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A project of the American Research Center in Egypt
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The entrance of QV66.
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Entryway A

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The tomb is entered through a steep Ramp with rock-cut Steps which have been overlaid with modern wood steps both for tourists’ ease of passage and also to protect the worn ancient stone. Handrails were also installed. The entrance is covered by a modern barrel vault made of brick that was built during the Schiaparelli excavations and later extended along the full length of the parapet walls.

Architectural Features

Ramp
Steps

Condition

Cutting finished
Excavated
Flood Damage
Undecorated

Gate B

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This gate provides access to the tomb chambers. In antiquity, floods filled the Ramp and Chamber B with debris almost to the ceiling, causing damage to the gateway. A modern metal gateway was installed to seal the tomb after visiting hours have ended.

Painted decoration appears on the lintel, soffit, and reveals. Notably, the soffit is decorated with a depiction of the akhet comprised of sloping red mountains painted with red dots to add texture, and a partially damaged yellow disc outlined in red couched between the mountains. Flanking the disc are two kites (birds of prey), also painted red, with their heads facing south toward the tomb entryway. The kite on the left-hand side bears the throne hieroglyph on its head which designates it as the goddess Isis. Presumably, the kite on the right-hand side would be Nephthys, but the headdress associated with her does not survive due to damage. The east and west thicknesses are each decorated with a painting of the goddess Mut as a vulture with a Djed-pillar dado. The frieze at the ceiling displays a coiled winged cobra facing south toward the entrance with the accompanying hieroglyphs “given health and dominion”. The cobra frieze, djed dado, and depiction of Mut as a vulture on the east thickness are severely damaged.

Porter and Moss designation:

1

Architectural Features

Steps

Condition

Cutting finished
Decorated
Decoration damaged
Excavated
Flood Damage

Decoration

  • Deities

    Isis and Nephthys as kites flanking the akhet (Up) soffit
  • Deities

    Mut with a djed pillar below (East) thickness
  • Deities

    Mut with a djed pillar below (West) thickness
  • Djed-pillar frieze

    (Down) All walls
  • Winged cobra frieze

    (Up) All walls

Chamber B

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Large chamber on axis with the entryway. Rock-cut benches are carved alone the length of the west wall, and along the north wall until Gate C. A large double recess extends the east side of the chamber, leading to Gate Ba. Modern protective wooden walkways and fluorescent lighting were installed.

The decoration on the top register of the west half of the south wall contains one of the best-known scenes in the tomb, showing Nefertari seated facing toward the west wall and playing a game of senet within a vaulted kiosk. To the right of this, Nefertari is depicted as a human-headed ba standing on top of the tomb. To the right of this, Nefertari is shown kneeling with her hands raised in a gesture of worship. The object of her veneration is the depiction of the akhet in the leftmost vignette of the west wall top register. The mountains of the horizon are flanked by two lions beneath the pt-sign, meaning “sky”. A depiction of the Benu bird follows the akhet. Much of what is left of the west wall decoration is taken up by a depiction of Nefertari as a mummy on a bier beneath a canopy. The goddesses Isis and Nephthys appear as kites, with Nephthys in her traditional location at the head and Isis in her traditional position at the feet. To the right, a god representing the Nile and painted black kneels facing the severely damaged vignettes on the right side of the wall. These damaged figures are a personification of “the great green” in front of a shrine followed by a seated falcon.

The north wall upper register vignettes are partially damaged on the left side. The leftmost figure is a recumbent celestial cow, followed by the four Sons of Horus who flank in pairs the Canopic chest. Inside the chest is a recumbent jackal. Facing the canopic chest are two seated mummiform gods, one with a falcon head and the other with a human head. Possibly these are Ra and Shu respectively. Finally, on the right part of the register, facing toward the east, are depictions of seated mummiform gods, four of whom are identified by text. The leftmost god, not identified by text, can only be Horus, as the other deities bear the names of the four Sons of Horus. From left to right they are Duamutef (jackal headed), Qebehsenuef (falcon headed), Hapy (baboon headed), and Imsety (human headed). The text that takes up most of the wall space on the west, south (west side), and north walls includes the text from the Book of the Dead Spell 17. On the south wall, west portion, the dado frieze is decorated with both two djed-pillars and a Tyet-knot. However, the Bench stretching across the west and north walls, and whose top is carved and painted to look like a Cavetto cornice, has niches that are decorated with shrines. The piers are decorated with the Cartouche and “great royal wife” title of Nefertari.

The east portion of Chamber B opens into a double recess which is linked by a narrow gateway into the side chamber (Ba). The east wall proper is decorated on the north side with a depiction of the mummiform Osiris standing within a kiosk, facing south, and flanked by two imyut-fetishes. The decoration on the south side of the east wall continues onto the east side of the south wall, showing Anubis standing behind an enthroned mummiform Osiris, both within an elaborate kiosk. Nefertari is shown on a larger scale, standing on the east side of the south wall and facing Osiris with her hands raised in a gesture of worship. The dado friezes of these areas are bands of black, red, and yellow.

The lintel of the first recess, which takes on the form of a broad gateway, in the east wall is decorated with a seated man in the center who rests each hand upon a circle containing a wedjat eye. On the left side are alternating six uraei and five ostrich feathers; on the right side are alternating five uraei and four ostrich feathers. The south thickness is decorated with a depiction of the goddess Neit, facing toward the west, and the north thickness shows the goddess Serqet. Above each is a Kheker frieze. The text on both walls contains a speech by each respective goddess.

The larger recess west wall on both the north and south sides is decorated with a depiction of Osiris as an anthropomorphized Djed-pillar, composed of human body and djed-pillar head wearing the atef crown. The north wall contains a depiction of Neferari being led by the goddess Isis who is wearing a sun disc and horns headdress and the Menat necklace, regalia more often associated with Hathor. Isis leads Nefertari to the god Kheperi on the north side of the east wall, who sits enthroned with the body of a man and the head of a Scarab beetle. The south wall depicts Horsiese (Horus, son of Isis) leading Nefertari to the south side of the east wall where Ra-Horakhty and Hathor are enthroned facing toward the south. The dado frieze is simply bands of black, red, and yellow, and there is no frieze at the ceiling.

The ceiling throughout the chamber and recesses is decorated with yellow stars on a dark blue background.

