Saqqara, City of the Dead - The Memphite Tomb of Horemheb

Second Courtyard Reliefs

The reliefs in the Second Courtyard are in a much better state than in the first courtyard and are from the hand of a master sculptor.

The east wall is filled with military scenes that very likely depict events from the great general's life that he wanted emphasised in his afterlife.

One scene on the south side shows a reluctant Nubian prisoner brought to Horemheb to make him "kiss the ground in front of the feet" of the general.

Six highly placed collegues of Horemheb bear witness to this event. The way the are represented is very unique, not only because of the very high quality of the reliefs, but even more so because they are all shown with different faces and hair styles, a rare display of individuality. The man in the middle is shown with long hair and a balding crown. The names of these men are either lost or were never recorded on the relief, but the fact that Horemheb had allowed these men to be represented with so much detail, may hint at the importance they held under his command.

Officers serving under Horemheb

They are followed by long rows of prisoners brought before the general. Four long-haired crouching scribes seated on the ground before the six men, record the events, most likelyfor the royal archives. Each of their faces is drawn differently and with great realism. Stacks of books are piled before them. Two other scribes, recognisable by the scribe's palette they hold in their hands, are standing behind them with the scribe's palette, the tools of their trade, in their hand. Before the stacks of books, a Nubian prisoner is led, somewhat against his will, towards Horemheb, who was supervising the scene (not shown in the image below).

Scribes at work

Another feature that makes these reliefs so unique is their almost three-dimensional nature. The relief used to represent people that would sit "closer" to the spectator is more raised than for people sitting in the back. This creates a wonderful illusion of depth.

Below the great general's feet, a group of Nubians is sitting on the ground. Some of them appear to be talking vividly, perhaps wondering about their fate, others just sit quietly accepting their submission to Egypt.

Behind this scene, the chariot of Horemheb is being prepared for him by his soldiers. Some of the original colours can still be seen. Again, the relief is drawn with such detail that one can not help but admire the master craftsmen who created it.

The next scene (see images below) is represented on the south wall, in the corner. Horemheb is seated on an elaborate chair, followed by his attendant, a man named Sementawy (or Ramose). In his left hand, he holds a sceptre, in his right a long stick. The top part of this relief is slightly weathered. After Horemheb became king, he ordered an uraeus, symbol of kingship, to be drawn on his brow.

Before him is a richly provided offering table and on the other side of the table a funerary priest makes an offering. The colours in this part of the scene are nicely preserved.

Below them, butchers can be observed busily dismembering an ox for the funerary meal. Scenes like these had a magical purpose: should the actual offerings to the temple cease, they would magically ensure that Horemheb's mortuary cult would continue.

The rest of the south wall is covered with a remarkable and probably historical relief, depicting Horemheb receiving the "collars of honour" from the king Tutankhamun and his wife for the good services rendered to the country. In front of the king, Horemheb is standing with upraised arms while two servants hang golden collars on his neck. Three other servants are standing bent, holding scales with yet more gifts for the general.

A scribe, represented above the leftmost of the three servants, holds his palette high in celebration. Above him, the feet and bodies of some palace officials can be recognised.

This scene is followed, on the left, by a procession of captured foreigners being led to the king as trophies. The group of captives consists of Asians, recognisable by their typical hair-dress, beards and clothes. Not only men, but also women and children were brought in captivity to the king. The men are often bound and conducted by Egyptian soldiers. The women are simply taken by the hand or wrist.

On the west wall, the series of scenes from the life of Horemheb is continued. This time Horemheb's duties at the head of the king's foreign policy are shown. A group of Asians has come pleading before the king. They have their arms raised in sign of respect and submission. Some of them are kneeling on the ground, some are standing, and some are even toppled over and lying on the ground. An interpreter hears their pleas, then turns to Horemheb and translates them into Egyptian. Horemheb, wearing the "collars of honour" he received in the previous scenes, then turns to the king and conveys the pleas of the Asians to him. The fragmentary text informs us that the foreign ambassadors have come to beg for life from the king.

Horemheb at the head of Foreign affairs

The north wall shows scenes of mourning, that are quite typical for a mortuary temple.