mastabas of the old kingdom @ saqqara Meryre – TA 4

mastabas of the old kingdom @ saqqara
Meryre – TA 4

TOMB N°4, North Group

The tomb of Meryra is one of the six inscribed tombs which constitute the north group and bears the number 4. The tombs are carved in the cliff which encloses the site of Tell el-Amarna and of which all entries open roughly southwards.
By its measurements and its craftsmanship, this tomb counts among the more beautiful and most imposing and indicates the favoured status of a very high-ranking person of the Amarnian court. The monument was however never finished, and the funeral shaft hasn’t even been dug, one of the numerous mysteries which surround this tomb.

The Person

Meryra is the only High Priest of Aten who is known to us with certainty. The label of a wine jar shows us that he still performed his office in year 16, and therefore probably at the death of Akhenaten in year 17. He remained in office at least 6 years, an extensively sufficient time to finish a tomb, and yet it was not finished, naturally we don’t know why.

Meryra was endowed with the following titles :
(1)  “High Priest (lit.: Great of the Seers) of the Aten in the house of Aten in Akhetaten.”
(2) “Fan-bearer at the King’s right hand.”
(3) “Royal Chancellor.”
(4) “Sole Companion.”
(5) “Hereditary Noble and High Official” (r-pat haty-a) . One can wonder why this very important title is nevertheless only present once in the tomb. It could be that the word “hereditary” is excessive and that Meryra owes his title to the favour of Akhenaten (and not by being inherited). It may be that by elevation to the high priesthood of the Aten he forfeited the privileges and functions of this rank.
(6) “King’s acquaintance.”

Location of the tomb, method of construction and present state

a) Location

The tomb is part of the north group; it is dug in the cliff which encloses the city of Akhetaten, close to the entry of the main wadi.

b) Plan of the tomb

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c) Method of construction

The cliff in which the tomb was dug is made of a rather poor quality rock, which didn’t allow the direct creation of sunken reliefs. Therefore, the craftsmen first sculpted the rock directly, to which they then applied a layer of plaster, which they then finely worked to give an aspect of sunken relief, then the whole thing was painted. Finally, details were added, such as the folds of clothes, just with paint.

d) Present State of the tomb

The tomb of Meryra, although it is one of the better preserved, is currently in a rather pitiful state, following mutilation especially relating to the royal couple and the Aten. This mutilation goes back to early history, since it started shortly after the death of the “heretic” Pharaoh, Akhenaten.
The abhorrence of his memory quickly spreads to all of his representations, as well as to those of queen Nefertiti, which in this tomb (as elsewhere) have been savagely attacked, to the point of nearly disappearing in spite of the depth of the sculpture.
Then the Copts and the Moslems settled and transformed the tomb according to their needs, cut into the walls or plastered over them. This is how the pair of columns of the western part of the hypostyle room were destroyed. Numerous niches were cut where the need made itself felt.
Finally some modern pillagers attempted to detach fragments of scenes, thus causing new damage.
This tomb of Meryra thus lost a lot of its original charm, beginning with nearly all its colours. Nevertheless, it remains an historically important monument for the better understanding of the period, and attractive to the visitor. Indeed, one cannot cease from being amazed by the imposing aspect of the doorways, and by the semi-darkness of the first hypostyle hall with its arched ceiling further embellished with a cavetto cornice, which runs all around the top of its walls.

The facade

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(The photo on the left also comes by courtesy of the Egypt Exploration Society)
Some sections of the facade have been more deeply excavated into the cliff than others, but is almost upright near the doorway, the impression is of having irregular buttresses. Being almost vertical, when one moves away from being close to the entrance doorway it presents a considerable sight. Almost the whole length has an overhang of uncut rock.
The area in front of the tomb was hollowed into the slope of the cliff and dug to a depth of about 6 metres (and a length of about 30 metres) to give the necessary elevation to the front, which then forms a courtyard. This has resulted in it being edged by lateral walls.
The effect of relief around the doorposts which surround the entry has been formed by the digging of a recess around it. At its height, the overhang of the cliff delimits a small awning above of the entry with a lintel surmounted by a cornice.
The decoration of the doorposts is in stereotypical motifs of Amarnian craftsmanship. On each of them can be found a hymn addressed to the sun, to the king and to the queen, repeated in four columns. At the bottom of these columns, Meryra is represented kneeling, in prayer. He can be seen in this stance at the extremities of the lintel, looking towards the centre .
The central part of the lintel is occupied by an often found symmetrical motif (here very damaged). It includes the two double cartouches of the Aten (with the appropriate titulary) faced by the three smaller cartouches of the King and Queen. Thus the sovereigns are represented adoring the sun god.

The entrance

The thicknesses of the east and west walls received two representations of Meryra in sunken relief (which catches the light better in this place). Turned toward the outside, he raises his arms in adoration, reciting the prayers inscribed around him. With a shaven skull, like a priest, he only carries the insignia of “fan-bearer at the king’s right hand”, a heqa-sceptre and a large fan, appropriate to his function.

West side :

Here, Meryra sees the rising of the morning sun, the prayer makes reference to this :
 “Adoration of Aten when he rises on the eastern horizon of the sky. How beautiful is you dawning, O living Ra […] (You) who gives life forever and forever. You illuminate the Two Lands with your beauty, you have crossed the Two Lands with your disk. […] You transfer them to your beloved son. You order the lands to rejoice his heart and to satisfy his Ka. He administers them for you with a [loving] heart […]. The land is subject to him, as it was subject to you. The nine bows (= the traditional enemies of Egypt) are in front of his Majesty, their chiefs are […] under his sandals. You cause that he reigns for a duration like you, being here with you, eternally, seeing your rays every day. You grant him the Sed-festivals and millions of years. All your places are under his eye, (for) your son, descended from your body, the Lord of the Two Land Nefer-Kheperu-Ra, who gives life.”
Two short columns, directly in front of his lower torso, identify him :
“Royal Chancellor, beloved of his lord, favourite whom the Lord of the two Lands fostered, High Priest of the Aten [in the temple of] Aten in Akhetaten, Fan-bearer at the King’s right hand, Meryra.”

East side :

On this side, Meryra sees the setting of the evening sun. The text is badly damaged :
“Adoration of Aten when he sets in the West horizon of the sky (remember that for the ancient Egyptians the horizon did not represent a continuous line, but the points of emergence and setting of the sun, therefore there are two horizons) . Your setting is beautiful, O living Ra [… … …].”
Again, two short columns identify him :
“The Royal Chancellor, Sole Companion of his Lord, exact for the King of the South and North, the High Priest of the Aten, etc., Meryra.”
The ceiling : This is divided into three rectangles by bands of blue hieroglyphs on a yellow base and each area is bordered by a classic “Egyptian frieze” with a further broader inner border of coloured checkers. The centre panel is filled with a pattern derived from bead-work, whist the outer panels contain a pattern of concentric diamonds. It is the only part of the tomb which still contains a recognisable ceiling.

The antechamber

. Differing from other Amarnian tombs, where one passes from the outside directly into the main chamber, Meryra added an antechamber. The result of this makes the deeper parts of the tomb much more solemn.
This is a small square chamber of about 3.60m along each side. Its roof is slightly arched along the east to west walls and a cavetto cornice runs along the walls under the ceiling. This gives the illusion of a constructed rather than an excavated tomb.

