A HISTORY OF EGYPTIAN SCULPTURE AND PAINTING IN THE OLD KINGDOM BY WILLIAM STEVENSON SMITH SECOND EDITION PUBLISHED ON BEHALF OF THE MUSEUM OF FINE ARTS, BOSTON, U.S.A. BY THE OXFORD UNIVERSITY PRESS LONDON : GEOFFREY CUMBERLEGE The cost of printing this volume has been borne by THE BOSTON MUSEUM OF FINE ARTS HARVARD UNIVERSITY and THE AMERICAN COUNCIL OF LEARNED SOCIETIES FIRST EDITION 1946 SECOND EDITION 1949 PRINTED IN GREAT BRITAIN AT THE UNIVERSITY PRESS, OXFORD BY CHARLES BATEY, PRINTER TO THE UNIVERSITY PREFACE TO SECOND EDITION TN preparing a second edition I have made some small alterations in the text. It has not proved 1 practical, however, to take into consideration excavated material or publications which have appeared since the volume was first printed. I should like, nevertheless, to call attention to a few very important new things. The excavation of the Zedkara (Isesy) pyramid temple, a little to the south of Saqqarah, has produced new and unusual white limestone sculpture in the round, particularly some fragments of calves and a figure almost certainly of a sphinx which would lend support to a Dynasty IV date for the curious limestone sphinx from Abu Roash mentioned on p. 33. This material, including relief frag­ ments, a lion, and parts of figures of prisoners like those from the temples of Ne-user-ra and Pepy II, is as yet unpublished. It should be mentioned, also, that in the excavation of the archaic cemetery near Helwan have been found primitive niche-stones like those described on pp. 142-143 hitherto known with any certainty only from Saqqarah. The Brooklyn Museum has recently acquired a remarkable series of sculptures, including a red granite head of an early king, a kneeling slate statuette of Pepy I, and an alabaster statuette of the same king in Heb-sed dress. In the same group is an alabaster figure of the mother of Pepy II holding her son on her lap (The Brooklyn Museum Bulletin, vol. VIII, No. 6, March 1947). I have omitted to men­ tion on p. 13 an archaic head long in University College, London [Ancient Egyptian Art, Burlington Fine Arts Club Catalogue, 1922, pi. II). The South Stone Pyramid at Dahshur has recently been identified as having been constructed by Sneferuw. Excavations are still continuing but it is no longer necessary to speculate (as on pp. 144, 361) as to whether it could have been built by Huni. The question is raised as to the identity of the builder of the Medum Pyramid. In this connexion it might be remarked that it is highly doubtful that the lime­ stone flake in Philadelphia really bears a representation of Sneferuw (pp. 136, 149, 358). It seems to me possible that the people buried at Medum lived a little earlier than Reisner was inclined to place them, and that the large tombs, including that of Ra-hotep and Nofret, were completed at least within the reign of Sneferuw and not as late as that of Cheops (cf. pp. 145, 149). Prof. Junker, in Giza VII, pp. 151 ff., has published more sculpture which was displaced anciently from the tomb of Ba-ba-f (G 5230, called in my text Khnum-ba-f). This includes a small inscribed alabaster statue in Vienna resembling the smaller fragmentary figure on my PI. 196. I have included this by error under Ba-f-ba amongst the sculpture of the second half of Dynasty V at the end of the third paragraph on p. 73. Junker has also published a fragmentary standing figure and a much broken seated figure of dark granite which should be added to the list of fragments given on p. 50. Most interesting of all is a head in Vienna from a life-size alabaster statue which must originally have stood in the serdab of G 5230 (for plan see Reisner, Giza Necropolis, I, Fig. 153, p. 250). In the case of the Worcester statue of a woman described on pp. 42-43, it is now clear that it formed part of a triad of figures (partly in Brooklyn and Kansas City; see J. D. Cooney, J.E.A., vol. XXXI, 1945, pp. 54-56) from the Dynasty V tomb of Ra-wer. These should be added to the other sculpture from this tomb