At the top of the decorated surface is a blue hieroglyph

for the "sky". Below this, decorated in an expanse of color, is a

representation of the solar barque of "Atum, , travelling from
east to west on a shorter blue "sky" hieroglyph (but which can
here also be representative of the underground Nile). The
barque and its passenger are adored from in front of the prow
and behind the stern by standing images of Sennedjem.
At the front of the barque squats the Horuschild (known to the
Greeks as the Harpocrate), with a finger to its mouth. A frog,
symbol of eternity, is placed under the prow at the level of the
water. The mummi-formed god Atum, wearing the pschent (or
double crown of Egypt), faces left and holds the sign of life on

his knee. In front of him, stands the shemset symbol

meaning "followers" and behind him, close to the two oar-
rudders, is a representation of the primitive Lower Egypt
sanctuary of Buto, with a rounded roof

This scene of the lintel thus illustrates perfectly the comment of

Sennedjem : on the threshold of his vault. He wishes, for
eternity, to share the destiny of the creator god, to be able to
disappear in the evening on the western horizon, and to rise on
the eastern horizon in the morning.
\

Upper register
On the left, Osiris-Khentyamentiu, seated on a throne, wears
the Atef crownThis is coloured with green and blue longitudinal
bands, indicating its plant nature. At the top is a ball, usually
considered to represent a mandrake. His body, similar to that of
Ptah, is enveloped in a shroud, with Usekh necklace provided
with the Aper counterweight and red crossed straps. His hands,
which appear from under the vestments hold the crook and
flagellum as well as the Was sceptre.
Behind him, standing and placing her left hand on his shoulder
is Ma'at, goddess of the west, in red skin-tight dress; the feather
of truth on her head makes her easy to recognise, even though
she is not named.
On the right, separated from the gods by an altar, on which
stands a libation (or Qebeh) vessel and a blue lotus bouquet,
advances Sennedjem. Two women each bring an ovoid vase
with a long neck, these are his wife Iyneferti and their daughter
Irutnefer, both wearing an ointment cone. The white vestments
of all three are stained of red in their upper part, a pictorial
fashion of the time, perhaps to represent a conventional hue of
transparency of the light materials.

Lower register
On the left, the hawk-headed Ptah-Sokar-Osiris, wearing the
white crown of Abydos flanked with two feathers, is seated on a
throne and holds the Was-sceptre and the Ankh-sign (symbol of
life). Behind him, standing and (like Ma'at above) with her left
hand on the god's shoulder, is Isis, again clothed in a red skin-
tight dress. Separated from Ptah by an altar on which stands a
vase and a blue lotus, seven sons of Sennedjem advance
towards him. They have their right hand raised in greeting and
hold a structure of papyrus stems in the left.
At the front is Khabekhnet; followed by the others, two by two,
clothed in a long loincloth with the opening in front of the knees
(as one worn between the end of the 17th and in the beginning
of the 19th Dynasty).
The supplication is addressed at the beginning by Khabekhnet
to Ptah-Sokar-Osiris, then by his brothers Pakharu, Rahotep,
Khonsu, Ramose, Anhotep, Renekhu, all qualified as "Justified".

The inner side of the door

The decorated area, of the now closed door, is divided into two
parts.

At the top, Sennedjem and his wife play the game of Senet.
They are identified here in the text by their names and also at
the end of the eleven vertical columns of text below them of
book of the dead
2)- West wall
The sun sets between two lions, seated back to back,
supporting the hieroglyph of the double hill, which represents

the horizon. Above them is the hieroglyph of the sky.

The gods represented here could be Ruty and Aker, but the
latter could also be Ra or Atum. Here, it is more likely that the
representation is of the god Ruty (ru-ty being a nisbe form : two
lions), linked with Shu and Tefnut in earlier times. The lion,
which lived at the borders of the desert to the east and the west
of the Nile valley, is appropriate to these two cardinal points. In
17 of the Book of the Dead, it is on the back of Ruty that the
sun rises daily.
The two lions are sometimes named yesterday and tomorrow.
So the idea of the solar cycle is perpetually renewed, typical of
the Egyptian mentality which is obsessed, A text in ten
columns greets the sun when it descends in the western
horizon.

