling a bead

wbA Hrs.t (jn) ms.w-nSd

‘Drilling the carnelian by the jewellery makers’

C-D

248

Scene Catalogue Reg.

4

Figure

Identification

Inscription

Translation

E-F

Polishing a bead

snaa Hrs.t jn ms.w-nSd

‘Polishing the carnelian by the jewellery makers’

G-L

Melting crude metal

nbj.t bjA

‘Melting metal’

M

Attendant

nDr rw wab.t n.t (b)w? jw.Tn r mAA nfr

‘Observe, o gang of the workshop of (the place)?, you will see beautiful things!’

N

Beating sheet metal491

sqr Dam jrj(=j) m sxr

‘Beating Dam-gold’ ‘Make it according to plan!’

O

Beating sheet metal

wnn nfr

‘It is beautiful!’

A

Dressing a log

nDr aA.t

‘Fashion well!’

B

Dressing a log

jrj(=j) st kA.w=k

‘I will do that which your kas desire’

C

Dressing a log

jmj-r mDH(.w)

‘Overseer of Carpenters’

D

Cutting holes or mortices in a hull

E

Overseer

mnx aA

‘Chisel well!’

F

Cutting holes or mortices in a hull

m=k Hr mnx

‘Behold the chiselling!’

G

Cutting holes or mortices in a hull

mnx aA

‘Chisel well!’

H

Squaring off a hull

jsp pH=f nfr jw(=j) r mAA

‘Cut its stern well!’ ‘I will see (it)!’

I-L

Carrying a log mnx jn mDH(.w)

‘Chiselling by the carpenters’

M-N O

490

Cutting holes or mortices in a hull Squaring off a hull Mallet?

P

Cutting holes or mortices in a hull

Fig. 33 Pectoral and counterpoises on table. Tomb of Jbj. Deir el-Gebrawi. After Davies, Deir elGebrawi I, pl. XIII. Courtesy of The Egypt Exploration Society

249

‘Make it According to Plan’

[Cat.48] Site: Deir el-Gebrawi Cemetery: Northern Cliff Tomb/Inventory No.: 67 Tomb Owner: !nqw:Jj...f II PM Reference: PM IV, 242[67]492 Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: North Wall Bibliography: Davies, Deir el-Gebrawi II, 29, pl. XXVI493 Kanawati, Deir el-Gebrawi I, 69, pl. 55 Suggested Dates: VI.7 or later Baer, Rank and Title, 103[324] VII-FIP Brunner, Felsgräber, 80 V.9-VI.2 Davies, Deir el-Gebrawi II, 39 FIP Fischer, Dendera, 148 VI.7-FIP Harpur, Decoration, 280[644] FIP Kanawati, Administration, 154[215] VI.2E-M Kanawati, Deir el-Gebrawi I, 20, 63 FIP Kees, ʻProvinzialverwaltungʼ, 109 FIP Kloth, Inschriften, 44 VI.7 OEE, Database, Tombs_020 III-VIII PM IV, 242

N Site Plan: Based on Davies, Deir el Gebrawi II, pl. I, pl. XXII. Courtesy of The Egypt Exploration Society

Assigned Date: VI.2E-M Industries Depicted: Jewellery Making

N

Tomb Plan: Based on Davies, Deir el-Gebrawi II, pl. XXII [lower]. Courtesy of The Egypt Exploration Society 250

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Kanawati, Deir el-Gebrawi I, pls. 53-55

1

A

B

C

D

Plate: After Kanawati, Deir el-Gebrawi I, pl. 55. Courtesy of N. Kanawati

Scene Content: Reg.

Figure A-B

1

Identification

Inscription

Washing a collar494 Collar

C-D

Drying a collar?495 Collar

251

Translation

‘Make it According to Plan’

[Cat.49] Site: Deir el-Gebrawi Cemetery: Northern Cliff Tomb/Inventory No.: 72 Tomb Owner: @m-Ra:Jsj PM Reference: PM IV, 243[72][9] Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: North Wall Bibliography: Davies, Deir el-Gebrawi II, 24-25, pl. XIX Kanawati, Deir el-Gebrawi I, 51-52, pl. 16, pl. 19[a-c], pl. 48 Suggested Dates: VI.7 or later Baer, Rank and Title, 104[333] VII-FIP Brunner, Felsgräber, 80 V.9-VI.2 Davies, Deir el-Gebrawi II, 39 VI.7 or later Fischer, Dendera, 84, 86[386] VI.7 Gomaà, Ersten Zwischenzeit, 85 Note 24 VI.7-FIP Harpur, Decoration, 280[646] VI.7-FIP Kanawati, Administration, 154[222] VI.1L-2E Kanawati, Deir el-Gebrawi I, 40 VI.7 OEE, Database, Tombs_20 III-VIII PM IV, 242

N Site Plan: Based on Davies, Deir el-Gebrawi II, pl. I, pl. XVI. Courtesy of The Egypt Exploration Society

Assigned Date: VI.1L-2E Industries Depicted: Boat Building Jewellery Making Metalwork N

Tomb Plan: Based on Davies, Deir el-Gebrawi II, pl. XVI [lower]. Courtesy of The Egypt Exploration Society

252

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Davies, Deir el-Gebrawi II, pl. XVII, pl. XIX

1 I

H

G

F

E

D

C

A

B

2 D

C

B

3 D

C

B

A

Plate: After Davies, Deir el-Gebrawi II, pl. XIX. Courtesy of The Egypt Exploration Society 253

A

‘Make it According to Plan’ Scene Content: Reg.

1

Figure

Identification

Inscription

Translation

A-B

Melting crude metal

C-D

Melting crude metal

(w)d(j) r (T)bw.t=k ds mA p(w) (w)nj=k r Hr nfr

‘Place at your soles!’ ‘This is a new vessel’ ‘Hurry to the beautiful face!’

E-F

Beating a blade496

bD.tj(.w) nbw

‘Goldworkers’

G

Overseer

jmj-r js n bD.tj(.w)

‘Overseer of the Workshop of the Metalworkersʼ

H

Weighing a vessel

Scribe

sS jmj-r pr-n-D.t

‘Scribe and Overseer of the Estate’

A-B

Washing a collar497

mnx wsx n.w nfr r rw(j) ( )

‘Washing a collar of beauty in order to remove ........’

C-D

Drying a collar

sSr

‘Drying’

sw(A)? xt

‘Cut down!’? ‘Wood’

Bowls on stands, ewer and basin Flasks, jars and basin I

2

Box 3

A-D

Carrying a log498

Fig. 34 Washing a collar. Tomb of @m-Ra:Jsj. Deir el-Gebrawi. After Davies, Deir el-Gebrawi II, pl. XIX. Courtesy of The Egypt Exploration Society

254

Scene Catalogue

[Cat.50] Site: Deir el-Gebrawi Cemetery: Southern Cliff Tomb/Inventory No.: 12 Tomb Owner: +aw and +aw:^mAj PM Reference: PM IV, 245[8] Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: North Wall Bibliography: Davies, Deir el-Gebrawi II, 10-11, pl. X Suggested Dates: VI.5-6 Baer, Rank and Title, 295[592] VI.5-6 Brovarski, ʻAkhmimʼ, 131 VI.4-6 Brunner, Felsgräber, 80 VI.4-6 Cherpion, Mastabas et hypogées, 231 VI.4-6 Davies, Deir el-Gebrawi II, 38 VI.5 Fischer, Dendera, 84 VI.4-6 Gomaà, Ersten Zwischenzeit, 85 Note 24 VI.4L Harpur, Decoration, 280[647] VI.5 Kanawati, Administration, 155[386] VI.4L OEE, Database, Tombs_020 VI PM IV, 244 VI.4-6 Smith, HESPOK, 221 VI.5-6 Strudwick, Administration, 254, 279

N Site Plan: Based on Davies, Deir el-Gebrawi I, pl. I. Courtesy of The Egypt Exploration Society

Assigned Date: VI.4-5 Industries Depicted: Boat Building Carpentry Jewellery Making499 Metalwork Sculpture Stone Vessel Making?

N

Tomb Plan: Based on Davies, Deir el-Gebrawi II, pl. II. Courtesy of The Egypt Exploration Society 255

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Davies, Deir el-Gebrawi II, pls. IX-X

1 C

B A

2

C

B

A

3 C

B

A

D

4

G

F

E

C

A

5

F

E

D

C

B

A

Plate: After Davies, Deir el-Gebrawi II, pl. X. Courtesy of The Egypt Exploration Society 256

B

Scene Catalogue Scene Content: Reg.

1

Figure

Identification

Inscription

Collars and counterpoise on table

nbjj.wt (n.t wr) (

A

Painting a statue

(

B

Trimming a statue

C

Carving a statue

Translation )?

) (j)n sS WADjj

‘Collars (of great) ........’ ‘........ by the Painter, Wadjy’

500

nSD t(wt) (j)n qs.tj

‘Decorating a statue by the sculptor’

Scribe501

(

‘........ The (Count), Djau’

Shrine

(j)AwA? n wan

‘Shrine of juniper’?

Polishing or sanding a box

snaa m sTp.t n.t nTr wab.t

‘Polishing the sTp.t-box of the sacred tomb’

Sceptre

abA n(.jj) Dam

‘abA-sceptre of Dam-gold’

Overseer

smsw wxr.t %njj

‘The Elder of the Workshop, Seny’

B-C

Polishing or sanding a bed frame

snaa m ATw.t n.t ss(n)Dm

‘Polishing the bed of ssnDm-wood’

A-B

Melting crude metal

C-D

Beating sheet metal xwd.t (n.t) hbnjj

‘Carrying chair (of) ebony’

Statue A 2

B-C

) (HAtj)-a +aw

Jars on table 3

A

Collar? 4

5

E

Trimming a carrying chair Platform and armrest of carrying chair

F

Splitting a plank

G

Trimming a sceptre

nDr jn mDH m a(b)A

‘Fashioning the abA-sceptre by the carpenter’

Destroyed

Hrj-tp aA &A-wr +aw

‘The Great Overlord of U.E.8, Djau’

A

Cutting holes or mortices in a hull502

B

Squaring off a hull

nDr

‘Fashioning’

C

Cutting holes or mortices in a hull

mnx

‘Chiselling’

D

Trimming an oar

dqa wsr

‘Fashioning an oar’

Cutting holes or mortices in a hull

spt Hmw.tj(.w) n.t pr-n-D.t

‘Boat Builders of the Estate’503

E-F

Fig. 35 Trimming a carrying chair. Tomb of +aw and +aw:^mAj. Deir el-Gebrawi. After Davies, Deir el-Gebrawi II, pl. X. Courtesy of The Egypt Exploration Society

257

‘Make it According to Plan’

[Cat.51] Site: Meir Cemetery: Cemetery A Tomb/Inventory No.: A2 Tomb Owner: Ppjj-anx:@nj-km PM Reference: PM IV, 247[A2]504 Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Plate 1: Room I: West Wall Plate 2: Room I: North Wall Above Doorway Plate 3: Room I: East Wall Plate 4: Room I: South Wall Bibliography: Blackman and Apted, Meir V, 25-30, pl. XV[3], pls. XVII-XIX, pl. XXI Kanawati and Evans, Meir II, 23, 25-29, pls. 3[A-B], pl. 7[A], pl. 9[b], pl. 12[B], pls. 71[c]-73, pls. 10[A-B], pls. 11[A-B]

N

Site Plan: Based on Blackman and Apted, Meir V, pl. I. Courtesy of The Egypt Exploration Society

Suggested Dates: VI.5-6 Baer, Rank and Title, 289[134] VI.4-6 Blackman, Meir I, 6 VI.4-6 Brunner, Felsgräber, 82 VI.2 or VI.4-6 Cherpion, Mastabas et hypogées, 232 VI.2 Gomaà, Ersten Zwischenzeit, 104 VI.4-5 Harpur, Decoration, 280[649] VI.4-5 Kanawati, Administration, 153[87] VI.6 Kanawati and Evans, Meir II, 18 VI.4-5 OEE, Database, Tombs_020 VI.4-6 PM IV, 247 VI.4-6 Smith, HESPOK, 220 Assigned Date: VI.4-5 Industries Depicted: Carpentry Jewellery Making Leatherwork Metalwork Sculpture Stone Vessel Making

N

Tomb Plan: Based on PM IV, 248 258

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Kanawati and Evans, Meir II, 22-29

1

A

B

C

D

2

C

B

A

D

E

F

G

H

3

A

B

C

D

E

Plate 1: After Blackman and Apted, Meir V, pl. XVII. Courtesy of The Egypt Exploration Society 259

F

‘Make it According to Plan’

1 E

2

C

B

D

C

B

A

A

3 A

B

4

5

A

B

A

B

C

C

Plate 2: Composite. After Blackman and Apted, Meir V, pls. XVIII-XIX. Courtesy of The Egypt Exploration Society

1

A

Plate 3: After Blackman and Apted, Meir V, pl. XXI. Courtesy of The Egypt Exploration Society 260

Scene Catalogue

1

2 A

B

C

D

Plate 4: After Blackman and Apted, Meir V, pl. XV[3]. Courtesy of The Egypt Exploration Society Scene Content: Plate 1 Reg.

Figure A

Translation

swS jsnw n stj.t r wsx

‘Bundling/twisting threads for the stringing of a collar’

Belt on table

wAD Dam

‘Malachite’ ‘Dam-gold’

Stringing a collar

mnx nbjj.wt jn stj.(w)t r wsx(.w)

‘Stringing collars by the stringers of collars’

D

Presenting counterpoises

dw wsx

‘Presenting a collar’

A

Melting crude metal

(w)dj (w)dj jqr m=k sw r Hr nfr

‘Place, place well!’ ‘Behold, it is the beautiful face!’

B-C

Melting crude metal

D

Pouring molten metal

(r)dj hA(j) nSnw Hr=s qb(b)

‘Let the liquid go down on it to be cool!’

E

Cooling molten metal

jrj=j r Hst=k

‘I will do in accordance with that which you praise’

F

Beating sheet metal

j hA(j) jnj m(j)

‘O, come down, reach, come!’

G

Beating sheet metal

jnj(=j) Hm

‘Indeed, I am reaching’

H

Presenting a jar

jmj-r bD.tj(.w)

‘Overseer of Metalworkers’

A

Drilling a jug

B

Drilling a jar

505

Bracelets and collar on table B-C

3

Inscription

Twisting threading string

1

2

Identification

C

Drilling a cylinder

D

Drilling a jar

jrj kA.t jqr m=Tn sr Hr Hst=Tn

‘Do the work well!’ ‘Behold, the noble is praising you!’

E

Polishing or sanding a statue

Hmw.tj

‘Craftsman’

F

Presenting a cylinder

Hmw.tj

‘Craftsman’

Plate 2 Reg.

1

Figure

Identification

Inscription

Translation

A

Painting a shrine?506

Xrj-Hbt sS pr-mDA.t nTr Pr-aA jmAxw JHjj-m-sA-Ppjj rn.f nfr Jrj

‘The Lector-Priest, Scribe of the House of the Sacred Book of the Palace, one revered Ihyem-sa-Pepy, whose good name is Iri’

B

Painting a Hst-jar

sS %SSn

‘The Painter, Seshshen’

) t Hnqt n sS(.w) qdw.t r.( qstj(.w)

‘........ bread and beer for the painters and draughtsmen and sculptors’

Container Food and drink items

261

‘Make it According to Plan’ Reg.

1

2

Figure

Identification

C

Carving a statue

D

Carving a statue

E

Inscription qs.tj %bk-m-HAt twt n(.t) smr-watj jmj-r HmwnTr @nnjt-km jmj-r qs.tj.w *Aw

‘The Overseer of Sculptors, Tjau’

Painting a statue

Xrj-Hbt sS pr-mDA.t nTr Pr-aA jmAxw JHjj-m-sA-Ppjj rn.f nfr Jrj sS twt n(.t) jmj-r Hmw-nTr @nnjt

‘The Lector-Priest, Scribe of the House of the Sacred Book of the Palace, one revered Ihyem-sa-Pepy, whose good name is Iri’ ‘Painting the statue of the Overseer of Priests, Henenit’

A

Polishing or sanding a bed frame

m=k (j)r=k snaa

‘Behold the polishing!’

B

Polishing or sanding a bed frame

(j) hA(j) m=k snaa

‘O, behold the polishing!’

C

Trimming a plank or batten

smsw wxr.t jmj-r mDH.w Xrjtp nswt @nnjt

‘The Elder of the Workshop, Overseer of Carpenters and Chamberlain, Henenit’

A

Sawing a section of log into planks

(j) hA(j) jqr sDr=f wsj

‘(O), come down well!’ ‘It lies down’ ‘Saw!’

B

Sawing a section of log into planks

j hA(j) mj nxt=k j hA(j)

‘O, come down, come strongly!’ ‘O, come down!’

A

Sharpening an adze

dm an.t mDH

‘Sharpening an adze’ ‘Carpenter’

B

Cutting holes or mortices in a door panel

mnx Sw.t tw n.t aA sjn

‘Chisel this side of the door!’ ‘Quickly!’

C

Cutting holes or mortices in a door panel

jrj=j r Hst=k m=k wj rdj.t n=k sj Xr Dba.w=k

‘I will do in accordance with that which you praise’ ‘Behold, I am placing it for you under your fingers!’

nDr xt pw sjn (r)dj=Tn n sw jrj(=j) kA.t jm=f Xrj-tp nswt jmj-r mDh.w @nn(j)t

‘Fashion this wood quickly and give it to me, that I may do the work with it!’ ‘The Chamberlain and Overseer of Carpenters, Henenit’

m=k n Hr jr.t r Hst=k

‘Behold, we are doing in accordance with that which you praise!’

507

508

3

4

5

Translation ‘The Sculptor, Sobek-em-hat’ ‘The Statue of the Sole Companion, Overseer of Priests, Henenit the Black’

A

Trimming a plank or batten

B

Splitting a plank

C

Splitting a plank

Plate 3 Reg.

Figure A

Identification Painting a cylinder

509

1

Inscription

Translation

Xrj-Hbt sS pr-mDA.t nTr Pr-aA Mrjj-Ra JHjj-m-sA-jrj

‘The Lector-Priest, Scribe of the House of the Sacred Book of the Palace, Mery-Ra Ihy-emsa-iri’

Jug

Plate 4 Reg.

Figure

1

2

Identification

Inscription

Translation

Textile Production ‘Making (it) threadbare’?

A

Soaking a hide or skin510

B

Smoothing a hide or skin

xn.t At n.t Hr n (

C

Cutting out a sandal strap?

(

jr.t HtA? ) jn Tbw

Piece of leather D

Cutting out a sandal sole Sandal soles

262

)

511

‘ Strong leather for the face/top of ........’ ‘........ by the leatherworker’

Scene Catalogue

[Cat.52] Site: El-Hammamiya Cemetery: Southern Spur Tomb/Inventory No.: C5 Tomb Owner: Ra-Htp PM Reference: Not Recorded Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: North Wall Bibliography: El-Khouli and Kanawati, El-Hammamiya, 74, pl. 73[a] Suggested Dates: V.4-6 Brunner, Felsgräber, 21-22 V.1-6 El-Khouli and Kanawati, El-Hammamiya, 73 V.1-3 Kees, Provinzialkunst, 27 V.6? OEE, Database, Tombs_021

N

Assigned Date: V.1-6 Industries Depicted: Boat Building512

Site Plan: Based on El-Khouli and Kanawati, ElHammamiya, pls. 71-72. Courtesy of N. Kanawati

N

Tomb Plan: Based on El-Khouli and Kanawati, ElHammamiya, pl. 71[right]. Courtesy of N. Kanawati 263

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. El-Khouli and Kanawati, El-Hammamiya, 74-75

1

A

B

C

D

E

Plate: After El-Khouli and Kanawati, El-Hammamiya, pl. 73[a]. Courtesy of N. Kanawati

Scene Content: Reg. 1

Figure A B-E

Identification

Inscription

Translation

Felling a tree? Carrying a log?513

‘Plank’?

sA(.w)?

264

Scene Catalogue

[Cat.53] Site: El-Hammamiya Cemetery: Northern Spur Tomb/Inventory No.: A3 Tomb Owner: KA.j-xnt II PM Reference: PM V, 7[18]514 Tomb Type: Rock-Cut Mastaba Chapel Type: Provincial Location of Scene(s): Room II: East Wall Bibliography: El-Khouli and Kanawati, El-Hammamiya, 66[C], pl. 69 Mackay, Harding and Petrie, Hemamieh, 32, pl. XIV Suggested Dates: V.7 or 8 Baer, Rank and Title, 294[543] V.1 or later Baud, Famille I, Tb. 6 V.1-5 Brunner, Felsgräber, 22, 79 V.1 El-Khouli and Kanawati, El-Hammamiya, 16, 56 V Fischer, Dendera, 11 V.8-VI.1 Gomaà, Ersten Zwischenzeit, 92 Note 12 V.8-9 Harpur, Decoration, 280[655] V.8M-L Kanawati, Administration, 155[356] V.1 Kees, Provinzialkunst, 27 IV.2 Mackay, Harding and Petrie, Hemamieh, 36 V.1-3? OEE, Database, Tombs_021 IV.2 PM V, 7 V Smith, HESPOK, 216

N

Site Plan: Based on El-Khouli and Kanawati, ElHammamiya, pl. 52. Courtesy of N. Kanawati

Assigned Date: V.8-9 Industries Depicted: Boat Building

N Tomb Plan: Based on El-Khouli and Kanawati, ElHammamiya, pl. 52. Courtesy of N. Kanawati 265

‘Make it According to Plan’

Room Plan: Drawing: M. Hampson. Register Contents: Ref. El-Khouli and Kanawati, El-Hammamiya, pls. 67-70

1 A

2

C

B

A

3 E

D

C

B

A

4

A

B

C

Plate: After El-Khouli and Kanawati, El-Hammamiya, pl. 69. Courtesy of N. Kanawati 266

D

Scene Catalogue Scene Content: Reg. 1 2

3

4

Figure A

Identification

Inscription

Translation

Overseer Boat on props515

A-C

Dressing a log

A

Controlling the binding rope on a sawing post

B

Sawing a section of log into planks

C

Controlling the binding rope on a sawing post

D

Destroyed

E

Trimming a batten

A-B

Dressing a log?

C-D

Dressing a log

Fig. 36 Sawing a section of log into planks. Tomb of KA.j-xnt II. El-Hammamiya. After El-Khouli and Kanawati, El-Hammamiya, pl. 69. Courtesy of N. Kanawati

267

‘Make it According to Plan’

[Cat.54] Site: El-Hawawish Cemetery: South Tomb/Inventory No.: M22 Tomb Owner: @sjj-Mnw PM Reference: Not Recorded Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: East Wall N

Bibliography: Kanawati, El-Hawawish IV, 22, fig. 14, pl. 6[b] Suggested Dates: V.8-9 Baud, Famille I, Tb. 6 V Fischer, Dendera, 11 Note 51 V Gomaà, Ersten Zwischenzeit, 83 V.8 or later Harpur, Decoration, 281[663] V.8 Kanawati, El-Hawawish IV, 10 V.8-VI.1 OEE, Database, Tombs_022 VI Smith, HESPOK, 218

Site Plan: Based on Kanawati, El-Hawawish II, fig.1. Courtesy of N. Kanawati

Assigned Date: V.8L-9 Industries Depicted: Metalwork Sculpture

N

Tomb Plan: Based on Kanawati, El-Hawawish IV, fig. 1. Courtesy of N. Kanawati 268

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Kanawati, El-Hawawish IV, 22

1

B

C

A

2

D

C

A

B

Plate: After Kanawati, El-Hawawish IV, fig. 14. Courtesy of N. Kanawati Scene Content: Reg. 1

2

Figure A

Identification Carving a statue

B-C

Melting crude metal

A-D

Beating sheet metal

Inscription (

) kA.t jn (

(s)qr (

)

Ewer and basin

269

)

Translation ‘........ work by ........’ ‘Beating ........’

‘Make it According to Plan’

[Cat.55] Site: El-Hawawish Cemetery: South Tomb/Inventory No.: H24 Tomb Owner: ^psj-pw-Mnw:$nj PM Reference: Not Recorded Tomb Type: Rock-Cut/Portico Chapel Type: Provincial

N

Location of Scene(s): Room II: South Wall Bibliography: Kanawati, El-Hawawish II, 22-23, fig. 19 Suggested Dates: VI or later Baer, Rank and Title, 117[396] IX Brovarski, ʻAkhmimʼ, 137 VI.7 Fischer, Dendera, 75 Note 313 VI.7 Gomaà, Ersten Zwischenzeit, 85 VI.7 Harpur, Decoration, 281[665] VI.7 Helck, Beamtentiteln, 127 VI.6L Kanawati, El-Hawawish II, 14 VI.7 Kees, ʻProvinzialverwaltungʼ, 109 Note 2 VI.6 OEE, Database, Tombs_021 VI Pirenne, Institutions III, 590 Note 3 VI Smith, HESPOK, 218

Site Plan: Based on Kanawati, El-Hawawish II, fig. 1, fig. 5. Courtesy of N. Kanawati

Assigned Date: VI.6L-7 Industries Depicted: Carpentry Metalwork Sculpture Stone Vessel Making

N

Tomb Plan: Based on Kanawati, El-Hawawish II, fig. 1. Courtesy of N. Kanawati 270

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Kanawati, El-Hawawish II, figs. 17-19

C

1 A

B

D

E

F

G

2 A

B

C

E

D

F

G

H

Plate: After Kanawati, El-Hawawish II, fig. 19. Courtesy of N. Kanawati Scene Content: Reg.

1

Figure

Identification

Inscription

Translation

A

Dampening a staff

B

Shaping a staff in a vice

C

Shaping a staff in a vice

mAA m xt wAH

‘Look on the wood which is pressed!’

D

Trimming a plank

(nD)r m (an.t)

‘Fashioning with (an adze)’

E

Splitting a plank516

(n)Dr m mjnb.t [sic]

‘Fashioning with an axe’

F

Sawing a section of log into planks

ws.t j hA(j)

‘Sawing’ ‘O, go down!’

jr(.t) nD(.t)-Hr kA.t nb(.t)

‘Making gifts and all kinds of work’

(

) n(.t) Sw mdw

‘........ of the dry staff’

Table and snt-board on table G

Trimming a batten Wine press

2

A

Carving a statue

srD rpt

‘Carving a statue’

B

Carving a statue

srD twt

‘Carving a statue’

C

Drilling a cylinder (nbj.t)? aA.t

‘(Melting) a vessel’?

D-G

Melting crude metal Adze blade?

H

Beating sheet metal517 Basin

271

‘Make it According to Plan’

[Cat.56] Site: El-Hawawish Cemetery: South Tomb/Inventory No.: H26 Tomb Owner: KA.j-Hp:*tj-jqr PM Reference: PM V, 19518 Tomb Type: Rock-Cut/Portico Chapel Type: Provincial N

Location of Scene(s): Room II: South Wall Bibliography: Kanawati, El-Hawawish I, 21, fig. 9, pl. 6 Suggested Dates: VI or later Baer, Rank and Title, 147[541] IX Brovarski, ʻAkhmimʼ, 137 XI Fischer, Dendera, 131 Note 576 VI.7 Gomaà, Ersten Zwischenzeit, 84 VI.5-6 Harpur, Decoration, 281[666] VI.7 Helck, Beamtentiteln, 127 VI.5-6 Kanawati, El-Hawawish I, 14 VI Kees, ʻProvinzialverwaltungʼ, 108 VI.5-6 OEE, Database, Tombs_021 VI Pirenne, Institutions III, 590 VI.7-XII PM V, 18 VI Smith, HESPOK, 218

Site Plan: Based on Kanawati, El-Hawawish II, fig. 1, fig. 5. Courtesy of N. Kanawati

Assigned Date: VI.5-6 Industries Depicted: Carpentry Metalwork Sculpture

N

Tomb Plan: Based on Kanawati, El-Hawawish I, fig. 5. Courtesy of N. Kanawati 272

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Kanawati, El-Hawawish I, figs. 8-9

1

D

C

B

A

2 A

C

B

D

E

G

F

Plate: After Kanawati, El-Hawawish I, fig. 9. Courtesy of N. Kanawati

Scene Content: Reg.

Figure A

Identification Trimming a plank

Inscription

Translation

jmj-r mDH(.w)

‘Overseer of Carpenters’

ws.t

‘Sawing’

Fan, scribal palette, headrest, sedan chair, bed frames and sntboard on table 519

1

B

Sawing a section of log into planks

C

Destroyed

D

Overseer?520

n(D)r m (mj)nb.t [sic]

‘Fashioning with an axe’

A

Carving a statue

srD rp(t)

‘Carving a statue’

Melting crude metal

(nbj.t)? aA.t

‘(Melting) a vessel’?

B-E

Hst-jars, jar, ewer and basin

2 F-I

Beating sheet metal Ewers, basins and jar

273

H I

‘Make it According to Plan’

[Cat.57] Site: El-Khokha Cemetery: East Tomb/Inventory No.: TT186 Tomb Owner: JHjj PM Reference: PM I [2], 293[Pillar B] Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: West Wall Pillar B N

Bibliography: Saleh, Three Old-Kingdom Tombs, 25, pl. 15[3] Suggested Dates: VI Baer, Rank and Title, 59[59] VI.7 Brunner, Felsgräber, 55 VI.7 Gomaà, Ersten Zwischenzeit, 44 VI.3-4 Harpur, Decoration, 281[681] VI Kampp, Die Thebanische Nekropole, 475 VI.4 Kanawati, Governmental Reforms, 142[1] VI.7 Newberry, ʻSixth Dynasty Tombʼ, 97 VI.3-4 OEE, Database, Tombs_023 FIP PM I [2], 291[186] VI.7 Saleh, Three Old-Kingdom Tombs, 27 FIP Smith, HESPOK, 226 Note 1 VI Winlock, Rise and Fall, 3

Site Plan: Based on PM I [2], Map IV. Khôkha and aAsâsîf

Assigned Date: VI.3-4 Industries Depicted: Metalwork

N

Tomb Plan: Based on Kanawati, Governmental Reforms, fig. 5[A]. Courtesy of Casemate Publishers 274

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Saleh, Three Old-Kingdom Tombs, 25

1

F

E

D

A

B

C

Plate: After Saleh, Three Old-Kingdom Tombs, pl. 15[3] Scene Content: Reg.

Figure A

1

Identification

Inscription

Melting crude metal

B-C

Destroyed

D-F

Melting crude metal

275

Translation

‘Make it According to Plan’

[Cat.58] Site: El-Khokha Cemetery: West Tomb/Inventory No.: TT413 Tomb Owner: Wnjs-anx PM Reference: Not Recorded Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: North Wall Bibliography: Saleh, Three Old-Kingdom Tombs, 14, fig. 6, pl. 3 Suggested Dates: V.9M-VI.1E Baer, Rank and Title, 289[112A] VI.1 Gomaà, Ersten Zwischenzeit, 43 VI.7 Harpur, Decoration, 281[682] VI.7 Hayes, ʻMiddle Kingdomʼ, 11-12 VI.7-FIP Kampp, Die Thebanische Nekropole, 614 VI.6 Kanawati, Governmental Reforms, 142[3] VI.6 OEE, Database, Tombs_023 V.9-VI.1 Saleh, Three Old-Kingdom Tombs, 27 V.9 Saleh Aly, ‘Wnjs-anx’, 206 VI Smith, HESPOK, 226 VI Winlock, Rise and Fall, 3

N

Site Plan: Based on PM I [2], Map IV. Khôkha and aAsâsîf

Assigned Date: VI.1 Industries Depicted: Metalwork

N Tomb Plan: Based on Saleh, Three Old Kingdom Tombs, pl. 2 276

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Saleh, Three Old-Kingdom Tombs, 14

1 F

E

D

A

B

Plate: After Saleh, Three Old-Kingdom Tombs, pl. 3

Scene Content: Reg. 1

Figure A-E F

Identification

Inscription

Melting crude metal Beating a blade 521

277

Translation

C

‘Make it According to Plan’

[Cat.59] Site: El-Khokha Cemetery: East Tomb/Inventory No.: TT405 Tomb Owner: #ntj PM Reference: PM I [2], 445[405]522 Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: South Wall Bibliography: Saleh, Three Old-Kingdom Tombs, 20, fig. 41, pl. 11 Suggested Dates: VI.4-5 Harpur, Decoration, 281[683] FIP Kampp, Die Thebanische Nekropole, 610 VI.5 Kanawati, Governmental Reforms, 142[2] VI.4-5 OEE, Database, Tombs_023 FIP PM I [2], 445 VI.7 Saleh, Three Old-Kingdom Tombs, 27

N

Site Plan: Based on PM I [2], Map IV. Khôkha and aAsâsîf

Assigned Date: VI.4-5 Industries Depicted: Metalwork

N

Tomb Plan: Based on Kanawati, Governmental Reforms, fig. 5[A]. Courtesy of Casemate Publishers 278

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. Saleh, Three Old-Kingdom Tombs, 20

1 F

E

D

A

B

Plate: After Saleh, Three Old-Kingdom Tombs, fig. 41

Scene Content: Reg. 1

Figure A-E F

Identification

Inscription

Melting crude metal Beating a blade

279

Translation

C

‘Make it According to Plan’

[Cat.60] Site: Qubbet el-Hawa Cemetery: 1st Terrace Central Tomb/Inventory No.: A6 (QH34H) Tomb Owner: #w-ns PM Reference: PM V, 235523 Tomb Type: Rock-Cut Chapel Type: Provincial Location of Scene(s): Room I: South Wall Bibliography: de Morgan et al., Catalogue des Monuments I, 160 Smith, HESPOK, 227 Suggested Dates: VI.7 Harpur, Decoration, 282[691] VI.7 OEE, Database, Tombs_023 VI PM V, 235 VI Smith, HESPOK, 226 VI.5 Vischak, Community and Identity, 232

N

Site Plan: Based on Vischak, Community and Identity, fig. 5. © Cambridge University Press

Assigned Date: VI.7 Industries Depicted: Leatherwork Metalwork N

Tomb Plan: Based on PM V, 230 after de Morgan et al., Catalogue des Monuments I, 158 280

Scene Catalogue

Room Plan: Drawing: M. Hampson. Register Contents: Ref. de Morgan et al., Catalogue des Monuments I, 160

1 D

C

B

A

2

3

A

B

Plate: After de Morgan et al., Catalogue des Monuments I, 160 Scene Content: Reg. 1

Figure A

Stoking a crucible

B

Heating precious metal524

C-D

Inscription

Beating sheet metal?525 Baking

2 3

Identification

A

Stretching a piece of leather

B

Cutting out a sandal sole?

281

Translation

282

Notes K. R. Weeks, ‘Art, Word and the Egyptian World View,’ in Egyptology and the Social Sciences: Five Studies, ed. K. R. Weeks (Cairo: American University in Cairo Press, 1979), 59.

1



Weeks, ‘Art, Word,’ 61.



A. O. Bolshakov, ‘The Scene of the Boatmen Jousting in Old Kingdom Tomb Representations,’ BSEG 17 (1993), 29; A. O. Bolshakov, ‘Arrangement of Murals as a Principle of Old Kingdom Tomb Decoration,’ in Dekorierte Grabanlagen im Alten Reich: Methodik und Interpretation. InternetBeiträge zur Ägyptologie und Sudanarchäologie VI, eds. M. Fitzenreiter and M. Herb (London: Golden House Publications, 2006), 37-60.

2 3



Ancient Egyptian Hieroglyphic Texts, Reliefs and Paintings, 7 vols. (Oxford: Clarendon Press/Oxford University Press/ Griffith Institute, 1934-1991).

R. van Walsem, Iconography of Old Kingdom Elite Tombs: Analysis and Interpretation, Theoretical and Methodological Aspects (Leiden: Peeters, 2006), 62, 93ff.; R. van Walsem, ‘The Interpretation of Iconographic Programmes in Old Kingdom Elite Tombs of the Memphite Area: Methodological and Theoretical (Re)considerations,’ in Proceedings of the Seventh International Congress of Egyptologists. Cambridge, 3-9 September, 1995, ed. C. J. Eyre (Leuven: Peeters, 1998), 1205ff.; R. van Walsem, ‘Sense And Sensibility: On the Analysis and Interpretation of the Iconography Programmes of Four Old Kingdom Elite Tombs,’ in Dekorierte Grabanlagen, 277-332; R. van Walsem, ‘The Mastaba Project at Leiden University,’ in Akten des Vierten Internationalen Ägyptologen Kongresses München 1985. SAK 2, ed. S. Schoske (Hamburg: Helmut Buske, 1989), 143-54.

4



M. Fitzenreiter, ‘Raumkonzept und Bildprogramm in dekorierten Grabanlagen im Alten Reich,’ in Dekorierte Grabanlagen, 61-110.

6

L. Roeten, The Decoration on the Cult Chapel Walls of the Old Kingdom Tombs at Giza: A New Approach to Their Interaction (Leiden: Brill, 2014).



N. Staring, ‘Fixed Rules or Personal Choice? On the Composition and Arrangement of Daily Life Scenes in Old Kingdom Elite Tombs,’ in Old Kingdom, New Perspectives: Egyptian Art and Archaeology 2750-2150 BC. Old Kingdom Art and Archaeology Conference 2009. Cambridge, England, eds. N. Strudwick and H. Strudwick (Oxford: Oxbow Books, 2011), 256-69.

5

7



H. Frankfort, ‘On Egyptian Art,’ JEA 18, no. 1/2 (1932), 43.



N. Kanawati, The Tomb and Beyond: Burial Customs of Egyptian Officials (Warminster: Aris & Phillips, 2001), 85.

10

Y. Harpur, Decoration in Egyptian Tombs of the Old Kingdom: Studies in Orientation and Scene Content (London: Kegan Paul International, 1987).

11

M. Müller, ‘Egyptology and the Study of Art History,’ BACE 24 (2013), 63.

8 9



12

13

As listed in C. Beinlich-Seeber, Bibliographie Altägypten 1822-1946, 3 vols. (Wiesbaden: Harrassowitz, 1998); J. M. A. Janssen, Annual Egyptological Bibliography, Vols. 1-35 (Leiden: Brill/Aris & Phillips, 1948-1981); The Online Egyptological Bibliography, (1947-2001) oeb.griffith.ox.ac. uk, together with other bibliographic databases pertinent to specific Egyptological journals, such as Egyptologists Electronic Forum, (1998) egyptologyforum.org/EEFrefs. html and Academia, (2008) academia.edu. See these publications for a greater number of general studies relevant to the theme but without specification of period. B. Porter and R. L. B. Moss, Topographical Bibliography of

283

14

P. Montet, Les scènes de la vie privée dans les tombeaux égyptiens de l’ancien empire (Strasbourg: Faculté des Lettres de Strasbourg, 1925).

15

J. Vandier, Manuel d’Archéologie Égyptienne V: Bas-Reliefs et Peintures. Scènes de la vie Quotidienne (Paris: A. et J. Picard, 1969).

16

L. Klebs, Die Reliefs des Alten Reiches (2980-2475 v. Chr.): Material zur ägyptischen Kulturgeschichte (Heidelberg: Carl Winters, 1915).

17

According to the eight thematic divisions established by Harpur, Decoration, 175. To the current literature may be added, however, several unpublished theses held by Macquarie University which use different analytical approaches. See minerva.mq.edu.au for references.

18

Harpur, Decoration, 1 Note 2, 231.

19

See among others P. T. Nicholson and I. Shaw eds., Ancient Egyptian Materials and Technology (Cambridge: Cambridge University Press, 2000); A. Nibbi, ‘New Light on Ancient Egyptian Technology,’ DE 50 (2001), 33-53; C. GravesBrown ed., Egyptology in the Present: Experiential and Experimental Methods in Archaeology (Swansea: Classical Press of Wales, 2015); H. Wilde, Innovation und Tradition: Zur Herstellung und Verwendung von Prestigegütern im pharaonischen Ägypten (Wiesbaden: Harrassowitz, 2011).

20

W. M. F. Petrie, ‘On the Mechanical Methods of the Ancient Egyptians,’ JAI 13 (1884), 83-109.

21

A. Lucas and J. R. Harris, Ancient Egyptian Materials and Industries (New York: Dover Publications, 1999).

22

Nicholson and Shaw, Materials and Technology, 5ff.

23

H. Jungst, ‘Zur Interpretation einiger Metallarbeiterszenen auf Wandbildern altägyptischer Gräber,’ GM 59 (1982), 1527.

24

B. Scheel, Egyptian Metalworking and Tools (Princes Risborough: Shire Publications, 1989); B. Scheel, ‘Studien zum Metallhandwerk im Alten Ägypten I: Handlungen und Beischriften in den Bildprogrammen der Gräber des Alten Reiches,’ SAK 12 (1985), 117-77.

25

C. Davey, ‘Old Kingdom Metallurgy in Memphite Tomb Images,’ in Ancient Memphis, ‘Enduring is the Perfection’: Proceedings of the International Conference Held at Macquarie University, Sydney on August 14-15, 2008. Orientalia Lovaniensia Analecta 214, ed. L. Evans (Leuven: Peeters, 2012), 85-107.

26

C. J. Davey, ‘Crucibles in the Petrie Collection and Hieroglyphic Ideograms for Metal,’ JEA 71 (1985), 14248. See also C. J. Davey, ‘A Metalworking Servant Statue from the Oriental Institute, University of Chicago,’ BACE 20 (2009), 42-45.

27

H. Altenmüller, ‘Ist die Waage im Gleichgewicht?,’ GM 97 (1987), 7-14; H. Altenmüller, ‘Zum Abwiegen von Metall im Alten Reich und zur Redewendung jw.s m jnr,’ GM 89 (1986), 7-14.

28

M. Bamberger, ‘The Working Conditions of the Ancient Copper Smelting Process,’ in Furnaces and Smelting Technology in Antiquity, eds. P. T. Craddock and M. J. Hughes (London: British Museum Press, 1985), 151-57.

‘Make it According to Plan’ 29

L. Garenne-Marot, ‘Le Travail du cuivre dans l’Égypte pharaonique d’après les peintures et les bas-reliefs,’ Paléorient 11, no. 1 (1985), 85-100.

47

Oxford Expedition to Egypt, Database of Scene Details from Ancient Egyptian Tombs of the Old Kingdom, (2007) oxfordexpeditiontoegypt.com/Database.php

30

K. P. Kuhlmann, ‘“Der ‘Mann des Min’ ist auf der Waage?”,’ GM 95 (1987), 45-52.

48

31

G. Killen, Egyptian Woodworking and Furniture (Princes Risborough: Shire Publications, 1994); G. Killen, Ancient Egyptian Furniture, 2 vols. (Warminster: Aris & Phillips, 1980-1994).

R. van Walsem, Mastabase: A Research Tool for the Study of the Secular or ‘Daily Life’ Scenes and Their Accompanying Texts in the Elite Tombs of the Memphite Area in the Old Kingdom (Leuven: Peeters, 2008).

49

Museum of Fine Arts, Boston, The Giza Archives, (2000) gizapyramids.org/

32

C. Haldane, ‘Ancient Egyptian Boat Construction,’ ASAE 73 (1998), 73-77; C. Haldane, Ancient Egyptian Hull Construction (Ph.D diss., Texas A&M University, 1993) nautarch.tamu.edu

50

For suggested division of labour among teams of artists see Kanawati, Tomb and Beyond, 73-74; N. Kanawati and A. Woods, Artists in the Old Kingdom: Techniques and Achievements (Cairo: SCA, 2009), passim.

33

S. Vinson, ‘Remarks on Herodotus’ Description of Egyptian Boat Construction (II.96),’ SAK 26 (1998), 251-60; S. Vinson, Egyptian Boats and Ships (Princes Risborough: Shire Publications, 1994).

51

34

D. Jones, ‘The Phrase Sd dSr, Sd m dSr in Boat-Building Scenes,’ JEA 72 (1986), 185-87; D. Jones, Boats (London: British Museum Press, 1995); D. Jones, A Glossary of Ancient Egyptian Nautical Titles and Terms (London: Kegan Paul International, 1988).

35

E. M. Rogers, An Analysis of Tomb Reliefs Depicting Boat Construction from the Old Kingdom Period in Egypt (M.A. diss., Texas A&M University, 1996) naut.arch.tamu.edu

C. J. Eyre, ‘Work and Organisation of Work in the Old Kingdom,’ in Labor in the Ancient Near East, ed. M. A. Powell (New Haven: AOS, 1987), 7; C. J. Eyre, ‘Work and Organisation of Work in the New Kingdom,’ in Labor, 192ff. For further on this aspect of ancient Egyptian art see G. A. Gaballa, Narrative in Egyptian Art (Mainz am Rhein: Philipp von Zabern, 1976), 138. But compare the views of N. Kanawati, ‘Specificity in Old Kingdom Tomb Scenes,’ ASAE 83 (2009), 261-78 and M. Lashien, ‘Narrative in Old Kingdom Wall Scenes: The Progress Through Time and Space,’ BACE 22 (2011), 101-14.

36

F. Müller-Römer, ‘Der Schiffsbau im Alten Ägypten,’ Kemet 2 (2013), 33-39.

37

S. Grunert, ‘Statuen aus Schepnen-Holz?,’ GM 183 (2001), 7-8.

38

E. Brovarski, ‘Old Kingdom Beaded Collars,’ in Ancient Egypt, the Aegean and the Near East: Studies in Honour of Martha Rhoads Bell I, ed. J. Phillips (San Antonio: Van Siclen Books, 1997), 137-62.

39

A. F. Hasanien, ‘Leather Manufacture in Ancient Egypt,’ GM 161 (1997), 75-85.

40

A. J. Veldmeijer, Footwear in Ancient Egypt: The Medelshavsmuseet Collection (Stockholm: National Museums of World Culture, 2014); A. J. Veldmeijer, ‘Studies of Ancient Egyptian Footwear. Technological Aspects. Part X: Leather Composite Sandals,’ PJAEE 6, no. 9 (2009), 1-27; A. J. Veldmeijer, ‘Studies of Ancient Egyptian Footwear. Technological Aspects. Part XIV: Leather Eared Sandals,’ PJAEE 8, no. 5 (2011), 1-31.

41

42

T. R. Hester and R. F. Heizer, ‘Making Stone Vases: Ethnoarchaeological Studies at an Alabaster Workshop in Upper Egypt,’ OP 1, no. 2 (1981), 24-45. D. A. Stocks, ‘Egyptian Technology II: Stone Vessel Manufacture,’ PopArch 7, no. 4 (1986), 14-18.

43

R. Drenkhahn, Die Handwerker und ihre Tätigkeiten im alten Ägypten (Wiesbaden: Harrassowitz, 1976).

44

M. Eaton-Krauss, The Representations of Statuary in Private Tombs of the Old Kingdom (Wiesbaden: Harrassowitz, 1984).

45

W. Davis, The Canonical Tradition in Ancient Egyptian Art (Cambridge: Cambridge University Press, 1989), 60.

46

M. Müller, ‘Iconography: Basic Problems of the Classification of Scenes,’ in Congresso Internazionale di Egittologia: Atti II, eds. G. M. Zaccone and T. R. di Netro (Torino: Società Italiana per il Gas, 1993), 337ff.; M. Müller, ‘Grundsätze einer Datenbank der ägyptischen Ikonographie,’ GM 188 (2002), 81-94.

52



Müller, ‘Iconography: Basic Problems,’ 338-39.

53

See also M. Hampson, ‘Experimenting with the New: Innovative Figure Types and Minor Features in Old Kingdom Workshop Scenes,’ in Egyptian Culture and Society: Studies in Honour of Naguib Kanawati I, eds. A. Woods, A. McFarlane and S. Binder (Cairo: SCA, 2010), 165-79.

54

See Harpur, Decoration, 34.

55

See Eaton-Krauss, Statuary, pl. 27; W. S. Smith, A History of Egyptian Sculpture and Painting in the Old Kingdom, 2nd ed. (London: Oxford University Press, 1949), pl. 49[b].

56

MFA, Giza Archives, MQ 1: Photo ID. A1035_NS. For most recent study see M. Hampson, ‘A Princely Find: The Lost Scenes of Craftsmen in the Tomb of Khuenre,’ in Ancient Memphis, 193-204.

57

Harpur, Decoration, 2.

58

D. O’Connor, ‘Ancient Egypt: Egyptological and Anthropological Perspectives,’ in Anthropology and Egyptology: A Developing Dialogue. Monographs in Mediterranean Archaeology 8, ed. J. Lustig (Sheffield: Sheffield Academic Press, 1997), 16.

59

G. Robins, ‘Problems in Interpreting Egyptian Art,’ DE 17 (1990), 45.

60

Kanawati, Tomb and Beyond, 122.

61

Note the omission of various scenes currently classified in the literature as pertaining to workshop activity but found to be identified in error. These are as follows: (a) A scene in the tomb of Nfr-jry-n.f (Saqqara D55) described as “........ craftsmen making beads” by R. S. Bianchi, ‘Ancient Egyptian Reliefs, Statuary and Monumental Paintings,’ in Civilizations of the Ancient Near East III, ed. J. Sasson (New York: Charles Scribner’s Sons, 1995), 1593 and W. Boochs, Siegel und Siegeln im Alten Ägypte (Sankt Augustin: Hans Richarz, 1982) but, on examination of the relevant photographs in B. van de Walle, La chapelle funéraire de Neferirtenef (Brussels: Museés Royaux d’Art et d’Histoire, 1978), 32, pl. 13 and E. de Keyser, ‘Scènes de chasse et pêche,’ CdE 22, no. 43 (1947), 42, fig. 8, found to be a depiction of fish gutting; (b) A scene cited by PM III [2], 754 as containing the remains of industries but, on personal inspection by kind permission of the Egyptian Museum, found to comprise only the chest of an individual, the title jmj-r (?) Stj(w) nbw Xkrw-

284

Notes nswt ‘Overseer of Smelters of Gold of King’s Adorners’ and part of an offering list; (c) A scene in the tomb of ¢wfw-xa.f II [Cat.8] classified by MFA, Giza Archives, G7150: Photo ID. A7094_NS as one of Carpentry but able to be established as figures either reaping flax with sickles or taking objects out of a box. See W. K. Simpson, The Mastabas of Kawab, Khafkhufu I and II. G7110-20, 7130-40 and 7150 and Subsidiary Mastabas of Street G7100. Giza Mastabas III (Boston: MFA, 1978), 24, pl. XXXVI[b]; (d) A scene in the tomb of ¢mt-nw (Giza G5210) similarly described by MFA, Giza Archives, G5210: Photo ID. A8182_NS as pertaining to Carpentry but, on examination, seen to comprise two sets of figures either placing or taking linen into or out of a box. First observed by G. A. Reisner in ‘A History of the Giza Necropolis III, Unpublished 1942 Manuscript Appendix N: Cemetery G4000,’ MFA, Giza Archives, G5210_01 and in G. A. Reisner, A History of the Giza Necropolis I (Cambridge [Massachusetts]: Harvard University Press, 1942), 330[3]; (e) A scene in the tomb of anx-m-a-Ra (Giza G7837+7843) described as pertaining to Carpentry by MFA, Giza Archives, G7837: Photo ID. A6151_NS but, when viewed, found to be a representation of bed making and not bed construction as implied. See G. A. Reisner, ‘A History of the Giza Necropolis III, Unpublished 1942 Manuscript Appendix P: Cemetery G7000 Part 2,’ MFA, Giza Archives, 478; Reisner, Giza Necropolis I, 351; PM III [2], 206. 62

63

IFAO, 1966), pl. CLXXIV; &p-m-anx II [Cat.33] in S. Hodjash and O. Berlev, The Egyptian Reliefs and Stelae in the Pushkin Museum of Fine Arts, Moscow (Leningrad: Aurora Art Publishers, 1982), pl. 3; #wn-Ra [Cat.9] in MFA, Giza Archives, MQ 1: Photo ID. A5484_NS. For a comprehensive discussion of pottery production in the Old Kingdom, the context in which it took place and its classification as a specialised or non-specialised industry see J. D. Bourriau, P. T. Nicholson and P. J. Rose, ‘Pottery,’ in Materials and Industries, 135-42; E. C. Köhler, ‘Socio-Economic Aspects of Early Pottery Production in the Nile Delta,’ BACE 8 (1997), 85-88; L. A. Warden, Pottery and Economy in Old Kingdom Egypt (Leiden: Brill, 2013), 169-73, 188-90, 205ff. For most recent analysis of scenes of pottery manufacture and use see Y. Harpur, ‘Earthenware Vessels in Old Kingdom Two-Dimensional Art: Their Manufacture and Direct Use by Minor Human Figures,’ in Under the Potter’s Tree: Studies on Ancient Egypt. Presented to Janine Bourriau on the Occasion of Her 70th Birthday, eds. D. Aston, B. Bader, C. Gallorini, P. Nicholson and S. Buckingham (Leuven: Peeters, 2011), 441ff.; R. van Walsem, ‘Scenes of the Production of Pottery in Old Kingdom Elite Tombs of the Memphite Area. A Quantitative Analysis,’ in Under the Potter’s Tree, 977ff.

