THE TEMPLE OF KING SETHOS IAT ABYDOS

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THE TEMPLE OF KINGSETHOS I AT ABYDOS

COPIED BY AMICE M. CALVERLEY, WITH

THE ASSISTANCE OF MYRTLE F. BROOME

AND EDITED BY ALAN H. GARDINER

VOLUME

THE CHAPELS OF OSIRIS, ISIS AND HORUS

JOINT PUBLICATION OF THE EGYPT EXPLORATION SOCIETY (ARCHAEOLOGICAL SURVEY)

AND OF THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICAGO

LONDON: THE EGYPT EXPLORATION SOCIETY

CHICAGO: THE UNIVERSITY OF CHICAGO PRESS

MCMXXXIII

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PRINTED AND BOUND IN GREAT BRITAIN

BY THE CHISWICK PRESS, LONDON, N.I I

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CONTENTS

PAGE

INTRODUCTION . " "* " "* " vii

§ I. HISTORY OF THE PROJECT. . . .

§ 2. METHODS EMPLOYED . . .

§ 3. CONTENTS OF THE PRESENT VOLUME . .Viii

§ 4. NOTES ON THE TEXTS ix

LIST OF PLATES .xi

PLATES .xiii

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INTRODUCTION

§ 1. HISTORY OF THE PROJECT

In the season of I9 25-6 the Egypt Exploration Society, afterexcavating for some years exclusively at El-Amarna, decided to transferits activities to Abydos, where the uncovering of the Osireion, interrupted

by the war, urgently demanded completion. For this task the Committeeengaged the services of Mr. Herbert Felton, who to many years' experi-ence as a practical engineer added the further qualification of being aphotographer of high standing. The presence of Mr. Felton at Abydosafforded a welcome opportunity for recording the admirable sculpturesof the temple of Sethos I, and his negatives provided the nucleus of whatwas at that time intended to become merely a photographic survey.Between this first season and the next, however, thoughts of a completepublication crystallized, and Mr. R. O. Faulkner was sent out to begina systematic collation of the inscriptions. The store of negatives waslargely increased in the winter of i926-7, and Mr. Felton installed anelectric plant which enabled him to photograph at night, thus escapingthe deep shadows cast upon the walls and columns in the daytime.

It soon became apparent that a purely photographic publication ofthe temple was not practicable, and a modified plan was now conceived,whereby line-plates of a schematic character should be prepared at homeon the basis of the photographs. It was thought that by this means aninexpensive, but fairly adequate, edition of all the scenes and inscriptionscould be obtained, and Dr. A. M. Blackman, who had contributedseveral valuable memoirs to our Society's Archaeological Survey, kindlypromised his assistance and, with the help of Miss Calverley, startedupon the preparation of experimental Plates. In January I928 MissCalverley, who had been working under Dr. Blackman's direction sincethe previous August, was sent to Abydos to collate the drawings on thespot, as well as to supplement the photographs made by Mr. Felton.

Meanwhile doubts had arisen as to the adequacy of the plan thathad been adopted. The high standard of draughtsmanship attained byMiss Galverley in rendering the sculptures suggested that the addition ofthe hieroglyphic inscriptions in purely schematic form would give a veryincongruous effect, and little by little the project evolved into the farmore ambitious scheme of which the first-fruits are offered in the presentvolume. The development of a technique of reproduction such as is now

being used must obviously be a long affair, and progress was hamperedby the doubts felt by all concerned as to whether our resources wouldpermit us to carry through a task of this magnitude. By now, however,we were definitely committed to the work in one form or another, andit had been decided that the volumes should be incorporated in theArchaeological Survey, of which Professor Griffith was the founder andgeneral Editor. As special editor for the Abydos publication Dr. AlanGardiner had long since been selected. In the winter of i928-9 MissCalverley returned to Abydos, and was continuing the work, both drawingand photography, single-handed, when the visit of Mr. John D.Rockefeller, Junior, in the company of Professor Breasted, led to thatmunificent grant which has completely transformed our enterprise.