listed on pp. 50-52. With them should be included the ivory figure and other statues which, in the second paragraph on p. 61, I have erroneously assigned to the wrong Ra-wer (LG 94) and not to the tomb later excavated by Selim Hassan. Suspicion as a forgery has been cast on the lower of the two designs in Fig. 45, p. 125 (see Guy Brun- ton, 'Modern Paintings on Predynastic Pots', Annales, XXXIV, pp. 149 ff.). ii P R E F A CE TO S E C O ND E D I T I ON The general consensus of opinion seems to be that the reliefs from the gateway at Memphis mentioned on pp. 121, 133, 136 are not of the Middle Kingdom but archaizing work of at least Saite times. The objects from the Charles Atherton Curtis Collection, perhaps the most important of which is the slab-stela of Nefert-yabet described on p. 160, are now in the Louvre (see Boreux, Monuments Piot, vol. XXXVII, 1940, pp. 13-37). Further material in connexion with the reliefs of Akhet-a'a (p. 151), Mery (p. 172) and Tep-m-ankh (p. 187), and certain Fourth Dynasty reliefs at Giza, will be found in Smith, 'The Origin of Some Unidentified Old Kingdom Reliefs', A.J.A., vol. XLVI, 1942, pp. 509-531. It now seems impossible that the Mariette stela of Queen Merytyetes can have come from G 7650 as is suggested on p. 161. However, the connexion between this stela and the queen of the same name who appears to have been the mother of Prince Ka-wab is still obscure, as is the location at Giza where Mariette found the stone. I was able in 1947 to visit the rock-cut tombs at Tehneh, Naga-ed-Der, Bersheh and Beni Hasan, as well as the two late Old Kingdom tombs at Luxor (Nos. 185, 186; p. 226). It is of interest, in view of the owner's mention of Mycerinus and Weserkaf, that the reliefs of the tomb of Khenuw-ka at Tehneh bear a close resemblance to those of the Chephren family at Giza. It is now clear that the tombs which I have listed on p. 225 as being at Deir el Melek are actually in the upper terrace of tombs at Naga-ed- Der and amongst those cleared by Reisner. The term Deir el Melek used by Wreszinski is simply another name for the Naga-ed-Der cemetery. The man named Themerery (N 71; Sayce No. IV) on p. 225 should not be confused with a second Themerery (N 248) buried at the same site, referred to on p. 222. One must see the Beni Hasan tombs to realize that it is only in the chapel of Khnum-hotep (No. 3) where the developed style of the Middle Kingdom is beginning to emerge in the reign of Sesostris II. The stiff clumsiness of the Intermediate Period style carried on very late at Beni Hasan, even the painter of Khnum-hotep was not able entirely to free himself from it as had Djehuwty-hotep's craftsmen at Bersheh, where again only this one tomb stands out from the rest as representing the fully developed 12th Dynasty style. Finally, it should be noted that in the tomb of Djehuwty-hotep there is a larger amount of fine work in paint alone than is implied by the text (p. 240). It should be noted in reading the statement on pp. 223-224 that W. C. Hayes has recently argued strongly against the existence of an independent kingdom at Coptos (J.E.A., vol. XXXII, 1946, pp. 3-23). In an article to appear in J.E.A., vol. XXXIII, the proofs of which have been kindly placed at my dis­ posal, Hayes makes it quite clear that while the decoration of the tomb of Hor-m-khauw-f at Hierakon- polis dates to the late XHIth Dynasty, that of Pepy-nen-ankh (called Pepy-men on p. 234) is provincial work of the late Old Kingdom (see also p. 230 where I have mistakenly called both tombs Dyn. XII). Finally, I should like to refer the reader to 'The Artist of the Egyptian Old Kingdom' by John A. Wilson, in Journal of Near Eastern Studies, vol. VI, October 1947, pp. 231-239, where he has offered readings which differ from the interpretation given to a number of the texts in Chapter XVI. WILLIAM STEVENSON SMITH MUSEUM OF FINE ARTS BOSTON March 1948 PREFACE TO FIRST EDITION I N 1936 the writer was entrusted with the preparation of a survey of the sculpture and