Porter and Moss designation:

Outer Hall

Architectural Features

Bench
Recesses

Condition

Cutting finished
Decorated
Decoration damaged
Excavated
Flood Damage

Decoration

  • Stars

    (Up) Ceiling
  • Queen

    Nefertari playing senet (South) wall (left part)
  • Queen as ba

    Nefertari as a human-headed ba standing on top of her tomb (South) wall (center part)
  • Queen

    Nefertari kneeling with her hands raised in a gesture of worship (South) wall (right part)
  • Book of the Dead

    Spell 17 (South) wall
  • Akhet

    Akhet flanked by two lions (West) wall (left part)
  • Deity

    Benu bird (West) wall (left part)
  • Queen and deities

    Nefertiti as a mummy on a bier flanked by Isis and Nephthys as kites (West) wall (center part)
  • Deity

    Nile god (West) wall (center part)
  • Deity

    The Great Green in front of a shrine (West) wall (right part)
  • Deity

    Seated falcon (West) wall (right part)
  • Book of the Dead

    Spell 17 (West) wall
  • Deity

    Recumbent celestial cow (North) wall (left part)
  • Deities

    The Sons of Horus flanking a canopic chest (North) wall (center-left part)
  • Deities

    Horus and the Sons of Horus seated and mummiform (West) wall (center-right part)
  • Book of the Dead

    Spell 17 (North) wall
  • Deity

    Osiris standing in a kiosk (East) wall (left part)
  • Deity

    Anubis, standing (East) wall (right part)
  • Queen before deity

    Nefertiti with hands raised in adoration facing enthroned Osiris (South) wall
  • Deity with uraei

    Deity holding wedjat eyes, flanked by a row of uraei and ostrich feathers (East) Lintel
  • Amuletic symbols frieze

    Djed pillar and Isis knot dado frieze (South) wall (lower part)
  • Shrine frieze

    (West) bench
  • Shrine frieze

    (North) bench
  • Deity

    Neit, standing (South) thickness
  • Deity

    Serqet, standing (North) thickness
  • Deity

    Osiris wearing a yellow robe and atef crown, with the head of a djed pillar, depicted on either side of the wide doorway of the large recess (West) wall
  • Deity leading queen

    Horsiese leading Nefertari, south wall of the large recess (South) wall
  • Deity leading queen

    Isis leading Nefertari, north wall of the large recess (North) wall
  • Deity

    Enthroned Kheperi on north side of east wall of the large recess; (East) wall (left part)
  • Deities

    Enthroned Ra-Horakhty and Hathor on south side of east wall of the large recess (East) wall (right part)
  • Kheker frieze

    (Up) Thicknesses

Gate Ba

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The gate is perpendicular to the tomb axis. There is some damage to the painted decoration, but otherwise it is largely intact.

The lintel displays the goddess Nekhbet as a vulture, grasping a shen-sign in each of her talons. Both thicknesses show a depiction of the goddess Ma'at as a woman in a red dress wearing an ostrich feather in her headband. The text in the thicknesses contains a speech made by Ma'at to Nefertari offering her benefic qualities such as health, life, dominion. A Kheker frieze appears at the top of each thickness.

Porter and Moss designation:

12

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Kheker frieze

    (Up) Thicknesses
  • Deity

    Nekhbet as a vulture grasping shen-signs (East) Lintel
  • Deity

    Ma'at in human form with an ostrich feather in her headband Thicknesses

Side chamber Ba

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This square-shaped chamber is set perpendicular to the axis of the entrance. There is some damage to the paintings, particularly at the base of the wall, but this damage is minimal. Modern protective wooden walkways and fluorescent lighting were installed.

The lintel, like that of Gate Ba’s east wall, is decorated with a representation of Nekhbet as a vulture bearing two shen-signs. The north side of the west wall is decorated with a depiction of Nefertari facing north and offering linen in the form of the hieroglyph for linen to the standing mummiform figure of Ptah who is represented with green skin. Within a kiosk, Ptah is standing on the hieroglyph signifying Ma'at and is holding was, shen, and Djed-pillar staves. Standing behind Ptah outside the kiosk is a djed-pillar. The entire scene is surmounted by the pt hieroglyph for sky, supported on either end by a Was scepter. The south side of the west wall contains a scene of Isis and Nephthys, identified by their head gear, attending a mummiform deity with the head of a green-skinned ram wearing a sun disc who is standing on a Ma'at platform. The god is a conflation of Osiris and Ra. A yellow horizontal line separates this vignette from a south-facing depiction of Nefertari who raises her hands in a gesture of worship, indicating the scene continues onto the south wall.

The south wall is divided into three horizontal registers surmounted by the pt hieroglyph for sky, supported on either end by a was scepter. The top two registers each feature a row of cows differently patterned cows facing the west wall. The top register contains four cows and the middle register contains three cows and one bull. The lower register contains four steering oars. Together, this scene is a pictorial representation of Spell 148 of the Book of the Dead, but the text itself is not inscribed on the wall. Instead, the text provides the name of each animal, while the oars are identified according to the cardinal directions.

The east wall contains two major scenes, dividing the decoration into two symmetrical parts. On both the far left and far right, Nefertari is shown standing before a large pile of offerings and extending one hand holding aloft the sekhem scepter. The enthroned god on the left is the mummiform, green-skinned Osiris, bearing his traditional insignia of atef crown, crook, and flail. On a table in front of him are the standing mummiform figures of the four Sons of Horus who are all depicted with human heads. The enthroned god on the right side is Atum, appearing as a man with the Double crown of Upper and Lower Egypt, and holding an Ankh and was scepter. A feather fan bifurcates the scene behind each of the gods. The text states that Nefertari is offering to the gods. The entire scene is surmounted by the pt hieroglyph for sky, supported on either end by a was scepter.

The north wall is divided on half with a block of hieroglyphic text on the left side. This text is Spell 94 from the Book of the Dead. To the right of this, Nefertari stands before ibis-headed Thoth who holds an ankh and a was scepter and who is enthroned upon a Ma'at pedestal. Between them is a tall stand on which is placed a scribe’s palette and a frog, which might be a representation of an amulet rather than an actual frog. The entire scene is surmounted by the pt hieroglyph for sky, supported on either end by a Was scepter.

A dado frieze of black, red, and yellow bands appears on all walls. Finally, the ceiling is entirely painted with yellow stars on a dark blue background.

