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| WALL DECORATION OF THE ENTRANCE AND ROOMS |
1. The Entrance.
On the outer jambs, the remains of the titles of the deceased can be seen.
In the inner left thickness, the deceased is depicted in adoration with a hymn to Amun.
He lifts his arms in adoration towards this god.
Benia is barefooted and wears a curly wig. He is wearing two skirts, a short one and a long one, one over the other.
The title of a student of the royal school is repeated again and again, this was his court name, Pahekamen. So this must have been a very important thing for Benia.
Often these hymns, in the entrance part of the private tombs in Thebes, are directed to the sun god Re or Re-Harakhte, this is to say, to the morning sun, with the hope, that he (the deceased) will awaken by ascending in the morning like the sun-god himself, and complete his solar cycle in the cosmos.
2. The Transverse Room.
Divided in two by the entrance on its east side and the doorway to the longitudinal room (facing it) on the west side, it measures just over 7 metres in total length, approximately 2 metres across and about 2.5 metres in height.
East wall, northern part
The northern part of the east wall has, to the right, next the entrance, a depiction of the tomb owner with braziers in both hands (view 09), where ducks are going to be burned for the great god.
Behind him there are nine servants, six of which are facing towards him, the other three face in the opposite direction, facing towards the next scene (view 10).
In front of the deceased, as large as the three registers of the servants, is an even slightly larger offering table (view 11) with lettuce under it, bread and meat on it, grapes, ducks, a cow's head, bundles of onions and six elegant looking alabaster and clay pots for unguents, on top decorated with the blue lotus flowers.
To the left of this scene, the tomb owner is seated on a chair in front of his own offering table (view 08a), one hand slightly stretched out, such as if he was just on the verge of reaching out for food.
His offering table shows -as a variation of the former- additionally a basket and a mat with figs on the table and wine under the table.
East wall, southern part
The first scene on this southern part of the east wall, next to the door (view 12a, a colour photo is not available), shows a scene of Benia standing in adoration before a table piled with offerings (view 13).
At the very top are four vases with lotus flowers laying across their tops.
This wall also shows the only scene of the daily life of the deceased.
Guksch believes, in her description of this tomb, that this is because of a monotony of the world in which he lived.
Here Benia (view 12b) is inspecting three registers of weighing gold bars and inspecting treasures (view 14 and view 12c).
In these, a part of the realm of the living is depicted and Benia is shown
in his important position of inspecting materials for the treasure house.
His figure is nearly as tall as all three registers together, showing the measure of his importance for this tomb.
The upper register has servants or employees, which are bringing several goods, adding to the treasures in front of them : ebony, ivory tusks from elephants, golden ring shaped bars and two wooden boxes (view 15).
The scene in the middle shows the weighing of gold bars, which have the form of solid golden rings, looking almost like bracelets.
Two more men are carrying another wooden box, maybe to store the highly valuable material (view 16).
In the lower of the three sub-registers there are two scribes, taking down notes and more servants bringing baskets with maybe lapis lazuli and turquoise or perhaps malachite (view 17).
South wall
The south wall of the transverse hall depicts a false door, or door of appearances, with funerary texts.
The whole wall is been crowned with a kheker-frieze.
To the right, directly below the door of appearances, lies the shaft opening.
The door was sculpted in limestone, then painted pink and daubed with red-brown colour in order to imitated pink granite, which was expensive and hard to work.
The inscribed hieroglyphs were painted blue, the rounded edges were over-painted to portray being wrapped in green ribbons, the cornice was embellished with green stripes.
The lower part of the sculptured modelling, which originally went down to the floor, is today replaced with cement (note: the side registers do not extend to the floor).
The inside door surface is formed by successively insetting the text areas until reaching the "opening" structure.
The narrow centre mat of the opening has been rolled up and opened, as if to allow the deceased exit from it at any moment.
The scene registers, right and left of the false door (and which correspond to those of the north wall) show the kneeling Pahekamen, who presents bread (top), beer (middle) and cakes (bottom) to "the Great God". For example, in the top left frame, "The pupil of the royal school Benia, called Pahekamen, justified by the great god, Lord of the West. With the offering: bread.", (view 19,
20,
21 and
22).
In the top two panels, our tomb owner is named as "Benia, called Pahekamen", whilst in the four lower panels he is only named "Pahekamen".
However, while being usual as border for the stela, since the old kingdom the scene of a food table belongs to the false door.
