Situated in Saqqara, to the north of the pyramid of Pharaoh Teti, and to the northeast of the step pyramid of Djoser, the beautiful and vast mastaba of Kagemni (also named Memi) testifies to the the amount of power achieved by the commissioners at a time when the decline of royal authority begins. This decadence will be more apparent in the following generation, as is seen in the magnificent mastaba of the successor of Kagemni, Mereruka.
The mastaba was discovered in 1843 by Richard Lepsius. It had to wait until 1905 before von Bissing would begin his publication of rooms IV to VIII, which wasn't completed until 1911. Even though Firth re-excavated the monument in the year 1925, he didn't publish a detailed report of rooms I to III, which thus remain (academically) unpublished to date.
The lower registers of the walls of the mastaba are well preserved, having preserved in many places the vibrant colours, alas the upper registers are nearly all lost, except toward the rear of the tomb. The monument has never been published in its entirety.
 The titles which one finds dispersed throughout the tomb are about 50 in number, of which some are significantly imprecise, probably merely honorary, while others correspond to actual functions.
On the facade of the mastaba, can still be found a long biography of Kagemni, who was a very great character of his time (view 1135 and see actual text below).
It can be seen that his brilliant career began under the pharaoh Isesi. Then, during the reign of pharaoh Unas (last pharaoh of Vth Dynasty), he was promoted to the level of judge and nomarch.
The apotheosis of Kagemni's career took place under the VIth dynasty ruler Teti (2321-2290 B.C.), when he became vizier and head of all the judges of the country.
Among his other functions, several can be noted which relate to the cult of Teti in his pyramid, which could relate to the overseeing of the construction of this building. He was also inspector of the city of the pyramid "The-Places-of-Teti-are-Enduring". For this reason he managed the attribution of the funerary concessions allotted by the king, including their cleansing.
Kagemni also had important religious functions: Ritualistic priest in chief, he was also the Great Priest of Heliopolis.
Kagemni is also famous from a literary view point. Indeed, the famous "Teachings of Kagemni", the celebrated didactic text which dates to the VIth Dynasty seems related to him, even though it makes reference to a vizier having served king Snefru (which is to say, the father of Kheops) of the IVth Dynasty. You will find the hieroglyphic text and a translation in German HERE and an English translation HERE.
The prestige which Kagemni himself enjoyed was great for this period and traces have been found close to his tomb of worship to Kagemni in person.
The family of Kagemni remains difficult to locate. His wife Nebty-nub-khet (alias Seshseshet) is easily identified. It could be that this was the only one. There is a certain confusion, on the other hand, to the number of progeny, some characters are not named. Only the eldest son Teti-Ankh is positively mentioned.
The tomb is a mastaba type with 32 metre long sides. Within this solid structure, the various chambers take the form of an "L" shape, located primarily towards the south-east corner; a large portion therefore being a solid structure. The southern arm of the L (along the entry axis) is oriented east-west, the other arm is south-north.
The plan (seen left) gives a good idea of the complexity of this vast building, of which some rooms are still unpublished. It also shows that the lack of use of such valuable space.
The mastaba was created in limestone, local limestone for the main body and for the door and its doorposts, white Turah limestone for the rest and notably the external facing. The external face of the building must have presented a white brightness when the limestone had not yet been damaged by time. In any case, it was torn off the building a long time ago.
The blocks used measure up to two meters in length with a width and thickness not exceeding around fifty centimetres. The blocks were very carefully cut, so that the mortared joints are sometimes almost invisible.
General description :
The entry is through a doorway (view 1131) on the left-hand side of the front facade, into a small-sized first room (I). To the right is located a long room (II) which leads, at its rear, to a staircase which gave access to the roof.
• From room I, a small opening gives access to room III, which has three central pillars along its long axis. At its western extremity an opening was created to a set of 5 storerooms. A new stepped doorway, to the right (north) on entering room III, leads to room IV and beyond.
• To the west of room IV, and buried in the masonry with no openings, is the serdab. In this room one usually finds a statue of the deceased, who comes out to eat the offerings. In some mastabas, an opening is preserved in the wall so that the dead can "see" what happens in his tomb, but not here. At the time of the initial excavation, the room was empty.
• Room V has the curious particularity to include a bench, intended for the people who came to participate in the funeral cult.
• Room VI includes a funeral shaft of a later period.
• Room VII was the one intended for the offerings, since it includes at its western extremity the false stela doorway, which assures the point of contact between the world on earth and the beyond. It also includes an offering table on the floor.