1) – The east and west walls

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Roughly indicated on the east and west walls is the framing of either doorways (to create a symmetry with the north and south walls) or sites which could have been meant for future shrines. The portals themselves, though plastered, have been left blank. The areas to the left and right of each, as doorposts, have been sculpted with decorative devices . The one of the north side of both the west and east walls (panel (A)) represents an enormous bouquet of flowers arranged in tiers forming one vertical floral composition, while the south “doorposts” (panel (B)), shows the cartouches and titles of the Aten and the royal couple sitting under the rays of the solar disk.
Along the east side of the chamber, running north–south, is a trench. One can also be found in the first chamber of three other tombs of this group. Its significance remains obscure, but perhaps this gully was intended to collect the blood of animals sacrificed in this place.

2) – The two sides of the south entry wall

These are occupied by an upright image of Meryra, this time without his insignia, in adoration reciting the hymn reproduced in blue hieroglyphs next to him .
It is addressed to the king, who is qualified on the west side as “the beautiful child of the living Aten”. It specifies : “… … … … As long as the sky lasts, you will last. You will accomplish many years, thousands of Sed-festivals.… … … … Your duration is as eternity, the duration of Ra as sovereign of the Two Lands, the years of Aten in the sky. Your dwelling is in Akhetaten, the perfect place which you raised for Ra and where all men come.”.
On the east side, one finds a more personal expression : ” … … … … good sovereign who formed me, who begat me, who made me grow, who associates me to the princes, the Light by which I live, my Ka day after day. … … … … “.
Meryra thus seems to constitute an example of those new men promoted by the king, a parvenu who owes all to his sovereign.

3) – The north wall: periphery of the doorway

. On the architrave at the top one finds at each extremity a small representation of a kneeling Meryra, his arms raised. The central part of the scene has disappeared, but one can still discern the presence of remains of cartouches.
The doorposts on each side include four vertical columns of partly coloured hieroglyphs on a yellow base carrying some prayers. A considerable part of the left jamb is now missing, but the text is recovered from an early copy.
On the left, the text begins (with variations, including once the queen)  : “Praises to you, the living Aten, and to the king’s Ka.”
The columns then continue :
1) “May he (the king) grant a great age, and a beautiful funeral to the hill of Akhetaten (the tombs of the cliff) . For the Ka of the High Priest of the Aten, in Akhetaten, Meryra, justified.”
2) “May he grant a good burial after old age in the land of the favoured. For the Ka of the Royal Chancellor and Sole Companion, Fan-bearer at the King’s right hand, Meryra, justified.”
3) “May he grant a long duration, seeing your beauty; may the sight of you never fail. For the Ka of the High Priest of the Aten, in Akhetaten, Meryra, justified.”
4) “May he grant the receipt of loaves and drink, offered in the Temple of Aten. For the Ka of the Royal Chancellor, beloved of his Lord, great favourite of the Lord of the Two Lands, Meryra, justified.”
On the right, Meryra asks that his name is not forgotten, that the offerings which are made for him are abundant, …

The passage to the first hypostyle hall

The thicknesses are decorated on both sides.

a) – On the right (east)

. Meryra faces the entrance in the attitude of prayer already described. He is clothed with a long carefully configured garment, which does not present the usual diaphanous transparency of other representations. Around his neck are arranged four gold necklaces, evidence of the king’s gratitude and a mark his esteem.
He recites what one has become accustomed to call the Small Hymn to Aten, thus named by opposition to the Great Hymn. If this last is only in the tomb of Ay, five versions of the Small Hymn exist (sometimes more than one copy per tomb) in the tombs of Tutu, Mahu, Apy and Any in addition to the one of Meryra.
All of these texts, being written with the first version of the “didactic name” of the Aten, it can therefore be deduced that they date from a period between the year 5 and the year 9 of the reign, a period for which a second “didactic name” is substituted for the first . It is this second name which one finds elsewhere in the tomb of Meryra , proving that the decoration of the tomb dates, at least partially, from the second part of the reign.
The Small Hymn is successively about the daily solar cycle and its consequences on creation, then a short section is about the relationship between Akhenaten and the Aten.
With Meryra, the hymn starts with a formula of adoration and then continues as follows :
“Your rising is beautiful, O living Aten, Lord of the eternity. You are radiant, beautiful and gleaming, your love is great and powerful of rays which produce eyes for all that you have created. Your surface shines giving life to hearts. You fill the Two Lands of your love, the good ruler who even formed himself, creating every land and that which is on it, mankind, all herds and flocks and all kind of trees which grown on the ground. They live when you rise for them. You are the mother and father of everything that you made: their eyes, when you rise, see because of you. Your rays illuminate the whole land: every heart rejoices at [your sight. You rise as their Lord. When you set] on the western horizon of the sky, they lie down, as if they had died. Their heads are wrapped, their nostrils are closed until you rise on the eastern horizon of the sky. Then their arms are lifted in praise to your Ka. When you bring life to hearts by your beauty, there is life. When you have sent your rays, the whole country is in festival: the chantresses and musicians lift up their voice with joy in the court of the House of the Benben, your shadow in Akhetaten and in every place which you are satisfied, and in which there are food, provisions and offerings.”.
Then comes the king’s praise, as sole representative of the god on earth : “Your son is pure, accomplishing what pleases you, O living Aten, the one who created him, his son, the unique of Ra, in his image, without ceasing eternally.”

b) – On the left (west)

. Here there is a representation of the wife of Meryra, the lady Tinro, described as “great favourite of the Lady of the Two Lands”. She is in the same attitude of prayer as her husband. She is clothed with a long dress of thin linen, hung from her shoulders and flowing over her arms, totally transparent allowing her full form to be seen. It is in a style characteristic of the time. On her head she wears a large wig on which rests a cone of ointment. She recites a long prayer :
“… … … … You rise in the eastern horizon of the sky to give life to everything which you created, mankind, cattle, flying and fluttering things and all kinds of reptiles which are on the earth. They have life when they see you. They lie down when you set. You gave your beloved son, who lives in Ma’at, the Lord of the Two Lands… etc. … and living with you forever, the Great Royal Wife, Lady of the Two Lands, his very beloved, … etc. … being at his side while he satisfies your heart and sees that which you have made every day. He rejoices when he sees your rays. Grant him eternity as King of the Two Lands.”
Finally, it can be seen that this speech is hardly different from that of the Small Hymn.
Notice however that she had great fortune to have the right to have herself represented in her husband’s tomb, a favour which she probably owes to the fact that she was close to queen Nefertiti. Indeed, one of the numerous originalities of the Amarnian tombs, in relation to those of the previous periods, is the disappearance of the family representations in the majority of the tombs. It was nevertheless about a major wish – and a need – of the deceased until then. Everything now happens as if the tomb is only an extension or projection of royal ideology, for which it represents one of the supports.