painting found at Giza. This was to form part of the publication of the excavations at the Pyramids upon which Dr. George A. Reisner and the members of the Harvard-Boston Expedition have long been engaged. It was clear at the start that new evidence from Giza made it necessary to reconsider both the style and date of sculpture from other Old Kingdom sites. As the need to refer to comparative material became more and more obvious the present form of the volume gradually took shape. It was at the suggestion of Dr. Reisner that the text was finally expanded into a general history of Old Kingdom art. The Giza excavations have provided a chronological framework upon which to base a study of the art of the Old Kingdom. There is now a large body of material clearly dated to Dynasty IV which is available for comparison with the work of Dynasties V and VI. It is thus possible to recognize the high point of achievement reached under the kings who built the Great Pyramids. Familiarity with the site of Giza had necessarily to be gained through continued use of the Expedition records and Dr. Reisner's forthcoming publications in manuscript form. The writer's debt to Dr. Reisner is very great, accruing as it has through ten years' work with him as pupil, assistant, and friend. The fact that the following text exists at all is perhaps the clearest testimonial to this indebtedness. Only an incomplete picture of the great cemetery would be possible without access to the excavations of our neighbours at Giza, the German and Egyptian Expeditions. Throughout the course of my work I have had frequent cause to appreciate the friendly co-operation of Professor Hermann Junker. Not only was the material in his excavations freely available for study but he has been most generous with helpful advice from his long experience and knowledge of the language and archaeology of the Old Kingdom. To him I also owe permission to copy the painted hieroglyphs which are reproduced on one of the coloured plates. To our other neighbour, Professor Selim Bey Hassan, and to his assis­ tants, I am very grateful for continued access to the chapel reliefs in his excavations both at Giza and Saqqarah. In recent years the work of the Department of Antiquities at Saqqarah has added greatly to our knowledge of the difficult period preceding Dynasty IV. It has been a rare privilege to follow the course of this work under the guidance of the late Messrs. Cecil Firth and Edward Quibell. I am indebted to them for permission to describe material as yet unpublished, as well as for several photo­ graphs and drawings reproduced here. Even more interesting results were obtained by Walter B. Emery when he took up the difficult task of continuing the work left incomplete by the premature death of Mr. Firth, followed by that of Mr. Quibell. Much that appears in the following pages has been learned during many pleasant visits to Mr. Emery's excavations. The writer owes to the friendly offices of Professor George H. Chase a grant from Harvard which enabled him in 1935 to make a survey of most of the important European collections of Egyptian sculpture. In the course of visits to these museums in Europe and to the collections of our own country such a widespread indebtedness has been incurred that it is impossible to express it adequately. An attempt has been made throughout the volume to attribute correctly the source of photographs, drawings, and other material, for the reproduction of which permission has been courteously and readily granted, and to indicate the present location of statues, reliefs, and paintings. In the few cases where photographs in the plates have been drawn from publications this is indicated in the list of plates. Several of the plates are made from photographs of the Archives Photographiques du Louvre, two from the firm of iv P R E F A CE TO F I R ST E D I T I ON Alinari and one from that of Lehnert and Landrock in Cairo. Herr Platon Mittlestaedt made for me a number of excellent photographs of objects