3)- East wall

The day will soon rise, but it is still necessary to prevent the
snake Apophis from capsizing the solar barque. This is what the
cat does as representative Ra, or a companion of Ra. Seated on
his hindquarters, he slices the reptile with a knife. Here, the
scene takes place under the foliage of the Persea tree of
Heliopolis.
Ceiling

Sennedjem, entering the tomb from the outside, stands making

the sign of worship, in front of a representation of the goddess
Nut. She is represented here by her breasts and her two arms
coming out of the western horizon, which receives the sun at its
setting, in order to pull it towards the depths of the land where
it will be able to regenerate.
Between the two are three columns of text celebrating the
glorious dawn when Ra emerges from the Nun, the primordial
ocean.

Thus, the whole cycle of the sun is represented, and Sennedjem

identifies with the solar disc in this daily (cyclic) course and
(linear) eternity.
This represents the entry into the chamber by the deceased
couple, and even though it seems to exist as two sub-registers,
it is necessary to see them as being a single line; even though
Sennedjem stands in front of the top row and his wife in front of
the lower one. The couple must both clear the ten doors (also
referred to as portals) guarded by ten genii with knives. In order
to pass these first tests before reaching the Fields of Iaru, it will
be necessary to give the name of each door and its guardian !

The genii - guardians are all represented in an identical form

( view) : seated on a blue Ma'at sign, under a door represented
by an inverse-L, surmounted by khekeru. They each hold a large
knife on their knees.

the lower register involves the funerary banquet. Whether

indeed this meal took place or whether it is fictional won't be
considered here.

On the left, east side, are the descendants of Sennedjem and

the remainder, more or less in order of their relationship are
closer to the entry. They all come from the world of the living,
bringing their offerings.On the right, west side, are the
ascendants, placed here because they are supposed to have
died before Sennedjem.

All the guests are placed either side of (and facing) the corridor
which came indirectly from the chamber B, where the food and
drink was apparently meant to be placed. Between them,
standing facing the respective group, is a young man acting as
a servitor.

Finally, comes the main couple, represented in slightly larger

size : Sennedjem, who holds a large sekhem-sceptre, and
Iyneferti. In front of them stands their son Bunakhtef, draped
with the panther skin of the sem-priest, of which he holds a paw
with his left hand. He doesn't however have the shaven skull, as
is usual for this function. With his right hand he pours water
offerings from a libation vessel.
Above the banquet is a scene of funeral vigil of the mummy,
which occupies the whole upper register on this side of the
entry. This is a another vignette concluding 17 of the Book of
the Dead, which began in the entrance. It probably also makes
reference to a ceremony which would have been held in the
courtyard of the chapel before the burial.

A light construction, in wood and canvas, protects the mummy

of Sennedjem. The beautiful red material, heightened of
pendants, appropriate to the Osirian context, is often found.

A lion-styled bed (head, tail and paws) expresses the arrival at

the end of the journey, at the horizon of the western sky. The
beautiful anthropoid coffin, the main body of which is enclosed
prophylactic bands on which text would have been written, lays
with the head towards the west, the domain of the deceased. It
is protected by two milans (and not falcons as one sometimes
reads) representing the two goddess sisters, Isis and Nephthys.
They wear on top of their heads the hieroglyph of their name.

Why were these birds of prey chosen as icons for the goddesses
? Could it be because their shrill cry is a reminder of eastern
laments, a cutting sharp scream, which usually accompany
funeral vigils ?

In accordance with the well known Osirian myth, the sisters

watch over the deceased, the new Osiris, as they watched over
their brother (husband of one, lover of the other) the dead
Osiris.

So the assimilation of Sennedjem with the Great God appears

complete. Notice the spatial disposition : this scene is
inseparable from that of the mummy's revivification by Anubis,
which faces it on the north wall, because the god and the two
goddesses act jointly to bring the Osiris back to life.

The deceased again appears mummified on a bed, head

towards the west. Anubis, by the magic passes of his hands,
"warms" the mummy's heart, which starts beating again; at the
time of the real ceremony, a priest having dressed in a mask
with head of canine plays the role of the god. This scene is
usually (and also more logically) represented on the west wall of
the chamber.
It is in fact the final stage of a larger scene which normally
should have included the weighing of the heart (or psycho-
stasis) which justified the dead in front of the court of gods. But
this is missing (possibly for space reasons), in any case the
outcome for the deceased is evidently always that he is
justified, the whole scene has been telescoped in its final
result : Sennedjem passed the test victoriously.