The first hypostyle hall

. This represents an imposing room, whose majesty is accentuated again by the imposed semi-darkness. It is almost square, being about 5 metres end to end and nearly 6 metres across. Although the height varies due to the irregular character of the floor -badly or hastily finished- it is about 4.75 metres at its highest point, highest at the northern end. One is immediately struck by the two large columns which are seen on the right, and instinctively one searches for their symmetrical pair. Alas, the two columns of the left have been levelled entirely at the time of reuse of the tomb, to create space. This mutilation has a positive effect however : the whole west wall, showing the royal procession toward the temple, is thus more legible.
The two openings of entry and exit appear majestic because of their imposing height.
All walls of the room are decorated in sunken reliefs, which alas have retained only a little of their original colour.
Surrounding the scenes on all of the walls, represented here in the tomb of Meryra, is a broad border. Nearest the images is the familiar ribbon of coloured rectangles, between green bands; then at narrow intervals follow blue and red bands alternatively. The border extends up to the cornice at the top and but not fully down to the floor at the bottom.
The modern neon lighting gives an unpleasant greenish hue, which indeed doesn’t help to capture the quality of the representations (nor have the photographs of the walls!), nevertheless one tries to guess. Finally, the damages inflicted on the tomb after the death of Akhenaten are visible everywhere : the figures of the royal couple have been savagely hammered, as well as their cartouches.

I – The columns and the ceiling

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. The columns are massive (approximately 3.8m tall and a metre in diameter), representing an assembly of eight stems of papyrus with closed heads, bound together by four horizontal bands just under the swelling heads. They rest on a circular tapering base.
On the side which faces the centre of the room, plaster has been added (just below the banding) in order to form an oblong plate on which is represented the beaming disk surmounting the cartouches of the sovereigns and the Aten. At the summit of each column is a rectangular abacus which seems to support the pseudo architrave projecting from the ceiling. The two remaining abacuses carry on their west side the name and the titles of Meryra :
on the south column : “The High Priest of Aten in Akhetaten, Meryra, justified.”
and on the north column : “The Fan-bearer at the King’s right hand, Great Favourite of the Good Ruler, Meryra, justified.”
An inscription in very large hieroglyphs runs along the whole length of the outer face of the two architraves and must have added greatly to the decoration of the hall, but it has nearly disappeared today.
The central part of the ceiling situated between these two architraves is flat, but slightly arched and at a higher level in the nave; its decoration has disappeared.
A moulding and cavetto cornice, decorated originally with motifs of green, blue and red plumes, ran all along the walls to the limit with the ceiling, and is only interrupted by the openings of entry and exit, where their own large moulded cornice then takes over.

II – The south wall

A – The south doorway

Its lintel is identical to those previously met. The doorposts carry some prayers in three columns, recited by the kneeling deceased, accompanied by the cartouches of Ra-Horakhty and the royal couple

B – West part of the south wall

This is the part located on the right, after having turned around toward the entrance .

1) – The upper register

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This is dedicated to the investiture of Meryra as “Great Seer of the Aten in the domain of the Aten that is in Akhetaten” by the king, accompanied by queen Nefertiti and princess Merytaten.
The bottom of this scene is based level with the “Window of Appearances” of the palace . This is decorated on its uprights with cartouches and at the base with a floral composition. At the top, the architrave is surmounted with uraei crowned with a disk. This is interrupted at the central part, thus perhaps indicating the entrance doors of the Aten temples, or perhaps because nothing must interrupt the progress of the luminous rays finishing in hands which come down from the disk which surmounts the scene.
Under the cornice, which acts as a balustrade, an immense semi-circular motif resembles an usekh-necklace. The king leans over this balustrade, and seem to be supported on a cushion, represented in dark red with rows of blue diamond shapes. Akhenaten leans from the window to give or to throw something, whilst he proclaims in front of all, the honour of the office which he confers on his servant Meryra.
Meryra kneels below the window accompanied by members of his household. Because the artist was unable to represent this properly, he placed the characters (who would have been side by side) on superimposed levels. At the bottom, Meryra is represented twice; first kneeling then carried in triumph by his close relations and wearing the gold collars around his neck .
Above, in a small sub-register, are five characters. Four are the scribes who record the royal words :
“… … … Behold, I make you Great of the Seers in the temple of Aten in Akhetaten because you are in my heart, saying : Oh my servant, who listens to the teaching, my heart is satisfied with everything that you are about. I give you this office, saying: You will eat of the stores of the Pharaoh (per aa) – Life, Health, Strength – your sovereign in the temple of the Aten.”
At the top there are two groups of lesser officials, clothed in a simple loincloth, separated by the representation of a palmiform mast with a streamer, two of which cross behind all three sub-registers. The four first are bearers of fans, the four at the rear carries a stick in their hand and are probably a contingent of police to ensure order.
Crowning the whole register, and centred by the solar red disk decorated with an uraeus, are the cartouches of the Aten, the king and the queen and the inscription : “Living and great Aten, Lord of the Sed-festival, master of everything which he surrounds, Lord of the Sun-disk (Aten), Lord of the sky, Lord of the Earth, within the temple of Aten in Akhetaten”.

2) – Lower register

. Below the main register is a second register This forms a sort of dado which introduces the secondary characters who also attended the ceremony, forming a sort of second grouping, but which the artist represented underneath. They turned towards a centre where would have been Meryra. It is difficult to know exactly if these people had a role other than that of spectator. It could be that some of them were tasked with collecting the presents offered by the king to Meryra? The chest represented at top left could be for that purpose.
In any case, clearly distinguishable at bottom right is a group of women singing, beating the tambourine and dancing as a sign of rejoicing. Standard bearers are also present for this moment of jubilation.
On the left side, the harnessed chariot waits for Meryra, to leave the place of the ceremony.

C – East part of the south wall

Here the scene shows the royal couple making offering to the sun. It is also separated into two sub registers: at the top, the main scene, and at the bottom with the secondary characters

1) – The upper register

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There is no architectural representation in this panel, not even an altar. Only three tables of offerings are illustrated resting on the floor.
The conventions of Egyptian drawing are perfectly respected. The scene shows the king and the queen one behind the other, but who were actually side by side , who throw a fragrant resin into the two braziers which surmount the offerings on the table. These braziers were in fact in front of the table on which one had stacked the usual animal and plant products. Akhenaten is crowned with the khepresh, and is clothed only with of a loincloth resting on his hips. The whole of his body is represented particularly gynoid (pear-shaped), very similar to that of Nefertiti. Behind the couple are two of their daughters who wear the hanging side lock of childhood – Merytaten and Maketaten (who shake sistra).
Meryra is accompanied by another priest, both are much smaller than Akhenaten. He holds out to the king the products destined for the offering, probably a cone of incense.
Seen here is the position which Akhenaten assigned to the above dignitary of his clergy : the one of an underling, with no theological role since the king and the queen, and them only, could address Aten and provide worship of the cult in its fullness. However, he probably had the power to assist in worship, probably simplified, when the sovereigns were indisposed.
The representation of the disk which surmounts the scene is extraordinary and has never been found elsewhere . It was the subject of numerous speculations which deserve a special chapter.