Deeply impressed by the beauty of the painted reliefs, as well as bythe excellence of Miss Calverley's results, Mr. Rockefeller evinced thedesire to see included in our volumes as many coloured Plates as possible,and made it evident that, under stated conditions, he would be ready tofinance the undertaking. Professor Breasted carried on the negotiationswith Dr. Gardiner, who chanced to be in Egypt at the time, and beforethe latter returned to England he was able to announce to theCommittee that funds would be forthcoming to publish the entire templein the most magnificent form. It was decided that the work should be ajoint-undertaking of the Egypt Exploration Society and the OrientalInstitute of the University of Chicago, and Miss Calverley remained, ashitherto, in direction of the work. We were now fortunate enough tosecure the additional services of Miss Broome, whose artistic skill is notinferior even to that of Miss Calverley, and henceforth these two ladieshave borne practically the whole brunt of the work, though valuableassistance has been afforded by others, by Mr. H.. S. Calverley, Mr.

C. M. Beazley, and Mr. Charles Little in 1928-9, by Miss Linda Holey, atalented photographer from Vienna, in 1930-3 i, and by Mr. Little againin 1932-3, when Mr. R. S. Layers, the architect assisting in the workof the Egypt Exploration Society at El-Amarna, paid the camp a month'svisit to make the plan and sections published in the present volume.

It is unnecessary to dwell at length upon the difficulties that havebeen encountered. On various occasions the work has been retarded byillness, the most serious occurrence of the kind being the severe attackof typhoid from which Mr. Little has just recovered, and which as nearlyas possible cost him his life. Our staff has been small at all times, butoutside help of one kind and another has been liberally given. Dr. A.de Buck was granted leave of absence by the Oriental Institute to visitAbydos in two successive seasons for the purpose of collating theinscriptions, on the first occasion in company with Dr. Gardiner.Professor Junker has also assisted in the same task. Mr. A. Lucasinvestigated methods of cleaning the coloured reliefs, his advice provingof great value. M. Baraize, of the Service des Antiquite's, who for aconsiderable part of the time covered by our work at Abydos was engagedin restoring the temple, contributed greatly to the amenity of ourworkers' task by kindly co-operation and neighbourly hospitality.M. Lacau, Director of the Service, has shewn deep interest throughout,and has granted all facilities that have been required of him. For thesafety of the camp our thanks are due to the Egyptian Government, inparticular to Mr. R. M. Graves of the Public Security Department andto the Mttdir of Girga Province. Dr. Nelson, Director of the work of theChicago Oriental Institute at Thebes, has kindly placed the resources ofhis photographic laboratory at Miss Calverley's disposal, and the photo-graphic enlargements employed for the published plates were made there.

Reviewing the work as a whole, the Editor in charge of thisIntroduction feels that four names stand forth pre-eminent. WithoutMr. John D. Rockefeller Junior's enlightened generosity and continuedencouragement, the enterprise could never have been carried out on sosumptuous a plan. Again, Professor Breasted's mediation and surveillancefrom the business side have been indispensable. Of Miss Calverley it mustbe said that her skill in draughtsmanship and photography, resourcefulnessin inventing new methods, and tireless energy in running the camp and

indeed the whole undertaking, have been the life and soul of the work,even making the Editor's control very nearly superfluous. No higherpraise can be given to Miss Broome than to state that as an artist she hasproved a most able second to Miss Calverley. In the last place theacknowledgements of the Egypt Exploration Society and of the OrientalInstitute of the University of Chicago are due to the Chiswick Press,which has been responsible for the material production of this volumefrom start to finish, Plates, letterpress, and binding.