He is shown wearing a beautiful pleated long skirt overlain with

a shorter one; on his jet black wig he has a headband and on
top an ointment cone; on his chest spreads a large necklace of
multicoloured pearls. His left hand, held to his right shoulder,
corresponds either to a gesture of fear, or to a gesture of
respect, or both.

His right hand is held by Anubis who assumes his duplicate role
of protector and opener of the paths to the beyond, leading the
deceased from east to west.

The god, as always, has a black canine head (jackal, dog of the
desert?). He wears a blue-lapis wig, the great Usekh necklace,
armbands on his upper arms, a body garment with shoulder
straps and an off-white loincloth with a mid-yellow striped rear
section, held in position by a belt, the clasp of which has an Isis
(Tyet) knot design. In his right hand he holds the Was sceptre.

Above the two characters, 22 columns of text say that Anubis

introduces the deceased to the gods of the Duat, without him
having to fear that the doors would be closed in front of him.
Other columns, in front of the characters, give the titulature of
Anubis and access to the Duat to Sennedjem.

Sennedjem is squatting on a mat, resting on his left heel, raised

right knee, which corresponds to the Egyptian way of
representing the cross-legged position. He also holds his left
hand on his right shoulder. His wig is now streaked with greyish
white strands. This phenomenon is also met in the tomb of
Inerkhau, TT359, and that of Pached, TT3, and in others.

Its significance is not very clear. Perhaps it indicates a person's

seniority in relation to others ? It is possible with Inerkhau and
Pached, but not here. Is it about showing the time that was
necessary for the deceased to reach the place where Osiris
resides ? Or, as Bruyre suggests, is this a consequence of the
ordeals experienced by the deceased during his journey? Or of
the terror of being in front of the great god in person?

Above him, a green mat supports two lettuces between three

amphoras of wine, closed by a plug of clay and decorated with a
blue lotus, of which the stem spirals around the body of the
vessel. Between the two, a short text proclaims : "May you sit at
the side of Wenennefer, may you be given bread and beer
before Osiris-Khentyamenti(u), by the Osiris, the servant in the
place of the truth, Sennedjem, Justified".

In front of Sennedjem is an enormous offerings structure, which

he presents to Osiris, comprised of three stands supporting a
single top. Between the supports are two wine amphorae. On
top are piled various food offerings : firstly, three vases and four
cakes; on top of these are two baskets with figs and grapes, an
ox thigh, a waterfowl, an assortment of onions, a lettuces and
more grapes. Crowning all of this is a large basket of flowers
and an assortment of fresh herbs.

Above the offerings, Sennedjem recites the famous 125 of the

Book of the Dead. It contains what has become known as "the
negative confession". This is quoted, in principle, at the time of
the Psycho-stasis, in front of the divine court. Sennedjem
judged it sufficiently important to represent it here although the
corresponding vignette does not appear. It is interesting,
because it shows the importance at that time of having led a
"correct" life, conforming to Ma'at. Otherwise, a there would be
no foreseeable chance of a destiny in the beyond.

Osiris stands upright (which is quite rare, he is normally seated)

in a magnificently decorated kiosk with a white background.
The kiosk stands on a pedestal, also white, and has a coving at
the entrance.

The roof is sustained by four fascicule columns (of which only

two are represented), green and blue, arising from a white
discoidal base, imitating sheaves of papyrus stems bound at the
top, at which point are tied red and white ribbons.

Each composite capitol ( view) is : "superimposed on four levels

are the four flowers which symbolise the four great regions of
the kingdom, from north to south, when journeying up the Nile,
from the Delta to the Nubia. These are, from top to bottom : the
papyrus of Lower Egypt, framed by two uraei with the head of a
solar disk; the lily of Upper Egypt; the blue lotus of the cataract
of Syene (Aswan); the pink lotus of the Nubia. These emblems
of the four regions of Pharaonic Egypt are at the same time
recalled by the four types of wines offered to the god as it is
written in the temple of Abydos." (Bruyre - translated).

These columns support a polychromatic coving, the summit of

which is decorated by erect solar snakes, while at its base runs
a horizontal grapevine, identical to those of Lower Egypt. This is
a reminder of the legend which says that the culture of the
grapevine has been taught to the men by Osiris, at the time
when he still reigned on land.

