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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..b220fae --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #64387 (https://www.gutenberg.org/ebooks/64387) diff --git a/old/64387-0.txt b/old/64387-0.txt deleted file mode 100644 index 44465de..0000000 --- a/old/64387-0.txt +++ /dev/null @@ -1,7513 +0,0 @@ -The Project Gutenberg eBook, Egyptian Art, by G. (Gaston) Maspero, -Translated by Elizabeth Lee - - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - - -Title: Egyptian Art - Studies - - -Author: G. (Gaston) Maspero - - - -Release Date: January 26, 2021 [eBook #64387] - -Language: English - -Character set encoding: UTF-8 - - -***START OF THE PROJECT GUTENBERG EBOOK EGYPTIAN ART*** - - -E-text prepared by Turgut Dincer, Charlie Howard, and the Online -Distributed Proofreading Team (http://www.pgdp.net) from page images -generously made available by Internet Archive (https://archive.org) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the 107 original illustrations. - See 64387-h.htm or 64387-h.zip: - (http://www.gutenberg.org/files/64387/64387-h/64387-h.htm) - or - (http://www.gutenberg.org/files/64387/64387-h.zip) - - - Images of the original pages are available through - Internet Archive. See - https://archive.org/details/egyptianartstudi00maspuoft - - -Transcriber’s note: - - Text enclosed by underscores is in italics (_italics_). - - Text enclosed by equal signs is in bold face (=bold=). - - - - - -EGYPTIAN ART - - - * * * * * * - -_BY THE SAME AUTHOR_ - - New Light on Ancient Egypt. - - Translated by ELIZABETH LEE. - - Illustrated. Demy 8vo, cloth. =12/6= net. Cheap Edition - =6/-= net. - - - Egypt: Ancient Sites and Modern Scenes. - - Translated by ELIZABETH LEE. - - With Coloured Frontispiece and 16 other Illustrations. - Demy 8vo, cloth. =12/6= net. - - - LONDON: T. FISHER UNWIN - - * * * * * * - - -EGYPTIAN ART - -Studies - -BY - -SIR GASTON MASPERO - -Hon. K.C.M.G., Hon. D.C.L., and Fellow of Queen’S College, Oxford - -Member of the Institute of France, Professor at the Collège de France, -Director-General of the Service des Antiquités, Cairo - -Translated by Elizabeth Lee - -With 107 Illustrations - - - - - - -T. Fisher Unwin -London: Adelphi Terrace -Leipsic: Inselstrasse 20 - -First published in 1913 - -(All rights reserved) - - - - -PREFATORY NOTE - - -The following essays were written during a period of more than thirty -years, and published at intervals of varying lengths. The oldest -of them appeared in _Les Monuments de l’Art Antique_ of my friend -Olivier Rayet, and the others in _La Nature_ at the request of Gaston -Tissandier, in the _Gazette des Beaux-Arts_, in the _Monuments Piot_, -and chiefly in the _Revue de l’Art Ancien et Moderne_, where my friend -Jules Comte gave them hospitality. As most of these periodicals do not -circulate in purely scientific circles, the essays are almost unknown -to experts, and will for the greater part be new to them. Indeed, they -were not intended for them. In writing them, I desired to familiarize -the general public, who were scarcely aware of their existence, with -some of the fine pieces of Egyptian sculpture and goldsmiths’ work, and -to point out how to approach them in order to appreciate their worth. -Some, after various vicissitudes, had found a home in the Museums of -Paris or of Cairo, and I wrote the notices in my study, deducing at -leisure the reasons for my criticisms. Others I caught as they emerged -from the ground, the very day of or the day