§ 2. METHODS EMPLOYED

The methods used in the production of the Plates are described byMiss Calverley as follows :-" The photographs prepared by Mr. Feltonduring the first two seasons' work have naturally influenced the techniquefinally adopted by ourselves. In those early negatives the problem oflighting under difficult conditions and in constricted spaces had not beendealt with adequately, and much of the delicate detail of the sculptureswas lost. It was mainly for this reason that pencil drawings were decidedupon. The photographs were first enlarged to scale, and were thentraced by hand over a specially constructed tracing-board, whichconsisted of a box furnished with a ground-glass top and containingpowerful electric lamps. The use of such a tracing-board has a doubleadvantage over the bleaching-out method often employed, inasmuch asthe enlargements could be preserved for future reference, and also finedrawing paper could be used. The tracings were subsequently taken toEgypt, where the drawing was finished in front of the originals. Finallyexperts were called in to check the inscriptions. A convention had tobe adopted for dealing with places where the surface had been damagedby natural action or by human destructiveness. All definite lacunain

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the inscriptions are outlined, and indistinct areas are hatched. As regardsthe sculptures, a different plan has been followed. Here broken outlinesare merely discontinued so that the flow of the drawing is interrupted aslittle as possible. No reconstruction has been attempted.

"4In order to exhibit the character and fine quality of the reliefs theline-drawings have been supplemented by photographs and colouredplates. As basis for the latter yellow sensitive negatives were employed.These rendered in soft tones all colour values except red, which was heldback by retouching the negative with a red solution. Enlargements werethen prepared, a monochrome collotype print being made on hot-pressedWhatman paper. The ink used was of a pale golden-brown tone whichworked in with the various colours. In this way much time was saved, nopreparatory drawings being necessary and accuracy of line being assured.Other advantages were that the unpleasant quality of painted photographswas avoided, and we did not have the oily muddy-toned gelatine surfaceof photographic prints to contend-with. This method enabled us toreproduce the brilliancy of colour and soft patina of the originals.

"4For the false doors and the thicknesses of the entrances line-drawings appeared insufficient, as they failed to give an adequate ideaof the constructional peculiarities and the fine details of the hieroglyphsin low relief. To meet such requirements a process of drawing onphotographs was evolved, whereby the advantages of both techniqueswere retained. It is proposed to employ this method much moreextensively in the third and subsequent volumes." Where curved surfaces had to be dealt with, as in ceilings andcolumns, rubbings were made on fine tissue paper with soft red carbons.The rubbings were then photographically reduced and drawings madefrom them.

C'"It will be seen from the above account that every possible use wasmade of mechanical aids by which accuracy could be automaticallyguaranteed. It remains to mention the benefit resulting from thefacilities granted to us for cleaning the sculptures. In justice to thedifferent workers, the plates prepared by them have been marked withtheir initials in the list following this Introduction."

§ 3. CONTENTS OF THE PRESENT VOLUME

For reasons the cogency of which no one will dispute, it was decidedto start this work with the seven chapels which jointly constitute theinnermost sanctuary-the very heart of the temple. Of these Mariettehad published the scenes and inscriptions only in cursory fashion, andthough many have been reproduced elsewhere and though the wholeritual which they commemorate has been treated in detail in a volumeby M. Alexandre Moret,I an exhaustive and systematic publicationseemed demanded alike by the importance of the subject-matter and bythe beauty of the execution. Hesitation was at first felt as to whether themore purely decorative parts of the chapels, e.g. the false doors and theceilings, should be included or deferred for a later volume dealing withconstructional details. As the work proceeded, however, it becameevident that the wiser course would be to treat these subsidiary partssimultaneously with the main scenes. Not only are the decorative motifsemployed and the allusions in the inscriptions significantly designed toglorify the particular deity to whom each chapel is dedicated, but alsothe simultaneous mode of treatment clearly gives to each volume atopographical completeness which would otherwise be absent. It cannotbe denied that in order to group together all the inscriptions and sceneswhich belong together in idea we should have had to include much thatbelongs to the two hypostyle halls leading up to the chapels. For example,the inscriptions on the outer faces of the doors to the chapels refer totheir several divinities, and the like holds good of the whole approachthrough the above mentioned halls.

To have brought together in our Plates all those representationsand texts which belong to the gods of the seven chapels would haveresulted in the greater disadvantage of separating subjects which aretopographically united. Accordingly, the procedure which we haveadopted is obviously the most sensible, since it combines the maximumof' material, with the maximum of topographical, unity.