The text of the false door comprises six panels, an outer pair, middle pair and inner pair.
Each starts at top centre, above the rolled up mat, and progresses along then down.
The texts consist of the following formulae:
• upper/outer, left-hand side, "An offering which the king gives to Osiris, the great god : everything, which emerges, from his offering-table, seeing of the sun in the necropolis for the Ka of Benia, named Pahekamen, justified.".
• upper/outer, right-hand side: "An offering which the king gives to Osiris, the great god : everything, which emerges, from his offering-table, the sight of his face every day for the Ka of Benia, named Pahekamen, justified.".
• middle, left-hand side, "The one reveared by Amseti and Osiris, the pupil the royal school and supervisor of the works, Benia named Pahekamen, justified.".
• middle, right-hand side: "The one reveared by Hapy and Osiris, the pupil the royal school and supervisor of the works, Benia named Pahekamen, justified.".
• inner, left-hand side, "The one reveared by Duamutef and Osiris, Benia, named Pahekamen, justified.".
• inner, right-hand side: "The one reveared by Qebehsenuef and Osiris, Benia, named Pahekamen, [justified].".
Thus, on this false door stela, Benia is placed under the protection of Osiris and the four sons of Horus.
North wall
The wall opposite that of the false door is very similar in design, but
the similarity is broken by presenting of a funerary stela in its place.
Either side are, as on the other wall, three registers showing Pahekamen holding offerings.
The stela is (unlike the false door of the south wall, only painted on to the wall, which is usually the case.
It consists of a large, yellow-ochre main field with horizontal lines of inscription, crowned with a semicircular tympanum with different emblems and complete with a list of offerings, today partially destroyed, of bread, beer, meat, poultry, etc.
This, like the false door, extends to the floor, whilst the side registers do not.
To right and left of the tympanum, stand, in accordance with geographical alignment, the hieroglyphs of east and west.
In contrast to most stelae, the tympanum doesn't show the deceased in adoration of the gods of the dead, but two Udjat-eyes flanking the emblems of the shen-ring, a cup and three ripples of water.
All these representations are raised in light relief, the inscriptions are in sunken relief and painted blue.
The framing registers again show the kneeling Pahekamen, who holds up offerings of bread, wine and cakes.
The tomb owner appears to present offerings at his own stela, were it not for the fact that the god referred to in the registers would normally be represented in the tympanum, but is here replaced by the emblems.
The deceased sacrifices to him.
The text gives support however: at the start of the stela, after the standard opening formula, other gods are named in additional to the one named as "justified by Osiris" (in his different paraphrases) in the offering formulae of the side registers.
At the bottom of the stela, now almost destroyed, is a register containing imagery of the offerings.
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TRANSLATION OF THE STELA
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1) An offering which the king gives to Amun, Lord of the Thrones [of the Two Lands], Re-Harakhte, [Osiris, First of the Westerners, Anubis,] on his mountain, Hathor, Mistress of Dendera, Head of the Western Desert,
2) Thoth, Representative of Re, of the Great God, Lord of the Heavens, may he give to them: [a blessed spirit in the heavens, power on Earth, justification] in the Necropolis, receiving of bread offerings, which emerge
3) from their offering-table daily, an offering for the deceased of (bread, beer, meat, poultry), clothing, [alabaster, incense, consecrated oil, all beautiful and pure things, a li]bation, wine, milk,
4) offerings of all fresh plants, sweet air, fresh water, self-transfor[mation after his own pleasure, when he descends to the] earth and goes in and goes out in the necropolis
5) in the company of mankind, breathing the sweet air of the north-wind [as a (daily) requirement] and every [day] going out as a living Ba,
6) drinking water at the drink-place of the river, se[eing the su]n at dawn, not withholding from
7) the Ba, that which it wants, a beautiful burial after years in peace, with the "Lord of Life", whom the king follows,
8) with well-kept heart in a handsome elderly person, the Ka of the great confidant of the Lord of the Two Lands, praising the good god, the Overseer of the Works in Thebes and Overseer of the Craftsmen of the Lord of the Two Lands, Beniai,
9) named Pahekamen, justified by the Great God, Lord of the Necropolis. He says: I have come into my place of eternity,
10) into my permanent place, after I followed the Good God, [without my] case being found with accusation [being (raised)] against me, I was found without
11) a mistake on my part. (Rather), my master had praised me because of my excellence [and I was raised] to Overseer of the Seal-bearers
12) [because of the size] my [favour] with him, the Student of the Royal School, Benia [named Pahekame]n, justified by the Great God,
13) born of Irtenena, just[ified], and [born of the mistress of the house, Tiruk]ak, justified.
