When I reached the near side of the ark I found myself directly below Lostris, close enough to stretch up and touch her arm, and to hear every word she addressed to the king. I could tell at once that she had completely recovered her poise which Pharaoh's unexpected interest in her had disturbed, and was now setting out to be as agreeable as possible to him. Miserably, I recalled how she had planned to do exactly this, and to use his favour to secure his agreement to her marriage to Tanus. As recently as last evening I had dismissed it as girlish prattle, but now it was happening, and it was beyond my power to prevent it or to warn her of the dangerous waters into which she was steering. If, earlier in this chronicle, I have given the impression that my Lady Lostris was a flighty child with not a thought in her pretty head other than romantic nonsense and her own frivolous enjoyment of life, then I have fallen short in my efforts as historian of these extraordinary events. Although still so young, she was at times mature far beyond her years. Our Egyptian girls bloom early in the Nile sunlight. She was also a diligent scholar, with a bright mind and a thoughtful and enquiring side to her nature, all of which I had done my very best over the years to foster and develop.
Under my tutelage she had reached the stage where she could debate with the priests the most obscure religious dogma, could hold her own with the palace lawyers on such matters as the Land Tenure Acts and the extremely complicated Irrigation Act that regulated the usage of the waters from the Nile. Of course, she had read and absorbed every single one of the scrolls in the palace library. These included several hundred of which I was the author, from my medical treatises to my definitive essays on the tactics of naval warfare, together with my astrological scrolls on the names and natures of all the heavenly bodies, and my manuals on archery and swordsmanship, horticulture and falconry. She could even argue with me my own principles of architecture, and compare them to those of the great Imhotep.
Thus she was perfectly equipped to discuss any subject from astrology to the practice of war, from politics or the building of temples to the measurement and regulation of the Nile waters, all of which were subjects that fascinated Pharaoh. In addition she could rhyme and riddle and coin an amusing pun, and her vocabulary was almost as extensive as my own. In short, she was an accomplished conversationalist, with a ready sense of humour. She was articulate and had an enchanting voice and a merry little laugh. Truly, no man or god could resist her, especially if she could offer to someone without a son the promise of an heir.
I had to warn her, and yet how could a slave intrude upon the congress of persons so infinitely high above his own station? I skipped nervously beside the carriage, listening to my Lady Lostris' voice at its most enthralling as she set herself out to engage the king's fancy.
She was describing to him the manner in which his funerary femple had been laid out to conform to the most propitious astronomical aspects, those of the moon and the zodiac at the time of Pharaoh's birth. Of course she was merely repeating knowledge that she had gleaned from me, for I was the one who had surveyed and orientated the temple to the heavenly bodies. However, she was so convincing that I found myself following her explanations as though I was hearing them for the first time.
The funeral ark passed between the pylons of the inner court of the temple and rolled down the long colonnaded atrium, past the barred and guarded doors to the six treasuries in which were manufactured and stored the funerary offerings which would go with the king to his tomb. At the end of the atrium the acacia-wood doors, on which were carved the images of all the gods of the pantheon, were swung open, and we entered the mortuary where Pharaoh's corpse would one day be embalmed.
Here in this solemn chapel the king dismounted from the carriage, and went forward to inspect the massive table on which he would lie for the ritual of mummification. Unlike the embalming of a commoner, royal embalming took seventy days to accomplish. The table had been sculpted from a single block of diorite, three paces long and two wide. Into the dark, mottled surface of the stone had been chiselled the indentation that fitted the back of the king's head, and the grooves which would drain the blood and other bodily fluids released by the scalpels and the instruments of the embalmers.
The grand master of the guild of embalmers was standing beside the table, ready to explain the entire process to the king, and he had an attentive audience, for Pharaoh seemed fascinated by every gruesome detail. At one stage it seemed that he might so far forget his dignity as to climb up upon the diorite block and try its fit, very much as though it were a new costume of linen presented by his tailor.
However, he restrained himself with an obvious effort, and instead devoted himself to the mortician's description of how the first incision would be made from his gullet to his groin, and how his viscera would be lifted out cleanly and then divided into their separate parts?liver, lungs, stomach and entrails. The heart, as the hearth of the divine spark, would be left in place, as would the kidneys with their associations with water and thus with the Nile, the source of life.
After this edifying instruction, Pharaoh minutely examined the fqur Canopic jars that would receive his viscera. They stood on another smaller granite table close at hand. The jars were carved from gleaming translucent alabaster the colour of milk. Their stoppers were fashioned in the shapes of the animal-headed gods: Anubis the jackal, Sobeth the crocodile, Thoth the ibis-headed, Sekhmet with the head of a lioness. They would be the guardians of Pharaoh's divine parts until his awakening in the eternal life.
On the same granite table that held the Canopic jars, the embalmers had laid out their instruments and the full array of pots and amphorae that contained the natron salts, lacquers and other chemicals that they would use in the process. Pharaoh was fascinated by the glistening bronze scalpels which would disembowel him, and when the embalmer showed him the long pointed spoon that would be pushed up his nostrils to scoop out the contents of his skull, those cheesy curds over which I had pondered so long and fruitlessly, the king was fascinated and handled the grisly instrument with reverential awe.
Once the king had satisfied his curiosity at the mortuary table, my Lady Lostris directed his attention to the painted bas-relief engravings that covered the walls of the templi from floor to ceiling. The decorations were not yet completed, but were none the less quite striking in their design and execution. I had drawn most of the original cartoons with my own hand, and had closely supervised the others drawn by the palace artists. These had been traced on to the walls with charcoal sticks. Once the tracings were in place, I had corrected and perfected them in free-hand. Now a company of master sculptors was engraving them into the sandstone blocks, while behind them a second company of artists was painting in the completed bas-relief.
The dominant colour I had chosen for these designs was blue in all its variation: the blue of the starling's wing, the blues of the sky and the Nile in the sunlight, the blues of the petals of the desert orchid and the shimmering blue of the river perch quivering in the fisherman's net. However, there were other colours as well, all thqse vibrant reds and yellows that we Egyptians love so well.
Pharaoh, accompanied closely by my Lord Intef, in his capacity of Keeper of the Royal Tombs, made a slow circuit of the high walls, examining every detail, and commenting on most of them. Naturally the theme I had chosen for the mortuary was the Book of the Dead, that detailed map and description of the route to the underworld that Pharaoh's shade must follow, and the depictions of all the trials and dangers he would confront along the way.