The world of Egyptian art and religion being so remote from our own,1 Lvt rita!l dia t#Itt diuixjetruikr is l~~t in .Isxaln dx meik€ Cseiwt, Paris, 1 902.

it would be folly to pretend that the Plates could explain themselveswithout commentary. Nevertheless, the unhandiness of an explanatorytext in the present format and bound up together with the Plates gaveadequate ground for confining this Introduction to generalities. Whethera text volume will be added later as crown to the work cannot yet beforeseen. For the moment the visible record is all that matters.

The admirable plan and sectional drawings by Mr. R. S. Layers(Pls. I A, i B) are likewise left to explain themselves. In order toorientate the student with regard to the contents of each volume theirIntroductions will contain an excerpt of the plan showing the positionin the Plates of the different scenes and legends. In the present instal-

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O~S~IS ISIS 1-IORUS

ment only the three easternmost of the seven chapels could be treated,those of Osiris, Isis and Horus. The chapels of Amen-Rer, Rer-Harakhti,Ptah, and King Sethos will follow shortly as Volume II.

Although, as explained above, the temptation to adjoin a completecommentary has been deliberately abjured, a brief statement with regardto the subject-matter of the scenes may be given here as a temporarymakeshift. The gods of the seven chapels are the divinities to whom thetemple is dedicated, and the chapel of each is his own particular innermostsanctuary where the cult-image was kept and tended. Here, too, thesacred bark was housed. The seven deities consist of the Osirian triad,the great gods of Thebes, Heliopolis and Memphis respectively, and lastlyKing Sethos I himself, who is conceived of as already dead anddependent upon the pious attentions of a son and successor described as'Iwn-mwt-f, "the Pillar-of-his-Mother." The scenes and legends in allthe chapels except the last are closely parallel with one another, variationsoccurring only in so far as they are demanded by the nature of the deity,by the exigencies of the space, and (to a very limited extent) by the capriceof the designing artist. The theme is the daily ritual performed in theseself-same chapels, consisting of a number of episodes recording theapproach to the shrine, the purification and fumigation of the deity, andlastly his adornment with clean apparel and the appropriate insignia. Thatthe actual rites were performed by the local high-priest, or by one of thepriests of Abydos, and were accompanied by recitations on the part of alector priest (I J), is not open to doubt. But by a very natural fictionthe place of these professional officiants is taken in the sculptures by repre-sentation of the Pharaoh on whose behalf they acted. The underlyingthought of the spells is to treat the divinity, whatever his actual name andcharacteristics, as Osiris, and to regard the worshipping Pharaoh as Horus,the avenger of his father. This uniform conception accounts for theidentity of the inscriptions throughout the six chapels; the seventh, thatof King Sethos, has peculiarities of its own which do not concern us forthe moment.

In Mariette's publication of the 2pe the six chapels are treated

a A. Mariette, ibydos, description des/suits. Tome Premier : Ville antique.--Temple cle Sdti, Paris, I 869. Thechief other books on the temple are : A. St. G. caulfield, Tfc Tmple of the Kings at .dhydos (Sety I). Memoir of the

Egyptian Research Account, London, s 902 ; J. capart, Abydos. Le Temple de Siti Ier., Brussels, 191 z; E. Zippert, DerGeddchtnistempel ethos' I zu Abydos, Berlin, 193 I. A detailed bibliography will be found in the forthcoming fourthvolume of the Topographical Bibliography of Ancient Egyptian hieroglyphic texts, reliefs, and paintings, by B. Porter andR. L. B. Moss.