Owing to their different context, scenes of workshop activity recorded in the burial chamber of the tomb of KA(.j)-manx (Giza G4561) are also not included in the corpus but may be viewed as relevant in terms of potential dating and stylistic criteria. They include the following industries: (a) Two scenes of Carpentry. See N. Kanawati, Tombs at Giza I: Kaiemankh (G4561) and Seshemnefer I (G4940) (Warminister: Aris & Phillips, 2001), pl. 15a[upper and lower right]; MFA, Giza Archives, G4561: Photo ID. AEOS_ II_2554. Identified by the latter as a scene of shipbuilding, but the scenes may equally be classified as Carpentry, specifically the preparation of staffs, given that a branch or stick is shown being dressed; (b) A scene of Metalwork, specifically the heating of precious metal, based on the depiction of a single metal blower holding a blowpipe with a large tuyure over a rhyton-shaped crucible. See Kanawati, Giza I, pl. 15a[upper left]; Davey, ‘Metalworking Servant Statue,’ 40, fig. 4. Other scenes classified in error by MFA, Giza Archives as pertaining to workshop activity in the tomb of KA(.j)-m-anx include the following: (a) G4561: Photo ID. AEOS_2532_1 and Photo ID. PDM _00955, identified as a scene of Carpentry when, in fact, depicting the making of a bed, indicated as such in the accompanying caption wdt ATw.t ‘Laying out the bed’. See Kanawati, Giza I, 33, pl. 32; N. Kanawati, ‘Decoration of Burial Chambers, Sarcophagi and Coffins in the Old Kingdom,’ in Studies in Honor of Ali Radwan II, eds. K. Daoud, S. Bedier and S. el-Fatah (Cairo: SCA, 2005), 58; (b) G4561: Photo ID. AEOS_II_2555, also identified as a scene of Carpentry but, again, showing the preparation of a bed. See Kanawati, Giza I, 38, pl. 35; (c) G4561: Photo ID. AEOS_II_2533_2 with the same identification but more accurately described in this instance as “........ preparing furniture” by Kanawati, Giza I, 33, based on the adjacent caption wxA st ‘Fixing the chair’ in reference to the positioning or stacking of the chair on top of the accompanying bed frame. See for example Eyre, ‘Work: Old Kingdom,’ 32; H. Pittman, ‘Cylinder Seals and Scarabs in the Ancient Near East,’ in Civilizations III, 1593; Boochs, Siegel und Siegeln, 104. For scenes of textile manufacture see the tombs of anx-ma-@r:%sj [Cat.19] in A. Badawy, The Tomb of Nyhetep-Ptah at Giza and the Tomb of aAnkhmaahor at Saqqara (Berkeley: University of California Press, 1978), fig. 32; Ppjj-anx:@njkm [Cat.51] in A. M. Blackman and M. R. Apted, The Rock Tombs of Meir V (London: EEF, 1953), pl. XV[3]; Nj-kAwJssj in N. Kanawati and M. Abder-Raziq, The Teti Cemetery at Saqqara VI (Warminster: Aris & Phillips, 2000), pl. 67[b]; Block PM546 in C. M. Firth and B. Gunn, Excavations at Saqqara: Teti Pyramid Cemeteries I (Cairo: IFAO, 1926), 36. For scenes of stone engraving see the tombs of *jj [Cat.34] in H. Wild, Le Tombeau de Ti III: La Chapelle. Part 2 (Cairo:

285

64

Metals, imported woods and quality stones being controlled by royal monopoly and granted only through royal favour. For further on state organisation of resources see Eyre, ‘Work: Old Kingdom,’ 13, 21; G. Robins, The Art of Ancient Egypt. Rev. ed. (Cambridge [Massachusetts]: Harvard University Press, 2008), 252; J. Malek, ‘The Old Kingdom,’ in The Oxford History of Ancient Egypt, ed. I. Shaw (Oxford: Oxford University Press, 2000), 105-06, 111, 115-16; Scheel, Egyptian Metalworking, 21; W. Helck, ‘Wirtschaftliche Bemerkungen zum privaten Grabbesitz im Alten Reich,’ MDAIK 14 (1956), 64; W. Helck, Wirtschaftsgeschichte des Alten Ägypten (Leiden/Cologne: Brill, 1975), 120ff; P. Montet, Eternal Egypt, trans. D. Weightman (London: Phoenix Press, 2000), 233; Warden, Pottery and Economy, 247ff.; Eaton-Krauss, Statuary, 59 but note her argument that by Dynasty VI, granite and limestone had become more accessible to private citizens, either through procurement of discarded blocks in temples and workshops or change in government policy.

65

Harpur, Decoration, 224. See also S. Ikram, Death and Burial in Ancient Egypt (Harlow: Longman, 2003), 155; Z. Hawass and M. Verner, ‘Newly Discovered Blocks from the Causeway of Sahure,’ MDAIK, 52 (1996), 185. For specific examples see those from the Causeway of the Unas Temple at Saqqara published by S. Hassan, ‘Excavations at Saqqara 1937-1938,’ ASAE 38 (1938), pl. XCVI; W. S. Smith, ‘The Origin of Some Unidentified Old Kingdom Reliefs,’ AJA 46, no. 4 (1942), 516-19, fig. 8. Analysis of these reliefs, which feature scenes of Metalwork, specifically the weighing and melting of crude and precious metal, beating sheet metal, polishing vessels and the sharpening of an adze blade, is not included in the present study.

66

For further discussion regarding problems associated with the statistical analysis of iconographic programmes and factors influencing scene selection, particularly as they apply to so-called ‘optional themes’, see van Walsem, Iconography, 58ff.; Müller, ‘Iconography: Basic Problems,’ 337ff.; N. Staring, ‘Iconographic Programme and Tomb Architecture: A Focus on Desert-Related Themes,’ in Current Research in Egyptology 2008: Proceedings of the Ninth Annual Symposium, University of Manchester, January 2008, eds. V. Gashe and J. Finch (Bolton: Rutherford Press, 2008), 12938; Staring, ‘Fixed Rules,’ 260-62; van Walsem, ‘Sense and Sensibility,’ 277-84, 305.

67

See for example the views espoused by Reisner, Giza Necropolis I, 350; Drenkhahn, Handwerker, 35; J. Malek, Egyptian Art (London: Phaidon, 1999), 20ff.; Eaton-Krauss, Statuary, 32, 75; Weeks, ‘Art, Word,’ 59; Smith, HESPOK, xii; J. W. Crowfoot, ‘The Giza Necropolis,’ Antiquity 20, no. 80 (1946), 189; W. K. Simpson, ‘Aspects of Egyptian Art: Function and Aesthetic,’ in Immortal Egypt, ed. D. SchmandtBesserat (Malibu: Undena Publications, 1978), 23; Robins,

‘Make it According to Plan’ Art, 68; Robins, ‘Interpreting Egyptian Art,’ 48; Montet, Scènes, 285ff.; D. Kessler, ‘Zur Bedeutung der Szenen des täglichen Lebens in den Privatgräben (1): Die Szenen des Schiffsbaues und der Schiffahrt,’ ZÄS 114, no. 1/2 (1987), 67; Ikram, Death and Burial, 132-35; van Walsem, Iconography, 33-34. Cf. Kanawati, Tomb and Beyond, 115ff.; H. Frankfort, Ancient Egyptian Religion: An Interpretation (New York: Columbia University Press, 1948), 94; A. Bakir, ‘Remarks on Some Aspects of Egyptian Religion,’ JEA 53 (1967), 160; H. Altenmüller, ‘Lebenszeit und Unsterblichkeit in den Darstellungen der Gräber des Alten Reiches,’ in 5000 Jahre Ägypten: Genese und Permanenz Pharaonischer Kunst, eds. J. Assmann and G. Burkard (Nussloch: IS-Edition, 1983), 75ff; H. Junker, Die gesellschaftliche Stellung der ägyptischen Künstler im Alten Reich (Vienna: R. M. Rohrer, 1959), 29; Eyre, ‘Work: Old Kingdom,’ 27; J. P. Allen, ‘Some Aspects of the Non-Royal Afterlife in the Old Kingdom,’ in The Old Kingdom Art and Archaeology: Proceedings of the Conference Held in Prague, May 31-June 4, 2004, ed. M. Bárta (Prague: CIE, 2006), 10; D. Vischak, ‘Agency in Old Kingdom Tomb Programs: Traditions, Locations and Variable Meanings,’ in Dekorierte Grabanlagen, 256; van Walsem, ‘Sense and Sensibility,’ 292; Warden, Pottery and Economy, 171-72; V. Vasiljevic, ‘Terminology and Interpretation in Studies on Decoration of Private Tombs,’ JSAS 19 (2003), 135-42. 68

Argued by E. Staehelin, Untersuchungen zur ägyptischen Tracht im Alten Reich (Berlin: Bruno Hessling, 1966), 11617 as being intended for funerary purposes only. See also Brovarski, ‘Beaded Collars,’ 154.

69

So Drenkhahn, Handwerker, 135; Montet, Scènes, 275; R. Faulkner, A Concise Dictionary of Middle Egyptian (Oxford: Griffith Institute, 1988), 30; R. Hannig, Ägyptisches Wörterbuch I: Altes Reich und Erste Zwischenzeit (Mainz am Rhein: Philipp von Zabern, 2003), 217[3793]. For occurrences see the tombs of #wn-Ra [Cat.9] in MFA, Giza Archives, MQ 1: Photo ID. A1035_NS; Nj-anx-$nmw and $nmw-Htp [Cat.25] in A. M. Moussa and H. Altenmüller, Das Grab des Nianchchnum und Chnumhotep (Mainz am Rhein: Philipp von Zabern, 1977), Taf. 65 and Jbj [Cat.47] in N. de G. Davies, The Rock Tombs of Deir el-Gebrawi I (London: EEF, 1902), pl. XV. Note distinction between js ‘workshop’ and js.t ‘gang’, although considered interchangeable by some scholars. See for example K. R. Weeks, The Mastabas of Cemetery G6000: G6010 (Neferbauptah), G6020 (Iymery) and G6040 (Shepseskafankh). Giza Mastabas V (Boston: MFA, 1994), 18[32]. Cf. Eyre, ‘Work: Old Kingdom,’ 29 who defines js as ʻplace of workʼ.

70

71

For further on the system of land tenure during the Old Kingdom see Drenkhahn, Handwerker, 136-37; Eyre, ‘Work: Old Kingdom,’ 32-33; J. Malek, In the Shadow of the Pyramids: Egypt During the Old Kingdom (Norman: University of Oklahoma Press, 1986), 79-82; Helck, ‘Wirtschaftliche Bemerkungen,’ 64; J. J. Perepelkin, Privateigentum in der Vorstellung der Ägypter des Altes Reiches, trans. R. MüllerWollermann (Tübingen: Dissertations Druck Darmstadt, 1986), 158ff. For evidence of private dockyards see Jones, Boats, 80-81; K. Vandorpe, ‘‘The Dockyard Workshop’ or the Toachris Village,’ Enchoria 22 (1995), 162.

exist. 74

So Drenkhahn, Handwerker, 135; R. Drenkhahn, ‘Artisans and Artists in Pharaonic Egypt,’ in Civilizations I, 332. Cf. Junker, Künstler, 32 Note 29; Montet, Scènes, 275; Montet, Eternal Egypt, 237; Scheel, Egyptian Metalworking, 59; C. Aldred, Egyptian Art in the Days of the Pharaohs 3100320 B. C. (London: Thames & Hudson, 1994), 19. But see Kanawati, Tomb and Beyond, 72-73.

75

So Drenkhahn, ‘Artisans and Artists,’ 338; Junker, Künstler, 32; Eaton-Krauss, Statuary, 46; J. R. Harris, Egyptian Art (London: Spring Books, 1967), 11 but see Drenkhahn, Handwerker, 97 Note 3.

76

For exceptions see the tombs of Wp-m-nfrt:Wp [Cat.3] and Nb.j-m-Axtj [Cat.5], where scenes of Jewellery Making are separated from their usual association with Metalwork by two registers, and Jbj [Cat.47], where Sculpture appears in the same register as Carpentry. Note, however, that this latter tomb is characterised by such illogical placement of subject matter. See Harpur, Decoration, 121. Furthermore, it is common for different materials, both wood and stone, to be worked in the same scene of Sculpture, although in a number of cases, proximity to either Carpentry and/or Stonework still generally applies.

77

So Drenkhahn, Handwerker, 147; E. Brovarski, ‘The Doors of Heaven,’ OrNS 46, no. 1 (1977), 114-15; Junker, Künstler, 23ff.; Eyre, ‘Work: Old Kingdom,’ 27; A. O. Bolshakov, ‘The Old Kingdom Representations of Funeral Procession,’ GM 121 (1991), 39 Note 6.

78

Drenkhahn, Handwerker, 147; N. Strudwick, ‘Some Remarks on the Disposition of Texts in Old Kingdom Tombs with Particular Reference to the False Door,’ GM 77 (1984), 35. But see Eyre, ‘Work: Old Kingdom,’ 26-28 for inscriptional evidence of distinction between tomb makers jrj-js and XrtjnTr and necropolis craftsmen, together with the argument that wab.t may have referred only to an administrative organisation rather than a work centre.

79

Strudwick, ‘Disposition of Texts,’ 35-36; Drenkhahn, Handwerker, 147-48. But note latter’s argument that both types of workshops could have been housed in the same complex, with the wab.t rsj.t referring to the southern wing.

80

So Eyre, ‘Work: Old Kingdom,’ 27.

81

Eyre, ‘Work: Old Kingdom,’ 27 and Scheel, Egyptian Metalworking, 59 also include the personal craftsmen of the king himself (nswt) in this category, but it is disputed by Drenkhahn, Handwerker, 145 that these artisans were permitted to engage in private service.

82

Note the opinion of Bolshakov, ‘Funeral Procession,’ 46 Note 19 that funerary goods manufactured by craftsmen of the wab.t, particularly statues, were completed in their own workshops. But see Drenkhahn, Handwerker, 139 for the argument that such personnel functioned as “guest workers” in the household of the deceased. Cf. Eyre, ‘Work: Old Kingdom,’ 28.

83

See Drenkhahn, Handwerker, 135ff. For organisation of labour in the Old Kingdom see Malek, Old Kingdom, 102. Cf. Eyre, ‘Work: Old Kingdom,’ 28; Drenkhahn, Handwerker, 134; Drenkhahn, ‘Artisans and Artists,’ 338. Eyre, ‘Work: Old Kingdom,’ 28. But see Drenkhahn, Handwerker, 45-46 and A. Wilkinson, Ancient Egyptian Jewellery (London: Methuen and Co., 1971), 2 for the argument that jewellers could be employed in either state or private service. See also V. Dasen, Dwarfs in Ancient Egypt and Greece (Oxford: Clarendon Press, 1993), 118; J. Baines, ‘On the Status and Purposes of Ancient Egyptian Art,’ CAJ 4, no. 1 (1994), 90 Note 6.

72

For classification of wooden boat building as a workshop activity see Harpur, Decoration, 84; Drenkhahn, Handwerker, 97 Note 4; Reisner, Giza Necropolis I, 350; Eyre, ‘Work: Old Kingdom,’ 27. Cf. Kanawati, Tomb and Beyond, 72.

84

73

See Eyre, ‘Work: Old Kingdom,’ 28. Later models c.1st Intermediate Period show some workshops as open shed-like structures within walled enclosures. So H. E. Winlock, Models of Daily Life in Ancient Egypt from the Tomb of Meket-Rēa at Thebes (Cambridge [Massachusetts]: MMA, 1955), 33-35; J. H. Breasted, Egyptian Servant Statues (New York: Pantheon, 1948), 50-51. But see A. O. Bolshakov, ‘Hinting as a Method of Old Kingdom Tomb Decoration,’ GM 139 (1994), 26 Note 23 for the argument that the estate as a compact unit did not

85

286

Notes 86

See for example the tombs Nj-anx-$nmw and $nmw-Htp [Cat.25], KA.j-jrr [Cat.30] and Jbj [Cat.47]. It is possible that the poorly preserved caption associated with Jewellery Making in the tomb of KA.j-jrr [Cat.30] refers to all of the figures present, thereby potentially increasing the number of jewellers of the pr-D.t depicted in the corpus to ten.

Aris & Phillips, 1977), 101[170]. 100

See Jones, Titles I, 87[374] for translation.

101

For example as companions to the tomb owner or as offering bearers or priests. See Eyre, ‘Work: Old Kingdom,’ 30; Junker, Künstler, 52ff.; Drenkhahn, Handwerker, 66, 139. The term may also appear as a component of an individual’s title. See Drenkhahn, Handwerker, 148-49.

E. Brovarski, The Senedjemib Complex Part 1: The Mastabas of Senedjemib Inti (G2370), Khnumenti (G2374) and Senedjemib Mehi (G2378). Giza Mastabas VII (Boston: MFA, 2000), 158; Brovarski, ‘Doors of Heaven,’ 107-15.

102

Jones, Titles I, 133[524].

103

Jones, Titles I, 132[522].

88

See for example Eyre, ‘Work: Old Kingdom,’ 30.

104

Drenkhahn, Handwerker, 148.

89

D. Jones, An Index of Ancient Egyptian Titles, Epithets and Phrases of the Old Kingdom I (Oxford: BAR Publishing, 2000), 449[1680].

105

Note that %nDm-jb:MHj [Cat.12] and KA-gm-nj:Mmj [Cat.32] are both jmj-r pr.wjj nbw.

106

90

Drenkhahn, ‘Artisans and Artists,’ 338.

Brovarski, Senedjemib Complex I, 159.

107

91

So Drenkhahn, Handwerker, 139.

92

So Junker, Künstler, 16. Note also the specific identification and naming of other craftsmen in at least 14 chapels, in contrast to the usual anonymity of minor figures, supporting the notion that many tomb owners formed close personal relationships with their workmen. See especially the chapel of Wp-m-nfrt:Wp [Cat.3] in this regard, where at least four craftsmen are named among the 15 witnesses to his will, in addition to those identified in the chapel’s workshop scenes.

Note that Brovarski, Senedjemib Complex I, 158 Note 291 inadvertently assigns the title jmj-r wab.t to Mrrw-kA.j:Mrj [Cat.22]. For complete title sequence see N. Strudwick, The Administration of Egypt in the Old Kingdom: The Highest Offices and Their Holders (London: Kegan Paul International, 1985), 100.

108

So Drenkhahn, Handwerker, 149.

109

Jones, Titles I, 391[1450].

110

Jones, Titles I, 181[683].

111

Jones, Titles I, 180[681].

112

For further see Eyre, ‘Work: Old Kingdom,’ 26; V. Chauvet, ‘Who Did What and Why: The Dynamics of Tomb Preparation,’ in Joyful in Thebes: Egyptological Studies in Honor of Betsy M. Bryan, eds. R. Jasnow, K. M. Cooney and K. Davis (Atlanta: Lockwood Press, 2015), 67-68.

113

See K. Myśliwiec, Saqqara I: The Tomb of Merefnebef I (Warsaw: Neriton, 2004), 50 Note 54.

87

93

Drenkhahn, Handwerker, 139; Drenkhahn, ‘Artisans and Artists,’ 338. Cf. Junker, Künstler, 18.

94

For further on the use of titles to emphasise social standing in scenes see van Walsem, ‘Sense and Sensibility,’ 296.

95

The tomb of KA.j-jrr [Cat.30] remains largely unpublished at the present time, hence his full title sequence cannot be confirmed. The size of his tomb and the quality and originality of the relief work, however, suggest that he was an official of considerable wealth and importance.

96

For this conclusion see also Harpur, Decoration, 121.

114

See Moussa and Altenmüller, Nefer, 17.

97

For general discussion of this issue see Kanawati, Tomb and Beyond, 84.

115

98

Note inadvertent identification of anx-m-a-¡r:¤sj [Cat.19] as mDH.w nswt ‘Royal Carpenter’ by Badawy, aAnkhmaahor, 14. The title is to be read mDH sS nswt ‘The Master Architect of the King’, as per Jones, Titles I, 467[1739] and N. Kanawati and A. Hassan, The Teti Cemetery at Saqqara II: The Tomb of Ankhmahor (Warminster: Aris & Phillips, 1997), 28. It is unclear the extent to which the title   sHD wjA ‘Inspector of the Boat’, held by Jntj [Cat.42] and cited by N. Kanawati and A. McFarlane, Deshasha: The Tombs of Inti, Shedu and Others (Sydney: ACE, 1993), 15, may have influenced the inclusion of wooden boat building scenes in his chapel, however the major titles associated with dockyard supervision, e.g.  jmj-r wxr.t ‘Overseer of the Dockyard’ and  jrj wxr.t ‘Keeper of the Dockyard’, cited by Jones, Titles I, 105[426], 313[1149], are otherwise found to have no representation in the corpus. For further discussion of officials known to be connected with boats see Galán, ‘Two Old Kingdom Officials,’ 145ff.

These being Axt-Htp:@mj (PM III [2], 627-29); Jdw I (PM III [2], 165); Jmpy (PM III [2], 91-92); anxw (Not Recorded); anx-HAf:KAr (PM III [2], 257-58); PtH-Htp (PM III [2], 653-54); Mrrj (PM III [2], 607-08); Nj-sanx-Axt:Jtj (PM III [2], 258); Nfr-sSm-ra:^sj (PM III [2], 511-12); Nfr-sSm-sSAt:#nw (PM III [2], 585-86); $nmw-ntj (PM III [2], 87); %Abw-ptH:Jbbj (Not Recorded); and *Tw (PM III [2], 537).

116

See for example the tombs of Jdw I (PM III [2], 165); anx-jrptH (PM III [2], 138); Ra-wr (PM III [2], 265-69); %Abw:jbbj (PM III [2], 460-61); and %xm-anx-ptH (PM III [2], 191).

117

For the 30 known holders of this title, in addition to those cited in the corpus, see Strudwick, Administration, 55ff.; Kanawati, Administration, 81ff.

118

For the nine known holders of this title, in addition to those cited in the corpus, see Kanawati, Administration, 81ff.

119

See Kanawati, Administration, 117[292]; H. Junker, Giza IX. Das Mittelfeld des Westfriedhofs (Vienna: R. M. Rohrer, 1950), 87[2]. For translation of text as ‘Overseer of the Workshop’ see Jones, Titles I, 62[290].

120

The East Wall of the chapel containing a scene of Jewellery Making is thought to be the area reserved for Nfr’s parents, KA-HA.j and Mrjt-jt.s. So Moussa and Altenmüller, Nefer, 14.

121

See Myśliwiec, Merefnebef I, 250.

122

To date, the only recorded titles in the case of KA.j-jrr [Cat.30] being HAtj-a and smr watj. See K. Daoud, ‘The Tomb of Kairer: Preliminary Report on the Field Work, Season

99

Note that in the specific case of PtH-Spss [Cat.16], the title jmj-r wab.t is translated as ‘Overseer of the wab.t Chamber’, i.e. the ‘Embalming Workshop’, by both M. Verner, Abusir I. The Mastaba of Ptahshepses. Reliefs I/1 (Prague: Charles University, 1977), 125 and Jones, Titles I, 87[370]. Note further in the case of Nfr and KA-HA.j [Cat.27] the combining of their two titles sHD Pr-aA and sHD wab.t to read sHD Pr-aA wab.t by A. M. Moussa and H. Altenmüller, The Tomb of Nefer and Ka-hay (Mainz am Rhein: Philipp von Zabern, 1971), 15 Note 28. Cf. N. Kanawati, The Egyptian Administration in the Old Kingdom: Evidence of its Economic Decline (Warminster:

287

‘Make it According to Plan’ Hawa,’ in The Archaeology and Art of Ancient Egypt: Essays in Honor of David B. O’Connor II, eds. Z. Hawass and J. Richards (Cairo: SCA, 2007), 446.

1993,’ GM 147 (1995), 45 Note 7. 123

124

Excluding holders of the titles jrj-pat, HAtj-a and smr watj, these being, for much of the Old Kingdom, largely rank titles carrying prestige but entailing no functional duties. For issue of wealth and personal investment in tomb construction and decoration see also Kanawati, Administration, 39ff.; N. C. Strudwick, Texts from the Pyramid Age, ed. R. J. Leprohon (Leiden: Brill, 2005), 251-60; A. M. Roth, ‘The Practical Economics of Tomb Building in the Old Kingdom: A Visit to the Necropolis in a Carrying Chair,’ in For His Ka: Essays Offered in Memory of Klaus Baer, ed. D. P. Silverman (Chicago: OI, 1994), 227-40; N. Weeks, ‘Care of Officials in the Egyptian Old Kingdom,’ CdeE 58, no. 115-16 (1983), 5-22.

125

For examples of such individuals see Kanawati, Tomb and Beyond, 73.

126

See K. Baer, Rank and Title in the Old Kingdom: The Structure of the Egyptian Administration in the Fifth and Sixth Dynasties (Chicago: University of Chicago Press, 1960), 231.

127

G. A. Reisner, ‘A Family of Royal Estate Stewards of Dynasty V,’ BMFA 37 (1939), 29-35 cited in Weeks, Cemetery G6000, 5.

128

For further on creativity in ancient Egyptian wall scenes and owner preferences see G. Robins, ‘Piles of Offerings: Paradigms of Limitation and Creativity in Egyptian Art,’ in Proceedings Seventh International Congress, 957-63; Kanawati, Tomb and Beyond, 74ff.; Malek, Pyramids, 113; R. van Walsem, ‘Diversification and Variation in Old Kingdom Funerary Iconography as the Expression of a Need for Individuality,’ JEOL 44 (2012-2013), 117-39; van Walsem, Iconography, 45, 58ff.; van Walsem, ‘Sense and Sensibility,’ 281ff.; Flentye, Decorated Elite Mastaba, 232ff.; M. Lashien, ‘Artists’ Training in the Old and Middle Kingdoms,’ GM 224 (2010), 81ff; G. Pieke, ‘ “Eine Frage des Geschmacks”-Anmerkungen zur Grabdekoration auf dem Teti-Friedhof von Saqqara,’ in Art and Society: Ancient and Modern Contexts of Egyptian Art: Proceedings of the International Conference Held at the Museum of Fine Arts, Budapest, 13-15 May 2010, ed. K. A. Kóthay (Budapest: Museum of Fine Arts Budapest, 2012), 123-38; Vischak, ‘Agency,’ 264ff.; Staring, ‘Fixed Rules,’ 257-60, 269; S. Verma, Significance of Identity, Individuality and Ideology in Old Kingdom Tomb Iconography (Ph.D diss., Leiden University, 2011) openaccess.leidenuniv.nl, passim.

133

The owners of the false door and statue niche in the tombs of ¡m-Ra:Jsj [Cat.49] and KA.j-xnt II [Cat.53] respectively are unidentified. Although uninscribed, the relevant statue niche in the tomb of Mrs-anx III [Cat.4] is attributed by G. A. Reisner, ‘The Tomb of Meresankh, A Great-Granddaughter of Queen Hetep-Heres I and Sneferuw,’ BMFA 25, no. 151 (1927), 70 to Mrs-anx III’s steward and chief funerary priest, $m-tn. Cf. D. Dunham and W. K. Simpson, The Mastaba of Queen Mersyankh III G7530-7430. Giza Mastabas I (Boston: MFA, 1974), 17; Smith, HESPOK, 44.

134

For an example of the launching of a boat see the tomb of Nfr and KA-HA.j [Cat.27] but note that the context in which it appears is open to debate. For further see M. Lashien, The Chapel of Kahai and His Family (Oxford: Aris & Phillips, 2013), 36; Moussa and Altenmüller, Nefer, 27.

135

An exception may be found in the tomb of §jj [Cat.34], however, in which an explicit order of mortice and tenon joinery is depicted. See G. Steindorff, Das Grab des Ti. Veröffentlichungen der Ernst von Sieglin Expedition in Ägypten II (Leipzig: J. C. Hinrichs, 1913), Taf. 120; Rogers, Boat Construction, 72, 74.

136

See A. Erman and H. Grapow eds., Wörterbuch der ägyptischen Sprache IV (Leipzig: J. C. Hinrichs, 1930), 410[7]. For use of the term SAb.t as a designation for wooden boats see A. Nibbi, ‘Cedar Again,’ DE 34 (1996), 42 Note 448b.

137

For use of cedar and pine see Nibbi, ‘Cedar Again,’ 42-43. For examples of cedar boats see the tombs of &p-m-anx [Cat.17], Mrrw-kA.j:Mrj [Cat.22] and Nb-kAw-¡r:Jdw [Cat.26].

138

So Lucas and Harris, Materials and Industries, 442; Killen, Egyptian Woodworking, 7; R. Partridge, Transport in Ancient Egypt (London: Rubicon Press, 1996), 24; Vinson, ‘Boat Construction,’ 254; L. Casson, Ships and Seamanship in the Ancient World (Princeton: Princeton University Press, 1986), 11. But see again A. Nibbi, ‘A Note on the Cedarwood from Maadi,’ DE 17 (1990), 25-27; A. Nibbi, ‘Some Remarks on the Cedar of Lebanon,’ DE 28 (1994), 42-43; Nibbi, ‘Cedar,’ 44; A. Nibbi, ‘Cedar Yet Again,’ DE 56 (2003), 72 for the possible use of cedar and pine.

139

With the shape of the blade and presence of a fastening hole being important chronological markers and the style of the handle and weight of the axe determining its function. So Rogers, Boat Construction, 15-17.

129

See Harpur, Decoration, 226-29.

130

Harpur, Decoration, 66, 228-29. But see van Walsem, ‘Sense and Sensibility,’ 295ff. for arguments against fixed rules in orientation, location and distribution of themes.

140

Kanawati, Administration, 154.

141

Smith, HESPOK, 209.

With the kind permission of Dr. Zahi Hawass, Former Secretary-General of the Supreme Council of Antiquities Egypt (SCA), and supported by a Macquarie University Postgraduate Research Fund Grant awarded 2004. The following tombs and fragments were examined in situ: Jjmrjj [Cat.1]; Mrs-anx III [Cat.4]; ¢wfw-xa.f II [Cat.8]; ¤nDmjb:Jntj [Cat.11]; ¤nDm-jb:MHj [Cat.12]; anx-m-a-¡r:¤sj [Cat.19]; PtH-Htp II:§fj [Cat.20]; Mrrw-kA.j:Mrj [Cat.22]; MHw [Cat.23]; Nj-anx-$nmw and $nmw-Htp [Cat.25]; Nfr and KA-HA.j [Cat.27]; ¤SsSt:Jdwt [Cat.29]; CG1534 [Cat.31]; KA-gm-nj:Mmj [Cat.32]; §jj [Cat.34]; and JE39866 [Cat.35]. Follow up examination completed in 2008 also with the kind permission of Dr. Hawass.

142

Harpur, Decoration, 271.

143

But see the tombs of Mrs-anx III [Cat.4] and Nfr and KA-HA.j [Cat.27] for an example of this feature in a statue dragging scene and in a scene of browsing goats respectively.

144

M. Baud, Famille royale et pouvoir sous l’Ancien Empire égyptien I (Cairo: IFAO, 1999), 101.

145

H. Brunner, Die Anlagen der ägyptischen Felsgräber bis zum Mittleren Reich (Glückstadt: J. J. Augustin, 1936), 79.

146

A. El-Khouli and N. Kanawati, The Old Kingdom Tombs of El-Hammamiya (Sydney: ACE, 1990), 16, 56.

147

M. Lane, ‘The Pull Saw in Ancient Egypt,’ AncEg Part I (1935), 56. But see Killen, Egyptian Woodworking, 13 and Egyptian Furniture I, 20 for the argument that the function of the counterweight was to separate the timber to allow free movement of the saw and to prevent the closing of the timber behind the fresh saw cut in a phenomenon known as

131

132

For further on the role of the viewer in scene placement, with particular reference to the tomb of Mrrw-kA.j:Mrj [Cat.22], see G. Pieke, ‘The Evidence of Images: Art and Working Techniques in the Mastaba of Mereruka,’ in Old Kingdom, New Perspectives, 225-27. For general discussion see van Walsem, ‘Sense and Sensibility,’ 296; D. Vischak, ‘Identity in/of Elephantine: The Old Kingdom Tombs at Qubbet el

288

Notes ‘pinching’. His description of the counterweight being tied to the top of the timber is not supported in all cases where it is illustrated, however, and in two examples, those of #wn-Ra [Cat.9] and Jttj:^dw [Cat.43], it is positioned below the saw cut. 148

So Killen, Egyptian Woodworking, 13-14.

149

Based on artistic evidence alone, it is not always possible to determine whether a mortice is being cut for the subsequent insertion of a tenon or if a hole is being prepared for the lashing of ropes. Both methods of hull construction, frequently in combination, are attested in the Old Kingdom. See Partridge, Transport, 54; Haldane, ‘Boat Construction,’ 74-75; P. Johnstone, The Sea Craft of Prehistory (London: Routledge/ Kegan Paul, 1980), 74; E. Marx, ‘Ancient Egyptian Woodworking,’ Antiquity 20, no. 79 (1946), 130; Lucas and Harris, Materials and Industries, 452-53.

150

So Rogers, Boat Construction, 105.

151

So Rogers, Boat Construction, 79, 88-90.

152

Baud, Famille I, 71.

153

M. Verner, Forgotten Pharaohs, Lost Pyramids: Abusir (Prague: Academia Skodaexport, 1994), 80.

154

See Haldane, ‘Boat Construction,’ 74-75; H. Hodges, Technology in the Ancient World (London: Allen Lane, 1970), 105; J. Hornell, ‘The Sailing Ship in Ancient Egypt,’ Antiquity 17, no. 65 (1943), 32; Marx, ‘Egyptian Woodworking,’ 130. To date, there is no archaeological evidence for the practice of caulking in ancient Egyptian wooden boat building. See Vinson, ‘Boat Construction,’ 258.

A critical factor in accurate positioning may also have been the number of mortice and tenon joints present. See Rogers, Boat Construction, 64. 167

So Rogers, Boat Construction, 64.

168

Thought to be indicative of a river vessel or replica thereof. See Partridge, Transport, 46; E. Marx, ‘Egyptian Shipping,’ Mariner’s Mirror 33, no. 3 (1947), 147. Argued as representing a funerary boat by H. Altenmüller, ‘Die Nachfahrt der Grabherrn im Alten Reich: Zur Frage der Schiffe mit Igelkopfbug,’ SAK 28 (2000), 15. For further on magical symbolism see G. McKergow, ‘Water Transport,’ in Egyptian Art: Principles and Themes in Wall Scenes, eds. L. Donovan and K. McCorquodale (Giza: Prism Publications, 2000), 227-28; W. M. van Haarlem, ‘A Remarkable ‘Hedgehog-Ship’ from Tell Ibrahim Awad,’ JEA 82 (1996), 198. Note alternative interpretations of the head as representing a pig, sheep or calf by W. M. F. Petrie, ‘Egyptian Shipping,’ AncEg Part I/II (1933), 7; Vandier, Manuel V, 697; C. Boreux, Études de nautique égyptienne: L’art de la navigation en Égypte jusqu’ à la fin de l’Ancien Empire (Cairo: IFAO, 1925), 277ff.

169

So Rogers, Boat Construction, 23. Close examination of the hull representation in question confirms the minute presence of rope bindings at the bow, mirroring those clearly visible at the stern, consistent with papyriform construction.

170

Excluding a scene from the tomb of Ftk-tj [Cat.18], identified as an example of trussing by Rogers, Boat Construction, 75 but now believed to be associated with linen production.

171

For this interpretation of the trussing scene in the tomb of Nfr and KA-HA.j [Cat.27] see Lashien, Chapel of Kahai, 36.

155

For further see Clarke, ‘Nile Boats and Other Matters,’ AncEg Part I (1920), 43.

172

Haldane, Hull Construction, 17, 55; Rogers, Boat Construction, 77-81, 97-102; Vinson, Boats and Ships, 22.

156

For examples see the tombs of #wn-Ra [Cat.9], §jj [Cat.34] and Ra-Htp [Cat.41]. Note that some scholars believe the lashings in the tomb of §jj to be a sculptural feature only. See Rogers, Boat Construction, 36, 112.

173

157

See for example Rogers, Boat Construction, 122.

158

So Klebs, Reliefs AR, 103; J. R. Steffy, Wooden Ship Building and Interpretation of Shipwrecks (College Station: Texas A&M University Press, 1994), 29; D. Arnold, Building in Egypt: Pharaonic Stone Masonry (New York: Oxford University Press, 1991), 263. Although both materials have been suggested, the potential for stone rammers to damage the plank on impact cannot be discounted. For further see Rogers, Boat Construction, 66.

Petrie, ‘Egyptian Shipping,’ 3; W. M. F. Petrie, ‘Egyptian Shipping (cont.),’ AncEg 4, Parts III/IV (1933), 66. For further discussion of procedure see McKergow, ‘Water Transport,’ 227; Partridge, Transport, 55; Marx, ‘Egyptian Shipping,’ 143-44; A. Servin, ‘Les constructions navales sous l’Ancien Empire: Le navire en Bois,’ ASAE 43 (1943), 167; Klebs, Reliefs AR, 103; Johnstone, Sea Craft, 71; Landström, Ships, 39.

174

See Rogers, Boat Construction, 92-94.

175

Rogers, Boat Construction, 88; OEE, Database, 10.12.8[5].

176

Faulkner, CD, 69.

177

It may also be representative of their most important tool or the tool with which they were most skilled. For this argument see M. Odler, ‘Adzes in the Early Dynastic Period and the Old Kingdom,’ in Copper and Trade in the SouthEastern Mediterranean: Trade Routes of the Near East in Antiquity, eds. K. Rosińska-Balik, A. Ochaɫ-Czarnowicz, M. Czarnowicz and J. Dębowska-Ludwin (Oxford: BAR Publishing, 2015), 93.

178

Lucas and Harris, Materials and Industries, 437.

179

See Killen, Egyptian Woodworking, 7-8; Killen, Egyptian Furniture I, 1-6; Marx, ‘Egyptian Woodworking,’ 127; A. C. Western and W. McLeod, ‘Woods Used in Egyptian Bows and Arrows,’ JEA 81 (1995), 93; N. Scott, ‘Our Egyptian Furniture,’ BMMA 24, no. 4 (1965), 129.



For further see Rogers, Boat Construction, 66.

160



For further see Rogers, Boat Construction, 72.

161

So Rogers, Boat Construction, 34.

162

See Vandier, Manuel V, 667; Rogers, Boat Construction, 27, 29.

163

For discussion see Rogers, Boat Construction, 81ff.

159

164

Jones, Titles II, 899[3301]; Jones, Nautical Titles, 122[19]. This task may have been undertaken by several individuals, however, not all of whom were smsw wxr.t. See Rogers, Boat Construction, 52.

165

For further on the purpose of the bulwark see Jones, Boats, 87; Jones, Nautical Titles, 263; B. Landström, Ships of the Pharaohs: 4000 Years of Egyptian Shipbuilding (New York: Doubleday, 1970), 38. For use of the bulwark to mount the oars see Rogers, Boat Construction, 60-61.

180

For examples of these features see the tombs of Jttj-^dw [Cat.43], ¢w-ns [Cat.45], Ppjj-anx:¡nj-km [Cat.51] and KA.jHp:§tj-jqr [Cat.56].

181

So Killen, Egyptian Woodworking, 14.

For further see Clarke, ‘Nile Boats,’ 43; Steffy, Wooden Ship Building, 29; Vandier, Manuel V, 670; Landström, Ships, 38.

182

See Harpur, Decoration, 265; Baer, Rank and Title, 287; N. Cherpion, Mastabas et hypogées d’Ancien Empire: Le

166

289

‘Make it According to Plan’ Jewellery, 80; Lucas and Harris, Materials and Industries, 43; A. J. Gwinnett and L. Gorelick, ‘Beads, Scarabs and Amulets: Methods of Manufacture in Ancient Egypt,’ JARCE 30 (1993), 129; A. W. Sleeswyk, ‘Hand Cranking in Egyptian Antiquity,’ HTechN 6 (1981), 25-26.

problème de la datation (Brussels: Connaissance de l’Egypte ancienne, 1989), 227. 183

For further see Killen, Egyptian Woodworking, 14-15; W. Hayes, The Scepter of Egypt: A Background for the Study of the Egyptian Antiquities in the Metropolitan Museum of Art 1: From the Earliest Times to the Middle Kingdom (New York: MMA, 1990), 289.

184

For methods of box construction see Killen, Egyptian Woodworking, 14-15; Killen, Egyptian Furniture II, 13; H. Lallemand, ‘Les assemblages dans la technique égyptienne et le sens origine du mot menkh,’ BIFAO 22 (1923), 78-81.

185

For use of bow drill in this operation see Hayes, Scepter, 288; Killen, Egyptian Furniture I, 21.

186

See Moussa and Altenmüller, Nefer, 28 Note 165.

187

Contra. Cherpion, Mastabas et hypogées, 228; M. Mogensen, Le Mastaba Égyptien de la Glyptothèque Ny Carlsberg (Copenhagen: Gyldendalske Boghandel-Nordisk, 1921), xii.

188

As identified by Killen, Egyptian Furniture I, 18. Likely to have been oiled, as argued by J. Anderson, ‘Furniture of the Old Kingdom,’ in The Metropolitan Museum of Art, Egyptian Art in the Age of the Pyramids (New York: MMA, 1999), 119.

189

190

For further on order of preparations see Klebs, Reliefs AR, 89; Drenkhahn, Handwerker, 113-14; A. Hassan, Stöcke und Stäbe im Pharaonischen Ägypten bis zum Ende des Neuen Reiches (Munich/Berlin: Deutscher Kunstverlag, 1976), 2022; Verner, Abusir I, 61 Note 45. For the various interpretations see Hassan, Stöcke und Stäbe, 23-24; Drenkhahn, Handwerker, 113-14; Klebs, Reliefs AR, 89; Montet, Scènes, 311-12; N. de G. Davies, The Rock Tombs of Sheikh Saïd (London: EEF, 1901), 13; W. M. F Petrie and F. Ll. Griffith, Deshasheh: 1897 (London: EEF, 1897), 10; Verner, Abusir I, 60 Note 40, 61.

191

As determined by my replication of the operation using a simple wooden model, contrary to a downwards motion as is frequently stated.

192

For interpretation see B. Dominicus, Gesten und Gebärden in Darstellungen des Alten und Mittleren Reiches (Heidelberg: Heidelberger Orientverlag, 1994), 155.

199

See Andrews, Egyptian Jewellery, 72-73, 80-81; Davies, Deir el-Gebrawi I, 20.

200

So C. Aldred, Jewels of the Pharaohs: Egyptian Jewellery of the Dynastic Period (London: Thames & Hudson, 1972), 116; Andrews, Egyptian Jewellery, 73; J. F. Romano, ‘Jewelry and Personal Arts in Ancient Egypt,’ in Civilizations III, 1606; Wilkinson, Egyptian Jewellery, 6. Use of emery disputed by Lucas and Harris, Materials and Industries, 4.

201

So Aldred, Jewels, 86.

202

See Andrews, Egyptian Jewellery, 96; D. L. Carroll, ‘Wire Drawing in Antiquity,’ AJA 76, no. 3 (1972), 322; T. G. H. James, ‘Gold Technology in Ancient Egypt,’ GoldBull 5, no.2 (1972), 42.

203

So Brovarski, Senedjemib Complex I, 148.

204

See for example Cherpion, Mastabas et hypogées, 227; Smith, HESPOK, 215; Brunner, Felsgräber, 28; H. Junker, Giza I: Die Mastabas der IV. Dynastie auf dem Westfriedhof (Vienna/Leipzig: Hölder-Pichler-Tempsky, 1941), 8.

205

Andrews, Egyptian Jewellery, 120ff.

206

So Andrews, Egyptian Jewellery, 70, however the term jaj.t inscribed in the tomb of Nj-anx-$nmw and $nmw-Htp [Cat.25] implies a cleansing action.

207

Other interpretations of the liquid suggest that it is a dye, an anti-oxidising treatment, perfumed oil or polish. See Drenkhahn, Handwerker, 45; Moussa and Altenmüller, Nianchchnum, 137; G. Andreu, Egypt in the Age of the Pyramids, trans. D. Lorton (Ithaca: Cornell University Press, 1997), 69. However, these conclusions are considered unlikely, owing to the potential of such materials to damage or dull most varieties of beads.

208

So Moussa and Altenmüller, Nianchchnum, 137.

209

Use of bone and hardwood tools are also attested. See Aldred, Jewels, 71.

193

See C. Andrews, Ancient Egyptian Jewellery (London: British Museum Press, 1990), 68; Dasen, Dwarfs, 156ff.

210

See Aldred, Jewels, 69; Scheel, Egyptian Metalworking, 3840.

194

The Snw-collar being distinguished by its trapezoidal segmentation and absence of drop beads. So Brovarski, ‘Beaded Collars,’ 142.

211

Likely to be water or urine. So Lucas and Harris, Materials and Industries, 34-35. An alternative method was to coat the hide with a tawing agent before leaving it to dry.

195

See Andrews, Egyptian Jewellery, 37ff.; Lucas and Harris, Materials and Industries, 40ff. However, G. Jequier, Les frises d’objets des sarcophages du Moyen Empire (Cairo: IFAO, 1921), 61 argues that only in exceptional cases was the nbw collar likely to have been composed entirely of gold, given that, in general, it is painted with multicoloured beads in both relief scenes and on hieroglyphs. All collars in the corpus, irrespective of designation, are confirmed as being multicoloured where paint is preserved, consistent with the finding that the vast majority of extant collars or collar elements are of faience. For further see Brovarski, ‘Beaded Collars,’ 156ff.

212

See N. de G. Davies, The Tomb of Rekh-Mi-Rea at Thebes (New York: MMA, 1943), pl. 53.

213

There is some disagreement as to the order in which the two processes would have taken place. See Lucas and Harris, Materials and Industries, 35; B. Leach, ‘Tanning Tests for Two Documents Written on Animal Skin,’ JEA 81 (1995), 241-42; Drenkhahn, Handwerker, 11. The caption j(w)=s snDm.t(j) wr.t ʻIt is very suppleʼ in the tomb of anx-m-a@r:%sj [Cat.19], however, could imply that the tanning agent has already been applied prior to stretching.

214

Also identified as aluminium oxide by Drenkhahn, Handwerker, 11. Cf. Leach, ‘Tanning Tests,’ 241-42.

215

R. Siebels, ‘The Wearing of Sandals in Old Kingdom Tomb Decoration,’ BACE 7 (1996), 85.

196

See for example the tombs of Mr.f-nb.f [Cat.21], Nj-anx$nmw and $nmw-Htp [Cat.25], ¡nqw:Jj...f II [Cat.48] and ¡m-Ra:Jsj [Cat.49]. The colour conventions may also be recorded in the relevant tomb reports.

197

Likely to be present in the case of #wn-Ra [Cat.9], but degradation of the lower East Wall prevents confirmation.

216

For methods see H. Junker, Weta und das Lederkunsthandwerk im Alten Reich (Vienna: R. M. Rohrer, 1957), 22.

198

For the various interpretations see Andrews, Egyptian

217

For further see J. Goffoet, ‘Notes sur les sandales et leur

290

Notes usage dans l’Egypte pharaonique,’ in Amosiadès Mélanges offerts au Professeur Claude Vandersleyen par ses anciens étudiants, eds. C. Obsomer and A.-L. Oosthoek (Louvainla-Neuve: Université Catholique de Louvain, 1992), 111-23; Siebels, ‘Sandals,’ 75ff. 218

Davies, Rekh-Mi-Rea, pl. 53.

219

Petrie and Griffith, Deshasheh, 4.

220

Such scenes are included in the corpus, although, in practice, this task was probably performed independent of a workshop context by non-related personnel. Only in the tomb of anx-ma-¡r:¤sj [Cat.19] is there any evidence of spatial separation.

221

So Drenkhahn, Handwerker, 36; Scheel, ‘Metallhandwerk I,’ 138[3]; Hannig, Wörterbuch I, 414[9518]; Altenmüller, ‘Abwiegen von Metall,’ 11.

222

See for example Weeks, Cemetery G6000, 35 and Reisner, Giza Necropolis I, 364, based on the ideogram # (Gardiner’s Sign List X.3), an early form of s (Gardiner’s Sign List N.34). Cf. S. Curto, ‘Postille circa la Metallurgia Antico-Egizia,’ MDAIK 18 (1962), 66; P. Posener-Kriéger, ‘Sur un nom de métal égyptien,’ in Ugaritica VI: Publié à l’occasion de la XXXe Campagne de Fouilles à Ras Shamra (1968), ed. C. F. A. Schaeffer (Paris: Paul Geuthner, 1969), 425; H. Junker, ‘Die Hieroglyphen für “Erz” und “Erzarbeiter”,’ MDAIK 14 (1956), 89; Jones, Titles II, 880[3223]; J. Auenmüller, ‘Metalle und ihre Verwendung im pharaonischen Ägypten,’ in Gegossene Götter: Metallhandwerk und Massenproduktion im Alten Ägypten, eds. M. Fitzenreiter, C. E. Loeben, D. Raue and U. Wallenstein (Rahden: Verlag Marie Leidorf, 2014), 31.

223

224

225

226

Typically identified as ‘gold’, ‘fine gold’ or ‘gold leaf’. See for example Faulkner, CD, 320; Gardiner, Grammar, 603; Erman and Grapow, Wb. V, 537[13]; Montet, Scènes, 285; E. D. Nicholson, ‘The Ancient Craft of Gold Beating,’ GoldBull 12, no. 4 (1979), 162. Translated as ‘electrum’ by Scheel, ‘Metallhandwerk I,’ 147[15]; Hannig, Wörterbuch I, 1495[39697]; Junker, ‘Erz und Erzarbeiter,’ 93; J. R. Harris, Lexicographical Studies in Ancient Egyptian Minerals (Berlin: Akademie Verlag, 1961), 41; B. G. Ockinga, A Concise Grammar of Middle Egyptian (Mainz am Rhein: Philipp von Zabern, 1998), 167. Note also the possibility that it refers to arsenical copper. See E. R. Eaton and H. McKerrell, ‘Near Eastern Alloying and Some Textual Evidence for the Early Use of Arsenical Copper,’ WorldArch 8, no. 2 (1976), 182. Note disputed identification of metal in such scenes, with S. R. K. Glanville, ‘Weights and Balances in Ancient Egypt,’ PRi 29 (1935), 23 stating that precious metal, usually gold, is represented, while K. Sethe, ‘Hitherto Unnoticed Evidence Regarding Copper Works of Art of the Oldest Period of Egyptian History,’ JEA 1, no. 4 (1914), 234 Note 2 suggests that only ordinary metals, such as copper, are shown being weighed. But see A. Nibbi, ‘Some Remarks on Copper,’ JARCE 14 (1977), 61 for the argument that the material being weighed is not metal at all but ready-made blocks of additive used to remove impurities during the refining process known as ‘cupellation’. Accompanying captions in the tombs of Mrrw-kA.j:Mrj [Cat.22] and KA.j-jrr [Cat.30] indicate the site of distribution as the royal storehouses under the direction of a palace administrator. For further see Scheel, Egyptian Metalworking, 14, 21; Eyre, ‘Work: Old Kingdom,’ 13; Altenmüller, ‘Abwiegen von Metall,’ 14; Glanville, ‘Weights and Balances,’ 23; S. Singer, ‘Some Early Goldwork,’ Endeavour 13, no. 50 (1954), 87. Cf. Andreu, Age of the Pyramids, 68, however, who argues that the metal was weighed upon delivery to the workshops on the estates, which a majority of corpus inscriptions appear to corroborate. As a means of controlling stock levels and preventing embezzlement. See Scheel, Egyptian Metalworking, 21.

291

227

The latter attested primarily in stone. See K. M. Petruso, ‘Early Weights and Weighing in Egypt and the Indus Valley,’ BMFA 79 (1981), 46; A. M. Cour-Marty, ‘Les poids inscrits de l’Ancien Empire,’ in Études sur l’Ancien Empire et la nécropole de Saqqâra dédiées à Jean-Philippe Lauer, eds. C. Berger and B. Mathieu (Montpellier: Université Paul Valéry, 1997), 131.

228

Note that the term ‘smelting’, commonly used to describe this procedure, is a misnomer. Smelting refers to the separation of the crude metal from its ore, whereas the scenes under discussion depict the liquification of the crude metal ingots prior to processing. So G. A. Wainwright, ‘Rekhmire’s Metal-Workers,’ Man 44 (1944), 98; Scheel, Egyptian Metalworking, 21; Garenne-Marot, ‘Le Travail du cuivre,’ 87; Hodges, Technology, 63. The argument by R. F. Tylecote, A History of Metallurgy (London: Institute of Metals, 1976), 17 that blowing with pipes would cause a localised temperature increase sufficient only for brazing or soldering contradicts other experiments which have demonstrated that a charcoal furnace fired by this method could achieve temperatures in excess of 1,000°C (1800°F), roughly equivalent to the melting point of both copper (1083°C) and gold (1063°C). For further see Lucas and Harris, Materials and Industries, 211, 230; Scheel, Egyptian Metalworking, 23; Andreu, Age of the Pyramids, 68.

229

Such blowpipes are generally accepted as having been made of reed. See Hodges, Technology, 47; Scheel, Egyptian Metalworking, 23; Nibbi, ‘Remarks on Copper,’ 62; A. Nibbi, ‘Pot Bellows and Pot Stands,’ DE 27 (1993), 66[9]; GarenneMarot, ‘Le Travail du cuivre,’ 87; Tylecote, Metallurgy, 17; G. Möller, Die Metallkunst der alten Ägypter (Berlin: Ernst Wasmuth, 1924), 15. But see R. F. Tylecote and J. F. Merkel, ‘Experimental Smelting Techniques: Achievements and Future,’ in Furnaces and Smelting, 110 for the argument that, when unprotected by a tuyure, the blowpipe was probably made of copper, owing to the combustible nature of plant material.