2) – The lower register

Of smaller size, it represents (on two lines) what happened away from the scene or outside of the temple. The groups are arranged symmetrically in relation to the centre, toward which they seem to converge.
At top right are two groups of priests, of which one (who stands alone) offers a fumigation vessel; at top left, a group of two men and eight women carrying fans and standards, possibly a personal retinue of the royal family.Below, on the left, harnessed chariots wait for the royal family, to take them back to the palace.

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At bottom right is one of the most beautiful scenes of all tombs of Amarna.
It represents a group of eight seated men. The first plays a harp, the seven others are obviously chanters, all are blind as is the tradition (and it is known that with the frequency of ocular diseases, blind people were not discarded in the country). They begin with the “harpist’s song” which will so often be represented from this second half of New Kingdom, songs which convey a pessimistic idea of existence and a future in the beyond.
What is striking here, is the extraordinary human dimension and realism of the faces produced by the artist : old, with marked features, with wrinkles. It could be that he was inspired by the true protagonism of those who worked in the temple.
In a general manner, in this tomb (as in other Amarnian tombs), the features of the characters are often a lot more detailed than in tombs of previous times, with even the more grotesque striking features accentuation.

III – West wall and west part of the north wall

The whole panel is occupied with a large representation of the royal family going toward the temple of Aten, and with the secondary scenes at the sides and below . This scene continues on the west part of the north wall with the conclusion, the arrival and the welcome of the sovereigns (pl 10A).
The exact relationship of this scene with respect to Meryra (who cannot be formally identified) remains uncertain: does it relate to his establishment as High Priest, or does it refer to one of the daily visits by the royal couple when he had taken up this office ?

A – The west wall

1) – Top left – the royal palace

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. This is where the procession started, which is shown in Egyptian perspective, where one superimposes what cannot be shown on the same plan.
An external courtyard protected by a wall existed. In the middle the wall is a monumental gateway, of a traditional type but without a lintel (as with all Amarnian buildings: nothing must hinder the passage of light). This is flanked, on the left, by a small doorway. In the courtyard, a servant sprinkles water by hand on clay (for making vessels), while a second sweeps with a small broom.
Only a part of this monument is represented in very large size. The various stacks of food shows the wealth which existed. Some were probably destined to be taken at the temple. Notice that the figurative commodities are isolated outside in the dust and protected from roaming animals by a protective cover in the shape of an inverse V, a reminder of the hieroglyph .
Outside, two men, possibly left in charge of the offerings, hold a discussion, one supports himself on a long cane.
Compare two representations of the Royal Palace in the tomb, based on two different axes, on the west and east walls.

2) – The procession

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This stretches behind the royal couple, spreading under the representation of the palace mentioned above. On two sub-registers, the four royal princesses follow their parents, two in each of two chariots.
The eldest princesses, Merytaten and Maketaten, are in the first chariot, but are nearly erased; they are followed in the second by Ankh (es) -en-pa-aten and Nefer-Neferu-aten- (ta) -sheryt (lit.: Nefer-neferu-aten the younger, to distinguish her of her mother Nefertiti). They are all represented as adult women, which is obviously impossible : the eldest was scarcely in her teens. A comparison can be drawn with their representation on the east wall where the small princesses are represented as children.
In each of the chariots, one of the princesses holds the reins as well as a whip, while the second clings with her left hand to a handle and passes her right arm lovingly around the shoulder of her sister, thus protecting them both from the bouncing of the chariot .
Each royal chariot is escorted by three more chariots each containing two female attendants, holding plume-shaped fans (omnipresent in Amarnian art). The princesses and the ladies-in-waiting are dressed alike, in a long mantle and a colourful shawl on the shoulders .
These chariots had to be of a reasonable width because the driver is represented in a small enclosed area at the side, thus separated from the women, and not risking to touch them in case the chariot bounces.
The Amarnian artists liked horses, and in the procession they are of course numerous. Their coat is a dark red, as almost always in Egyptian art in general. Note the stiffness and the lack of a naturalism in the animals. As elsewhere, the artists did not know how to really represent the horse, an animal newly introduced into the country and for which there was no traditional style.
The princesses are further accompanied on all sides (but represented only above and below) by possibly the security service, whose agents are shown (as in all Amarnian tombs) in a bizarre, non natural manner, running while being bent to the extreme, and holding a stick in their hand.

3) – Middle of the procession – the king and queen

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. Akhenaten is represented at a greater scale than Nefertiti, but apart from scale, chariots and horses are almost identical. Perhaps the artist wanted to show that the couple actually shared the same chariot .
Their chariots are of a very light construction, even the sides of the wooden shell is lightened by a large hole (forming a handle grip at the top), and are similar to those found in the tombs of Thutmosis IV and Tutankhamun.
The king wears a light tunic fastened at the waist by a decorated and fringed sash. He is crowned with the Khepresh helmet, from the bottom of which two red ribbons flow, giving the impression of movement. He holds the reins and a whip in his hands.
The horses have rich harnesses. For instance on their backs, at the base of the neck, is a leather harness surmounted by a disk. Their heads are adorned with a leather hood to which are fixed tall feathers of alternating white red and blue.
Two figures are seen under Akhenaten’s horses. These may be grooms, actually running along side their charges or perhaps just added by the artist to fill the large blank space.

4) – In front of the royal procession

. In front of the chariots run the men of the royal guard, shown on three rows.
The top row is formed of six standard bearers, with three types of standard. In front of them are four members of different races : at the front is an archer (possibly Nubian, with a plume in his hair), a man with a spear (probably Asiatic, with a beard), a man with a rounded axe (probably Libyan, with a strange hair style) and finally another archer (possibly Nubian again, plume in his hair).
The second row is formed of soldiers carrying a spear, an axe and a shield; they are followed by a man with a baton (possible the sergeant).
Finally, on the third row are four men who carry a kind of flail, again followed by a man with a baton.
Directly below these rows of guards are four figures, two forerunners of the guard (judging by their stance and batons), greeted by two members of the temple staff.

5) – The lower register

Forming by way of a dado, this shows another procession of soldiers, chariots and runners. It is possible that this should be interpreted as the retinue of Meryra himself. But, it is also possible that it could be one which also accompanied the royal couple, but on either side.

B – West part of the north wall

This constitutes the continuation of the scenes of the west wall (shown by the fact that the borders do not stop or start again at the corner), with the arrival with the temple

1) – In front of the temple

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All the people to the left of the temple are there to receive the royal procession – The characters at the bottom of the main register again show receipt of the procession, with (this time) four forerunners met by the head officials of the temple. This probably indicates that the rows are intended to be read from bottom to top.
Thus, the individual in the fourth row could be Meryra (although the text which would have confirmed this is mainly missing). He is followed by a group of four, who from the text are : “Chief attendants of Aten in the temple of Aten in Akhetaten.”
The next row up contains four fan-bearers, kneeling on the ground, preceding three priests carrying bouquets, the front two lead two fat oxen (which are richly adorned) intended to the sacrifice
In the top two rows, women clothed in long pleated dresses are the chantresses who come with tambourines. Note the small girl in the lower row, who holds a festive branch – The chantresses are accompanied in each row by several male colleagues, one of which (on both rows) prostrates himself on the ground according to the Egyptian expression, “smell the earth”.