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together, the texts being given in parallel columns. In the temple itselfthe scenes are arranged in two rows running round the four walls,interrupted only by the doors and false doors. The various episodes ofthe ritual were considered by Mariette to begin in the lower scene on thenorth side of the entrance wall, thence to continue along the lower partof north, east, and south walls to the south side of the entrance, andthen to proceed in the upper row back to above the initial scene. Thusthe scenes would succeed one another from left to right twice round eachchapel, beginning in the lower row just north of the entrance door. Suchwas the opinion of Mariette, and it is accepted by Moret in the bookquoted above. A different view is taken, however, by Dr. Blackman,whose important article, printed in a journal not as accessible as it oughtto be, takes account not only of the logical sequence of the rites, but alsoof the parallel rituals belonging to the funerary cult and to the temple ofAmen-Rer at Karnak./ Dr. Blackman arrives at the result that the scenesstart on the same wall as Mariette supposed, not, however, in the lowerrow, but in the upper one. Thence they continue round the walls tothe corresponding point just south of the door (episodes x-I7), afterwhich they double back in the lower row to the west end of the southwall (episodes 19-2 z, 23-27). Episodes 18, 22, and the final one, namely

episode No. 28, are, however, out of place according to this theory. Thetwenty-eighth episode or scene representing the King removing thefootprints with a broom of leaves, is a rite de sortie and for that reasonwas placed by the sculptor in immediate proximity to the door (south sideof entrance wall, lower row). There it displaced episode i 8, which foundan appropriate position immediately next the false door to the north inthe lower row. In the corresponding position to the south of the falsedoor was placed episode 22. It remains to account for Mariette's scenesNos. z-9, which start in the lower row on the north side of the entrancewall and thence follow one another to the western end of the northwall. These, according to Dr. Blackman, represent alternative versionsof the sequence of scenes immediately above them, and he numbers themwith Roman figures as episodes I-IX.

Dr. Blackman's account of the matter has seemed sufficientlyimportant and plausible to warrant a rather full risumi here, but it mustbe left to others to adjudicate upon it.

§ 4. NOTES ON THE TEXTS

The hieroglyphic legends accompanying the scenes show manyinaccuracies, a particularly common error being the transformation of

c into r,=t or vice versa. It must be supposed that in this case thedraughtsman had indicated the right sign, but that it was subsequentlychanged into the wrong one by the sculptor. The following notes,derived from the collations by Dr. de Buck and Dr. Gardiner, deal withpoints where the present publication might possibly be suspected.Wherever possible, the passages in question have been checked onceagain with the photographic enlargements.

I A. M. Blackman, The Sequence of the Episodes in the Egyptian daily Temple Liturgy, in Journal afte Manctester

Egyptian and Oriental Society, 19 18-i9, pp. 26-5 3.

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Top left, over king. In °. the sign fjis forTOBottom, middle scene, near head of Osiris. ir.A(w)

with w for zPl. 5. Bottom right, below the censer. 'I for 9

P1. to. Bottom middle, 1. i of the spell. The sculptor hadboth times ; the painter has wrongly altered the sign.

PI. 13. Top right, over Thoth, 1. i, bottom. 'cr for c

Top left, last 1. but one. St(y).s for .

Bottom left, speech of Osiris, 1. 2. One expects 9 ,but the facsimile is exact.

P1. 17. Bottom left, legend of Isis. No a in her name, only a hole.

In the spell, 1. 3 } ' without ; 1. 7 = without thecross-bars, and followed by a space.

P1. 18. Bottom right, first scene. L. 3 of the spell, 'cz for w;1.I i h't.kwith vZ for w

Second scene from right, note the omission of theguiding lines.

Second scene from left. Spell, 1.2, c for

First scene from left. Note that ( has sometimes hori-zontal, and sometimes oblique, markings.

P1. I 9. Top middle, vertical col. beside the pedestal of the bark.1 00 : Sic.

Bottom right, last col. above Isis. wronglyfor '- Z of the preceding cols.

P1. 2o. Top left, last line. The broken on a flinty place inthe stone.

P1. 22. Bottom, second scene from right, the vert. col. before thebody of Isis. a for o of o

P1. 23. Top, second scene from right, last line. R6 for pZ.Second scene from left, 1. r. 4- for 4.First scene from left, 1. 3. , without ..

Bottom, second scene from night. First signs of thespell, as facsimile ; 1. i i, is without the tie.

P1. 25. Bottom left, 1. i. = for .. twice ; 1.3, ... twice unfinished.Bottom right, last line but two. ' sic.