Porter and Moss designation:

Side-room

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Stars

    (Up) Ceiling
  • Dado frieze

    (Down) wall (lower part)
  • Deity

    Nekhbet as a vulture bearing two shen-signs (West) Lintel
  • Queen before deity

    Nefertari offering linen to the standing mummiform figure of Ptah (West) wall (right part)
  • Amuletic symbol

    Djed pillar (West) wall (right part)
  • Deities

    Isis and Nephthys attending a mummiform deity with the head of a green-skinned ram wearing a sun disc, representing both Osiris and Ra (West) wall (left part)
  • Queen

    Nefertari raising her hands in a gesture of worship (West) wall (left part)
  • Animals

    Row of four cows (South) wall (upper part)
  • Animals

    Row of three cows and one bull (South) wall (center part)
  • Oars

    Four oars representing the cardinal directions (South) wall (lower part)
  • Queen before deity

    Nefertari proffering a pile of offerings to Atum (East) wall (right part)
  • Queen before deity

    Nefertari proffering a pile of offerings to Osiris (East) wall (left part)
  • Queen before deity

    Nefertari standing before ibis-headed Thoth (North) wall (right part)
  • Book of the Dead

    Spell 94 (North) wall (left part)
  • Book of the Dead

    Spell 148 (South) wall
  • Frieze

    pt sign for sky supported by was scepters All walls

Gate C

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Gate C is situated at the east end of the north wall of Chamber B. The decoration on the reveals and the right-hand thicknesses have significant damage on the lower portion, likely due to flooding that also damaged the decoration in Chamber B.

The reveals are decorated with texts and the Cartouche of Nefertari, and the pt hieroglyph surmounts each band of text. The inner and outer thicknesses of the gate have almost identical decoration. On the outer thicknesses, a Kheker frieze is painted at the top of the wall, and immediately below it is a pt hieroglyph. Nefertari’s name appears in a cartouche, flanked by two was scepters, beside a rearing cobra that faces south, both of which rest upon the nb hieroglyph that is supported by two djed-pillars. The cobra on the right outer thickness wears a Red Crown of Lower Egypt, symbolizing the goddess Wadjet. The cobra on the left outer thickness wears the Double crown of Upper and Lower Egypt, and presumably symbolizes Nekhbet.

References to the political geography of Egypt also appears on the inner thicknesses, which, again, are almost identical. The same cobra and cartouche iconography resting upon a nb hieroglyph appears, with the cobras facing toward north. However, instead of djed-pillars, the ensemble is supported by plants. The right inner thickness contains the papyrus plant, signifying Lower Egypt, while the left inner thickness contains a flowering sedge plant, signifying Upper Egypt. The pt hieroglyph surmounts the decoration, but there is no kheker frieze.

The returns, making up the south wall of Corridor C contain standing figures of Neit on the left and Serqet on the right, each identified by their traditional headgear, and each faces toward the gate entrance. The pt hieroglyph occurs beneath a kheker frieze.

Porter and Moss designation:

19-21

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Frieze

    Kheker frieze with pt hieroglyph (Up) Outer thicknesses
  • Cartouche with deity

    name of Queen Nefertari with a cobra goddess, likely Nekhbet (West) outer thickness
  • Cartouche with deity

    name of Queen Nefertari with the cobra goddess Wadjet (East) outer thickness
  • Amuletic symbol

    two djed pillars Outer thicknesses
  • Frize

    pt hieroglyph Inner thicknesses
  • Cartouche with deity

    name of Queen Nefertari with a cobra goddess, likely Nekhbet (West) inner thickness
  • Cartouche with deity

    name of Queen Nefertari with the cobra goddess Wadjet (East) inner thickness
  • Plants

    flowering sedge (West) inner thickness
  • Plants

    papyrus (East) inner thickness
  • Deity

    Neit left (South) return
  • Deity

    Serqet right (South) return
  • Kheker frieze

    (South) returns

Stairwell C

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The stairwell is set along an axis that angles eastward from the main entrance, thereby placing the following chambers along an axis that is parallel to but further east of the main entrance. There is some damage to the painted decoration. The stairs have been overlaid with a modern protective wood stairwell and handrails.

The decoration of the stairwell is separated into two parts, divided into an upper part and lower part by recesses in the walls, and the ceiling slopes at an angle, giving the vignettes a triangular shape that is cleverly filled by figures arranged in various positions. On the upper west wall on the top half, within the recess, Nefertari is shown standing, facing north, before a heavily laden offering table, offering nu pots to the enthroned Isis who wears a sun disc and cow horns and holds an Ankh and Was scepter. Behind Isis sits Nephthys, also enthroned, and also holding an ankh and was scepter. Behind Nephthys is Ma'at, depicted in a kneeling position and stretching her two wings forward to envelop Nefertari’s Cartouche. The top half of the upper part of the east wall, within the recess, is an almost identical scene. Again, Nefertari is shown standing in front of an offering table, facing north, and offering two nu pots, this time to the enthroned Hathor who wears cow horns and sun disc. Like the other goddesses, Hathor holds an ankh and was scepter. Enthroned behind Hathor is Serqet, wearing a scorpion on her head and holding an ankh and was scepter. Ma'at also appears, kneeling behind Serqet and enveloping Nefertari’s cartouche with her outstretched wings. The north wall of the recesses each contain an anthropomorphized Djed-pillar, holding a was scepter in each hand. The large blocks of text on the bottom portion of the wall concerns Nefertari’s afterlife, but is not composed of any spells from the Book of the Dead.

The decoration of the lower west and east walls are arranged in three registers, and all figures face south. On the west wall, the upper register displays a winged cobra with many coils, enveloping Nefertari’s cartouche with its wings. In the middle register, Anubis in jackal form reclines on top of a shrine. The text contains an address by Anubis to Nefertari. In the bottom register, Isis appears kneeling on top of the hieroglyph for gold and rests her hands on top of a large shen sign. The text contains an address by Isis to Nefertari. On the east wall, the decoration is almost identical, but badly damaged on the bottom register. The only pictorial difference is Nephthys is the goddess kneeling on the gold sign, resting her hands on a shen sign. The text contains an address by Nephthys to Nefertari. The dado is made up of black, red, and yellow bands.

Lastly, the ceiling is painted with yellow stars on a dark blue background.

Porter and Moss designation:

Corridor

Architectural Features

Recesses
Steps

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Stars

    (Up) Ceiling
  • Queen before deities

    Nefertari offering nu pots to Isis, Nephthys, and Ma'at (West) wall (left part)
  • Queen before deities

    Nefertari offering nu pots to Hathor, Serqet, and Ma'at (East) wall (right part)
  • Winged cobra

    top register (West) wall (right part)
  • Deity

    Anubis as a jackal reclining on a shrine, middle register (West) wall (right part)
  • Deity

    Isis kneeling on the hieroglyph for gold, resting her hands on a shen sign, bottom register (West) wall (right part)
  • Winged cobra

    top register (East) wall (left part)
  • Deity

    Anubis as a jackal reclining on a shrine, middle register (East) wall (left part)
  • Deity

    Nephthys kneeling on the hieroglyph for gold, resting her hands on a shen sign, bottom register (East) wall (left part)
  • Dado frieze

    Black, red, and yellow bands (Down) All walls
  • Amuletic symbol

    Anthropomorphized djed pillar (North) wall (left part)
  • Amuletic symbol

    Anthropomorphized djed pillar (North) wall (right part)

Gate D

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The gate is on the off center axis of the stairwell rather than the tomb entryway. There is some damage to the decoration. The walkway from the stairwell continues through the gate into the burial chamber (D).