2) – The lower register

Again there is an underlying dado (as with the one of the west wall, to the same scale), subordinate to the large register above, with characters of lower rank, who are bringing to the royal procession sacrificial oxen, fowl and flowers

3) – The Great Aten Temple

The artist provides a general view of the monument based on a pseudo west-east vertical perspective (west being at the bottom). At the top, the rays of the sun (the Aten) are shown spreading its rays over the temple complex.
The structure is shown as a large oblong structure surrounded by an enclosure wall, the main entry pylon being at the bottom. Small entries give access to two narrow passages which run down the sides. The impressive entrance leads to the outer courtyard, which extends down and around the back of the actual temple, the Gem-pa-Aten (Meeting the Aten). These side extensions to the courtyard are filled with offering tables, representing the hundreds of actual alters which occupied these spaces. Against the lower left outside wall is also represented a slaughterhouse.
Facing the entrance to the Great Aten temple complex is a second pylon, adorned with flag staffs, giving access to the Gem-pa-Aten. This is divided into several sections, each entered through its own smaller pylon, in the first of which is an alter ascended by a flight of steps.
Beyond the end of the Gem-pa-Aten complex, through another pylon, is a further courtyard and another building, the temple sanctuary To the right of this pylon sit a group of harpists and to the right is a staircase leading to a stela on a pedestal. The sanctuary contains the Holy of Holies, the whole sanctuary structure is again surrounded by an open area. The left-hand side of the open area contains another slaughterhouse and two busy servants, one sweeping the ground, the second cleaning the inside of a large vessel. The right-hand space has several tables of offerings.
At left and right of the entrance to the sanctuary are two open-ended rectangular areas; the representation in the tomb of Ahmes shows that these acted as small rooms, intended to accommodate the royal family.
All of this can be seen again (though in a different perspective) on the east wall, and will be described in greater detail there.

IV – East wall and east part of the north wall

These are occupied by a vast fresco divided into two registers, with a detailed representation of the Great Aten Temple (shown in a horizontal west to east perspective, with west on the right). There are also scenes showing the worship of the sun by the royal couple, as well as Meryra being rewarded by the king, a result of good administration by the civil servant who filled the stores of the temple.
Like its counterpart on the west wall, the register continues on the adjacent part of the north wall.

A – East wall – upper register

At the extreme right is represented the royal palace. On the left is seen the Great Temple of Aten (Per-jtn-m-Akhet-jtn = The house of Aten in Akhetaten), which also extends on to the eastern section of the north wall. The enormous mass of the temple occupies the greater part (about 2/3) of the space. The action is confined therefore to the right 1/3, and centred on the offering made by the royal couple, the royal palace is of course here also.

1) – The royal palace

This is represented on the right-hand side of the register, in a vertical oblong view, to which the royal couple will return after completing to the Great Aten Temple. It is surmounted by the image of the radiant Aten surrounded by the royal cartouches, all unobtrusive.
What appears to be the second pylon (from the bottom), is actually the “Window of Appearances”. Behind this is a room with two chairs (or thrones), which have eleborately form formed feet and stand next a table charged of victuals, seemingly prepared for the royal couple’s return.
Unlike the image on the west side of this chamber, this building is totally devoid of servants actively going about their business.

2) – Outside the Great Temple pylon

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The escort which brought the royal couple to the temple waits for them, for the return. The harnessing of the pairs of royal horses are held by a groom, while the driver, stooping at the rear of the chariot, holds the reigns.
Above of the chariots, a six bearers hold banners, the first four display the double cartouche of the Aten, and the last two shows a structure of the solar barque. They are followed by two Nubians armed with their traditional bows, two Syrians then two Libyans. These could be a token representation of the peoples controlled by Egypt.
Beneath, a third chariot waits, being part of the military escort who, with the fan-bearers, will escort the royal couple.

3) – The Great Aten Temple

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This enormous structure is totally surrounded a wall of mud bricks, measuring 730 x 230 metres, thus delimiting an internal space of about 17 hectares. On this wall the temple is represented with north at the bottom (compared with the “face on” view of the representation on the west part of the north wall). The images of both east and west walls show a much compressed version of the Great Temple complex, as seen from the actual ground plan above – in which the actual buildings take up only a fraction of the inner area.
The first of the two main cult buildings is the Gem-pa-jtn (or Gem-pa-Aten = Meeting with the sun-disk) temple, measuring about 210m long by 33m wide
There is now no evidence of a wall and pylon dividing the two main areas, nor of the slaughterhouse associated with the Gem-pa-Aten.
Behind and separated by distance of approximately 350m is found a sanctuary the Hut Benben (= the House of the Benben), inside of which is the “Holy of Holies”. The sanctuary temple covers an area approximately 100m front-to-back by 70m wide.
On the northern side of the outer perimeter wall, on a level with the sanctuary temple, are two small buildings. These do not appear on either of the images in Meryra’s tomb, but can be found on others in two other tombs. The larger has been proposed (by B. Kemp, 1993) as possibly being the northern entrance reserved for the royal family, a place for ‘purification and robing’, especially if the king’s main residence was the North Palace. The purpose of the smaller structure is unknown.

4) – The temple courtyard

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The royal couple dedicate the divine offerings on an altar in open air, between the main entry pylon of surrounding wall and the first pylon of the actual temple . Five small altars overladen with provisions and two with flowers are placed in front of and between the king and the queen, who both hold out a sekhem-sceptre. Their faces have been hammered out, but the headgear of Nefertiti still remains, composed of a double plume surrounding a solar disk. The Aten disk and its rays ending in hands surmount the scene.
Notice the small character who presents a vase with one hand and the material for fumigation with the other. Could this be Meryra ?
Behind the royal couple, displayed on two rows in pseudo perspective, are the four small princesses with as many attendants . The princesses shake Hathoric sistra. They are standing within the main entry pylon of the outer wall.
The inscription is historically important for the datings of the Amarnian period because it is one of the very rare mentions of the youngest of the daughters of the royal couple: “Nefer-neferu-jtn-ta-sheryt” (“Neferneferuaton – the younger”), so as not to be confused with her mother Nefertiti. Curiously, she is the only one of the princesses named. The artist took care to distinguish between them by their size and by the nudity of the youngest sisters at the top.