• Room VIII seems to have no other function than to extend further into the monument, probably to come closer of the vizier's terrestrial dwelling. In fact, it represents just an offset extension to the offering chamber. Here are preserved the most vivid colours.
• In the solid structure of the masonry situated at the northwest corner of the mastaba, and therefore close to the offering room, through an opening in the roof and down through the ground, is the funerary shaft. This leads to an underground funerary structure, strictly intended for the deceased, to which no one had access after funeral ceremony. This construction takes the form of a rotated "T" shape and includes the sarcophagus of Kagemni.
• To the west of the serdab and room VI (but actually located on the roof) are preserved two boat-shaped pits, which would have been intended for the barques, but which remained empty. Note that these barques were originally supposed to come solely with royal pyramids, as with the one recovered at the foot of the pyramid of Kheops, or the two boat pits belonging to the pyramid of Unas, here at Saqqara.
Present State of the tomb
In addition to plundering, dating from Pharaonic times, the monument suffered a lot when it was transformed into a stone quarry. This is how the original slabs from roof disappeared completely. In the same way the upper part of the walls, especially in the first rooms, went missing. The remaining scenes, carried out in raised relief, are of a great quality; these are situated between the upper empty area and the dado at the bottom of the wall, which measures about 1m in height. This is surmounted here by two yellow and one red band, each outlined in black.
• Remembering that - contrary to what we sometimes suppose - the wall representations of an Egyptian tomb has only superficial affinities with the modern comic strip, because its syntactic organisation is a lot more complex and by no means creates any intended narrative: the deceased, the only real spectator of the images, finds the totality of a real world idealised in them, figuratively reflecting bursts of reality, these are organised collectively (in antithesis, chiasmus, etc.) which involve the space of one or several rooms, even that of the whole chapel.
• The set of the scenes, chiselled in raised relief, have been achieved on a blue-grey background, which is well preserved only in room VIII. Elsewhere the early disappearance of the flagstones of the roof have exposed paintings to the air and the sun, thus making them disappear more or less completely. Empty spaces, as those which were spared behind the doors, were painted in red pique on black in order to imitate granite, THE hard and noble stone, par excellence.
Note that certain scenes, seem to have been neglected, with awkward and hasty sculptures. There are in fact unfinished areas, which are found in the parts nearer the entrance, normally the last to be decorated (view 1352).
• In the Old Kingdom it was not the custom to represent divine scenes nor even ones of a God, as can be seen in later times.
The themes which Kagemni chose are stereotypical of the time, relating entirely to his terrestrial activities and his cult, intended to show the abundance of goods which he enjoyed, the fertility of his livestock, the wealth of his fields... This is why the agricultural scenes, of hunting and fishing, as well as those of transportation of various riches constitute the main part of the tomb's artistic itinery.
By chance, the very precise layout of the scenes enables us to apprehend many details. Sometimes they are scientific details, like the techniques of hunting and fishing, or the identification of species of birds or fish. Elsewhere they are details of movement, like the small calf which a herdsman carries on his back whilst crossing the water, and which turns its head as if to call its mother. Some very lively festive scenes are also found.
• The outdoor scenes occupy the first rooms, whilst the scenes relating to the funeral meal are concentrated in the most remote part of the tomb. The inscriptions contain the title of the scenes, the description of the offerings and their source, as well as the titles of Kagemni.
They are visually punctuated by the conversations or interjections exchanged by the master's servants. So it is necessary to imagine the chapel as being magically alive, busy with the activities of daily life, in which Kagemni participates as if he were alive. It is important to know how to hear, in the silence of the rooms, the men who challenge and respond to each other, it is necessary to "see" them not as figures in the stone, but really DOING what is represented. A whole world is then opened to our eyes.
The entry is located at the south end of the east facing facade. At either side of it, the facade carries the names, titles and representations of the deceased (view 1135). Two figures of Kagemni are present on the doorposts of the entrance doorway to receive the visitor. He is represented standing, Sekhem sceptre of power in his right hand, and long cane of office in his left hand (view 1132 and view 1134).
The accompanying texts retraces the stages of the career of Kagemni and the good deeds which he accomplished.
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BIOGRAPHY OF KAGEMNI |
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This spreads across part of the facade, on either side of the entry doorway. The text itself is thus divided into two symmetrical and complementary parts, which also show a complex nature. In the narration it is impossible to find, as anywhere else, a distinction between ideal good deeds, practical offices performed for the pharaohs, and those appealing to the visitors. The three kinds are merged in a typically narrative style which takes into account the chronological stages of life. The spirit of the speech seems to exceed the traditional concept of a just and pious man, to describe his recent office of authority: the nomarch.
