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Updated: May 26, 2025
Rekh-ma-ra, in whose tomb are the other notable pictures of the Keftiu, was also a great figure in Egyptian history in the next reign. He was Vizier to Tahutmes III., the conquering Pharaoh of the Eighteenth Dynasty. The pictures on the walls of his tomb are, at least in some cases, evidently more than mere racial studies; they are careful portraits.
It is not only indicated by the evidence of the Sen-mut and Rekh-ma-ra tombs, but by the parallelism in the styles of art in the two countries. The art of each remains truly national, but the frescoes of Knossos and Hagia Triada and those of the Eighteenth Dynasty in Egypt are inspired by the same spirit, though in either case the result is modified by national characteristics.
Exactly when the catastrophe came we cannot tell. The Cretan Empire was certainly still existent in all its glory in 1449 B.C., when Amenhotep II., the son of the great Tahutmes III., came to the throne, for Rekh-ma-ra, the Vizier of Tahutmes, in whose tomb the visit of the Keftian ambassadors is pictured, survived, as we know, into the reign of Amenhotep.
The fact that two of the Keftiu envoys in the Rekh-ma-ra frescoes carry ingots of copper of the same shape as those found by Dr. Halbherr at Hagia Triada suggests that Crete may have exported copper to Egypt in the time of Tahutmes III. as Cyprus exported it in large quantities in that of Amenhotep III.
It is a fortunate circumstance that Sen-mut and Rekh-ma-ra should have caused them to be portrayed when they did, for in two or three generations more the glory of Knossos had passed away, never to be revived.
The tombs which preserve best the figures of the Keftiu are those of Sen-mut and Rekh-ma-ra. That of Sen-mut is the earlier, though only by a generation, or perhaps rather less. He was the architect of Queen Hatshepsut, the man who planned and executed the great colonnaded temple at Deir-el-Bahri, and who set up Hatshepsut's gigantic obelisks.
H. B. Hawes places the fall of Knossos at 1450; but Rekh-ma-ra must have still been living at that date, and, as Professor Burrows remarks, 'it would at least be a strange coincidence if Egyptian artists were painting the glories of the Palace at the very moment when they were passing away. That there was a huge disaster, which broke for ever the power of the Sea-Kings, is unmistakable.
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