5) – The Gem-pa-Aten

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P (already quoted for the vertical west-east axis view).
Thanks to Google Earth, it is possible to compare the plan of the monuments with the traces which are still on the ground. A general view shows the extent of all the architectural group. Using the top inset, a comparison can be made with the plan and aerial view of the ground traces of the Gem-pa-Aten.
The central avenue of access in the temple was elevated, the altars in the three first courts appearing aligned in pits slightly below. Note : in both the aerial view and the inset, west is on the left, whilst on the east wall plan west is to the right.
Along the length of the outer wall of the Gem-pa-Aten can be seen an accumulation of small altars with provisions : they are an iconographic summary of the hundreds of altars which were associated with this place.
Note also the representation of a small enclosed courtyard . This was probably a slaughterhouse, where the sacrifice of oxen took place, and which includes the body of the animal, a separated head and a skin. A similar one was associated with the smaller sanctuary, the Hut Benben. See a comparison of the two in this version of the temple,

a) – The temple entry pylon complex – The Per-hay

This is represented (face on) to the left of the royal couple. It represents not only the entry into the temple itself but also a typically Egyptian abridgement, named Per-hay (= the House of Rejoicing). The entry pylon is followed immediately by a columned room, then another pylon, exiting into the rest of the temple. It is interesting to notice how the artist has shown this : the two entry piers of the pylon are decorated with masts carrying standards, but a series of eight lotus-form columns have been drawn on each in two rows. These are in fact placed behind and within the whole entrance structure. In the same way, between the two piers, notice the two doors, one smaller than the other, they correspond to the entry and the exit of the Per-hay. This is made much clearer when referring to the ground plan in the insert in the Gnamed as the “Pavilion”.

b) – After the Per-hay

On exiting the Per-hay through the second pylon one enters the first great courtyard, which has a multitude of small altars on all sides. In its centre stands the great altar, the main one of the temple. A flight of steps lead up to a small platform, which is overladen with provisions.
On exiting pylon 3, one enters a new courtyard with altars, which should be the same size as that of the previous one, more or less, but which the artist shortened from lack of space.
Leaving through pylon 4, gives way to a smaller courtyard, which includes a double colonnade supported by lotus-form pillars.
Leaving pylon 5, a new courtyard filled with altars.
Pylons 6 and 7 are at the back of the temple and provide access to its storehouses, to which are associated various sized altars.
The concluding east wall is located at the extremity of this main building. The continuation of the scene is on the east side of the north wall.

B – East part of the north wall – upper register

Thanks to the satellite photo, a general view of the actual location of the sanctuary can be found.

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1) – The right-hand section of the wall

The beginning of this section of wall starts on the right-hand side of the panel, with an area which includes (on either side of the main central axis) four oblong structures (gardens or pools), with some altars. These belong to the surrounding area of the Gem-pa-Aten and are at its rear. Then comes the entry pylon for the sanctuary, the Hut-Benben (= the House of the Benben). (Remember, there is now no evidence of this or the separating wall.)
At the top of the courtyard before the sanctuary, is found a group of four musicians paying homage to the life-giving star. They sit in front of stands with offerings.
At the bottom is a seated statue of Akhenaten and a stela on a pedestal We are now unaware of the actual text of this stela, which was probably extremely interesting. Some (including Norman de Garis Davies) saw here a representation of the benben stone, the primordial stone of the Ra temple at Heliopolis; others (in particular Prof. Marc Gabolde) think that there was no true representation of benben in Amarna, which by no means prevented the presence of the Hut-Benben (House of the Benben).
A slaughterhouse appears in the lower corner, or at least an enclosed area containing two partially dismembered oxen. The slaughterhouse associated with the Gem-pa-Aten only had one bovine . On the left, some servants prepare drinks or clean the containers which are going to be stored in small annexes.

2) – First pylon of the sanctuary

At the east side of the outer courtyard (opposite its entry) is the entry pylon to the sanctuary proper. It gives way to a further courtyard whose first part is fully open to the sky, while the access to the doorway of the Holy of Holies is flanked by on both sides by four lotus-form columns and statuary of the crowned king. He wears the crown of Upper and Lower Egypt, both of his arms are crossed on his chest holding the signs of power : the sceptre and the flail .
The outside of this entrance thus resembles a hypostyle hall.

3) – The Holy of Holies

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The Holy of Holies was accessed through a far greater pylon than the previous one It was doubly protected by two sections of out of line wall, preventing the view by laymen of the inside of this space, the most sacred of the whole of the Great Aten Temple complex.
The courtyard is centred by the main altar surrounded by secondary altars . It was here that Akhenaten gave worship in the most secret cult, theoretically in the morning and evening.
All around of this courtyard, doors open on to twelve smaller ones, each including a table of offerings.
There are no other doors, and therefore no communication with the large peripheral courtyard or either of the two rooms at the rear of the building.

4) – Additional rooms

A narrow space is represented between the Holy of Holies and the final room, which has entry doorways at top and bottom . This is in fact a room of roughly the same dimensions as the room at its rear and a doorway exists between the two. Note that the radiant Aten surmounts this part, surrounding and blessing these entries at the same time as his sanctuary.
The final room probably constitutes a storeroom and this opens to the outside at its left extremity, by a doorway. This leads eventually to another in the main outer surrounding wall.
The royal rooms at either side of the entrance (seen more clearly on the east wall view) are no longer as obvious.

So ends this vast representation of the upper register.

C – East wall, lower register

1) – The right-hand side

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The scene is located between the warehouses and the Nile, by which all products arrive, including food since the agricultural lands are situated on the other bank of the river. The abundance of boats, shown by a forest of masts, highlights the intensity of the traffic. Each mast is held by ropes and carries at its top an enseign, most of which appear to be a double cartouche. The sails are folded. Every boat is moored to a stake by two ropes and a stepped gangway descends to the quay. At the prow, a man who is probably the captain, bows in front of the king. Behind him, the bridge is congested with goods.
The cattle which the ships have transported have been regrouped in stalls, situated close to the quay. There appears to be two cattle-yards sounded by only a low wall. These have a large entrance in the middle and a smaller side door on the left. Each yard accommodates twenty head of cattle, an individual drover being in charge of a group of five beasts, which he seems to feed by the hand. Each beast is attached to what seems to be a tether point fixed to the ground. The animals are of different species, some having a humped back, possibly related to the zebu.
Between the two parts of the scene, and waiting in front of the outside door of the temple for the king’s return, are three chariots harnessed to finely bridled horses and accompanied by their driver and possibly a groom. At the top, also outside and waiting for the royal couple, are the king’s body-guard, consisting of five soldiers each armed with a spear, shield, axe and one with a flail.

2) – Meryra rewarded

The scene is the centre of activity for this register : the representation of Meryra’s reward. As Sovereign and Great High Priest, Akhenaten thus thanks his faithful and zealous servant in the career of which this day has to represent an apotheosis.
The scene takes place in the courtyard in front of the granaries, which seems logical, since it is in their management that Meryra has distinguished himself. Besides, it is very improbable that ceremonies of this type were held in the major cult areas of a temple.