The lintel is decorated with a depiction of Ma'at, kneeling with her wings outstretched at her sides. The titles and Cartouche of Nefertari fill the space above Ma'at, below a pt sign. Similarly, the reveals also contain Nefertari’s cartouche and titles, surmounted by a pt sign. The soffit is decorated with yellow stars on a dark blue background. The outer and inner thicknesses each have a Kheker frieze at the ceiling and a pt sign just below it. Ma'at, standing facing the south, appears on both outer thicknesses. The text around her indicates she is greeting Nefertari in the afterworld. The inner thicknesses each contain a rearing cobra resting on the nb sign that is supported by two djed-pillars. Each cobra is “holding” a Was scepter and shen sign, while in the space above each cobra’s coils is decorated with an Ankh, Djed-pillar, and was scepter. The cobra on the left inner thickness is Nekhbet and wears the atef crown of Osiris, while the cobra on the right inner thickness is Wadjet and wears the Double crown of Upper and Lower Egypt. The dado frieze is made up of black, red, and yellow bands.

Porter and Moss designation:

28

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Frieze

    Kheker frieze with pt sign (Up) Thicknesses
  • Dado frieze

    Black, red, and yellow bands (Down) Thicknesses
  • Stars

    (Up) soffit
  • Deity

    Ma'at kneeling with wings outstretched (North) Lintel
  • Deity

    Ma'at, standing Outer thicknesses
  • Cobra deity

    Wadjet wearing the Double Crown of Upper and Lower Egypt, resting on a nb sign supported by two djed pillars (East) inner thickness
  • Cobra deity

    Nekhbet wearing the atef crown of Osiris, resting on a nb sign supported by two djed pillars (West) inner thickness

Burial chamber D

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A large slightly rectangular chamber parallel to the axis of the entrance, but off-center. The interior of the chamber is divided in three sections, with the center portion sunken and accessed by three Steps in the south and north sections of the chamber. Steps also ascend to the side chambers; two steps reach side chambers Da and Dc while one step reaches side chamber Db. Benches line the walls with breaks in the gates and canopic niche cut into the middle of the west wall. The Sarcophagus had been placed in the center of the room. Four rectilinear pillars support the roof of the chamber, one on each side of the steps. The decoration is damaged. A modern wooden floor and low barriers were installed, as well as fluorescent lighting.

In many areas of the chamber the decoration is badly damaged. The south wall on the west side depicts Queen Nefertari on the left part of the wall and on a large scale with her hands raised in adoration. On the right part of the wall is a depiction of a gate painted yellow with a red door. This is the first gate appearing in the Book of the Dead Spell 144, the text of which is inscribed on all the walls of the west half of the chamber. Her journey through this portion of the afterlife begins on the southwest wall and runs clockwise around the chamber, terminating at side chamber Db. The figure of a ram-headed male deity, the doorkeeper, stands behind the first gate, holding a branch of leaves and a knife. On the far left side of the west wall, the previous vignette continues with two attendants: a hippopotamus-headed female deity and a human-headed female deity face south and each holds an Ankh. Spell 144 continues onto the west wall to the right of gate Da. The second gate is depicted, followed again by the ram-headed doorkeeper, and then by a lioness-headed goddess with two snakes extending from the top of her head, and a human-headed male deity. The right half of the west wall is mostly damaged, but it shows the third gate and its ram-headed doorkeeper, followed by the fragmentary image of a male deity. The fourth gate should appear on the rightmost portion of the west wall, but it does not survive. However, its attending deities appear on the left side of the north wall. A second antelope-headed male deity with green skin appears behind the doorkeeper, followed by a human-headed male deity. The fifth gate, appearing on the right side of the west half of the north wall is followed by just a ram-headed doorkeeper.

The Book of the Dead Spell 146 begins on the east side of the south wall. Again, Nefertari is shown at the far right facing east with her hands raised in adoration. Almost all of the bottom half of the wall is damaged, but the preserved parts show the presence of two gates, each with a Uraeus frieze. Inside the first gate in the center of the wall is a seated mummiform vulture-headed deity. The second gate is inhabited by a seated mouse-headed mummiform deity. Spell 146 continues onto the east wall, containing six gates. The wall is much better preserved on the south half. The gate (gate three) on the far right of the wall to the left of gate Dc contains a crocodile-headed mummiform deity seated on a Ma'at sign platform and has a knife extending from its knees. The fourth gate contains a bull-headed mummiform deity seated on a Ma'at sign platform and has a knife extending from its knees. The fifth contains a nude female child deity seated on a Ma'at sign platform and she holds two knives crossed over her chest. The final three gates on the left side of the east wall are severely damaged, with only the uraeus frieze surviving of gates seven and eight, and nothing survives of gate nine. Enough of gate six survives to reveal it contains a snake-headed mummiform deity seated on a Ma'at sign platform and has a knife extending from its knees.

The right part of the east side of the north wall contains the last, tenth gate, and the mummiform deity has the head of a crocodile and is seated on a Ma'at sign platform. To the left of this is the culminating scene where Nefertari greets Osiris. Nefertari appears in the center of the wall facing west with her hands raised in adoration. Before her is a table holding mummiform figures of the four Sons of Horus. Enthroned on a Ma'at sign behind this table are the three gods Osiris, who is mummiform and holding the crook and flail, Hathor of the West, and Anubis.

On the west wall, cut into the Bench at the base of the decorated wall, is a niche that may have been used to house Nefertari’s Canopic chest. The south wall of this niche is decorated with mummiform figures, two are the Sons of Horus, Imsety and Qebehsenuef, who is depicted with a human head, followed by Anubis. On the north side of the shrine wall, the mummiform figures are comprised of the other two Sons of Horus, Hapy and Duamutef, followed by Anubis. The rear (west) wall contains a figure of Nut with her wings lowered at her sides.

Four rock-cut pillars support the roof around the sarcophagus part of the chamber. The southwest pillar: on the front (south) is an image of a priest facing east with one arm outstretched. On the right (east) is a depiction of Osiris within a shrine, mummiform and holding the crook and flail, facing south. He is flanked by two imyut-fetishes. The left (west) side shows Nefertari before the goddess Hathor. The rear (north) has a depiction of a Djed-pillar, flanked by the titles and Cartouche of Nefertari.