230

For further on spatial variation and arrangement in representations of metal blowers see J. Van Lepp, ‘Spatial Relationship and Arrangement in Egyptian Art,’ JSSEA 26 (1996), 116 Note 19.

231

So Bamberger, ‘Working Conditions,’ 151-52; Nibbi, ‘Pot Bellows,’ 77 Note 11; Davey, ‘Metalworking Servant Statue,’ 38; Davey, ‘Old Kingdom Metallurgy,’ 89, 100. The latter argues that the precise area was an opening above the temporary barrier partly blocking a hole in the side.

232

Harpur, Decoration, 274.

233

P. Munro, ‘Der Unas-Friedhof Nord-West 4: Vorbericht über die Arbeiten der Gruppe Berlin/Hannover in Saqqara,’ GM 59 (1982), 98 Note 33.

234

C. Davey, ‘The Metalworkers’ Tools from Tell Edh Dhiba’i,’ BIAUL 20 (1983), 180.

235

For alternative interpretations of the action see U. Zwicker, H. Greiner, K.-H. Hofmann and M. Reithinger, ‘Smelting, Refining and Alloying of Copper and Copper Alloys in Crucible Furnaces During Prehistoric up to Roman Times,’ in Furnaces and Smelting, 103.

236

Lucas and Harris, Materials and Industries, 213; Scheel, Egyptian Metalworking, 27, 40; A. Gunter, ‘Material, Technology and Techniques in Artistic Production,’ in Civilizations III, 1546.

237

Davey, ‘Crucibles,’ 146; Wainwright, ‘Metal-Workers,’ 97.

238

For further see Scheel, Egyptian Metalworking, 28.

239

Andreu, Age of the Pyramids, 68; Davey, ‘Metalworkers’ Tools,’ 182.

240

Davey, ‘Old Kingdom Metallurgy,’ 95.

‘Make it According to Plan’ 241

For further on stone types see Garenne-Marot, ‘Le Travail du cuivre,’ 95; Gunter, ‘Material Technology,’ 1547; W. M. F. Petrie, The Arts and Crafts of Ancient Egypt (London/ Edinburgh: T. N. Foulis, 1910), 98. The suggestion put forward by Scheel, Egyptian Metalworking, 28 and Aldred, Jewels, 68 that flat-faced stones were also incorporated for smoothing is not supported by the current pictorial evidence, which shows the consistent use of round stones only.

242

See Romano, ‘Jewelry and Personal Arts,’ 1616; Möller, Metallkunst, 17; Scheel, Egyptian Metalworking, 28.

243

See G. K. Johnson, ‘An Experiment in Ancient Silver Vessel Manufacture,’ JANES 8 (1976), 100 for the argument that the weight of the stone is the critical factor in the process and not the force exerted.

244

Baer, Rank and Title, 290.

245

Kanawati, Administration, 153. Note his qualification, however, in N. Kanawati, Governmental Reforms in Old Kingdom Egypt (Warminster: Aris & Phillips, 1980), 34[1].

246

So Lucas and Harris, Materials and Industries, 213; GarenneMarot, ‘Le Travail du cuivre,’ 94-95.

247

For further see D. Schorsch, ‘Copper Ewers of Early Dynastic and Old Kingdom Egypt-An Investigation of the Art of Smithing in Antiquity,’ MDAIK 48 (1992), 155; Johnson, ‘Silver Vessel Manufacture,’ 99.

248

Petrie and Griffith, Deshasheh, 4.

249

Kanawati and McFarlane, Deshasha, 19.

250

See Schorsch, ‘Copper Ewers,’ 157.

251

So Johnson, ‘Silver Vessel Manufacture,’ 101; Scheel, Egyptian Metalworking, 38.

252

Scheel, Egyptian Metalworking, 40.

253

For further see S. Hassan, ‘The Causeway of Wnis at Sakkara,’ ZÄS 80, no. 1/2 (1955), 136; Hassan, ‘Saqqara 1937-1938,’ pl. XCVI.

263

See for example the following tombs: Mrs-anx III [Cat.4]; PtH-Spss [Cat.16]; anx-m-a-¡r:¤sj [Cat.19]; Mrrw-kA.j:Mrj [Cat.22]; Block[OK43] [Cat.37]; Jbj [Cat.47]; ©aw and ©aw:^mAj [Cat.50]; and Ppjj-anx:@nj-km [Cat.51].

264

Drenkhahn, Handwerker, 65.

265

For further discussion see R. Anthes, ‘Werkverfahren ägyptischer Bildhauer,’ MDAIK 10 (1941), 103-06. Cf. Eaton-Krauss, Statuary, 44 Note 212; J. Wilson, ‘The Artist of the Egyptian Old Kingdom,’ JNES 6, no. 4 (1947), 236.

266

So Kanawati, Tomb and Beyond, 72; J. D. Cooney, ‘The Wooden Statues Made for an Official of King Unas,’ BrookMusB 15, no. 1 (1953), 5.

267

Eaton-Krauss, Statuary, 45 has shown proximity to the working of objects of like materials, such as stone vessels and carpentry items, to be an unreliable criterion for determination of type.

268

Eaton-Krauss, Statuary, 58.

269

Corroborated by archaeological sources. See H. G. Fischer, ‘Varia Aegyptiaca,’ JARCE 2 (1963), 18 Note 5; Lucas and Harris, Materials and Industries, 406ff. The labelling of the lion sculpture in the tomb of Jbj [Cat.47] as a rw-Abw could also indicate the use of ivory. For translation see Faulkner, CD, 2.

270

See J. Malek, Egyptian Art (London: Phaidon, 1999), 144; Robins, Art, 20; Davis, Canonical Tradition, 17.

271

For further see Robins, Art, 20; Harris, Egyptian Art, 25; Gunter, ‘Material, Technology,’ 1546-47.

272

See Kanawati, Tomb and Beyond, 72; Cooney, ‘Wooden Statues,’ 5. But note D. O’Connor, ‘Sexuality, Statuary and the Afterlife; Scenes in the Tomb-Chapel of Pepyankh (Heny the Black). An Interpretative Essay,’ in Studies in Honor of William Kelly Simpson II, eds. P. Der Manuelian and R. Freed (Boston: MFA, 1996), 628.

273

For further on method see Eaton-Krauss, Statuary, 50; S. Clarke, ‘Cutting Granite,’ AncEg Part III (1916), 110; Arnold, Stone Masonry, 260-62; Gunter, ‘Material, Technology,’ 1543.

274

See Harpur, Decoration, 244, Appendix 2; V. G. Callender and P. Jánosi, ‘The Tomb of Queen Khamerernebty II at Giza: A Reassessment,’ MDAIK 53 (1997), 20.

275



Argued by O’Connor, ‘Sexuality, Statuary,’ 628 as being necessary for concentration, given that the frontal aspects of the statue were considered “........ more challenging”.

276

See Harris, Egyptian Art, 24-25; Andreu, Age of the Pyramids, 65; Smith, HESPOK, 106; Odler, ‘Adzes,’ 85.

277

For methods see W. M. F. Petrie, ‘On the Mechanical Methods of the Ancient Egyptians,’ JAI 13 (1884), 105; J. Devaux, ‘Définition de quelques caractéristiques techniques de la statuaire de pierre dure en Égypte ancienne,’ RdE 51, no. 1 (2000), 40; Smith, HESPOK, 106.

254

See Harpur, Decoration, 116-17.

255

But see Davey, ‘Metalworking Servant Statue,’ 45 for the argument that single metal blowers are most likely engaged in making tools.

256

See Andreu, Age of the Pyramids, 68; James, ‘Gold Technology,’ 38. The hammering of the metal directly onto the surface is also cited.

257

See Drenkhahn, Handwerker, 33.

258

See Harpur, Decoration, 291, Table 2.29.

259

For example Eaton-Krauss, Statuary, 43.

260

Based on extant examples, both Eaton-Krauss, Statuary, 33 and Robins, Art, 71 argue that nude statues were a common statue type, particularly during late Dynasty V and Dynasty VI, with Robins interpreting the presentation as a symbol of rebirth. In a workshop context, however, and where other features are absent, the classification of the statue as unfinished may be more appropriate.

278

For further see Eaton-Krauss, Statuary, 75; Kanawati, Tomb and Beyond, 20-21; Ikram, Death and Burial, 23ff.; Bolshakov, ‘Funeral Procession,’ 48ff. Cf. J. Harvey, Wooden Statues of the Old Kingdom: A Typological Study (Leiden: Brill, 2001), 2.

For types of rubbers and abrasives see J. Devaux, ‘Définition de quelques caractéristiques techniques de la statuaire de pierre tendre en Égypte ancienne,’ RdE 49 (1998), 62; Gunter, ‘Material, Technology,’ 1543-44; Vandier, Manuel V, 8; Arnold, Stone Masonry, 64; Lucas and Harris, Materials and Industries, 66.

279

As corroborated by Junker, Künstler, 27; PM III [2], 231[6].

280

See Eaton Krauss, Statuary, 40-41.

281

For alternative description of shrine see N. Kanawati and L. Evans, The Cemetery of Meir II: The Tomb of Pepyankh the Black (Oxford: Aris & Phillips, 2014), 27.

261

262

As argued by Kanawati, Tomb and Beyond, 73; Drenkhahn, ‘Artisans and Artists,’ 338-39; Drenkhahn, Handwerker, 68; Eaton-Krauss, Statuary, 44 Note 212.

292

Notes 282

So Lucas and Harris, Materials and Industries, 422; Romano, ‘Jewelry and Personal Arts,’ 1615.

283

For other stone types used during the Old Kingdom see W. M. F. Petrie, The Funeral Furniture of Egypt: Stone and Metal Vases (London: BSAE, 1937), 2; Harris, Egyptian Art, 30; Romano, ‘Jewelry and Personal Arts,’ 1615.

284

So Gardiner, Grammar, 518[24].

285

For methods see J. E. Quibell, ‘Stone Vessels from the Step Pyramid,’ ASAE 35 (1935), 77; Petrie, Stone and Metal Vases, 2-3; D. Arnold and E. Pischikova, ‘Stone Vessels: Luxury Items with Manifold Implications,’ in Egyptian Art, 123; Hodges, Technology, 96; Romano, ‘Jewelry and Personal Arts,’ 1615; D. Stocks, ‘Stone Sarcophagus Manufacture in Ancient Egypt,’ Antiquity 73, no. 282 (1999), 918; A. El-Khouli, Egyptian Stone Vessels Predynastic Period to Dynasty III: Typology and Analysis II (Mainz am Rhein: Philipp von Zabern, 1978), 799.

286

287

For use and operation of drill types see D. Warburton, ‘Decoding the Unbreakable,’ DE 59 (2004), 106; ElKhouli, Stone Vessels, 801; S. Clarke and R. Engelbach, Ancient Egyptian Masonry: The Building Craft (London: Oxford University Press, 1930), 203; Aldred, Egyptian Art, 22; Sleeswyk, ‘Hand Cranking,’ 27-31; A. Rieth, ‘Zur Technik des Bohrens im alten Ägypten,’ MIO 6 (1958), 177; Hester and Heizer, ‘Making Stone Vases,’ 13-14; R. S. Hartenberg and J. Schmidt, ‘The Egyptian Drill and the Origin of the Crank,’ TechnolCult 10, no. 2 (1969), 15565; Davies, Deir el-Gebrawi I, 18-19. See Sleeswyk, ‘Hand Cranking,’ 28 for the argument that dried gourds filled with sand were used as counterweights for safer functioning.

288

For explanation of purpose see Stocks, ‘Stone Vessel Manufacture,’ 16.

289

Hartenberg and Schmidt, ‘Egyptian Drill,’ 157.

290

So El-Khouli, Stone Vessels, 798; Clarke and Engelbach, Masonry, 204; Romano, ‘Jewelry and Personal Arts,’ 1615; Aldred, Egyptian Art, 23. See L. Gorelick and A. J. Gwinnett, ‘Ancient Egyptian Stone Drilling: An Experimental Perspective on a Scholarly Discussion,’ Expedition 25, no. 3 (1983), 46-47 for use of emery or oil.

291

So Hartenberg and Schmidt, ‘Egyptian Drill,’ 164.

292

As determined by Hartenberg and Schmidt, ‘Egyptian Drill,’ 165 and Stocks, ‘Stone Vessel Manufacture,’ 16. Cf. Sleeswyk, ‘Hand Cranking,’ 28.

293

As described by J. E. Quibell and F. W. Green, Hierakonpolis II (London: Bernard Quaritch, 1902), 17.

294

But see Sleeswyk, ‘Hand Cranking,’ 27 for the argument that they are three separate counterweights viewed as is. If correct, then the number of counterweights must be relative to the unusual size of the drill. This, by extension, supports the proposition put forward by Stocks, ‘Stone Vessel Manufacture,’ 16 that the role of the counterweights was not to provide momentum, rather that their purpose was to stabilise and hold down the drill, hence the larger the drill the greater number of counterweights required.

295

But note the argument, largely refuted by modern scholars, that the drill was held at this angle in order to enlarge the first hole. See Lucas and Harris, Materials and Industries, 423; Arnold and Pischikova, ‘Stone Vessels,’ 124.

296

So El-Khouli, Stone Vessels, 800; Stocks, ‘Stone Sarcophagus Manufacture,’ 918; Arnold and Pischikova, ‘Stone Vessels,’ 124.

297

Arnold and Pischikova, ‘Stone Vessels,’ 123.

293

298

So Eaton-Krauss, Statuary, 47 Note 226.

299

Note that Junker, Künstler, 27 inadvertedly assigns the workshop scenes under discussion to the tomb of ^pss-kAfanx (G6040), the father of Jj-mrjj [Cat.1]. This tomb was, in fact, left unfinished and the cult of ^pss-kAf-anx subsequently included within the tomb of his son. Its decoration is limited to scenes of offering bearers, musicians and butchery. See M. Bárta, ‘A Family of Funerary Priests from G6000 Cemetery,’ ArOr 65, no. 4 (1997), 393-94.

300

Traces of the plank and the left foot of the figure were recorded by C. R. Lepsius, Denkmäler aus Aegypten und Aethiopien II (Berlin: Nicolai, 1849), 49[b].

301

Note that, as recorded by LD II, 49[b], the chisel has penetrated the base of the frame.

302

Abrasive omitted by LD II, 49[b]. Examination of the scene in situ confirms that dark painted granules are present.

303

Given that the accompanying inscription sHD js.t Hm-kA was painted and not carved, it is likely to be a later addition, indicating the subsequent promotion of the individual shown.

304

But note that Drenkhahn, Handwerker, 119 describes the action as the carving of a block of wood. The object, however, conforms in shape to a box or chest of the HA-xt variety, as described by E. Brovarski, ‘Inventory Offering Lists and the Nomenclature for Boxes and Chests in the Old Kingdom,’ in Gold of Praise: Studies on Ancient Egypt in Honor of Edward F. Wente, eds. E. Teeter and J. Larson (Chicago: OI, 1999), 38-39, and a darker coloured strip on the right, possibly representing the edge trim, is visible in situ.

305

Not recognised as such by Bárta, ‘Funerary Priests,’ 392; Reisner, Giza Necropolis I, 364; Weeks, Cemetery G6000, 35. The latter describes it only as “........ two pieces of furniture”.

306

So Drenkhahn, Handwerker, 107[I.1]. Interpreted as either a box or table by Klebs, Reliefs AR, 88; Bárta, ‘Funerary Priests,’ 392; Weeks, Cemetery G6000, 35. However, the object in situ appears solid in nature, and there is evidence of a rectangular projection at the top left corner, consistent with a pivot. The identification of a door leaf is also considered contextually more accurate, given that a door lock and bolt are depicted in the same register.

307

The paint palette is obscured, however the position of the left arm and hand is indicative of one being present in the original depiction.

308

So Drenkhahn, Handwerker, 73[II] and, with reservation, Reisner, Giza Necropolis I, 365; Eaton-Krauss, Statuary, 46.

309

Note that not all scholars classify this figure as a leatherworker, among them Hasanien, ‘Leather Manufacture,’ 76; Eyre, ‘Work: Old Kingdom,’ 32 and Bárta, ‘Funerary Priests,’ 392. In the latter case, he is identified instead as a “........ vendor with ........ shopping bag”, based on a purported likeness to other figures of this kind in extant market scenes. For such scenes see Wild, Tombeau de Ti III:2, pl. CLXXIV; Moussa and Altenmüller, Nianchchnum, Abb. 10; Y. M. Harpur, ‘The Identity and Positions of Relief Fragments in Museums and Private Collections: Reliefs from a Dismantled Tomb in the Saqqara Necropolis,’ SAK 13 (1986), fig. 4; M. Bárta, ‘Die Tauschhandelszenen aus dem Grab Fetekty in Abusir,’ SAK 26 (1998), Abb. 1; B. Vachala, Abusir VIII: Die Relieffragmente aus der Mastaba des Ptahschêpses in Abusir (Prague: CIE, 2004), 193, Fragment C170; J. Livingstone-Thomas, ‘The Old Kingdom Market-Place Scenes Revisited: With Special Reference to Tepemankh II (¦p-m-anx),’ in Abusir and Saqqara in the Year 2010/2, eds. M. Bárta, F. Coppens and J. Krejči (Prague: CIE, 2013), 551ff. However, it should be noted that in these scenes vendor figures are never shown in isolation, as is the case here, and they generally exchange one type of product for another.

310

But see J.-F. Champollion, Monuments de l’Egypte et de la

‘Make it According to Plan’ Nubie IV (Paris: Firmin-Didot Frères, 1845), pl. CCCCXI[2] for the argument that the figure is smoothing or scraping the leather with stones. Although known to have been a preparatory step in ancient leather manufacture, as cited by A. Neuberger, The Technical Arts and Sciences of the Ancients, trans. H. L. Brose (London: Methuen & Co., 1930), 78, a knife is clearly visible in situ. 311

312

Attribution remains in doubt but compare Reisner’s plan of LG71 in Giza Necropolis I, fig. 139 with MFA, Giza Archives, G7710: Photo IDs. PDM_00493-PDM_00495 for concordance. Note also MFA, Giza Archives, G7710: Photo ID. PDM_00495 Problems/Questions@5. Deduced from available in situ photographs of possible tomb site, specifically MFA, Giza Archives, G7710: Photo IDs. PDM_00494-PDM_00498 and PDM_00501-PDM_00506, which show Rooms II and III to be the only areas containing the remains of decoration or draught decoration. The suggested location of the East Wall is based both on the typical wall position of workshop scenes in Memphite Cruciform chapels and traces of figures visible in the upper right corner of G7710: Photo ID. PDM_00506 when viewed under magnification. Furthermore, the original find spot of the fragment in the court area directly behind the East Wall gives rise to the possibility that it fell there when the wall was partially destroyed.

313

But see again Reisner, Giza Necropolis I, fig. 139 for possible identification.

314

Note that the workshop scenes are located in the Offering Room belonging to Jbj, the eldest son of Wp-m-nfrt:Wp [Cat.3], which appears to have been a later addition to the tomb. See Baer, Rank and Title, 66.

315

Based on the distinction between the generally ovoid shape of a rubbing stone and the slimmer, more pointed tool used here. For further see A. F. R. Platt, ‘The Ancient Egyptian Method of Working Hard Stones,’ PSBA 31 (1909), 182; Petrie, ‘Mechanical Methods,’ 105; Smith, HESPOK, 106; Vandier, Manuel III, 8ff.; Devaux, ‘Statuaire de pierre dure,’ 39-40.

316

PM III [2], 197[3] considers the scenes on the lower part of this wall, including Plate 2 on the extreme right, to be a continuation of the workshop scenes on the East Wall, as does Reisner, Giza Necropolis I, 351.

317

Altered in antiquity from the original scene of a figure carving, traces of a mallet being visible in situ with caption intact.

318

The partial outline of a piece of wood tied to a post is clearly visible in situ.

319

The material of the false door could be either stone or wood, as argued by Kanawati, Tomb and Beyond, 58, but the use of an adze and the activities of the adjacent craftsmen are suggestive of the latter.

320

The usual context for the manufacture of sarcophagi in the current corpus is Carpentry, hence its classification as such here. However, red and black stippling in the preserved paint could indicate that, as a royal sarcophagus, this example is made of granite. See Dunham and Simpson, Mersyankh III, 12; Drenkhahn, Handwerker, 104 Note 21.

321

Suggested by traces of a curved line to the right of the box, indicating the presence of an additional object. An adze is also discernable in the hand of the figure in situ.

322

But see Dunham and Simpson, Mersyankh III, 12 for a description of the action as “pouring molten metal from a crucible”. Note, however, the omission in their line drawing of the anvil and the metal being held down by the left hand of the figure, both of which are visible in situ.

323

North Wall of Room II, fig. 100 was assigned to the East Wall by S. Hassan, Excavations at Giza IV: 1932-1933 (Cairo: Government Press, 1943), 148[18], where he suggested that it formed part of the Metalwork scene, specifically the melting vignette, in Register 4. Reconstruction of the composition confirms the position of the fragment as assigned. 324

Note that Drenkhahn, Handwerker, 102[I.1] identifies the figure as simply “........ gesticulating” towards the shrine, while Klebs, Reliefs AR, 95 Note 2 interprets the activities in this register as pertaining to Leatherwork.

325

The posture of the figure is consistent with this action, and minute traces of a hand holding a tool above the head are discernable in LD II, 13.

326

Note that the mallet held by the figure appears to have been drawn or copied upside down.

327

As identified by Drenkhahn, Handwerker, 18[I.4.8]; Scheel, ‘Metallhandwerk I,’ 123.

328

Note what appears to be the tang of the blade to the right. Described as beating sheet metal by Hassan, Giza IV, 142; Reisner, Giza Necropolis I, 351; Scheel, ‘Metallhandwerk I,’ 123[2]; OEE, Database, 10.15.10[3].

329

As implied by Drenkhahn, Handwerker, 18[I.5.1-2]. Note, however, that Scheel, ‘Metallhandwerk I,’ 123[2] describes the figure as holding a piece of sheet metal.

330

No traces of a tool are evident in the depiction, and the position of the inner arm is more consistent with pressing. Note further that the figure is elevated off the baseline, suggesting that he is squatting on the platform attached to the chair.

331

The original excavator of G4000, Hermann Junker, found a number of fragmentary reliefs at the entrance doorway to the mastaba. See H. Junker, Giza I: Die Mastabas der IV. Dynastie auf dem Westfriedhof (Vienna/Leipzig: HölderPichler-Tempsky, 1941), 145. He believed the southern end of the corridor, including the entrance, to be the only section of the chapel which was decorated. In view of this, the additional fragments discovered by Reisner southeast of the mastaba, one of which was Plate 1, are tentatively assigned to the same location. Cf. P. Der Manuelian, ‘Hemiunu, Pehenptah and German/American Collaboration at the Giza Necropolis,’ in “Zur Zierde gereicht”: Festschrift Bettina Schmitz zum 60. Geburtstag am 24.Juli 2008. Giza Archives Project Gleanings II, ed. A. Spiekermann (Hildesheim: Gebrüder Gerstenberg, 2008), 31.

332

But see W. S. Smith, The Art and Architecture of Ancient Egypt, rev. W. K. Simpson (New Haven: Yale University Press, 1998), 60 for a description of the scene as “a representation of carpentry” and its classification by Der Manuelian, ‘Hemiunu,’ 36 as a “a hand holding a staff”. The object features a short handle and straight narrow blade with bevelled edge, however, consistent with an adze drawn in profile.

333

Smith, ‘Old Kingdom Reliefs,’ 527 was undecided whether the line at the base of the fragment formed part of a knee or a shoulder. Hypothetical reconstruction of the figure indicates that in order to maintain correct anatomical proportion, given that the adze is held in the right hand, the line is unlikely to represent the shoulder and is, therefore, in all probability a knee, the posture being consistent with that of a boat builder shaping the hull from underneath. Note that additional traces of relief, possibly representing a prop, were omitted by Smith in his line drawing but are visible in the original photograph of the fragment. See MFA, Giza Archives, G4000: Photo ID. B9107_NS.

334

Based on artistic criteria present in the scene which are recorded predominantly in this period. These include a blowpipe with a tube-shaped tuyure, a blowpipe in the mouth of a workman, an elongated hammer stone and a crucible

Although recovered amongst fragments belonging to the

294

Notes embedded in charcoal. Three of the four criteria are also attested in the similarly dated tomb of PtH-Spss [Cat.16]. 335

Based on media releases but without accompanying photographs. See A. Essam, ‘All You Need to Know About Hetepet’s Tomb,’ in Egypt Today, (4 February, 2018) egypttoday.com; Osirisnet,‘Hetepet,’ n_02_18.

336

Note omission of Sculpture and Carpentry industries in PM III [2] scene synopsis, the composition being described as “four registers of offering bringers, cooks and jewellers” only.

337

Minute traces of a measuring rod and plumb bob, consistent with an overseer, are visible in situ.

338

This identification is in keeping with the description of the object as being “tall”. See Simpson, Kawab, 26. With the exception of an oar, a sceptre is the most likely representation which could be accommodated in the restricted space while still corresponding to the traces recorded.

339

Scene of Sculpture published only in part. See also Smith, HESPOK, pl. 49[b] for abbreviated scenes of Boat Building.

340

For comparison with papyrus boat building see Landström, Ships, 97; A. Servin, ‘Constructions navales égyptiennes: Les barques de papyrus,’ ASAE 48 (1948), 61.

341

Eaton-Krauss, Statuary, 112 Note 612 was undecided whether a paint palette was depicted in the left hand of the figure, however computer enlargement of MFA, Giza Archives, MQ1: Photo ID. A5479_NS confirms that an object with this appearance is present.

342

Scene identified as “........ rope making” by PM III [2], 294[1]; Reisner, Giza Necropolis I, 351; Harpur, Decoration, 181.

343

My sincere thanks to Dr. Yvonne Harpur who concurred with this identification. (Personal Communication, Oxford University, U.K., 2012).

344

Based on parallel scenes in the tombs of Nj-anx-$nmw and $nmw-Htp [Cat.25] and ¡m-Ra:Jsj [Cat.49].

345

scene in Room IV. However, given that the bottom register appears to be intact, the East Wall is suggested as the most logical position. The West Wall is precluded on the basis that it contains the false door stela, and the corresponding North/South walls appear to be too long. See Reisner, Giza Necropolis I, 264-65 for relevant measurements.

Action identified as “........ rope making” by Eaton-Krauss, Statuary, 111 Note 610, based on an apparent resemblance between the object held by the figure and a fishing net (see Gardiner’s Sign List T24). Computer enlargement of MFA, Giza Archives, MQ1: Photo ID. A1062_NS, however, shows the object to be a broad collar with terminals and fastening string clearly visible. Note that the recovery of this example calls into question the argument that dwarfs were seldom depicted in a presentation role. See P. Naster, ‘Die Zwerge als Arbeiterklasse in bestimmten Berufen im Alten Ägypten,’ in Gesellschaftsklassen im Alten Zweistromland und in dem angrenzenden Gebieten XVIII. Recontre assyriologique internationale München 29. Juni bis 3. Juli 1970, ed. D. O. Edzard (Munich: Bayerische Akademie der Wissenschaften, 1972), 141. A second example is recorded in the tomb of Jbj [Cat.47].

346

Based on a parallel described by Neuberger, Technical Arts, 79.

347

This is the usual context for the manufacture of headrests in the current corpus. The juxtaposition of the scene with the engraving of seals, however, could indicate the working of an example made of ivory or stone. See Pittman, ‘Cylinder Seals,’ 1593.

348

Described inadvertently by E. Brovarski, ‘An Inventory List from ‘Covington’s Tomb’ and Nomenclature for Furniture in the Old Kingdom,’ in Studies Simpson I, 149 as having “..... passed out of fashion after Dyn. 3”.

349

Neither PM III [2], 164 nor C. R. Lepsius, Denkmäler aus Aegypten und Aethiopien: Text I, ed. E. Naville (Leipzig: J. C. Hinrichs, 1897), 58-59 identify the exact location of the

295

350

The scene of Sculpture in Register 4 has been omitted from the synopsis, owing to Lepsius’ incomplete recording.

351

Note that Brovarski, Senedjemib Complex I, fig. 45 was able to observe additional details in Registers 3-5, including inscriptions which were poorly recorded or overlooked by Lepsius.

352

Described by Brovarski, Senedjemib Complex I, 52 as possibly depicting the “adding (of) finishing touches to another item of funerary equipment” in the context of Sculpture. The symmetrical arrangement of the figures as depicted here, however, is more frequently observed in scenes of Jewellery Making or Metalwork.

353

Identified as a “sawer” by Brovarski, Senedjemib Complex I, 53, but traces of lines near the inner thigh and hip of the figure more likely represent the remains of binding rope looped in the hands of the workman.

354

The caption ap(.t), if taken to represent an.t with draughtsman’s error as argued by Montet, Scènes, 302, is probably not to be understood literally but refers rather to the action of scraping a stone against the tool to produce the abrasive.

355

The one-handed operation of the tool indicates that it is a short-handled adze, traces of which are visible in the original HU-MFA expedition photograph published in Brovarski, Senedjemib Complex I, pl. 27[b]. Examination of the scene in situ finds that there are two objects being worked, of different heights and solid in nature, consistent with two chests. See C. R. Lepsius, Denkmäler aus Aegypten und Aethiopien Ergänzungsband II, ed. E. Naville (Leipzig: J. C. Hinrichs, 1913), XIX[left]. But see Brovarski, Senedjemib Complex I, 53 for a description of the activity as “........ dressing a log”.

356

The position of the surviving arm and slight cupping of the hand, as copied by LD Ergänz. II, XIX[left] and still visible in situ, suggests that the figure may have held a paint palette in the original depiction.

357

Register 1 reproduced from LD Text I, fig. p. 52[lower]. Owing to extensive deterioration of the wall, it was copied in sketch form only.

358

Suggested by the slight lean of the sculptor into the statue and the probable alignment of his hands with the statue’s head when reconstructed.

359

So Brovarski, Senedjemib Complex I, 147.

360

So Drenkhahn, Handwerker, 19; Brovarski, Senedjemib Complex I, 148. But see Scheel, ‘Metallhandwerk I,’ 123[5] for the argument that the figure is heating precious metal.

361

So Scheel, ‘Metallhandwerk I,’ 126 and Altenmüller, ‘Abwiegen von Metall,’ 7-9, the latter suggesting that the basin to be weighed is the one being worked on, hence the unbalanced scales.

362

Note that PM III [2], 234[4] and Hassan, Giza IV, 115 assign Plate 2 to the Northern Partition Wall of Room I. But see Y. Harpur, ‘The Identity and Positions of Relief Fragments in Museums and Private Collections: Miscellaneous Reliefs from Saqqara and Giza,’ JEA 71 (1985), 42 for the argument that the scene, although found fragmented in debris, belongs to the South Wall of this room, where it completes the Boat Building sequence above and on either side of the entrance doorway.

363

For composite see Harpur, Decoration, fig. 201; Harpur, ‘Relief Fragments: Miscellaneous,’ 41, fig. 10.

‘Make it According to Plan’ 364

Suggested by the rope passing underneath the log, interpreted as an overseer’s staff or measuring rod by Vandier, Manuel V, 662 and Hassan, Giza IV, 115.

365

Note absence of scene from tomb synopsis.

366

So G. A. Reisner, ‘A History of the Giza Necropolis II, Unpublished 1942 Manuscript, Appendix A: Cemetery en Échelon,’ MFA, Giza Archives, Unpublished Documents: ApxA 032d. Note that Reisner assigns Plate 2 to the northern end of the East Wall, but hypothetical reconstruction suggests that both fragments are likely to have belonged to the same scene, forming the rear and middle section of a single hull. Examination of the tomb in situ supports the placement of the scene on the southern end of the wall, given that the remaining block close to the ceiling at the northern end features a line of offering bearers. Cf. H. Junker, Giza III: Die Mastabas der vorgeschrittenen V. Dynastie auf dem Westfriedhof (Vienna/ Leipzig: Hölder-Pichler-Tempsky, 1938), 36.

367

368

Smith, HESPOK, 169 Note 1 alludes to the depiction of “........ other crafts”, in addition to Boat Building, on the destroyed East Wall, traces of which may be represented on one of the fragments shown in MFA, Giza Archives, G5110: Photo ID. C12990_NS[left]. While the remains of a figure holding a tool, possibly an axe or an adze, are discernable on the block, the context of the action cannot be determined and may equally represent an agricultural activity such as hoeing. The raised rear heel of the figure on the left is indicative of this action, which may have been performed using a longhandled adze of the same type illustrated on the right.

369

So PM III , 309 with qualification.

370

Suggested by the angle of the leg. A partly symmetrical arrangement of the fellers is considered likely.



Note that the blade of the axe has been omitted by British Museum, Hieroglyphic Texts from Egyptian Stelae etc. in the British Museum VI (London: British Museum Press, 1922), pl. 17.

371

372

373

374

375

of workshop or metal, not the craftsman. So Drenkhahn, Handwerker, 42. 378

Suggested by the heavy baseline observed in other reliefs found in Room IV. See L. Borchardt, Das Grabdenkmal des Königs Ne-User-Rea (Leipzig: J. C. Hinrichs, 1907), Abb. 103[a].

379

The position of the left hand on the bow is indicative of this action. Alternatively, the figure may be rubbing the end of the hull in order to remove residual toolmarks. See Haldane, Hull Construction, 54.

380

Note incomplete rendering of the hull by Vandier, Manuel V, fig. 269, in that the line drawing does not define the bulwark, clearly visible on the original block Inv. No. 199579/1 MNW held by the National Museum in Warsaw. See F. Pawlicki, ‘Tepemankh in Warsaw: Some Reliefs from Abusir in the Collection of the National Museum in Warsaw,’ EtudTrav 26, no. 2 (2013), fig. 1. Note additional anomaly of the left hull with the upper middle strake intact.

381

The long handle of the adze is well defined on the original block. See Pawlicki, ‘Tepemankh,’ fig. 2. Contra. Vandier, Manuel V, fig. 269.

382

Suggested by the enhanced separation of the legs, the likelihood that the arms are raised above the head and the open front flap of the kilt, all of which imply a high degree of movement. Contra. Pawlicki, ‘Tepemankh,’ fig. 3.

383

Note reference to a scene of Boat Building here, published in LD Ergänz. III, XL[C]. Identified as such presumably because of its similarity to the process of trussing but now regarded as depicting various stages in the production of linen. See M. Bárta, Abusir V: The Cemeteries at Abusir South I (Prague: CIE, 2001), 106.

384

So Bárta, Abusir V, 105. The direction of the object is inconsistent with trimming.

385

Not observed by Badawy, aAnkhmaahor, fig. 32. See Kanawati and Hassan, Ankhmahor, 13 for citation and discussion of relevance.

386

Note that the object behind the head of this figure has been drawn differently by W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte III (Leipzig: J. C. Hinrichs, 1936), 34; Kanawati and Hassan, Ankhmahor, pl. 40; Badawy, aAnkhmaahor, fig. 32. It should, in fact, extend as far as the left ear, as able to be observed in situ, in keeping with a reed brush. See Eaton-Krauss, Statuary, 133.

387

Examination of the scene in situ indicates that the figure is holding a pointed object in his left hand similar to a piercer of the type illustrated in Davies, Rekh-mi-Rea, pls. 52-53.

388

Based on traces of an anvil, the presence of which suggests a more vigorous procedure than polishing. For further see ElKhouli, Stone Vessels III, 799.

389

Note that Drenkhahn, Handwerker, 45-46 and Paget and Pirie in J. E. Quibell, The Ramesseum and R. F. E. Paget and A. Pirie, The Tomb of Ptah-hetep (London: Bernard Quaritch, 1898), 27 do not classify the scene as Jewellery Making, the latter describing it instead as “........ four dwarfs looking over their master’s jewelled collars and other ornaments”. The core elements of the depiction, however, are consistent with other Jewellery Making scenes in the corpus, and it is identified as such by a majority of scholars. See for example PM III [2], 600[16]; Brovarski, Senedjemib Complex I, 148 Note 185; Badawy, aAnkhmaahor, 21; Dasen, Dwarfs, 258[34] and Harpur, Decoration, 90-91, Plan 102.

390

The leg configuration of the figure on the left could be an attempt to represent the workman as straddling the block using the technique of ‘false transparency’. See H. Schäfer, Principles of Egyptian Art, ed. E. Brunner-Traut, trans. and ed. J. Baines (Oxford: Clarendon Press, 1974), 123-24.

[2]

Although six other fragments are classified by Vachala, Abusir VIII, 168-73 as being applicable to Carpentry, these do not appear to depict craftsmen engaged in the manufacturing process and are more appropriately assigned to the theme of Presentation. Another block, [Fragment 296], has the appearance of an oversized counterpoise with threading strings still visible, however whether this is associated with the making of jewellery remains conjectural. Note that Davey, ‘Old Kingdom Metallurgy,’ 100 considers the possibility that this scene represents the fabrication of a vessel, owing to the absence of a defined crucible. So Verner, Abusir I, 52, 54 Note 27. For technical aspects of procedure see Davey, ‘Metalworker’s Tools,’ 182. Eaton-Krauss, Statuary, 128 describes the statue as carrying a folded handkerchief, but this item is unable to be discerned in either the line drawing consulted or its corresponding photograph. See Verner, Abusir I, pl. 26, Photo 42.

376

Both Eaton-Krauss, Statuary, 129 and Verner, Abusir I, 47 identify the far right figure in the group as a sculptor, but it has been argued that it is, in fact, one half of a double statue or dyad. See M. Rocholz, ‘Statuen und Statuendarstellungen im Grab des PtH-Spss,’ SAK 21 (1994), 265. The posture depicted, notably the closed fist held at the side, further corroborates this argument, being unattested for figures of workmen in any other scene. The inscription between the two statues appears to be unrelated to the scene and is most likely an example of ancient graffiti.

377

The posture illustrated is consistent with this action. Alternatively, the figure could be weighing, given that the deeply curved back is occasionally observed in such scenes. In the absence of the sign b , the caption refers to the type

296

Notes 391



Note inadvertent identification of a scene of bed making as Carpentry by K. O. Kuraszkiewicz, ‘The Decoration of the Tomb of the Vizier Merefnebef,’ in Thesaurus Linguae Aegyptiae 3: Texte und Denkmäler des ägyptischen Alten Reiches, ed. S. J. Seidlmayer (Berlin: Achet Verlag, 2005), 259[43].

405

The remains of a figure and a crucible in the form b are absent from the line drawing published by C. Ziegler, Catalogue des stèles, peintures et reliefs égyptiens de l’Ancien Empire et de la Première Période Intermédiare vers 2686-2040 avant J.-C. (Paris: RMN, 1990), 141 but are visible in the corresponding photograph.

392

Described by Myśliwiec, Merefnebef II, 150 as “........ a necklace ........ depicted in semi-profile”, but it appears to conform more to the shape and design of a counterpoise, identical to those on and beside the work tables featured. To date, the presentation of any item of jewellery in profile has no attestation in Jewellery Making scenes.

406

To potentially fill the missing section in the hull, based on its similar contours. So Moussa and Altenmüller, Nianchchnum, 75 Note b.

407

Note disagreement regarding the identification of the tools held in this scene. Suggestions include an axe by Drenkhahn, Handwerker, 52[VIII.3] and Moussa and Altenmüller, Nianchchnum, 134; an adze by OEE, Database, 10.10.3[5]; or a maul by Eaton-Krauss, Statuary, 116, 50. A similar operation depicted in the tomb of *jj [Cat.34], however, supports the latter interpretation. For description of an analogous tool see Clarke, ‘Cutting Granite,’ 113.

408

So Drenkhahn, Handwerker, 57. But see Moussa and Altenmüller, Nianchchnum, 134 for the argument that the wood of the statue is being impregnated with liquid poured from a ladle. The tool, however, is more axe-like in appearance, held in the customary position and with the outline of the blade discernable in situ.

409

So Andrews, Egyptian Jewellery, 94; Moussa and Altenmüller, Nianchchnum, 136; Scheel, ‘Metallhandwerk I,’ 150[9]. Qualified by same as the corners or ends of the apron, but its association with the term ns ʻtongueʼ, supported by the accompanying determinative, suggests that it represents the inner front flap.

410

Traces of a dark colour, possibly dark blue, are visible in situ along the left edge of the liquid, consistent with water.

411



So S. Hassan, Excavations at Saqqara 1937-1938 I, ed. Z. Iskander (Cairo: Antiquities Department of Egypt, 1975), 29. This feature is otherwise unattested in the workshop corpus.

412

At least eight carriers were visible in situ in 1937. See Hassan, Saqqara I, 30. However, only the outline of seven are discernable in fig. 13 and pl. XIX[C].

413

Moussa and Altenmüller, Nefer, 25 and Andrews, Egyptian Jewellery, 69 argue that a terminal is being attached, however evidence of a hand underneath the drop beads of the collar, the damaged remains of which are visible in situ, is counter to this interpretation.

414

So Moussa and Altenmüller, Nefer, 25. The text is no longer visible in situ.

415

Alternatively, the truss is not being installed, as is generally assumed, but loosened in order to facilitate its removal, with one of the workmen using his foot to help release the trussing pole. See Rogers, Boat Construction, 92-93. The observation that the truss rope is one winding less at the bow than at the stern may support this.

416

For further see Moussa and Altenmüller, Nefer, 27.

417

An additional workshop scene, in which a figure appears to be holding an adze, is possibly depicted on the East Wall of Room II, as a continuation of the theme on the adjoining South Wall. See LD Ergänz. III, XXXIX[c]. The scene, however, is too poorly reproduced to be conclusive.

418

Based on traces of an elbow, consistent with the holding of a tool, the raised rear foot of the figure, which is generally associated with chopping or sawing, and what appear to be conventionally-sized logs lying on the ground.

419

Note that both Vandier, Manuel V, fig. 268.1 and LD II, 61[b] have interpreted the handle of the adze as the right forearm of the figure.

420

The scene, in all likelihood, is an extension of those depicted

393

Argued by Myśliwiec, Merefnebef II, 150 as rendered in profile and in his opinion representing “........ the same two men in two various views”. Described as an example of “Egyptian aspective” by Osirisnet, ‘Merefnebef,’ (2008) osirisnet.net/mastabas/merefnebef/e_merefnebef _05.htm

394

A scene of painting cited by PM III [2], 526[10] is not included in the present discussion, given that it shows the deceased at an easel and not a painter in a workshop setting. See P. Duell, ‘Evidence for Easel Painting in Ancient Egypt,’ TechStudFieldFA 8, no. 4 (1940-1941), 176-79; Wilson, ‘Artist Old Kingdom,’ 246 Note 71; W. Barta, ‘Bemerkungen zur Darstellung der Jahreszeiten im Grabe des Mrr-wj-kA.j,’ ZÄS 97 (1971), 1ff.

395

The action depicted in a majority of cases in which a statue with staff is being worked.

396

Comparison of this figure in both N. Kanawati, A. Woods, S. Shafik and E. Alexakis, Mereruka and His Family. Part III[1]: The Tomb of Mereruka (Oxford: Aris & Phillips, 2010-2011), pl. 74 and P. Duell, The Mastaba of Mereruka I (Chicago: University of Chicago Press, 1938), pl. 30 with that in situ indicates a discrepancy in the rendering of the right hand. What is, in fact, an adze, held at the top of the handle close to the blade, has been drawn as an additional finger in each case.

397

For type see Brovarski, ‘Inventory Offering Lists,’ 35, fig. 4.7[e].

398

Alternatively, a component of the adjacent carrying chair is being worked. So OEE, Database, 10.1.7[2].

399

So Drenkhahn, Handwerker, 118[2.III]. Since the usual context for this activity is Carpentry, the scene is more likely to have depicted the sharpening of a newly produced blade rather than a tool.

400

The polishing stone illustrated, however, is indistinct in situ.

401

So Andrews, Egyptian Jewellery, 71; Montet, Scènes, 286. What appear to be the remains of a chisel are visible in situ, suggesting that the figure is tapping the destroyed upper section with his right hand.

402

So Haldane, Hull Construction, 55. An alternative explanation could be the marking and subsequent removal of red ochre construction guidelines, based on the possibility that the phrase Sd.t m dSr ʻRemove the redʼ was inscribed above the scene. See Rogers, Boat Construction, 34-35, 48 with qualification. For translation see J. Darnell, ‘The Annotation ,’ GM 83 (1984), 17-26.

403

404

OEE, Database, 10.5.1[8] assumes this to be an ingot, in keeping with the sequential reading of the scenes, but its appearance in situ corresponds more to that of a small metal vessel. See also H. Altenmüller, Die Wanddarstellungen im Grab des Mehu in Saqqara (Mainz am Rhein: Philipp von Zabern, 1998), Taf. 42. P. Kaplony, Studien zum Grab des Methethi (Bern: AbeggStiftung, 1976) is considered the most comprehensive study of the tomb of MTTj [Cat.24], but the fragment in question is not discussed.

297

‘Make it According to Plan’ on the North Wall, given that three registers of similar boxes, on frames or being carried, are observed here. See N. Kanawati and M. Abder-Raziq, The Unis Cemetery at Saqqara II: The Tombs of Iynefert and Ihy (Reused by Idut) (Oxford: Aris & Phillips, 2003), pl. 59[b]; R. Macramallah, Le Mastaba d’Idout (Cairo: IFAO, 1935), pl. X[B]. It is possible, therefore, that the scene illustrates the prior manufacture of one of the boxes shown. 421

422

423

See Kanawati and Abder-Raziq, Unis Cemetery II, 50 for a description of the action as “handling”. Note, however, that the outline of a hemispherical polishing stone is visible in situ, corroborated by the position of the hands. At the time of writing, the publication of the tomb of KA.jjrr [Cat.30] was being undertaken by Khaled Daoud, Field Director of the Liverpool University Kairer Epigraphic Project, however line drawings of the relevant scenes were unavailable for consultation. (Personal Communication Professor Chris Eyre, Liverpool University, U.K, 2006). See OEE, Database, 10.10.1[10], 10.10.8[5], 10.10.16[1] and 10.10.17[4] for further examples of unpublished scenes. For right section of Register 1 see K. A. Daoud, ‘Unusual Scenes in the Saqqara Tomb of Kairer,’ EA 10 (1997), 7[upper]. The scene illustrates the trimming of a statue, uniquely characterised by the seated workman straddling a high-backed stool. Line drawing unavailable for publication. (Personal Communication Dr. Khaled Daoud, Qatar University, Doha, 2021).

424

The outline of what could be a paint palette resting on the lap of the figure, together with the accompanying caption, confirms the identification. See Eaton-Krauss, Statuary, 135.

425

Identified by OEE, Database, 10.5.4[1] as a “........ lone worker smelting a small quantity of precious metal in a crucible”, however the outline of the head and back of a second individual, most likely another metal blower given the overlapping presentation, is visible in Daoud, ‘Kairer,’ pl. III. Note that the order of actions depicted in the scene is contrary to the usual sequence but may have resulted from the artist’s concern for overall symmetry when determining the final layout.

426

427

Note apparent discrepancies between the original block and the recordings by Wreszinski, Atlas I, Taf. 402 and Mogensen, Mastaba Egyptien, fig. 38, figs. 41-42 and fig. 45. These include, in the case of Wreszinski, the omission of the borer drill, the nipple and penis on one of the statues, the flue on the furnace, the counterpoise on the table and a jug, together with different renderings of the metal ingots, the backrest and the leg of the bed frame. In the case of Mogensen, the omission of the borer drill and the counterpoise on the table and different renderings of the metal ingots, storage box and bowl may be cited. Assigned in error to the tomb of *jj [Cat.34] by Montet, Scènes, 283 Note 1. Compare the identifications of E. Vernier, La bijouterie et la joaillerie égyptiennes (Cairo: IFAO, 1907), 134; Naster, ‘Die Zwerge,’ 141 Note 18; Dasen, Dwarfs, 119; Mogensen, Mastaba Egyptien, 40; Montet, Scènes, 283 fig. 39, all of whom associate the scene with Metalwork, specifically the actions of gilding, stretching gold wire and pouring molten metal into a mould respectively. Both the accompanying caption and the collars and counterpoise displayed in the sub-register above, however, support the context as Jewellery Making.

428

Traces of the counterpoise are visible on Block[CG1534] but are incomplete, indicating that the original design was subsequently altered.

429

Traces of two blowpipes are visible in situ but were not copied in full by F. W. von Bissing and A. E. P. Weigall, Die Mastaba des Gem-ni-kai I (Berlin: Alexander Duncker, 1905), Taf. XXX[6].

430

‘The Golenischev Blockʼ and held by The Pushkin State Museum of Fine Arts, which illustrates a table, the trimming of a disarticulated bed leg, the companion metal blower to Figure D and a furnace. Line drawing unavailable for publication. For reconstruction of complete scene see Hodjash and Berlev, Reliefs and Stelae, 39. For Block[UC14309] see also H. M. Stewart, Egyptian Stelae, Reliefs and Paintings from the Petrie Collection. Part 2: Archaic Period to Second Intermediate Period (Warminister: Aris & Phillips, 1979), pl. 4; Smith, ‘Old Kingdom Reliefs,’ fig. 6. 431

Based on the position of the visible hand.

432

The rectangular addition most likely represents the platform on which the chair sits viewed from above. For further on chair type see Brovarski, ‘Inventory Offering Lists,’ 144-46.

433

In practice, a second workman with a rope would be positioned at the other end. See Rogers, Boat Construction, 59-60.

434

The shape and dimensions of the cavities suggest that they are mortices, further supported by the fact that they correspond in size to the tenons visible on the adjacent hull. Their position close to the edge of the plank, however, may equally be indicative of holes or channels for lashings. See Landström, Ships, 38; Steffy, ‘Wooden Ship Building,’ 29.

435

The figures here are identified as jewellers by Drenkhahn, Handwerker, 19[VII]; Drenkhahn, ‘Artisans and Artists,’ 333; OEE, Database, 10.3.7[3], but the block has apparently been incorrectly placed in situ and appears to be more consistent with a presentation scene. The depiction of completed jewellery pieces on tables and the dwarf-like stature of the figure on the left, however, holding what has been confirmed as the fastening string of a counterpoise (Personal Communication. Mr. Saleh Alteia, Saqqara Antiquities) but copied in error as a reed brush by Wild, Tombeau de Ti III[2], pl. CLXXIII, suggest that Jewellery Making scenes may once have been depicted in the vicinity.

436

Based on the posture of the figure, who is possibly leaning forward to check the scales, and the positioning of the scene at the commencement of the metalworking sequence.

437

See Vandier, Manuel III, 8. The identification of the action as gilding by Klebs, Reliefs AR, 82 is unable to be supported given the illustrated tool.

438

So Klebs, Reliefs AR, 80.

439

Note that Wild, Tombeau de Ti III[2], pl. CLXXIV illustrates two polishing stones in the hands of the figures. Examination of the scene in situ suggests that it could equally represent each workman holding one polishing stone in two hands.

440

So OEE, Database, 10.1.13[2]. For construction techniques see H. G. Fischer, ‘Egyptian Doors, Inside and Out,’ in Egyptian Studies III: Varia Nova (New York: MMA, 1996), 91ff.; Drenkhahn, Handwerker, 108ff.

441

Assigned in error to the Temple of Sahure at Abusir by Clarke and Engelbach, Masonry, 203, fig. 246; Sleeswyk, ‘Hand Cranking,’ 26, fig. 2; G. Goyon, ‘Les instruments de forage sous l’ancien empire Égyptien,’ JEOL 21 (1970), 158, fig. 13, pl. XXIII.

442

So Y. M. Harpur, ‘Old Kingdom Blocks from the Tomb of Ḥoremheb,’ in H. D. Schneider, The Memphite Tomb of ¡oremHeb, Commander-in-Chief of Tutaankhamūn II: A Catalogue of the Finds (Leiden: Rijksmuseum van Oudheden/ EES, 1996), 82[g], based on its close correspondence to a similarly engaged Boat Building figure in the tomb of *jj [Cat.34].

443

This text, while fragmentary, is indicative of a scene of manufacturing boats. Given that smH(jj) may also be translated as ‘canoe’ or ‘skiff’, however, it is unclear whether wooden boat building or papyrus boat building is depicted.

For additional scenes see Block[I.1.a 5566], also known as

298

Notes a one-handed saw and an elongated plumb bob with conical rim are recorded only at this time. Note the argument of H. Goedicke in Re-Used Blocks from the Pyramid of Amenemhet I at Lisht (New York: MMA, 1971), 120 Note 294 that all three blocks are more likely to date to Dynasty V than Dynasty IV but based on an inadvertent citing of the tomb of Nj-anx-Ppjj:$nmw-Htp-Hpj [Cat.44] at Zawyet el-Amwat as supporting evidence. The Boat Building scenes to which he refers are, in fact, recorded in the tomb of ¢w-ns [Cat.45] at the same location.

See Faulkner CD, 229; Gardiner, Grammar, 590. 444

Suggested by the position of the figure working the exterior of the hull from the front. Similar examples are observed in the tombs of Ra-Spss [Cat.28] and *jj [Cat.34], both of which are identical in date and provenance to the block in question.

445

The signs  are visible in trace form under magnification.

446

Described by Harpur, ‘Old Kingdom Blocks,’ 81 as “........ certainly from the same scene, linked by size compatibility and obvious similarities in style and technique”. Block[OK35] and Block[OK42] are possibly part of the same composition, based on subject matter.