Words enclosed in [ ], are reconstructed from the damaged areas.
Words enclosed in ( ), were omitted by the scribe, but are assumed.
At the end of line 8, the scribe added an additional "i" to Benia's name.
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West wall, southern part
The whole of this part of the west wall is taken up by one scene.
The right-hand sub-scene, taking up the full height of the display area, next to the doorway to the longitudinal room, shows a man making offerings to the deceased (view 25).
Between Benia and the offering giver is another heavily laden offering table (view 24c).
The left-hand part, of the whole scene, is subdivided firstly into three registers, of with the top two are then combined into one at the southern end of the wall.
The top two registers, contain male musicians; three clappers and a flutist at the top, a lutist and a harpist beneath them (view 27).
They are in front of a double register high sub-scene of the parents of Benia, who are seated to listen to the music, while being able to reach for an offering table in front of them.
His mother affectionately embraces her husband.
Above them, the text says : "His beloved father, Irtenena, justified (deceased) and his mother, his beloved, Tirukak, justified".
The clappers have a very important part in Egyptian music, as they are there in place of percussion instruments, giving the rhythm for the whole group of musicians.
Harpists are often bald headed, blind men, with partly closed eyes.
There is a whole kind of poetry called harpist's songs, which are often depicted near the harpist, giving the text of the song.
Those songs are usually very sad and a reminder of death and that many of the things which living people do are in vain.
They are very much like the part in the bible which is called "the wisdom literature of Kohelet" (the book of Ecclesiastes).
The parents of Benia are seated in front of an offering table heaped with
bundles of onions, bread and fruits and wine under it.
Under the chair of Benia's mother is a mirror with a papyrus stalk shaped handle.
The Egyptian name of mirror is ankh, exactly the same word as the Egyptian word for life.
Therefore it is very likely, that this depiction of a mirror has a deeper,
symbolical meaning of granting life to Benia's parents.
An interesting fact is, that Benia must have been one of the rare cases, who was not married and had no children at all, therefore his parents took the place of the nearest family and are represented more than once in the tomb.
The third and lowest sub-register shows five male guests, attending the
feast and a servant giving a small offering table to them.
Although they are not named, they are supposed to be some minor relatives of Benia, who have come into his favour, to take part in the funerary cult of the deceased, by means of their depiction.
Their size tells us, that they are not as important as his parents, but they are depicted larger than the servants.
Maybe the circumstance, that they are not named means, that Benia's closest family was so small, that the tomb decorators ran out of names and just inserted a general prototype of any unnamed male relatives.
West wall, northern part
On this section of the west wall, Benia (view 30) is supervising or accepting a three
register procession of tomb goods: that of cattle, geese and many other goods.
The tomb owner is seated on an elaborate wooden chair, his staff of office in his hand, an offering table placed in front of him (view 31).
Three registers of servants bring various goods towards him.
One of the cattle has a hump, either a zebu or watussi species (view 33).
In front, the white mottle animal must represent a calf, as it only just reaches the hip of the servant leading it by a rope tied to its leg.
In the second register the servants bring papyrus stalks, blue lotus flowers, large amphorae (containing maybe just water), dead fowl and fish (views 34a, views 34b, views 34c, views 34d and views 34e).
The third register begins with some of the gifts piled on a stand, and almost unnoticed is the small flock of geese.
Often the love of detail, in such a depiction, shows how much the ancient painter liked to use all his skills, especially in the scenes portaying wildlife, animals, flowers, etc.
The depiction of this scene on the west wall is unusual, as it would usually be part of the repertoire of the east wall of the living.
Maybe they run out of room on the east wall and had to push the scene further on to the west wall, where usually the festival of the dead is taking place, as indeed is the case here, also.
But maybe the placement of the scene here has a symbolical meaning, such as to ensure the status and office of the deceased for the next world.
3. The Doorway Between The Two Rooms.
A doorway in the centre of the west wall of the transverse room leads to the second room.
The outer lintel and jambs, of its entrance, again bear texts which contain the formula "An offering which the kings gives..." with a food offering for the deceased.
They are written, starting from the centre of the lintel.
Both these and the thickness decorations are greatly damage (view 07).
