The descent leading from Chamber C is off axis, shifted appreciably right. In the absence of any obvious structural reason for this, perhaps the architects were trying to introduce an unexpected twist, in imitation of the “crookedness of the beyond.” This impression is further heightened by a skewing to the right of the descent passage itself.
The door jamb marking the entryway to the descent proclaims the queen’s formal name in outsized hieroglyphs. The passageway has two widths: a narrow, outer thickness and a wide, inner one.!
The right outer thickness shows a rampant serpent facing the queen’s cartouche, which is surmounted by double plumes and a solar disk and rests on the hieroglyph for gold. The serpent wears the red crown of Lower Egypt and is identified as Edjo, the cobra goddess. A kheker frieze and sky sign define the upper boundary of the composition and a fancy woven basket the lower. Twin djed pillars support the entire scene beneath. Considerable paint and plaster have been lost along the right-hand edge.
The corresponding left-hand scene is almost identical. Omitted is the serpent’s name; but since it wears the double crown of united Egypt, we assume it is Nekhbet.
The inner thickness at the head of the stairs is exceptionally interesting. Opposed serpents representing Nekhbet and Edjo shield the queen’s cartouche.
The whole design is balanced on a woven basket. Underneath, on the left, is a tub of lilies, heraldic plant of Upper Egypt; on the right, a tub of papyrus, heraldic plant of Lower Egypt. This pairing symbolically establishes the mythic orientation of the tomb: south (Upper Egypt) is to our left, and north (Lower Egypt) to our right. Straight ahead, therefore, is the “west,” the domain of the dead.
Ma’at, Serket, and Hathor on the east side of the descending corridor. Ma'at encircles Nefertari’s cartouche with her outstretched wings.
World History