In the kiosk, the Great God stands on a blue Ma'at sign edged in
yellow, on which is also a labelled vase standing on a pedestal,
as well as a bound bouquet of flowers resting on top. Sheathed
in his white shroud, Osiris holds in his hands the two usual
symbols of his function : the crook and the flagellum. A large
necklace decorates his neck. His complexion is greenish, a
reminder that flesh is thus in putrefaction, but also of the
renewal of vegetation. His chin is decorated with a large false
beard with a hooked tip. He wears the Atef crown, either side of
which are two udjat eyes, symbolising the resurrected god.

Two "imuit" fetish-symbols are visible on the floor of the

pavilion. Each is composed of a vase, from which emerges a
pole (a reminder of the uprights of a boat cabin). Around this is
attached a stuffed animal skin, from which the head and the
rear legs have been removed. The front legs are attached to the
pole, while the rear end (finishing in a lotus flower) twists
around the upper part of the pole. According to Moret, it refers
to a skin being used during the pressing of the grape in the
wine-making scenes, another expression of the blood of Osiris.
In this skin the mysteries of gestation take place.
here we find the solar barque Wj3 (Wia), greeted by two
baboons, which travels from north to south. The location of this
scene appears logical: it is located in the "sky" of the east wall;
the baboon of the north greets the setting sun, and the one of
the south, its early rising.. It is appropriate to the deceased's
transformation; it is also a symbol of regeneration, as well as a
messenger and companion of the sun during his journey.

A hawk-headed solar god is seated in the centre of the barque,

his head surmounted with an enormous solar disk encircled by a
uraeus. He holds in his hand an ankh-sign, the symbol of life. In
the text he is named : "Ra-Horakhty-Atum, Lord of the two
Lands of Heliopolis, Kheper-Re". Thus the two different phases
of the solar life are joined.

In front of him, can be found a large shemes sign, which was

discussed earlier, but here it is graphically represented with the
leg. It represents the followers of Horus, that is to say, the
blissful dead, of which Sennedjem wishes to be part.

Behind the god is a small structure in the shape of Per-nu, the

primitive shrine of Buto, in Lower Egypt.

Thus, the deceased has right to a personal domain (which he

has to work), and to the natural products.But the deceased
doesn't want to spend eternity taking care of the fields !
Sennedjem represented the scene on the wall of his chamber, in
order to magically identify his property with regard to the gods
and the other deceased; but actually work there, that is
something else !

To avoid this boredom, he had the precaution to place in his

chamber Funerary Servants (whose number varies according to
the period). These shabti (or ushabti) have a clear role : to
replace the deceased,

On the left (north), Sennedjem and Iyneferti kneel on a kind of

hillock with rounded sides, they are "on their sand", which
means in the desert of realm of the dead. They recite a prayer
of praise to five gods, squatting on a Ma'at sign. The first is Ra-
Horemakhty (Ra-Harmakis), wearing a large solar disk; the
second is Osiris-Khentyamentiu, wearing the white crown edged
with two large feathers; the third is Ptah-Neb-Ma'at (Ptah, Lord
of Truth), wearing his usual blue skullcap. Then follow two
anonymous gods or genii representing the great Ennead of gods
(among whom these two always appear).

Then comes a scene whose significance remains obscure ( view)

: "his beloved son, Rahotep, Justified" sails southwards in a
small papyrus craft. The young man turns his shaven head
towards to rear of his vessel and to the gods. The oar or pole
which he is supposed to be using is not represented, although
faint traces do exist, in particular above his raised upper hand.
This is indeed strange, and is interpreted usually as the
painter's mistake. With the image and the scene being so
perfectly executed, it seems that the oversight must have been
voluntary : could it have been that artist didn't want the oar to
pass over the top of the body

This is another son of Sennedjem, Khonsu, who performs the

Opening of the Mouth ceremony, with the help of two adzes, on
his father's coffin (and thus by magic on his mummy) ( view) :
"Your mouth, Osiris Sennedjem Justified, is opened". It is also
likely that the hidden meaning to this ritual is also to enliven
the funerary servant who is supposed to carry out the work in
place of the deceased.

The small rectangle, at the right, includes the name and title of
Sennedjem, above which are three green ovals. By referring to
other versions of the Book of the Dead, they are designated as
the "field of battle", the "place of offerings" and "the great one".
They therefore relate to three regions of the underworld.

he upper sub-register consists of one scene, that of harvest.

With the aid of a curved wooden sickle, of which the cutting

edge is encrusted of flints, Sennedjem cuts the ears of corn
very high. Thus, most of the straw won't be damaged by the
trampling of the animals at the time of threshing.