in the Cairo Museum. The great majority of the photo­ graphs, however, were drawn from the files of the Expedition and the Boston Museum of Fine Arts. I should like to express my grateful thanks to the officials of the Cairo Museum, particularly Mr. Engelbach, Mr. Brunton, and M. Gueraud, to Mr. Sidney Smith of the British Museum, to Mr. D. B. Harden of the Ashmolean Museum and Professor Glanville of University College, to M. Charles Boreux of the Louvre and the Abbe Paul Tresson of Grenoble, to Professor Capart in Brussels and Dr. W. D. van Wijngaarden in Leiden, to Dr. Gunther Roeder of the Pelizaeus Museum of Hildesheim, to Professor Schaefer, Dr. Anthes, Dr. Grapow, Hans Wolfgang Müller, and Herr von Bothmer who were particularly kind to me in the Berlin Museum, as well as Professor Wolff and Herbert Schaedel in Leipzig, to Professor Watzinger of Tübingen, Professor Scharff and Wilhelm Hölscher in Munich, Dr. Hans Demel of the Kunsthistorisches Museum in Vienna, and to Signor Giulio Farina in Turin. Mr. C. S. Gulbenkian was kind enough to allow me to reproduce the charming little Dynasty IV relief in his collection, while Mr. Atherton Curtis hospitably permitted me to examine the beautiful slab-stela of Nefert-yabet in his Paris house. In addition to the acknowledgements made above my thanks are due to the officials of the Glyptothek Ny Carlsberg of Copenhagen, the Metropolitan Museum of Art in New York, the Brooklyn Museum, the Oriental Institute of the University of Chicago, and the Worcester Art Museum for allowing me to reproduce important pieces in their col­ lections. I am exceedingly grateful to Mr. Herbert Winlock and Mrs. Caroline Ransom Williams for permitting me to use certain of the Lisht reliefs at a time when their publication was in preparation. My indebtedness to Mrs. Williams will be found acknowledged in a number of places throughout the text. Dr. John Wilson saved me much trouble by allowing me to use material from Prentice Duell's volume on the tomb of Mereruwka before it appeared in print. Finally Professor Blackman has permitted me to reproduce drawings from photographs of an unpublished tomb at Meir. Any survey of Egyptian material has now been made incomparably less difficult by the volumes of the Topographical Bibliography. One uses these books so constantly that with familiarity it is easy to forget how much we owe to the painstakingly careful references of Miss Bertha Porter and Miss Rosalind Moss. The writer has been fortunate enough to profit by much personal advice from Miss Moss's wide knowledge of Egyptian sites and collections. The figures in the text have been prepared by the author from a variety of different sources. When illustrations were traced from publications the reference has been given in the caption beneath and in some cases a little more fully in the List of Illustrations. Many examples are taken from original drawings by the author and by other members of the staff of the Expedition and the Boston Museum of Fine Arts. Since these records range over a long period of time it is difficult to give full credit where it is due. The captions beneath two of the coloured plates and a number of the drawings indicate my indebtedness to Mr. N. de G. Davies who made a splendid record of tombs in the Western Cemetery at Giza and of the rock-cut tombs at Naga-ed-Der. I have utilized other drawings by Miss Elizabeth Eaton and by Mr. Hansmartin Handrick. The inlay patterns of the Hetep-heres furniture are taken from drawings made by Mr. Dows Dunham in the course of the removal of the furniture from the tomb. I should like to thank Miss Suzanne Chapman and Mr. Nicholas Melnikoff for making some of the tracings for me. I am particularly grateful to Miss Eaton and Mr. Dunham, who throughout the preparation of this volume in Egypt, have continually supplied me with information concerning the objects in the Boston collection. To simplify the general index, spellings in transliteration have been given in a separate list. I have P R