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Meryra stands with his arms raised in salutation. By command of the king, the Superintendent of the Treasury of Golden Rings places another heavy gold necklace around the neck of Meryra, which is already adorned with several, as a reward from the king. Other precious rewards have already been given to him and are carried by servants or the priests of the temple. On Meryra’s head is what is customarily called a “cone of ointment”, the exact nature of which is again currently under debate.
Attending the scene are three other groups of characters. At the top are two fan-bearers and four bearers of sunshades. Below them are probably priests and finally four scribes scrupulously noting all of the events (in front of them is probably another priest).
In front of Meryra and the accompanying characters, stand the royal couple , in majestic size in relation to the others (Meryra himself is represented at the same size as the other subordinate characters, but not bent). Akhenaten nonchalantly rests his left hand on a long cane, while with his right hand he makes the sign of donation. He makes the following speech, shown before him in four columns of hieroglyphs :”Words spoken by the king of the South and the North, he who lives in Ma’at, the Lord of the Two Lands, Nefer-kheperu-ra Wa-en-re (Beautiful are the Manifestations of Re – the Unique of Ra)  : May the Superintendent of the House of the Gold Rings take the High Priest of Aten in Akhetaten, Meryra, and place the gold on his neck, to his head and around his feet, because he is obedient to the teachings of Pharaoh (life, prosperity and health to him). Having done everything that was said concerning these beautiful places made by Pharaoh (l-p-h) in the House of the Benben, in the temple of Aten, for the Aten that is in Akhetaten, (he) filled it with all good and pure things, with wheat and barley in abundance, on the The Offering Table of Aten, for the Aten.”
We see in this last sentence the real role that Akhenaten assigned to the “High Priest” : the one of a Chief Superintendent, in charge of the material aspects of the cult but no means of its execution. Notice in the passage that Akhenaten behaves with the property of the temple as appropriate. He actually succeeded in uniting two powers, which were until then distinct : the regal power and the great priesthood of the principle God of the Empire.
To this speech, Meryra replies : “The High Priest of Aten, in the Temple of Aten in Akhetaten, Fan-bearer at the King’s right hand, Favourite of the Lord of the Two Lands, Meryra, says : “Health to Wa-en-Ra, the Fair Son of the Aten. Grant that you may accomplish your duration, grant for ever and ever” .”
Behind Akhenaten, stands Nefertiti wearing on her head a cap decorated with the uraeus. The couple is bathed by the rays of the Aten which sits above of the scene.
Behind the royal couple are the small princesses, of which only two are now visible. While above them are several fan and sunshade bearers, also a line of others, all possibly waiting to escort the royal entourage into the granary behind them.

3) – The granary

The granary proper is entered by two doorways. It is divided in two communicating spaces in each of which are represented four silos for grain. Four scribes and four standard bearers wait for Akhenaten.
A door surmounted with pleasing uraei provides access to the front of another enclosure surrounded by yet another surrounding wall. The narrow space between the two has trees in brick containers supplied with drainage holes.

4) – The second enclosure

This is entered by a central double-leaved doorway, shaded by a porch with a projecting roof supported by ornate columns. The area can also be entered by two smaller side doors on either the side of the main entry. These lead to a small courtyard, in the centre of which is a raised kiosk whose roof is supported by thin lotus-form columns, and which is entered up a small flight of steps. It is surrounded by a low wall. The covings and low wall are decorated with uraei.
This courtyard is exited by any of the three facing doorways (the middle one of which is again double-leaved) and which now give access to an oblong space planted with trees. The area can be exited by many doors, those at the far end (this time only one double-leaved door and one small one) exit the building. On both sides of the central walkway is another set of three doors (the central one, in each case, again double-leaved). In both cases these open up to another tree-line space. No matter which side the visitor chose to enter, he was confronted by six doorways on either side, under a covered colonnade, each being the entry to a store-room. Thus there are twenty-four in total, and judging by the contents, this building must have been a vast storage centre.
The various commodities stored here are : jars with long necks, either open or sealed; breads of various kinds, pot-bellied vases, bags of precious materials, chests with clothes … . The fourth, bottom left, contains dried fish. Imagine the odour … .The fifth, top left, contains precious objects, with vases of Cretian and Syrian type . The commodities accumulated in the various containers and bags remain unknown to us. The top tree-lined avenue includes at its extremity, closed by two small doors, a building similar to a kiosk, whose entry seems to be situated on the other side of the surrounding wall, of which it would then form one of the usual three door groups. The bottom avenue does not appear to have any communication with the outside.

D – East part of the north wall, lower register

1) – Is this the house of Meryra ?

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After travelling centrally along the wall, out of the previous building (and actually on to the eastern side of the north wall), a different set of structures enclosed by another wall is encountered, which may or may not be part of the preceding scenes. The sky symbol, at the top of the lower register, does however continue over this scene making a good case for the enclosed buildings being in line with the others.
According to Norman de Garis Davies, when taking account of what remains of a hieroglyphic inscription, this structure is probably the home of Meryra. But due to the complexity of the whole, the apparent lack of personal space and the uncertainty of the usage of the two lower buildings, this may not be the case.
This large structure, which at first appears to be a private dwelling and estate, is entered through a central doorway in the right-hand side of its surrounding wall. However, due the damage to this part of the structure, and judging by the design of an entrance at the centre of the bottom wall (a pyloned entrance with two side doors) of the artists rendering, the main entrance could have been on this other side. But, after entering from the first mentioned doorway, there is a small courtyard with two trees, possibly a continuation of the arboretum at the bottom of the estate. Immediately to the right (upwards) is located a possible two roomed porter’s lodge. The wall which forms the upper part of it is common with that of four dwellings situated in a courtyard planted with three trees and accessed through a door in the extension of the common wall. It is possible that this is a six roomed structure, with a private courtyard.
The central part of the composition is badly damaged, probably along a main avenue (right to left), open to the sky, in which remains only part of the hieroglyphic text and a small tree. It probably contained, at its far (left) end, an entry to the garden (which will described below).
The entry to the upper part of the structure (above the avenue) was probably situated off here, in part of the wall lost to this relief. The building appears to divide into two areas either side of a central hallway edged or supported by payriform columns and which ends with three small rooms (either chambers or offices). Two lateral corridors leave toward the right and the left, in front of the end rooms already mentioned. Off these two corridors the rooms (in some cases) appear to be used as storerooms.
Two pleasantly worked doors, on either side of the main hallway, lead to the two main rooms; the doorways are possibly designed to allow adequate ventilation to the additional rooms beyond. Whilst the room on the left (the use of which cannot be ascertained) is supported by plain pillars, the one on the right is supported by more elaborate ones. In the centre of this room appears to be an altar, at the side of which are three vesels on a table. If this was intended as a cult room for worship, then room was probably open to the sky. At far end of the room is another ornate doorway, leading to a corridor supported by two columns; this door being its only means of entry.
These are possibly the private rooms and sleeping quarters, judging by what could be square benches (for beds) in the three small rooms at the top and possible wall supports for bed slats in the room second from the top on the right.
Further to the right is a range of seven store-rooms on one side of a corridor, probably separate from the main building. The entry was probably through a door located in the central avenue.
Yet another set of rooms, also separate from the main building, were possibly offices, thus making this a place of work and not just a residence. Again, the entry was probably located in the central avenue.

2) – The stables

At the end of the damaged tree-lined avenue, and separated from the actual house, is unmistakably a stable, in which can be seen two donkeys (or horses) feeding from a trough.

3) – The arboretum

A door leads from the central avenue, on the right-hand side of the stable, towards a large space situated below. The main entrance into this area is located at the bottom of the main surrounding wall and this was probably the main entrance to the whole private complex.
The area is planted with many trees, each surrounded by a sloping mound in order to permit a good watering. The water was probably supplied from one of the two artificial pools located near the bottom wall. The trees surround two large buildings, left and right, below which are located the two artificial pools, which probably supplied the water for the trees. These purpose-built pools appear similar, but the image of the one on the right is damaged. They are both surrounded by a low wall, but one on the left is subtly different and may have had other functions. Indeed, from its surrounding wall protrudes (at the centre of two of its sides) a small raised walkway. In the middle of these is what looks like an open air altar. From this, two stairways either side of a central ramp descend into the water. Could it therefore be a sacred lake used for cleansing, or perhaps a mini lake into which descended the solar barque ?
The major part of the total area, which is actually larger than the main building, is taken up by two buildings of different designs, so perhaps the arboretum supplied the means for a pleasant relaxing walk.