Iyneferti follows Sennedjem and collects the ears which have

fallen to the ground in a basket. It should be noted in passing
that the height of the stems and the expanse of the field, which
suggests that the field has no limits. In the idyllic world of the
hereafter, the harvests are always extraordinary; there are no
birds to devour them, no locusts which will ravage everything in
minutes. It is in order to show the abundance of the harvests,
the scene of ploughing and sowing have, without any logic,
been displaced to the sub-register below.
It is also very strange to see the deceased couple achieving this
work in their beautiful attire and best occasion wigs : even more
proof of the eminently symbolic character of these agricultural
scenes.

The lower sub-register consists of two scenes.

Firstly, harvesting flax. This plant is primarily used for the

manufacture of linen, but it is also grown for its seeds (linseed)
for the production of oil. Sennedjem pulls the stems, Iyneferti
follows him and collects the flax into sheaves. The action could
take place at different periods of the year, according to the use
to which the fibre was destined, which controlled the size of
plant required.

Finally, ploughing and sowing. Sennedjem pushes at the rear of

his plough pulled by two cows (oxen are never used for this
work) scratching the land rather than ploughing it. He
encourages the animals with the help of a whip with two
thongs, of which the shape of the handle is a reminder of the
hieroglyph "hem", servant. Iyneferti is behind him and appears
to scatter the seeds rather than sowing them precisely.

This scene is rather misleading. In fact, there were two ways to

sow the seed. The first consisted, on a land made soft by
flooding, of throwing the grain on the soil and then releasing a
herd of animals whose trampling buried it. The second
consisted, on the harder land, of firstly scattering, then passing
the plough over it to bury the grain. In both cases, the sower
would not have anything to do behind the ploughman. Notice
that here, the extremity of the field is limited by a sycamore
tree.

The rectangles to the right of the sub-registers. ( view)

In the first, upper one, Sennedjem kneels on a green mat, which

separates him from the dark soil. Facing south, he holds an
open lotus flower toward his face, a symbol of rebirth. In front of
him is an offering table garnished with breads and plants [N.B.:
an example of a table was found in the tomb]; beneath it is a
container of wine.

The lower one includes four green ovals which are probably the
"place of the offerings", "light red", "luxuriant green" and
"mistress of the two lands". All of these place names are taken
from the Book of the Dead.

his is divided into two by an irrigation channel, but it is actually

one area. On the upper banks is represented an orchard, with
date and dum palms alternating between fig sycamores; all are
laden with fruit. The representation below, on the other side of
the irrigation channel, is a flower garden ( view), filled with red
poppies, blue cornflowers and yellow flowering mandrakes.

Although not fully completed, the artist created yet another

individual rectangle, at the right-hand side of this register
( view). A small island surrounded by channels of water. In one
of the channels is the Djed-tefet barque of Re-Harakhte
(Harmakis). The craft is symmetrical, with the prow and stern
being indistinguishable and in the shape of a snake. It is
powered by oars, both at the front as well as the rear. The
barque can thus travel in the two directions, diurnal and
nocturnal. At its centre is constructed a flight of four steps,
leading north to south. the significance of the vessel remains
debated.

Above are again two green ovals, named in other texts from the
Book of the Dead, "strong" and "landing place".
he composition is symmetrical in relation to a central axis. This
axis is composed of a white pedestal, forming an altar which
supports a labelled canopic jar, surrounded by two overlapping
lotus flowers. Above is a vase surmounted by the 3 wavy lines
representing "Nun" (the primordial ocean from which the world
arose), and topped with the circular "shen" hieroglyph. This is
framed by two simplified udjat eyes, a witness of the
reconstituted body.

This group, a highly symbolic image of rebirth, is protected by

two lapis-blue Anubis jackals, one on either side, reclining on
tomb-shaped structures. Around the neck of each jackal is a red
bow, and a black flail projects from its back. The interpretation
of the red ribbon remains controversial, possibly a chthonic
symbol. The facade of the tomb-like structure, on which the
jackals rest, is pierced by a door, which corresponds to the
entry of the deceased's funeral chapel, and generally to the
underground world, represented by the ancients as a mastaba.
They also assume the same position as the baboons on the
tympanum opposite, except here they represent the
termination of the daily course of the sun, its setting in the
west.