4. The Longitudinal (Second) Room.
This room is aligned along the east to west axis, at right angles to the previous room.
It is approximately 3 metres long and just over 1.5 metres in width, its height (like the previous room) is about 2.5 metres.
In some tombs this area would be a passageway leading to larger and wider area, but here it is forms the final small room, with very restricted space for decoration.
So, the tomb owner had to decide, what program of decoration could be presented, out of the many available possibilities.
The left (south) wall and right (north) wall both contain two major themes, each separated from one another by a vertical blue line.
The west (rear) wall contains a statue niche.
South Wall, left-hand scenes
The left-hand side of the south wall is divided into four register.
The upper two show the funeral procession towards the Goddess of the West who actually dominates three registers out of four, though only the top two relate to her.
They show the funeral procession with funerary goods and the pulling of the sarcophagus to the West, the realm of the dead, the necropolis, which the Goddess personifies.
On her head, she wears the sign for the West, which is part of her hieroglyphic name.
She wears a long close fitting white dress, fitted beneath her breast and supported by a single shoulder strap.
In her hands she holds the ankh-sign of life and the was-septre of power.
Often the goddess at the end of the funeral procession is Hathor, sometimes depicted as a cow, which is partly stepping out of the slopes of the western hill.
In the top register, the sarcophagus is dragged to the tomb on a sledge pulled by four men (view 37a and 37b).
In the second register, offering bringers accompany the procession to equip the deceased with the things he will need in the netherworld, such as a mirror, a broad collar, a linen kilt and also food.
The lower two registers show the pilgrimage to and from Abydos.
Here, the revered tomb owner (as with each deceased person) travels -at least theoretically in the depiction on his tomb walls- to Abydos, in order to progress in the same way as Osiris, to be like him and to become Osiris himself in person.
As Abydos is to the north, the boats travel with their sails rolled, using the current of the Nile (view 39a and 39b).
The barge containing only the mummified Benia (usually we find a couple, an additiional proof that he was not married), seated under a canopy, holding a whip in his hand, as seen in the Gardiner hieroglyph  , A51. This barge is towed by the leading boat.
When they return from the pilgrimage, the sails are set,
so that the wind can assist them upstream again to the necropolis (view 40a and 40b).
Again, the barge with Benia is being towed, but this time there are two leading boats, side by side, and they are also being powered by many oarsmen.
In order to maintain the same scale for the boats of the two registers, it was necessary for the bottom register to occupy the space under the Goddess of the West.
A decision which must have been made at the time of designing the wall layout.
The inclusion of two leading boats is unusual.
Usually the married couple are seated in the rear boat, during the pilgrimage, under a shady canvas, but here it is only Benia, yet again his status of not being married is made evident.
South Wall, right-hand scene
The right-hand side of the south wall shows a scene of a now anonymous, no longer visible, man with an offering list above his head and offerings piled upon an offering table in front of the deceased.
The man seems to have been intentionally removed from the wall, but must have been the ka-priest for Benia, usually the oldest son of the deceased.
But, as Benia had no children, it cannot have been a child of Benia.
The name of this ka-priest was never written above him, so we do not know his identity.
In the cases people had no children of their own, they often adopted children to perform this important task later, or a servant of the deceased sometimes undertook this function.
It is extremely strange that this person here represented, has been hammered out.
Could it be that this person fell out of favour of the tomb owner or the king ?
The tabular offering list presented above this person, contains itemised contents with the relevant quantities : such as cups of water, various kinds of breads, meat, beer, honey, different kinds of wine, cakes and additionally natron for fumigation and a libation.
Those offerings are said in the inscriptions to be : "coming from the offering tables of Amun, the king of the gods and Re-Horakhty".
North wall, left-hand scene
On the left part of this wall is an almost mirror image of the scene directly opposite on the south wall, that of Benia (view 45a and 45b) facing an offering table, in front of which originally stood a ka-priest.
Again the ka-priest has been removed from the wall, and an identical -not counting the variation in orthography- offering list, as with the the contrary wall, placed above him.
It contains the same goods as before, only as a mirror copy in order and facing direction of the hieroglyphs.
Indeed it looks as if the tomb painters may have run out of ideas, or that perhaps they had strict orders to repeat the offering table plus offering list, as there was maybe a great fear, that because there was no son, care must be taken for the support of Benia after death.
North wall, right-hand scenes
This eastern section of the north wall, divided into three registers and separated from the previous scene by a long vertical blue line, shows the performing of the most important of all the funerary rituals : the "Opening of the Mouth" ceremony, on the mummy of the deceased.