447

Block[OK14] and Block[OK25] are described by OEE, Database, 10.1.[18], 10.1.24[3] and 10.1.25[8] as also containing scenes of workshop activity, with the specific tasks listed as painting a shrine and polishing a bed or chair. Examination of the blocks in question, however, as published in Harpur, ‘Old Kingdom Blocks,’ pl. 89 and pl. 92 respectively, shows that while the stated elements are indeed present, the context remains largely inconclusive, owing to the absence of any recognisable figures of participating workmen.

448

Based on the fact that a majority of the blowpipe held by this figure is visible under magnification, but no lower hand is present. It follows, therefore, that this hand may be clearing the pipe in the area of the block now destroyed.

449

So Harpur, ‘Old Kingdom Blocks,’ 87. The number is clearly greater than 20, but the inscription has broken away.

450

In keeping with the context of the preparation of a shrine. For parallel see the tomb of #wn-Ra [Cat.9].

451

The configuration of the shrine suggests that one of its doors is open. For parallel see again the tomb of #wn-Ra [Cat.9].

452

There is a possible case to support the view that Block[OK43] and Block[OK45] are contiguous fragments, contrary to Harpur’s interpretation in ‘Old Kingdom Blocks,’ 81, 88, and, if so, form part of the same scene. The identification of the activity as Staff Making may also be open to debate, given that the scene is counter to the conventional representation of such a procedure and does not appear to correspond in practice to either the projected length of the object or the height and trajectory of the tool. What is described as the fulcrum and stand of the vice could, in fact, represent the handle and outer edge of the oar blade illustrated on Block[OK43], depicted as resting against a stake anvil.

453

454

The straight edges and dimensions of the object conform more to the shape of a box contra. Harpur, ‘Old Kingdom Blocks,’ 88. For parallels see the tombs of Jj-mrjj [Cat.1] and ¤nDm-jb:Jntj [Cat.11], both of which fall within the proposed dating period for this scene. Suggested placement only, based on the typical position of such scenes in L-Shaped Offering Rooms. The precise location of the scenes in question was not identified in the excavation report by J. de Morgan, Fouilles a Dahchour en 1894-1895 II (Vienna: Adolphe Holzhausen, 1903), 2.

455

Based on parallels in the tombs of Jbj [Cat.47] and ©aw and ©aw:^mAj [Cat.50].

456

Both Harpur, Decoration, 84 and Rogers, Boat Construction, 134 argue for a Giza provenance but parallel elements in the tombs of Ra-Spss [Cat.28] and Mrrw-kA.j:Mrj [Cat.22] and the use of a one-handed saw are considered to be more indicative of a Saqqara origin.

457

Scene features such as the dressing of a log in a frontal overlap position and the end of the log centred between the workman’s legs are more frequently attested during this period, while depictions of a log with a pronounced curvature,

299

458

Identified as acacia trees by Goedicke, Re-Used Blocks, 118 and Penn Museum, The Digital Penn Museum, (2018) penn. museum/collections/, Relief: Object[58-10-3] and painted red and green on the original block.

459



Goedicke, Re-Used Blocks, 121 identifies these traces as an object in or on the hull, however examples of such, with the exception of a mallet illustrated on a boat deck in the tomb of Jbj [Cat.47], are unattested in the current corpus. Alternatively, the remains may represent a vertically hanging plumb bob being held by Figure A in his right hand. For parallel see the tomb of Mrrw-kA.j:Mrj [Cat.22].

460

Both Goedicke, Re-Used Blocks, 121 and Rogers, Boat Construction, 23-26 identify the tool held by Figure A as a saw. If the identification of the activity as checking the hull specifications is proved correct, then a saw may have been carried in order to smooth any remaining irregularities, although an adze was more often used for this purpose. For further see Rogers, Boat Construction, 52.

461

So Goedicke, Re-Used Blocks, 121. But note the argument put forward by Vinson, ‘Boat Construction,’ 258 that there is no evidence for this process in ancient Egypt to date.

462

Computer reconstruction establishes a high probability that Fragment[30], published in A. El-Khouli, Meidum (Sydney: ACE, 1991), pl. 44, forms part of the lashing scene in the lower register. Both the angle and the thickness of the rope are compatible with the traces that remain.

463

So Vandier, Manuel V, 665.

464

But see Petrie, ‘Egyptian Shipping,’ 65 and Servin, ‘Les constructions navales,’ 159 for the argument that the workmen are securing a papyrus deck covering.

465

Traces of the legs and rear foot of the figure are visible under magnification. In the context of Boat Building, and given the static posture exhibited, an overseer is the most plausible identification for the remains.

466

A polishing stone was originally present in the hand of the figure, as seen in Petrie and Griffith’s earlier line drawing Deshasheh, pl. XIII.

467

Note that this is one of several possible actions attested in a Carpentry context which would correspond to the posture exhibited. Equally valid interpretations include trimming or sanding a box or other item of furniture or sharpening an adze.

468

The figure appears to be squatting or sitting, as observed in the more detailed copy recorded by Petrie and Griffith, Deshasheh, pl. XIII, hence he could be working on a box or chest. The traces, however, are too indistinct to accurately interpret.

469

For parallel see the tomb of anx-m-a-¡r:¤sj [Cat.19]. Identified as a scene of Leatherwork by OEE, Database, 10.4.7[1].

470

So Kanawati and McFarlane, Deshasha, 26; Petrie and Griffith, Deshasheh, 8. See the scene from the Causeway of Unas, published by Hassan, ‘Saqqara 1937-1938,’ pl. XCVI for possible parallel.

471

Based on a near identical representation in the tomb of ¤nDm-

‘Make it According to Plan’ jb:MHj [Cat.12] in which obvious similarities in posture and hand action are to be observed. 472

See Odler, ‘Adzes,’ 93 for identification of the latter as adzes.

473

Note apparent anomalies in the recording of this scene by Petrie and Griffith, Deshasheh, pl. XXI, including possible errors in the number of headrests, the incorrect position of the counterweight on the sawing post, the unusual rendering of the pull saw and the drawing of the adze in Register 2 as a reed brush.

474

Traces of an axe and the remains of a figure are visible under magnification. For a likely parallel see the tomb of Ppjjanx:@nj-km [Cat.51].

475

Note absence of Plates 2 and 3 in scene synopsis, owing to their omission from LD II, 111[b], the principal reference for the tomb of Nj-anx-Ppjj:$nmw-Htp-Hpj [Cat.44] prior to the publication of A. Varille, La tombe de Ni-Ankh-Pepi à Zâouyet el-Mayetîn (Cairo: IFAO, 1938).



The lower register was not recorded by Lepsius’ draughtsmen in 1843, owing to its partial burial in debris. Its contents were subsequently reconstructed after a parallel in the tomb of #w-ns [Cat.45].

477



See Varille, Ni-Ankh-Pepi, 19 for identification of the object as a “chest”, despite its atypical presentation.

478

So PM IV, 135; Harpur, Decoration, 445, Plan 40; Smith, HESPOK, 215. But see Klebs, Reliefs AR, 87, 89 and OEE, Database, 10.1.6[1] for identification of the objects in Registers 1, 3 and 4 as “arrows”.

479

For identification of type see G. Rausing, The Bow: Some Notes on Its Origin and Development (Bonn: Rudolf Habelt, 1967), 130ff.

480

The depiction of a stone prop and the interlocking arrangement of the planks is consistent with the process of stacking and dressing the timber to allow it to dry. See Killen, Egyptian Woodworking, 13-14; Winlock, Models of Daily Life, 33-34.

476

488

Vandier, Manuel III, 4 and Kanawati, Deir el-Gebrawi II, 48 identify the point of contact as the wig and head respectively, however hypothetical reconstruction of the upper part of the statue shows it to be the face, as confirmed by the caption Ts(j) Hr twt ʻModelling the face of a statueʼ.

489

The separation of the scene from the melting and beating sequence is consistent with other examples of illogical placement which characterise this section of the North Wall. For further discussion see Harpur, Decoration, 121; Kanawati, Deir el-Gebrawi II, 51. For anomalies in the depiction itself, specifically the position of the plummet, see Glanville, ‘Weights and Balances,’ 20-22; S. R. K. Glanville, ‘Weights and Balances in Ancient Egypt,’ Nature 137, no. 3474 (1936), 890.

490

For the role of this figure see Davies, Deir el-Gebrawi I, 20; Kanawati, Deir el-Gebrawi II, 49.

491

Argued by Kanawati, Deir el-Gebrawi II, 48 as being for the purpose of preparing material for the jewellery shown above and to the right. For the same interpretation see S. A. Garcia, ‘Fragmento mural an el Museo Egipcio de Barcelona procedente de la tumba de Ibi en Deir el-Gebrawi,’ BIAE 4, no. 37 (2006), 3. The posture of the figures is indistinguishable from other sheet metal beating scenes, however, and the metal being weighed is generically identified as bjA. It is more likely, therefore, that although merged pictorially, two separate industries are depicted.

492

The contents of the North Wall are described in error by PM IV, 242[67][2] as depicting only scenes of fishing and preparing a bed.

493

Schematic summary of North Wall only, with location of scene marked and identified as “dwarfs with collars (two groups)”. The scene itself was never published.

494

Figures identified as dwarfs by Davies, Deir el- Gebrawi II, 29; OEE, Database, 10.3.10[14].

495

Davies, Deir el-Gebrawi II, 29 was able to observe two groups of figures on the wall in 1900. The action of the second pair is likely to be that of drying a collar, based on the probability that the sequence depicted parallels that in the tomb of @m-Ra:Jsj [Cat.49] but in the reverse order.

496

So Drenkhahn, Handwerker, 22[XIX.5-6]; Davies, Deir elGebrawi II, 24; Klebs, Reliefs AR, 86. The tang of the blade is clearly visible.

481

Note the possibility that two logs are being carried, the first of which has been destroyed.

482

Note that the tool in the left hand of the figure has been copied as a saw by LD II, 108.

483

For type see A. Radwan, Die Kupfer- und Bronzegefäße Ägyptens von den Anfängen bis zum Beginn der Spätzeit (Munich: C. H. Beck, 1983), Taf. 32[160I).

497

The verb mnx may relate to the lifting of the collar out of the water rather than to the washing action itself. See Erman and Grapow, Wb. II, 87[8].

484

So Odler, ‘Adzes,’ 93.

498

485

Note additional scenes of stone masonry in this tomb, identified as Boat Building by PM IV, 244[12-13]; Davies, Deir el-Gebrawi I, 21; Harpur, Decoration, 448, Plan 143; Rogers, Boat Construction, 17, despite the figures being designated Xrty.w-nTr ‘Stone Masons’ and the depiction of masonry tools. For identification of object being worked see N. Kanawati, Deir el-Gebrawi II (Oxford: Aris & Phillips, 2007), 50; H. G. Fischer, ‘A Foreman of Stoneworkers and His Family,’ BMMA 17, no. 6 (1959), 146.

See H. von Balcz, ‘Symmetrie und Asymmetrie in Gruppenbildungen der Reliefs des Alten Reiches,’ MDAIK 1 (1930), 144 for the argument that the figures are raising and positioning the log in readiness for carrying, hence their unconventional arrangement.

499

Suggested by the depiction of completed jewellery pieces. The scene of their manufacture, if it existed in antiquity, may have been located in the destroyed section of the wall.

500

The remains of an adze blade and handle are recognisable in Davies’ dotted outline of the figure in Deir el-Gebrawi II, pl. X.

501

So Davies, Deir el-Gebrawi II, 10. Interpreted as a workman “........ polishing or sanding a shrine” by OEE, Database, 10.1.31[4], presumably because of the completed example to the left. The significant gap in the wall, however, may preclude any connection.

502

Traces of a foot are visible overhanging the stern, a posture typically associated with this action. For parallels see the tombs of #wn-Ra [Cat.9] and Jbj [Cat.47].

486

487

So Erman, Reden, Rufe und Lieder, 44; Klebs, Reliefs AR, 87. Although the accompanying inscription alludes to the activity of polishing, the position of the arms is inconsistent with such an operation, and no polishing stones are visible. It may, therefore, be understood as referring to the high gloss which prior polishing of the wood has achieved. The remains of a mallet handle are visible below the right hand of the figure. But see Vandier, Manuel III, 4 for an interpretation of the posture as the sculptor admiring his finished work.

300

Notes 503

The spt hmw.tj(.w) may have been boat builders who specialised in the preparation of the bulwark only, as illustrated in the scene, although the term was rarely applied as a designation. For translation see Faulkner, CD, 222.

504

Note omission of workshop scenes in tomb synopsis.

505

Blackman and Apted, Meir V, 26 note the possibility that the figure may be twisting wire, however the use of the term swS in a scene of Textile Production on the South Wall supports the identification of the material as thread.

506

See Blackman and Apted, Meir V, 28 and Drenkhahn, Handwerker, 102[VII], both of whom describe the contents as a vase, but a small statuette is also visible. Cf. EatonKrauss, Statuary, 141; H. Junker, Der Maler ’Irj (Vienna: R. M. Rohrer, 1956), 65; Kanawati and Evans, Meir II, 27.

507

A reed brush is visible in situ, although omitted by Blackman and Apted, Meir V, 28, leading both Drenkhahn, Handwerker, 53[XV.b.1] and O’Connor, ‘Sexuality, Statuary,’ 624, 625 Note 10 to the unusual conclusion that the figure is painting with his fingers.

508

The description by Odler, ‘Adzes,’ 90 of adhesive on the handle bindings of the adze in this scene cannot be confirmed in situ and may simply be the remains of blackening on the wall.

509

Identified as a “mason chiselling a block of stone” by OEE, Database, 10.11.1[1], however the accompanying caption and evidence of a reed brush and bowl are more suggestive of painting.

510

So Kanawati and Evans, Meir II, 23. Not observed by Drenkhahn, Handwerker, 7ff.; Hasanien, ‘Leather Manufacture,’ 75ff.; Junker, Weta, 5ff. For translation of HtA as ‘threadbare’, a possible reference to the steeping of a hide for depilation, see Faulkner, CD, 179.

511

For translation see Drenkhahn, Handwerker, 11ff; Kanawati and Evans, Meir II, 23.

512

The sequence of browsing goats, felling trees and carrying logs is indicative of wooden boat building, which may have been depicted in the destroyed section to the left. See ElKhouli and Kanawati, El-Hammamiya, 74.

513

Suggested by the uniform posture of each figure and the placement of the arms, consistent with carrying a sling. For parallel see the tomb of Nj-anx-$nmw and $nmw-Htp [Cat.25].

514

Omitted from scene synopsis. Identified only as “........ carpenters and beating flax(?)”.

515

Note apparent absence of detail in E. J. H. Mackay, L. Harding and W. M. F. Petrie, Bahrein and Hemamieh (London: BSAE, 1929), pl. XIV in relation to the bow, bulwark and props. Note further the omission of what appears to be part of a keel at the stern of the boat, as recorded by El-Khouli and Kanawati, ElHammamiya, pl. 69, contrary to the prevailing view that such a feature did not exist at this time. For further discussion see Jones, Boats, 75; Hodges, Technology, 105; A. M. J. Tooley, ‘Boat Deck Plans and Hollow Hulled Models,’ ZÄS 118, no. 1 (1991), 75; Clarke, ‘Nile Boats,’ 9; Steffy, Wooden Ship Building, 33; R. O. Faulkner, ‘Egyptian Seagoing Ships,’ JEA 26 (1940), 4; McKergow, ‘Water Transport,’ 228.

516

Suggested by the positioning of the right foot as an anchor. For parallel see the tomb of Ppjj-anx:@nj-km [Cat.51].

517

A second metal beater is likely to have been depicted in the register. For discussion of symmetry in scenes of this kind see Balcz, ‘Symmetrie,’ 142-44; Schäfer, Principles, 185, 226.

518

Note omission of Metalwork scenes in tomb synopsis. Only the southern section of the West Wall and the North Wall are

described, based on P. E. Newberry, ‘The Inscribed Tombs of Ekhmim,’ LAAA 4, no. 2/3 (1912), 117.

301

519

Object not observed by N. Kanawati, The Rock Tombs of El-Hawawish: The Cemetery of Akhmim I (Sydney: Ancient History Documentary Research Centre/Macquarie University, 1980), 21.

520

Kanawati, El-Hawawish I, 21 initially interpreted the depiction as a punishment scene, subsequently rejecting this view on the basis of a parallel caption recorded in the tomb of ^psj-pw-Mnw:$nj [Cat.55] confirming the reading of the destroyed text as n(D)r m (mj)nb.t [sic] “Fashioning with an axe”. See Kanawati, El-Hawawish II, 22-23. However, neither the published line drawing nor in situ photographs of the scene, made accessible to me by kind permission of Dr. Alexandra Woods of Macquarie University, are able to substantiate the activity as one of Carpentry. The remains of the prone figure are painted red-brown, consistent with it being a workman, therefore either the depiction or the caption must be regarded as an anomaly, perhaps indicating that the composition was altered in antiquity from the original plan.

521

A similar object depicted in the identical context in the tomb of #ntj [Cat.59] is identified by M. Saleh, Three OldKingdom Tombs at Thebes (Mainz am Rhein: Philipp von Zabern, 1977), 20 as an axe, but its shape, allowing for enlargement, is more consistent with the blade of an adze. For corroboration see W. M. F. Petrie, Tools and Weapons: Illustrated by the Collection in University College London and 2,000 Outlines from Other Sources (London: BSAE, 1917), pl. XVII[82]; Killen, Egyptian Furniture I, pl. 4[c].

522

Note omission of Metalwork scene. Subsequently published by Saleh, Three Old-Kingdom Tombs, fig. 41, pl. 11.

523

Note omission of workshop scenes in tomb synopsis.

524

The kneeling posture of the figure and the depiction of a blowpipe point to a likely association with Metalwork, the specific identification being based on a parallel scene in the tomb of Nj-anx-$nmw and $nmw-Htp [Cat.25].

525

The posture is consistent with this action, should the scene prove to be an extension of the Metalwork activities to the immediate right. For parallel see the tomb of anx-m-a-¡r:¤sj [Cat.19].

302

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L

V E

T

M

T

L









 



VI E

T

M





Leaning 

Tree

With protruding branch 



Axe cut in trunk 

Lower branches removed 

Stump 













 









Raw Materials

With residual branches

Squared off at ends 

Rounded end 

Parallelogram-shaped

Log







Combination of end types 

Curved 

Upright 



Elevated on blocks 

Grouped on ground

Appendix 1 Micro-Features in Scenes of Boat Building

319

T

L

Provincial

Date IV

Memphite

Corpus Example

Transitional

Feature

Transitional

Type

Category

Appendix 1 - Micro-Features Boat Building

E

T

M

T

L

V E

T



Moderate length (4-6 carriers)

T



Carriers positioned either side of log 

L





Excessive length (8 or more carriers)

Log

M





VI E 













T

M 

In front of log 

Behind log 

Raw Materials

Broad plank 



With cavity 

Mortices

Plank or Batten



Defined saw cut 

On props 

Long batten 





Short batten 



Carry Sling

Tools and Equipment

Batten with stripped bark 

One sling used to carry log 

More than one sling

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

320









T

L

Provincial

Date IV

Memphite

Corpus Example

Transitional

Feature

Transitional

Type

Category

‘Make it According to Plan’

E

T

M

T

L

V E 

Rope of carry sling looped under log

T

M

T

L







VI E

T

M 



Carry Sling

Secured to log with knot





Straight beam 

Contoured beam 

Two beams 

Container

Bag 

nms.t-jar 

Jars in bag

Cloth

Tools and Equipment



Bundled 

Tall 

Short Sawing Post









Sling rope with defined texture



With saw blade protruding through post 

Tip of saw blade protruding through post



Bound top and bottom

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

321



T

L

Provincial

Date IV

Memphite

Corpus Example

Transitional

Feature

Transitional

Type

Category

Appendix 1 - Micro-Features Boat Building

T

M

T

L

E

T

M

T

L 

With control rope 

Large rectangular counterweight



Sawing Post

Small rectangular counterweight 

Counterweight slung on stick attached to sawing post



Tied to stick attached to sawing post



Weighted stick oriented upwards 

Tools and Equipment

Downwards 

Counterweight rope with defined texture 



Two-handed pull saw

Saw



One-handed saw 

Pole

Saw with defined teeth 





















Trussing pole or stanchion

Truss Rope

On poles

Around hull

With defined texture

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

322

VI E

T

M

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M



Long 

Rope

Short 

Coiled 

Held under arm

Measuring Rod









Long

 





Short 

Tools and Equipment

Sphendonoidal 

With rope attachment hole 





Plumb Bob

Elongated 



With conical rim 



Single coil of rope 

Multiple coils of rope 





Held loosely in hand

Cudgel

Curved

Baton



Small



Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

323

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 1 - Micro-Features Boat Building

T

M

T

L

E

T

M

T



L

VI E

T

M



Long

Stick



Medium 

Short 





Club-shaped with flat top 







Mallet

Round or pointed top 

Bulbous round top







With flat-top handle Chisel

Tools and Equipment



Lying on deck  











Round-top handle 





Short-handled with round head 

















Square head 

Adze

Angled head 



Long-handled with round head 



Square head

Blade in profile

 



Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

324





 



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E



T

M 

In frontal view

Adze



Balanced on shoulder 

Held over shoulder 

With long handle 



Markedly long handle 







 













 

















Curved handle 

Straight handle Axe

Tools and Equipment

Short handle



Handle with cross-hatch bindings 









Round blade

 

Square blade 



Elongated blade 

Blade with fastening hole

Hammer Stone



Ovoid 

Rectangular

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

325

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 1 - Micro-Features Boat Building

T

M

T

L

E

T

M

T

L

VI E

T

M



Seat



Hassock 

Rectangular with handles held vertically Maul

Tools and Equipment

Block seat





Held horizontally 















Papyriform

Flat-bottomed

 

 



 











Round-bottomed 



Pointed bow and stern Boat Hull

Objects Worked or Displayed

With rounded bow and stern









Squared off bow and stern 

Combination of bow and stern types

 

















Papyrus umbel 

Completed hedgehog head decoration



Incomplete hedgehog head decoration

 

Parallel plankwork

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

326



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T



Diagonal and/or horizontal plankwork

L

VI E

T

M





Defined woodgrain 







Missing strake 

Scarf joint 





Bindings at bow and stern 





Mooring hook Boat Hull

Objects Worked or Displayed

Bindings with prominent knots



Keel 

Rudder 

Undefined or incomplete element 



Bulwark

 

 





Bulwark with defined holes and notches 











 

Single hull under construction 



Multiple hulls 

Single strake or hull section

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

327







T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 1 - Micro-Features Boat Building

T

M

T

L

E

T

M

T

L





VI E

T

M

With beam 

Without beam 









Block 

Double block 



 

Stake 





Wedge-shaped with rounded edge



Forked 

Prop

Objects Worked or Displayed

Wedge-shaped with straight edge





Round 

Hobble 

Hobble with tie 

Rectangular block between prop and hull 

Props positioned perpendicular to hull













 



 





Angled

Regularly spaced

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

328











T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type Support Post

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M



Irregularly spaced 





Prop

Objects Worked or Displayed

Three props at bow and stern 



Fewer than three props 

 







Multiple props 

Other

Hull propped in middle 

Oar 

With adze and plumb bob 

Saw 

Measuring rod 





Overseer

Personnel

Measuring rod and plumb bob



 



Mallet and chisel 

Papyrus roll 

Baton 

Calling instructions 

Punishing workmen

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

329

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 1 - Micro-Features Boat Building

T

M

L

E

M

T

L













  





T





 

Teams of 6-8 

Workman

T

M



Supervising in hull

At side of hull

Personnel

E



Directing workmen with ʻCarpenterʼs Signʼ Overseer

T

VI









 

Teams of 4-5 

 

In symmetrical arrangement 





Other

Calling instructions 

Scribe 



Calf-length 





Knee-length 





Wraparound Kilt

Clothing

With extended hemline 

With folded flap 









Short 

With extended hemline

 

  





 



Tied back and front

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

330

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M



Tied with double sash

Wraparound Kilt





Markedly short 



 







With curved ends open at front 

Tied at back

Loincloth

Clothing











Turned to front

Turned to back 

Cloth

Over shoulder 

Jewellery

Tied under arm 

Amulet 

Other

Exposed genitals 



 





Naked workman

Hair

Overseer with receding hairline

Hair

Workman with receding hairline













Wig

Overseer with echelon wig 

Workman with echelon wig

Appendix 1 Micro-Features in Scenes of Boat Building (cont.)

331



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 1 - Micro-Features Boat Building

T

M

T

L 

E

T

M

T

L





 



VI E

M

T

L













T



Broad

Narrow

With defined texture 

Residual fibres or branch stump 





Defined saw cut Plank

Raw Materials





Separated at saw cut 











Placed flat on ground

Anchored by foot 

Upright 

Stacked 













Tall

Sawing Post

Tools and Equipment





Short 

With weighted supports

Saw blade protruding through post Tip of saw blade protruding through post

Appendix 2 Micro-Features in Scenes of Carpentry

332



 

 







Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M



T

L

VI E

T

M



T



Bound at top 







Top and bottom 



Middle  

Above the saw 









Below the saw 













Rope with defined texture Sawing Post

Tools and Equipment

With control rope



Large rectangular counterweight



Small rectangular counterweight 











Round counterweight 

Counterweight slung on stick attached to sawing post



Tied to stick attached to sawing post 

Weighted stick oriented upwards















Perpendicular 

With horizontal bindings

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

333



L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 2 - Micro-Features Carpentry

E

T

M

T

L

V E

T

M

T

L

VI E

T

M

T

L





Sawing Post

Diagonal bindings 

Counterweight secured in rope bag 





















 



Rope with defined texture 



 

 

Counterweight not defined 

Two-handed pull saw

Saw



One-handed saw 

Tools and Equipment

Saw with defined teeth 



Short-handled with round head

 



 





Square head 





 

 

Angled head 

Adze

Long-handled with square head 



Blade in profile

  



In frontal view 





Inverted 

With defined rope bindings

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

334











Provincial

Date IV

Memphite

Corpus Example

Transitional

Feature

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

Adze



T

M

T





L

VI E

T

M 

Balanced on shoulder 



Axe

With round blade 

Square blade

Drill



Bow drill  

Mallet

Club-shaped with flat top 



Round or pointed top 

Bulbous round top

Chisel

Tools and Equipment

















 

 



 

 

 

  



With flat-top handle 

Ovoid 





Hemispherical

 





Round Polishing Stone

T



 

Held in hand 

Gripped in hand 

Held in two hands





 





With hands overlapped

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

335

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 2 - Micro-Features Carpentry

T

M

T

L

E

T

M

T



One stone held by two workmen

Polishing Stone

L

VI E

T

M





Two stones held by one workman 



Scraped with adze 

Sandstone abrasive

Whetstone



Large 

Small

Rod Plumb Bob

Tools and Equipment



Long 

With single coil of rope 



Block

Prop or Anvil





Stake 

Hemispherical 

Rectangular

Seat





Block seat

Stool

One-stepped

Support



Back support



Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

336

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L



Wicker back support 

Platform

Block 

Plinth 

Sled 







With one-legged stand 



Two-legged stand 

Tools and Equipment

Block stand 









Stake stand 



Forked stand

Vice





With heavy support post 







Narrow post 



Forked post 

Curved post 









Straight upper lever 

Curved upper lever

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

337



Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type Support

Category

Appendix 2 - Micro-Features Carpentry

T

M

T

L

E

T

M

T

L 

Vice

Stand and support post secured by ropes 

VI E

T

M







With vaulted lid

Sarcophagus







ʻPalace facadeʼ decoration 

Simulated stone decoration 

On platform or plinth 



With cavetto cornice roof 

Objects Worked or Displayed

Cavetto cornice roof and torus moulding







Ribbed cavetto cornice roof 

Shrine

Tapered roof 

Defined wood texture 







On sled 



On platform 

Door

With doors open 

Leaf with upper corner projections oriented vertically

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

338

L 

Unsecured 

T



Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E



T

L

VI

M

T

E











T

M

T

Horizontally 

With battens 



Door

Panel 

Lock 

Bolt 

False door

Objects Worked or Displayed



















With papyrus flower terminals 



Straight edges 

Defined wood texture 

Bed Frame

Fitted with mattress 

Bovine-shaped legs 

Bovine-shaped legs on supports







Leonine-shaped legs 

Leonine-shaped legs on supports





Bent legs and brace

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

339













L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 2 - Micro-Features Carpentry

T

M

T

L

E

T

M

T

L









VI E

T

M

T

Straight or disarticulated leg

Bed Frame

Legs with defined sinew and dewclaw 











Cylindrical leg supports 







Truncated leg supports 





With backrest 







On base 

Sedan Chair

Objects Worked or Displayed

Chair

Trapezoidal leg supports

On base and battens in profile 

In frontal view 

Without base 



Simple with high back

Carrying Chair



Simple with low back 

Disarticulated platform and armrest 





Divan

Complex 

Large

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

340

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M



Divan

Small 

With defined wood texture

Backrest



With bovine-shaped leg 

Bent leg and brace 







hn(.w)-box on legs 

On battens

Objects Worked or Displayed



On frame 



With cavetto cornice on legs 

Box or Chest

On frame

With cavetto cornice and torus moulding













On battens mxtm(.t)-box with cavetto cornice and torus moulding on frame



On frame with stretcher 

dbn-box on frame 

sTp.t-chest

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

341

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 2 - Micro-Features Carpentry

T

M

T

L

E

T

M

T

L



VI E

T

M

T

L



On sled 





HA-xt-box

Box or Chest



afD.t-box on battens 

On frame 

On frame with brace 









Simple 

With brace Table

Objects Worked or Displayed

Dsr(w)-chest







With stretcher 

Scribal Equipment

Game

With brace and stretcher 

snt-board on table 

Box 

Palette 

Column

Dd-column 

Lotus column

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

342



Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L



Sceptre

wAs-sceptre 

abA-sceptre 





Staff

mdw-staff with rounded top 



Straight top 







Oriented vertically 



Horizontally  

Oar

With rounded blade







Elongated blade 

Spear

Other

Objects Worked or Displayed

Headrest





Bow 



Fan

Presentation of Completed Objects



 

Single object 

















Grouped 



Collection 

Beside table

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

343

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 2 - Micro-Features Carpentry

T

M

T

L

E

T

M

T

Presentation of Completed Objects

Objects Worked or Displayed



L 

VI E 

T

M

T





L

Beside bed frame 

Duplicate objects in a row 

Spread out 





Disarticulated 

With adze 

Adze and plumb bob 



Overseer

Measuring rod 

Measuring rod and plumb bob 

Personnel

Participating in manufacturing process 

Directing workmen with ʻCarpenterʼs Signʼ





Punishing workmen 





   

 

  







 

 



 

Workman

Individual workman

Teams of two 

  

 

 

 

 





 







 



In symmetrical arrangement 

Asymmetrical arrangement

Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

344







Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L









Workman



With defined musculature

Scribe





Knee-length with extended hemline







With folded flap 



Wraparound Kilt

Clothing

Short

  



  







  



With extended hemline 

Tied back and front 



Markedly short

 

 













Other

Loincloth

With curved ends open at front 



Turned to back 



Exposed genitals or naked 

Hair

Overseer with receding hairline Hair

 



Workman with receding hairline Appendix 2 Micro-Features in Scenes of Carpentry (cont.)

345

 





Provincial

E

V

Memphite

Date IV

Transitional

Corpus Example

Transitional

Type

Feature

Other

Personnel

Category

Appendix 2 - Micro-Features Carpentry

T

M

T

L

E

T

M

T

L

VI E

T

M



Threading String

Single strand 



Double strand twisted together 





Cylinder-shaped Bead

Raw Materials

Skein



Flower-shaped

Drop Pendant







  

Elliptical or teardrop-shaped

 

Leaf-shaped 

High 



 

Medium 



Work Table

Tools and Equipment

Low

High with brace 



Medium with brace 

Low with brace 











High with stretcher

Medium with stretcher

Appendix 3 Micro-Features in Scenes of Jewellery Making

346





T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E 

Work Table

Low with stretcher 

Medium with brace and stretcher 

Low with brace and stretcher 



High block seat



 



 

Low



Rectangular

Seat

Tools and Equipment





Trapezoidal 

Disproportionately-sized 

Woven 

Table used as seat 

Footrest

Block 



Seat used as footrest 



Table used as footrest

Storage Box



HA-xt-box 

hn(.w)-box on legs

Appendix 3 Micro-Features in Scenes of Jewellery Making (cont.)

347



T

M 

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 3 - Micro-Features Jewellery Making

T

M

T

L

E

T

M

T

L

VI E

T

M



On frame 

With cavetto cornice on legs 

On frame

Storage Box



With brace 

With button handle 



dbn-box



Dsr(w)-chest

Drill

Hand-held percussion drill

Anvil



Rectangular with rounded sides

Chisel

Tools and Equipment



With defined texture





With flat-top handle 

Polishing Stone

Ovoid 

Held in hand 

Container

Held in two hands overlapped 

Shell-shaped palette

Appendix 3 Micro-Features in Scenes of Jewellery Making (cont.)

348

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M



Container



Shouldered bowl 

Cauldron

Shelter

Tools and Equipment

Spouted water bowl



Lotus-columned 

 

 



wsx-collar

  



 



 

Snw-collar 







 









 

Collar type not defined









Horizontally

Collar

Objects Worked or Displayed

Oriented vertically when tied





Oriented vertically when untied





Horizontally

 



Incomplete or in early stage of manufacture



 



 











  

 









In other configurations 





With single fastening string 

Double fastening string

Appendix 3 Micro-Features in Scenes of Jewellery Making (cont.)

349



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 3 - Micro-Features Jewellery Making

E

T

M

T

L

V E

T

M

T

L

VI E





 



T

M

Textured fastening string 





Upright ties





Dangling ties 

Loose ties 

Ties draped over arm of workman











With threading string at base

Collar

Objects Worked or Displayed

Ties not defined



 



 

  











Clenched in hand



Held in fingertips 

Held between thumb and forefinger











 



 

Beads strung between rows

Defined spacers 



 

Drop pendants 

Beadwork not defined







  



Falcon-headed terminals

Appendix 3 Micro-Features in Scenes of Jewellery Making (cont.)

350



 

 

T

L

Provincial

Date IV

Memphite

Corpus Example

Transitional

Feature

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

M

T

L







 

 



 









 





 





E

T

Lunate terminals Collar

VI

Terminals not defined

Oriented vertically

Horizontally

E

T

M



With threading string at base 

Counterpoise

Objects Worked or Displayed

Textured fastening string 

 

Beads strung between rows 

Drop pendants

 





Incomplete drop pendants 





 





 



Drop pendants not defined

Beadwork not defined 

Oriented vertically 

Choker

Horizontally





With textured fastening string 

Defined spacers

Appendix 3 Micro-Features in Scenes of Jewellery Making (cont.)

351



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 3 - Micro-Features Jewellery Making

T

M

T

L 

E

T

M



T

L









VI E

T

M

Choker

Beadwork not defined

Lunate terminals 



 

Terminals not defined 

Keyhole-style with trapezoidal pendant and metal neckpiece





With trapezoidal pendant and beaded neckpiece









Pectoral

Objects Worked or Displayed

Pendant with drop beads 

Drop beads not defined 

Neckpiece with falcon-headed terminals



Terminals not defined 

Incomplete or in early stage of manufacture



Diadem or Fillet

With long streamers 



Short streamers 

Decorative attachments Bracelet

Armlet-style

Belt



With decorative attachments



Appendix 3 Micro-Features in Scenes of Jewellery Making (cont.)

352

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M



T

L







On table 

VI E  

T

M  



Overhanging table 

Presentation of Completed Objects

Objects Worked or Displayed

Beside table 



In storage box or boxes 

Adjacent to storage box or boxes







 



In storage box on table or frame 



Carried by workman  

Suspended in sub-register 



Overseer

Disproportionately-sized

 

 



Supervising in a seated position





   

 







  

  







Calling instructions 







Workman

Personnel

Individual workman 



Dwarf workman



Corpulent workman 

Teams of two

Appendix 3 Micro-Features in Scenes of Jewellery Making (cont.)

353

 



 

  



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 3 - Micro-Features Jewellery Making

T

M

T

L

E

T

M

T

L







  







 

In symmetrical arrangement 

VI

Asymmetrical arrangement 

E

T

M  



Scribe 

Calf-length

Knee-length with extended hemline













Wraparound Kilt

Clothing

Short

 



With extended hemline oriented vertically 





  









Horizontally 



With folded flap 

With apron 

Hair

Overseer with long wig



Hair

Workman with receding hairline

Wig

Markedly short



Appendix 3 Micro-Features in Scenes of Jewellery Making (cont.)

354



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type Workman Other

Personnel

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L



Rectangular with legs

Raw Materials

Hide



Triangular with legs 

Rectangular with residual hair 

Leather

Rectangular piece 







Strip 

Tall trestle stand with wide bridge



With narrow bridge 

Trestle or Stake Stand

Tools and Equipment

Short trestle stand with wide bridge





With narrow bridge 

Short trestle stand with two legs



Stake 

Stand with leather wrapped around top









Balanced on top 



Anvil

Flat 

Rectangular with straight sides

Appendix 4 Micro-Features in Scenes of Leatherwork

355

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 4 - Micro-Features Leatherwork

T

M

T

L

E

T

M

T

L

Anvil

Rounded sides

Agent



Lump of tanning agent

VI E

T

M





Bowl

Steeping bowl

Stone



Scraping or polishing stone



Knife

Leather knife

Mallet



Club-shaped with round or pointed top

Leather piercer







Sack



Carried over shoulder 



Sole with wings or pre-straps 









Paired

Sandal

Objects Worked or Displayed

Wings or pre-straps not defined



Held parallel to anvil when worked Held perpendicular to anvil when worked













Displayed vertically 

Horizontally

Appendix 4 Micro-Features in Scenes of Leatherwork (cont.)

356

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Corpus Example

Transitional

Type

Feature

Piercer

Tools and Equipment

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E









T

M

In profile 



Sandal

In frontal view 

Strap or thong 



Completed sandal 

Sandal with heel strap

Cloak or Robe

Objects Worked or Displayed



With interior border 

Without border 

Sack 



Water skin 

Bag

Large rectangular bag 

Small rectangular bag 

Large bag with handle 

Small bag with handle

Container



Large 

Small

Appendix 4 Micro-Features in Scenes of Leatherwork (cont.)

357



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 4 - Micro-Features Leatherwork

T

M

T

L

E

T

M

T

L

VI E

T

M



Rectangular



Without flap 

Grouped Presentation of Completed Objects

Objects Worked or Displayed

Mirror Case



With flap



Collection 

In a row 

Carried by workman 







Overseer

Suspended in sub-register 

Participating in construction

Workman

Personnel

























Individual workman

Teams of two

In symmetrical arrangement

Loincloth

Kilt





Turned to front with tie

Hair

Hair

Clothing



Short

Workman with receding hairline



Appendix 4 Micro-Features in Scenes of Leatherwork (cont.)

358



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type Cushion

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T



Crude Metal Ingot

Ovoid or round

Elongated or irregularlyshaped

















Shape of ingot not defined 



Block-shaped

Cast Metal

Raw Materials



Flat 

Markedly flat 







Ovoid or irregularly-shaped 



Foil

Strip 

Crimped

Leaf 

Cut-out shape 

Standing scales with broad base



Scales

Tools and Equipment



Narrow base 

Large uprights 

Small uprights 

Vertical joist

Appendix 5 Micro-Features in Scenes of Metalwork

359









L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 5 - Micro-Features Metalwork

T

M

T

L

E

T

M

T

L

VI E

T

M



Joist in anthropomorphic form 

Attached by ropes 





Straight beam 

Curved beam 





With centre plummet 

Plummet in profile and frontal view

Scales

Tools and Equipment



Plummet not defined 

Beam positioned top of joist

 



Middle of joist 

Hand-held scales with joist 

With joist and plummet 



Joist and plummet not defined 

Cord knot top of joist 





Top of beam 

With defined texture

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

360



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M



T

L 

Deep basket or sling

VI E

T

M

 



Shallow basket or sling 

With crosspiece 

With defined texture 





Weighing pan 

Weighing pan or basket suspended by one cord

Scales

Tools and Equipment







Two cords

  



Multiple cords 

Held by joist figure 





By round suspension hook 

Angular suspension hook  

Hook in anthropomorphic form 

In frontal and rear view 

Suspension hook not defined 

Weighing pan or basket not defined

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

361

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 5 - Micro-Features Metalwork

T

M

T

L

E

T

M

T

L 

VI E

T

M

T

L







Block-shaped 

Weight

Rectangular 

Combination of block-shaped and rectangular 







Weights not defined 

Storage Box

On battens 

With weights 

Tools and Equipment

With ingots 







  

Long with ovoid tuyure



Markedly long 



Thick

Blowpipe



With diamond-shaped tuyure 





Tube-shaped tuyure 





Short with ovoid tuyure 

With tube-shaped tuyure 

Tuyure not defined

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

362





Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L 

Blowpipe raised to mouth of workman

E



T

M

T

L



 

 

 



  



In mouth of workman 





Held top and bottom

VI E

M

T

L



 













 





T





Blowpipe

Middle and bottom 







Top and middle

 

 

















Tools and Equipment

With lower hand open 

Upper hand open 



Held in one hand 

With round top and flat base 





Furnace or Crucible

Round top and flared base 

Round top and markedly flared base



Oversized with round top and flared base 

Inverted 

Round top and squat base

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

363



 

Middle 





Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 5 - Micro-Features Metalwork

T

M

T

L

E

T

M

T

L







VI E

T

M

T

L



Flat top and flared base 

Flat top and markedly flared base





Conical or flat top and wide base











Bipod 







With lid 

Heat restrictor

Furnace or Crucible

Tools and Equipment



Height extension

Flue 

Supported on stones 

Supported by wooden post 

  

Embedded in charcoal







Filled with charcoal 







With tall flames 

Medium flames 

Short flames

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

364

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T



L

VI E

T

M

T



Furnace or Crucible

Flames in arc pattern 



Radial pattern 



Shooting pattern 





Brazier

Concave 

Convex 

Bowl-shaped 





Irregularly-shaped Charged Crucible

Tools and Equipment



Rhyton-shaped



In oblique view 

With vertical flow of molten metal







Curved flow 

Markedly curved flow 

Mould

Flat 

With raised sides 

Rounded sides

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

365

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 5 - Micro-Features Metalwork

T

M

T

L

E

T

M

T

L

VI E

T

M

T



Basin-shaped 



Holding Pads

Ovoid 

Hemispherical 













Holding pads not defined

Rod

Measuring rod 

Bowl

Tools and Equipment

Rod or stick 

Water bowl 

Rectangular with rounded sides 

Low

 









Rectangular with straight sides 





Anvil

Low

 



Markedly low 





Rectangular with rounded top 

Trapezoidal 

Block

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

366





L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type Mould

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

 





Tall stake 





Anvil

Short stake 

Double stake with ropes 





Metal held on anvil

 



 



Metal and anvil held together 





Large ovoid 



 





Tools and Equipment

Medium



Small 

Hammer Stone

Rectangular  

Elongated









  



  







Round 

Held in hand







Gripped in hand 

Cupped in hand 

Held loosely in hand

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

367

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 5 - Micro-Features Metalwork

T

M

T

L

E

T

M

T

L



Held between thumb and forefinger

VI E

T

M

T





L





Hammer stone not defined

Seat

Low block seat

Stool



One-stepped







Shelter

Wooden 



Straight-sided basin with high spout ewer



Low spout ewer Ewer and Basin

Objects Worked or Displayed

Lotus-columned



Tapered basin with high spout ewer 

Low spout ewer 

Tall basin with high spout ewer







Straight-sided 





 





Basin

Tapered

Inverted



With handle

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

368



Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type Hammer Stone

Category

‘Make it According to Plan’

T

M

T

L

Ewer



E

T

M

T

L



VI E

T

M

T



With high spout 

Spouted 

On high stand 

Bowl

On low stand 

Straight-sided 







Shallow 

With lid on stand 

Cylinder

Objects Worked or Displayed

Rounded



bAs-cylinder 



On stand 

pnq-jar 

Hs.t-jar

Jar



With sealing cap 

qbH.t-jar with spout oriented upwards 

Downwards

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

369

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 5 - Micro-Features Metalwork

T

M

T

L

E

T

M

T

L

VI E

T

M

T









L



Spouted jar on ring stand 





nms.t-jar

Jar

Barrel-shaped jar with tapered neck and collar 

With wide mouth and rounded rim



On ring stand 





With conical rim 







With tall neck Flask

Objects Worked or Displayed

Shouldered jar

Short neck 



Adze 

Blade

Chisel 

Axe 





Knife or saw 

Mirror

With handle 

With incised base

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

370







Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L

Tray

On stand

Chest

Dsr(w)-chest



Chair Table Sceptre

With stretcher

Garment Accessories





Sedan chair on base 



sxm-sceptre 

Girdle knot 

Apron flap 

Staff

Objects Worked or Displayed



mdw-staff with papyriform top

Presentation of Completed Objects











 

 







Single object 



Grouped

On table 

In stand 







 

Overseer

Personnel

Participating in construction 









With rod

With measuring rod or staff

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

371



Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 5 - Micro-Features Metalwork

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L



Shielding face from furnace 



Individual workman 

 

  

 



  



Teams of two

 

  



 

 





Team of three 



 

Teams of four





 

   







 



Workman

Personnel

Teams of five or six 







Tightly overlapped 

Moderately spaced with some overlapping

 

 

  



Markedly spaced with some overlapping







 

 

 



  



  

   



Markedly spaced with no overlapping 





In symmetrical arrangement 



Asymmetrical arrangement 

  

 

Shielding face from furnace



















Wraparound Kilt

Clothing



Ankle-length 

Short

Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

372





 

  

  



    

 

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type Overseer

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T



L 

VI E

T

M

T

L

 

With extended hemline 

With folded flap 

Wraparound Kilt

With apron 



Tied at back 



Markedly short Clothing



Tied at back  

Jewellery

Cloth

With curved ends open at front





Tucked into waistband 

Collar 

Other

Exposed genitals 

Naked workman 

Hair

Overseer with receding hairline 

Hair

Workman with receding hairline











 

Wig

Overseer with long wig

Other



Beard



Appendix 5 Micro-Features in Scenes of Metalwork (cont.)

373





Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 5 - Micro-Features Metalwork

T

M

T

L 



E

T

M

T

L



 



Wood



VI E 

T

M

T

L









Statue Material

Raw Materials

Simulated wood 

Stone

 







Simulated stone  

Statue material not defined



Large club-shaped with flat top





  







 





Small 

Mallet

Large club-shaped with round top



















Small

Tools and Equipment



With handle reversed 



Handle used to tap chisel 

Mallet not defined 









Chisel

With flat-top handle 

Round-top handle 

Non-aligned blade

Appendix 6 Micro-Features in Scenes of Sculpture

374





Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

















Mortice 

Short-handled with round head 

Adze

Blade in profile

In frontal view 

Balanced on shoulder 



Rounded 

Axe

Tools and Equipment

Maul

Pointed

With round blade 









Ovoid polishing stone 

Polishing or Modelling Stone

Large ovoid modelling stone  

Small 

Held in hand

 





Gripped in hand 

Held between thumb and forefinger



Held in two hands

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

375



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type Chisel

Category

Appendix 6 - Micro-Features Sculpture

T

M

T

L

E

T

M

T

L

VI E

T

M

Stone Pounder



Ovoid





Flat 







 











Long

Short 

One brush behind ear of workman



Reed Brush

Tools and Equipment



Two brushes 











Held in hand 

Clenched in hand 

Held between thumb and forefinger









With defined head 

Brush absent or not defined 









Shell-Shaped Palette

Large

Small 

In profile

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

376

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Corpus Example

Transitional

Type

Feature

With hands overlapped

Spatula

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L



Displayed on table 

Shell-Shaped Palette

With water bowl in hn(.w)-box 









Cupped in hand 

Clenched in hand 

Balanced on lap 





Palette absent or not defined



Container

Tools and Equipment



Water jar

Water bowl 

Spouted water bowl with lid 

Water cup 

High block seat 

Seat or Stool

Markedly high 



Medium 



Hassock 

Textured

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

377

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 6 - Micro-Features Sculpture

T

M

T

L

E

T

M

T

L

VI E

T

M

Seat



Woven 



Multiple-stepped stool 

Two-stepped stool 

With brace 

Stool

One-stepped stool 

Stool with steps not defined 

Tools and Equipment

Foot of workman resting on seat of stool







On step of stool 

On side of stool 

Rectangular block 





Statue base used as platform

Platform





Statue base stabilised with foot 

With toes 

By workman seated on base 

By workman seated on block or stool with one foot on base

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

378







T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

M

T

L

E

T

M

T

L

E

T

M



Two feet on base 

Toes on base 









With forward shoulder 





In profile 

 



On block seat 

On block seat with base and front projection



 





With low support Seated Statue

Objects Worked or Displayed

Without base and front projection



















Low support and cloth covering



Back slab

Interior border

With fist on knee 

Hand on knee 





Fist on thigh 

Hand on thigh

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

379

 

T

L

Provincial

T

VI

Memphite

E

V

Transitional

Date IV

Transitional

Type

Feature

Corpus Example



Platform

Tools and Equipment Category

Appendix 6 - Micro-Features Sculpture

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L



With staff 

Seated Statue

Without staff 

























 



 

With handkerchief 

With staff and handkerchief 





Advanced inner leg 

Legs in profile

Objects Worked or Displayed













With forward shoulder

In profile 

With back pillar 

Striding Statue

Recumbent

On base 

On base with short front and rear projections











Long front and rear projections 

Long front and short rear projections

Rear projection only

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

380













Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M



T

L











VI E 

T

M

T



L 

Base not defined 

With staff

Striding Statue







Without staff 







With staff and abA-sceptre 

Staff and papyrus roll 

Objects Worked or Displayed

Handkerchief 







With forward shoulder 



In profile 

Standing Statue

With papyriform staff 

On base with short front and rear projections



Long front and short rear projections







Rear projection only 

Statue Orientation

Base not defined 

Statue steadied by hand 

Gripped by hand

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

381

 

 













Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 6 - Micro-Features Sculpture

T

M

T

L 



E

T

M

T

L





 















 





 

 



Statue Orientation

Worked from front 

VI E

T

M

T

L

 





From rear 



From front and rear 

Fisted hands 













Open hands  



 

 





Facial features not defined Statue Physical Attributes

Objects Worked or Displayed

Facial features











Goatee 

Prominent nipple 











Pronounced belly button 

Defined toenails

Exposed genitals 

Statue Clothing

Defined musculature 

Calf-length wraparound kilt with extended hemline 

Short wraparound kilt

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

382

 

 





 





Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L



VI E

T

M

T

L



With extended hemline 

Statue Clothing

With apron 

Markedly short wraparound kilt











Sheath dress 



With prominent shoulder strap 

 









Collar Statue Accessories

Objects Worked or Displayed

Naked





Collar and choker 

Collar and amulet 





Short round wig

 











Statue Hair

With flared base

Echelon wig 







Shoulder-length wig 



With flared base 

Striated wig

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

383



 



Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 6 - Micro-Features Sculpture

T

M

T

L

E

T

M

T

L

VI E



T

M

T





L

Statue Hair

Long wig 

Tripartite wig 







 

 







 

Close-cropped hair 



Male statue



Statue Gender and Size

 

  



 

Female statue

Objects Worked or Displayed

 



Life-size

 



 

  











Oversized 

 

¾ Life-size



⅓ Life-size 

Statuette Sculpture





Lion on sled 

On sled 



Shrine

With one door open 

With defined wood texture 

With painted animal decoration

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

384





Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L





Hn-box 

With interior border 

Presentation of Completed Objects

Objects Worked or Displayed

Shrine

Banded decoration

In dyad 

In shrine 

In shrine on sled 

In baldachin 







 

 

 



Overseer

Participating in construction 

Directing workmen with ʻCarpenterʼs Signʼ



With defined musculature

Personnel

Individual workman

 



 



 









 

Workman

Teams of two

  



Teams of three 



In symmetrical arrangement 

Asymmetrical arrangement

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

385





 









Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 6 - Micro-Features Sculpture

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L

Workman Other

Personnel



Calling instructions 

With defined musculature 

Scribe 

Ankle-length 

Wraparound Kilt

Clothing

Knee-length with extended hemline



 











 



 









 



Short

With extended hemline 



Cloth



Tucked into waistband

Hair

Hair

Markedly short

Workman with receding hairline



Wig



Workman with echelon wig

Appendix 6 Micro-Features in Scenes of Sculpture (cont.)

386





Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L



Diorite

Stone Types

Raw Materials



Porphry 

Alabaster 







Stone type not defined



 

 

 





 

















Simple borer drill 

Complex borer drill with shank 



 





Drill with short shaft 



Long shaft

Markedly long shaft

Drill

Tools and Equipment



With cap 



Straight handle 







Curved convex handle 

Curved concave handle 

Markedly curved concave handle 

Markedly long handle

Appendix 7 Micro-Features in Scenes of Stone Vessel Making

387

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 7 - Micro-Features Stone Vessel Making

T

M

T

L

E

T

M

T

L

VI E

T

M















 



 



 





T

L

Handle with pointed tip 

Flat-top or rounded tip

Large counterweights 

Small counterweights 



Two counterweights





Counterweights secured in rope bag Drill

Tools and Equipment

Three counterweights



Drill held by handle and counterweights









By shaft and counterweights 



By handle and shaft

 













By handle only 

Operated with one hand on vessel



One hand around vessel  

Anvil

Disproportionately-sized



Block

Appendix 7 Micro-Features in Scenes of Stone Vessel Making (cont.)

