Inherkhau ("Onuris (the god) has appeared") was "foreman of the gang in the Place of Truth" (the west bank of Thebes) : he also has the title "Chief of works of the Lord of the Two Lands", i.e. of the pharaoh. These two titles tell us that he headed the community of craftsmen of Deir-el-Medina .
The career of Inherkhau spanned the reigns of Ramses III and of his son and successor Ramses IV (XXth Dynasty); it could not have been entirely peaceful, as this was a period of social upheaval.
His wife Webet ("She who is pure") has the titles "Lady of the house" and "Chantress of Arnun", which would qualify her for Theban high society at that time. They had numerous children, several of which are portrayed in the tomb carrying out the rites of the funerary cult of their parents.

Inherkhau seems to have prepared two tombs for himself: tomb 359, one of the southerly in the Deir-el-Medina necropolis was excavated where the space available was extremely limited.

view B

..." The tomb of Inherkhau and Webet is distinguished by several original features : superb quality of painting, painted ceilings in its first chamber, funerary vignettes rarely attested"

The tomb of Inherkhau and Webet is distinguished by several original features : superb quality of painting, painted ceilings in its first chamber, funerary vignettes rarely attested elsewhere, literary or religious texts and above all by the lay-out of its decoration (extracts from the Book of the Dead), which can be analysed as a coherent progression through the Egyptian concept of the other world at the end of the New Kingdom.
The tomb can be entered via a vertical shaft 4.50 metres deep, where a short vaulted corridor leads to two consecutive chambers. The first (chamber F) is orientated south-(west) by north (east) and is 4.70 metres long and 2.05 metres wide, with its vault 2 metres at the highest point. A carved niche (annexe) runs the length of the south wall : in the north-west corner, four steps lead down into the second chamber (G), orientated (south-east by (north)- west, it is 4.85 metres long by 2.30 metres wide, with its vault 2,17 metres at its highest point. Excavated in the bedrock.The decoration is in polychrome paint on a light yellow background.

THE DECORATIONS-GENERAL DESCRIPTION

Every scene painted in the two chambers relates to the world of funerary religion and the scenes are in logical sequence. Their coherence can be seen initially in their "vertical" distribution : the dados of the two chambers are ornamented with a crenellated motif (view 33), which defines the area devoted to the tomb as a religious monument.
The lower register is occupied by representations of the rites carried out by the family of the deceased, while the upper registers contain vignettes taken from the books of the dead.
The short walls (south and north) are dominated by the sister goddesses Isis and Nephthys, whose role in the primordial legend of the resurrection of Osiris is well known.
The scenes on the west wall depict life restored in the next world ; the deceased are shown with their backs to the rear of the tomb, to show that they are emerging from it. They benefit from the offerings, play the game of senet and undertake pilgrimages.
The mood of the second chamber (G) is different; the deceased are intimately engaged in the other world and the presence of Webet is much more discreet.

view 17

Under the patronage of the deified rulers Ahmes-Nefertari (view 17) and Amenhotep I (east wall of the entrance to chamber G), who are especially revered by the craftsmen of Deir-el-Medina, Inherkhau is welcomed to the necropolis by the goddess Hathor (north wall, right) and he proceeds through various stages of the other world.
Accompanied by one of his sons, he then comes before the gods Ptah and Osiris (west wall, rear of chamber G), whose figures balance those of the deified rulers on the opposite wall.
The last vignette is very significant to the tomb owner and corresponds to the welcome from Hathor : Inherkhau leaves the tomb to "come forth by day" and proceeds towards the eternal life promised by the rites and texts of the Book of the Dead.

CHAMBER F

South wall :
To the left of the entrance (south wall), a vaulted niche has been sunk into the upper part of the wall; the main part contains the Figure of Inherkhau, followed by his wife Webet, both kneeling with arms raised in the attitude of prayer (view 2).
His eye greatly enlarged and his cheek and chin shew a sprouting beard, a detail rare in Theban painting, but here meant as a sign of mourning.
His right arm terminates in a left hand (as does his wife's); such confusion occurs frequently in Egyptian art and can be ascribed to the artists' desire to depict the parts of the human body in a way immediately recognisable by the viewer.