after their discovery, and -I described them on the spot, as it were, under the influence of my -first encounter with them: they themselves dictated to me what I said -of them. - -Some persons will perhaps be surprised to find the same ideas developed -at length in several parts of the book. If they will carry their -thoughts back to the date at which I wrote, they will recognize the -necessity of such repetitions. Egyptologists, absorbed in the task of -deciphering, had eyes for scarcely anything except the historical or -religious literary texts; and so amateurs or inquirers, finding nothing -in the works of experts to help them to any sound interpretation of the -characteristic manifestations of Egyptian art, were reduced to register -them without always understanding them, for lack of knowledge of the -concepts that had imposed their forms on them. It is now admitted -that such objects of art are above all utilitarian, and that they -were originally commissioned with the fixed purpose of assuring the -well-being of human survival in an existence beyond the grave. Thirty -years ago, few were aware of this, and to convince the rest, it was -necessary to insist continually on the proofs and to multiply examples. -I might of course have suppressed a portion of them here, but had I -done so, should I not have been reproached, and quite rightly, with -misrepresenting and almost falsifying a passage in the history of the -Egyptian arts? The ideas which govern our present conception did not -at once reach the point where they now are. They came into being one -after the other, and spread themselves by successive waves of unequal -intensity, welcomed with favour by some, rejected by others. I had to -begin over again a dozen times and in a dozen different ways before I -obtained their almost universal acceptation. I was at first laughed at -when I put forward the opinion that there was not one unique art in -Egypt, identical from one extremity of the valley to the other except -for almost imperceptible nuances of execution, but that there were at -least half a dozen local schools, each with its own traditions and -its own principles, often divided into several studios, the technique -of which I tried to determine. In the end the incredulous rallied to -my side, and it would have been bad grace on my part to leave out of -the articles which helped to convert them, at least I hope so, the -repetitions which led to their being convinced. - -Besides, I am sure that they will render my readers of to-day the same -service that they rendered formerly to my colleagues in Egyptology. -When they have thoroughly entered into the spirit of the Egyptian -ideas concerning existence in this world and the next, they will -understand what Egyptian art is, and why it is above everything -realistic. The question for Egyptian art was not to create a type of -independent beauty in the person of the individuals who furnish the -principal elements of it, but to express truthfully the features which -constituted that person and which must be preserved identical as long -as anything of him persisted among the living and the dead. But why -should I epitomize here in a necessarily incomplete way ideas which -are amply set forth in the book itself? I shall do better in using -the small space left me in thanking the publishers who have kindly -authorized me to reproduce the illustrations which accompanied my -articles, Jules Comte, the directors of _La Nature_, and my old friends -of the firm of Hachette. They have thus