This ritual is performed to open all the senses of the deceased again and all the openings of the body, so that food can come in and out again and air and life can once more breezed through.
The opening of the mouth is a very long, complicated ritual carried out with many recitations, purifications with water and fumigations with natron.
Two of the priests in the middle register and all of those of the lowest have been hammered out in antiquity.
West Wall
In the rear narrow wall of the longitudinal area was created the statue niche.
At 126cm in width by 100cm in height, it is located approximately 110cm above floor level and contains a bench, on which are seated three statues.
The niche does not take up the whole width of the wall, neither does it reach to ceiling height.
Everything was sculpted from the actual bed-rock.
The wall surrounding the niche is, from the ceiling down to the floor, as with the internal walls, undecorated.
The three statues represent the tomb-owner, his father on his right and his mother on his left.
These statues had originally been brightly painted in vivid colours (view 49), most of which still remains.
There is, however, damage to the faces of all three, but it is still obvious that the two males originally had beards.
The hair styles of the trio are individual in design and are well sculpted.
All three statues are named individually, on a column of blue hieroglyphs, now faded.
This runs, in the case of his parents, centrally from between the knees down the front of the dress or skirt to the hem.
In the case of the deceased, being a longer inscription, from the waist to the hem.
Maybe this was the part in the tomb where the tomb owner had ordered offerings to be placed, for himself and his parents; or perhaps to be able to pay tribute to them, as an obedient son would in respect for his nearest ancestors.
| CEILINGS OF THE TWO ROOMS |
The geometric designs of the ceilings recall the impression of woven blankets or carpets, as they must have been put on top of the roofs of Egyptian houses for shade, or likewise on boats.
So maybe the symbolic meaning of this decoration is implicating shade and refreshment under the deceased's own roof terrace of his house.
The tomb is the house for eternity and is therefore equipped the same as the house of the living.
The ceiling in the transverse hall has only minor damage.
It is divided into four brightly coloured patterned areas by broad yellow bands inscribed in blue hieroglyphic texts, which are separated from the patterned panels by narrow white bands containing a thin red stripe.
The whole ceiling is edged with a broad ochre band with a swirling pattern.
This design is perhaps meant to be a reminder of water.
The main pattern design is of zigzag lines enclosing either white or ochre diamonds, the white ones containing a four-leafed motif, whilst the ochre ones contain four dots.
See (north end and south end) views.
The texts of the two bands, running from the central axis to either end of the ceiling, are inscribed with longer than normal offering formulae.
The text for the northern ceiling reads : "An offering which the king gives to [Amun-Re] .... and the Ennead, who are in their temples.
May they give: a blessed spirit, strength, justification and everything, that which emerges from their offering-tables at the start of every day, that which is in their temple, coming in and going out of Rosetau, breathing of the sweet air of the north-wind, drinking of the water at the drink-place of the river for the Ka of the Overseer of the Works in Karnak, Paheka[men].".
The text for the southern ceiling reads : "An offering which the king gives to Re, Lord of the Heavens, sovereign over the stars, who rises in the eastern horizon and who in silence sets in the western horizon.
Who lights the heavens and earth through his beauty.
May he give : sight of the sun in the necropolis, the Ba for the sky, the body for the earth, the smell of the temple incense of the offering-table of Wennefer for the Ka the [great con]fidant the [Lord of the Two Lands], praised by the good god, the Student of the Royal School, Paheqa[men], justified.".
The central band, running along the axis of the tomb, contains the text : "Words spoken by the Overseer of Works, Pahekamen, justified, he says: 'Oh, my mother Nut, stretch yourself over me and place me under the immortal stars'. ".
The ceiling in the long room contains two panels of a different design to that of the transverse room.
It consists of red zigzag lines enclosing multicoloured diamonds, each alternate row of diamonds has the colours in a slightly different order.
The decoration is divided by only one yellow ribbon with blue hieroglyphs, giving the usual offering formula, which reads : "An offering which the king gives to [...] and Osiris, Sovereign of Eternity.
May they give : an offering for the deceased, bread, beer, meat, poultry, all good and pure things, a libation, wine, milk, leaving and entering the necropolis, participating in the entourage of the gods for the Ka of the great confidant of the Lord of the Two Lands, the Overseer of the Works, [Pahekamen].".
