It is worth mentioning the debatable role played by the tomb of queen Nefertari, one of the Great Royal Wives of Ramesses II, in the success of the monochrome style by the craftsmen. In the sarcophagus chamber, the "room of gold", in a small lateral niche destined to shelter the canopic jars, is represented, in monochrome on a white background, the figure of the winged goddess Nut, with a human body and golden wings, as are the hieroglyphics of the small accompanying text (se
...e unidia-bs). On the side walls of this niche, can be seen the Four Children of Horus who have been produced in the same way. This type of representation is a reminder of the monochrome vignettes found in the papyri of the Book of the Dead. It possible that the workers tried to replace the fragile support of the real payrus form by a more reliable one, the actual wall surface of the tomb. Two examples, dating from the XVIIIth Dynasty, attest to the ancient idea of adapting the papyrus to the rock surface in the tombs: for example in those of Tuthmosis III and his son Amenhotep II, in which there are of true papyrus images unfolded on the walls.
The role of the tomb of Nefertari, mentioned by Bruyère, is not formally established: on one hand, the first monochrome tombs of the site date back to the reign of Sethy I, on the other hand, it is thought that it is rather the queen's tomb which presents the signs indicating the influence of the chambers of craftsmen, not the reverse.
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