388

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M



Stake 







Ovoid 



Polishing Stone

Tools and Equipment

Elongated 









Held in hand 

Cupped in hand 

Held between thumb and forefinger

Bowl

Reed Brush



Long 

Held between thumb and forefinger



Small 



 





Cylinder





With lid 

Squat cylinder 

Xnm-jug 

Jug

Objects Worked or Displayed

bAs-cylinder

With band decoration 

With decorative handle

Appendix 7 Micro-Features in Scenes of Stone Vessel Making (cont.)

389

T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type Anvil

Category

Appendix 7 - Micro-Features Stone Vessel Making

T

M

T

L

E

T

M

T

L

VI E 

T

M 

Jug

With narrow neck 







Short neck

Hnk.t-jug 



Hs.t-jar 

With decorative stopper 

 



nms.t-jar

Objects Worked or Displayed



With cap 

Spouted jar 

Jar

On ring stand 

With handle 

Shouldered jar with wide mouth





With rounded rim and handles 

With conical rim and handles 

Shouldered jar with narrow mouth







With conical rim

Appendix 7 Micro-Features in Scenes of Stone Vessel Making (cont.)

390



T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

T

M

T

L

E

T

M

T

L

VI E

T

M

T

L



Necked jar with handles 

Jar

On ring stand 

Barrel-shaped jar with wide mouth and rounded rim on ring stand



Irregularly-shaped jar 



tj.t-bowl 





Rounded bowl

Bowl

Objects Worked or Displayed

On ring stand



On ring stand 

Ornamental bowl 

On stand 





Straight-sided bowl 

 

Type of Vessel Worked

Cylinder 

Jar







 

















Jug 

Bowl

Appendix 7 Micro-Features in Scenes of Stone Vessel Making (cont.)

391







Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

Appendix 7 - Micro-Features Stone Vessel Making

T

M

T

L

E

T

M

T



L

VI E



T

M 

Presentation of Completed Objects

Objects Worked or Displayed

Single object 







Grouped 





On table 

In stand 





Overseer



Participating in construction

Workman

Personnel

Disproportionately-sized

With defined musculature







Ankle-length 

Wraparound Kilt

Clothing

Knee-length with extended hemline 









Short 

 



With folded flap 

Other



Exposed genitals

Hair

Hair

With curved ends tied at back

Workman with receding hairline



Appendix 7 Micro-Features in Scenes of Stone Vessel Making (cont.)

392





T

L

Provincial

E

V

Memphite

Date IV

Transitional

Feature

Corpus Example

Transitional

Type

Category

‘Make it According to Plan’

Feature

Catalogue No. 13, 15, 25, 26, 27, 39, 44, 45, 52

Feature

Catalogue No.

Batten with stripped bark

34

Single threading string

31

Double threading string twisted together

3, 51

Skein of threading string

31

Cylinder-shaped beads

34, 47

Flower-shaped beads

3

Elliptical or teardrop-shaped drop pendants

9, 19, 20, 21, 22, 27, 34, 48, 49

Leaf-shaped drop pendants

47, 50, 51

Rectangular hide with legs

9

Triangular hide with legs

9

Rectangular hide with residual hair

51

Rectangular leather piece

51

13, 26, 39

Tree with defined foliage

39

Tree with defined branches

13, 25, 27, 44, 45, 52

Tree with radial branches

13, 25, 27, 39, 44, 52

Tree with vertical branches

45

Tree with protruding branch

15

Axe cut in tree trunk

13, 27

Tree with lower branches removed

44

Tree stump

26

Moderately long log

15, 47, 49, 52

Excessively long log

25, 26, 44, 45

Log with residual branches

13, 25, 27, 34, 44, 47

Log squared off at ends

13, 26, 27, 34, 44, 47, 49, 53

Leather strip

1, 9, 19, 34, 42, 43

Ovoid or round metal ingot

19, 22

Log with rounded end

15, 39, 44

Parallelogram-shaped log

45

Elongated or irregularlyshaped metal ingot

22, 31

Log with combination of end types

15, 27, 28?

Shape of metal ingot not defined

12, 30, 47, 49

Curved log

45, 53

Storage box with metal ingots

19

Upright log

47

Block-shaped cast metal

Log elevated on blocks

27, 53

1, 16, 23, 31, 34, 47, 50, 56

Logs grouped on ground

Flat cast metal

28

51

Broad plank

Markedly flat cast metal

1, 4, 9, 10, 11, 34

22, 30

Narrow plank

25, 27, 31, 37, 43, 45, 51, 55, 56

Ovoid or irregularly-shaped cast metal

3, 4, 19, 23, 33

Plank with residual fibres or branch stump

Foil strip

4, 5

51

Foil leaf

25

Plank with defined texture

43, 51

Crimped cut-out metal shape

5

Plank with defined saw cut

1, 9, 11, 18, 22, 34, 53

Wooden statue material

Plank separated at saw cut

45

1, 3, 5, 9, 10, 16, 19, 22, 25, 34, 50?, 51, 55

Plank with cavity

25, 45

Simulated wooden statue material

51, 55

Plank with mortices

34

Stone statue material

3, 16, 25, 34, 47?, 51

Plank on props

34

Plank placed flat on ground

16

43, 51, 55

Simulated stone statue material

Plank anchored by foot

43, 50, 51, 55

Statue material not defined

Upright plank

50

2, 4, 5, 8, 9, 11, 12, 19, 25, 30, 31, 34, 42, 47, 50, 51, 56

Long batten

28, 34

Diorite

11

9, 25, 34, 45

Porphry

16?

Short batten

Metal

Hides and Leather

Threading String and Beads

Leaning tree

Woods and Stone

Planks and Battens

Trees and Logs

Upright tree

Category

Category

Appendix 8 - Micro-Features by Catalogue Number

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number

393

Category

Catalogue No.

Alabaster

47, 51

Stone type not defined

1, 5, 9, 19, 22, 30, 31, 34, 35, 47, 50, 51, 55

Carry sling with straight beam

25, 26, 47, 49

Carry sling with contoured beam

44

Carry sling with two beams

25

Carry sling looped under log

13, 15, 25, 26, 45, 47

Sawing Posts

Feature

Carry sling secured to log with 49 knot

13, 25, 26, 44?, 47

Carriers positioned either side of log

15, 25, 44, 45

Carriers positioned in front of log

13, 26, 49, 52

Carriers positioned behind log

47

Tall sawing post

4, 25, 34, 45, 51, 53, 56

Short sawing post

1, 25, 27, 43

Sawing post with weighted supports

43

Sawing post bound at top

4, 34, 45, 56

Sawing post bound top and bottom

22?, 25

Sawing post bound in middle

1, 9, 11, 43, 51

Sawing post bound above saw

11, 34, 45, 51, 56

Sawing post bound below saw

1, 4, 9, 22

Sawing post with control rope

11, 18, 53

Post rope with defined texture

1, 22, 25, 34, 43, 56

Saw blade protruding through post

1, 34, 43, 45

Tip of saw blade protruding through post

11, 25, 27, 37, 51, 53, 55, 56

Sawing post with large rectangular counterweight

25

Sawing post with small rectangular counterweight

34, 51, 56

Sawing post with round counterweight

9, 34, 43, 45

Counterweight slung on stick attached to sawing post

25, 43, 45, 56

Counterweight tied to stick attached to sawing post

34, 51

Knives and Blades

More than one sling used to carry log

Mallets and Cudgels

15, 49

Saws

Sling rope with defined texture 47, 49 One sling used to carry log

Feature

Catalogue No.

Weighted stick oriented upwards

9, 25, 34, 43, 45, 56

Weighted stick oriented downwards

25

Weighted stick perpendicular to sawing post

51

Weighted stick bound horizontally to sawing post

25, 34, 45

Weighted stick bound diagonally to sawing post

43

Counterweight secured in rope 43 bag

Chisels

Sawing Posts

Carry Slings

Category

‘Make it According to Plan’

Counterweight rope with defined texture

34, 43, 51

Counterweight on sawing post not defined

1, 11, 27

Two-handed pull saw

1, 9, 11, 25, 27, 34, 37, 45, 51, 53, 55, 56

One-handed saw

28, 34, 39, 45

Saw with defined teeth

34, 45

Leather knife

1, 19

Leather piercer

19

Adze blade

46, 55?, 58, 59

Chisel blade

42?

Axe blade

42, 46

Saw or knife blade

5, 25, 46, 49

Large club-shaped mallet with flat top

1, 8, 9, 25, 31, 34

Small club-shaped mallet with flat top

3, 34

Large club-shaped mallet with round or pointed top

9, 11, 25, 33, 34, 43, 45, 47, 55

Small club-shaped mallet with round or pointed top

10, 19, 50, 51

Bulbous round-top mallet

47, 50, 51

Handle of mallet used to tap chisel

8, 34

Handle of mallet reversed

5

Mallet lying on deck

47

Mallet not defined

19, 25, 51

Cudgel

9

Chisel with flat-top handle

1, 9, 10, 11, 15, 17, 22, 25, 31, 33, 34, 41, 45, 47, 50, 51, 55, 56

Chisel with round-top handle

9, 47, 50, 51

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

394

Feature

Category

Category

Appendix 8 - Micro-Features by Catalogue Number

Catalogue No. 51

Elongated hammer stone

7, 16, 30, 34

Mortice

11, 19, 34

Round hammer stone

23, 31, 37

Pointed maul

25

Rounded maul

34

Short-handled adze with square head

9, 25, 38, 50, 51, 53

Short-handled adze with angled head

3, 4, 6, 9, 25, 28, 45

Mauls

Rectangular maul with handles 22, 34 Ovoid polishing stone

9, 16?, 19, 22, 25, 34, 35, 37, 42?, 51

Hemispherical polishing stone

1, 3, 4, 5, 22, 27, 29, 30, 31, 33?, 34, 43, 47?, 50?, 51

Elongated polishing stone

1, 40, 41, 45

1, 31

Round polishing stone

9

Large ovoid modelling stone

31

Adze blade in profile

1, 3, 4, 6, 8, 9, 11?, 13, 14, 16, 22, 25, 27, 28, 31, 33, 34, 38, 40, 41, 43, 45, 51, 56

Small ovoid modelling stone

3, 16

Stone held in hand

1, 3, 4, 5, 7, 9, 16, 19, 22, 23, 25, 27, 30, 31, 34, 37, 42, 47, 49, 50, 51

Stone gripped in hand

9, 16, 31, 59

Stone cupped in hand

19, 31, 50, 51

Stone held loosely in hand

23

Adze blade in frontal view

19, 34, 47, 50, 53

Inverted adze

3, 5, 51

Adze with defined rope bindings

16, 25, 31, 33, 34, 51

Adze balanced on shoulder

9, 16, 19, 25, 27, 47

Adze held over shoulder

22

Axe with long handle

25, 27

Polishing and Modelling Stones

Long-handled adze with square head

Stone held between thumb and 16, 35, 37 forefinger 1, 3, 4, 5, 8, 11, 22, 27, 29, 31, 33, 34, 38, 43, 51

9, 13, 26, 44, 45, 47, 50

Stone held in two hands overlapped

3, 16, 19

Axe with curved handle

9, 13, 15, 25, 26, 27, 34, 44, 53

One stone shared by two workmen

29, 31

Axe with straight handle

15, 25, 44, 45, 47, 50, 52

Axe handle with cross-hatch bindings

Two stones held by one workman

34?

25, 26, 34

Stone in hand not defined

12, 47, 54, 56

Axe with round blade

9, 13, 15, 25, 27, 34, 43, 45, 53, 56

Stone scraped with adze

1, 10

Sandstone abrasive

1

Axe with square blade

44, 47, 50, 51

Lump of tanning agent

1

Axe with elongated blade

15, 26, 45

Large whetstone

3

Axe blade with fastening hole

25

Small whetstone

51

Scraping stone

51

Long stick or rod

9, 12, 45, 49

Pounder

25

Medium stick or rod

27

Large ovoid hammer stone

1, 4, 5, 9, 25, 27

Short stick or rod

16, 19, 22, 25, 34, 46

Medium ovoid hammer stone

3, 9, 19, 23, 49, 50, 51

Small ovoid hammer stone

16, 22

Long measuring rod

1, 8, 9, 13, 17, 25, 28, 34, 36, 45

Rectangular hammer stone

34, 51, 59

Short measuring rod

22, 34

15, 26, 34, 44, 52, 53

Axe with short handle

Whetstones/Agents

Stone held in two hands

Axe with markedly long handle

Sticks and Rods

Adzes

Long-handled adze with round 9, 13, 14, 25, 27, 34 head

Axes

Catalogue No.

Chisel with non-aligned blade

Short-handled adze with round 1, 4, 8, 9, 10, 11, 16, 19, 22, 25, 27, 28, 31, 33, head 34, 43, 47, 50?, 51, 56

Hammer Stones

Feature

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

395

Category

Feature

Catalogue No.

Feature

Catalogue No.

9, 11, 19, 22, 30, 47, 51

Drill with two counterweights

5, 9, 11, 19, 22, 31, 35, 47, 51

Drill with three counterweights

34

Drill counterweights secured in rope bag

30?, 35

Drill held by handle and counterweights

5, 11, 35, 55

Drill held by shaft and counterweights

34

Drill held by handle and shaft

9, 19, 22, 30?, 34, 47

Drill held by handle only

31

17, 28, 39

Drill operated with one hand on vessel

9, 11, 19, 51

Plumb bob with single coil of rope

9, 25

Drill operated with one hand around vessel

22, 51

Plumb bob with multiple coils of rope

34

Disproportionately-sized drill

11, 34, 35

Plumb bob held loosely in hand

13, 22, 28, 45

Tall trestle stand with wide bridge

34

Bow drill

34

Tall trestle stand with narrow bridge

19

Hand-held percussion drill

47

Short trestle stand with wide bridge

9, 42

Simple borer drill

5, 9, 11, 19, 22, 30, 34, 47, 51, 55

Complex borer drill with shank

35

Drill with short shaft

9, 11, 19, 22, 30

Drill with long shaft

5, 9, 11, 22, 47, 51, 55

Drill with markedly long shaft

11, 34

Leather balanced on top of trestle stand

19

Drill with cap

51, 55

Stake stand

60

Drill with straight handle

Long rope

22

Short rope

34

Coiled rope

40, 41

Rope held under arm

27

Truss on poles

9, 27, 45

Truss around hull

9, 27, 28

Truss with defined texture

27, 45

Sphendonoidal plumb bob

9

Sphendonoidal plumb bob with rope attachment hole

34

Elongated plumb bob

22, 25, 45

Elongated plumb bob with conical rim

Trestle and Stake Stands

47

Drills

Drill with small counterweights

Baton

Short trestle stand with narrow 1 bridge Short trestle stand with two legs

43

Leather wrapped around top of 1, 34, 42, 43, 60 trestle stand

5, 11

Vice with one-legged stand

Drill with curved convex handle

16, 22, 34, 46, 60

19, 22, 31, 51, 55

Vice with two-legged stand

9, 43

Drill with curved concave handle

9, 19, 35

Vice with block stand

46

Vice with stake stand

9, 16, 22, 34, 55

Drill with markedly curved concave handle

34

Vice with forked stand

16, 22

Drill with markedly long handle

Vice with heavy support post

9, 43

5

Vice with narrow support post

16, 22, 34, 46, 55

Drill handle with pointed tip

19, 22, 31, 34

Vice with forked support post

34, 55

Drill handle with flat or rounded tip

5, 9, 11, 19, 22, 35, 51

Vice with curved support post

43

Drill with large counterweights

Vice with straight upper lever

9, 22, 34, 55

5, 31, 34, 35

Vice with curved upper lever

16, 43, 46

Vices

Drills

Plumb Bobs

Ropes and Trusses

Category

‘Make it According to Plan’

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

396

Category

Feature

Catalogue No.

Feature

Catalogue No.

22, 34, 43, 55

Scales with weighing pan

1, 12, 49

Vice with unsecured stand and support post

16, 46

Weighing pan or basket suspended by one cord

12

Standing scales with broad base

1, 30

Weighing pan or basket suspended by two cords

1, 5, 19, 22, 23, 30, 31, 49

Standing scales with narrow base

12

Weighing pan or basket suspended by multiple cords

47

Standing scales with large uprights

23, 49

Cord of weighing pan or basket held by joist figure

30

Standing scales with small uprights

47

Weighing pan or basket held by round suspension hook

5, 30, 31, 49

Standing scales with vertical joist

1, 12, 23, 47

Weighing pan or basket held by angular suspension hook

47

Standing scales with joist in anthropomorphic form

30

19, 22, 23

Standing scales with joist attached by ropes

49

Weighing pan or basket held by suspension hook in anthropomorphic form

Standing scales with straight beam

1, 23, 47, 49

Weighing pan or basket held by suspension hook in frontal and rear view

5

Standing scales with curved beam

12

Suspension hook on weighing pan or basket not defined

12

Standing scales with centre plummet

1, 12?, 23, 30

Weighing pan or basket not defined

42

Standing scales with plummet in profile and frontal view

47

Block-shaped weights

19, 22, 31

Rectangular weights

42

Combination of block-shaped and rectangular weights

23

Weights in weighing pan or basket not defined

5, 12, 30, 47, 49

Scales

Vice with stand and support post secured by ropes

49

Standing scales with beam positioned top of joist

12, 23, 30, 47, 49

Standing scales with beam positioned middle of joist

1

Weights in storage box

22

Hand-held scales with joist

31

Hand-held scales with joist and plummet

Long blowpipe with ovoid tuyure

4, 16, 19, 22, 23, 25, 31, 32, 44, 51, 57, 58

19, 22

55, 56

Joist and plummet on handheld scales not defined

Markedly long blowpipe with ovoid tuyure

5, 42

33, 46

Hand-held scales with cord knot top of joist

Long thick blowpipe with ovoid tuyure

31

5

Hand-held scales with cord knot top of beam

Long blowpipe with diamondshaped tuyure

1, 5, 31

24, 34, 59

Cord knot with defined texture

49

Long blowpipe with tubeshaped tuyure

Scales with deep basket or sling

5, 19, 23, 30, 31

Short blowpipe with ovoid tuyure

3, 37, 47

Scales with shallow basket or sling

22

Short blowpipe with tubeshaped tuyure

7

Weighing basket or sling with crosspiece

19, 30

Tuyure on blowpipe not defined

12, 49

Basket or sling rope with defined texture

22

Blowpipe raised to mouth of workman

1, 3, 4, 5, 12, 16, 19, 25, 34, 46, 47, 49, 50, 54, 55, 56, 57, 59, 60

Weights

Plummet on standing scales not defined

Blowpipes

Scales

Category

Appendix 8 - Micro-Features by Catalogue Number

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

397

Category

Feature

Catalogue No.

Catalogue No.

7, 16, 22, 23, 24, 31, 51, 59

Tall flames emitted by furnace or crucible

25, 33, 34, 56

Blowpipe held top and bottom

1, 3, 4, 5, 7, 12, 16, 19, 22, 23, 24, 25, 34, 49, 55, 57

Medium flames emitted by furnace or crucible

7

Short flames emitted by furnace or crucible

49

Flames in arc pattern

25, 34

Flames in radial pattern

7, 49

Flames in shooting pattern

33, 56

Concave brazier

7, 23, 32, 33?

Convex brazier

46

Bowl-shaped crucible charged with molten metal

5

Rhyton-shaped crucible charged with molten metal

3, 22, 30

Irregularly-shaped crucible charged with molten metal

1?, 51

Charged crucible in oblique view

34

Vertical flow of molten metal from crucible

3

Blowpipe held middle and bottom

16, 47

Blowpipe held top and middle

5, 7, 12, 22, 25, 31, 32, 33, 34, 46, 49, 51, 55, 56, 58

Blowpipe held in middle

47, 50, 59, 60

Blowpipe held with lower hand open

4, 12, 55, 58, 59

Blowpipe held with upper hand open

7

Blowpipe held in one hand

16, 37?, 59

Furnace or crucible with round 4 top and flat base Furnace or crucible with round 46?, 49, 56 top and flared base Furnace or crucible with round 58 top and markedly flared base Oversized furnace or crucible with round top and flared base

57, 59

30, 34, 51

Inverted furnace or crucible with round top and flared base

Curved flow of molten metal from crucible

25

Markedly curved flow of molten metal from crucible

22

Flat mould

22

Mould with raised sides

51

Mould with rounded sides

3

Basin-shaped mould

34

Ovoid holding pads

3, 51?

Hemispherical holding pads

22

Holding pads not defined

5, 30, 34

Rectangular anvil with rounded sides

47, 50 3, 9, 16, 25, 31, 43, 49

Moulds and Holding Pads

Furnace or crucible with round 44, 51 top and squat base Furnace or crucible with flat top and flared base

3, 5, 23, 24, 25, 32, 34

Furnace or crucible with flat top and wide base

33

Furnace or crucible with conical top and wide base

19, 47, 55

Bipod furnace or crucible

22

Furnace or crucible with lid

22, 31

Furnace or crucible with heat restrictor

5

Furnace or crucible with height extension

5

Low rectangular anvil with rounded sides

Furnace or crucible with flue

22, 31

Furnace or crucible supported on stones

Rectangular anvil with straight 1, 51 sides

44

Furnace or crucible supported by wooden post

Anvils

Furnaces/Crucibles and Braziers

Feature

Blowpipe in mouth of workman

Furnaces/Crucibles and Braziers

Blowpipes

Category

‘Make it According to Plan’

Low rectangular anvil with straight sides

7, 22, 23, 30, 33, 34, 51

51

Furnace or crucible embedded in charcoal

Markedly low rectangular anvil with straight sides

56

3, 7, 16, 22, 24, 33, 58

Furnace or crucible filled with charcoal

Rectangular anvil with rounded top

4, 5, 19

3

Flat anvil

1, 19

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

398

Category

Feature

Catalogue No.

Feature

Catalogue No.

9?, 19, 58, 59

Steeping bowl

51

Trapezoidal anvil

12

Cauldron

48, 49

Tall stake anvil

42

Water cup

51

Short stake anvil

1, 5, 16

Water jar

44

Double stake anvil with ropes

25

High block seat

3, 5, 8, 20, 25, 31, 46, 48

Cast metal held on anvil

1, 3, 4, 16, 19, 22, 23, 31, 33, 34, 47, 50, 51, 56

Markedly high block seat

50

Cast metal and anvil held together

Medium block seat

42, 44

23, 30?

Low block seat

1, 5, 19, 21, 22, 45

Block prop

1, 45

Markedly low block seat

9, 46

Stake prop

27, 37

Rectangular seat

19, 22

Hemispherical prop

45

Trapezoidal seat

12, 44

Rectangular prop

34

Disproportionately-sized seat

12

Long reed brush

1, 4, 25, 30, 42, 44, 47, 50, 51

Woven seat

21, 42

Textured seat

55

Short reed brush

4, 8, 9, 11, 19, 51

Hassock

9, 31, 45

Brush with defined head

51

Cushion

19

Seat used as footrest

21, 25

Seats and Footrests/Back Supports

Block anvil

19, 25

Two brushes behind ear of workman

Footrest

30

42

Back support

51

Brush held in hand

4, 5, 8, 19, 44

Wicker back support

51

Brush clenched in hand

4, 5, 9, 30

Multiple-stepped stool

30, 47

Brush held between thumb and forefinger

4, 19, 25, 51

Two-stepped stool

30

Brush absent or not defined

5

Two-stepped stool with brace

51

Spatula

19

One-stepped stool

34

Large shell-shaped palette

4, 9, 19, 25, 30?

Low one-stepped stool

34, 42, 43

Small shell-shaped palette

19, 37

Stool with steps not defined

47, 50

Palette in profile

9

Foot of workman resting on seat of stool

25, 43, 47, 50

Palettes displayed on table

25

Palette with water bowl in hn(.w)-box

34, 51

25

Foot of workman resting on step of stool

Palette cupped in hand

4, 5, 11?, 19, 25, 37

Foot of workman resting on side of stool

34, 43

Palette clenched in hand

9

Block platform

4

Rectangular block platform

4

Plinth used as platform

9

Sled used as platform

9

Statue base used as platform

4, 12, 16, 19

High work table

44

Medium work table

5, 42

Palette balanced on lap

30

Palette absent or not defined

5, 8, 11

Water bowl

51

Spouted water bowl

25

Spouted water bowl with lid

25

Shouldered bowl

25

Stools

One brush behind ear of workman

Platforms and Work Tables

Water Bowls

Palettes

Reed Brushes and Spatulas

Props

Anvils

Category

Appendix 8 - Micro-Features by Catalogue Number

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

399

Feature

Category

Category

‘Make it According to Plan’

Catalogue No.

Low work table

22, 31, 46

High work table with brace

8, 25

Low work table with brace

22

High work table with stretcher

3, 12, 19, 24, 50

Medium work table with stretcher

3, 12, 19, 20, 21, 51

Low work table with stretcher

22, 47

Table used as footrest

5, 30

Table used as seat

30

hn(.w)-box on legs

9, 19, 25, 31

hn(.w)-box with cavetto cornice on legs

22

hn(.w)-box with cavetto cornice and button handle on legs

21

hn(.w)-box with cavetto cornice and brace on legs

21, 49

hn(.w)-box with cavetto cornice on frame

Boat Hulls

25

Hull with combination of bow and stern types

9, 27, 34, 47, 53

Hull with papyrus umbel

22, 25?, 34, 45

Hull with incomplete hedgehog head decoration

45

Hull with parallel plankwork

34, 45, 50, 53

Hull with parallel and diagonal 27, 34 or horizontal plankwork

Medium work table with brace 22, 30 and stretcher Low work table with brace and stretcher

Catalogue No.

Hull with completed hedgehog 9, 27, 53 head decoration

Hull with defined woodgrain

34

Hull with missing strake

13, 17, 25, 41

Hull with scarf joint

34

Hull with bindings at bow and stern

9, 34, 41

Bindings with prominent knots 34, 41 Hull with mooring hook

27

Hull with keel

53

Hull with rudder

28

Hull with undefined or incomplete element

45

Hull with bulwark

9, 15, 17, 27, 28, 34, 45, 50?, 53

21

34

hn(.w)-box on battens

Bulwark with defined holes and notches

31

Single hull under construction

hn(.w)-box on frame

24

13, 15, 25, 27, 41, 42, 53

dbn-box

3, 9

Multiple hulls under construction

9, 17, 22, 28, 34, 40, 45, 47, 50

dbn-box with defined texture

9

Single strake or hull section

25, 34

HA-xt-box

20, 42

Support posts with beam

15, 28

Dsr(w)-chest

5

Support posts without beam

28

Wooden shelter

4

Trussing pole or stanchion

9, 25, 27, 34, 45

Lotus-columned shelter

19

Block hull prop

17, 22, 25, 28, 34, 47

Papyriform hull

9, 13, 22, 25, 28, 34, 40, 41, 45

Double block hull prop

28

Stake hull prop

9, 13, 14, 36, 42, 45

Flat-bottomed hull

9, 13, 15, 17, 22, 25, 27, 28, 36, 39, 40, 41, 45

22, 27

Round-bottomed hull

34, 47, 50, 53

Wedge-shaped hull prop with straight edge

Hull with rounded bow and stern

45

15, 34, 45, 47

Wedge-shaped hull prop with rounded edge Forked hull prop

45, 53

Hull with pointed bow and stern

50

Round hull prop

9, 17, 40

Squared off bow and stern

9, 13, 17, 28, 34, 41, 42, 45

Hobble

45

Hobble with tie

45

Hull Supports and Props

Boat Hulls

Shelter

Storage Boxes and Chests

Platforms and Work Tables

Medium work table with brace 27, 31, 34

Feature

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

400

Feature Rectangular block between prop and hull

Category

Category

Appendix 8 - Micro-Features by Catalogue Number

Catalogue No.

17, 53

Props regularly spaced

9, 13, 14, 17, 25, 34, 36, 42, 45, 47

Props irregularly spaced

34, 45

Doors

Props in angled position

9, 13, 14, 17, 25, 34, 36, 42, 45, 47

Catalogue No.

Door leaf with upper corner projections oriented horizontally

1, 3, 4, 9, 22

Door leaf with battens

3, 4, 43

Door panel

34, 51

Door lock

1, 27

Door bolt

1

False door

4

Bed frame with papyrus flower terminals

5, 9, 22, 27, 31, 33, 34, 43, 50

Bed frame with straight edges

1, 11, 47, 56

Bed frame fitted with mattress

9

Bed frame with defined wood texture

56

9, 14, 34, 45

Fewer than three props at bow and stern

17, 22, 25, 27, 28, 40, 42, 47, 53

Multiple props at bow and stern

13, 45

Hull propped in middle

34

Sarcophagus with vaulted lid

1, 3

Sarcophagus with ʻpalace facadeʼ decoration

Bed frame with bovine-shaped 11, 34 legs

4, 9, 27, 46

Sarcophagus with simulated stone decoration

Bed frame with bovine-shaped 27, 31, 33 legs on supports

1

Sarcophagus on platform or plinth

9

Shrine with cavetto cornice roof

Bed Frames

Three props at bow and stern

50

Bed frame with leonineshaped legs on supports

9, 22, 43, 47, 56

5, 25

1, 11, 16, 25, 51, 56

Shrine with cavetto cornice roof and torus moulding

Bed frame with bent legs and brace

1, 9, 16

Straight or disarticulated leg

11, 33

Shrine with ribbed cavetto cornice roof

34

Bed legs with defined sinew and dewclaw

22, 33, 34, 43

Shrine with tapered roof

47, 50

Cylindrical bed leg supports

9, 27, 31, 33, 47, 51

Shrine on sled

1, 5, 9, 47

Truncated bed leg supports

22, 56?

Shrine on platform

22, 25, 50

Trapezoidal bed leg supports

11, 25, 43, 56

Shrine with one door open

37

Chair with backrest

5

Shrine with both doors open

9

Sedan chair on base

5, 9?, 33, 56

Shrine with painted animal decoration

44

Sedan chair on base and battens in profile/frontal view

25

Shrine with painted banded decoration

Sedan chair without base 51

31

Shrine panels with defined wood texture

Simple carrying chair with high back

4, 5

50

Hn-box

25

Simple carrying chair with low back

47, 50

Hn-box with interior border

42

Disarticulated platform and armrest of carrying chair

50

Hn-box with defined wood texture

12

Complex carrying chair

22, 25, 31

Door leaf with upper corner projections oriented vertically

Large divan

43

18

Small divan

9

Chairs

Bed frame with leonineshaped legs

Divans

Doors

Shrines

Sarcophagi

Hull Supports and Props

Props positioned perpendicular 9, 22, 27, 28, 34, 45 to hull

Feature

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

401

Sceptres/Staffs and Columns

Display Tables

Category

Feature

Catalogue No.

Divan with defined wood texture

18

Backrest with bovine-shaped leg

31

Backrest with bent leg and brace

25

hn(.w)-box on legs

9, 25, 43, 47

hn(.w)-box on battens

34

hn(.w)-box on frame

Feature

Catalogue No. 8, 25

Lotus column

27

Oar with rounded blade

3, 37?, 22

Oar with elongated blade

45, 50

Spear

45

Bow

45

50

wsx-collar

hn(.w)-box with cavetto cornice on legs

4, 47

8, 9, 19, 20, 22, 24, 25, 27, 30, 34, 42, 47, 48, 49, 50, 51

Snw-collar

21, 22, 34, 48?

hn(.w)-box with cavetto cornice on frame

25

Collar type not defined

3, 5, 9, 12, 20, 25, 30, 31, 44, 46

hn(.w)-box with cavetto cornice and torus moulding

38

Collar oriented vertically when tied

3, 5, 9, 12, 19, 24, 25, 31, 34, 44, 47

Collar oriented horizontally when tied

19, 34

Collar oriented vertically when untied

9, 46

Collar oriented horizontally when untied

5, 8, 12, 21, 25, 27, 30, 46, 47, 48, 49, 50

Incomplete collar or collar in early stage of manufacture

3, 20, 31, 44, 46, 47, 48, 51

Oars/Bows/Spears

Dd-column

hn(.w)-box with cavetto cornice and torus moulding on battens

38

mxtm(.t)-box with cavetto cornice and torus moulding on frame

38

mxtm(.t)-box with cavetto cornice and torus moulding on frame with stretcher

29

Collar in other configurations

20, 22, 42, 50

dbn-box on frame

4

Collar with single fastening string

3, 5, 8, 9, 12, 19, 22, 25, 31, 34, 42, 44, 46, 47, 49

sTp.t-chest

45

sTp.t-chest on sled

27, 30, 31, 50

38

Collar with double fastening string

HA-xt-box

1, 11, 37?

Collar with textured fastening string

34, 49

afD.t-box on battens

34

Collar with upright ties

afD.t-box on frame

9

3, 5, 9, 19, 31, 34, 42, 44, 47

afD.t-box on frame with brace

43

Collar with dangling ties

25

Dsr(w)-chest

16, 25, 31

Collar with loose ties

22

Table

9, 33, 43, 56

Collar with ties draped over arm of workman

20, 25, 27

Table with brace

55

Ties of collar not defined

12, 20, 22, 47, 48, 51

Table with stretcher

4, 29, 55

Table with brace and stretcher

30

Collar with threading string at base

19, 22

wAs-sceptre

47, 50

Collar with threading string clenched in hand

3, 5, 8, 12, 19, 20, 22, 25, 27, 30, 31, 47, 48, 49

abA-sceptre

47, 50

sxm-sceptre

25

Collar with threading string held in fingertips

3, 5, 19, 20, 22, 27, 31

mdw-staff with rounded top

22, 34, 46, 55

mdw-staff with straight top

16, 43

Collar with threading string held between thumb and forefinger

21, 22, 25, 51

mdw-staff with papyriform top

25

Collar with defined spacers

21, 22, 34, 48

Collars

Boxes and Chests

Backrests

Category

‘Make it According to Plan’

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

402

Category

Feature

Catalogue No.

22

27, 34, 42, 47, 48, 50, 51

22

Beadwork of collar not defined

3, 5, 8, 9, 12, 19, 20, 22, 24, 25, 30, 31, 34, 42, 44, 46

Pectoral neckpiece with falcon-headed terminals Terminals of neckpiece not defined

47

Collar with falcon-headed terminals

19, 20, 22, 30

Collar with lunate terminals

3, 8, 9, 21, 25, 34, 42, 47, 48, 49, 50, 51

Pectorals

Collar with beads strung between rows

Drop beads of pendant not defined

Incomplete pectoral or in early 44 stage of manufacture

5, 8, 9, 12, 19, 20, 21, 22, 24, 25, 27, 30, 34, 44, 47, 48, 49, 50, 51

Counterpoise oriented vertically

5?, 19, 21, 30, 31, 42, 47, 51

Counterpoise oriented horizontally

19, 20, 21, 22, 34, 47, 50

Counterpoise with threading string at base

19

Counterpoise with textured fastening string

34

Diadems/Fillets

Disproportionately-sized jewellery

Armlet-style bracelet

51

Belt with decorative attachments

51

Diadem or fillet with long streamers

22

Diadem or fillet with short streamers

25, 46

Diadem or fillet with decorative attachments

22

Sandal sole with wings or pre-straps

9, 42

Wings or pre-straps on sandal sole not defined

1, 51

Paired sandal soles

9, 42, 51

Sandal strap or thong

19

Completed sandal

19, 42, 43

Sandal with heel strap

43

34, 47, 50, 51

Counterpoise with drop pendants

19, 20, 21, 22, 30, 34, 47

Counterpoise with incomplete drop pendants

19

Drop pendants on counterpoise not defined

19, 20, 31, 47

Sandal sole or sandal in frontal 1, 9, 42, 43, 51 view

Beadwork of counterpoise not defined

19, 20, 30, 31, 42, 47

Sandal sole or sandal worked parallel to anvil

1, 51?

Choker oriented vertically

9

9, 42, 43

Choker oriented horizontally

3, 5, 12, 20, 22, 34, 46

Sandal sole or sandal worked perpendicular to anvil Sandal sole or sandal displayed vertically

9, 42

Sandal sole or sandal displayed horizontally

51

Cloak or robe with interior border

43

Cloak or robe without interior border

42

Girdle knot

25

Apron flap

25

Sack

19

Water skin

19, 42

Large rectangular bag

19

Sandals

Counterpoise with beads strung between rows

Choker with defined spacers

20, 22, 34

Beadwork of choker not defined

3, 5, 9, 12, 46

Choker with lunate terminals

3, 34

Terminals of choker not defined

5, 9, 12, 20, 21, 46

Pectoral with trapezoidal pendant and metal neckpiece

5?, 22

Pectoral with trapezoidal pendant and beaded neckpiece

22, 47

Pectoral pendant with drop beads

22, 47

Cloaks/Accessories

Choker with textured fastening 34 string

Bags/Sacks

Counterpoises Chokers

Catalogue No.

9, 22, 27, 48, 49

Terminals of collar not defined 5, 12, 19, 20, 31, 44, 51

Pectorals

Feature

Collar with drop pendants

Bracelet/Belt

Collars

Category

Appendix 8 - Micro-Features by Catalogue Number

Sandal sole or sandal in profile 19, 42

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

403

Feature

Feature

Catalogue No.

Seated statue without staff

51

Large bag with handle

43

Small bag with handle

16, 34

34, 43

Seated statue with handkerchief

Large container

43

Seated statue with staff and handkerchief

1

Small container

19

Mirror with handle

46

Seated statue with advanced inner leg

1, 5, 9, 16, 34, 51

Mirror with incised base

16

3, 4, 11, 47, 50

Mirror case with flap

43

Seated statue with legs in profile

Mirror case without flap

43

Striding statue with forward shoulder

8, 9, 10, 11, 16, 19, 25, 42, 51, 55

Bundled cloth

26

Striding statue in profile

3, 12, 25, 30, 31, 34, 47

snt-board on table

55, 56

Scribal box

1

Base of striding statue not defined

3, 5, 10, 12, 22, 50, 55

Scribal palette

56

25

Headrest oriented vertically

Striding statue in recumbent position

9, 25, 33, 43, 56

Striding statue on base

11, 16, 31, 42, 47, 51

Headrest oriented horizontally

33, 34

Fan

42, 56

Striding statue on base with short front and rear projections 8, 9, 25, 30, 34

Seated statue with forward shoulder

1, 5, 9, 16, 51

Seated statue in profile

3, 4, 11, 34, 47, 50, 51

Seated statue on block seat

1?, 11

Seated statue on block seat with base and front projection

4, 5, 47, 50, 51

Seated statue on block seat without base and front projection Seated statue on block seat with base, front projection and low support

Statues and Sculpture

Bags/Sacks Mirrors Miscellaneous

Catalogue No. 19

Small rectangular bag

Statues and Sculpture

Category

Category

‘Make it According to Plan’

Striding statue on base with long front and rear projections

12?

Striding statue on base with long front and short rear projections

12, 16, 19, 25, 34

Striding statue on base with rear projection only

11, 22

Striding statue with back pillar 25 51

9

Seated statue on block seat with base, front projection, 16, 34 low support and cloth covering

Striding statue with staff

16, 22, 34

Striding statue without staff

9, 10, 55

Striding statue with staff and abA-sceptre

9, 16, 19, 51

Striding statue with staff and papyrus roll

25

Striding statue with handkerchief

8

Standing statue with forward shoulder

4, 9, 50

Standing statue in profile

4, 47, 55, 56

Standing statue with papyriform staff

50

Seated statue on block seat with back slab with or without base and front projection

3, 34, 51

Seated statue on block seat with interior border

9, 16, 34

Seated statue with fist on knee

9, 16

Seated statue with fist on thigh

3, 5, 9

Seated statue with hand on knee

Standing statue on base with short front and rear projections 4

51

Seated statue with hand on thigh

4, 9, 34

4, 47, 50, 51

Standing statue on base with long front and short rear projections

Seated statue with staff

5

Standing statue on base with rear projection only

22?, 47

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

404

Feature

Category

Category

Appendix 8 - Micro-Features by Catalogue Number

Catalogue No.

Catalogue No.

Base of standing statue not defined

50, 55

Naked statue

5, 11, 19, 30, 31, 34, 47, 50?, 51

Statue steadied by hand

3, 16, 19, 25, 31, 34, 42, 51

Statue with collar

4, 8, 9, 10, 19

Statue gripped by hand

9, 16, 19, 34

Statue with collar and choker combined

2

Statue with collar and amulet combined

16

Statue with short round wig

3, 5, 9, 11, 16, 19, 25, 42

Statue with short round wig with flared base

25

Statue with echelon wig

19, 34

Statue with shoulder-length wig

4, 8, 9, 10, 16, 25, 31

Statue with shoulder-length wig with flared base

3, 9

Statue with striated wig

34

Statue base stabilised with foot 9, 12 Statue base stabilised with toes 9 Statue stabilised by workman seated on base

16

Statue stabilised by workman seated on block or stool with one foot on base

9, 25, 42

Statue stabilised by workman seated on block or stool with two feet on base

30, 34

51

Statue with long wig

31, 47, 51, 56

Statue with fisted hands

3, 8, 9, 10, 11, 16, 25, 30, 31, 34, 42

Statue with tripartite wig

9

Statue with close-cropped hair

2, 4, 11, 12, 19, 47, 51

Statue with open hands

4, 9, 19, 30, 50, 51

Statue with facial features

2, 3, 4, 5, 9, 11, 16, 19, 25, 31, 34, 42, 50, 51, 56

Statue worked from front

1, 3, 4, 5, 8, 9, 11, 12, 19, 22, 34, 42, 47, 50, 51, 55, 56

Facial features of statue not defined

10, 25

Statue worked from rear

2, 12, 16, 25, 30, 34

Statue with goatee

3, 34

Statue worked from front and rear

5, 9, 10, 11, 16, 25, 31, 34, 50, 51

Statue with prominent nipple

16, 31, 34, 51

Male statue

Statue with pronounced belly button

30?, 34

1, 3, 4, 5, 8, 9, 10, 11, 12, 16, 19, 22, 25, 30, 31, 34, 42, 47, 50, 51, 55

Female statue

2, 4, 9, 22, 47, 50, 55, 56

Statue with defined toenails

16, 30?, 34

Statue with exposed genitals

19, 30, 31, 34

Life-size statue

1, 3, 4, 5, 8, 9, 10, 11, 12, 16, 19, 25, 30, 31, 34, 42, 47, 50, 51, 55

Statue with defined musculature

16

Oversized statue

2, 9, 16

Statue with calf-length wraparound kilt with extended hemline

¾ Life-size statue

9, 47, 50, 51, 55, 56

51

⅓ Life-size statue

51

Statue with short wraparound kilt

1, 3, 4, 8, 9, 10, 11, 16, 19, 22, 25, 30, 34, 47, 51

Statuette

51

Statue in shrine

51

Statue with short wraparound kilt with extended hemline

Statue in shrine on sled 16, 19, 22

9

Statue in baldachin

22

Statue with short wraparound kilt and apron

51

Statues in dyad

16

Statue with markedly short wraparound kilt

Lion sculpture on sled

47

12, 25

31, 54

Statue with sheath dress

Basin with straight sides and high spout ewer

2, 9, 22, 34, 50, 55

Dress with prominent strap

2, 9, 50

Basin with straight sides and low spout ewer

56

Statues and Sculpture

Statue stabilised by workman seated on block or stool with toes on base

Ewers/Basins

Statues and Sculpture

Feature

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

405

Category

Feature

Catalogue No.

Feature

Catalogue No. 9

Spouted jar on ring stand

31, 34

Spouted jar with handle

1

nms.t-jar

1, 9, 11, 16, 31, 35, 42, 51, 56

nms.t-jar with cap

26, 47

1, 12, 25, 37

Barrel-shaped jar with tapered neck and collar

51, 56

Basin with tapered sides

38, 42, 49, 55

Barrel-shaped jar with wide mouth and rounded rim

16

Basin with handle

31

Ewer with high spout

1, 5, 37

Barrel-shaped jar with wide mouth and rounded rim on ring stand

31

tj.t-bowl

22, 30?, 35

Shouldered jar

tj.t-bowl on ring stand

22

9, 16

Spouted bowl

1

Tall shouldered jar with wide mouth

47

Spouted bowl on high stand

16

Spouted bowl on low stand

43, 47, 51

16

Medium shouldered jar with wide mouth

Straight-sided bowl

16, 31, 35, 47

31

Rounded bowl

9, 16, 31

Medium shouldered jar with wide mouth and rounded rim and handles

Rounded bowl on ring stand

31

Shallow bowl

11

38, 46?

Medium shouldered jar with wide mouth and conical rim and handles

Bowl with lid on stand

49

5, 9, 19

Ornamental bowl

Shouldered jar with narrow mouth

16

Ornamental bowl on stand

16

Shouldered jar with narrow mouth and conical rim

11, 31, 49, 50

Bowl being processed by workman

9, 16, 22, 30, 35, 47

Necked jar with handles

51

Necked jar on ring stand

31

Tray on stand

16

Irregularly-shaped jar

31

bAs-cylinder

1, 16, 22, 31, 34, 35, 51

Jars in bag

26

bAs-cylinder with lid

5, 19

bAs-cylinder on stand

22, 31

Jar being processed by workman

5, 9, 11, 16, 19, 34, 35, 47, 51

Squat cylinder

35

Xnm-jug

51

Cylinder being processed by workman

5, 11, 16, 19, 31, 34, 35, 51, 55

Xnm-jug with band decoration

47

pnq-jar

31

Xnm-jug with decorative handle

19

Hs.t-jar

16, 23

Xnm-jug with narrow neck

22, 51

Hs.t-jar with sealing cap

56

Jug with short neck

31, 47

Hnk.t-jug

31, 47

Jug being processed by workman

19, 22, 47, 51

Flask with tall neck

16, 49

Flask with short neck

16, 22

22

Tall basin with tapered sides and high spout ewer

1, 16, 49

Basin with tapered sides and low spout ewer

46

Basin with straight sides

5

Inverted basin with straight sides

Jars

Spouted jar

Basin with tapered sides and high spout ewer

Jugs and Flasks

Jars

Cylinders

Bowls and Trays

Ewers/Basins

Category

‘Make it According to Plan’

Hs.t-jar with decorative stopper 22 qbH.t-jar with spout oriented upwards

22

qbH.t-jar with spout oriented downwards

46

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

406

Feature

Catalogue No. 9, 13, 17, 25, 27, 28, 34, 47

1, 4, 5, 9, 16, 22?, 25, 35, 37, 38, 42, 47, 50, 51, 54, 55 1, 9, 11, 16, 19, 22, 25, 31, 33, 34, 38, 42, 43, 46, 47, 49, 55, 56

Overseer supervising boat construction at side of hull

9, 17, 25, 28, 34, 36, 42

Overseer supervising in a seated position

3, 46

Overseer calling instructions

3, 9, 27, 28, 34

Completed objects stacked

45

Overseer punishing workmen

1, 9, 56?

Completed objects on table

3, 9, 16, 19, 21, 22, 24, 31, 34, 44, 47, 50, 51

Overseer directing workmen with ʻCarpenterʼs Signʼ

9, 25, 50

Completed objects overhanging table

9, 34

Overseer shielding face from furnace

19, 49

Completed objects beside table

21, 55

Overseer with defined musculature

16

Completed objects beside bed frame

9, 34, 43, 47, 56

Dwarf workman

Completed objects in storage box or boxes

5, 19

3, 5, 9, 12, 19, 20, 21, 22, 27, 30, 31, 42, 44, 46, 47

Corpulent workman

22

Completed objects adjacent to storage box or boxes

3, 9, 21, 22, 24, 42, 49

Completed objects in storage box on table or frame

20

Individual workman

Completed objects in stand

22, 47

1, 2, 3, 4, 5, 7, 8, 9, 10, 11, 12, 16, 18, 19, 22, 25, 27, 30, 31, 33, 34, 37, 38, 42, 43, 44, 45, 46, 47, 49, 50, 51, 55, 56, 58, 59, 60

Completed objects being carried or presented

9, 22, 24, 35, 42, 43, 45, 51

Completed objects suspended in sub-register

9, 12, 22, 42, 46, 48, 51

Workmen in teams of two

Completed duplicate objects in a row

43

1, 3, 4, 5, 7, 8, 9, 10, 11, 12, 16, 19, 20, 21, 22, 23, 24, 25, 27, 29, 30, 31, 33, 34, 37, 38, 42, 43, 44, 46, 47, 48, 49, 50, 51, 55?, 60

Completed duplicate objects spread out

Workmen in teams of three

16, 51

45

Disarticulated object

1, 33, 44, 50

Workmen in teams of four

Overseer with measuring rod or staff

1, 5, 12, 28, 36?, 46, 49

1, 3, 4, 5, 17, 19, 22, 23, 25, 30?, 32?, 34, 37, 40?, 41, 45, 46, 49, 50?, 54, 55, 56

Overseer with measuring rod or staff and plumb bob

8, 9, 13, 17, 25, 28, 34, 45

Workmen in teams of five or six

5, 9, 12, 13, 22, 25, 27, 28, 42?, 47, 50, 57, 58, 59

Overseer with adze

16

Overseer with adze and plumb bob

Workmen in teams of more than six

9, 34, 45

9, 25

Overseer with saw

39

Overseer with baton

47

Workmen in symmetrical arrangement

Overseer with rod or stick

19, 25, 46

1, 3, 4, 5, 8, 12, 19, 20, 21, 22, 23, 25, 27, 29, 30, 31, 33, 34, 38, 40, 42, 43, 44, 45, 46?, 47, 48, 49, 50, 51, 53, 54, 55, 56

Overseer with mallet and chisel

25

Overseer with papyrus roll

27

Workmen in asymmetrical arrangement

Overseer participating in construction

1, 9, 11, 12, 16, 19, 22, 23, 25, 30, 32, 33, 47, 51, 56

1, 3, 4, 5, 7, 9, 10, 11, 16, 18, 19, 22, 23, 25, 27, 30, 31, 33, 34, 38, 42, 46, 49, 50, 51, 57, 58, 59, 60

Workmen tightly overlapped

3, 4, 22

Completed object Completed objects grouped or in a collection

Display of Objects

Catalogue No.

Overseer supervising boat construction from inside hull

Disproportionately-sized vessels

Personnel

Category

Feature

5, 16, 47, 51

Personnel

Category

Appendix 8 - Micro-Features by Catalogue Number

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

407

Category

Feature

Catalogue No.

Feature

Catalogue No.

1, 5, 19, 23, 25, 32, 34, 37?, 46, 49, 51, 54, 55

Short wraparound kilt tied back and front

47

Workmen markedly spaced with some overlapping

12, 47, 50, 56

Short wraparound kilt tied with double sash

45

Workmen markedly spaced with no overlapping

57, 58, 59

Short wraparound kilt with curved ends tied at back

34

Workman shielding face from furnace

1, 5, 7?, 12, 19, 22, 23, 25, 30, 31, 32?, 34, 37, 46, 49, 54, 55, 56, 57

Markedly short wraparound kilt

Workman calling instructions

9, 12, 22, 25

1, 3, 4, 5, 8, 9, 11, 12, 16, 18, 22, 23, 25, 27, 28, 31, 34, 39, 41, 43, 45, 47, 49, 51, 55, 56

Workman with defined musculature

29, 35

Markedly short wraparound kilt tied at back

13, 57

Tomb owner on site

27, 34

Child or family member on site

19, 34

Markedly short wraparound kilt with curved ends open at front

3, 15, 16, 22, 25, 26, 34, 37, 42, 44

Loincloth turned to front

13, 27, 45

Scribe

9, 19, 22, 23, 30, 31, 34, 37, 42, 47, 49, 50

Loincloth turned to front with tie

42

Ankle-length wraparound kilt

51

Loincloth turned to back

25, 34, 45

Calf-length wraparound kilt

9, 40, 42

Cloth over shoulder

27

Knee-length wraparound kilt

9, 14, 17, 27

Cloth tied under arm

Knee-length wraparound kilt with extended hemline

1, 3, 4, 5, 8, 10, 11, 13, 25, 34

45 5

Knee-length wraparound kilt with folded flap

Cloth tucked into waistband of kilt

5, 9, 27

Sack over shoulder

1

Knee-length wraparound kilt with extended hemline and folded flap

Collar

49

9, 26

Amulet

34 9, 25, 30, 34

Short wraparound kilt

1, 3, 4, 5, 7, 8, 9, 11, 12, 13, 15, 16, 17, 19, 20, 21, 22, 23, 24, 25, 27, 28, 29, 30, 31, 32, 33, 34, 35, 37, 38, 40, 41, 42, 43, 44, 45, 46, 47, 49, 50, 51, 52, 53, 54, 55, 56, 58, 60?