4) – The large building at bottom right

The function of this building is rather mysterious.
In order to enter this building, it was necessary to pass through an outer pylon (or, via one of two small side doors at either side of it) on the side closest to the main outer perimeter wall. This gave way to a long oblong courtyard, from which the only onward option was through another pylon or again through one of two more small side doors. These opened up into an inner rectangular courtyard, surrounded by doors to various rooms. Only the first room on either side gave access to a covered corridor, supported by columns, leading towards the back of the building. These two rooms also had access to the inner courtyard. A further columned corridor, separated from the two others, runs behind the rear rooms of the courtyard. The entry to this must have been from one of these rear rooms. Probably the room having damage in its design, which is larger than any of the others and is the only one with a centre column. These corridors all give access to a further set of rooms. Strangely, the corner side room, of the inner set, can only be entered from the adjoining rear room.
All rooms are represented totally empty.

5) – The large building at bottom left

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The building and the pool close to its entrance have been reconstructed in perspective by Norman de Garis Davies in a convincing manner (based on one possible idea of its construction), but no satisfactory explanation as to its function has been proposed, because of its strangeness. It does however allow a comparison between the Egyptian conventional representation and our modern vision of the things.
This building is very different in character to the one to its right. Again it is enclosed by an outer wall (one of which is the main outer wall of the whole complex). Access is by a pyloned door, which is flanked by two lateral doors. This opens on to a tree planted walkway which surrounds yet another building, again walled. On the left and on the right outside walls, thus separated from the central building, can be found a series of sixteen store-rooms (eight each side) of which twelve are filled with a variety of goods. Those at top and bottom are empty, but the two at the top extremity include a staircase permitting access to the roof.
The walled central core presents a symmetrical architecture. At both front and back, it was entered through a more complex pyloned doorway, again with smaller side doors. Along the front and back runs a portico supported on columns, four on each side of the entry. The right and left side of this inner space is occupied by three rooms of which only the central one includes an opening to the central area. The entry for the others appears to have been from under the portico, so could these porticoes have been inside (using Egyptian artistic license).
The central structure appears to have been surrounded by a covered corridor, supported by very wide pillars (possibly because its roof was used by people). This structure was entered from the front or the rear, the side exits providing access to the roof of the covered corridor and side rooms, using either of the pairs of stairways. At the very centre of the inner structure is an altar piled with offerings, thus open to the sky and the Aten. Perhaps the whole building had a religious purpose, but this is far from being apparent.
The rear of this complex building leads into a garden, but not directly. A narrow court or corridor runs along the back of the building, which ends in a room on either side and entered from the internal tree-lined walkway; the room on the right also gives access to the arboretum through a small door. The actual exit to the garden is through a pyloned doorway seen through the larger pylon at the back of the internal courtyard. This is yet another occurrence of the Egyptian artist’s way of showing one pylon (or doorway) behind another. A further, less significant doorway is displayed immediately behind this one.

6) – The rear garden

Besides the entry from the building below, the garden was probably entered through a doorway (in the now damaged area of the representation) located at the left of the main avenue of the upper building. The garden is planted with various trees and shrubs, only some of which have a water retaining mound at their base. Recognisable among the variety of trees are doum-palms, date palms, persea trees (associated with the rising sun) and pomegranate trees. These surround a large walled well, with steeply sloping stepped sides, down which descends a set of steps. The square middle area appears to be flat with the actual well at its centre. Above the actual well is part of a shaduf for raising the water, which would have been available when the river level fell. At top centre of the garden area, under one of trees, is also seen the remains of a further shaduf. Could this in fact indicate that the top of this garden was actually close to the river? Between the well and the entrance to the garden is another smaller structure with doors at front and back. At the rear of the larger front section appears to be an altar with offerings, the small room behind may be a storeroom.
Footnote : To date, no large structure of this design (of a residential estate or otherwise) has been discovered within the ground remains in the Amarna area, nor can the actual location be identified for the buildings displayed on the lower register of the east wall. It seems reasonable to assume that all of these buildings were located along the waterfront, by the presence of the boats at one end and the shadufs at the other.

V – The north wall

The west (left) and east (right) walls, at either side of the entrance doorway to the second hypostyle hall, have already been described.

Periphery of the doorway

The lintel and jambs present the same style as the one facing, around the entry doorway to this chamber; the lintel with a mirror image of the kneeling Meryra facing inwards towards a group of cartouches in the centre. This time there are four columns of text on the jambs, the beginnings of those on the left differing from those on the right. They do not begin with the usual introductory invocatory formula “hetep-dj-nesou”, but with “j (3) w-n-k” (= Praise to thee). It doesn’t seem necessary to see here any special theological connotation.

Originally, the name written at the bottom of the columns was not Meryra (which has been added on a coating of plaster) but Hatyay. One cannot necessarily deduce that the tomb would have been originally intended for someone else, because there is no other mention of him in the tomb, but the question remains open and Meryra may have been the successor of this latter, fallen into disgrace. It seems more probable that it is the scribe’s mistake because the name appears nowhere elsewhere.

The second hypostyle hall

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The entry to this chamber is even thicker than the previous, but it is undecorated. On entering in the room, there is an immediate feeling of poignant dignity in spite of the near darkness which conceals the very irregular character of the walls and columns and which also conceals the degree of incompleteness of the monument. Originally, the chamber was no doubt meant to be a second hypostyle hall, which should have been larger than the first, and furnished with four columns supporting architraves parallel with the axis of the tomb. Only the central nave has been excavated to any degree, but none of the walls are upright.
The floor is very irregular with various levels. The pillars are completely irregular and one of them isn’t even completely free from the bedrock.
This chamber is approximately 6.0m wide at the front, 8.5m wide at the rear and 6.5m front to back (between entrance and shrine). Its maximum height (down the central axis) is under 5 metres.

The shrine

The shrine at the very back of the tomb, it is more roughly finished than the preceding second hypostyle hall.
It is about 3.5m from front to back (including its entrance), a little over 2 metres wide at the front, inside the entrance (its widest point). Its height varies from 2.5m at the front to about 1.0m at the rear.
A rocky protrusion in the back could represent the knees of a seated statue intended for here. It is probable that the walls would have received decoration, if they had been completed.
The intention may have been for it to contain a burial shaft, but none is apparent.

Footnote

What became of Meryra after the king’s death? We know nothing more of him. Could he have been removed along with the other zealots of the “the heretic”, or did he feel the winds of change and returned to Thebes to survive under the protection of the traditional divinities? In any case, he was not buried in the tomb N°4.
Even if his bones do not rest in this magnificent shrine which was prepared for them, they rest the more securely elsewhere.
That he remains in peace is assured, since his goal was reached : thirty three centuries after his death, his memory is still evoked and his name still spoken.