P1. 26. Bottom right, 1. i of spell. Short o= for a, I.

P1. 27. Top right, last line. Sty with ay instead of j.Bottom, second scene from right, 1.7 of spell. De Buck

apparently saw trace of the eye of >- ).

P1. 28. Top right, 1.4q from end.j for J le. ; last line,note the strange form of m and the omission of -~of1n

P. 33. Top, second scene from left. In I. r note the eccentricform ofoinJl; 1.3. cfor czof%°,.

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LIST OF PLATESThe names of the authors of the plates are indicated by initials as follows: M.F.B., Miss M. F. Broome; A.M.C., Miss A. M. Calverley; H.S.C., Mr. H. S. Calv

L.H., Miss Linda Holey; RS.L., Mr. R. S. Layers.

1. SETHOS OPENS THE DOOR FOR OSIRIS. (Frontispiece) Detail from Plate 4 (M.F.B.) Co

la. PLAN OF THE .TEMPLE (R.S.L.)

6lb. SECTIONS

2. VIEW FROM THE ENTRANCE OF THE OSIRIS CHAPEL, LOOKING WESTWARD (L..) Potog

3. CHAPEL OF OSIRIS, EAST WALL (A.M.C.)

4. CHAPEL OF OSIRIS, NORTH WALL, EASTERN SECTION (A.M.C.)

5. SETHOS WORSHIPS AND GAZES UPON OSIRIS. Detail from Plate 4 (M.F.B.) Co

6. CHAPEL OF OSIRIS, NORTH WALL, WESTERN SECTION (A.M.c.)

7. SETHOS OFFERS INCENSE AND LIBATIONS TO THE SACRED BARK OF OSIRIS. Detail

Plate 6 (A.M.C.) Co

8. CHAPEL OF OSIRIS, WEST WALL (A.M.C. and M.F.B.)

9. CHAPEL OF OSIRIS, DOOR IN WEST WALL (A.M.C.) Retouched Potog

10. CHAPEL OF OSIRIS, SOUTH WALL, WESTERN SECTION (A.M.c.)

11. SETHOS OFFERS INCENSE TO THE SACRED EMBLEM OF OSIRIS. Detail from Plate 10 (A.M.c.) Co/

12. SETHOS OFFERS ORNAMENTS AND INSIGNIA TO OSIRIS. Detail from Plate 10 (M.F.B.) Colc

13. CHAPEL OF OSIRIS, SOUTH WALL, EASTERN SECTION (A.M.c.)

14. SETHOS WORSHIPS AND OFFERS NATRON TO OSIRIS. Detail from Plate 13 (A.M.C.) Cole

15. SETHOS BURNS INCENSE BEFORE OSIRIS. Detail from Plate 13 (A.M.c.) Coc

16. SETHOS OFFERS A PECTORAL AND A COLLAR TO OSIRIS. Detail from Plate 13 (M.F.B.) Coh

17. CHAPEL OF ISIS, EAST WALL (M.F.B.)

18. CHAPEL OF ISIS, NORTH WALL, EASTERN SECTION (M.F.B.)

19. CHAPEL OF ISIS, NORTH WALL, WESTERN SECTION (M.F.B.)

20. CHAPEL OF ISIS, WEST WALL (M.F.B.)

21. CHAPEL OF ISIS, FALSE DOOR IN WEST WALL (M.F.B. and A.M.C.) Retouched Photog

22. CHAPEL OF ISIS, SOUTH WALL, WESTERN SECTION (M.F.B.)

23. CHAPEL OF ISIS, SOUTH WALL, EASTERN SECTION (M.F.B.)

24. INTERIOR OF THE HORUS CHAPEL, LOOKING EASTWARD (L.H.) Phot

25. CHAPEL OF HORUS, EAST WALL (M.F.B.)

26. CHAPEL OF HORUS, NORTH WALL, EASTERN SECTION (M.F.B.)

27. CHAPEL OF HORUS, NORTH WALL, WESTERN SECTION (A.M.c.)

28. CHAPEL OF HORUS, WEST WALL (A.M.C. and M.F.B.)

29. CHAPEL OF HORUS, FALSE DOOR IN WEST WALL (A.M.C. and H.S.C.) Retouched Photo

30. CHAPEL OF HORUS, SOUTH WALL, WESTERN SECTION (M.F.B.)

31. THE BARK OF HORUS. Detail from Plate 30 (L.H.) Phoo

32. DETAILS FROM THE CHAPEL OF HORUS. a. The king presenting cloth; see Plate 33, lower register.

i. The god Horus; see Plate 30, lower register. (L.H.) Photog

33. CHAPEL OF HORUS, SOUTH WALL, EASTERN SECTION (M.F.B.)

34. DETAILS FROM THE CHAPELS OF OSIRIS, ISIS, AND HORUS. a. Chapel of Horus, lunte of east

h. Chapel of Isis, lunette of east wall. c. Chapel of Osiris, lunette of east wall. d. Chapel of Horus, u

lintel of door in east wall (A.M.C. and M.F.B.) Retouched Photog

35. PILASTERS IN THE CENTRE OF THE LONGER WALLS (M.F.B.)

