The same document records work done that day for the excavation of a canal "which is on the south of (the building) 'Beneficial is Menmaatre for Osiris'." The blocks described here were probably destined for the foundations and lower courses of stonework in the main chamber as they included column bases and paving stones. This might correspond to the earliest pan of what could be called a second phase in the construction at the edifice. During the first stage, the limestone retaining walls, which allowed safe access to the site, allong with the sarcophagus chamber, had been installed. The blocks used up to this point were fairly small, and could be transported by men overland from the quay, apparently located near the front of the memorial temple, to the site of the Osireion. Yet once the foundation, paving stones and pillar bases were in place, the third stage of construction began. This involved installing the huge granite monoliths for the pillars and architraves and large sandstone blocks for walls of the central chamber. To facilitate this, a canal was being extended to the south end of the site, and this was still under construction when ostracon Osireion no. 1 was written. It was situated so as to avoid the site of the temple that was also under construction.
But when might this second phase in the construction of the Osireion have taken place? A quarry inscription of Seti I from eastern Gebel Silsila may provide the answer. The stela dated to year six, IV 3ht1, commissions a royal messenger and a task force of 1000 men to go to East Silsila to produce sandstone for monuments "on behalf of Amen-Re along with Osiris and his Ennead. The stone procured for Amen-Re was destined for Seti's memorial temple at Gurnah. Some of this stone was earmarked for the Abydos temple, but much of it went into the Osireion. The new quarry at East Silsila was commissioned in year six, a little more than half way through the king's reign. Ostracon Osireion no. 1 dates to IV prt, day 22. No year is given, but if it was in year six, then some four months and 22 days would have elapsed between the dispatch of the quarrying expedition by Seti and the arrival of the shipments mentioned on the ostracon. The next possible date would be in year seven, over sixteen months after the expedition set out. Given the relatively small size of the blocks, mostly paving Stones and column bases, it is conceivable that the first shipments of stone could have arrived at the site within four and a half months of Seti's decree.
We may then date the beginning of the second, major, phase in the construction of the Osireion to the monarch's sixth regnal year. Thus at the end of the season of prt of that year, the retaining wall and sarcophagus chamber had been completed and stone for the foundations and lower courses of the central chamber was just beginning to arrive at the site. Meanwhile, a canal was being dug in preparation to receive the huge granite blocks for the walls, pillars and architraves of this chamber. The decoration of the cenotaph was never completed in Seti's lifetime. Reliefs naming him are found only in the sarcophagus chamber, and these were left incomplete at his death.
It is impossible to say when these reliefs were carved, but it need not have been while the rest of the building was under construction. These reliefs were carved in limestone, and are of the same high quality as those found in the nearby temple. Presumably the temple was Seti's first priority, and decoration of the cenotaph would have drawn sculptors away from their work at the former site. Thus the carving of the reliefs in the sarcophagus chamber might post-date its construction by a considerable period.
There is evidence that the decoration of the cenotaph was largely, if not entirely, laid out in paint under Seti I. Baines has shown that the decoration of the Hall of Barques in the nearby temple was laid out as a polychrome cartoon before it was carved. A simplified polychrome palette in this and probably other chambers was employed so that these cartoons might serve as a temporary measure until the sculptors were able to conven them into fine bas relief. This practice was apparently used elsewhere during the later New Kingdom. In the reign of Merenptah most of these designs were convened into sunk relief. The palette used in the Osireion, as in the temple, was not elaborate. Touches of red, blue and green paint were added to the figures that were outlined and detailed in black ink. Yellow, which was found in the temple murals, does not seem to have been used in the Osireion. Although Seti's name has been replaced by that of Merenptah in the reliefs and even in the extant polychrome cartoons in the rooms beyond the sarcophagus chamber, certain iconographic features of these tableaux points to Seti as their author. Throughout these scenes, many standing royal figures lean forward, while kneeling ones have their torsos inclined forward, often with their knees splayed. Moreover, in one case Seti's name was written without a cartouche and this was overlooked when the sculptors replaced Seti's name with that of Merenptah.
By the end of Seti's reign construction of the Osireion was largely completed with the tableaux laid out in polychrome throughout. The sculptors apparently had little time to convert the murals to relief while he was alive. Such work was confined to the limestone walls of the sarcophagus chamber. Years later, Merenptah began to convert the paintings into relief after replacing the painted cartouches of his grandfather with his own. Work reached the entrance corridor before the project was finally abandoned
But when might this second phase in the construction of the Osireion have taken place? A quarry inscription of Seti I from eastern Gebel Silsila may provide the answer. The stela dated to year six, IV 3ht1, commissions a royal messenger and a task force of 1000 men to go to East Silsila to produce sandstone for monuments "on behalf of Amen-Re along with Osiris and his Ennead. The stone procured for Amen-Re was destined for Seti's memorial temple at Gurnah. Some of this stone was earmarked for the Abydos temple, but much of it went into the Osireion. The new quarry at East Silsila was commissioned in year six, a little more than half way through the king's reign. Ostracon Osireion no. 1 dates to IV prt, day 22.
No year is given, but if it was in year six, then some four months and 22 days would have elapsed between the dispatch of the quarrying expedition by Seti and the arrival of the shipments mentioned on the ostracon. The next possible date would be in year seven, over sixteen months after the expedition set out. Given the relatively small size of the blocks, mostly paving Stones and column bases, it is conceivable that the first shipments of stone could have arrived at the site within four and a half months of Seti's decree.
We may then date the beginning of the second, major, phase in the construction of the Osireion to the monarch's sixth regnal year. Thus at the end of the season of prt of that year, the retaining wall and sarcophagus chamber had been completed and stone for the foundations and lower courses of the central chamber was just beginning to arrive at the site. Meanwhile, a canal was being dug in preparation to receive the huge granite blocks for the walls, pillars and architraves of this chamber.
The decoration of the cenotaph was never completed in Seti's lifetime. Reliefs naming him are found only in the sarcophagus chamber, and these were left incomplete at his death.
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There is evidence that the decoration of the cenotaph was largely, if not entirely, laid out in paint under Seti I. Baines has shown that the decoration of the Hall of Barques in the nearby temple was laid out as a polychrome cartoon before it was carved. A simplified polychrome palette in this and probably other chambers was employed so that these cartoons might serve as a temporary measure until the sculptors were able to conven them into fine bas relief. This practice was apparently used elsewhere during the later New Kingdom. In the reign of Merenptah most of these designs were convened into sunk relief. The palette used in the Osireion, as in the temple, was not elaborate. Touches of red, blue and green paint were added to the figures that were outlined and detailed in black ink. Yellow, which was found in the temple murals, does not seem to have been used in the Osireion. Although Seti's name has been replaced by that of Merenptah in the reliefs and even in the extant polychrome cartoons in the rooms beyond the sarcophagus chamber, certain iconographic features of these tableaux points to Seti as their author. Throughout these scenes, many standing royal figures lean forward, while kneeling ones have their torsos inclined forward, often with their knees splayed. Moreover, in one case Seti's name was written without a cartouche and this was overlooked when the sculptors replaced Seti's name with that of Merenptah.
By the end of Seti's reign construction of the Osireion was largely completed with the tableaux laid out in polychrome throughout. The sculptors apparently had little time to convert the murals to relief while he was alive. Such work was confined to the limestone walls of the sarcophagus chamber. Years later, Merenptah began to convert the paintings into relief after replacing the painted cartouches of his grandfather with his own. Work reached the entrance corridor before the project was finally abandoned
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