The southeast pillar: on the front (south) is an image of a priest facing west with one arm outstretched, bent at the elbow. On the left (west) is a depiction of Osiris within a shrine, mummiform and holding the crook and flail, facing south. He is flanked by two imyut-fetishes. The right (east) side shows Nefertari before the goddess Isis. The rear (north) has a depiction of a djed-pillar, flanked by the titles and cartouche of Nefertari.

The northwest pillar: The front (south) has a depiction of a djed-pillar, flanked by the titles and cartouche of Nefertari. On the right (east) is a depiction of Osiris within a shrine, mummiform and holding the crook and flail, facing south. He is flanked by two imyut-fetishes. The left (west) side shows Nefertari before the goddess Isis. The rear (north) side shows Nefertari before the goddess Hathor of the West.

The northeast pillar: The front (south) has a depiction of a djed-pillar, flanked by the titles and cartouche of Nefertari. On the left (west) is a depiction of Osiris within a shrine, mummiform and holding the crook and flail, facing south. He is flanked by two imyut-fetishes. The rear (north) side shows Nefertari before the goddess Isis. The right (east) side shows Nefertari before the god Anubis.

Very little of the decoration on the bottom surfaces of the benches survives. Namely, the east and south walls contain remnants of the frieze, which consist of two djed-pillars alternating with the Tyet-knot. Some text remains on the west surface of the bench on the east side of the burial chamber. On all walls and pillars there is a Kheker frieze, with the exception of the rear decoration on the south pillars and front decoration on the north pillars. The ceiling is decorated with yellow stars on a dark blue background. On all walls above the benches the dado frieze is made up of black, red, and yellow bands.

Porter and Moss designation:

Sarcophagus Chamber

Architectural Features

Benches
Pillars
Recess
Sarcophagus
Steps

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Book of the Dead

    Spell 144 (Southwest) wall
  • Book of the Dead

    Spell 144 (West) wall
  • Book of the Dead

    Spell 144 (Northwest) wall
  • Queen

    Nefertari with her hands raised in worship right (South) wall (left part)
  • Gate with deity

    Ram-headed deity right (South) wall (right part)
  • Deities

    Hippopotamus-headed female deity, human-headed female deity (West) wall (left part)
  • Gate with deities

    Ram-headed deity, lioness-headed deity with two snakes extending from the top of her head, and a human-headed male deity (West) wall (center-left part)
  • Gate with deities

    Ram-headed deity, fragmentary male deity (West) wall (right part)
  • Deities

    Ram-headed deity, antelope-headed deity, human-headed deity left (North) wall (left part)
  • Gate with deity

    Ram-headed deity left (North) wall (right part)
  • Book of the Dead

    Spell 146 left (South) wall
  • Book of the Dead

    Spell 146 (East) wall
  • Book of the Dead

    Spell 146 right (North) wall (right part)
  • Queen

    Nefertari with her hands raised in worship left (South) wall (right part)
  • Gate with deity

    Seated mummiform vulture-headed deity left (South) wall (center part)
  • Gate with deity

    Seated mummiform mouse-headed deity left (South) wall (left part)
  • Gate with deity

    Seated mummiform crocodile-headed deity (East) wall (right part)
  • Gate with deity

    Seated mummiform bull-headed deity (East) wall (center-right part)
  • Gate with deity

    Seated nude female child deity holding two knives across her chest (East) wall (center part)
  • Gate with deity

    Seated mummiform snake-headed deity (East) wall (center-left part)
  • Gate with deity

    Seated mummiform crocodile-headed deity right (North) wall (right part)
  • Queen before deities

    Nefertari before Osiris, Hathor of the West, and Anubis; a table with the four Sons of Horus right (North) wall (left part)
  • Priest

    front (Southwest) pillar
  • Deity

    Osiris and animal skin fetishes right (Southwest) pillar
  • Queen before deity

    Nefertari before Hathor left (Southwest) pillar
  • Amuletic symbol

    Djed-pillar rear (Southwest) pillar
  • Priest

    front (Southeast) pillar
  • Deity

    Osiris and animal skin fetishes left (Southeast) pillar
  • Queen before deity

    Nefertari before Isis right (Southeast) pillar
  • Amuletic symbol

    Djed-pillar rear (Southeast) pillar
  • Amuletic symbol

    Djed-pillar front (Northwest) pillar
  • Deity

    Osiris and animal skin fetishes right (Northwest) pillar
  • Queen before deity

    Nefertari before Isis left (Northwest) pillar
  • Queen before deity

    Nefertari before Hathor of the West rear (Northwest) pillar
  • Amuletic symbol

    Djed-pillar front (Northeast) pillar
  • Deity

    Osiris and animal skin fetishes left (Northeast) pillar
  • Queen before deity

    Nefertiti before Anubis right (Northeast) pillar
  • Queen before deity

    Queen before Isis rear (Northeast) pillar
  • Deity

    Winged Nut rear (West) wall (niche)
  • Deities

    Imsety, Qebehsenuef, Anubis left (West) wall (niche)
  • Deities

    Hapy, Duamutef, Anubis right (West) wall (niche)
  • Stars

    (Up) Ceiling
  • Kheker frieze

    Except the front of the north pillars and the rear of the south pillars (Up) All walls
  • Dado frieze

    Black, red, and yellow bands (Down) All walls
  • Frieze

    djed-pillars and tyet-knot (East) wall (lower part)
  • Frieze

    djed-pillars and tyet-knot (West) wall (lower part)

Sarcophagus

  • Extant remains:

    Box and lid
  • Sarcophagus form:

    Rectangular
  • Material:

    Red granite
  • Comments:

    Turin Museum (S. 5153)
  • Decoration:

  • Winged sun disk:
    Upper section of Lid
  • Text:
    Lid
  • Text:
    Box

Gate Da

See entire tomb

The gate is set in the south end of the west wall of the Burial Chamber (D). There is damage to the wall paintings.

The decoration on the left outer thickness displays a rearing cobra resting on a nb sign supported by two djed pillars. The cobra, Wadjet, is facing toward the burial chamber and incorrectly wearing the Double crown of Upper and Lower Egypt. An almost identical painting appears on the right outer thickness, but the cobra, Nekhbet, is incorrectly wearing the Red Crown of Lower Egypt. A pt sign surmounts the paintings on both outer thicknesses. The inner thicknesses are inscribed with the Cartouche and titles of Nefertari, and surmounted by a pt sign. The return on the left side features an anthropomorphized Djed-pillar holding a Was scepter in each hand and surmounted by a pt sign. The right-hand return, which is significantly damaged on the bottom, depicts Nefertari in mummiform facing north, accompanied by a was scepter situated in front of her. The scene is surmounted by a pt sign. forming the east wall of The soffit, which is on level with chamber Da, is decorated with yellow stars on a dark blue background. The dado frieze is made up of bands of black, red, and yellow.