Overseer with receding hairline Workman with receding hairline

5, 7, 9, 19, 21, 22, 23, 24, 25, 27, 30, 31, 34, 37, 50

Overseer with echelon wig

36

Workman with echelon wig

4, 22

Overseer with long wig

5

Workman with long wig

49

Exposed genitals

15, 25, 26, 34, 45, 51

Naked workman

5, 9, 26, 33, 44

Workman with beard

23

Accessories Hair Wigs

1, 4, 12, 16, 19, 22, 23, 25, 28, 34, 37, 45, 46, 47, 49, 50

Short wraparound kilt with extended hemline oriented vertically

12, 19, 30

Short wraparound kilt with extended hemline oriented horizontally

9, 25, 27, 31, 47

Short wraparound kilt with folded flap

3, 5, 9, 27, 34, 35

Short wraparound kilt with apron

30, 48, 49

Short wraparound kilt tied at back

32, 56, 58, 59

Other

Short wraparound kilt with extended hemline

Clothing

Workmen moderately spaced with some overlapping

Clothing

Personnel

Category

‘Make it According to Plan’

Appendix 8 Micro-Features in Workshop Scenes by Catalogue Number (cont.)

408

Earliest Recording in Workshop Scenes

Scene Type

Site

Date

Cat. No.

Industry

Appendix 9 - Atypical Scene Types

Tomb Owner

27 Nfr and KA-HA.j Lashing planks together

Maidum

IV.1M

40 Jtt

Boat Building

41 Ra-Htp 22 Mrrw-kA.j:Mrj

Hammering planks together with rammers

Saqqara

V.8-9

Checking a plank seam

Saqqara

V.8-9

34 §jj

Trimming a hull with an adze and measuring rod

Saqqara

V.8-9

34 §jj

34 §jj

9 ¢wn-Ra Checking the specifications of a hull

Giza

IV.5

22 Mrrw-kA.j:Mrj 39 Unknown

Positioning a bulwark

Saqqara

V.8-9

34 §jj 9 ¢wn-Ra

Carving decorative animal or plant features into a hull

Giza

IV.5

34 §jj 45 ¢w-ns 11 ¤nDm-jb:Jntj

Controlling the binding rope on a sawing post

Abusir?

V.6-VI.1?

18 Ftk-tj

Carpentry

53 KA.j-xnt II Holding a log as it is sawn

Meir

VI.4-5

51 Ppjj-anx:¡nj-km

Stacking planks to dry

el-Amwat

V.8-9

45 ¢w-ns

Carrying a plank from the sawing post

Giza

V.6

1 Jj-mrjj 11 ¤nDm-jb:Jntj 43 Jttj:^dw

Splitting a sawn plank with an axe

Deshasheh?

VI.1?

50 ©aw and ©aw:¥mAj 51 Ppjj-anx:¡nj-km

Jewellery Making

55 ^psj-pw-Mnw:£nj Drilling a hole in the lid of a box

Saqqara

V.8-9

Applying abrasive to a bed frame

Giza

V.6

Polishing or sanding a bed frame with two stones

Saqqara

V.8-9

34 §jj

Fitting the lid of a sarcophagus

Saqqara

V.6L-7

27 Nfr and KA-HA.j

Heating a staff in preparation for shaping

El-Sheikh Saïd

V.8-9E

46 ¤rf-kA.j

Drilling a bead

Deir el-Gebrawi VI.4E

47 Jbj

Polishing a bead

Deir el-Gebrawi VI.4E

47 Jbj

Twisting threading string

Giza

V.5-8

3 Wp-m-nfrt:Wp

Twisting threading string with the feet

Meir

VI.4-5

51 Ppjj-anx:¡nj-km

Attaching drop pendants to a counterpoise

Saqqara

VI.1

19 anx-m-a-¡r:¤sj

Drying a collar

Deir el-Gebrawi VI.1L-2E

Appendix 9 Atypical Scene Types in Workshop Scenes and Occurrences

409

34 §jj 1 Jj-mrjj 11 ¤nDm-jb:Jntj

48 !nqw:Jj...f II 49 ¡m-Ra:Jsj

Earliest Recording in Workshop Scenes

Scene Type

Site

Date

Cat. No.

Industry

‘Make it According to Plan’

Tomb Owner

Making a diadem or fillet

Saqqara

V.6L-7

25 Nj-anx-£nmw and £nmw-Htp

Chasing decorative detail onto a pectoral

Saqqara

VI.1M-L

22 Mrrw-kA.j:Mrj 19 anx-m-a-¡r:¤sj

Polishing a counterpoise or pectoral

Deshasheh?

V.9?

22 Mrrw-kA.j:Mrj

Leatherwork

42 Jntj Soaking a hide

Meir

VI.4-5

51 Ppjj-anx:¡nj-km

Stretching a hide

Giza

IV.5

Smoothing a hide

Meir

VI.4-5

Tanning a piece of leather

Giza

V.6

Threading leather pieces together

Deshasheh

V.9

42 Jntj

Sewing a leather sack

Saqqara

VI.1L

19 anx-m-a-¡r:¤sj

Holding or stretching a completed garment

Deshasheh

V.9

9 ¢wn-Ra 51 Ppjj-anx:¡nj-km 1 Jj-mrjj

42 Jntj 43 Jttj:^dw 12 ¤nDm-jb:MHj

Clearing a blocked blowpipe

Abusir

V.6L-8E

16 PtH-Spss

Stone Vessel Making

Sculpture

Metalwork

37 Unknown Carrying a crucible of molten metal

Giza

IV.6-V.1

Controlling flow of molten metal from crucible to mould

Saqqara

VI.1E

22 Mrrw-kA.j:Mrj

Cooling molten metal in water

Meir

VI.4-5

51 Ppjj-anx:¡nj-km

Crimping a vessel

Giza

IV.6-V.1

Polishing a vessel

Deshasheh

V.9

42 Jntj

Heating a small quantity of precious metal

Saqqara

V.6L-7

25 Nj-anx-£nmw and £nmw-Htp

Presenting a vessel

Saqqara

VI.1M-L

Rough cutting a wooden statue with an axe

Saqqara

V.6L-7

Rough shaping a stone statue with a maul

Saqqara

V.6L-7

Carving the navel of a statue

Saqqara

V.6L-7

25 Nj-anx-£nmw and £nmw-Htp

Shaping the exterior of a vessel

Saqqara

VI.1L

19 anx-m-a-¡r:¤sj

Smoothing the interior of a vessel

Saqqara

V.8-9?

35 Unknown

Painting a vessel

Meir

VI.4-5

51 Ppjj-anx:¡nj-km

Carrying a vessel

Saqqara

V.8-9?

35 Unknown

Appendix 9 Atypical Scene Types in Workshop Scenes and Occurrences (cont.)

410

5 Nb.j-m-Axtj

5 Nb.j-m-Axtj

22 Mrrw-kA.j:Mrj 51 Ppjj-anx:¡nj-km 25 Nj-anx-£nmw and £nmw-Htp 25 Nj-anx-£nmw and £nmw-Htp 34 §jj

Posture

Earliest Recording in Workshop Scenes

Corpus Example

Site

Date

Cat. No.

Category

Appendix 10 - Atypical Postures

Tomb Owner

1 Jj-mrjj

Overseer

19 anx-m-a-¡r:¤sj Hand gripping opposing shoulder or forearm

Giza

V.6

23 MHw 34 §jj 46 ¤rf-kA.j 49 ¡m-Ra:Jsj?

Arms folded

Giza

IV.6-V.1

5 Nb.j-m-Axtj

Back arched

Giza

IV.5

9 ¢wn-Ra 3 Wp-m-nfrt:Wp

Head turned

Giza

V.5-8

45 ¢w-ns 49 ¡m-Ra:Jsj

Arms raised above head in arc position

Giza

IV.5

Heel raised off ground

Saqqara

VI.1E

9 ¢wn-Ra

32 KA-gm-nj:Mmj

Workman

3 Wp-m-nfrt:Wp Knee raised off ground

Giza

IV.5-6E

4 Mrs-anx III 7 ¡tpt

Foot tucked under thigh

Deir el-Gebrawi VI.4E

47 Jbj 9 ¢wn-Ra

Legs crossed

Giza

IV.5

47 Jbj 50 ©aw and ©aw:¥mAj 51 Ppjj-anx:¡nj-km 9 ¢wn-Ra

Rear legs overlapped

Giza

IV.5

15 Unknown 17 &p-m-anx 27 Nfr and KA-HA.j 1 Jj-mrjj

Hand turned outwards

Giza

V.6

27 Nfr and KA-HA.j 34 §jj

Appendix 10 Atypical Postures in Workshop Scenes and Occurrences

411

Posture

Earliest Recording in Workshop Scenes

Corpus Example

Site

Date

Cat. No.

Category

‘Make it According to Plan’

Tomb Owner

9 ¢wn-Ra Arms crossed underneath each other

Giza

IV.5

16 PtH-Spss 31 KA.j-m-rHw 45 ¢w-ns 16 PtH-Spss 17 &p-m-anx 30 KA.j-jrr

Leg suspended with foot angled downwards

33 &p-m-anx II Saqqara

V.2

34 §jj 43 Jttj:^dw 45 ¢w-ns 47 Jbj 50 ©aw and ©aw:¥mAj

Workman

3 Wp-m-nfrt:Wp Knees widely separated

Giza

IV.6-V.1

5 Nb.j-m-Axtj 25 Nj-anx-£nmw and £nmw-Htp 1 Jj-mrjj 5 Nb.j-m-Axtj 9 ¢wn-Ra 12 ¤nDm-jb:MHj 16 PtH-Spss 25 Nj-anx-£nmw and £nmw-Htp

Heel on ground with foot angled upwards

Giza

IV.5

27 Nfr and KA-HA.j 34 §jj 36 Unknown 50 ©aw and ©aw:¥mAj 56 KA.j-Hp:§tj-jqr 57 JHjj 58 Wnjs-anx 59 ¢ntj

Appendix 10 Atypical Postures in Workshop Scenes and Occurrences (cont.)

412

Feature

Boat Building

Tomb Owner

Site

Date

Tree with defined foliage

39 Unknown

Saqqara

V.8-9?

Tree with protruding branch

15 Unknown

Giza

V.6-9?

Tree with vertical branches

45 ¢w-ns

el-Amwat

V.8-9

Tree with lower branches removed

44 Nj-anx-Ppjj:$nmw-Htp-Hpj

el-Amwat

VI.2

Tree stump

26 Nb-kAw-¡r:Jdw

Giza

V.9 r/u VI.4-6

Upright log

47 Jbj

Deir el-Gebrawi VI.4E

Plank with mortices

34 §jj

Saqqara

V.8-9

Plank on props

34 §jj

Saqqara

V.8-9

Batten with stripped bark

34 §jj

Saqqara

V.8-9

Carry sling with contoured beam

45 ¢w-ns

el-Amwat

V.8-9

Rope of carry sling secured to log with knot

49 ¡m-Ra:Jsj

Deir el-Gebrawi VI.1L-2E

Cudgel

Carpentry

Cat. No.

Industry

Appendix 11 - Unique Micro-Features

9 ¢wn-Ra

Giza

IV.5 V.8-9

Sphendonoidal plumb bob with rope attachment hole

34 §jj

Saqqara

Mallet lying on deck

47 Jbj

Deir el-Gebrawi VI.4E

Jars in bag

26 Nb-kAw-¡r:Jdw

Giza

V.9 r/u VI.4-6

Bundled cloth

26 Nb-kAw-¡r:Jdw

Giza

V.9 r/u VI.4-6

Rope held under arm

27 Nfr and KA-HA.j

Saqqara

V.6

Hull with pointed bow and stern

50 ©aw and ©aw:¥mAj

Deir el-Gebrawi VI.4-5

Hull with rudder

28 Ra-Spss

Saqqara

V.8M

Hull with scarf joint

34 §jj

Saqqara

V.8-9

Hull with keel

53 KA.j-xnt II

El-Hammamiya V.8-9

Hull with mooring hook

27 Nfr and KA-HA.j

Saqqara

V.6

Hull propped in middle

34 §jj

Saqqara

V.8-9

Bulwark with defined holes and notches

34 §jj

Saqqara

V.8-9

Hobble

45 ¢w-ns

el-Amwat

V.8-9

Hobble with tie

45 ¢w-ns

el-Amwat

V.8-9

Double block hull prop

28 Ra-Spss

Saqqara

V.8M

Workman with cloth over shoulder

27 Nfr and KA-HA.j

Saqqara

V.6

Workman with cloth tied under arm

45 ¢w-ns

el-Amwat

V.8-9

Short wraparound kilt tied with double sash

45 ¢w-ns

el-Amwat

V.8-9

Overseer wearing amulet

34 §jj

Saqqara

V.8-9

Plank separated at saw cut

45 ¢w-ns

el-Amwat

V.8-9

Upright plank

50 ©aw and ©aw:¥mAj

Deir el-Gebrawi VI.4-5

Plank with residual fibres or branch stump

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Planks stacked to dry

45 ¢w-ns

el-Amwat

V.8-9

Giza

V.6

Stone scraped with adze to form abrasive

1 Jj-mrjj

Sawing post with weighted supports

43 Jttj:^dw

Deshasheh

VI.1

Weighted stick perpendicular to sawing post

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Appendix 11 Unique Micro-Features in Workshop Scenes and Occurrences

413

Feature

Carpentry

Tomb Owner

Site

Date

Counterweight secured in rope bag

43 Jttj:^dw

Deshasheh

VI.1

Vice with block stand

46 ¤rf-kA.j

El-Sheikh Saïd

V.8-9E

Vice with curved support post

43 Jttj:^dw

Deshasheh

VI.1

Hemispherical prop

45 ¢w-ns

el-Amwat

V.8-9

Bow drill

34 §jj

Saqqara

V.8-9

Back support

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Wicker back support

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Sarcophagus with simulated stone decoration

1 Jj-mrjj

Giza

V.6

Sarcophagus on platform or plinth

9 ¢wn-Ra

Giza

IV.5

Bed frame fitted with mattress

9 ¢wn-Ra

Giza

IV.5

Bed frame with straight leg

11 ¤nDm-jb:Jntj

Giza

V.8M-L

Disarticulated bed leg

33 ¦p-m-anx II

Saqqara

V.2

Giza

IV.6-V.1

Chair with backrest

5 Nb.j-m-Axtj

Disarticulated platform of carrying chair

50 ©aw and ©aw:¥mAj

Deir el-Gebrawi VI.4-5

Disarticulated armrest of carrying chair

50 ©aw and ©aw:¥mAj

Deir el-Gebrawi VI.4-5

Sedan chair on base and battens

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Shrine with ribbed cavetto cornice roof

34 §jj

Saqqara

V.8-9

Giza

IV.5

Deshasheh

VI.1

Shrine with doors open Door leaf oriented vertically

9 ¢wn-Ra 43 Jttj:^dw

Door lock

1 Jj-mrjj

Giza

V.6

Door bolt

1 Jj-mrjj

Giza

V.6

False door

4 Mrs-anx III

Giza

IV.5-6E

Scribal box

1 Jj-mrjj

Giza

V.6

Scribal palette

56 KA.j-Hp:§tj-jqr

El-Hawawish

VI.5-6

Inverted oar with round blade

22 Mrrw-kA.j:Mrj

Saqqara

VI.1M-L

Bow

45 ¢w-ns

el-Amwat

V.8-9

sTp.t-chest

45 ¢w-ns

el-Amwat

V.8-9

sTp.t-chest on sled

38 ¤Sm-nfr

Dahshur

V.6-VI.1

Lotus column

27 Nfr and KA-HA.j

Saqqara

V.6

Fan

42 Jntj

Deshasheh

V.9

Skein of threading string

31 KA.j-m-rHw

Saqqara

V.8-9

Giza

V.5-8

Flower-shaped beads Jewellery Making

Cat. No.

Industry

‘Make it According to Plan’

3 Wp-m-nfrt:Wp

Hand-held percussion drill

47 Jbj

Deir el-Gebrawi VI.4E

Footrest

30 KA.j-jrr

Saqqara

VI.1-2

Collar with dangling ties

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Counterpoise with threading string at base

19 anx-m-a-¡r:¤sj

Saqqara

VI.1L

Counterpoise with incomplete drop pendants

19 anx-m-a-¡r:¤sj

Saqqara

VI.1L

Diadem with long streamers and decorative attachments

22 Mrrw-kA.j:Mrj

Saqqara

VI.1L

Appendix 11 Unique Micro-Features in Workshop Scenes and Occurrences (cont.)

414

Feature

Site

Date

22 Mrrw-kA.j:Mrj

Saqqara

VI.1L

Incomplete or early stage pectoral

44 Nj-anx-Ppjj:$nmw-Htp-Hpj

el-Amwat

VI.2

Armlet-style bracelet

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Belt with decorative attachments

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Completed jewellery in storage box on table

20 PtH-Htp II:*fj

Saqqara

V.9M-L

Completed jewellery beside table

21 Mr.f-nb.f

Saqqara

VI.1L

Corpulent workman

22 Mrrw-kA.j:Mrj

Saqqara

VI.1L

Rectangular hide with legs

9 ¢wn-Ra

Giza

IV.5

Triangular hide with legs

9 ¢wn-Ra

Giza

IV.5

Meir

VI.4-5

Giza

V.6

Lump of tanning agent

Leatherwork

Tomb Owner

Pectoral neckpiece with falcon-headed terminals

Rectangular hide with residual hair

51 Ppjj-anx:¡nj-km 1 Jj-mrjj

Leather piercer

19 anx-m-a-¡r:¤sj

Saqqara

VI.1L

Short trestle stand with two legs

43 Jttj:^dw

Deshasheh

VI.1

Sack

19 anx-m-a-¡r:¤sj

Saqqara

VI.1L

Cloak or robe

42 Jntj

Deshasheh

V.9

Bag with handle

43 Jttj:^dw

Deshasheh

VI.1

Sandal with heel strap

43 Jttj:^dw

Deshasheh

VI.1

Mirror case

43 Jttj:^dw

Deshasheh

VI.1

Loincloth turned to front with tie

42 Jntj

Deshasheh

V.9

Giza

V.6 V.9M-L

Workman with sack over shoulder

Metalwork

Cat. No.

Industry

Appendix 11 - Unique Micro-Features

1 Jj-mrjj

Standing scales with narrow base

12 ¤nDm-jb:MHj

Giza

Standing scales with joist attached by ropes

49 ¡m-Ra:Jsj

Deir el-Gebrawi VI.1L-2E

Standing scales with curved beam

12 ¤nDm-jb:MHj

Giza

V.9M-L

Standing scales with joist in anthropomorphic form

30 KA.j-jrr

Saqqara

VI.1-2

Cord of weighing pan or basket held by joist figure

30 KA.j-jrr

Saqqara

VI.1-2

Hand-held scales with cord knot at top of joist

31 KA.j-m-rHw

Saqqara

V.8-9

Weighing pan or basket suspended by multiple cords

47 Jbj

Deir el-Gebrawi VI.4E

Weighing pan or basket held by angular suspension hook

47 Jbj

Deir el-Gebrawi VI.4E

Storage box with metal ingots

19 anx-m-a-¡r:¤sj

Saqqara

VI.1L

Storage box with weights

22 Mrrw-kA.j:Mrj

Saqqara

VI.1L

Furnace or crucible with flue

31 KA.j-m-rHw

Saqqara

V.8-9

Short flames emitted by furnace or crucible

49 ¡m-Ra:Jsj

Saqqara

VI.1L-2E

Furnace or crucible with round top/markedly flared base

58 Wnjs-anx

El-Khokha

VI.1

Furnace or crucible filled with charcoal

3 Wp-m-nfrt:Wp

Giza

V.5-8

Furnace or crucible with heat restrictor

5 Nb.j-m-Axtj

Giza

IV.6-V.1

Furnace or crucible with height extension

5 Nb.j-m-Axtj

Giza

IV.6-V.1

Furnace or crucible supported on stones

44 Nj-anx-Ppjj:$nmw-Htp-Hpj

el-Amwat

VI.2

Furnace or crucible supported by wooden post

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Appendix 11 Unique Micro-Features in Workshop Scenes and Occurrences (cont.)

415

Feature

Site

Date

34 §jj

Saqqara

V.8-9

Inverted furnace or crucible with flared base

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Convex brazier

46 ¤rf-kA.j

el-Sheikh Saïd

V.8-9E

Giza

V.5-8

3 Wp-m-nfrt:Wp

Hemispherical holding pads

22 Mrrw-kA.j:Mrj

Saqqara

VI.1L

Basin-shaped mould

34 §jj

Saqqara

V.8-9

Mould with raised sides

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

5 Nb.j-m-Axtj

Giza

IV.6-V.1

Trapezoidal anvil

12 ¤nDm-jb:MHj

Giza

V.9M-L

Double stake anvil with ropes

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Hammer stone held loosely in one hand

23 MHw

Saqqara

VI.2

Long blowpipe with diamond-shaped tuyure

Metalwork

Tomb Owner

Bipod furnace or crucible

Vertical flow of molten metal from crucible

Sculpture

Cat. No.

Industry

‘Make it According to Plan’

Wooden shelter

4 Mrs-anx III

Giza

IV.5-6E

Crimped cut-out metal shape

5 Nb.j-m-Axtj

Giza

IV.6-V.1

Tray on stand

16 PtH-Spss

Abusir

V.6L-8E

Spouted bowl on high stand

16 PtH-Spss

Abusir

V.6L-8E

Spouted bowl on low stand

16 PtH-Spss

Abusir

V.6L-8E

Hs.t-jar with sealing cap

56 KA.j-Hp:§tj-jqr

El-Hawawish

VI.5-6

pnq-jar

31 KA.j-m-rHw

Saqqara

V.8-9

Basin with handle

31 KA.j-m-rHw

Saqqara

V.8-9

Bowl with lid on stand

49 ¡m-Ra:Jsj

Deir el-Gebrawi VI.1L-2E

Chisel blade

42 Jntj

Deshasheh

V.9

Mirror

46 ¤rf-kA.j

El-Sheikh Saïd

V.8-9E

Mirror with incised base

16 PtH-Spss

Abusir

V.6L-8E

Girdle knot

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Apron flap

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Workman with beard

23 MHw

Saqqara

VI.2

Workman with collar

49 ¡m-Ra:Jsj

Deir el-Gebrawi VI.1L-2E

Rounded maul

34 §jj

Saqqara

V.8-9

Pointed maul

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Palettes displayed on table

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Palette and water bowl in hn(.w)-box

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Giza

IV.5

Palette in profile

9 ¢wn-Ra

Brush with defined head

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Two brushes behind ear of workman

42 Jntj

Deshasheh

V.9

Spatula

19 anx-m-a-¡r:¤sj

Saqqara

VI.1L

Water cup

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Chisel with non-aligned blade

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Giza

V.6

Striding statue with handkerchief

8 ¢wfw-xa.f II

Appendix 11 Unique Micro-Features in Workshop Scenes and Occurrences (cont.)

416

Feature Striding statue with staff and papyrus roll Seated statue with staff and handkerchief Standing statue with papyriform staff Statue with tripartite wig Statue with striated wig

Stone Vessel Making

Sculpture

Statue with collar and choker

Cat. No.

Industry

Appendix 11 - Unique Micro-Features

Tomb Owner

25 Nj-anx-£nmw and £nmw-Htp 1 Jj-mrjj 50 ©aw and ©aw:¥mAj 9 ¢wn-Ra 34 §jj 2 Jbjj

Site

Date

Saqqara

V.6L-7

Giza

V.6

Deir el-Gebrawi VI.4-5 Giza

IV.5

Saqqara

V.8-9

Giza

IV.5-6

Statue with collar and amulet

16 PtH-Spss

Abusir

V.6L-8E

Statue with short wraparound kilt and apron

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Statue with back pillar

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Statue in recumbent position

25 Nj-anx-£nmw and £nmw-Htp

Saqqara

V.6L-7

Statue in baldachin

22 Mrrw-kA.j:Mrj

Saqqara

VI.1L

Statues in dyad

16 PtH-Spss

Abusir

V.6L-8E

⅓ Life-size statue

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Statuette

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Lion sculpture on sled

47 Jbj

Deir el-Gebrawi VI.4E

Shrine with painted animal decoration

44 Nj-anx-Ppjj:$nmw-Htp-Hpj

el-Amwat

VI.2

Shrine with painted banded decoration

51 Ppjj-anx:¡nj-km

Meir

VI.4-5

Workman straddling high-backed stool

30 KA.j-jrr

Saqqara

VI.1-2

Drill with three counterweights

34 §jj

Saqqara

V.8-9

Complex borer drill with shank

35 Unknown

Saqqara

V.8-9?

Ornamental bowl

16 PtH-Spss

Abusir

V.6L-8E

Ornamental bowl on stand

16 PtH-Spss

Abusir

V.6L-8E

Xnm-jug with decorative handle

19 anx-m-a-¡r:¤sj

Saqqara

VI.1L

Xnm-jug with band decoration

47 Jbj

Deir el-Gebrawi VI.4E

tj.t-bowl on ring stand

22 Mrrw-kA.j:Mrj

Saqqara

VI.1L

Hs.t-jar with decorative stopper

22 Mrrw-kA.j:Mrj

Saqqara

VI.1L

Appendix 11 Unique Micro-Features in Workshop Scenes and Occurrences (cont.)

417

‘Make it According to Plan’

Tools and Equipment

Materials

Broad plank

1, 4, 9, 10, 11, 27, 34, 37

Giza

IV.5

Plank with defined saw cut

1, 9, 11, 18, 22, 34, 53

Giza

IV.5

Plank or batten with residual bark, branches or stump

34, 51

Saqqara

V.8-9

Tall sawing post

4, 25, 34, 45, 51, 53, 56

Giza

IV.5-6E

Short sawing post

1, 25, 27, 43

Giza

V.6

Sawing post with control rope

11, 18, 53

Abusir

V.6-VI.1

Sawing post with large rectangular 25 counterweight

Saqqara

V.6L-7

Sawing post with small rectangular counterweight

34, 51, 56

Saqqara

V.8-9

Counterweight slung on stick attached to sawing post

25, 43, 45, 56

Saqqara

V.6L-7

Counterweight tied to stick attached to sawing post

34, 51

Saqqara

V.8-9

Weighted stick on sawing post oriented upwards

9, 25, 34, 43, 45, 56

Giza

IV.5

Two-handed pull saw

1, 9, 11, 25, 27, 34, 37, 45, 51, 55, 56

Giza

IV.5

One-handed saw

28, 34, 39, 45

Saqqara

V.8M

Saw with defined teeth

34, 45

Saqqara

V.8-9

Saw blade protruding through post

1, 34, 43, 45

Giza

V.6

Tip of saw blade protruding through post

11, 25, 27, 37, 51, 53, 55, 56

Saqqara

V.6

Club-shaped mallet with flat top

1, 3, 8, 9, 22, 25, 31, 34

Giza

IV.5

Club-shaped mallet with round or pointed top

9, 11, 25, 33, 34, 40, 43, 45, 47, 55

Maidum

IV.1M

Bulbous round-top mallet

47, 50, 51

Deir el-Gebrawi VI.4E

Chisel with flat-top handle

1, 9, 10, 11, 17, 22, 25, 31, 33, 34, 41, 45, 45, 47, 50, 51, 55, 56

Maidum

IV.1L

Short-handled adze with round head

1, 4, 8, 9, 10, 11, 16, 19, 22, 25, 27, 28, 31, 33, 34, 43, 47, 50, 51, 56

Giza

IV.5

Short-handled adze with angled head

3, 4, 6, 9, 25, 28, 45

Giza

IV.2M-L

Long-handled adze with square head

1, 40, 41, 45

Maidum

IV.1M

Appendix 12 Micro-Features Common to Multiple Workshop Industries and Occurrences

418

Stone Vessel Making

Sculpture

Metalwork

Date

Leatherwork

Site

Jewellery Making

Catalogue No. Carpentry

Feature

Industries

Boat Building

Category

Earliest Recording in Workshop Scenes

Appendix 12 - Common Micro-Features

Objects Worked or Displayed

Tools and Equipment

Adze blade in profile

1, 3, 4, 6, 8, 9, 11, 13, 14, 16, 22, 25, 27, 28, 31, 33, 34, 38, 40, 41, Maidum 43, 45, 51, 56

IV.1M

Adze blade in frontal view

19, 34, 47, 50, 53

Saqqara

V.8-9

Adze balanced on shoulder

9, 16, 19, 25, 27, 47

Giza

IV.5

Axe with round blade

9, 13, 15, 25, 27, 34, 43, 45, 53, 56

Giza

IV.5

Axe with square blade

44, 47, 50, 51

el-Amwat

VI.2

Plumb bob with single coil of rope

9, 25

Giza

IV.5

Stake prop or anvil

1, 5, 9, 13, 14, 16, 27, 36, 37, 42, Giza 45, 60

IV.5

Block prop or anvil

1, 9, 17, 19, 22, 25, 28, 34, 45, 58, 59

Giza

IV.5

Rectangular straight-sided prop or anvil

1, 7, 19, 22, 23, 30, 33, 34, 51, 56

Saqqara

V.2

Ovoid hammer stone

1, 3, 4, 5, 9, 16, 19, 22, 23, 25, 27, 49, 50, 51

Giza

IV.5

Rectangular hammer stone

34, 51, 59

Saqqara

V.8-9

Ovoid polishing stone

9, 16, 19, 22, 25, 34, 35, 42, 51

Giza

IV.5

Block seat

1, 3, 5, 8, 9, 19, 20, 21, 22, 25, 31, 42, 44, 45, 46, 48, 49, 50

Giza

IV.5

Textured or woven seat

21, 42, 55

Deshasheh

V.9

Hassock

9, 31, 45

Giza

IV.5

One-stepped stool

34, 42, 43

Saqqara

V.8-9

Reed brush

1, 4, 8, 9, 11, 19, 25, 30, 42, 44, 47, 50, 51

Giza

IV.5

Brush held between thumb and forefinger

4, 19, 25, 51

Giza

IV.5-6E

Water cup

51

Meir

VI.4-5

Lotus-columned shelter

19

Saqqara

VI.1L

hn(.w)-box on legs

9, 25, 43, 47

Giza

IV.5

Dsr(w)-chest

5, 16, 25, 31

Giza

IV.6-V.1

Shrine on sled

1, 5, 9, 47

Giza

IV.5

Shrine with door(s) open

9, 37

Giza

IV.5

Sedan chair on base

5, 9, 33, 56

Giza

IV.5

Oar

3, 22, 45, 50

Giza

V.5-8

Appendix 12 Micro-Features Common to Multiple Workshop Industries and Occurrences (cont.)

419

Stone Vessel Making

Sculpture

Metalwork

Date

Leatherwork

Site

Jewellery Making

Catalogue No. Carpentry

Feature

Industries

Boat Building

Category

Earliest Recording in Workshop Scenes

‘Make it According to Plan’

Clothing

Personnel

Objects Worked or Displayed

abA-sceptre

25, 47, 50

Saqqara

V.6L-7

nms.t-jar

1, 9, 11, 16, 31, 35, 42, 50, 56

Giza

IV.5

nms.t-jar with cap

47, 51

Deir el-Gebrawi VI.4E

Hs.t-jar

16, 23

Abusir

V.6L-8E

Shouldered jar with conical rim

11, 31, 49, 50

Giza

V.8M-L

bAs-cylinder

1, 16, 22, 31, 34, 35, 51

Saqqara

V.6

Rounded bowl

9, 16, 31

Giza

IV.5

Completed objects on table

3, 9, 16, 19, 21, 22, 24, 31, 34, 44, 47, 50, 51

Giza

IV.5

Completed objects in a row

43

Deshasheh

VI.1

Completed objects in stand

22, 47

Saqqara

VI.1M-L

Overseer or workman with defined 16, 29, 35 musculature

Abusir

V.6L-8E

Overseer calling instructions

3, 9, 27, 28, 34

Giza

IV.5

Overseer directing workmen with ‘Carpenter’s Sign’

9, 25, 50

Giza

IV.5

Overseer with measuring rod

1, 5, 12, 28, 36, 46, 49

Giza

V.6

Overseer with measuring rod and plumb bob

8, 9, 13, 17, 25, 28, 34, 45

Giza

IV.5

Overseer with adze and plumb bob 9, 25

Giza

IV.5

Workman calling instructions

9, 12, 22, 25

Giza

IV.5

Child or family member on site

19, 34

Saqqara

V.8-9

Ankle-length wraparound kilt

51

Meir

VI.4-5

Calf-length kilt

9, 40, 42

Maidum

IV.1M

Knee-length wraparound kilt

9, 14, 17, 27

Giza

IV.5

Short wraparound kilt

1, 3, 4, 5, 7, 8, 9, 11, 12, 13, 15, 16, 17, 19, 20, 21, 22, 23, 24, 25, 27, 28, 29, 30, 31, 32, 33, 34, 35, Maidum 37, 38, 40, 41, 42, 43, 44, 45, 46, 47, 49, 50, 51, 52, 53, 54, 55, 56, 58, 60

IV.1M

Wraparound kilt with extended hemline

1, 3, 4, 5, 8, 10, 11, 12, 13, 16, 19, 22, 23, 25, 27, 28, 30, 31, 34, Giza 37, 45, 46, 47, 49, 50

IV.5-6E

Wraparound kilt with folded flap

3, 5, 9, 27, 34, 35

Giza

IV.5

Wraparound kilt tied at back

13, 32, 34, 56, 57, 58, 59

Giza

V.1-2

Appendix 12 Micro-Features Common to Multiple Workshop Industries and Occurrences (cont.)

420

Stone Vessel Making

Sculpture

Metalwork

Date

Leatherwork

Site

Jewellery Making

Catalogue No. Carpentry

Feature

Industries

Boat Building

Category

Earliest Recording in Workshop Scenes

Appendix 12 - Common Micro-Features

Hair

Clothing

Wraparound kilt tied front and back

47

Deir el-Gebrawi VI.4E

Wraparound kilt with apron

30, 48, 49

Saqqara

VI.1-2

Wraparound kilt with curved ends open at front

3, 15, 16, 22, 25, 26, 34, 37, 42, 44

Giza

V.5-8

Loincloth turned to back

25, 34, 45

Saqqara

V.6L-7

Cloth tucked into waistband of kilt

5

Giza

IV.6-V.1

Workman with exposed genitals

15, 25, 26, 34, 45, 51

Saqqara

V.6L-7

Naked workman

5, 9, 26, 33, 44

Giza

IV.5

Overseer with receding hairline

9, 25, 30, 34

Giza

IV.5

Workman with receding hairline

5, 7, 9, 19, 21, 22, 23, 24, 25, 27, Giza 30, 31, 34, 37, 50

IV.5

Overseer or workman with echelon wig

4, 22, 36

Giza

IV.5-6E

Overseer or workman with long wig

5, 49

Giza

IV.6-V.1

Appendix 12 Micro-Features Common to Multiple Workshop Industries and Occurrences (cont.)

421

Stone Vessel Making

Sculpture

Metalwork

Date

Leatherwork

Site

Jewellery Making

Catalogue No. Carpentry

Feature

Industries

Boat Building

Category

Earliest Recording in Workshop Scenes

Caption

(* = Direct translation as per citation)

Goedicke, Re-Used Blocks, 121

39

‘Sawing’

Brovarski, Senedjemib Complex I, 53 Note 245 Drenkhahn, ‘Artisans and Artists’, 333 Faulkner, CD, 68 Kanawati, El-Hawawish I, 21 Kanawati, El-Hawawish II, 22 Montet, Scènes, 299, 302[1] Weeks, Cemetery G6000, 34

1 11 25 34 55 56

Erman and Grapow, Wb. II, 84[13] Faulkner, CD, 109 Gardiner, Grammar, 518[22] Montet, Scènes, 304[1] Weeks, Cemetery G6000, 34

1 9 34 41 45 50

‘Fashioning’

Brovarski, Senedjemib Complex I, 53 Drenkhahn, ‘Artisans and Artists’, 333 Drenkhahn, Die Handwerker, 100 Eaton-Krauss, Statuary, 126 Erman and Grapow, Wb. II, 382[11] Hannig, Wörterbuch I, 689[17184] Harpur, Maidum, 87 Montet, Scènes, 290, 303[3], 344[1] Robins, Art, 25 Weeks, Cemetery G6000, 34

10 16? 34 37? 40 45 50

1 9

‘Reckoning’

Erman and Grapow, Wb. II, 448[12] Faulkner, CD, 152 Hannig, Wörterbuch I, 731[18274] Montet, Scènes, 277[2] Scheel, ‘Metallhandwerk I’, 138[3] Weeks, Cemetery G6000, 35

1

Hwj

‘Polishing’

Drenkhahn, Die Handwerker, 125-26 Faulkner, CD, 165 Hannig, Wörterbuch I, 780[19802] Montet, Scènes, 306[1:1] Weeks, Cemetery G6000, 33

X(nm)

‘Joining’

Faulkner, CD, 202 Gardiner, Grammar, 528[9]

1

‘Rubbing’

Drenkhahn, Die Handwerker, 11 Faulkner, CD, 213 Hannig, Wörterbuch I, 1074[26256] Weeks, Cemetery G6000, 36

41

‘Lashing’

Hannig, Wörterbuch I, 1100[27270] Jones, Nautical Titles, 222[76] Landström, Ships, 26 Montet, Scènes, 343

8? 34

‘Polishing’

Drenkhahn, ‘Artisans and Artists’, 333 Drenkhahn, Die Handwerker, 100 Faulkner, CD, 231 Hannig, Wörterbuch I, 1156[28452] Montet, Scènes, 306[2:1] Robins, Art, 25

49

‘Drying’

Andrews, Egyptian Jewellery, 73 Faulkner, CD, 248 Hannig, Wörterbuch I, 1240[30684] Kanawati, Deir el-Gebrawi I, 52

ws.t

mnx

nDr(j)

Denoting Action

Selected Bibliographic and Lexicographic Citations

‘Caulking’

amj

1. Task Identification

Suggested Translation

Cat. No.

Category

Text Type

‘Make it According to Plan’

rx.t

s(j)n.t

sp.t

snaa

sSr

‘Chiselling’

Appendix 13 Compilation of Text Types

422

19

Caption

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

sqr

‘Beating’

Faulkner, CD, 250 Kanawati, El-Hawawish IV, 22

9 54

sqdw.t

‘Boat building’

Hassan, Saqqara I, 30

26

stj(.t)

‘Stringing’

Badawy, aAnkhmaahor, 23 Kanawati and Hassan, Ankhmahor, 36

19 34

jr.t kA.t m snH.t

‘Carrying out work with a drill’

Drenkhahn, ‘Artisans and Artists’, 333 Drenkhahn, Die Handwerker, 75 Erman and Grapow, Wb. III, 461[5] Hannig, Wörterbuch I, 1159[28648] Montet, Scènes, 297

‘Sawing with a saw’

Drenkhahn, ‘Artisans and Artists’, 333 Faulkner, CD, 298 Montet, Scènes, 299, 302[3]

34

ws.t m tf

nDr m an.t

‘Fashioning with an adze’

Faulkner, CD, 43 Hannig, Wörterbuch I, 271[5237] Jones, ‘Boat-Building Scenes’, 186 Note 10 Kanawati, El-Hawawish II, 22 Montet, Scènes, 335[3]

28 34 55?

nDr m mjb.t

‘Fashioning with an axe’

Gardiner, Grammar, 511[7] Kanawati, El-Hawawish II, 22 Montet, Scènes, 299, 335[5]

34 55 56

jr.t kA.t jn Hmw.tj

‘Carrying out work by the craftsman’

Drenkhahn, ‘Artisans and Artists’, 333 Eaton-Krauss, Statuary, 125

34

‘Carrying out (work) by the sculptor’

Drenkhahn, ‘Artisans and Artists’, 333 Eaton-Krauss, Statuary, 126 Montet, Scènes, 290[1], 294

34

jr.t (kA.t) jn qs.tj mnx jn mDH(.w)

‘Chiselling by the carpenter(s)’

Davies, Deir el-Gebrawi I, 20 Kanawati, Deir el-Gebrawi II, 50

34 47

nDr (jn) fnx

‘Fashioning (by the) joiner’

Brovarski, Senedjemib Complex I, 52 Montet, Scènes, 303[2]

nDr (jn) mDH

‘Fashioning (by the) carpenter’

Hannig, Wörterbuch I, 580[14540] Harpur, ‘Old Kingdom Blocks’, 87 Weeks, Cemetery G6000, 34

11 34 36?

‘Polishing by the sculptor’

Drenkhahn, ‘Artisans and Artists’, 333 Eaton-Krauss, Statuary, 125 Montet, Scènes, 290

34

snaa jn qs.tj

47

‘Carving by the sculptor’

Davies, Deir el-Gebrawi I, 19 Eaton-Krauss, Statuary, 137 Kanawati, Deir el-Gebrawi II, 47 Montet, Scènes, 290[2]

9 46

jaj.t mdw

‘Dampening a staff’

Drenkhahn, Die Handwerker, 113 Erman, Reden, Rufe und Lieder, 45 Erman and Grapow, Wb. I, 39[16] Faulkner, CD, 10, 122 Gardiner, Grammar, 551 Hannig, Wörterbuch I, 37[950] Montet, Scènes, 313[2:1-2] Verner, Abusir I, 59

jaj.t nbjj.t

‘Washing a collar’

Andrews, Egyptian Jewellery, 70

25

jr.t nms.t

‘Making a nms.t-jar’

Faulkner, CD, 133

35

jr.t nD.t-Hr

‘Making gifts’

Kanawati and McFarlane, Deshasha, 53 Petrie and Griffith, Deshasheh, 46

43

srD j(n) qs.tj

Denoting Object

Suggested Translation

Cat. No.

Category Denoting Type of Craftsman

1. Task Identification

Denoting Tool

Action

Text Type

Appendix 13 - Text Compilation

Appendix 13 Compilation of Text Types (cont.)

423

1

Caption

Denoting Object

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

55

jr(.t) nD(.t)-Hr kA.t nb(.t)

‘Making gifts and all kinds of work’

Gardiner, Grammar, 577 Kanawati, El-Hawawish II, 22*

(jr).t sS(w)?

‘(Making) a vessel’?

Erman and Grapow, Wb. IV, 280[1]?

9? 1

‘Cutting out a sandal’

Faulkner, CD, 75 Gardiner, Grammar, 563 Hasanien, ‘Leather Manufacture’, 75 Weeks, Cemetery G6000, 36

46

(f)sj mdw tp

‘Heating the tip of a staff’

Davies, Sheikh Saïd, 13 Drenkhahn, Die Handwerker, 113 Hassan, Stöcke und Stäbe, 21 Montet, Scènes, 313[1:1]

mnx ATw.t

‘Chiselling a bed’

Brovarski, ‘Covington’s Tomb’, 130

25

mnx m (aA)

‘Chiselling (the door)’

Faulkner, CD, 37 Gardiner, Grammar, 556

22 47

mnx nbjj.t

‘Stringing a collar’

Andrews, Egyptian Jewellery, 72 Davies, Deir el-Gebrawi I, 19 Drenkhahn, Die Handwerker, 44 Hannig, Wörterbuch I, 536[13081] Kanawati, Deir el-Gebrawi II, 47

‘Chiselling a plank’

Hannig, Wörterbuch I, 1095[27024] Jones, Nautical Titles, 184[137] Montet, Scènes, 337[1]

34

mnx sb(n) (nbj.t)? aA.t

‘Melting a vessel’?

Kanawati, El-Hawawish II, 23 Scheel, ‘Metallhandwerk I’, 144[24-25]

55? 56?

nDr aA

‘Fashioning a door’

Kanawati and McFarlane, Deshasha, 52 Petrie and Griffith, Deshasheh, 45

43

nDr x.wt mDA.wt

‘Fashioning wooden stakes’

Meeks, Ann.Lex. I, 77[1959] Montet, Scènes, 339

34

nDr xt

‘Fashioning wood’

Kanawati and McFarlane, Deshasha, 53 Petrie and Griffith, Deshasheh, 45

43

‘Fashioning a backrest’

Brovarski, ‘Covington’s Tomb’, 148 Hannig, Wörterbuch I, 1378[36152] Moussa and Altenmüller, Nianchchnum, 138

25

nDr gsAw.t

‘Bending a staff(s)’

Davies, Sheikh Saïd, 13 Drenkhahn, Die Handwerker, 114 Hassan, Stöcke und Stäbe, 27 Montet, Scènes, 314[1]

9 46

34

smH Hr-jb

‘Ramming the middle’

Erman and Grapow, Wb. III, 137[4]; Wb. IV, 139[15] Hannig, Wörterbuch I, 1142[28142], 863[21362] Jones, Nautical Titles, 223[80], 176[108] Montet, Scènes, 341[1]

snaa ATw.t

‘Polishing a bed’

Faulkner, CD, 6 Montet, Scènes, 306[2:2]

22

snaa aA.wt

‘Polishing stone vessels’

Davies, Deir el-Gebrawi I, 19 Kanawati, Deir el-Gebrawi II, 47

47

wDa Tb.t

1. Task Identification

Suggested Translation

Cat. No.

Category

Text Type

‘Make it According to Plan’

xnd mdw(.w)

Davies, Deir el-Gebrawi II, 11 snaa m ATw.t n.t ss(n)Dm ‘Polishing the bed of ssnDm-wood’ Faulkner, CD, 245 snaa m sT(p).t n.t wab.t

‘Polishing the sTp.t-box of the workshopʼ

Appendix 13 Compilation of Text Types (cont.)

424

Brovarski, ‘Inventory Offering Lists’, 28, 46 Faulkner, CD, 57

50 38

Caption

(* = Direct translation as per citation)

Brovarski, ‘Inventory Offering Lists’, 28, 46 Davies, Deir el-Gebrawi II, 11 Drenkhahn, Die Handwerker, 106 Montet, Scènes, 306[2:6]

50

‘Polishing the sTp.t-box of the sacred tomb’

snaa sH-nTr

‘Polishing a shrine’

Moussa and Altenmüller, Nianchchnum, 138

25

snaa qrs(w)

‘Polishing a coffin’

Davies, Sheikh Saïd, 13 Hassan, Giza II, 195

3 46

srwD jmjt-r n.t S rsj

Drenkhahn, Die Handwerker, 114 Note 52 Faulkner, CD, 236 ‘Strengthening the staff of office of Hannig, Wörterbuch I, 1172[28977] the Southern Lake’ Kanawati and McFarlane, Deshasha, 53* Petrie and Griffith, Deshasheh, 45

srD m aA

‘Carving the door’

Faulkner, CD, 37 Montet, Scènes, 303[1]

22 25

‘Beating the underside’

Drenkhahn, Die Handwerker, 33 Hannig, Wörterbuch I, 1174[29098] Moussa and Altenmüller, Nianchchnum, 136* Scheel, Egyptian Metalworking, 36[36] Scheel, ‘Metallhandwerk I’, 172

55 56

‘Carving a statue’

Erman and Grapow, Wb. II, 415[11] Faulkner, CD, 148 Gardiner, Grammar, 577 Hannig, Wörterbuch I, 1174[29099] Kanawati, El-Hawawish I, 21 Kanawati, El-Hawawish II, 23

‘Carving a statue’

11 55

srD twt

Drenkhahn, Die Handwerker, 57 Eaton-Krauss, Statuary, 120 Erman and Grapow, Wb. IV, 205[17] Hannig, Wörterbuch I, 1174[29095] Kanawati, El-Hawawish II, 23 Faulkner, CD, 139 Moussa and Altenmüller, Nianchchnum, 136 Scheel, ‘Metallhandwerk I’, 150[9]

25

sSr Ts.t ns

‘Gilding a girdle knot and apron flap’ ‘Painting the statue of the Overseer of Priests, Henenit’

Blackman, Meir V, 28 Eaton-Krauss, Statuary, 140 Note 749 Junker, ’Irj, 63 Kanawati and Evans, Meir II, 27

51

sS twt n(.t) jmj-r HmwnTr @nnjt

stj.t (r) nbjj.(w)t

‘Stringing a collar(s)’

Andrews, Egyptian Jewellery, 68 Davies, Deir el-Gebrawi I, 19 Drenkhahn, Die Handwerker, 44 Erman and Grapow, Wb. II, 237[3]; Wb. IV, 330[2] Faulkner, CD, 252 Gardiner, Grammar, 464[29] Hannig, Wörterbuch I, 1253[31142] Kanawati, Deir el-Gebrawi II, 47 Montet, Scènes, 284 Moussa and Altenmüller, Nianchchnum, 137 Scheel, Egyptian Metalworking, 45[50] Simpson, Kawab, 26

8 21 25 31 46 47

Sd(.t) m dSr

‘Building the boat’

Faulkner, CD, 316 Jones, Nautical Titles, 228[115] Montet, Scènes, 333[1:3]

13? 34 40

srD rpt Denoting Object

Selected Bibliographic and Lexicographic Citations

snaa m sTp.t n.t nTr wab.t

srD m Xr

1. Task Identification

Suggested Translation

Cat. No.

Category

Text Type

Appendix 13 - Text Compilation

Appendix 13 Compilation of Text Types (cont.)

425

43

Selected Bibliographic and Lexicographic Citations

Cat. No.

Category

Text Type

‘Make it According to Plan’

25

‘Building the SAb.t-boat’

Erman and Grapow, Wb. IV, 410[5]; Wb. V, 490[16] Hannig, Wörterbuch I, 1324[33761], 1281[32162] Jones, ‘Boat-Building Scenes’, 185 Jones, Nautical Titles, 228[115] Montet, Scènes, 332 Moussa and Altenmüller, Nianchchnum, 74*

47

Ts(j) Hr twt

‘Modelling the face of a statue’

Davies, Deir el-Gebrawi I, 19 Eaton-Krauss, Statuary, 137 Faulkner, CD, 307 Hannig, Wörterbuch I, 1456[38284] Kanawati, Deir el-Gebrawi II, 48*

dw wsx

‘Presenting a collar’

Faulkner, CD, 69 Gardiner, Grammar, 505[11]

51

dm an.t

‘Sharpening an adze’

Blackman, Meir V, 28 Kanawati and Evans, Meir II, 27 Montet, Scènes, 302

22? 51 50

‘Fashioning an oar’

Davies, Deir el-Gebrawi II, 11 Erman and Grapow, Wb. V, 495[7] Faulkner, CD, 69 Hannig, Wörterbuch I, 1482[39286] Montet, Scènes, 345

19

DbA Tb.t

‘Completing a sandal’

Badawy, aAnkhmaahor, 23 Hasanien, ‘Leather Manufacture’, 75 Kanawati and Hassan, Ankhmahor, 36 Montet, Scènes, 317[2]

wdH bjA

‘Pouring metal’

Hassan, Giza II, 192 Scheel, ‘Metallhandwerk I’, 145[4], 166

‘Weighing metal’

Davies, Deir el-Gebrawi I, 20 Kanawati, Deir el-Gebrawi II, 48 Montet, Scènes, 277[2] Scheel, ‘Metallhandwerk I’, 138[3], 139[18]

1 47

‘Melting metal’

Davies, Deir el-Gebrawi I, 20 Faulkner, CD, 80 Hassan, Giza II, 192 Kanawati, Deir el-Gebrawi II, 49 Montet, Scènes, 280 Scheel, ‘Metallhandwerk I’, 140[3-4], 141[5], 143[17] Weeks, Cemetery G6000, 35

1 3 12 46 47

‘Beating Dam-gold’

Davies, Deir el-Gebrawi I, 20 Kanawati, Deir el-Gebrawi II, 48 Montet, Scènes, 284[1] Scheel, ‘Metallhandwerk I’, 147[18], 167, 171

22 47

1 19 34 43

‘Stretching leather’

Badawy, aAnkhmaahor, 23 Drenkhahn, ‘Artisans and Artists’, 333 Faulkner, CD, 201 Hasanien, ‘Leather Manufacture’, 75 Kanawati and Hassan, Ankhmahor, 36 Kanawati and McFarlane, Deshasha, 53 Montet, Scènes, 316[4] Petrie and Griffith, Deshasheh, 45 Weeks, Cemetery G6000, 36

Caption

Denoting Object

(S)d.t m dSr SAb.t

1. Task Identification

dqa wsr

fAj.t bjA

Denoting Material

nbj.t bjA

sqr Dam

THs Xn.t

Suggested Translation

Appendix 13 Compilation of Text Types (cont.)

426

(* = Direct translation as per citation)

3

Caption

Suggested Translation

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

Cat. No.