E F A CE TO F I R ST E D I T I ON v also made a list of the personal names mentioned in the text, as well as lists of the tombs at Giza and Saqqarah with Dr. Reisner's numbers at Giza and Mariette's numbering at Saqqarah correlated, wherever possible, with other numbering systems of Lepsius, Steindorff, Junker, Fisher, Quibell, Firth, and Emery. With these lists it should be possible to find the tombs mentioned in the text either on the maps of Giza in Dr. Reisner's first volume of The History of the Giza Necropolis or on the map of Saqqarah included at the back of The Development of the Egyptian Tomb. Miss Lesley Hoyos has helped me with the task of preparing these lists as well as assisting me with the general index, for which I wish to express grateful thanks. I have tried to avoid confusing abbreviations. The following are those used most frequently throughout the text : Annales: Annales du Service des Antiquités de l'Egypte. A.Z. : Zeitschrift für Ägyptische Sprache und Altertumskunde. J.E.A. : Journal of Egyptian Archaeology. O.L.Z. : Orientalistische Literaturzeitung. P.S.B.A.: Proceedings of the Society for Biblical Archaeology. R.T.: Pétrie, The Royal Tombs of the Earliest Dynasties. M.F.A. : Boston Museum of Fine Arts. Reference to the publications of the Egypt Exploration Society is usually by title only. Certain incon­ sistencies will undoubtedly be found in the spelling of Egyptian proper names and Arabic place names. In drawing material from so many different sources I have tried to use the most familiar spelling but have frequently followed that used in the original publication. In many cases I have used the spelling employed by Dr. Reisner in the Giza publications. The printing of this volume has been made possible by the generous grants of the American Council of Learned Societies, the Boston Museum of Fine Arts, and Harvard University to whom I offer my sincere thanks. I should like to thank Professor George H. Chase and Frederick R. Grace for their patience in reading the book in galley proofs and for the helpful suggestions made by them both when the text was presented as a Doctor's dissertation at Harvard in May 1940. Finally, I should like to express my gratitude to Mr. John Johnson and the Oxford University Press who under difficult war­ time conditions have maintained the high quality of printing for which they are justly known. WILLIAM STEVENSON SMITH MUSEUM OF FINE ARTS BOSTON October 1940 C O N T E N TS INTRODUCTION xi-xv The general characteristics of Old Kingdom sculpture. Its purpose and relation to funerary customs. The relation of sculpture and painting to Old Kingdom architecture. The influence of the materials employed upon the quality of the products. The 'Pre-Greek' attitude toward visual impressions and its influence upon artistic conventions. The position of Egyptian sculpture and painting in relation to that of other ancient peoples I. THE SCULPTURE OF THE PREDYNASTIC AND EARLY DYNASTIC PERIODS 1-12 a. The Sculpture of the Predynastic Period . . . . . .. i The figurines of clay and ivory of the Predynastic Period. The types of figures evolved. Human and animal figures b. The Sculpture of Dynasty O to Dynasty II . . . . .. 4 Small figurines of ivory, faience, and wood from Hierakonpolis and Abydos . . .. 4 Stone sculpture: the Coptos Min statues, large statues from Hierakonpolis and the seated figures of a king and queen, the Ashmolean basalt statuette, the Berlin limestone seated figure . .. 7 Large wooden figures at Abydos . . . . . . . .. 9 Animal figures . . . . . . . . . .. 9 Small decorated objects and furniture from the royal tombs at Abydos, and related material of Dynasties I and II . . . . . . . . . .. 10 II. THE SCULPTURE OF DYNASTY III 13-19 The statues of Kha-sekhem . . . . . . . . .. 13 The royal sculpture of the reign of Zoser . . . . . . . 13 The seated private statues . . . . . . . . .. 15 The kneeling Cairo figure . . . . . . . . .. 16 The standing statues of Sepa and Neset in the Louvre, and the Brussels standing figure . . 