collaborated in this book, and -it will owe a large part of its success to their kindness. - - - - -CONTENTS - - - PAGE - PREFATORY NOTE 5 - - - I - - EGYPTIAN STATUARY AND ITS SCHOOLS 17 - - - II - - SOME PORTRAITS OF MYCERINUS 36 - - - III - - A SCRIBE’S HEAD OF THE IVTH OR VTH DYNASTY 49 - - - IV - - SKHEMKA, HIS WIFE AND SON: A GROUP FOUND AT MEMPHIS 55 - - - V - - THE CROUCHING SCRIBE: VTH DYNASTY 60 - - - VI - - THE NEW SCRIBE OF THE GIZEH MUSEUM 66 - - - VII - - THE KNEELING SCRIBE: VTH DYNASTY 74 - - - VIII - - PEHOURNOWRI: STATUETTE IN PAINTED LIMESTONE FOUND AT MEMPHIS 79 - - - IX - - THE DWARF KHNOUMHOTPOU: VTH OR VITH DYNASTY 85 - - - X - - THE “FAVISSA” OF KARNAK, AND THE THEBAN SCHOOL OF SCULPTURE 90 - - - XI - - THE COW OF DEÎR-EL-BAHARÎ 106 - - - XII - - THE STATUETTE OF AMENÔPHIS IV 120 - - - XIII - - FOUR CANOPIC HEADS FOUND IN THE VALLEY OF THE KINGS AT THEBES 126 - - - XIV - - A HEAD OF THE PHARAOH HARMHABI 135 - - - XV - - THE COLOSSUS OF RAMSES II AT BEDRECHEÎN 140 - - - XVI - - EGYPTIAN JEWELLERY IN THE LOUVRE 145 - - - XVII - - THE TREASURE OF ZAGAZIG 154 - - - XVIII - - THREE STATUETTES IN WOOD 172 - - - XIX - - A FRAGMENT OF A THEBAN STATUETTE 178 - - - XX - - THE LADY TOUÎ OF THE LOUVRE AND EGYPTIAN INDUSTRIAL SCULPTURE - IN WOOD 183 - - - XXI - - SOME PERFUME LADLES OF THE XVIIITH DYNASTY 190 - - - XXII - - SOME GREEN BASALT STATUETTES OF THE SAÏTE PERIOD 195 - - - XXIII - - A FIND OF SAÏTE JEWELS AT SAQQARAH 201 - - - XXIV - - A BRONZE EGYPTIAN CAT BELONGING TO M. BARRÈRE 208 - - - XXV - - A FIND OF CATS IN EGYPT 214 - - - INDEX 217 - - - - -ILLUSTRATIONS - - - FACING PAGE - THE MYCERINUS OF MÎT-RAHINEH 38 - - MYCERINUS (REISNER HEAD) 38 - - ALABASTER STATUE OF MYCERINUS 40 - - MYCERINUS, HATHOR, AND THE NOME OXYRRHINCHUS 42 - - MYCERINUS, HATHOR, AND THE NOME CYNOPOLITE 42 - - MYCERINUS AND HIS WIFE 44 - - MYCERINUS, HATHOR, AND THE NOME OF THE SISTRUM 46 - - MYCERINUS AND HIS WIFE (DETAIL) 46 - - MYCERINUS AND HIS WIFE (DETAIL) 48 - - SCRIBE’S HEAD 50 - - SKHEMKA WITH HIS WIFE AND SON 56 - - CROUCHING SCRIBE 60 - - THE NEW SCRIBE OF THE GIZEH MUSEUM 66 - - STATUE OF RÂNOFIR 72 - - KNEELING SCRIBE 74 - - PEHOURNOWRI 80 - - THE DWARF KHNOUMHOTPOU 86 - - THE WORKS AT KARNAK IN JANUARY, 1906 92 - - MONTOUHOTPOU V 94 - - HEAD OF A COLOSSUS OF SANOUOSRÎT 94 - - SANOUOSRÎT AND THE GOD PHTAH 94 - - BUST OF THOUTMÔSIS III 96 - - ISIS, MOTHER OF THOUTMÔSIS III 96 - - SANMAOUT AND THE PRINCESS NAFÊROURIYA 98 - - STATUETTE IN PETRIFIED WOOD 100 - - THEBAN KHONSOU 100 - - STATUE OF TOUTÂNOUKHAMANOU 100 - - THE SO-CALLED TAIA 100 - - RAMSES II 100 - - RAMSES IV LEADING A LIBYAN CAPTIVE 100 - - THE PRIEST WITH THE MONKEY 102 - - OSORKON II OFFERING A BOAT TO THE GOD AMON 104 - - QUEEN ANKHNASNOFIRIABRÊ 104 - - MANTIMEHÊ 104 - - NSIPHTAH, SON OF MANTIMEHÊ 104 - - HEAD (SAÏTE PERIOD) 104 - - THE COW OF DEÎR-EL-BAHARÎ IN HER CHAPEL 104 - - AMENÔTHES II AND THE COW HATHOR 106 - - AMENÔTHES II AND THE COW HATHOR 106 - - THE COW HATHOR 108 - - AN UNKNOWN FIGURE AND THE COW HATHOR 112 - - PETESOMTOUS AND THE COW HATHOR 114 - - PSAMMETICHUS AND THE COW HATHOR 116 - - PSAMMETICHUS AND THE COW HATHOR 118 - - AMENÔPHIS IV 120 - - KING KHOUNIATONOU 126 - - KING KHOUNIATONOU 126 - - KING KHOUNIATONOU 128 - - KING KHOUNIATONOU 130 - - KING KHOUNIATONOU 130 - - QUEEN TÎYI (FULL FACE) 130 - - QUEEN TÎYI (PROFILE) 130 - - PRINCESS OF THE FAMILY OF TÎYI (PROFILE) 132 - - PRINCESS OF THE FAMILY OF TÎYI (FULL FACE) 132 - - KING KHOUNIATONOU 132 - - KING KHOUNIATONOU 134 - - HEAD OF THE PHARAOH