Category Combination

1. Task Identification

Text Type

Appendix 13 - Text Compilation

jn(j).t mr.t jn fnx

‘Bringing a board by the joiner’

Brovarski, Senedjemib Complex I, 52 Montet, Scènes, 299[2]

11

‘........ by the leatherworker’

Erman and Grapow, Wb. V, 363[11] Gardiner, Grammar, 601 Kanawati and Evans, Meir II, 23

51

(

(jr).t dbHt-Htp Hmw.tj Xrj-Hbt

‘Making the funerary offerings of the craftsman and lector’

Davies, Deir el-Gebrawi I, 19* Kanawati, Deir el-Gebrawi II, 46

47

wbA a qrH(.t) n.t mntt jn jmj-r Hmw.tj(.w)

‘Drilling a bowl and vessel of diorite by the Overseer of Craftsmen’

Brovarski, Senedjemib Complex I, 54 Faulkner, CD, 58, 281 Hannig, Wörterbuch I, 537[13144]

11

47

wbA Hrs.t (jn) ms.wnSd

‘Drilling the carnelian (by the) jewellery makers’

Andrews, Egyptian Jewellery, 73 Davies, Deir el-Gebrawi I, 20 Drenkhahn, Die Handwerker, 48 Jones, Titles I, 451[1689] Kanawati, Deir el-Gebrawi II, 48 Montet, Scènes, 288[1]

wdH Dam m Hnjw

‘Pouring Dam-gold from a jar’

Hannig, Wörterbuch I, 838[20857]

30

‘Chiselling a bed by the joiner’

Brovarski, Senedjemib Complex I, 52 Drenkhahn, Die Handwerker, 100 Montet, Scènes, 299[1], 304[2]

11

mnx ATw.t jn fnx mnx nbjj.wt jn stj.(w)t r wsx.w

‘Stringing collars by the stringers of collars’

Blackman, Meir V, 26 Faulkner, CD, 109 Kanawati and Evans, Meir II, 26

51

‘Decorating a statue by the sculptor’

Davies, Deir el-Gebrawi II, 11 Drenkhahn, Die Handwerker, 70 Eaton-Krauss, Statuary, 138

50

nSD t(wt) (j)n qs.tj

nDr jn mDH m abA

‘Fashioning the abA-sceptre by the carpenter’

Davies, Deir el-Gebrawi I, 19 Kanawati, Deir el-Gebrawi II, 48 Montet, Scènes, 303[7], 308

38? 47 50

‘Fashioning the ear (by the carpenter)’

Hannig, Wörterbuch I, 569[16396] Montet, Scènes, 303[5] Weeks, Cemetery G6000, 35

1

nDr msDr (jn mDH)

nDr xwdd [sic] jn mDH

Brovarski, ‘Covington’s Tomb’, 152 ‘Fashioning a carrying chair by the Davies, Deir el-Gebrawi I, 19 carpenter’ Kanawati, Deir el-Gebrawi II, 48 Montet, Scènes, 303[6], 309[2]

nDr xt ssnDm jn mDH

‘Fashioning ssnDm-wood by the carpenter’

Drenkhahn, ‘Artisans and Artists’, 333 Montet, Scènes, 303[4]

nDr s (jn) fnx

‘Fashioning a door bolt (by the) joiner’

Faulkner, CD, 205 Weeks, Cemetery G6000, 34 Erman and Grapow, Wb. IV, 264[8] Hannig, Wörterbuch I, 1192[29503] Jones, Nautical Titles, 187[149] Moussa and Altenmüller, Nianchchnum, 75

25

nDr sx.t jn mDH

‘Fashioning a sx.t-plank by the carpenter’

34

htj afD.t jn fnx

‘Drilling a box by the joiner’

Brovarski, ‘Inventory Offering Lists’, 28-29 Drenkhahn, ‘Artisans and Artists’, 333 Hannig, Wörterbuch I, 270[5155] Montet, Scènes, 304 Brovarski, ‘Inventory Offering Lists’, 28, 32 Drenkhahn, Die Handwerker, 106 Kanawati, Deir el-Gebrawi II, 47 Montet, Scènes, 306[1:3]

47

Hwj m sn.wt hn(.w) n abA m pr ( )

‘Polishing with polishing stones the hn(.w)-box of the abA-sceptre from the House of ........’

) jn Tbw

Appendix 13 Compilation of Text Types (cont.)

427

47

34 1

Caption

Suggested Translation

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

Brovarski, ‘Inventory Offering Lists’, 28, 32 Drenkhahn, ‘Artisans and Artists’, 333 Montet, Scènes, 306[1:2]

Cat. No.

Category Combination

1. Task Identification

Text Type

‘Make it According to Plan’

34

Hwj hn(.w) m sn.wt jn sSp.w n.w pr-n-D.t

‘Polishing a hn(.w)-box with polishing stones by the polishers of the Estate’

xnd mdw jn sm(j)t(j)

Drenkhahn, Die Handwerker, 114 Hassan, Stöcke und Stäbe, 28 ‘Bending a staff by the staff maker’ Montet, Scènes, 314[2] Verner, Abusir I, 60

sn(aa) A(Tw.t) (jn) fnx

‘Polishing a bed (by the) joiner’

Brovarski, Senedjemib Complex I, 53

11

snaa ATw.t n.t hb(njj) jn sSp pr-D.t

‘Polishing a bed of ebony by the polisher of the Estate’

Drenkhahn, ‘Artisans and Artists’, 333 Montet, Scènes, 306[2:3]

34

snaa m ATw.t jn Hmw.tj(.w)

‘Polishing the bed by the craftsmen’

Davies, Deir el-Gebrawi I, 19 Kanawati, Deir el-Gebrawi II, 48* Montet, Scènes, 306[2:4]

47

Davies, Deir el-Gebrawi I, 20 Kanawati, Deir el-Gebrawi II, 48 Montet, Scènes, 284[1] Scheel, ‘Metallhandwerk I’, 151[18], 173

47

snaa Hrs.t jn ms.w-nSd

‘Polishing the carnelian by the jewellery makers’

srD m twt jn qs.tj

Davies, Deir el-Gebrawi I, 19 Eaton-Krauss, Statuary, 136 ‘Carving the statue by the sculptor’ Kanawati, Deir el-Gebrawi II, 47 Montet, Scènes, 290[3]

sS m fAj.t bjA

‘Noting the weighing of the metal’

Montet, Scènes, 277[1] Scheel, ‘Metallhandwerk I’, 139[13]

22 23

sqr Dam jn jmj-r bD.tj.w

‘Beating Dam-gold by the Overseer of Metalworkers’

Altenmüller, Grab des Mehu, 146 Drenkhahn, Die Handwerker, 33 Erman and Grapow, Wb. V, 537[13] Faulkner, CD, 320 Gardiner, Grammar, 603 Hannig, Wörterbuch I, 1495[39697] Montet, Scènes, 284[1] Nicholson, ‘Gold Beating’, 162 Scheel, ‘Metallhandwerk I’, 147[15], 167

(sqr) D(am) j(n) (bD.tj nbw)?

‘(Beating) Dam-gold by the (goldworker)’?

Drenkhahn, Die Handwerker, 42 Faulkner, CD, 320

38

stj.t nbjj.t jn stj.(w)t n pr-D.t

‘Stringing a collar by the stringers of the Estate’

Erman and Grapow, Wb. IV, 330[2] Moussa and Altenmüller, Nianchchnum, 137

25 30 25

Sa xt jn sqd

‘Felling a tree by the boat builder’

Faulkner, CD, 198, 250, 262 Hannig, Wörterbuch I, 1248[30900] Jones, Nautical Titles, 128[28] Jones, Titles II, 980[3619] Meeks, Ann.Lex. I, 77[3918] Moussa and Altenmüller, Nianchchnum, 74

(Sd.t m dSr SA)b.t jn mDH.w n.w pr-D.t

‘(Building the SAb.t-boat) by the carpenters of the Estate’

Jones, Boats, 73 Montet, Scènes, 331

34 47

kA.t m rw-Abw j(n) qs.tj

‘Working on the lion by the sculptor’

Davies, Deir el-Gebrawi I, 19 Drenkhahn, Die Handwerker, 65 Faulkner, CD, 147 Kanawati, Deir el-Gebrawi II, 48* Montet, Scènes, 290

dm ap(.t) [sic] jn sSp

‘Sharpening an adze by the polisher’

Brovarski, Senedjemib Complex I, 52* Faulkner, CD, 43 Montet, Scènes, 302

11

Appendix 13 Compilation of Text Types (cont.)

428

16

47

Caption

Suggested Translation

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

Cat. No.

Category Denoting Purpose Generic

2. Personnel Identification

Denoting Condition/Quantity

1. Task Identification

Text Type

Appendix 13 - Text Compilation

‘Making fillets for the funerary equipment’

Drenkhahn, Die Handwerker, 20[IX.2.7-8] Faulkner, CD, 54 Scheel, ‘Metallhandwerk I’, 150[9]

25

jr.t wAH.w(j) n krs.tt fs(j).t nbw n krs.tt

‘Heating gold for the funerary equipment’

Moussa and Altenmüller, Nianchchnum, 136 Scheel, ‘Metallhandwerk I’, 142[9]

25 49

mnx wsx n.w nfr r rw(j) ( )

‘Washing a collar of beauty in order to remove ........’

Andrews, Egyptian Jewellery, 73 Davies, Deir el-Gebrawi II, 24 Drenkhahn, Die Handwerker, 44 Erman and Grapow, Wb. II, 87[8] Faulkner, CD, 147 Wilkinson, Egyptian Jewellery, 3

rdj.t nbjj.wt r mAA

‘Presenting collars for inspection’

Davies, Sheikh Saïd, 13*

46 47

‘Polishing with polishing stones a jTn.t-box of the workshop’

Brovarski, ‘Inventory Offering Lists’, 28, 45 Drenkhahn, Die Handwerker, 106 Hannig, Wörterbuch I, 1155[28410] Kanawati, Deir el-Gebrawi II, 46 Montet, Scènes, 306[1:4]

51

swS jsnw n stj.t r wsx

‘Bundling/twisting threads for the stringing of a collar’

Andrews, Egyptian Jewellery, 73 Blackman, Meir V, 26 Brovarski, ‘Beaded Collars’, 161 Drenkhahn, Die Handwerker, 44 Erman and Grapow, Wb. IV, 75[16] Fischer, ‘Davies’ Deir el-Gebrawi’, 19 Note 12 Hannig, Wörterbuch I, 599[14984], 1091[26859] Kanawati and Evans, Meir II, 25*

sSr (mdw) n krs.tt

‘Gilding (a staff) for the funerary equipment’

Moussa and Altenmüller, Nianchchnum, 137 Scheel, ‘Metallhandwerk I’, 150[9]

25

sSr sxm n krs.tt

‘Gilding a sxm-sceptre for the funerary equipment’

Moussa and Altenmüller, Nianchchnum, 136 Scheel, ‘Metallhandwerk I’, 150[9]

25

sqr nbw r krs.tt

Badawy, aAnkhmaahor, 22 Kanawati and Hassan, Ankhmahor, 35 Montet, Scènes, 284[2] Scheel, ‘Metallhandwerk I’, 147[14]

19

‘Beating gold for the funerary equipment’

‘Making (it) threadbare’?

Blackman, Meir V, 30 Faulkner, CD, 179 Kanawati and Evans, Meir II, 23

51?

jr.t HtA? (

‘........ of the dry staff’

Faulkner, CD, 122, 263 Gardiner, Grammar, 594

55

(s)nDw [sic]?

‘Making (it) pleasing ........’?

Faulkner, CD, 235 Wreszinski, Atlas III, 34

19?

sS Dbatjj

‘Noting 20 ........’

Faulkner, CD, 246, 321 Gardiner, Grammar, 192[260]

37

bD.tj

‘Metalworker’

Drenkhahn, Die Handwerker, 40 Hassan, Giza II, 192 Scheel, ‘Metallhandwerk I’, 140[4], 145[4]

3 9 46

‘Goldworkers’

49 Drenkhahn, Die Handwerker, 40, 42 Erman and Grapow, Wb. II, 241[2] Faulkner, CD, 129 Gardiner, Grammar, 505[12] Hannig, Wörterbuch I, 430[10277] Jones, Titles I, 416[1533] Scheel, ‘Metallhandwerk I’, 125, 148[20], 168, 176

Hwj m sn.wt jTn.t n.t wab(.t)

) n(.t) Sw mdw

bD.tj(.w) nbw

Appendix 13 Compilation of Text Types (cont.)

429

Caption

(* = Direct translation as per citation)

fnx

‘Joiner’

‘Weigher’

Faulkner, CD, 115 Montet, Scènes, 277[1] Scheel, ‘Metallhandwerk I’, 139[13]

22

mxA.tj

‘Carpenter’

Drenkhahn, Die Handwerker, 100 Erman and Grapow, Wb. II, 190[8] Faulkner, CD, 124 Hannig, Wörterbuch I, 580[14540] Jones, Titles I, 455[1702] Kanawati and Evans, Meir II, 27 Montet, Scènes, 299

1 22 25 34 46 51 9

‘Boat Builder’

Gardiner, Grammar, 511[7] Hannig, Wörterbuch I, 581[14452] Jones, Nautical Titles, 119[4] Jones, Titles I, 457[1708]

Hmw.tj

‘Craftsman’

Badawy, aAnkhmaahor, 23 Davies, Deir el-Gebrawi I, 19 Drenkhahn, ‘Artisans and Artists’, 333, 335-36 Drenkhahn, Die Handwerker, 60-61 Eaton-Krauss, Statuary, 125 Jones, Titles II, 595[2179] Kanawati, Deir el-Gebrawi II, 46 Kanawati and Evans, Meir II, 25 Kanawati and Hassan, Ankhmahor, 35 Montet, Scènes, 295, 300 Vachala, Abusir VIII, 180, 278

4 11 16 19 34 35 47 51

‘Painter’

Badawy, aAnkhmaahor, 22 Kanawati and Hassan, Ankhmahor, 35 Wilson, ‘Artist Old Kingdom’, 234

19

sS sS qdw.t

‘Painter and Draughtsman’

Faulkner, CD, 282 Jones, Titles II, 876[3208]

25

sSp(.w)

‘Polisher(s)’

Drenkhahn, ‘Artisans and Artists’, 333, 336 Hassan, Giza II, 195-96 Montet, Scènes, 306[1:1]

3 11 34 26

sqd

‘Boat Builder’

Faulkner, CD, 250 Hannig, Wörterbuch I, 1248[30900] Hassan, Saqqara I, 29 Jones, Nautical Titles, 128[28] Jones, Titles II, 980[3619] Meeks, Ann.Lex. I, 77[3918]

qs.tj

‘Sculptor’

Drenkhahn, Die Handwerker, 62 Eaton-Krauss, Statuary, 126 Montet, Scènes, 292

10 34

gs

‘Cutter’

Drenkhahn, ‘Artisans and Artists’, 333, 336

34

‘Overseer’

Erman and Grapow, Wb. I, 74[13] Faulkner, CD, 18 Gardiner, Grammar, 553 Jones, Titles I, 51[255]

9? 12 19

mDH wjA

Generic

Selected Bibliographic and Lexicographic Citations Drenkhahn, ‘Artisans and Artists’, 333, 336 Drenkhahn, Die Handwerker, 125 Erman and Grapow, Wb. I, 576[15] Hannig, Wörterbuch I, 488[11703] Jones, Titles I, 417[1540] Montet, Scènes, 299-300

mDH

2. Personnel Identification

Suggested Translation

Cat. No.

Category

Text Type

‘Make it According to Plan’

jmj-r

Appendix 13 Compilation of Text Types (cont.)

430

11 34

Caption

Suggested Translation

Denoting Origin

(* = Direct translation as per citation)

jmj-r js

Badawy, aAnkhmaahor, 23 Erman and Grapow, Wb. I, 127[4] Kanawati and Hassan, Ankhmahor, 36

19

‘Overseer of the Workshop’

jmj-r js n bD.tj(.w)

‘Overseer of the Workshop of the Metalworkers’

Faulkner, CD, 30 Kanawati, Deir el-Gebrawi I, 52

49

jmj-r bD.tj.w

‘Overseer of Metalworkers’

Blackman, Meir V, 25 Kanawati, Deir el-Gebrawi I, 52 Kanawati and Evans, Meir II, 25 Kanawati and Hassan, Ankhmahor, 35 Montet, Scènes, 277 Scheel, ‘Metallhandwerk I’, 139[14], 150[21]

9? 19 32? 51

jmj-r bD.tj.w n pr-D.t

‘Overseer of Metalworkers of the Estate’

Altenmüller, Grab des Mehu, 147 Scheel, ‘Metallhandwerk I’, 139[15]

23

jmj-r mDH(.w)

‘Overseer of Carpenters’

Davies, Deir el-Gebrawi I, 19-20 Jones, Titles I, 146[571] Kanawati, Deir el-Gebrawi II, 47, 49 Kanawati, El-Hawawish I, 21

46 47 56

jmj-r Hmw.tj(.w)

‘Overseer of Craftsmen’

Badawy, aAnkhmaahor, 23 Kanawati and Hassan, Ankhmahor, 35 Wreszinski, Atlas III, 34

11? 19 19

‘Overseer of Sculptors’

Badawy, aAnkhmaahor, 22 Brovarski, Senedjemib Complex I, 54 Eaton-Krauss, Statuary, 120, 134 Kanawati and Hassan, Ankhmahor, 35 Wilson, ‘Artist Old Kingdom’, 234

smsw wxr.t

‘Elder of the Dockyard’

Drenkhahn, Die Handwerker, 124 Faulkner, CD, 68, 229 Jones, Titles II, 899[3301] Montet, Scènes, 334

25 34 45?

fnx mDH n pr-D.t

‘Joiner and Carpenter of the Estate’

Hannig, Wörterbuch I, 488[11703] Moussa and Altenmüller, Nianchchnum, 138

25

‘Carpenters of the Residence’

Davies, Deir el-Gebrawi I, 21 Kanawati, Deir el-Gebrawi II, 46 Montet, Scènes, 306[1:4]

47

mDH(.w) n.w Xnw mDH(.w) n pr-D.t

‘Carpenters of the Estate’

Davies, Deir el-Gebrawi I, 21 Kanawati, Deir el-Gebrawi II, 47

47

spt Hmw.tj(.w) n.t pr-n-D.t

‘Boat Builders of the Estate’

Davies, Deir el-Gebrawi II, 11 Hannig, Wörterbuch I, 1101[27276]

50

fnx BAw-wr

‘The Joiner, Bau-wer’

Hassan, Giza II, 197

fnx Pr-nb-(.j)

‘The Joiner, Per-neb-i’

Hodjash and Berlev, Reliefs and Stelae, 33[G]

fnx Nbw.f

‘The Joiner, Nebu-ef’

Hassan, Giza II, 197

mHnk sS Msn.j

‘The mHnk and Scribe, Mesni’

Eaton-Krauss, Statuary, 137 Kanawati, Deir el-Gebrawi II, 48

47

mDH Bb-jb

‘The Carpenter, Beb-ib’

Hodjash and Berlev, Reliefs and Stelae, 32[D] Stewart, Egyptian Stelae, 7[23]

33

Hodjash and Berlev, Reliefs and Stelae, 32[F]

33 33

jmj-r qs.tj(.w)

Denoting Identity

Selected Bibliographic and Lexicographic Citations

Cat. No.

Category

2. Personnel Identification

Ranked

Text Type

Appendix 13 - Text Compilation

mDH (pr)-D.t (

)aw

‘The Carpenter of the Estate, ........ au’

mDH N(j)-kAw-Ra

‘The Carpenter, Ni-kaw-Ra’

Hodjash and Berlev, Reliefs and Stelae, 32[E] Stewart, Egyptian Stelae, 7[23]

mDH Nfr-f-Ra-anx

‘The Carpenter, Nefer-ef-Ra-ankh’

Hassan, Giza II, 196

Appendix 13 Compilation of Text Types (cont.)

431

3 33 3

3

Caption

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

Hm-kA bD.tj KA(j)-manx

‘The Hm-kA Priest and Metalworker, Kai-em-ankh’

Scheel, ‘Metallhandwerk I’, 146[3], 168 Weeks, Cemetery G6000, 35

Hm-kA mDH ©aa

‘The Hm-kA Priest and Carpenter, Djaa’

Moussa and Altenmüller, Nianchchnum, 138

25

sS WADjj

‘The Painter, Wadjy’

Davies, Deir el-Gebrawi II, 10 Eaton-Krauss, Statuary, 138

50

‘The Painter, Seshshen’

Blackman, Meir V, 28 Eaton-Krauss, Statuary, 141 Kanawati and Evans, Meir II, 27

51

sS %SSn

‘(The Painter) of the Workshop, ........’

Eaton-Krauss, Statuary, 135* Jones, Titles II, 845[3082]

30?

Badawy, aAnkhmaahor, 22 Eaton-Krauss, Statuary, 132 Kanawati and Hassan, Ankhmahor, 35 Wilson, ‘Artist Old Kingdom’, 234

19

sS wab.t rsj(.t) Msj

‘The Painter of the Southern Workshop, Mesi’ ‘The Painter and Draughtsman, Ra-hay’

Dunham and Simpson, Mersyankh III, 12, 16 Eaton-Krauss, Statuary, 110-11 Smith, HESPOK, 351

4

(sS) qdw.t Ra-HAjj qs.tj Jnj-kA.f

‘The Sculptor, Ini-kaf’

Dunham and Simpson, Mersyankh III, 12 Eaton-Krauss, Statuary, 110

4

qs.tj Jr-n-Ra

‘The Sculptor, Ir-en-Ra’

Eaton-Krauss, Statuary, 129 Verner, Abusir I, 49

16

‘The Sculptor, Sobek-em-hat’

Blackman, Meir V, 28 Eaton-Krauss, Statuary, 141 Kanawati and Evans, Meir II, 27

51

qs.tj %bk-m-HAt

12

‘The Overseer, ........ Fefi’

Altenmüller, ‘Abwiegen von Metall’, 8 Brovarski, Senedjemib Complex I, 147 Drenkhahn, Die Handwerker, 29 Scheel, ‘Metallhandwerk I’, 138[5], 153

jmj-r bD.tj.w KA-xrPtH

‘The Overseer of Metalworkers, Ka-ikher-Ptah’

Hodjash and Berlev, Reliefs and Stelae, 32[B] Scheel, ‘Metallhandwerk I’, 146[6], 168

33

jmj-r bD.tj.w *nw

‘The Overseer of Metalworkers, Tjenu’

Verner, Abusir I, 54

16

jmj-r bD.tj.w sAb sS BA-bA.f

‘The Overseer of Metalworkers, Judge and Scribe, Ba-ba-ef’

Altenmüller, Grab des Mehu, 148 Scheel, ‘Metallhandwerk I’, 139[15]

23

jmj-r qs.tj(.w) Pr-aA ©aam

‘The Overseer of Sculptors of the Palace, Djaam’

Eaton-Krauss, Statuary, 131

22

‘The Overeer of Sculptors, Tjau’

Blackman, Meir V, 28 Eaton-Krauss, Statuary, 141 Kanawati and Evans, Meir II, 27

51

jmj-r qs.tj.w *Aw

smsw wxr.t %njj

Davies, Deir el-Gebrawi II, 11 ‘The Elder of the Workshop, Seny’ Faulkner, CD, 68, 229 Jones, Titles II, 899[3301]

smsw wxr.t jmj-r mDH.w Xrj-tp nswt @nnjt

‘The Elder of the Workshop, Overseer of Carpenters and Chamberlain, Henenit’

Blackman, Meir V, 28 Faulkner, CD, 68, 229 Fischer, Dendera, 212 Kanawati and Evans, Meir II, 28

sHD js.t Ra(wr)

‘The Inspector of the Gang, Rawer’

Erman and Grapow, Wb. I, 127[11] Faulkner, CD, 30, 239 Jones, Titles II, 916[3363] Weeks, Cemetery G6000, 34

(sS) wab.t (

jmj-r (

Denoting Ranked Identity

Suggested Translation

Cat. No.

Category

2. Personnel Identification

Denoting Identity

Text Type

‘Make it According to Plan’

)

) Ffj

Appendix 13 Compilation of Text Types (cont.)

432

1

50

51

1

Caption

Unrelated Titles Name Only

(* = Direct translation as per citation)

Jones, Titles II, 916[3363] Weeks, Cemetery G6000, 34

1 1

sHD bD.tj(.w) KAj

‘The Inspector of Metalworkers, Kai’

Hannig, Wörterbuch I, 430[10276] Jones, Titles II, 924[3397] Junker, ‘Erz und Erzarbeiter’, 96 Scheel, ‘Metallhandwerk I’, 148[3], 172 Weeks, Cemetery G6000, 35

‘The Inspector of Craftsmen, Memi’

Eaton-Krauss, Statuary, 129 Rochholz, ‘Statuen’, 264, 266 Verner, Abusir I, 48

16

sHD Hmw.tj(.w) Mmj sHD qs.tj(.w) WAS-kA(.j)

‘The Inspector of Sculptors, Washkai’

Eaton-Krauss, Statuary, 128 Verner, Abusir I, 49

16

sHD qs.tj(.w) PtH-Spss

‘The Inspector of Sculptors, Ptahshepses’

Eaton-Krauss, Statuary, 128-29 Verner, Abusir I, 48-49

16

jmj-r pr

‘Steward’

Faulkner, CD, 18 Jones, Titles I, 114[461]

30

jmj-r pr Jxj

‘The Steward, Ikhi’

Scheel, ‘Metallhandwerk I’, 139[13], 153

22

Moussa and Altenmüller, Nianchchnum, 134

25

)A

jmj-r pr anx-rdwj-nswt ‘The Steward, Ankh-redwi-nisut’

2. Personnel Identification

Selected Bibliographic and Lexicographic Citations

‘The Inspector of the Gang, the Hm-kA Priest, ........a’

sHD js.t Hm-kA ( Denoting Ranked Identity

Suggested Translation

Cat. No.

Category

Text Type

Appendix 13 - Text Compilation

wab nswt Mn-Htp

‘The Royal wab Priest, Men-hetep’

Davies, Sheikh Saïd, 13

46

Xrj-Hbt sS pr-mDA.t nTr Pr-aA Mrjj-Ra JHjj-msA-jrj

‘The Lector Priest, Scribe of the House of the Sacred Book of the Palace, Mery-Ra Ihy-em-sa-iri’

Blackman, Meir V, 29 Kanawati and Evans, Meir II, 29

51

‘The Lector Priest, Scribe of the Xrj-Hbt sS pr-mDA.t nTr House of the Sacred Book of the Pr-aA jmAxw JHjj-m-sAPalace, one revered Ihy-em-saPpjj rn.f nfr Jrj Pepy, whose good name is Iri’

Blackman, Meir V, 28 Eaton-Krauss, Statuary, 140-41 Kanawati and Evans, Meir II, 27

51

Kanawati and Evans, Meir II, 27

51

Xrj-tp nswt jmj-r mDH.w @nn(j)t

‘The Chamberlain and Overseer of Carpenters, Henenit’

sAb sS

‘Judge and Scribe’

Faulkner, CD, 209 Jones, Titles II, 811[2964]

2

sS Nfr

‘The Scribe, Nefer’

Faulkner, CD, 246

9

sS %bj

‘The Scribe, Sebi’

Faulkner, CD, 246

9

sS jmj-r pr-n-D.t

Davies, Deir el-Gebrawi II, 24 ‘Scribe and Overseer of the Estate’ Kanawati, Deir el-Gebrawi I, 52 Scheel, ‘Metallhandwerk I’, 139[20]

sS Swn n pr

‘Scribe of the House’

Jones, Titles II, 874[3201]

30

Jjj

‘Iy’

Kanawati and McFarlane, Deshasha, 25

42

Jrj-n-$nmw

‘Iri-en-Khnum’

Eaton-Krauss, Statuary, 129 Verner, Abusir I, 48

16

Jdw

‘Idu’

Eaton-Krauss, Statuary, 131

22

‘N........-Ptah’

Harpur, ‘Old Kingdom Blocks’, 88

37

Nfr-jr-nb

‘Nefer-ir-neb’

Kanawati and McFarlane, Deshasha, 26

42

Ra-mj-jrj-mH-rj

‘Ra-mi-iri-meh-ri’

Not Recorded

16

%Abj

‘Sabi’

Eaton-Krauss, Statuary, 129 Note 686 Verner, Abusir I, 48

16

%nj

‘Seni’

Davies, Deir el-Gebrawi I, 19 Eaton-Krauss, Statuary, 137

47

N(

)-ptH

Appendix 13 Compilation of Text Types (cont.)

433

49

Caption

Generic

(* = Direct translation as per citation)

Moussa and Altenmüller, Nefer, 25

27

‘Ka-p........’

Harpur, ‘Old Kingdom Blocks’, 88

37

‘T........a’

Davies, Sheikh Saïd, 13

46

‘........ bed and gifts’

Kanawati and McFarlane, Deshasha, 52

43

a

‘Bowl’

Faulkner, CD, 36 Gardiner, Grammar, 556, 528[10]

11

pr-wab

‘Shrine’

Brovarski, ‘Inventory Offering Lists’, 28, 46 Drenkhahn, ‘Artisans and Artists’, 333

34

mr.t

‘Board’

Drenkhahn, Die Handwerker, 100 Erman and Grapow, Wb. II, 108[2] Hannig, Wörterbuch I, 546[13323] Weeks, Cemetery G6000, 34

(nD.t)-Hr?

‘Gifts’?

Faulkner, CD, 144 Gardiner, Grammar, 577

42?

xt

‘Wood’

Davies, Deir el-Gebrawi II, 25 Kanawati, Deir el-Gebrawi I, 52

49

Erman and Grapow, Wb. III, 419[19] Gardiner, Grammar, 588 Hannig, Wörterbuch I, 1055[25888]

52?

sA(.w)?

‘Plank’?

sbn

‘Plank’

Montet, Scènes, 337[2], 338

45

twt

‘Statue’

Brovarski, Senedjemib Complex I, 53 Drenkhahn, ‘Artisans and Artists’, 333 Eaton-Krauss, Statuary, 125-26 Montet, Scènes, 289

11 34

‘Sandal’

Faulkner, CD, 304 Gardiner, Grammar, 601 Montet, Scènes, 316

42

Tb(.t) wrH(.w) aA(.wt) ntt Htp-tj

‘Ointment jars and stone vessels which are offered’

Faulkner, CD, 38, 65 Vachala, Abusir VIII, 180

16

Faulkner, CD, 78 Hannig, Wörterbuch I, 411[9336] Montet, Scènes, 296

35

bAs

‘Ointment jar’

mxt(m)(.t) (n).t sS.tA(.w)

‘mxtm.t-box of secret things’

Brovarski, ‘Inventory Offering Lists’, 28, 31 Faulkner, CD, 115

38

‘Collars of great (

Faulkner, CD, 63, 129

50? 35

KA-p( (

Specific

Selected Bibliographic and Lexicographic Citations

‘Se-nefer-Ra’

¤-nfr-Ra ¦(

3. Object Identification

Suggested Translation

Cat. No.

Category Name

Text Type

‘Make it According to Plan’

) )A

) (A)Tw.t nD.t-Hr

nbjj.wt (n.t wr) (

)?

)’?

1

nms.t

‘nms.t-jar’

Drenkhahn, Die Handwerker, 75 Faulkner, CD, 133 Hannig, Wörterbuch I, 630[15762] Montet, Scènes, 296

(s)Tp(.t)

‘sTp.t-chest’

Brovarski, ‘Inventory Offering Lists’, 28, 46

38

Blackman, Meir V, 28 Eaton-Krauss, Statuary, 141 Kanawati and Evans, Meir II, 27

51

‘The Statue of the Sole twt n(.t) smr-watj jmj-r Companion, Overseer of Priests, Hmw-nTr @nnjt-km Henenit the Black’ ‘Shrine of juniper’?

Davies, Deir el-Gebrawi II, 11 Erman and Grapow, Wb. I, 29[17] Faulkner, CD, 57

50

(j)AwA n wan?

abA n(.jj) Dam

‘abA-sceptre of Dam-gold’

Davies, Deir el-Gebrawi II, 11 Faulkner, CD, 40

50

Appendix 13 Compilation of Text Types (cont.)

434

Caption

Suggested Translation

‘Malachite’

‘Skin of a leopard’

Faulkner, CD, 77 Hannig, Wörterbuch I, 923[22645] Kanawati and McFarlane, Deshasha, 53

43

pxA.t n.t bA mr.t ^mA

‘Board of Upper Egyptian-wood’

Brovarski, Senedjemib Complex I, 53 Note 239

11

(

‘........ of gold’

Drenkhahn, Die Handwerker, 42 Note 79 Vachala, Abusir VIII, 252

16

‘Carrying chair (of) ebony’

Brovarski, ‘Covington’s Tomb’, 152* Faulkner, CD, 158 Montet, Scènes, 309[1]

50

‘Strong leather for the face/top of ........’

Drenkhahn, Die Handwerker, 11 Kanawati and Evans, Meir II, 23*

51

‘Shrine of juniper’

Faulkner, CD, 237 Weeks, Cemetery G6000, 34

1 1

qrs(w) n wan

‘Coffin of juniper’

Faulkner, CD, 57, 281 Gardiner, Grammar, 560, 596 Montet, Scènes, 308, 310 Weeks, Cemetery G6000, 33

‘Coffin (of granite)’

Faulkner, CD, 103, 281 Gardiner, Grammar, 567, 596 Weeks, Cemetery G6000, 33

1

qrs(w) (n mAT)

19

‘Statue of shepenen-wood’

Badawy, aAnkhmaahor, 22 Drenkhahn, Die Handwerker, 58-59 Eaton-Krauss, Statuary, 132 Note 701 Grunert, ‘Statuen’, 8 Hannig, Wörterbuch I, 1293[32588] Kanawati and Hassan, Ankhmahor, 35 Montet, Scènes, 290 Wilson, ‘Artist Old Kingdom’, 234

19

twt n ksb.t

‘Statue of kesebet-wood’

Badawy, aAnkhmaahor, 22 Eaton-Krauss, Statuary, 133 Hannig, Wörterbuch I, 1361[35468] Kanawati and Hassan, Ankhmahor, 35 Montet, Scènes, 290 Wilson, ‘Artist Old Kingdom’, 234

‘Dam-gold’

Blackman, Meir V, 26 Faulkner, CD, 320 Kanawati and Evans, Meir II, 26

51

Dam

47

jrj(=j) m sxr

‘Make it according to plan!’

Davies, Deir el-Gebrawi I, 20 Erman, Reden, Rufe und Lieder, 44 Kanawati, Deir el-Gebrawi II, 48-49 Montet, Scènes, 284[3]

jr(j) n(=j) sjn

‘Do it for me quickly!’

Kanawati and Hassan, Ankhmahor, 35*

19

jrj kA.t jqr

‘Do the work well!’

Blackman, Meir V, 25 Kanawati and Evans, Meir II, 25

51

wn Tw

‘Hurry!’

Faulkner, CD, 61 Montet, Scènes, 310[1]

34

) n(.jj) nbw

Denoting Material

sH-nTr n wan

twt n Spnn

Generic

51

wAD

xn.t At n.t Hr n( 3. Object Identification

(* = Direct translation as per citation)

Aufrère, L’univers minéral, 256 Blackman, Meir V, 26 Faulkner, CD, 55 Gardiner, Grammar, 560 Hannig, Wörterbuch I, 310[6740] Kanawati and Evans, Meir II, 26

xwd.t (n.t) hbnjj

4. Command

Selected Bibliographic and Lexicographic Citations

Cat. No.

Category

Text Type

Appendix 13 - Text Compilation

)

Appendix 13 Compilation of Text Types (cont.)

435

Caption

Suggested Translation

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

Cat. No.

Category Boat Building Carpentry

4. Command

Generic

Text Type

‘Make it According to Plan’

‘Hurry, get it done!’

Andrews, Egyptian Jewellery, 71* Dasen, Dwarfs, 262[52] Montet, Scènes, 286

22

wn Tw jmj xpr w(n) Tw wr.t

‘Hurry greatly!’

Hassan, Giza II, 192 Scheel, ‘Metallhandwerk I’, 140[4]

3

wn Tw r=f

‘Hurry with it!’

Faulkner, CD, 61 Montet, Scènes, 297

22

wn Tw r=s mrjj

‘Hurry with it, my dear!’

Faulkner, CD, 61, 111 Montet, Scènes, 310[2]

22

wr [sic] wr.t n.tjj Hna=(j)

‘Hurry greatly, comrade!’

Altenmüller, Grab des Mehu, 146*

23

(

‘........ well!’?

Macramallah, Idout, 18

29?

nDr aA.t

‘Fashion well!’

Kanawati, Deir el-Gebrawi II, 49

47

rdj sxpr=s

‘Get it done!’

Badawy, aAnkhmaahor, 23 Kanawati and Hassan, Ankhmahor, 35*

19

sjn

‘Quickly!’

Kanawati and Evans, Meir II, 27

51

jsp pH=f nfr

‘Cut its stern well!’

Kanawati, Deir el-Gebrawi II, 49 Montet, Scènes, 345

47

jdr n=Tn a(.w)=Tn Xr(.jj)=n

‘Take away your hands which are under us!’

Erman, Reden, Rufe und Lieder, 42 Montet, Scènes, 341

34

mnx aA

‘Chisel well!’

Kanawati, Deir el-Gebrawi II, 49

47 34

‘Do not rest in the middle!’

Erman, Reden, Rufe und Lieder, 43 Hannig, Wörterbuch I, 1142[28142] Jones, Nautical Titles, 223[80] Montet, Scènes, 341[1] Faulkner, CD, 6, 213 Hannig, Wörterbuch I, 22[575] Jones, Nautical Titles, 208[2] Montet, Scènes, 341[2]

34

) (m)nx?

nn Htp.t Hrj(.t)-jb

‘Lower the load which rams the hA(j) AT(pw) ntt smH saA bulwark!’

‘Cut down!’?

Erman and Grapow, Wb. III, 427[1] Faulkner, CD, 215 Hannig, Wörterbuch I, 1086[26606]

49?

sw(A)?

‘Make it strong!’

Erman and Grapow, Wb. IV, 170[7]? Faulkner, CD, 233 Hannig, Wörterbuch I, 1159[28681]

28

snxt n=k jaj(.t) mdw pw

‘Dampen this staff!’

Verner, Abusir I, 59

16

‘O chisel, let your cuts penetrate!’

Drenkhahn, ‘Artisans and Artists’, 333 Faulkner, CD, 109, 255 Montet, Scènes, 305

34

j mnx dj wmt sTA.wt=k j hA(j)

‘O, come (go) down!’

Blackman, Meir V, 28 Kanawati, El-Hawawish II, 22

51 55

‘(O), come down well!’

Blackman, Meir V, 28 Faulkner, CD, 31, 156 Kanawati and Evans, Meir II, 28*

51

(j) h(A)j jqr

51

j hA(j) mj nxt=k

‘O, come down, come strongly!’

Blackman, Meir V, 28 Erman and Grapow, Wb. II, 318[1] Faulkner, CD, 139 Kanawati and Evans, Meir II, 28

jdr jS.t=k m X.t=f Sn.t(j)

‘Take away your possession from its belly, it being already round!’

Eaton-Krauss, Statuary, 117 Note 631* Moussa and Altenmüller, Nianchchnum, 134

25

Appendix 13 Compilation of Text Types (cont.)

436

Caption

Suggested Translation

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

Cat. No.

Category Metalwork

4. Command

Jewellery Making

Carpentry

Text Type

Appendix 13 - Text Compilation

wAH (r) mnx

‘Press efficiently!’

Faulkner, CD, 53, 109 Hassan, Stöcke und Stäbe, 25 Montet, Scènes, 315[1-2]

22 34

wsj

‘Saw!’

Blackman, Meir V, 28 Kanawati and Evans, Meir II, 28

51

mj kjj srf.w

‘Come with another, it being warm!’

Altenmüller, ‘Daily Life’, 87 Montet, Scènes, 311

34

mnx Sw.t tw n.t aA

‘Chisel this side of the door!’

Blackman, Meir V, 28 Kanawati and Evans, Meir II, 27*

51

mr dj pAq bAk nw n.tjj m-a=k

‘Do not make too thin this work which is in your hand!’

Hassan, Giza II, 197*

nDr xt pw sjn (r)dj=Tn n sw jrj(=j) kA.t jm=f

‘Fashion this wood quickly and give it to me, that I may do the work with it!’

Blackman, Meir V, 27 Faulkner, CD, 198, 213 Kanawati and Evans, Meir II, 27*

sS mw=k mnx sn

‘Spread your water well, brother!’

dj mw dj Sa

3 51

Hassan, Giza II, 196

3

‘Put water, put sand!’

Hassan, Giza II, 195

3

wn Tw r nbjj.t pn r arq=f

‘Hurry with this collar to finish it!’

Andrews, Egyptian Jewellery, 69* Dasen, Dwarfs, 119, 256 Hassan, Giza II, 198

3

‘Hold tight this string which is in your hand!’

Andrews, Egyptian Jewellery, 69* Dasen, Dwarfs, 256 Faulkner, CD, 109, 145 Hassan, Giza II, 199

3

nDrw nw mnx n.tjj m-a=k

1 12

jpXr nfr m bD

‘Circulate well in the crucible!’

Brovarski, Senedjemib Complex I, 148 Drenkhahn, Die Handwerker, 32 Erman, Reden, Rufe und Lieder, 40 Montet, Scènes, 282 Scheel, ‘Metallhandwerk I’, 140[3], 141[5], 157 Weeks, Cemetery G6000, 35

jnj

‘Remove!’

Faulkner, CD, 22

16 16

jrj(=j) m pAq.t

‘Make it into sheet metal!’

Drenkhahn, Die Handwerker, 33 Erman, Reden, Rufe und Lieder, 44 Faulkner, CD, 88 Hannig, Wörterbuch I, 439[10427] Montet, Scènes, 284[4], 285 Scheel, ‘Metallhandwerk I’, 147[16], 171 Verner, Abusir I, 54

(j) jrj Tn wnj n.t(jj) (Hna=j) (Hn)k n mxA.t m (jr.t) m hrw pn

‘Make haste, (comrade), for the (pan) of the scale on this day!’

Altenmüller, Grab des Mehu, 146 Scheel, ‘Metallhandwerk I’, 147[15]

23

51

j hA(j) jnj m(j)

‘O, come down, reach, come!’

Blackman, Meir V, 25 Faulkner, CD, 22, 156 Kanawati and Evans, Meir II, 25 Scheel, ‘Metallhandwerk I’, 148[21], 171

j h(Aj) jnj Hm ns

‘O, come down, remove assuredly the flame!’

Faulkner, CD, 139 Gardiner, Grammar, 576, 581

30

(j) hA(j) jr=k n.t(jj) Hna(=j)

‘O, come down, comrade!’

Altenmüller, Grab des Mehu, 146* Scheel, ‘Metallhandwerk I’, 147[15], 171

23

‘Replace your companion!’

Altenmüller, Grab des Mehu, 146* Faulkner, CD, 230 Scheel, ‘Metallhandwerk I’, 147[15]

23

jdn snw=k

Appendix 13 Compilation of Text Types (cont.)

437

Selected Bibliographic and Lexicographic Citations

Cat. No.

Category Metalwork

4. Command

Text Type

‘Make it According to Plan’

Caption

Suggested Translation

(w)nj=k r Hr nfr

‘Hurry to the beautiful face!’

Montet, Scènes, 279[6] Scheel, ‘Metallhandwerk I’, 144[20], 159

49

‘Hurry greatly to the beautiful face!’

1 12

wn Tw wr.t r Hr nfr

Brovarski, Senedjemib Complex I, 148 Erman, Reden, Rufe und Lieder, 40 Montet, Scènes, 282 Scheel, ‘Metallhandwerk I’, 140[3], 141[5], 157 Weeks, Cemetery G6000, 35

(w)dj (w)dj jqr

‘Place, place well!’

Kanawati and Evans, Meir II, 25 Scheel, ‘Metallhandwerk I’, 144[21]

51

(w)dj m (Tb.t=f)

‘Place in (its sole)!’

Ziegler, Catalogue des stèles, 125

24

(w)dj m Tb.t=f wr.t n.t(jj) Hna=(j) Hn=k m anx

‘Place strongly in its sole, comrade, by your life!’

Badawy, aAnkhmaahor, 22 Kanawati and Hassan, Ankhmahor, 34 Scheel, ‘Metallhandwerk I’, 142[14]

19

(w)dj r Tb.t=f

‘Place at its sole!’

Drenkhahn, Die Handwerker, 31-32 Erman, Reden, Rufe und Lieder, 40 Forbes, Technology IX, 53 Hassan, Giza II, 192 Montet, Scènes, 281 Scheel, ‘Metallhandwerk I’, 140[3-4], 141[5], 144[20], 156, 159 Weeks, Cemetery G6000, 35

wdj r Tb.t=f n ds mA (p)w

‘Place at its sole, for this is a new vessel!’

Brovarski, Senedjemib Complex I, 148

12

(w)d(j) r (T)bw.t=k

‘Place at your soles!’

Davies, Deir el-Gebrawi II, 24

49

ps(j) nn bjA

‘(Re)heat this metal!’

Drenkhahn, Die Handwerker, 33 Erman, Reden, Rufe und Lieder, 44 Erman and Grapow, Wb. I, 551[7] Hannig, Wörterbuch I, 475[11285] Hassan, Giza II, 193 Scheel, ‘Metallhandwerk I’, 146[4], 168 Note 152 Wilkinson, Egyptian Jewellery, 3

mj r=k Hna(=j) nn ( )

‘Come with me, comrade, do not ........!’

Montet, Scènes, 280[9] Scheel, ‘Metallhandwerk I’, 141[8], 159

34

mxA

‘Weigh!’

Scheel, ‘Metallhandwerk I’, 138[11]

30 16

nf xt wr.t

‘Blow the fire strongly!’

Erman, Reden, Rufe und Lieder, 42 Montet, Scènes, 282 Scheel, ‘Metallhandwerk I’, 143[16] Verner, Abusir I, 53

‘Let the liquid go down on it to be cool!’

Blackman, Meir V, 25 Faulkner, CD, 277 Kanawati and Evans, Meir II, 25 Scheel, ‘Metallhandwerk I’, 145[21], 167

51

(r)dj hA(j) nSnw Hr=s qb(b)

22

sAH mnD.wt=f n.tj Hna(=j)

‘Reach its cheeks, comrade!’

Drenkhahn, Die Handwerker, 32 Erman, Reden, Rufe und Lieder, 41 Montet, Scènes, 281 Scheel, Egyptian Metalworking, 22[13] Scheel, ‘Metallhandwerk I’, 142[13]

sqr

‘Beat!’

Montet, Scènes, 284[4] Verner, Abusir I, 54

16

‘Beat strongly!’

Montet, Scènes, 284[4] Scheel, ‘Metallhandwerk I’, 147[16], 171 Verner, Abusir I, 53 Note 26

16

sqr wr.t

Appendix 13 Compilation of Text Types (cont.)

438

(* = Direct translation as per citation)

1 3

3

Boat Building/Carpentry

Specific

5. Response 6. Observation

Suggested Translation

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

Cat. No.

Category

Caption

sk (j)pXr mnx

‘Lo, circulate well!’

Scheel, ‘Metallhandwerk I’, 141[8], 161

34

Sm(m)t

‘Heat it!’

Scheel, ‘Metallhandwerk I’, 143[16]

16 34

dj spr pw r fs(j)

‘Let this sheet reheat!’

Drenkhahn, ‘Artisans and Artists’, 333 Drenkhahn, Die Handwerker, 33 Erman, Reden, Rufe und Lieder, 44 Montet, Scènes, 284[5] Scheel, ‘Metallhandwerk I’, 146[8], 169

jw(=j) r sbA.w

‘I will be a pupil’

Hassan, Giza II, 196*

3

jrj=j

‘I will do so’

Montet, Scènes, 310[1]

34 19 23 51

jrj=j r Hst=k

‘I will do in accordance with that which you praise’

Altenmüller, Grab des Mehu, 146 Andrews, Egyptian Jewellery, 85 Badawy, aAnkhmaahor, 22 Blackman, Meir V, 25, 28 Kanawati and Evans, Meir II, 25, 27 Kanawati and Hassan, Ankhmahor, 34 Scheel, ‘Metallhandwerk I’, 142[14], 143[15], 145[21], 147[15], 166

jrj=j Hs(t)=k jmj-r

‘I will do that which you praise, Overseer’

Badawy, aAnkhmaahor, 23 Kanawati and Hassan, Ankhmahor, 35

19

jrj(=j) st kA.w=k

‘I will do that which your kas desire’

Davies, Deir el-Gebrawi I, 20 Kanawati, Deir el-Gebrawi II, 49

47

‘Behold, we are doing in accordance with that which you praise!’

Blackman, Meir V, 27 Kanawati and Evans, Meir II, 27

51

m=k n Hr jr.t r Hst=k n rdj(=j) mrjj

‘I will not do (it, my) dear’

Hassan, Giza II, 197*

51

jnj(=j) Hm

‘Indeed, I am reaching’

Blackman, Meir V, 25 Faulkner, CD, 22, 169 Kanawati and Evans, Meir II, 25 Scheel, ‘Metallhandwerk I’, 148[21]

jrj=j mxA.t

‘I will make it balanced’

Faulkner, CD, 115 Scheel, ‘Metallhandwerk I’, 138[11]

30

jrj=j r Hst=k jw.j wrD.kw Hr kA.t mHnk

‘I will do in accordance with that which you praise, although I am tired because of the work, mHnk’

Altenmüller, Grab des Mehu, 147* Scheel, ‘Metallhandwerk I’, 143[15], 166

23

wA(=j)

‘I am already there’

Altenmüller, ‘Abwiegen von Metall’, 9*

12

‘I want to finish it today’

Andrews, Egyptian Jewellery, 69* Dasen, Dwarfs, 119, 256 Hassan, Giza II, 198

3

mrj(=j) r (s)arq.f mjn m=k wj rdj.t n=k sj Xr Dba.w=k

‘Behold, I am placing it for you under your fingers!’

Blackman, Meir V, 28 Kanawati and Evans, Meir II, 27* Montet, Scènes, 310

51

m=k Hr mnx

‘Behold the chiselling!’

Davies, Deir el-Gebrawi I, 20 Kanawati, Deir el-Gebrawi II, 49

47

jw mdw pw (n)

‘This is (for) a staff’

Faulkner, CD, 122

22 34

(j) hA(j) m=k snaa

‘O, behold the polishing!’

Blackman, Meir V, 28 Kanawati and Evans, Meir II, 28

51

wr H(t)j n.t(j) jm=f

‘The knot which is in it is great’

Hassan, Stöcke und Stäbe, 25 Note 12

34

Generic

Metalwork

Text Type

Appendix 13 - Text Compilation

Appendix 13 Compilation of Text Types (cont.)

439

3

Caption

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

mAA m xt wAH

‘Look on the wood which is pressed!’

Gardiner, Grammar, 559 Kanawati, El-Hawawish II, 23*

55

m=k (j)r=k snaa

‘Behold the polishing!’

Blackman, Meir V, 28 Kanawati and Evans, Meir II, 28

51

Htj jm=f

‘There is a knot in it’

Faulkner, CD, 179 Montet, Scènes, 315

22 47

stj.t mj.t xt n.t mrH.t

‘Glittering like something of oil’

Drenkhahn, Die Handwerker, 103 Erman, Reden, Rufe und Lieder, 44 Jequier, Les frises d’objets, 279 Note 2 Kanawati, Deir el-Gebrawi II, 47* Montet, Scènes, 311

sDr=f

‘It lies down’

Blackman, Meir V, 28 Kanawati and Evans, Meir II, 28*

51

j(w)=f nfr wr.t n.tj Hna(=j)

‘It is very beautiful, comrade!’

Andrews, Egyptian Jewellery, 71 Dasen, Dwarfs, 119, 262 Wainwright, ‘Metal-Workers’, 95 Note 7

22

19

j(w)=s snDm.t(j) wr.t

‘It is very supple’

Badawy, aAnkhmaahor, 23 Drenkhahn, Die Handwerker, 11 Erman, Reden, Rufe und Lieder, 45 Hannig, Wörterbuch I, 1168[28864] Hasanien, ‘Leather Manufacture’, 75 Kanawati and Hassan, Ankhmahor, 36* Montet, Scènes, 316

jw wSr

‘It is brittle’

Hannig, Wörterbuch I, 385[8573] Hassan, Giza II, 193 Scheel, ‘Metallhandwerk I’, 146[4], 168 Note 152

‘The crucible is ........’

Altenmüller, Grab des Mehu, 146 Scheel, ‘Metallhandwerk I’, 143[15]

23

‘It is brittle’

Drenkhahn, ‘Artisans and Artists’, 333 Montet, Scènes, 284[5] Scheel, ‘Metallhandwerk I’, 146[8], 170

34

jw=f twA(w) jw nfr Hr r wr.t

‘The face is more than very beautiful!’

Montet, Scènes, 284 Scheel, ‘Metallhandwerk I’, 145[13], 167

22 31 47

j(w)=s m jnr

‘It leans to the weight’

Altenmüller, ‘Die Waage’, 11* Erman, Reden, Rufe und Lieder, 45-46 Hannig, Wörterbuch I, 156[2887] Kanawati, Deir el-Gebrawi II, 48 Kuhlmann, ‘Gewicht’, 41 Montet, Scènes, 278[1-2] Scheel, ‘Metallhandwerk I’, 127, 138[7], 139[18]

jw s-njj-Mnw Hr tp mxA.t

‘The Man of Min supervises the scale’

Altenmüller, Grab des Mehu, 147* Kuhlmann, ‘Mann des Min’, 50

23

‘The cheek forms therein’

Drenkhahn, Die Handwerker, 32 Moussa and Altenmüller, Nianchchnum, 135 Scheel, ‘Metallhandwerk I’, 142[9], 163

25

wA(j) mnD.t jm wnn nfr

‘It is beautiful!’

Kanawati, Deir el-Gebrawi II, 49 Scheel, ‘Metallhandwerk I’, 147[18], 172

47

ps(j).t=f mnx

‘It is heated well’

Hassan, Giza II, 193 Scheel, ‘Metallhandwerk I’, 146[4]

3

fA nw r mAa

‘This is weighed correctly’

Altenmüller, Grab des Mehu, 147* Scheel, ‘Metallhandwerk I’, 139[15]

23

jw bDA (

Metalwork

Suggested Translation

Cat. No.

Category

6. Observation

Jewellery Making/Leatherwork

Boat Building/Carpentry

Text Type

‘Make it According to Plan’

)

Appendix 13 Compilation of Text Types (cont.)

440

3

Caption

(* = Direct translation as per citation)

19

‘See!’

12

‘Look!’