East wall :
On the right of the entrance (east wall) is an exceptional scene occupying the whole height of the wall : the deceased and his wife appear before twenty deified royal figures, spread over two registers and before whom Inherkhau censes, (view 5). They include figures of some of the famous pharaohs of the New Kingdom, princes and princesses, even royal wives, especially of the early eighteenth dynasty.
It should, however, be noted that the thrones of all these figures are placed on platforms, signifying that they are not the actual kings and princes, but statues of them. This list can therefore be interpreted as portraying the beneficiaries of a "temple of millions of years" still functioning in the days of Inherkhau .

West and north walls :
Opposite, the west wall is divided into two registers; in the lower scenes, their relations pay homage to the deceased couple (who were shown at least three times), within the corpus of the funerary cult. Seated on elegant, backed chairs with feet in the shape of lions' paws, they are offered flowers and garlands and benefit from purification through libations or censing : food offerings are dedicated to them. (view 6).
The upper register contains various scenes of life in the other worl.
On the left, Inherkhau is shown alone, seated on a chair (view 7) : he is aboard a light punt whose prow and stern have the shape of a lotus bud. On the hull, each side, an udjat-eye is painted, the sign of bodily integrity and promise of health.
On the right, Inherkhau appears again, seated on a similar chair (view 7) : his right arm is folded across his chest and he carries a sekhem sceptre, symbol of authority and power. In front of him, on a stand, are onions and lotus flowers; the text over the top Is religious In content - the sisters Isis and Nephthys lament the death of Osiris.

The Ceilings :
The ceilings of this room are especially interesting : divided into eight panels, they are painted with geometrical or floral patterns, no doubt in imitation of the hangings covering the vaulted cabins of boats. The yellow bands bordering the panels are inscribed with prayers to the deities on behalf of Inherkhau.

CHAMBER G

(view 15)

view 15

East wall :
The careful execution of these paintings is an excellent example of Ramesside art of the twentieth dynasty. The transparent clothes (tunics with full sleeves) allow the bodies underneath to be glimpsed.
The queen is dressed in a full, pleated dress, gathered at the waist by a long, multi-coloured ribbon : bracelets adorn her wrists and upper arms; there is a broad collar round her neck and her head is covered by the wig in the shape of vulture plumage worn by queen mothers and goddesses (view 17). Above this, a modius supports a complex arrangement : a vulture protects with its wings a rearing cobra.

North wall :
The north wall is divided into three registers, the lowest covering the family cult for the deceased(view 19), the upper ones the other world (view 23).
The last scene in the upper register is of exceptional interest as a document : before Inherkhau and his wife are depicted three young children, with a fourth behind them (view 22). Following egyptian convention and regardless of their actual age when the paintings were done, they are shewn naked, with the characteristic side lock, but adorned with jewelry (ear rings and/or necklaces). Inherkhau places his hand affectionately on the head of one of the boys, described as his grandson, while the smallest clutches the knees of her grandmother.
The second register is led by a goddess, facing the entrance (view 23) ; in the ancient texts she is identified as Hathor, mistress of the Theban necropolis.

West wall :
The west wall is the focal centre of the room (view 15) : a double scene takes up the whole wall and its size betrays its special importance.
In the middle can be found Osiris and Ptah, back to back, two of the great funerary gods of ancient Egypt (view 15). Inherkhau, in two symmetrical portraits, stands before each of them; he wears a loose, pleated tunic and long, pointed sandals. His head is covered with a midlength wig, whose ends are plaited like the fringes of a tapestry. One hand is lowered, out of reverence before the deity and the other holds a portable, chalice shaped altar, on which incense is burning. The bracelets on his wrists are only depicted when he Is before Osiris. He is followed by a child with one arm lowered, like his father, and the other raised In salutation and adoration.
Osiris wears the white crown of Upper Egypt, flanked by two ostrich feathers; a curved beard adorns his chin and a broad collar covers his shoulders and his crossed hands hold two royal symbols - the heqa sceptre and the nekhakha flail. A long red ribbon encircles his waist, the ends falling down is legs.

