preceded with corridors. The side chambers were more commonly the places in which grave goods are held such as the 4 jars which held the removed organs from the body during the embalming process (Elliot G. Smith 1914: 191). Similarly they included offerings to the pagan deities such as breads, wines, and precious amulets (Elliot G. Smith 1914:194). Unfortunately most of the grave goods are stolen by grave robbers and usually not recorded, as with the case of Queen Tyti.
Found within the corridors are texts and more drawings of Queen Tyti kneeling before several gods and goddesses perhaps as a signs of worship into the afterlife. Pictures include those of Ptah, Isis, Thoth, Nephthys, Re- Harakhty and Atum, the sons of Horum (Imset and Duatuef) and Ma’at. .
She is also seen kneeling on a cushion in front of the Four sons of
Horus, as well as making offerings to Goddess Hathor (Thomas Mudloff, 2011: 1). According to Egyptian mythology the goddesses; Hathor, Ma’at, Nephytes and Isis are meant to protect dead, honor truth and justice (Janet R. Buttles, 1908: 167). She is seen worshiping these gods and goddesses while holding sistras, which are ceremonial musical instruments (Elliot G. Smith, 1914: 196). It holds mortuary symbolic value, which exceeds its actual use. It was thought to represent shaking bundles of papyrus flowers which holds great value in many myths surrounding offerings to the Gods (Thomas Mudloff, 2011:86). Therefore these scenes can be interpreted as the Queen displaying offerings to the Gods and Goddesses as way of entering the afterworld. According to Grist other images include those of solar obelisks representing day and night on the doorways and some uncommon depictions such as; her as a young female and than as her as an older woman. This could represent her transition through life and an identifier of her maturation into queenship and adulthood (Jehon Grist, 1985: 79)
Queen displaying offerings to the Gods and Goddesses as way of entering the afterworld. According to Grist other images include those of solar obelisks representing day and night on the doorways and some uncommon depictions such as; her as a young female and than as her as an older woman. This could represent her transition through life and an identifier of her maturation into queenship and adulthood (Jehon Grist, 1985: 79)
It was traditional during this dynasty for the Valley of the Queens’ Sarcophagus chamber to include the title of the donating king or his successor although many of the Ramesside royal females such as Queen Tyti’s tomb did not (Jehon Grist, 1985:77). Therefore her identity and place within the royal family is greatly speculated. The drawings in Queen Tyti’s sarcophagus chamber imply an otherwise unknown and perplexing familial association with King Ramesses III. The images are very similar in terms of the contextual portrayals of the chosen figures and deities (Jehon Grist, 1985, p. 72). Evidence of this is seen through some oddities between her tomb and other royal females such as hawk-headed guardian, an ibis- headed guardian, a jackal-headed Guardian; lion-headed Guardian, two Iwfw baboons and a standing monkey holding a bow. The mythic guardians are thought to be reminiscent of chapters 145 and 146 of the Book of the Dead, in which are also included the “twenty one secret portals of the house of Osiris through which the deceased passes in the Field of Rushes” (Jehon Grist, 1985, p. 78). One of the iconic doorkeepers typical of the 20th century tombs including that of Tyti is the Nb nry (Nebneri) or Lord of Terror, depicted as a “lion-headed figure with a knife in one hand a hand extended forward” (Jehon grist, 1985, p. 78). This doorkeeper is thought to
Horus: He is the God of the Sky. He is the son
of Isis and Orisis. According to Ehyptian
mythology, Egyptian
Pharaohs beliefed they manifested as Horus in
life and as Orisis and Death
Ra: Also a very important God. He was associated with pyramid building and resurrection. No wonder he so vital to the life after death
Information from: Hostorylists.org 2012
Images: www.godsand doggesses.org @ the British Museum