Source:
PM III, p.521.
Publication:
Urk. I 194-196; MIO 1 (1953), 210-226.
Comments:
Junker, Pyramidenzeit, p.54; Edel, Untersuchungen, § 53, p.68-71 ;
Janssen, Autobiografie, I Af 2; IIS 1, V 2, Bl 29, Bz 37, Dv 1, Hc 12-13.
Translation :
§ 113 'The State Vizier, Kagemni, says: "I was the favourite of Isesi. I filled the task of civil servant of the state, in the time of Unas. His Majesty rewarded me very generously, [and when I came to the Residence,] His Majesty rewarded me for it very generously.
The majesty of Teti, who lives eternally, reached the Residence... [His Majesty] learned their name in the Palace, then His Majesty ordered all things which His Majesty wanted, [which one made happen in the courthouse of the Six. As for] all things which His Majesty had justly ordered to be done in the courthouse of the Six, [it was justly done by my action.] It was with a deep desire that His Majesty wanted [that I should render justice] in all things which he ordered.".
§ 114 'The Vizier of the State, Kagemni, says: "[The majesty of Teti, my Lord, he who lives eternally, named me as the head of] all offices, on service at any hour (at) the Residence. His Majesty had confidence with regarding all things which His Majesty had ordered to be done, [because I was capable, because I was appreciated by His Majesty]".
"[Oh living... accomplish] justice for the king, because it is justice which the God likes. Known as Ma'at (to the king, [because it is truth which the king likes. Oh living...] you won't be able to throw slanders against me, because the sovereign knows my character and my conduct [and His Majesty has confidence in me, pleased that in his civil servant who is in this country, because I am] someone who speaks the truth and repeats the good in what the king likes. I desire that good is in me near the king and the great god, [and I desire that my condition of Imakhu is close to men and close to the great god. I judged] the parts so that they were satisfied, I fed the poor person, [I removed the pain of the grief-stricken.]"
Texts of bewitchment follow, in a rather fragmentary state.
Based on Alessandro Roccati: "La littérature historique sous l'Ancien Empire Égyptien", Ed du Cerf, 1982, p 139-141.
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The influence of the Osirian religion, which developed at the end of the Vth Dynasty, is notably visible in the last part, the "Great God" to which he makes allusion being Osiris.
Only the lower registers survive, which have completely lost their colours.
1)- The west wall facing the entry
In the fishing scene located here, Kagemni, of whom only his feet remain, appears standing upright on a papyrus boat, itself slipping in the dense papyrus lined marshes whose plants are represented by upright stems. He is evidently fishing in the marshes.
In front of him appears a small boat, also of papyrus, which transports three men dressed in a narrow belt and a flap of material allowing freedom of movement, which normally acts as a loincloth to cover their sex and save embarressment (view 1138). The one of the rear, squatting on his heels, directs the frail craft. The one of the middle throws a line with several fishhooks (several different species of fish can be seen approaching). At the front, a character obviously makes a considerable effort to raise a heavy hooped net of fish. His minimal loincloth is raised around his shoulders. Among the represented species are: carp, mulet, mormyridae (elephant fish), catfish, synodontes, tilapia .... These Nile perch (which are nowadays still found at our fishmongers) are also perfectly identifiable; there are also eels.
Notice how far the artist/craftsman has taken the detail: on the branches immediately in front of the boat, can be seen a frog, a grasshopper dragonfly (view 1189 and view 1344).
Other representations of the same type are present (view 1193 and view 1343).
Some dangerous animals can also be seen in this hostile environment, where the order required by Ma'at doesn't reign; so there is a battle between crocodiles (view 1190 and view 1191), and crocodiles hunting fish, one among them having made a large catch (view 1189). The composition shows well the panic of the potential victims, who flee in all directions.
Because there is an obvious immediate reading for this scene, it is necessary to imagine secondary symbolic one. The marsh is the border zone between the unorganised environment (or Isfet) and the semi-organised one of Egyptian men, in accordance with the will of the gods (this is the zone of Ma'at). While hunting the wild animals, these are also the demons which are hunted and which are thus prevented from penetrating into the most intimate parts of the tomb.
This motif of fishing in the marshes will be seen again in the ford crossing of room III and in the fishing scene of room IV. So it is very much confined to the outer areas of the complex, far from the place where the false door is located and where the offerings are placed.
2)- The east wall
This is the wall in which the entry doorway from outside is located. On the left, around the doorway, can be found the titles of Kagemni (view 1198). On the right part of the wall are the servants, carrying or accompanied by various animals, a hedgehog in a cage, calves, and numerous birds of different species. Some plant offerings are transported by other men.