36. THICKNESSES OF THE ENTRANCE DOORS (A.M.C. and M.F.B.) Retouched Photog

37. CHAPEL OF OSIRIS. PLAN AND DETAILS OF FRIEZE AND VAULTED CEILING (A.M.c. and M

38. CHAPEL OF ISIS. PLAN AND DETAILS OF FRIEZE AND VAULTED CEILING (A.M.C. and M.F.

39. CHAPEL OF HORUS. PLAN AND DETAILS OF FRIEZE AND VAULTED CEILING (A.M.C. and iv

40. CHAPELS OF OSIR(1s, ISIS, AND HORUs. CEILING INSCRIPTIONS (A.M.C. and M..B.)

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PLATE 9

South thickness

CHAPEL OF OSIRIS, DOOR IN WEST WALL

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SETHOS OFFERS INCENSE TO THE SACRED EMBLEM OF OSIRIS

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SETHOS OFFERS INCENSE TO THE SACRED EMBLEM OF OSIRIS

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SETHOS OFFERS ORNAMENTS AND INSIGNIA TO OSIRISH

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CHAPEL OF OSIRIS, SOUTH WALL, EASTERN SECTION

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PLATE 15

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SETHOS BURNS INCENSE BEFORE OSIRIS

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PLATE 16

SETHOS OFFERS A PECTORAL AND A COLLAR TO OSIRIS

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PLATE 20

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PLATE 21

CHAPEL OF ISIS, FALSE DOOR IN WEST WALL

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PLATE 24

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INTERIOR OF THE HORUS CHAPEL, LOOKING EASTWARD

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PLATE 28

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PLATE 29

CHAPEL OF HORUS, FALSE DOOR IN WEST WALL

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THE BARK OF HORUS

Detail from Plate 30

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DETAILS FROM THE CHAPEL OF HORUS

The king presenting cloth. See Plate 33, lower register

The god Horus. See Plate 30, lower register

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PLATE 34

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DETAILS FROM THE CHAPELS OF OSIRIS, ISIS, AND HORUS

a. Chapel of Horus, lunette of east wallb. Chapel of Isis, lunette of east wall

Chapel of Osiris, lunette of east wallChapel of Horus, under-lintel of door in east wall

oi.uchicago.edu

PLATE 35

Chapel of Osiris Chapel of Isis Chapel of Horus

PILASTERS IN THE CENTRE OF THE LONGER WALLS

North South North South North South

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THICKNESSES OF THE ENTRANCE DOORS

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PLATE 37

THE CEILING PATTERN

The hieroglyphs face the central band of inscrzttion, and the cartouches lie with theirbases to the east

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PLATE 38

II--

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THE CEILING PATTERNThe znlures lie with their heads to the west

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PLATE 39

THE CEILING PATTERN

The kierog/yphs face the central band of inscri>ption, and the cantouches lie with theirbases to the east

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a to f Chapel of Osiris g to k Chapel of Isis I to q Chapel of Horus

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