Only one activity occupies the space : the couple, Sennedjem

and Iyneferti, advances in confidence, paying homage to the
gods of the Duat who sit in a chapel : "Praise be given to the
gods of the Duat, on behalf of the Osiris, the servant in the
place of truth, Sennedjem, justified, his sister, beloved by him,
the mistress of the house, Iyneferti, justified".

The chapel is a large building surmounted by a frieze of erect

cobras, whose heads are each surmounted by a solar disk.
Under the coving at the entrance, can be found the Osirian
representation of the grapevine.

The gods are all seated on a Ma'at sign and look southwards.
They are arranged in two rows, on a white background :

at the top, six divinities follow each other, led by Osiris. He

wears a beard with the hooked tip, and also his traditional
crown, as well as a necklace with a counterweight. The
following gods alternately wear a hooked beard, and alternate
between wearing either red or ochre garments.

below, can be seen the falcon-headed Ra-Horakhty, followed

by six divinities, which, like those of the row above, are
anonymous, but these likewise are gods of the Duat. Also as in
the row above, they alternate between wearing red or ochre,
and having or not a hooked beard.
 The two registers are separated by three lines of hieroglyphic
text, an excerpt from 190 of the Book of the Dead : "A text to
distinguish the deceased in the heart of Re, giving him power
before Atum, to let him become great before Osiris, to let him
become strong with Khont-Amenti, to give him authority before
the Ennead. A treatment of the heart of the Akh-spirit (the
deceased), so that he may step out far and that he may regain
his stride, to drive off deafness and to open his face in the
company of the God."

In front of the chapel is Sennedjem and Iyneferti, represented

life size ( view). His arms are both raised in adoration. He wears
the fashionable Ramesside loincloth with the front opening. He
wears no jewellery, but has a headband and an ointment cone
on top of his wig. Iyneferti, who stands behind him, wears a
long pleated dress, but she is also without jewellery. In addition
to the headband and ointment cone, she has a lotus blossom in
her wig. Her right hand is raised, while in her left hand she
holds an open lotus stem.

It has already been mentioned that it has a vaulted shape, in

order to imitate the lid of a Nubian style sarcophagus, and also
that it is sub-divided into sections by bands of text which would
fasten around a mummified body, or that of a celestial vault. It
is bordered and partitioned, longitudinally and transversely, by
the white bands carrying black hieroglyphic texts. This produces
8 "panels", 4 to the north and 4 to the south. Each panel
contains an individual scene, reflecting the deceased's
involvement in the celestial life, and notably the solar life
through its different phases. Sennedjem wants to be part of the
gods and become one with the sun for infinite time, eternity.

The panels of the two halves of the arch are inseparable from
the adjoining walls, both of which have already examined, as
one smoothly curves into the other. They are, however
delineated from the actual wall surface by the horizontal band
of text, running the length of the chamber. The panel scenes of
both sides are intended to be read from east to west, following
the solar journey.

1 - The longitudinal bands

These carry the traditional offering formulae ( view) and, like

the decorated panels, are to be read from east to west.

To the south

"An offering which the king gives to Hathor, first of the

necropolis, and to the gods and goddesses who are in the Duat.
May they provide the coming in and going out again of the
underworld.

Not to be refused at the door of the Duat. (N.B. : the entrance

and door of the burial chamber are directly under these words).

For the Ka of the Osiris, the servant in the place of truth in

western Thebes, Sennedjem, justified."

Down the middle (at the apex of the ceiling)

"An offering which the king gives to Osiris Wenennefer, first in

the west, eldest son of Geb, the greatest of the five, father of all
the gods, Lord of Aker, king of Upper and Lower Egypt, Ruler of
eternity, (for) Ptah-Sokar, Lord of the hidden place, that he may
give me air and water. The Osiris, the servant in the place of
truth, Sennedjem, justified."

To the north

An offering which the king gives to Re-Harakhte-Atum, Lord of

the Two Lands, the Heliopolitan, that he may give me glory in
the heavens, power on Earth, to be justified in the underworld,
powerful at the head of the gods. May you seize the bow of the
Meseketet barque (barque of the sun god during the night) and
the stern of the Manedjet barque (barque of the day), for the Ka
of the servant in the place of truth, Sennedjem, justified."

2) - The transverse bands

Dividing equally the two ceiling areas, north and south of the
longitudinal central band, and edging the east and west limits,
they all read from the central band downwards to the
appropriate other longitudinal text. They each hold the name of
a divinity (see opposite).

