Drawn by Faucher-Gudin, from paintings on the tomb of
Nofirhotpû at Thebes.
It was elegant, light, and slender in shape, and ornamented at bow and stern with a lotus-flower of metal, which bent back its head gracefully, as if bowed down by its own weight. A temple-shaped shrine stood in the middle of the boat, adorned with bouquets of flowers and with green palm-branches. The female members of the family of the deceased, crouched beside the shrine, poured forth lamentations, while two priestesses, representing respectively Isis and Nephthys, took up positions behind to protect the body. The boat containing the female mourners having taken the funeral barge in tow, the entire flotilla pushed out into the stream. This was the solemn moment of the ceremony—the moment in which the deceased, torn away from his earthly city, was about to set out upon that voyage from which there is no return. The crowds assembled on the banks of the river hailed the dead with their parting prayers: “Mayest thou reach in peace the West from Thebes! In peace, in peace towards Abydos, mayest thou descend in peace towards Abydos, towards the sea of the West!”
Drawn by Faucher-Gudin, from a stele in the Gîzeh Museum.
This crossing of the Nile was of special significance in regard to the future of the soul of the deceased: it represented his pilgrimage towards Abydos, to the “Mouth of the Cleft” which gave him access to the other world, and it was for this reason that the name of Abydos is associated with that of Thebes in the exclamations of the crowd. The voices of the friends replied frequently and mournfully: “To the West, to the West, the land of the justified! The place which thou lovedst weeps and is desolate!” Then the female mourners took up the refrain, saying: “In peace, in peace, to the West! O honourable one, go in peace! If it please God, when the day of Eternity shall shine, we shall see thee, for behold thou goest to the land which mingles all men together!” The widow then adds her note to the concert of lamentations: “O my brother, O my husband, O my beloved, rest, remain in thy place, do not depart from the terrestrial spot where thou art! Alas, thou goest away to the ferry-boat in order to cross the stream! O sailors, do not hurry, leave him; you, you will return to your homes, but he, he is going away to the land of Eternity! O Osirian bark, why hast thou come to take away from me him who has left me!” The sailors were, of course, deaf to her appeals, and the mummy pursued its undisturbed course towards the last stage of its mysterious voyage.
The majority of the tombs—those which were distributed over the plain or on the nearest spurs of the hill—were constructed on the lines of those brick-built pyramids erected on mastabas which were very common during the early Theban dynasties. The relative proportions of the parts alone were modified: the mastaba, which had gradually been reduced to an insignificant base, had now recovered its original height, while the pyramid had correspondingly decreased, and was much reduced in size. The chapel was constructed within the building, and the mummy-pit was sunk to a varying depth below. The tombs ranged along the mountain-side were, on the other hand, rock-cut, and similar to those at el-Bersheh and Beni-Hasan.
The heads of wealthy families or the nobility naturally did not leave to the last moment the construction of a sepulchre worthy of their rank and fortune. They prided themselves on having “finished their house which is in the funeral valley when the morning for the hiding away of their body should come.” Access to these tombs was by too steep and difficult a path to allow of oxen being employed for the transport of the mummy: the friends or slaves of the deceased were, therefore, obliged to raise the sarcophagus on their shoulders and bear it as best they could to the door of the tomb.