view 40b

South wall :
The first vignette of the lower register depicts Inherkhau and Webet, wearing very elaborate wigs - long, with curled ends.
Webet wears a white (silver) disc in her ear and has her right arm round her husband's shoulder, with her left band raised In greeting. Inherkhau holds a sekhem sceptre and raises his right arm, with his hand open, as if to receive the full benefits of the purification ceremonies carried out by his sons.

In the middle of this register there is another purification scene : seven people approach the deceased pair holding In their right hands Jugs, from which streams of water flow .Another famous scene concludes this register : the deceased, seated side by side, with broad collars round their necks, listen to a harp recital (view 35).
The scene that follows is also among the most celebrated in ancient Egyptian painting : a seated cat, with frightening jaws and long hare's ears, holds in one of its front paws a knife, with which it destroys in a blood bath a long snake, whose head is pinned to the ground by one of the cat's back paws (view 38) . A tree, probably a persea, shewn behind the snake and the text inscribed above the cat enables this scene to be Interpreted as the victory of an ally of the sun over the redoubtable Apophis, the serpentine enemy of creation. This vignette is usually featured in the complex iconography of Chapter 17 of the Book of the Dead.

..." The scene that follows is also among the most celebrated in ancient Egyptian painting : a seated cat, with frightening jaws and long hare's ears, holds in one of its front paws a knife"

The elements of the next vignette are shewn on a mat (view 40b). On the right side of the right scene of the slide 40, a pole is surmounted by a reliquairy with two high feathers : it should contain Osiris'head laid in Abydos (this reliquairy is an object of worship in the vignette chapter 138 of the Book of Dead. On the right of it, a mummy standing before the god Anubis.

The last vignette of this register shows Inherkhau with his arms raised paying homage to three canine deities (view 41), are kneling with one arm across the chest, the other raising his fist In salute. The text depict them as "souls/powers" which preside over Necropolis. The posture of the three gods is reminiscence of the iconography of the archaic personnification of Pe an Bouto's souls.

To the left of this vignette is a picture of two boats , on the lower one are the primordial deities : Isis (on the bow), Thoth, Khepri (the rising sun), Hu (personification of the word of creation) and lastly Inherkhau himself, holding the steering bar.
The three following vignettes form an ensemble covering the Judgement of the Dead .
A double court of justice, each comprising forty-two dlvine judges (their pictures are painted on the base of the shrine), meets to examine the life of the deceased and to decide whether or not he will be admitted to the eternal kingdom of Osiris. Apparently, each Judge concentrates on one particular sin and is ready to submit the candidate to a close interrogation before pronouncing judgement.
To avoid this disagreeable moment, Egyptian scribes proposed the use of the magical power of words and focussed on a text, in which the deceased addressed each divine judge individually by naming him, albeit respectfully, like an old acquaintance and then immediately confirming that he has not committed such and such an abominable sin. This is the extract given here, short of some details : the scribe has interposed forty out of the forty-two judges, but has omitted the sequel of the text, the spelling out of the sin, which would never have been committed by Inherkhau. Let us hope for his sake that the magic of the text would have compensated for the omissions of the scribe. ...

The last vignette, which concludes this register and the tour of this tomb, shows Inherkhau, a baton in his hand, leaving a tall building, whose door is wide open and above which the sun spreads its rays. The text, which is also the general title of the Book of the Dead, stales unambiguously the meaning of this image - "Spell for going out into the day". In other words, Inherkhau has completed in the depths of the tomb the rites and procedures necessary for his rebirth; he is now able to come and go as he pleases between two worlds - the Kingdom of the Dead and the world of the living.

Original page created by Thierry Benderitter © Copyright OsirisNet 2006