The east west extremity bands all have the name of Thot, thus
he is represented four times, designated as "Lord of the divine
words (hieroglyphic writing)", or "Lord of Khemenu (Heliopolis)".
Anubis occupies both middle bands. The four others are the
"sons of Horus", who guard the canopic vases, where the
mummified viscera of the deceased is placed : Amsit, Hapy,
Duamutef, Qebehsenuef (for more of details, read : The four
sons of Horus).
It is necessary to understand the scene (the quality of which
should be noted) as the immediate continuation of the east
tympanum. It is taken from 109 of the Book of the Dead, which
starts with : "Formula for knowing the Souls of the East". The
new sun is born again on the horizon, in the form of a small
white calf with black markings. On its back it carries the
deceased, who has regenerated and who participates in the
rebirth of the star. His new vitality is manifested by the colour of
his flesh.

As always in this type of scene, two trees are represented; their

greenish blue foliage suggests the sunrise at the edge of the
Arabian desert and further, from the Sinai from where turquoise
is extracted. It represents the "two turquoise sycamores
between which Ra emerges".

It is necessary to understand therefore that the calf doesn't

pass behind the trees, but between them.

In numerous other tombs, behind the animal, is represented the

mountain of the west, the domain of the goddesses Nut and
Hathor. It is therefore natural that the Egyptians gave the
animal this bovine form, as the son of the celestial cow, Nut;
besides, a homophony exists between the Egyptian name of the
sycamore and that of the goddess.

A large red sun announces the future triumph of the star,

symbolised by the presence of the god "Ra-Horakhty-Atum, Lord
of the two lands, the Heliopolitan", who wears the same disk,
but this time surrounded by a uraeus snake.
Panel 2

Sennedjem is regenerated ! He is presented, as in the two

remaining panels, standing, his hands raised in adoration. Why
does he wear here a skirt with a front opening, whilst in the two
following scenes he wears a more standard long skirt ? This is a
mystery.

Be that as it may, here he pays homage to three divinities

seated on a Ma'at sign; Horus with the head of a falcon,
followed from two of the four sons of Horus, Amsit and Hapy.

The scene is taken from 112 of the Book of the Dead :

"Formula for knowing the Powers of Buto".

Although none of the names appear in either the text or as

emblems, they do appear in other sources of 112. The actual
text, as spoken by Sennedjem, starts with a praise to "All gods
of Truth" (Netjeru nebu Ma'at).

The full 112 relates to an injury caused to the eye of Horus by

Seth (who had taken the form of a black pig).

Panel 3

Sennedjem comes closer of the west, and the scene comes

from 108 of the Book of the Dead : "Formula for knowing the
Souls of the West". Although not quoted here, the full text
describes the punishment of Apophis by Seth : "A snake is at
the summit of this mountain; it is 50 cubits long and 3 cubits of
his front part are of flint. I know the name of this snake : the
one who is on his mountain, the one who is in his blazing breath
is his name". This explains the representation of the snake on a
sign of the horizon : he intends to try to oppose the passage of
the barque of Ra towards its setting. Above this, using the
remaining space on this side of the panel, sits an anonymous
god against a red background. the area is surmounted by a sign
for the sky.

In front of this, Sennedjem pays homage to two anonymous

divinities of the west seated on the usual Ma'at sign. The first
has the long muzzle of a dog, white speckled with black.

The text of Sennedjem is a praise to "All the gods of the Duat"

(the underworld).

Panel 4

Now almost at the west. Sennedjem once more faces three

seated gods, which once again sit on a Ma'at sign. The first,
easily recognisable by his ibis-billed head, is Thot, which is
confirmed by the text which applies to him : "Praise to Thot,
Lord of Hermopolis, the scribe of Truth of the Ogdoade"; the
second is Sia, the knowledgeable one; the third is Atum, the god
of creation who is wearing the double crown of Upper and Lower
Egypt.

The scene is not obvious, because the vignette doesn't relate to

any precise chapter of the Book of the Dead. In fact, it relates to
at least 114 and 116.

Sia is often associated with Hu, the personification of the word

"expressive". In the Book of the Amduat, Sia and Hu (or
sometimes Heka, "the magic") are the only gods to travel with
the nocturnal sun in his barque.
This is a very beautiful piece of craftsmanship.

Sennedjem and Iyneferti have just entered the underworld,

whose border is shown by the door of the mastaba on which
they kneel. They are dressed in festive garments and with a
cone of ointment on top of the wig. They drink water from a
libation vessel, which is poured by the goddess into their
cupped hands.

