Tombe d'Amenemipet
TT_265

In 2021 work began on restoring the three chambers in 19th Dynasty tomb of Royal Scribe Amenemipet (i), one which has brightly-painted but partially damaged decoration, two being undecorated. In the decorated chamber the scenes and numerous columns of black-painted hieroglyphs with spells from the Book of the Dead in the upper parts of the walls are mostly well-preserved. However, in the past the lower part of the walls was badly damaged by an incursion of water into the chamber and deep scratches in some areas of the walls have probably been caused by animal claws. In times past, part of the decorated ceiling has collapsed. The conservation problems which need addressing in this tomb are therefore many and are currently being addressed. Mortar consisting of natural ingredientsis being used to fill gaps, and rectify the effect of previous conservation efforts. Tests have been conducted on mortars with different constituents to select one with the most unobtrusive hue for when it is applied onto the walls. In locations where painted layers are threatening to become detached from the mother rock, the empty spaces behind them are being treated with PLM. To clean the surface, mechanical methods comprise different types of brushes, erasers and the use of chemical materials such as klucel G, Cluminal MC2000 to attach the fragile layers of colours and plaster. While the rock exposed in the ceiling currently appears stable, measuring instruments have been attached to three different locations to monitor rock movement. After conservation in the three chambers is complete, the Ministry of Tourism and Antiquities’ intention is to open the tomb to the public.

The other projet is to collect the documentation of distinctive features of the hieroglyphic handwriting in the early 19th Dynasty tomb of Royal Scribe Amenemipet (i) (TT 265), this is the first step to creating a dataset about the ‘hands’ of different scribe/painters at Deir el-Medina. Each black-painted hieroglyph in this tomb, mostly spells from the Book of the Dead, potentially displays attributes unique to the man who painted them. By taking close-up photos and making epigraphic facsimiles, atypical features of hieroglyph shape and ductus (how he applied the brush-strokes when making the sign) are being highlighted. Data being collected also includes the ways the scribe/painter corrected his spelling mistakes; how he arranged signs in a sign-group; and the marks he made when laying out column-lines ready for the text. The dataset will enable comparative analysis with hieroglyphs painted in other tombs at the site and on funerary objects discovered in the village and now scattered in museums around the world. In this way it will be possible to gain fresh insights into individual scribe/painters, their work places and practices, and their involvement in the settlement’s thriving funerary commerce.