Skip to main content

View of the east side of the settlement as seen towards west
Settlement
Temples
Chapels
Tombs
Rock shrine
Huts
Collections
Take a stroll along the eastern (lower) side of the settlement of Deir el-Medina, viewing each house from east towards west. The main
cemetery can be seen at the top of the photographs in the distance.
Scroll to the right to view all the houses.
This house used to belong to Neferhotep
Ipuy' house
This house used to belong to Ramose
Kaha's house is on the right
Plan of a typical Deir el-Medina house. Drawn by Lenka Peacock, after a drawing of Mary Winkes, in Pharaoh's workers.
Although the houses in the village varied in size they followed a fairly standard plan. The first room very often contained a rectangular
mud brick structure partially or fully enclosed except for an opening on the long side, which was approached by three steps. Bruyère found
remains of these structures in twenty eight of the sixty eight houses known to him at the site. The function of the bed-like constructions
is still being discussed by Egyptologists today. It has been suggested that they could have functioned as a birthing or nursing bed, or a
bed-altar to an ancestor cult. Fragments from several paintings from the exterior panels of some of these structures specifically involve
themes in female life: labour, childbirth and daily grooming. It is assumed that the villagers might have worshipped figures of deities or
supplicated a recently deceased relative within these bed-altars.
Recently it has been suggested (Brooker, 2009, p. 44-53) that the front rooms at Deir el-Medina were used as gardens. The suggestion
is supported by existence of several clay models of houses from other sites in Egypt displaying enclosed courtyards within the frontal
space. Archaeological evidence indicates that gardens were created on lower levels than the houses. The majority of floors in the front
rooms at Deir el-Medina's houses were at lower levels - some 40 to 50 cm lower than the street level. Textual evidence relating to the
front room and its purpose is limited, but Instructions and love poetry both suggest the importance of a private garden for an ancient
Egyptian.
The second room was the  main living room and it stood higher than the first one. The flat roof of the room was supported by one or two
wooden pillars that rested on stone bases. By archaeological evidence it is widely acknowledged that the second room had a sacred
significance. Offering stelae were found near shallow rectangular and arched wall niches, which occur in several houses in the first and
second rooms. Limestone offering tables were found in their vicinity. In the second rooms of most houses false door dedications were
discovered. All this evidence seems to indicate that the second room, among other multiple settings, was used to connect with and gain
protection of those outside the bounds of ordinary moral existence.
Some houses had a small chamber off the second room, which seems to have been used both as a general storeroom and as a place where
someone might sleep. Beyond this room there was a
kitchen and a staircase leading up to the roof, which was partially open to the air to
allow smoke to escape. Two cellars complete the dwell

This breathtakingly beautiful panorama was created by Warwick Barnard of Sydney, Australia, while he was walking across the Theban
      hills in January 2007. The magnificent panorama was rendered from six contiguous images and then processed into a reduced size
image. The original was over 25 MB.
Scroll to the right to view the whole picture.

Photography © Andy Peacock 2007

North-south view of the settlement
East-west view of the settlement and the Western tombs

Comments

Popular posts from this blog

The bindweeds of Egypt and their symbolic role for the deceased

http://www.egyptraveluxe.com/cairo_half_day_tour_to_cairo_egyptian_museum.php From the Middle Kingdom until the 18th Dynasty, representations are found of a parasitic bindweed associated with the stems of papyrus, . Its representations increase and refine themselves during the Amarnian period because of the naturalistic leaning to nature; but it is in Ramesside times, and more particularly that of Ramesses II, that the images become more beautiful and most detailed. The plant is frequently attached to the stem of the papyrus, or to bouquets, but being also able to, more rarely, exist separately. After the 20th Dynasty, if the theme persists, the quality of the representations decrease (as do all more representations of nature). This success under the Ramesseses is probably linked with the specific beliefs of that time, and notably the eminent place that the solar cults occupy. The nature of the plant has been under debate a long time ...

US authorities return eight stolen ancient Egyptian artifacts

US authorities agreed to return eight ancient Egyptian artifacts stolen and illegally smuggled out of the country. Today, upon his arrival from the United States, Minister of Antiquities Mohamed Ibrahim announced that US authorities agreed to return eight ancient Egyptian artefacts stolen and illegally smuggled out of the country. The objects are to arrive next month. The pieces include the upper part of a painted anthropoid wooden sarcophagus from the Third Intermediate period depicting a face of a woman wea ring a wig decorated with coloured flowers. Two linen mummy wrappings covered with plaster and bearing paintings showing winged amulets pushing the sun disc are also among the artefacts. Hieroglyphic text showing the name and titles of the deceased are also found on the plaster cover. The third piece is a cartonage painted mummy mask from the Third Intermediate period while the fourth and fifth items are Middle Kingdom wooden boats. The other three items are lim...

what exactly happened to the Sphinx's nose?

The Sphinx's Nose The nose of the Great Sphinx at Giza is made conspicuous by its absence. What happened to it? The popular story is that the troops of Napoleon Bonaparte used the nose for target practice in 1798. Drawings done for La Description de L'Egypte depict a noseless Sphinx. The Sphinx, 1743. In 1737, British traveler Richard Pococke visited Egypt and made a sketch of the Sphinx that was published six years later. The nose is shown intact, but Pococke likely exercised his poetic license by adding it when it was not there (earlier, in 1579, Johannes Helferich had further taken an artist's liberties by depicting the Sphinx with a nose -- and with decidedly female features). Frederick Lewis Norden, an artist and marine architect, also sketched the Sphinx in 1737. His detailed drawings, published in 1755, were more realistic and showed the Sphinx with no nose. It is very unlikely that Norden would omit the nose if it was present. We can conclude that the...