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Stars

    (Up) Ceiling
  • Dado frieze

    Bands of black, red, and yellow (Down) Thicknesses
  • Cobra deity with amuletic symbols

    Wadjet wearing the Double Crown of Upper and Lower Egypt, resting on a nb sign supported by two djed pillars left (South) outer thickness
  • Cobra deity with amuletic symbols

    Nekhbet wearing the Red Crown of Lower Egypt, resting on a nb sign supported by two djed pillars right (North) outer thickness
  • Frieze

    pt hieroglyph (Up) Thicknesses
  • Amuletic symbol

    anthropomorphized djed pillar holding a was scepter in each hand left (East) return
  • Queen

    Nefertari in mummiform accompanied by a was scepter right (East) return

Side chamber Da

See entire tomb

This small, square-shaped room is set in the south end of the west wall and perpendicular to the main axis of the tomb. The decoration is largely damaged, particularly on the south and west walls. A modern wooden walkway and barrier rails were installed together with fluorescent lighting.

The right and left side east walls serve as the returns for Gate Da. The return on the left side features an anthropomorphized Djed-pillar holding a Was scepter in each hand and surmounted by a pt sign. The right-hand return, which is significantly damaged on the bottom, depicts Nefertari in mummiform facing north, accompanied by a was scepter situated in front of her, also surmounted by a pt sign. The south wall is the most damaged in the chamber, but, compared with a mirror image on the north wall, reveals three seated mummiform deities with Ankh signs extending from their knees. The leftmost figure is Imsety, followed by Duamutef, two of the Sons of Horus. The rightmost figure is Isis. The north wall is arranged similarly, with Hapy in the rightmost position, followed by Qebehsenuef, the other two of the four Sons of Horus. Nephthys takes the leftmost position. The inscription is a welcoming address to Nefertari. The rear (west) wall is also significantly damaged. The decoration is arranged in four vertical registers, each separated by a column of hieroglyphic text, all within a yellow rectangular background. Above the yellow background is a curved roof that is filled with two coiled winged cobras facing each other. Each register contains a god: ibis-headed Thoth appears on both the far right and left. The other god on the left is Anubis, facing to the right; the other god on the right is Imsety, also facing right. The ceiling is painted with yellow stars on a dark blue background, while the top of each wall is the pt sign. The dado frieze is made up of black, red, and yellow bands.

Porter and Moss designation:

West side-room

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Stars

    (Up) Ceiling
  • Frieze

    pt hieroglyph (Up) All walls
  • Dado frieze

    Black, red, and yellow bands (Down) All walls
  • Deity

    Imsety, seated and mummiform (South) wall (left part)
  • Deity

    Duamutef, seated and mummiform (South) wall (center part)
  • Deity

    Isis, seated and mummiform (South) wall (right part)
  • Deity

    Hapy, seated and mummiform (North) wall (right part)
  • Deity

    Qebehsenuef, seated and mummiform (North) wall (center part)
  • Deity

    Nephthys, seated and mummiform (North) wall (left part)
  • Cobra deities

    Two winged cobras facing each other (West) wall (upper part)
  • Deity

    Ibis-headed Thoth (West) wall (left part)
  • Deity

    Anubis (West) wall (center-left part)
  • Deity

    Imsety (West) wall (center-right part)
  • Deity

    Ibis-headed Thoth (West) wall (right part)
  • Amuletic symbol

    Anthropomorphized djed pillar holding a was scepter in each hand left (East) return
  • Queen

    Nefertari in mummiform accompanied by a was scepter right (East) return

Gate Db

See entire tomb

The gate is set in the rear (north) wall of the Burial Chamber (D). There is severe damage to the wall paintings.

The surviving decoration on the right thickness displays two rearing cobras, Nekhbet and Wadjet, flanking the Cartouche of Nefertari and resting on a nb sign which itself rests on the hieroglyph for gold. Wadjet is facing north and wearing the red crown of Lower Egypt, while Nekhbet faces south and wears the atef crown of Osiris. An almost identical painting appears on the left thickness. Wadjet faces south, wearing the Red Crown of Lower Egypt, and Nekhbet is wearing the Double crown of Upper and Lower Egypt.

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Cobra deities

    Nekhbet and Wadjet, flanking the cartouche of Nefertari and resting on a nb sign above the hieroglyph for gold Thicknesses

Side chamber Db

See entire tomb

A rectangular chamber at the rear of the tomb parallel to the main tomb axis. The room is mostly damaged with very few decorations surviving. The room has a modern wooden walkway and barriers, as well as fluorescent lighting.

Decoration mostly survives on the returns of Gate Db. On the right-hand return is a depiction of Isis. Only Nefertari’s Cartouche is found on the north wall. The east wall contains a procession of deities including Serqet, Anubis, and other deities that are not preserved. On the left return is a depiction of a Djed-pillar flanked by two tyet-knots.

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Deity

    Isis right (South) return
  • Amuletic symbols

    djed pillar and two tyet knots left (South) return
  • Deities

    Serqet and Anubis (East) wall

Gate Dc

See entire tomb

The gate is set in the south end of the east wall of the Burial Chamber (D). There is damage to the wall paintings.

The decoration on the right outer thickness displays a rearing cobra resting on a nb sign supported by two djed-pillars. The cobra, Wadjet, is facing toward the burial chamber and wearing the Double crown of Upper and Lower Egypt. An almost identical painting appears on the left outer thickness, but the cobra, Nekhbet, is wearing the atef crown of Osiris. Each cobra is “holding” a shen sign and Was scepter. A pt sign surmounts the paintings on both outer thicknesses. The inner thicknesses are inscribed with the Cartouche and titles of Nefertari, and surmounted by a pt sign. The heavily damaged return on the right side features an anthropomorphized Djed-pillar holding the crook and flail insignia of Osiris and surmounted by a pt sign. The soffit, which is on level with chamber Dc, is decorated with yellow stars on a dark blue background. The dado frieze is made up of bands of black, red, and yellow.

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Stars

    (Up) Ceiling
  • Dado frieze

    Bands of black, red, and yellow (Down) All walls
  • Frieze

    pt hieroglyph (Up) All walls
  • Cobra deity and amuletic symbols

    Nekhbet is wearing the atef crown of Osiris, holding a shen sign and was scepter, resting on a nb sign supported by two djed pillars left (North) outer thickness
  • Cobra deity and amuletic symbols

    Wadjet is wearing the double Crown of Upper and Lower Egypt, holding a shen sign and was scepter, resting on a nb sign supported by two djed pillars right (South) outer thickness

Side chamber Dc

See entire tomb

A square chamber situated on the south end of the east wall of Chamber D, perpendicular to the main tomb axis. The room is mostly damaged with very few decorations surviving. The room has a modern wooden walkway and barriers, as well as fluorescent lighting.