17 III. THE SCULPTURE OF DYNASTY IV 20 a. The Reign of Cheops . . . . . . . . .. 20 Royal statues . . . . . . . . . . .. 20 Rahotep and Nofret . . . . . . . . . .. 21 The seated statue of Prince Hemyuwnuw . . . . . . .. 22 The Reserve heads: description and discussion of their possible relation to the wrapping of the body to simulate its form in life and the use of plaster masks on the face of the mummy . .. 23 The statues of the Crown Prince Ka-wab; scribe statues of princes . . . . . 30 Fragmentary sculpture from the Eastern Cemetery at Giza . . . . . . 31 b. The Reign of Radedef . . . . . . . . .. 31 Fragments of royal statues from Abu Roash . . . . . . .. 31 Statues of the king's family at Abu Roash . . . . . . .. 33 c. The Sculpture of the Reigns of Chephren to Shepseskaf . . . .. 33 The royal sculpture divided into the two groups of the works of sculptors A and B . . 35 The bust of Prince Ankh-haf . . . . . . . . .. 38 The Louvre head of an unknown man (Salt Collection) . . . . .. 40 Prince Khuwnera as a scribe . . . . . . . . .. 40 The statues of Queen Kha-merer-nebty . . . . . . . . 41 The statues of Queen Meresankh III . . . . . . . . . 42 The British Museum and Worcester female statues . . . . . .. 42 The Meresankh servant figures . . . . . . . .. 43 CONTENTS vii IV. THE SCULPTURE OF DYNASTY V 45-81 a. The Sculpture of the First Half of Dynasty V . . . .. 45 The occurrence of sculpture in the provinces. The shift in importance from Giza to Saqqarah . . 45 The sculpture of Weserkaf and Sahura . . . . . . .. 46 Large private sculpture at Saqqarah in early Dynasty V: The Sheikh el-Beled, the Louvre scribe, &c.. 47 Giza sculpture of early Dynasty V . . . . . . .. 50 b. The Sculpture of the Second Half of Dynasty V . . . .. 54 Examples of royal work . . . . . . . . .. 54 Outstanding private statues at Giza . . . . . . . .. 56 Wooden statues . . . . . . . . . .. 58 i. Statues from the Far Western cemetery at Giza . . . . . . 61 ii. Statues from Cemetery G 2000 . . . . . . . .. 68 iii. Statues from Cemeteries G 4000, G 6000, and the Echelon Cemetery . . . . 71 iv. The minor Sculpture from Cemetery G 7000 . . . . . .. 76 v. Saqqarah private Sculpture of the Second Half of Dynasty V . . .. 77 V. THE SCULPTURE OF DYNASTY VI 82-104 The royal statues of Tety and Pepy II; the copper statues of Pepy I . . .. 82 The sculpture of Nekhebuw and related material . . . . . .. 84 Squatting statues of unusual type . . . . . . . .. 86 Stone statuettes of provincial origin . . . . . . . .. 87 Small wooden statuettes of Dynasty VI; the continuance of large wooden figures; wooden servant figures; stone appurtenances . . . . . . . . .. 90 The development of the servant figure: limestone figures of late Dynasty IV and Dynasty V, wooden figures, the wooden groups of the Intermediate Period and the Middle Kingdom . . .. 95 VI. THE TECHNIQUE OF THE STATUARY 105-9 The different stages involved in cutting a statue: representations of the different processes as shown in the reliefs; the effect of the material used; hard and soft stones . . . . .. 105 The application of paint to statues . . . . . . . .. 107 VII. THE RELIEFS AND PAINTINGS OF THE PREDYNASTIC AND EARLY DYNASTIC PERIODS 110-30 a. Early Sculpture in Relief . . . . . . . .. no The slate palettes and mace-heads; the Wady Maghara rock carvings . . . . . no Decorated stone vessels and small objects; the Abydos grave stelae; carved knife handles; ivory and wooden tablets, &c. . . . . . . . . . . . 116 b. Early Examples of Painting . . . . . . . .. 123 The Hierakonpolis tomb; paintings on pottery c. Conclusions concerning the Early Period . . . . . . . 126 The development of composition and drawing conventions . . . . 126 Different types of carving . . . . . . . . . . 128 VIII. THE MONUMENTS OF THE ARCHAIC PERIOD . . .. 131-56 a. The Royal Monuments, Late Dynasty II and Dynasty III . . . . 131 The carvings of Khasekhem . . . . . . . . . . 131 The granite reliefs of Khasekhemuwy . . . . . . . . . 