APPENDIX 2
The relations between the one and the many have been imagined under numerous forms. In Thebes, it is a company of thirty entities which symbolise the reduction of Amon, by his 10 baus (cad his powers of demonstrations), his 10 kaus (the ka is the vital energy which has need to be maintained by offerings) and his 10 names.

APPENDIX 3
The complete titulature adopted by the king clearly puts him under the patronage of Amon:
Horus Name: Powerful "Bull with the high feathers", allusion to the headdress of Amon.
The Two Mistresses: "Of the great royalty of Karnak".
Gold Horus Name: "He who exalts the crowns in the Heliopolis of the South" (Karnak).
"Prenomen": Amenhotep ("Amon is satisfied") which in Greek will become Amenophis.

APPENDIX 4
The point on the question of the co-regency has just been made lately by Leslie Bailey, in a thesis sustained to the University of Chicago. She concludes… that one cannot actually finalise it ! See the document HERE

APPENDIX 5
In fact, the territory of TEA was not entirely virgin… It joins Hermopolis and its very ancient great temple of Thoth. It didn't pose a problem because Thoth, especially under his form of baboon, door on the head the moon with its two aspects, crescent and disk. However moon and sun are complementary, the moon being the nocturnal avatar of the sun.
When in the word "Akhet", it only partially designates the horizon. It is rather a place of worship, so the door of a temple between two pylons can also be Akhet, or the king at his window of appearences.
If one wants to really imagine akhet itself, it is necessary to represent it as the rising sun: the light cleared by the star makes fuzzy the zone of land where it emerges, seemingly depressing it (view 43).

APPENDIX 6
One can notice that the orientation of the tombs, as the one of Ay, is the opposite of that of the Theban tombs. In these last ones, the dead worship, eastward, the rising sun by leaving his tomb (- exit on the day -). In Amarna, the deceased even leave the tomb to look at the setting sun (- the death -). There is thus a design therefore very different from the use of the tomb, but we don't understand it well. The tomb is probably not intended for a rebirth, but must serve protective shell for the mummy. Notice that it has there that civil "scenes" decorate the walls (even though the scenes representing the king are in fact conceived as of a religious significance).

APPENDIX 7
The two cartouches contain the proper name of the Aton. Before the Amarnian period, one doesn't give any proper names to the divinities, and the cartouches are reserved strictly to the royal names. Akhenaton wanted to show the tie tightened between the God and the King and the consubstantiality of their nature and their power. The duplicate "Shen" signs intends to show that the cartouches of the God's name are themselves even a divine entity.
Notice that unlike the Pharaoh, the Aton doesn't have a titulature.
The two cartouches must themselves be read together, forming only one name, which has been divided in order not to make it too long. One thus sees the artificial character of these constructions.

APPENDIX 8
A great debate has lasted for years over the occupant of tomb KV 55 of the Valley of Kings. Some wanted to see the mummy of Akhenaton there, others the one of his ephemeral successor Smenkhare. In fact, nothing formal is known.

APPENDIX 9
Not question of returning here in the debate of the succession. On the other hand, a word on the filiation of Tutankhamun: one thing of which one can be sure, contrary to the facts which continue to support Mrs Desroches-Noblecourt against the evidence, it is not known whether it is the last child of Amenophis III. In addition to the age, by which his mother the Queen Tyi would have to carry it, there is something else, so obvious that I am astonished never not to have read the argument.
If TTA had been a son of Amenophis III, who furthermore restored the former system, one doesn't see why one would have included him in the damnatio memoriae which lasted until the inclusion of Ay. It is necessarily, because Ay, being very close to Akhenaton: his son of a secondary wife (Kiya is a good assumption) or of his union with one his daughters.

APPENDIX 10
I think that one can guess, in part, the origin of the representation of the Aton, when one looks at light fltering through a cloud: one has the impression of a strong mattial indeed (the rays) which fill a space (the one represented by the god Shu).