This quite long room leads towards the staircase located at the northern extremity. This leads to the roof. The room is totally undecorated.
An inscribed block had been placed on the ground at the time of my visit (view 1201).
(View 1136 and view 1137). The room includes three badly preserved pillars, symmetrically placed along its east-west axis, on which can be seen some fragment representations of Kagemni and his wife (or wives).
1)- The west wall
Kagemni is found represented at heroic height on this wall, in a pastoral scene of breeding and taking care of the herds.
Two registers can be identified (view 1340 and view 1341).
On the left of the first register, a herd crosses a ford. A peasant sitting in boat has the whole herd crossing while attracting the mother with a calf, which he holds by a foreleg and by a rope. The calf tries to swim while turning its head toward its mother and while mooing. This attracts the mother and the whole herd (view 1196 and view 1194). At the rear of the herd a drover raises his stick to drive forward the last reluctant oxen. Behind him a man makes to cross the ford with a calf, undoubtedly very young, which he carries on his back ... it does not appear to be very happy (view 1195).
Crossing the ford is dangerous, not just for the beasts, but also for the men. Indeed, besides the usual fauna of fishes, there are crocodiles and hippos to look out for.
On the second register servants take care of the milking of cows, which have been tethered to stop the animals from moving (view 1342) and to help keep away the calves which have not yet been weaned, which obviously seek to suckle their mother (view 1341).
To the right, two men are seated face-to-face on some sort of thick vegatable matting. They manufacture faggots from stems of papyrus, even though it is difficult to understand the nature of the instruments which they hold in their hands; nevertheless the action is indisputable since the hieroglyphic wording of the scene is "qeni", which means faggot or bundle (view 1341 detail).
Another servant, seated in a strange kind of basket, weans a young pig to which he seems to regurgitate milk into its mouth. Note (as an aside) the pig, which is known from excavations to have been abundantly preserved, is hardly ever represented in tombs, probably considered as an impure animal. Besides, it will later become an animal connected to the god Seth (view 1322).
2)- The north wall
This wall is punctuated by the entry to room IV.
The larger section, to the west of this doorway, was decorated with two symmetrical scenes showing Kagemni (of which only the legs and feet survive) standing on his boat. He hunts and fishes in the middle of the undergrowth of papyrus (view 1136). Below the two representations, a narrow space shows the water filled with many fish.
Close to their master's large craft, and at a much smaller scale, are small boats with hippo hunters and fishermen.
In one of these there are three hunters. Two are armed with harpoons, the third with a club. The men wave their harpoons while pulling the ropes put around the body of the hippos. The large mammals struggle and scream under the effect of the pain (view 1192).
The hippopotamus hunt
This is a traditional scene, which appeared in tombs of the Old Kingdom. The Egyptians never liked this unpredictable animal, which could be very dangerous in water and which also destroyed much cultivation. With time, it would become a really malefic animal and associated with the god Seth. It is represented abundantly on the walls of the temples of the Greco-Roman period, as at Edfu for example. It is unknown as to whether its flesh was consumed, in all cases the true hippo hunts seem to have been the exception.
The male hippo also has a negative symbolic value. Indeed, the animal could remain immersed for a long time and then surface suddenly, it was prone to overturn the craft and to kill its occupants.
In the Old Kingdom it was already the image of brutal and uncontrolled, menacing strength, the creation of a return to the original chaos. With the change in funeral beliefs and the deceased having to travel in his boat on the celestial Nile, in order to reach his eternal destiny, the animal will only become more dangerous. This is why it was necessary either to destroy it by harpooning it, or to control it magically at the bottom of water, and it was the role of certain objects, created in glazed ware, where the hippo can be seen with a lotus flower on its back: bearing a lotus it was undoubtably under water - (view here, provenance insecula.com).
Thus the dual aspect that an animal could take on can be seen in the imagination of the Egyptian: on the one hand it was a living being, which hovered between good and evil. On the other hand, it was assigned a value of a receptacle, of an icon, to embody an inexplicable natural strength. The animal becomes thus the god's hypostase to which has been attributed the phenomenon.
3)- The east wall
Here, Kagemni, of which only his feet remain, was seated in front of a troop of fourteen dancers, dancer-acrobats and women clapping their hands and executing a stance which is difficult to imagine. The bodies are bent backwards, almost horizontally, while both of their arms and a leg are nearly vertical. The way it is represented, they would certainly fall over (view 1197).
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also known as Memi 
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