THE POST-AMARNA PERIOD 1350-1314 B.C.
SOME of the most accomplished works of the Amarna period were produced in that time of transition after Akhenaten's death when first the young Semenkhkara and then the boy Tut-ankh-amon, under the tutelage of Ay, attempted to come to terms with the opposition to the cult of the Aten and allowed the priesthood of Amon to be reestablished at Thebes. Many objects from the tomb of Tut-ankh-amon are important documents of the first tentative steps of the restoration, while the tomb equipment as a whole illustrates to an unparalleled degree the luxurious appointments of the royal household in the second half of the Eighteenth Dynasty. The statues of Tut-ankh-amon, like the gold mask from his mummy (Plate 137), continue a softened version of the facial type of Akhenaten. This appears strikingly in the profile of the king's head in the Turin statuette usurped by Horemheb (Plate 139). It is significant of the change which is taking place that Tut-ankh-amon stands beside a seated figure of the god Amon (Plate 138 ). The large grey granite statue of Horemheb in the pose of a scribe (Plate 140) is related stylistically to those of Amenhotep son of Hapu, but it clearly illustrates how the traditions of the reign of Amenhotep III have been modified by the experiments which came in between. The earlier statues seem more severe by contrast, although Horemheb has the same plump, well-fed body and wears a long wig similar to that of the aged wise man (Plate 114B). The erect position of the body has now relaxed into easy curves, the delicate contours of the face have acquired a contemplative expression, and the sleeves of the thin pleated garment flare out decoratively. This is indeed a strange way in which to represent the strong man who was supporting the throne in Memphis during the brief reigns of Tut-ankh-amon and Ay and was soon to become pharaoh. It is no wonder that the sculptors of Ramesside times returned to the more virile forms of earlier times, although traces of the Amarna facial type lingered on in some of the royal statues as late as the reign of Ramesses III.
Horemheb was Commander-in-Chief of the army when he had this statue set up in the Temple of Ptah at Memphis, as Amenhotep son of Hapu had placed the figures of himself in an outer part of the Karnak Temple. Like Amenhotep he had been Scribe of Recruits, and it is as a Royal Scribe and not a military man that he was portrayed by one of the finest sculptors of the end of the dynasty. He was equally fortunate in his choice of the craftsmen who decorated the tomb which he erected at Saqqara, probably in the reign of Tut-ankh-amon. The work is in both raised and sunk relief and of exceptional quality, employing the fine limestone quarried in the neighbourhood of Tura on the east bank of the river across from Memphis. The blocks from the tomb are far from complete and are scattered in various museums, but it is clear that much space was devoted to Horemheb's concern with foreign affairs.1 Some control seems to have been