131 The Wady Maghara reliefs . . . , . . . . . . 132 The Reign of Zoser: the Step Pyramid reliefs; the Heliopolis reliefs; the fragments from Gebelein of un­ certain date . . . . . . . . . .. 132 b. The Private Monuments of Late Dynasty II and Dynasty III . . . 139 The sculpture and painting of the Hesi-ra tomb; the Covington Tomb (?) painting . . . 139 The primitive niche-stones . . . . . . . . .. 142 b 2 viii CONTENTS c. The Transition Period from Dynasties III-D7: the Reigns of Huni and Sneferuw: Royal work x44 Wady Maghara reliefs; trial piece of Sneferuw (?) from Medum . . . .. 144 The decoration of the furniture of Queen Hetep-heres I . . . .. 145 d. The Private Reliefs and Paintings of the Transition Period, Dynasties III-IV . 148 The stone-lined niches of Kha-bauw-sokar and Hathor-nefer-hetep . . . .. 149 The stone-lined niches of Iy-nefer The cruciform chapels of FS 3078, Akhet-hetep, Peher-nefer and Akhet-a'a . . . . 151 The cruciform chapel of Methen . . . . . . . . • 151 The Medum reliefs of Neferma'at, Atet, Rahotep and Nofret . . . . . . 153 IX. THE RELIEFS OF DYNASTY IV CHEOPS TO SHEPSESKAF . . 157-75 a. The Royal Examples . . . .. . . .. 157 Reliefs of Cheops: Giza Pyramid Temple, Lisht, Wady Maghara, Bubastis . . . . 157 The reliefs of the Queen's Pyramid, G i b. . . . . . • • 158 Reliefs of Chephren: Giza, Bubastis, Tanis . . . . . • • • 158 b. Private Reliefs . . . . . . . . . .. 159 The Giza Slab-stelae . . . . . . . . . .. 159 The chapels of Hemyuwnuw (G 4000) and G 2130 . . . . . .. 160 Similar low reliefs of Ankh-haf and Merytyetes of the reign of Chephren . . .. 160 The chapel of Prince Khufuw-khaf and other Dynasty IV reliefs in the eastern and western cemeteries at Giza . . . . . . . . . . .. 161 Bold relief, sunk relief, relief of medium height, sized reliefs in nummulitic stone . . . 161 The chapel of Nofer. Other Giza chapels of the latter part of Dynasty IV. The types of scenes employed in the L-shaped chapels at Giza . . . . . . . . . 163 The rock-cut chapels of the Chephren family and the expansion of the wall scenes . . 163 The private reliefs at Saqqarah in Dynasty IV . . . . . .. 172 X. THE RELIEFS OF DYNASTY V 176-201 a. The Royal Reliefs . . . . . . . . .. 176 The reliefs in the temples of Weserkaf, Sahura, Neferirkara, Ne-user-ra, and Unas: subject-matter of the scenes, the style of carving and distribution of the scenes b. The Private Reliefs of the First Half of Dynasty V . . . .. 185 Continuation of simple chapel forms at both Giza and Saqqarah in early Dynasty V; shift in importance from Giza to Saqqarah; the transitional mastabas of the old L-shaped type at Giza; the introduction of scenes from life into the offering-rooms of short corridor and other simple forms at Saqqarah; rock-cut tombs and chapels of early Dynasty V at Giza c. The Private Reliefs of the Second Half of Dynasty V . . . . . 191 The introduction of the multi-roomed chapel in the mastabas at Saqqarah and Giza; the chapels of Thiy, Ptah-hotep and Akhet-hetep, Ra-shepses, &c, at Saqqarah, the Shepseskaf-ankh and Senezem-ib com­ plexes at Giza . . . . . . . . . .. 191 The continuation of simple chapel types at both Giza and Saqqarah, but with an expansion of subject- matter in the wall scenes . . . . . . . . . . 193 The style of the Dynasty V reliefs; type of cutting leaving the background largely in place; diversity of subject-matter . . . . . . . . . .. 194 XI. THE RELIEFS AND PAINTINGS OF DYNASTY VI . .. 202-13 a. The Royal Reliefs . . . . . . . . .. 202 The temples of Tety and Pepy II; the Coptos reliefs of Pepy II; minor objects of royal workmanship b. The Private Reliefs of Dynasty VI . . . . . .. 205 The reliefs in the mastabas of Dynasty VI at Saqqarah; the Tety Pyramid Cemetery; the group of mastabas south of the Step Pyramid; other chapels at Saqqarah, at South Saqqarah and at Dahshur; the use of a bolder type of relief . . . . . . . .. 205 Giza chapels of Dynasty VI . . . . . . . .. 208 The decoration of the burial-chamber in Dynasty VI . . . . . . . 211