The right and left sides of the west wall serve as the returns for Gate Dc. The return on the right side features an anthropomorphized Djed-pillar holding the crook and flail insignia of Osiris and surmounted by a pt sign. The left-hand return depicts an anthropomorphized djed-pillar also surmounted by a pt sign. The north wall is mostly damaged, but on the left side, the figure of Nefertari is depicted with her hands raised in a gesture of adoration. She stands before an offering table and Hathor who is in the form of a cow as “Mistress of the West”. The east wall is also mostly damaged, but the standing figure of Ma'at with her arms and wings outstretched at her sides. The south wall is the most-preserved. On the right side, Nefertari is shown again, raising her hands in a gesture of adoration. She stands before an offering table which is placed in front of the enthroned figured of Anubis and Isis. The pt sign decorates the top of each wall. The ceiling is decorated with yellow stars on a dark blue background, and the dado frieze is made up of black, red, and yellow bands.

Porter and Moss designation:

East side-room

Condition

Cutting finished
Decorated
Decoration damaged
Excavated

Decoration

  • Stars

    (Up) Ceiling
  • Dado frieze

    Black, red, and yellow bands (Down) All walls
  • Frieze

    pt hieroglyph (Up) All walls
  • Amuletic symbol

    Anthropomorphized djed pillars (West) returns
  • Queen before deity

    Nefertari worshipping Hathor as a cow, the "Lady of the West" (North) wall (left part)
  • Queen before deities

    Nefertari worshipping Anubis and Isis (South) wall (right part)
  • Deity

    Ma'at with wings outstretched (East) wall (left part)

About

About

Of all the QV tombs, by far the most beautifully decorated and most famous is QV 66, the tomb of Queen Nefertari. It was discovered by Ernesto Schiaparelli in 1904. Nefertari married Rameses II before he ascended the throne and, after his coronation, became his 'Great Royal Wife', 'God’s Wife', 'Mother of Pharaoh', 'Hereditary Noblewoman', 'Mistress of Upper and Lower Egypt', and 'She for Whom the Sun Shines'. She died in the 26th year of the king’s 67-year-long reign.   By any standard, Nefertari was a highly regarded and powerful woman. Her husband built a temple for her adjacent to his own at Abu Simbel in Nubia, and she and the king’s mother shared a shrine in his West Bank temple complex, the Ramesseum. Not surprisingly, her tomb in the Valley of the Queens is one of its largest and most beautifully decorated. Indeed, the outstanding quality and preservation of the wall painting puts QV 66 in a class by itself. A good example may be seen in Chamber B, the Antechamber, where a scene shows Nefertari playing a game of senet. Equally well executed, on the chamber’s left wall, are a sitting lion, Benu bird, and the Queen’s mummy, behind which hangs an intricately woven cloth. On the right wall, the seated figures of Hathor and Re-Horakhty have their titles written in elaborately detailed hieroglyphs. Side-chamber Ba has beautifully executed texts from Chapters 94 and 148 of the Book of the Dead, accompanied by mounds of food offerings, figures of the Queen and deities, and a procession of eight sacred cattle, each chosen for its special markings. 

The burial chamber is also decorated with scenes from the Book of the Dead, with Chapter 144 appearing on the right half (south and west) of the tomb, and Chapter 146 appearing on the left half (south and east). In these scenes, Nefertari is passing through a series of gates guarded by one or three deities. One of these deities is an unusual nude female child who holds two knives across her chest. Nefertari greets Osiris on the rear wall. The decoration of rear chamber (Db) is almost entirely damaged, but side chambers Da and Dc are fully decorated with scenes of Nefertari as a mummy and several gods including the Sons of Horus, Hathor as a cow, and a striking partially damaged painting of Ma'at with outstretched wings on side chamber Dc's east wall.

The tomb has been accessible since 1906, following its discovery and excavation by the Italian Archaeological Mission (1903-1905). A protective brick entryway was constructed during that mission, and was modified some time before the 1990s. The tomb has been photographed by several different missions as recently as 2009. Also, the tomb was closed to visitors multiple times during its modern history for documentation projects, conservation treatments, and condition assessments. It is now open to visitors, but with some limitations as a means to preserve the delicate painted plaster. Wooden walkways were installed, but glass was not placed on the walls as in other tombs in the Valley of the Queens. A metal door was also installed at Gate B to seal the tomb at the end of visiting hours.

Noteworthy features:

The elegantly decorated and well-preserved Burial Chamber (Chamber D) is made even more impressive by its unusually large 8 x 10 meter size.

Site History

There is no evidence of later reuse of this tomb. However, the lack of a Sarcophagus and other funerary objects found in the tomb suggests that it was looted in antiquity and “no trace of the wall that must have sealed it [the entrance] could be found” (Thomas) when the tomb was discovered. At this time, Schiaparelli noted that “[t]he rubble, which had fallen upon [it] and had filled the stairs, had also entered in the first chamber [chamber (B)], where it piled up near the entrance, near the left wall and near the one in the back, almost touching the ceiling. The other chambers were almost empty; but their floor was evenly coated with a thick layer of soil, brought in by rain waters, which must have infiltrated the tomb repeatedly”. 

Dating

This site was used during the following period(s):