Altenmüller, ‘Abwiegen von Metall’, 8 Brovarski, Senedjemib Complex I, 147 Montet, Scènes, 278[3] Scheel, ‘Metallhandwerk I’, 138[5]

19

mAA Hr=f

‘Look at its face!’

Badawy, aAnkhmaahor, 22 Kanawati and Hassan, Ankhmahor, 34 Montet, Scènes, 281 Scheel, ‘Metallhandwerk I’, 142[14]

mAA sj

‘Look at it!’

Kanawati, Deir el-Gebrawi II, 48 Montet, Scènes, 278[2]

47

‘Behold, it is the beautiful face!’

Blackman, Meir V, 25 Kanawati and Evans, Meir II, 25 Scheel, ‘Metallhandwerk I’, 144[21]

51

m=k sw r Hr nfr

31

n wnt j(w)=s n bjA

‘No, it leans to the metal’

Altenmüller, ‘Abwiegen von Metall’, 10 Altenmüller, ‘Die Waage’, 11* Montet, Scènes, 278[1] Scheel, ‘Metallhandwerk I’, 138[7], 154

n wnt Sd

‘There is no hollow space’

Hassan, Giza II, 193 Scheel, ‘Metallhandwerk I’, 146[4]

3

‘It is not hot’

Montet, Scènes, 284[4] Scheel, ‘Metallhandwerk I’, 147[16] Verner, Abusir I, 53 Note 26

16

n S(mm)a n=k jw r Hr nfr

‘It will become the beautiful face’

Scheel, ‘Metallhandwerk I’, 143[16] Verner, Abusir I, 54

16

‘Observe!’

Hannig, Wörterbuch I, 538[13165] Moussa and Altenmüller, Nianchchnum, 135 Scheel, ‘Metallhandwerk I’, 142[9]

25

nDr.w nDr rw wab.t n.t (b)w? jw.Tn r mAA nfr

‘Observe, o gang of the workshop of (the place)?, you will see beautiful things!’

Davies, Deir el-Gebrawi I, 20 Kanawati, Deir el-Gebrawi II, 49* Scheel, ‘Metallhandwerk I’, 143[18]

47

Moussa and Altenmüller, Nianchchnum, 136* Scheel, ‘Metallhandwerk I’, 146[9], 171

25

mAA jr=k

Metalwork

Selected Bibliographic and Lexicographic Citations Badawy, aAnkhmaahor, 22 Faulkner, CD, 100 Kanawati and Hassan, Ankhmahor, 34 Scheel, ‘Metallhandwerk I’, 142[14]

mAA

6. Observation

Suggested Translation

Cat. No.

Category

Text Type

Appendix 13 - Text Compilation

‘These come down on the hA nw Hr spr.w sxwn.w sheets causing noise around the HA Hmw.tj.w craftsmen’

3

‘It is shining’

Hassan, Giza II, 193 Scheel, ‘Metallhandwerk I’, 146[4], 168

‘The air is hot because of breathing’

16 25 31

SmSm TAw Hr sn.f

Drenkhahn, Die Handwerker, 32 Note 19* Erman, Reden, Rufe und Lieder, 41 Mogensen, Mastaba Egyptien, 41-42 Montet, Scènes, 282 Moussa and Altenmüller, Nianchchnum, 135 Scheel, ‘Metallhandwerk I’, 141[7], 142[9], Verner, Abusir I, 54

(

‘........ hot’

Faulkner, CD, 293 Gardiner, Grammar, 519

16

‘This is a new vessel’

Badawy, aAnkhmaahor, 22 Drenkhahn, Die Handwerker, 32 Erman, Reden, Rufe und Lieder, 40 Kanawati and Hassan, Ankhmahor, 34

1 19 22

sSp pw

) tA

ds mA pw

Appendix 13 Compilation of Text Types (cont.)

441

Caption

Suggested Translation

Selected Bibliographic and Lexicographic Citations (* = Direct translation as per citation)

Montet, Scènes, 281 Scheel, Egyptian Metalworking, 22[13] Scheel, ‘Metallhandwerk I’, 140[3], 141[5], 142[13-14], 144[20], 161 Weeks, Cemetery G6000, 35

Cat. No.

Category Metalwork Other Reprimand Exclamations/Invocations

8. Miscellaneous

7. Praise and Reprimand

Praise

6. Observation

Text Type

‘Make it According to Plan’

24? 49

ds mA pw

‘This is a new vessel’ (cont.)

Abd wa r nn n hr ww Dr wdj(=j) a(=j) m twt pn n.tj m-a(=j)

‘It has been one month since I first put my hand to this statue which is in my charge’

jw Xnm pn nfr wr.t

‘This Xnm-jug is very beautiful!’

Gardiner, Grammar, 528[9] Montet, Scènes, 297

jH wn=k n nb=f mAA(=j) n nw

‘You will please its owner, who will see this’

Dasen, Dwarfs, 121 Hassan, Giza II, 198

m=Tn sr Hr Hst=Tn

‘Behold, the noble is praising you!’

Blackman, Meir V, 25 Kanawati and Evans, Meir II, 25*

51

nfr jrr=Tn

‘You are doing well!’

Gardiner, Grammar, 574

34

jw(=j) r mAA

‘I will see it!’

Kanawati, Deir el-Gebrawi II, 49 Scheel, ‘Metallhandwerk I’, 143[18]

47

‘You are delaying work which made a good start’

Andrews, Egyptian Jewellery, 69* Dasen, Dwarfs, 256 Hassan, Giza II, 199

3

jn=k kA.t tp ra nfr

‘What is the matter?’

Andrews, Egyptian Jewellery, 69 Dasen, Dwarfs, 256 Hassan, Giza II, 199*

3

jSst pw

‘Behold, the metal is beside you!’

Andrews, Egyptian Jewellery, 69 Dasen, Dwarfs, 256 Hassan, Giza II, 199*

3

m=k bjA r-gs=k n A Dd=k n(=j) jw xt mj aA.t

‘Indeed, you wouldn’t say to me wood is like stone’

Eaton-Krauss, Statuary, 123* Hassan, Giza II, 195

3

Twt wxA(r) rx.t=k kA.t

‘You are ignorant concerning your estimation of the work’

Eaton-Krauss, Statuary, 123* Hassan, Giza II, 195

3

jw Apd pn DdA wr.t

‘This bird is very fat!’

Davies, Deir el-Gebrawi I, 19 Kanawati, Deir el-Gebrawi II, 47*

47

jw mhjj tw=j ¤t(X) jj(.w)

‘If I am as one forgetful, may Seth come!’

Faulkner, CD, 112, 254

30

mj PtH mrj Tw

‘As Ptah loves you’

r( ) t Hnq.t n sS(.w) qdwt qstj(.w)

‘........ bread and beer for the painters and draughtsmen and sculptors’

Eaton-Krauss, Statuary, 123* Hassan, Giza II, 194

Andrews, Egyptian Jewellery, 69* Dasen, Dwarfs, 119, 256 Hassan, Giza II, 198*

3

22 3

3

Blackman, Meir V, 28 Kanawati and Evans, Meir II, 27

51

33

‘Drive off sloth for Sokar, this craftsman!’

Altenmüller, ‘Sokar’, 8-9 Hodjash and Berlev, Reliefs and Stelae, 32[C] Montet, Scènes, 282 Scheel, ‘Metallhandwerk I’, 141[6], 165-66 Stewart, Egyptian Stelae, 7[23]*

31

Hnq.t n ¤kr (j) Jtjj

‘Beer of Sokar, O Sovereign!’

Erman, Reden, Rufe und Lieder, 41-42 Mogensen, Mastaba Egyptien, 42 Montet, Scènes, 282 Scheel, ‘Metallhandwerk I’, 141[7]

+Hwtjj Htp(w)

‘May Thoth be satisfied!’

Faulkner, CD, 179, 324 Gardiner, Grammar, 470[26]

30

Hw(j) Hmsw n ¤kr Hmw.tj pw

Appendix 13 Compilation of Text Types (cont.)

442

PtH-Spss xi, xxviii, 5, 11, 23, 35-36, 39-40, 60-61, 63-64, 73-77, 83-84, 89, 95, 98, 105, 108-09, 158, 162, 287, 292, 295, 410, 412, 416-17 Ftk-tj 5, 23, 36-37, 89, 165, 289, 409 Mr.f-nb.f 5, 11, 13, 38, 48-50, 89, 110, 172, 290, 415 Mrrw-kA.j:Mrj xi, 5, 10-11, 14, 20-21, 24-25, 35-36, 38-40, 4751, 60-65, 67, 73-75, 83-84, 89, 98, 104, 107, 109, 174, 178, 287-88, 291-92, 299, 409-10, 414-17 Mrs-anx III 5, 36-37, 61-62, 66, 73-74, 77-78, 89, 108, 128, 288, 292, 411, 414, 416 MHw xi, 4, 6, 9-11, 13, 60-61, 64-66, 89, 104-05, 107, 112, 115, 179, 181, 288, 411, 416 MTTj 6, 48, 61, 63, 89, 182, 297 Nj-anx-Ppjj:$nmw-Htp-Hpj 6, 21-22, 48-49, 51, 61, 74, 90, 235, 299-300, 413-15, 417 Nj-anx-$nmw and $nmw-Htp 6, 8, 20-21, 23, 25-26, 34-36, 40, 48-50, 60-61, 63, 65-66, 73-78, 89, 105, 109, 112, 114, 184, 187, 286-88, 290, 295, 301, 410, 412, 414, 416-17 Nb.j-m-Axtj xi, 5, 14, 19, 36, 39, 47-49, 51, 60-61, 63, 65-66, 7478, 83-84, 89, 108, 131, 133, 286, 410-12, 414-16 Nb-kAw-¡r:Jdw 6, 11, 21-22, 90, 188, 288, 413 Nfr and KA-HA.j xi, xxviii, 6, 8, 11, 13, 21-22, 24-25, 35-36, 38, 40, 46, 48-50, 90, 110, 190, 193, 287-89, 409, 411-14 Ra-Htp (El-Hammamiya) 7, 21, 24, 90, 263 Ra-Htp (Maidum) 6, 21, 24, 90, 227, 289, 409 Ra-Spss xxviii, 6, 21, 23, 25, 90, 105, 194, 298-99, 413 !nqw:Jj...f II 7, 47-48, 50, 90, 290, 409 @m-jwnw 5, 21, 24, 89, 134 @m-Ra:Jsj xi, 7, 21-22, 47-48, 50-51, 61, 63, 66, 89-90, 98, 252, 254, 288, 290, 295, 300, 409, 411, 413, 415-16 @sjj-Mnw 7, 61, 64-65, 74, 90, 268 @tpt 5, 89, 136, 411 #wfw-xa.f II 5, 19, 36, 48, 74, 76, 89, 138, 285, 288, 416 #wn-Ra 5, 8, 14, 20-21, 23-26, 35-40, 48, 51, 56-57, 61, 74, 76-78, 83-85, 89, 108, 110, 114-15, 140, 285-86, 289-90, 299-300, 409-17 #w-ns (Qubbet el-Hawa) 7, 61, 64, 66, 90 #w-ns (Zawyet el-Amwat) xi, 7, 20-26, 36-37, 90, 114, 239, 242, 289, 299-300 #ntj 7, 61-63, 65, 90, 278, 301, 412 %anx-n-PtH 5, 36, 74-75, 89, 144 %nDm-jb:Jntj xi, 5, 10, 23, 35-38, 74, 77, 82-84, 89, 146, 148, 288, 299, 409 %nDm-jb:MHj xi, 5, 10-11, 47-49, 60-63, 65, 74, 76, 89, 98, 108, 149, 151, 287-88, 299-300 %rf-kA.j xi, 7, 36, 39, 48-49, 51, 61, 66, 90, 243, 245, 409, 411, 414, 416 %xm-kA-Ra 5, 21, 89, 152 %Sm-nfr 6, 36, 61, 90, 220, 414 %SsSt:Jdwt 6, 36, 90, 196, 288 ^psj-pw-Mnw:$nj 7, 36-37, 39-40, 61, 63, 74-75, 83, 90, 98, 109, 270, 301, 409 KA.j-jrr xi, 6, 36, 47-50, 61-65, 73-74, 76, 78, 83-84, 89-90, 105, 114, 198, 200, 287, 291, 298, 412, 414-15, 417 KA.j-m-rHw xi, 6, 23, 36, 39, 48-49, 61-62, 67, 74, 77, 83-84, 87, 90, 98, 108-09, 115, 201, 203, 412, 414-16 KA.j-Hp:*tj-jqr 7, 36, 61, 63, 65, 74, 90, 272, 289, 414, 416 KA.j-xnt II xi, 7, 19-23, 90, 265, 267, 288, 409, 413 KA-gm-nj:Mmj 6, 11, 13, 61, 63, 90, 204, 287-88, 411 &p-m-anx 5, 19, 21, 23, 89, 163, 288, 411-12 &p-m-anx II 6, 36-37, 61, 65, 89-90, 98, 206, 285, 412, 414-15 *jj 6, 8, 14, 20-21, 23-26, 35-39, 48, 50, 55-57, 59, 61-62, 64, 74-76, 78, 83-84, 90, 98, 104, 107-09, 112, 114-15, 208, 211, 285, 288-89, 297-98, 409-14, 416-17 _wA-n-Ra 5, 21, 89, 154 +aw and +aw:^mAj xi, 7-8, 14-15, 21, 23-24, 26, 36-37, 39-40,

Index Sites

Abusir xi, xxviii, 5, 10-11, 17, 21, 31-32, 36, 39, 41, 45, 61, 6970, 74, 80, 83, 86, 89, 109, 119, 158, 162-63, 165, 298, 409-10, 416-18, 420 Dahshur 6, 36, 42, 61, 90, 119, 220, 414 Deir el-Gebrawi ii, xi, 7, 10, 17, 19, 21-22, 24, 26, 36, 39, 48, 50, 61-63, 65, 73-74, 78, 83, 90, 95, 108, 119, 246, 250, 252, 254-55, 257, 409, 411, 413-18, 420-21 Deshasheh xi, 6, 21, 30, 36, 39, 40-41, 44-45, 48, 51, 54-59, 61, 66, 71, 74, 78, 81, 90, 119, 229, 232, 234, 409-10, 41316, 419-20, 423-26 El-Hammamiya xi, 7, 21-22, 27-28, 90, 119, 263, 265, 267, 413 El-Hawawish 7, 17-18, 36, 39, 45, 61, 63-65, 74, 79-80, 83, 90, 119, 268, 270, 272, 414, 416 El-Khokha 7, 61-63, 65, 68, 90, 119, 274, 276, 278, 415 El-Sheikh Saïd xi, 7, 36, 44-45, 48, 53-54, 61, 72, 90, 119, 243, 245, 409, 414, 416 Giza xi, 2-3, 5, 10-11, 17, 19, 21, 24, 27, 29, 30-34, 36-39, 4146, 48-49, 51-54, 56-58, 61-62, 64, 68-72, 74, 76-81, 8384, 86, 88-89, 108, 112, 114, 119-20, 123, 125, 128, 131, 133-34, 136, 138, 140, 144, 146, 148-49, 151-52, 154, 156, 285, 299, 409-21 Lisht 6, 21, 90, 119, 222 Maidum 6, 21, 24, 29-31, 90, 119, 225, 227, 409, 418-20 Meir xi, 7, 10, 36, 41-44, 48-49, 51-52, 54-56, 58, 61-62, 64-65, 70, 72, 74, 77, 79-83, 86-87, 90, 98, 108, 119, 258, 40910, 413-17, 419-20 Qubbet el-Hawa 7, 56-57, 61-62, 66, 90, 119, 280 Saqqara v, xi, xxvii-viii, 2, 4-6, 9-11, 17-18, 21-34, 36, 38-46, 48-54, 56, 57-59, 61-83, 85, 86-90, 108-10, 115, 119, 167, 170, 172, 174, 178-79, 181-82, 184, 187-88, 190, 193-94, 196, 198-201, 203-04, 206, 208, 213, 215, 217, 284, 409-21 Zawyet el-Amwat xi, 6-7, 21-23, 26, 36-37, 48, 61, 74, 90, 119, 235, 239, 242, 299

Tomb Owners

Jj-mrjj xi, 5, 15, 35-38, 40, 56-57, 60-61, 64, 74-75, 77, 83-84, 89, 98, 108-09, 112, 120, 288, 293, 299, 409-15, 417 Jbj ii, xi, 7-8, 10, 15, 19, 21, 24, 35-36, 39, 48, 50-51, 61-62, 65, 73-75, 78, 82-83, 90, 95, 104-05, 107-08, 246, 249, 28687, 292, 295, 299-300, 409, 411-15, 417 Jbjj 5, 74, 89, 123, 417 Jntj xi, xxviii, 6, 8, 15, 21, 23-24, 36, 47-48, 51, 55-57, 61, 6566, 74, 77-78, 90, 229, 287, 410, 414-16 JHjj 7, 61, 63, 90, 274, 412 Jtt 6, 8, 21, 24, 90, 225, 409 Jttj:^dw xi, 6, 36-37, 39-40, 55-57, 84, 90, 95, 114, 232, 234, 289, 409-10, 412-15 anx-m-a-@r:%sj 4-5, 14, 47-51, 56-57, 59, 61-62, 64, 73-78, 8284, 89, 98, 105, 114, 167, 285, 287-88, 290-92, 299, 301, 409-11, 414-17 WAH.t xxvii-viii Wp-m-nfrt:Wp xi, 5, 22, 36, 38-39, 48-49, 61, 63-64, 74-75, 77, 88-89, 98, 104-05, 107-08, 112, 115, 125, 286-87, 294, 409, 411-12, 414-16 Wnjs-anx 7, 61, 63, 65, 90, 276, 412, 415 Ppjj-anx:@nj-km xi, 7, 10, 14, 36-38, 47-49, 51, 55-57, 61-65, 67, 73-78, 82-85, 90, 95, 98, 104-05, 107-09, 112, 11415, 258, 285, 289, 292, 300-01 PtH-Htp II:*fj 5, 48, 50, 89, 170, 288, 415

443

‘Make it According to Plan’ 48, 50, 61, 65, 74-76, 78, 82-83, 90, 108, 255, 257, 292, 299, 409, 411-14, 417 BM994 5, 20-22, 89, 156, 411, 413 OK1 6, 21, 90, 215-16, 412 OK35 6, 61, 66, 90, 217-18, 299 OK36 6, 21, 90, 215-16 OK42 6, 90, 217-18, 299, 410 OK43 6, 74, 90, 217-18, 292, 299 OK44 6, 36, 90, 217, 219 OK45 6, 36, 90, 217-18, 299 S920 xi, 6, 82-85, 90, 213, 410, 417

Status Designations

Personnel

wab.t xxviii, 8-11, 13, 73, 109-10, 169, 200, 249, 286-87, 432, 441 Pr-aA 9-11, 73, 106, 110, 176, 261-62, 287, 432-33 pr-D.t 8-10, 106, 108, 110, 181, 187, 210, 212, 248, 254, 257, 287, 428, 431, 433 mHnk 9-10, 73, 104, 108, 181, 248, 431, 439 nswt 9-10, 285-87 Xnw 9-10, 108, 110, 248, 431

Workshop Designations

js 8, 13, 105-06, 122, 169, 254, 286, 431 wxr.t 8, 25-26, 105-06, 186, 211, 257, 262, 287, 289, 431-32

Occupational Designations

js.t 106, 122, 286, 293, 432-33 bD.tj 60, 95, 97, 105-06, 108, 122, 127, 142, 161, 168, 181, 205, 207, 245, 254, 261, 428-29, 431-33 bD.tj nbw 60, 97, 221, 254, 428 fnx 35, 96, 122, 127, 148, 187, 212, 423, 427-28, 430-31 mxA.tj 97, 177, 430 ms-nSd 10, 96, 248-49, 427-28 mDH 20, 35, 95-96, 106, 108, 122, 127, 148, 177, 186-87, 207, 210-12, 216, 221, 245, 248-49, 257, 262, 273, 287, 423, 427-28, 430-33 mDH wjA 96, 142, 430 Hmw.tj 8, 11, 20, 35, 73, 82, 95-98, 106, 130, 148, 161-62, 169, 187, 207, 212, 214, 248, 261, 423, 427-28, 430-31, 433, 441-42 spt Hmw.tj 257, 301, 431 smjtj 35, 96, 161, 428 sS 10, 73, 97 169, 200, 257, 430, 432 sSp 35, 96, 127, 148, 212, 428, 430 sS qdw.t 73, 97, 130, 186, 430, 432 sqd 20, 96, 186, 189, 428, 430 stj.t 10, 96, 187, 200, 261, 427-28 qs.tj 73, 95, 97, 106, 130, 145, 148, 161, 169, 176, 212, 248, 257, 262, 423, 427-28, 430-33 gs 55, 97, 212, 430 Tbw 55, 97, 262, 427

Ranked Occupational Designations

jmj-r 8, 11, 13, 60, 73, 82, 105-06, 142, 148, 151, 161, 168-69, 176, 181, 205, 207, 245, 248-49, 261-62, 273, 284, 287, 427-28, 430-33, 439 smsw wxr.t 25-26, 105-06, 186, 211, 242, 257, 262, 289, 431-32 sHD 11, 13, 60, 73, 105-06, 122, 161, 287, 293, 432-33

Occupational Types

boat builder 8, 20, 25, 96, 105, 115, 142, 186, 189, 257, 294, 301, 428, 430-31

carpenter 20, 35, 37, 95-96, 98, 105-06, 108, 115, 122, 127, 148, 177, 186-87, 207, 210-12, 216, 221, 245, 248-49, 257, 262, 273, 287, 423, 427-28, 430-33 craftsman 1, 4, 8-11, 13, 20, 35, 47, 73-76, 82, 88, 95-98, 10608, 110-11, 130, 148, 161-62, 169, 187, 207, 212, 214, 248, 261, 284, 286-87, 294, 296, 423, 427-28, 430-31, 433, 441-42 cutter 55, 97, 212, 430 draughtsman 73, 97, 130, 186, 261, 295, 430, 432, 442 dwarf 47, 49, 295-96, 298, 300, 353, 407 goldworker 60, 97, 221, 254, 428-29 jewellery maker 10, 47, 96, 248-49, 427-28 joiner 35, 96, 122, 127, 148, 187, 207, 212, 423, 427-28, 430-31 leatherworker 55, 97, 262, 293, 427 metalworker ii, xi, 60, 63, 95, 97, 105-06, 108, 122, 127, 142, 161, 168, 181, 205, 207, 245, 254, 261, 428-29, 431-33 overseer 11, 25-26, 37, 40, 51, 60, 62-63, 66, 73, 78, 82, 98, 105-07, 122, 127, 133, 139, 142, 148, 151, 153, 161-62, 164, 168-69, 176, 181, 186-87, 193, 195, 205, 207, 21011, 216, 231, 242, 245, 248-49, 254, 257, 261-62, 267, 273, 285, 287, 295-96, 299, 329-31, 344-45, 353-54, 358, 371-73, 385, 392, 407-08, 411, 413, 420-21, 425, 427-28, 430-33, 439 painter xxvii-viii, 9-10, 73, 77-78, 84, 97, 108, 169, 200, 257, 261, 297, 430, 432, 442 polisher 35, 96, 127, 148, 212, 428, 430 sculptor 9-10, 73, 75-77, 95, 97, 106-08, 130, 145, 148, 161, 169, 176, 212, 248, 257, 261-62, 294-96, 300, 423, 42728, 430-33, 442 staff maker 35, 96, 161, 428 stringer 10, 47, 49, 96, 104, 187, 200, 261, 427-28 weigher 97, 177, 430

Actions and Procedures

assembling 37, 55, 57-58, 231 attaching 47, 49, 52-53, 112, 116, 169, 171, 409 beating xi, 60-61, 64-65, 70-71, 93, 97, 105, 107, 112, 116, 122, 127, 130, 133, 137, 142-43, 151, 161-62, 169, 177, 181, 187, 200, 203, 207, 212, 219, 221, 231, 249, 254, 257, 261, 269, 271, 273, 277, 279, 281, 285, 294, 300, 423, 425-26, 428-29 bending 92, 424, 428 bundling xxvii-viii, 93, 261, 429 ‘Carpenter’s Sign’ 40, 141, 186, 256, 330, 344, 407, 420 carrying 20, 22, 27-28, 35, 37, 41, 60, 63, 69, 96, 114, 116, 122, 133, 148, 153, 157, 177, 186, 189, 211-12, 238, 242, 249, 254, 264, 300-01, 409-10 carving xi, xxvii-viii, 20, 25, 33, 35, 65, 73, 75-80, 93, 97, 11214, 124, 127, 133, 139, 142, 145, 148, 151, 169, 176-77, 186, 202, 210, 212, 242, 248, 257, 262, 269, 271, 273, 293-94, 409-10, 423, 425, 428 caulking 91, 224, 289, 422 chasing 47, 51, 54, 177, 410 checking 20, 24-26, 30, 32, 51, 112, 142, 178, 211, 224, 299, 409 chiselling 65, 91, 122, 142, 148, 177, 187, 210-11, 228, 242, 249, 257, 262, 301, 422-24, 427, 436-37, 439 completing xxvii, 94, 169, 426 cooling 60-61, 64, 66, 70, 98, 261, 410 crimping xi, 60-61, 65-66, 71, 112, 133, 410 cutting xxvii-viii, 20-21, 23-25, 28-29, 32, 35, 37-38, 43, 55-58, 73, 77, 91, 96-97, 112, 122, 142-43, 148, 153, 157, 164, 169, 177-78, 186-87, 207, 210-12, 219, 226, 228, 231, 242, 249, 257, 262, 281, 424 dampening xi, 35, 39, 45, 116, 142, 161, 245, 271, 423 decorating 92, 257, 427

444

Index dressing 20, 22, 27, 35, 37, 41, 105, 116, 153, 157, 193, 195, 211, 224, 238, 241-42, 249, 267, 295, 299-300 drilling xi, xxvii, 35, 38, 43, 47-48, 52, 83-84, 91-92, 96-97, 133, 142, 148, 169, 176, 178, 200, 202, 212, 214, 248, 261, 271, 409, 427 drying 37, 47, 50, 54, 89, 93, 112, 251, 254, 300, 409, 422 fashioning 92, 94, 122, 145, 148, 161, 186-87, 195, 210-12, 216, 219, 221, 226, 234, 241-42, 248, 257, 271, 273, 301, 42224, 426-27 felling xi, 20-22, 27, 94, 96, 116, 153, 157, 186, 189, 193, 238, 242, 264, 301, 428 fitting 25, 35, 38, 43, 193, 409 gilding 60-61, 66, 72, 93, 130, 133, 187, 298, 425, 429 hammering 20, 24-25, 30, 32, 75, 98, 107, 178, 211, 292, 409 heating xi, xxvii-viii, 35, 39, 45, 60, 66, 72, 91, 187, 245, 281, 285, 295, 409-10, 424, 429 hewing or rough shaping xxvii-viii, 73, 75, 79, 97, 112, 114, 186, 410 holding 35, 38, 44, 47, 50, 53, 55, 57, 59, 82, 85, 87, 112, 133, 142, 151, 169, 177, 183, 187, 193, 200, 214, 231, 234, 245, 248, 409-10 hollowing 82-83, 86, 112-14 inspecting 47, 51, 54 joining 23, 92, 169, 422 lashing 20, 24, 30, 93, 193, 226, 228, 289, 299, 409, 422 melting xi, xxvii, 60-62, 66, 68, 92, 97, 107, 112-16, 122, 127, 130, 133, 137, 151, 161, 168-69, 177, 181, 183, 187, 200, 203, 205, 207, 211-12, 219, 238, 245, 249, 254, 257, 261, 269, 271, 273, 275, 277, 279, 285, 294, 300, 424, 426 modelling 73, 76-77, 80, 94, 127, 148, 151, 161, 202, 248, 300, 375, 395, 426 painting xxvii-viii, 73, 75-78, 81-82, 84-85, 87, 93, 97, 112, 122, 130, 133, 139, 142, 148, 151, 169, 176, 186, 200, 212, 219, 231, 238, 248, 257, 261-62, 299, 301, 410, 425 polishing or sanding xi, xxvii-viii, 35-36, 38-40, 44, 47-48, 5152, 54, 60-61, 66, 71, 73, 75, 77, 80, 82-86, 92, 96-98, 105, 109, 112-14, 122, 127, 130, 133, 139, 142-43, 148, 161-62, 166, 169, 177, 187, 193, 197, 200, 202-03, 207, 212, 214, 219, 221, 231, 234, 245, 248-49, 257, 261-62, 285, 296, 299-300, 335-36, 348, 375, 389, 395, 409-10, 422-25, 427-29, 439-40 positioning 20, 24-25, 32, 112, 211, 300, 409 pouring xi, 60-61, 63-64, 69, 91, 97, 122, 127, 133, 162, 177, 200, 212, 261, 294, 298, 426-27 presenting xi, 47, 51, 54-55, 57, 59-60, 67, 72, 82, 85, 87, 92, 97, 143, 177, 231, 245, 261, 410, 426, 429 propping 20, 23, 29, 142, 195, 231 pummelling xi, 55, 57-58, 143, 231, 234 ramming 93, 211, 424 reckoning 92, 122, 142, 422 recording or noting 60, 62, 66, 68, 72, 168, 177, 181, 200, 202, 219, 428-29 rubbing 38, 66, 89, 93, 122, 296, 422 sawing xi, xxvii, 20, 22-23, 28, 35-37, 41, 91, 96, 98, 109, 116, 122, 130, 143, 148, 166, 177, 186-87, 193, 195, 210-12, 219, 234, 241, 262, 267, 271-73, 297, 422-23 shaping xxvii-viii, 23, 35, 37, 39, 45, 50, 75-77, 82-83, 86, 96, 142-43, 161, 169, 177, 212, 234, 245, 271, 294, 410 sharpening 35, 39, 44, 60, 65, 71, 94, 96, 127, 133, 148, 177, 262, 285, 297, 299, 426, 428 smoothing xxvii, 23-24, 37-38, 55-56, 58, 66, 82-84, 86, 98, 112, 114, 214, 262, 292, 294, 410 soaking or steeping 55, 58, 262, 301, 410 splitting 35, 37, 41, 112, 234, 257, 262, 271, 409 squaring 20, 24, 30, 142, 157, 164, 249, 257 stacking 35, 37, 41, 241, 300, 409

stitching 55, 57, 59, 112, 169 stoking 60, 63, 66, 69, 72, 169, 187, 200, 281 stretching xi, xxvii-viii, 55-59, 94, 97, 112-14, 122, 143, 169, 212, 231, 234, 281, 290, 298, 410, 426 stringing 47-50, 52-53, 92, 94, 96, 107, 112-14, 116, 127, 133, 139, 151, 169, 171, 173, 177, 187, 193, 200, 203, 238, 245, 248, 261, 423-25, 427-29 tanning 55-56, 122, 410 trimming xi, xxvii-viii, 20-21, 23-26, 28-29, 31, 33-39, 41-42, 45-46, 73, 76-77, 80, 96-97, 112-14, 116, 122, 127, 130, 133, 135, 139, 142-43, 145, 148, 153, 155, 161, 164, 17678, 186-87, 193, 195, 203, 207, 210-12, 216, 219, 221, 226, 228, 231, 234, 241-42, 248, 257, 262, 267, 271, 273, 296, 298-99, 409 trussing 20, 25-26, 33, 142, 193, 242, 289, 296 twisting 47, 49, 52, 116, 127, 261, 301, 409, 429 washing xi, 47, 50, 53, 91, 116, 187, 251, 254, 300, 423, 429 weighing xi, 60, 62, 65-68, 71-72, 91, 97, 107, 122, 133, 151, 168, 177, 181, 200, 202, 211, 219, 231, 248, 254, 285, 291, 296, 426, 428

Raw Materials

batten xxvii-viii, 20, 23, 28-29, 35, 37-39, 41, 91-92, 94-96, 114, 116, 133, 142, 153, 186, 195, 203, 210, 212, 242, 262, 267, 271, 320, 339-42, 362, 393, 400-02, 413-14, 418 beads 47-50, 52, 91, 93, 96, 112-14, 116, 284, 290, 346, 350-52, 393, 403, 414 - carnelian 47, 103, 248-49, 427-28 - cylinder-shaped 48, 346, 393 - faience 47, 290 - flower-shaped 346, 393, 414 clay 63 drop beads or pendants 47, 49-52, 112, 116, 169, 290, 297, 346, 350-52, 393, 403, 409, 414 - elliptical 346, 393 - leaf-shaped 346, 393 emery 48, 293 hide or skin xxvii-viii, 55-56, 58, 91, 98, 100, 114, 143, 234, 262, 290, 301, 355, 393, 410, 415, 435 ivory 292, 295 leather xi, xxvii-viii, 9, 23, 51, 55-59, 66, 84, 93-95, 97, 103, 112-14, 116, 122, 143, 169, 212, 231, 234, 262, 281, 294, 355-56, 393-94, 396, 410, 415, 426, 435 log xi, 20, 22, 27-28, 35-37, 41, 91-92, 96, 98, 105, 109, 116, 122, 130, 143, 148, 153, 157, 166, 177, 186-87, 189, 193, 195, 211-12, 219, 224, 234, 238, 241-42, 249, 254, 262, 264, 267, 271, 273, 295-97, 299-301, 320-21, 393-94, 409, 413 malachite xi, 47, 102, 261, 435 metal 8-10, 49, 51, 60, 64, 83, 91, 95, 102, 162, 283, 285, 29192, 294-98, 300-01, 359, 367, 403, 410, 415-16, 440 - cast 60, 64-65, 95, 359, 393, 399 - copper 21, 60, 291 - crude xi, xxvii, 60, 62, 67-68, 91-92, 95, 97, 107, 11215, 122, 127, 130, 133, 137, 151, 161, 168-69, 177, 181, 183, 187, 200, 202-03, 205, 207, 211-12, 219, 238, 245, 248-49, 254, 257, 261, 269, 271, 273, 275, 277, 279, 285, 291, 359 - foil or leaf 50-51, 66, 291, 359, 393 - gold 11, 47, 49, 51, 60, 95, 103, 162, 169, 187, 290-91, 298, 429, 435 - ingot 62, 91-92, 97, 168, 291, 297-98, 359, 362, 393, 415 - precious metal 60, 66, 72, 91, 185, 187, 277, 281, 285, 291, 295, 298, 410

445

‘Make it According to Plan’

- sheet xi, 60, 64-65, 70, 75, 94-95, 97-98, 102-03, 107, 112, 116, 122, 127, 130, 137, 143, 161-62, 169, 177, 181, 200, 203, 207, 212, 219, 221, 248-49, 257, 261, 269, 271, 273, 281, 285, 294, 300, 437, 439 - bjA xi, 60, 88, 95, 98, 102, 107, 109, 122, 127, 151, 177, 202, 245, 248-49, 300, 426, 428, 438, 441-42 - nbw 11, 60, 95, 103, 162, 169, 187, 284, 287, 290, 429, 435 - Dam 47, 60, 95, 99, 103, 109, 177, 181, 200, 221, 249, 257, 261, 426-28, 434-35 oil 56, 290, 293 plank or board xi, xxvii, 20, 22-25, 28, 30, 35-37, 41, 91-93, 9596, 98, 103-04, 107, 112, 116, 122, 133, 143, 145, 148, 166, 177-78, 186-87, 193, 195, 210-12, 219, 226, 228, 231, 234, 241-42, 257, 262, 264, 267, 271, 273, 289, 293, 298, 300, 320, 326-27, 332, 393, 400, 409, 413, 418, 424, 427, 434 quartz-sand 48, 83 sand 84, 98, 127, 293, 437 stone xi, 7-9, 47, 63-64, 74, 76, 82, 99, 286, 289, 291, 293-95, 301, 338, 374, 387, 393-94, 401, 413-14, 442 - agate 66 - alabaster 82, 387, 394 - diorite 101, 148, 387, 393, 427 - granite 66, 75, 77, 101, 122, 285, 294, 435 - limestone 66, 285 - porphry 387, 393 - sandstone xi, 38, 83-84, 112 - simulated 74, 338, 374, 393, 401, 414 threading or fastening string 47-50, 52-53, 93, 96, 102-03, 11214, 127, 151, 173, 187, 193, 200, 248, 261, 295, 298, 301, 349-51, 393, 402-03, 409, 414 tree xi, 20-22, 27, 94, 96, 103, 153, 157, 186, 189, 193, 224, 238, 242, 264, 299, 301, 319, 393, 413, 428 wood or timber 8-9, 21-24, 35, 37-39, 63-64, 74-78, 95, 98, 10304, 109, 127, 234, 254, 262, 271, 285-86, 293-94, 297, 300, 338-39, 341, 374, 384, 393, 401-02, 424, 434, 437, 440, 442 - acacia 21, 36, 299 - cedar 21, 35-36, 288, 311 - coniferous 75 - pine 21, 35, 288 - sycamore fig 36 - tamarisk 36 - wan 35, 95, 101, 122, 257, 434-35 - hbnjj 35, 75, 77, 95, 99-100, 212, 257, 428, 435 - ssnDm 35, 95, 103, 212, 257, 424, 427 - Spnn 74, 101, 169, 435 - ¥mA 35, 95, 103, 148, 435 - ksb.t 75, 101, 169, 435

Tools

adze xxviii, 23-26, 35, 37-40, 44, 76, 94-97, 102, 113-14, 127, 133, 148, 177, 195, 211, 245, 262, 271, 294-97, 299-301, 324-25, 329, 334, 336, 344, 375, 395, 407, 409, 413, 41820, 423, 426, 428 axe xi, 21-22, 24, 34, 37, 75, 96, 102, 211, 271, 273, 288, 29697, 300-01, 325, 335, 375, 395, 409-10, 419, 423 borer drill 82-84, 97, 102, 113-14, 116, 212, 293, 298, 387-88, 396, 417, 423 bow drill 38, 96, 290, 335, 396, 414 chisel xxviii, 23-24, 26, 38, 51, 73-77, 96-97, 102, 113, 212, 231, 293, 297, 324, 329, 335, 348, 374-75, 394-95, 407, 418 hammer stone 24, 64-65, 75, 97, 294, 325, 367-68, 395, 416, 419 knife 65, 370, 394

leather knife 56-57, 97, 294, 356, 394 leather piercer 296, 356, 394, 415 mallet xxviii, 23-26, 38, 57, 73, 75-76, 96-97, 113, 249, 294, 299-300, 324, 329, 335, 356, 374, 394, 407, 413, 418 maul or rammer xxvii-viii, 24-25, 75, 97, 289, 297, 326, 375, 395, 410, 416 modelling stone 375, 395 mould 62-64, 95, 97, 114, 365-66, 398, 410, 416 percussion drill 48, 96, 348, 396, 414 polishing stone xxvii-viii, 39, 51, 56, 66, 77, 96-97, 113, 212, 248, 297-300, 335-36, 348, 356, 375, 389, 395, 419, 42729 pounder 25, 376, 395 reamer 38 rubber 77, 83-84, 292, 294 saw 102, 212, 322, 334, 394, 418 - pull saw 22, 96, 98, 288-89, 300, 321, 332-33, 423 - hand saw 23, 37, 299, 329, 407 shaping stone 83, 389 spatula 97, 376, 399, 416

Equipment

abrasive xi, 35, 38, 44, 48, 77, 83-84, 96, 98, 112, 114, 116, 122, 148, 292-93, 295, 336, 395, 409, 413 agent 56, 98, 114, 290, 356, 395, 415 anvil 49, 56-57, 64-66, 83-84, 96-97, 162, 294, 296, 299, 336, 348, 355-56, 366-67, 388-89, 398-99, 403, 416, 419 baton 26, 323, 329, 396, 407 blowpipe 60, 62-63, 66, 69, 97, 113, 151, 161, 219, 285, 291, 294, 298-99, 301, 362-63, 397-98, 410, 416 bowl 97, 301, 349, 356, 366, 377, 389, 399, 416 brazier 365, 398, 416 carry sling 22, 320-21, 394, 413 cloth 189, 321, 331, 373, 386, 408, 413, 421 container xxviii, 55, 77-78, 96, 261, 321, 348-49, 357, 377, 404 crucible 60, 62-64, 66, 72, 97-98, 102-03, 108, 116, 122, 151, 181, 187, 281, 285, 294, 296-98, 363-65, 398, 410, 41516, 437, 440 cudgel 323, 394, 413 footrest 96, 347, 399-400, 414 furnace 60, 62-64, 66, 69, 97, 114, 169, 200, 291, 298, 363-65, 372, 398, 407-08, 415-16 hassock 326, 377, 399, 419 holding pads 63, 97, 366, 398, 416 leather laps 51, 66, 84 lever 25, 39-40, 337, 396 measuring rod 24-26, 40, 295-96, 323, 329, 336, 344, 366, 371, 395, 407, 409, 420 palette 77-78, 97, 186, 293, 295, 298, 348, 376-77, 399, 416 platform 39, 77, 97, 294, 378, 399 plumb bob 25-26, 40, 295, 299, 323, 329, 336, 344, 396, 407, 413, 420 prop 23, 155, 267, 294, 300-01, 320, 328-29, 336, 393, 399, 400-01, 413-14, 419 reed brush xxvii-viii, 77, 97, 296, 298, 300-01, 376, 389, 399 rod or stick 25, 63-64, 66, 324, 366, 371, 395, 407 rope or lashings 22-24, 37, 62, 65, 83-84, 96, 148, 166, 267, 289, 295-96, 298-99, 321-23, 333-34, 336, 338, 360, 367, 388, 394-97, 399, 409, 413-16, 418-19 sack or bag xxvii-viii, 56, 189, 321, 356, 406, 408, 413 sawing post xxvii-viii, 22-23, 37, 96, 148, 166, 267, 294, 300, 321-22, 332-34, 394, 409, 413, 418 scales 62, 97, 102, 295, 298, 359-61, 397, 415 seat 49, 326, 336, 347, 368, 377-78, 399, 419 shelter 8, 349, 368, 400, 416, 419

446

Index stool 38, 49, 76, 78, 97, 298, 336, 368, 377-78, 399, 405, 417, 419 storage box 38, 51, 62, 97, 177, 298, 347-48, 353, 362, 397, 400, 407, 415 support 336-37, 397, 399, 414 support post xxvii, 23, 37, 39-40, 195, 328, 337-38, 364, 396-98, 400, 414-15 trestle stand 55-56, 97, 113, 355, 396, 415 truss 23, 25-26, 116, 195, 297, 322, 396 vice xxvii-viii, 35, 39-40, 45, 96, 98, 142-43, 161, 177, 212, 234, 245, 271, 299, 337-38, 396-97, 414 weight 62, 97, 102, 108, 177, 202, 248, 362, 397, 415, 440 whetstone 39, 96, 336, 395 work table 49-51, 96, 113, 116, 297, 346-47, 399-400

Boats

Objects Worked or Displayed

bulwark 20, 23-25, 32-33, 91-92, 98, 104, 112, 114, 142, 164, 195, 210-11, 289, 296, 301, 327, 400, 409, 413, 436 hedgehog head 25, 289, 326, 400 hull xi, 20-21, 23-26, 29-33, 91-92, 94, 96, 98, 105, 112-14, 116, 135, 142, 153, 155, 157, 164, 178, 186, 193, 195, 210-11, 216, 224, 226, 228, 231, 242, 249, 257, 289, 294, 296-99, 322, 326-29, 396, 400-01, 409, 413 sx.t-plank 104, 186, 427 SAb.t-boat 21, 102, 210, 288, 426, 428

Clothing and Footwear

apron flap 93, 104, 187, 297, 371, 403, 416, 425 cloak or robe 55, 57, 231, 234, 357, 403, 415 girdle knot 93, 101, 187, 371, 403, 416, 425 sandal xi, xxvii-viii, 55-57, 91, 94-95, 101, 116, 122, 143, 169, 231, 234, 262, 281, 356-57, 403, 415, 424, 426, 434

Furniture and Burial Accoutrements

backrest xxviii, 39, 92, 101, 187, 203, 298, 340-41, 401-02, 414, 424 bed frame xi, xxvii-viii, 35, 38-40, 43, 91-93, 95, 99, 116, 122, 143, 148, 177, 187, 193, 203, 207, 212, 234, 248, 257, 262, 285, 293, 298-99, 339-40, 401, 409, 414 bed leg 37, 298, 414 box or chest xi, 35, 38, 43, 50-51, 91-93, 95, 99-101, 122, 127, 130, 143, 148, 169, 171, 173, 177, 183, 186-87, 197, 200, 202, 212, 219, 221, 231, 234, 241, 248, 254, 257, 290, 293, 295, 298-300, 341, 400, 402, 409, 414, 419, 424-25, 427-29, 434 - Dsr(w)-chest xi, 161-62, 187, 203, 371, 400, 402 chair 299, 340, 401, 414 - carrying chair xi, 92, 100, 116, 130, 177, 187, 203, 248, 257, 297, 313, 340, 401, 414, 427, 435 - sedan chair xxvii-viii, 117, 133, 143, 203, 207, 273, 294, 298, 340, 371, 401, 414, 419 column xi, 46, 193, 342, 402, 414 - Dd-column xxvii-viii, 130, 139, 187, 342, 402 display stand 67, 85, 177, 248, 371, 392, 407, 420 display table xi, 51, 67, 85, 116, 127, 143, 162, 169, 173, 177, 186, 202-03, 211, 234, 238, 248-49, 257, 261, 271, 273, 298, 342, 353, 371, 377, 392, 402, 407, 415-16, 420 divan xxvii-viii, 143, 166, 340-41, 401-02 door 35, 38, 43, 99, 105, 109, 424-25, 437 - bolt 39, 92, 101, 116, 122, 293, 339, 401, 414, 427 - leaf 38-39, 43, 91-93, 95, 98, 114, 116-17, 122, 127, 130, 143, 177, 234, 293, 338-39, 401, 414 - lock xi, 39-40, 116, 122, 193, 293, 339, 401, 414

- panel 38, 95, 114, 116-17, 212, 262, 339, 401 false door 130, 294, 339, 414 frame 143, 171, 173, 234, 298, 341-42, 348, 353, 400, 402 headrest xi, xxvii-viii, 143, 187, 207, 212, 234, 273, 295, 299, 343, 404 lion sculpture 73, 76, 79, 97, 100, 112-13, 292, 384, 405, 417 sarcophagus 35, 38, 43, 93, 98, 101, 117, 122, 127, 130, 142, 193, 245, 294, 338, 401, 409, 414 sceptre 92-93, 99, 101, 139, 177, 187, 221, 248, 257, 295, 343, 371, 402, 420, 427, 429, 434 shrine xxvii-viii, 35, 38, 73, 75, 77-78, 81, 93, 99, 101, 107, 11617, 122, 133, 142, 161, 176-77, 187, 212, 219, 238, 248, 257, 261, 292, 294, 299-300, 338, 384, 401, 414, 417, 419, 425, 434-35 - Hn-box xxvii-viii, 73, 78, 81, 97, 151, 186, 231, 385, 401 staff xi, xxvii-viii, 35, 39-40, 45, 91-93, 98-100, 108-09, 116, 142-43, 161, 176-78, 187, 212, 234, 245, 271, 285, 294, 343, 371, 402, 409, 423-25, 428-29, 436, 439 statue xxvii-viii, 7, 73-81, 91-95, 97, 100-01, 109, 112-14, 116, 122, 124, 127, 130, 133, 139, 142, 145, 148, 151, 161, 169, 176, 186, 200, 202, 212, 219, 231, 248, 257, 261-62, 269, 271, 273, 286, 292, 295-98, 300, 378-84, 404-05, 410, 416-17, 425-28, 434-35, 442 table 97, 130, 200, 207, 219, 293, 298

Jewellery

belt 95, 261, 352, 403, 415 bracelet 95, 261, 352, 403, 415 collar xi, 7, 47, 49-51, 53-54, 73, 77, 91-95, 99-100, 104-05, 107, 109, 112, 116, 127, 133, 139, 143, 151, 169, 171, 173, 177, 183, 187, 193, 200, 203, 211, 231, 238, 245, 248, 251, 254, 257, 261, 290, 295, 297-98, 300, 349-51, 373, 402-03, 408-09, 414, 423-26, 428-29, 434, 437 - wsx 47, 49, 95, 99, 254, 261, 349, 402, 426-27, 429 - nbw 47, 49, 290 - Snw 47, 49, 95, 290, 349, 402 choker 47, 107, 127, 133, 143, 151, 171, 177, 211, 245, 351-52, 403, 417 counterpoise xi, 47-51, 92, 94-95, 112, 116, 133, 169, 171, 173, 177, 200, 203, 211, 231, 248-49, 257, 261, 297-98, 351, 403, 409-10, 414 diadem or fillet 47, 50-51, 54, 91, 99, 177, 187, 245, 352, 403, 410, 414, 429 pectoral xi, 47, 51, 116, 133, 177, 238, 248-249, 352, 403, 410, 414-15

Vessels

basin 65-67, 91, 93, 122, 133, 143, 151, 161, 177, 187, 203, 219, 221, 231, 245, 254, 269, 271, 273, 295, 368, 405-06, 416 bowl xi, xxvii, 83-85, 99, 109, 122, 142-43, 148, 161-62, 176, 186, 200, 202-03, 214, 221, 245, 248, 254, 298, 369, 391, 406, 416-17, 420, 427, 434 cylinder xxvii, 83-85, 122, 133, 161-62, 169, 175-76, 202-03, 212, 214, 261-62, 271, 369, 389, 391, 406, 420 ewer xi, 65, 112, 122, 133, 161, 177, 203, 219, 245, 254, 269, 273, 368-69, 405-06 flask 161, 177, 254, 370, 406 jar xi, xxvii, 60, 66-67, 73, 83-85, 91, 93, 95, 99-100, 107, 112, 122, 133, 142-43, 148, 161-62, 169, 176-77, 181, 200, 202-03, 212, 214, 231, 234, 245, 248, 254, 257, 261, 273, 369-70, 390-91, 406, 416-17, 420, 423, 427, 434 jug xi, 83, 91, 100, 107, 169, 176, 178, 202, 248, 261-62, 298, 389-91, 406, 417, 442

447

‘Make it According to Plan’

Other

bag or sack 55, 57, 169, 231, 234, 334, 357, 403-04, 410, 415 blade 60, 65, 70, 94, 97, 116, 133, 143, 177, 187, 231, 245, 254, 271, 277, 279, 285, 297, 370, 394, 416 bow 92, 241, 343, 402, 414 container 55, 57, 96, 116, 169, 321, 357, 404 cushion 57, 116, 169, 358, 399 fan 231, 273, 343, 404, 414 mattress 143, 339 mirror 161, 234, 245, 370, 404, 416 mirror case 234, 404, 415 oar 20, 25-26, 34, 92, 94, 102, 127, 177, 219, 241, 257, 289, 295, 299, 329, 343, 402, 414, 419, 426 scribal equipment 122, 273, 342, 404, 414 snt-board 271, 273, 342, 404 spear 92, 241, 343, 402 tray 161, 371, 406, 416 trussing pole 20, 26, 34, 94, 186, 210, 297, 322, 396

Clothing

exposed genitals 117, 331, 345, 373, 392, 408, 421 kilt 21, 26, 55, 62, 85, 296, 330-31, 345, 354, 358, 372-73, 386, 392, 408, 413, 420-21 loincloth 21, 55, 331, 345, 358, 408, 415, 421 naked 21, 331, 345, 373, 408, 421

Accessories

amulet 26, 331, 408, 413 collar 373, 408, 416 cloth xxvii-viii, 78, 331, 373, 386, 408, 413, 421

Hair and Wigs

beard 117, 373, 408, 416 receding hairline 56, 75, 331, 345, 354, 358, 373, 386, 392, 408, 421 wig 114, 331, 354, 373, 386, 408, 421

448

449

450

BAR IN TERNATIONAL SE RIE S 3083

‘To my knowledge, there is no similar up-to-date publication of this kind. The text, accompanied with many figures and voluminous catalogue attest to a very careful and meticulous analysis of the material. The most important value of the publication lies in the wealth of material put together.’ Professor Miroslav Bárta, Czech Institute of Egyptology ‘The book’s conclusions are valuable not only because of what they tell us about workshop scenes in the Old Kingdom, but because they can raise useful questions that can be asked by scholars studying other scene types or chapels of different periods. In short, this will be a very useful book indeed.’ Dr Ann Macy Roth, New York University

The tomb paintings and reliefs of Ancient Egypt constitute a major source of evidence for the historical and cultural reconstruction of this fascinating civilisation, but the compilation and detailed analysis of both the iconographic and textual data contained in such scenes in one volume is seldom undertaken. This book focuses on one of the main themes illustrated – craftsmen at work – and uses a systematic micro-analytical approach to determine the key conventions of their representation. Industries such as boat building, carpentry, jewellery making, leatherwork, metalwork, sculpture and stone vessel making are examined. Particular emphasis is given to the postures and actions of the figures, their methods, tools and interactions, as well as their clothing, physical features and objects on which they work. A catalogue of scenes, some previously undocumented, is included, together with approximately 2,000 plans, line drawings and original isometric diagrams, text and translation summaries, and appendices. Michelle Hampson is an Australian educator, researcher and Egyptologist. She holds a BA Dip Ed in History, and an MA and PhD in Egyptology from Macquarie University. She has co-authored three Ancient History textbooks, published in academic journals and books, and is founder of the Henu Box Visual Dictionary Project currently in development.

Printed in England