The tree-goddess is "Nut, the great". Her body merges

seemlessly with the trunk of the sycamore. This tree represents,
for the Egyptians, the proof of the presence of water, as well as
a dispenser of shade and figs. This abundance of benefits is
symbolised by the tray which the goddess holds and on which
are arranged flowers, fruits and breads.

The vignette illustrates 59 of the Book of the Dead : "Formula

of Breathing the Air, and Controlling the Water in the Realm of
the Dead".

Panel 6
The scene, beautifully created, is one of the most often
reproduced in the books of Egyptian craftsmanship. It was also
chosen for the poster of the great exhibition organised by the
Louvre in 2002 : "Pharaoh's Artists".

Sennedjem and his wife, standing, facing the west, are this time
to the right of the panel. Sennedjem wears his pleated, front
fastening kilt. He has no head band, ointment cone, nor beard.
Iyneferti wears her usual long pleated dress. Contrary to her
husband, she has the fragrant cone and head band through
which has been pierced a blue lotus. It is worth noting that on
the abdomen of Sennedjem are what are referred to as folds of
fat and not a sign of obesity. The two characters greet, with
both hands raised, a group of five genii, who sit against a blue
lapis background, on a pedestal in the shape of the Ma'at
hieroglyph.

All of the genii wear similar wigs, an Osirian beard and a large
pearl necklace. Their faces are of varied hues, as are their
shrouds, possibly to avoid monotony. Above them, seven yellow
stars, arranged in two rows of three and single one below, are
pictured alongside a red disk. The number and disposition are
absolutely arbitrary and don't have the intention of representing
any known constellation, as shown in other examples in Deir el-
Medina.

The deceased's soul has to take his place among the

Imperishable stars and the Indestructible, these innumerable
stars of which Osiris is the primary representation, as Orion.

The red disk, which accompanies the stars, is sometimes

surrounded by a white circle, which is intended to indicate that
it is the dead sun, which means the nocturnal sun, the moon.
This dead sun, which is Osiris himself, is sovereign of all the
stars. Erik Hornung (Das Totenbuch der gypter, p.262)
suggested that it could also refer to a solar eclipse at the time
of a new moon, and not that of the moon itself. The vignette
would thus be closer to 135 of the Book of the Dead : "Another
formula spoken When The Moon Is Seen On The First Day Of The
Month And Rejuvenates Itself".

Here, Sennedjem praises "All the gods of the sky", which is the
same as saying : "all who are elected and assimilated with the
stars in the celestial court of the sun"

Panel 7

This is the illustration of 100 of the Book of the Dead : "Book Of

Making Perfect a Deceased and allowing him to descend into
the Bark of Re with those who are in his retinue".

Ra-Horakhty-Atum stands in his solar barque. It is represented

with a stern and a prow in the form of an papyrus umbel. It
displays an udjat eye at both the front and the rear. It travels
from west to east on the underground Nile.

In front of Ra stands the Benu bird, the Nubian heron with

variegated plumage, wearing the Atef crown, symbol of
fatherhood of all the gods. In spite of what can often be read,
this bird is not the equivalent of the Phoenix, it is the "Ba of Ra"
(his soul).

Behind Ra are five men standing in a single row, with arms

hanging at their sides. Each have a curved beard and the
legend calls them : "The gods of the great Ennead who are in
the barque". These divine beings, or those elected to be among
them, which the deceased is allowed to take place, are the
courtiers of the Master and are the sailors of the craft. They
replace the symbol which follows Ra, the Shemes.

Panel 8
This vignette is also well known. It is however richer in
symbology than is normally thought. Usually, the scene is
described as : Sennedjem, who has arrived in the west, pushes
the yellow door with black laths and thus he can enter in the
underworld. Moreover, in another tomb, this door is designated
as "The great door the Duat".

It is a little more sophisticated.

First of all it should be noted that the door appears between the
sign of the sky at the top and the double hill of the horizon
below. Then, looking at the hinges, they are located in the
middle and not on the sides. It is therefore clear that we do not
have a double door, but two different doors, corresponding to
the two horizons; those of the divine world (sky) and the land of
the living (hill).

It is not by chance that the adjacent panel 7 shows the solar

barque : it has just left by the western leaf of the door, while
Sennedjem is about to return by the eastern leaf. If he is part of
the crew of the barque, he also leaves by the western leaf.