New Kingdom
Dynasty 19
Rameses II

Exploration

1903-1905: Discovery
Italian Archaeological Expedition
1904: Opening of Tomb for visitation
Supreme Council of Antiquities
1906-1908: Photography
Campbell, Colin
1907: Photography
Stone, John Benjamin
1910-1920: Photography
Oriental Institute, University of Chicago
1914-1916: Photography
Metropolitan Museum of Art
1920-1923: Photography
Metropolitan Museum of Art
1927: Survey and Documentation
Porter and Moss
1930s: Photography
Stewart, B. Anthony
1953: Photography
Emmer, Claudio
Early 1950s: Photography
Madame Hassia
Early 1950s: Photography
Boyer, David S.
1958-1965: Photography
Centre d'Etude et de Documentation sur l'Ancienne Egypte (CEDAE)
1964: Documentation
Porter and Moss
1959-1960: Documentation
Thomas, Elizabeth
Late 1950s-early 1960s: Photography
Ritter, Ekkehart
Early 1970s: Closing of Tomb
Supreme Council of Antiquities
Late 1970s-early 1980s: Conservation
University of Toronto
1970s-1990s: Photography
Centre d'Etude et de Documentation sur l'Ancienne Egypte (CEDAE)
1975: Photography
Kodak-Pathé foundation
1981: Mapping/planning
Theban Mapping Project
1986-1992: Conservation
Getty Conservation Institute (GCI) and Egyptian Antiquities Organization (EAO)
1990: Conservation
Supreme Council of Antiquities
1993: Site management
Getty Conservation Institute
1994: Conservation
Centre National de la Recherche Scientifique (CNRS) and the Supreme Council of Antiquities (SCA)
1995: Site management
Supreme Council of Antiquities
1995: Opening of Tomb for visitation
Supreme Council of Antiquities
1996: Site management
Supreme Council of Antiquities
2003: Study
McCarthy, Heather Lee
2003: Closing of Tomb
Supreme Council of Antiquities
2005-2016: Conservation
Getty Conservation Institute
2006-2008: Survey and Documentation
Getty Conservation Institute (GCI) and the Supreme Council of Antiquities (SCA)
2007: Mapping/planning
Getty Conservation Institute
2009: Photography
Centre d'Etude et de Documentation sur l'Ancienne Egypte (CEDAE)
2009: Conservation
Getty Conservation Institute
2016: Opening of Tomb for visitation
Supreme Council of Antiquities

Conservation

Conservation History

The Getty Conservation Institute has worked for several years to stabilize QV 66 plaster walls to prevent a disaster. But their admirable results may not be permanent. Getty recommended that the tomb be closed to tourists because their hot, sweating bodies in the tomb’s small chambers can cause rapid changes in temperature and humidity and weaken the painted plaster walls. That advice was followed for a few years, but the demands of tourists and the need for cash from ticket sales led officials to reopen the tomb. Now, groups of 15 tourists at a time are allowed to visit for twenty minutes upon payment of a substantial fee. Several groups may visit in a single morning. Without new conservation methods, it remains to be seen for how much longer this ancient masterpiece, already 3,500 years old, can survive.  

Site Condition

Unfortunately, the survival of Nefertari’s tomb is not assured. The Valley of the Queens is located in an area of poor-quality limestone, and when tombs were dug there, it was impossible for ancient artists to achieve the flat, smooth walls they preferred as the canvas for their paintings. Instead, they covered the friable, rough-cut bedrock walls with a thick layer of mud plaster and applied the painted decoration to them. The plaster’s weight and tendency to separate from the bedrock, made worse whenever the Valley was subjected to heavy rains and high humidity, has caused it to buckle in many tombs and, lacking support, it has fallen to the floor. That is why many QV tombs today show no evidence of decoration. No active rock stability problems have been identified. The stability of the wall paintings since the end of the GCI-EAO conservation program confirms that this is the case. However, the rock of much of the tomb ceiling is covered by decorated plaster and therefore it is not possible to discern whether faulting, such as seen in adjacent QV 80, occurs. There are several small, non-threatening fractures along joints in doorway (N) and along the Bench of burial chamber (D) in various locations on all four sides, and in the west jamb of doorway (Gate Db). The only other visible fractures of bedrock are located in the ceiling at the bottom of Ramp (A). Ancient flood damage was documented by Schiaparelli in 1904. He reported that rubble had filled the ramp and had also entered the first chamber (B), filling it almost to the ceiling; the other chambers were said to be empty and the floors evenly coated with a thick layer of soil brought in by the rain waters over time (Schiaparelli 1923, 53-55). This may also account for why the tomb remained unknown, after it had been looted, until Schiaparelli’s mission. There are some areas of salt-related disruption that affect the rock and painted plaster, including micro-fracturing and scaling of rock surfaces. Salt-related deterioration is more extensive toward the rear and deeper into the tomb, particularly in chamber (Db) and doorway (Gate Db), and generally in the north half of burial chamber (D) and side chambers (Da) and (Dc). The problems in these areas are both localized and relatively small-scale. They do not affect the majority of the surviving painting. A mouse was sighted and there is evidence of droppings throughout the tomb.

Hieroglyphs

Queen Nefertari Merytmut

Great Royal Wife, God's Wife, King's Mother, Lady of the Two lands, Mistress of the North and South, Beautiful Companion, Beloved of the Goddess Mut
Hmt-wrt-nswt Hmt-nTr mwt-nswt nbt-tAwy Hnwt-Smaw-mhw nfrt-iry mrt-n-mwt

Articles

Geography and Geology of the Valley of the Queens and Western Wadis

The Valley of the Queens and the Western Wadis are made up of numerous valleys spread out over a vast space of desert, each containing tombs for the New Kingdom queens and other royal family members. The poor quality rock has led to damage in several tombs after suffering from earthquakes and floods.

Bibliography

Bianchi, Robert and John McDonald.  In the Tomb of Nefertari: The Conservation of the Wall Paintings.  Santa Monica, CA: Getty Conservation Institute, 1992.

Brochwicz, Zbigniew. The Structure of Mural Paintings in the Tomb of Queen Nefertari. In: Andrzej Michałowski (eds.). The Tomb of Queen Nefertari: Problems of Conserving Wall Paintings: Diagnosing the State of Preservation and Conservators’ Proposals. Warsaw: Conservator’s Information Centre, 1973. Pp. 16-36.

Burns, G., K.M. Wilson-Yang, and J.E. Smeaton. Archaeological Sites as Physicochemical Systems: Macroarchaeometry of the Tomb of Nefertari, Valley of the Queens. In: Archaeological Chemistry IV: Developed from a Symposium Sponsored by the Division of History of Chemistry at the 193rd Meeting of the American Chemical Society, Denver, Colorado, April 5-10, 1987 (= Ralph O. Allen ed.)., Advances in Chemistry Series. 220). Washington, DC: American Chemical Society, 1989.

Campbell, ColinTwo Theban Queens: Nefert-Ari and Ty-Ti and Their Tombs. London: Kegan Paul, 1909.

Carter, Howard.  Report of Work Done in Upper Egypt, 1903-1904Annales du Service des Antiquités de l’Égypte 6 (1905): 112-129.

Castel, Elisa and Laura di Nobile. Los últimos días de Nefertari. Revisita de arqueología, 181. Madrid, 1996: 18-27.

Corzo, Miguel Ángel, ed. Wall Paintings of the Tomb of Nefertari: Scientific Studies for Their Conservation: First Progress Report, July 1987: A Joint Project of the Egyptian Antiquities Organization and the Getty Conservation Institute. Cairo: Organisation des antiquités égyptiennes and Marina del Rey, CA: Getty Conservation Institute, 1987.

Corzo, Miguel Ángel, Mahasti Ziai Afshar and Julián Zugazagoitia. Nefertari, luce d'Egitto. Rome: Leonardo Arte, 1994.