Again, the text band is separated from the geometric pattern by a narrow white band and central red line.
The whole ceiling area is, this time, edged similarly with a white band and central red line.
(See west end, centre and east end views.)
| GENERAL REMARKS TO THE COMPOSITIONS |
It is obvious, that although the tomb owner must have owed much to the pharaoh, there is no mention or depiction of him anywhere in this tomb.
This is especially strange, as private tombs in this necropolis from the time of Thutmosis III to Amenophis III all show an icon, which depicts and names the ruling monarch.
One could argue, the tomb is too simple and too small for such a depiction, or, that the tomb must therefore be dated earlier, to the reign of Hatshepsut, where great reverence for the pharaoh did not allow for an image of him to be depicted in a private tomb.
This argument is made even more plausible by an ostracon found in Deir el-Bahari and which will be discussed later.
Guksch explains the simplicity of the tomb with the assumption, that Benia, as a foreigner in Egypt, did not want to stand out as a private person from the normal tomb repertoire, that he even wanted to keep to the boundaries of normal Egyptian tomb painting repertoire by choosing for his tomb, only what all others had depicted.
It is probably more the small size of the tomb, which restricted the choosing of the scenes for the tomb.
Another interesting fact is the very well planned symmetrical composition of the painted scenes around the central east to west axis of the tomb.
The symmetry of the scenic pairs is sometimes a fixed symmetry, sometimes the symmetry is with the opposite wall, sometimes the symmetric pairs are placed side by side, looking in the same direction and the only variation would be, if the tomb owner is sitting or standing.
In the inner room the tomb walls opposite each other are in symmetry, just like in the transverse hall the stela wall and the false door wall are symmetrically planned.
One striking thing about this tomb, is the very sparse representation of women, due to the fact that Benia was not married and had no daughters (or sons).
So, the only female represented in his tomb of his contemporary time is his mother.
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Benia, was he homosexual ? |
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Several things can be observed from the decoration of this tomb, which point to this :
• Benia wasn't married
• he had no children
• he had no females among his servants
• he had no females musicians or dancers
• there are only men (let alone difficult to find : parents? friends?) who attend the funeral banquet
• There are no female relations, named or represented, apart from his mother (the only female character of the tomb).
If this hypothesis is correct, then we would be in an interesting position to try to understand how an Egyptian homosexual envisaged reaching the hereafter and being reborn there.
Thierry Benderitter
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Red outline drawings.
Later, most certainly in the time of Amenophis III, the tomb must have been robbed already. Also from this time period, some red outline drawings have been added to the walls, mostly women, but occasionally of men.
These pictures must have been made by the people of the first intrusive burials, by someone who was obviously married and had need for the portrayal of a woman for his resurrection rites, as the wives usually held the important role, as Isis was to Osiris, in the rebirth of the tomb owner.
One of these images can be seen under Benia's seat on the north section of the east wall of the transverse room.
| TRACES OF BENIA OUTSIDE OF HIS TOMB |
There are two ostraca which most probably belonging to the Benia of this tomb.
If this assumption is correct, we have some very interesting facts to add to his person.
A third ostraca mentions a Benia, but it is not very convincing that he is the Benia of this tomb (TT 343), as the man seems to have lived later and was married and had a son.
Both ostraca referring probably to our Benia, are ostraca about construction work of buildings, matching well to the title of Benia; they both use the court name.
The first one is a list, found in Deir el-Bahari, where a Benia is giving 10 men for the construction work of the temple of Hatshepsut.
This would be very interesting again, as much for the style of the tomb, the placement of the tomb in the context of the necropolis and the lack of a picture of the reigning king.
The second ostracon mentions the construction of a private house, for which, supervision is given to a certain Benia.
| Bibliography ( thanks to Jose F. Alonso ) |
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- Porter/ Moss 2, I:1, pp.410-412
- Kampp, Thebanische Nekropole. pp.582-584
- H. Guksch, Das Grab des Benia, gen. Paheqamen,
(photography by D. Johannes)
Theben Nr. 343. Mainz, 1978
in addition, reference MDAIK 38 (1982) pp.195-196
- Inscriptions: see K. Sethe, Urk IV 1468-1472
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Original text by Brigitte Goede
Edited by Jon Hirst
Photographs by Jacques Livet, Thierry Benderitter and Christian Mariais
Drawings and additional text by Jon Hirst
Black / white photos based on those of D. Johannes
© Copyright OsirisNet 2005 |
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