e on the tomb of
Ahmosis, shows that there had been no change in the ideas
concerning the two horizons or the divine tree found in
them: the aspirations for the soul of Mariri, the high
priest of Atonu, or for that of the sculptor Bauku, are the
same as those usually found, and the formula on the funerary
stelae differs only in the name of the god from that on the
ordinary stelae of the same kind.

A citizen of Khuitatonu would naturally represent the manners and
customs of his native town, and this would account for the local
colouring of the scenes in which we see him taking part.

They bear no resemblance to the traditional pictures of the buildings
and gardens of Thebes with which we are familiar; we have instead the
palaces, colonnades, and pylons of the rising city, its courts planted
with sycomores, its treasuries, and its storehouses. The sun's disk
hovers above and darts its prehensile rays over every object; its hands
present the _crux ansata_ to the nostrils of the various members of the
family, they touch caressingly the queen and her daughters, they handle
the offerings of bread and cakes, they extend even into the government
warehouses to pilfer or to bless. Throughout all these scenes Khuniatonu
and the ladies of his harem seem to be ubiquitous: here he visits one of
the officers, there he repairs to the temple for the dedication of its
sanctuary. His chariot, followed at a little distance by that of the
princesses, makes its way peaceably through the streets. The police of
the city and the soldiers of the guard, whether Egyptians or foreigners,
run before him and clear a path among the crowd, the high priest Mariri
stands at the gate to receive him, and the ceremony is brought to a
close by a distribution of gold necklaces or rings, while the populace
dance with delight before the sovereign. Meantime the slaves have
cooked the repast, the dancers and musicians within their chambers have
rehearsed for the evening's festival, and the inmates of the house carry
on animated dialogues during their meal. The style and the technique of
these wall-paintings differ in no way from those in the necropolis of
the preceding period, and there can be no doubt that the artists who
decorated these monuments were trained in the schools of Thebes. Their
drawing is often very refined, and there is great freedom in their
composition; the perspective of some of the bas-reliefs almost comes