HARMHABI 136 - - THE HALF-BURIED COLOSSUS OF RAMSES II 140 - - THE COLOSSUS OF RAMSES II EMERGING FROM THE EARTH 140 - - EGYPTIAN JEWELLERY OF THE XIXTH DYNASTY 146 - - GOLD PECTORAL INLAID WITH ENAMEL 146 - - PECTORAL OF RAMSES II 148 - - PECTORAL IN SHAPE OF A HAWK WITH A RAM’S HEAD 148 - - SILVER BRACELETS AND EARRINGS 156 - - GOLD EARRING FROM THE TREASURE OF ZAGAZIG 156 - - ONE OF RAMSES II’S BRACELETS (OPEN) 158 - - ONE OF RAMSES II’s BRACELETS (CLOSED) 158 - - GOLD CUP OF QUEEN TAOUASRÎT 160 - - SMALLER OF THE TWO GOLD VASES (FRONT VIEW) 160 - - SMALLER OF THE TWO GOLD VASES (BACK VIEW) 162 - - MASS OF SILVER VASES SOLDERED TOGETHER BY OXIDE 162 - - LARGER OF THE TWO GOLD VASES (FRONT VIEW) 164 - - LARGER OF THE TWO GOLD VASES (BACK VIEW) 164 - - THE VASE WITH THE KID 164 - - ONE OF THE SILVER PATERÆ OF ZAGAZIG (SIDE VIEW) 166 - - SILVER STRAINER 166 - - THE BOTTOM OF ONE OF THE ZAGAZIG SILVER PATERÆ 168 - - STATUETTES IN WOOD 172 - - THE MOND STATUETTE (FRONT VIEW) 178 - - THE MOND STATUETTE (PROFILE) 180 - - THE LADY TOUÎ, STATUETTE IN WOOD 184 - - STATUETTE IN WOOD 186 - - STATUETTE IN WOOD 186 - - PERFUME LADLE 190 - - PERFUME LADLE 190 - - PERFUME LADLE 192 - - PERFUME LADLE 192 - - PERFUME LADLE 194 - - GREEN BASALT STATUETTES OF THE SAÏTE PERIOD 196 - - NECKLACE AMULET 202 - - VULTURE AMULET 202 - - GOLD PALM-TREE 202 - - BOAT OF SOKARIS 202 - - RAM’S HEAD 202 - - GOLD HAWK 202 - - HAWK WITH HUMAN HEAD 202 - - HAWK WITH RAM’S HEAD 202 - - VULTURE 202 - - ISIS WITH THE CHILD 202 - - CROUCHING NEÎTH 202 - - MONKEYS WORSHIPPING THE EMBLEM OF OSIRIS 204 - - VULTURE WITH EXTENDED WINGS 204 - - HAWK WITH EXTENDED WINGS 204 - - THE SOUL (FRONT VIEW) 204 - - THE SOUL (BACK VIEW) 204 - - BRONZE CAT OF THE SAÏTE PERIOD 208 - - BRONZE CAT 214 - - - - -EGYPTIAN ART - - - - -I - -EGYPTIAN STATUARY AND ITS SCHOOLS[1] - - -I opened F.W. von Bissing’s work[2] with a certain feeling of -melancholy, for it was a thing that I had hoped to do myself. Ebers -had suggested to Bruckmann, the publisher, that he should entrust the -task to me, and I was on the point of arranging with him when the -preparations for an Orientalist Congress to meet at Paris in 1897 -deprived me of the leisure left me by my lectures and the printing -of my “History,” and I was forced to give up the project. Herr von -Bissing, who was less occupied then than I was, consented to hazard -the adventure, and no one could have been better equipped than he -was to carry it through. The seeking of materials, the execution of -typographical _clichés_, the composition of the text and its careful -setting forth exacted eight years of travelling and continuous labour. -Bissing issued the first part at the end of 1905, and five other parts -have quickly followed, forming almost the half of the work, seventy-two -plates folio, and the portions of the explanatory text belonging to the -plates. - - -I - -The title is not, at least as yet, exactly accurate. Egyptian sculpture -includes, in fact, besides statues and groups in alto-relievo, -bas-reliefs often of very large dimensions which adorn the tombs or -the walls of temples. Now Bissing has only admitted statues and groups -to the honours of publication: the few specimens of the bas-reliefs -that he gives are not taken from the ruins themselves, but have been -selected from pieces in the museums, stelæ, or fragments of ruined -buildings. It is then the monuments of Egyptian statuary that he -presents to us rather than those of Egyptian sculpture as a whole. - -Having made that statement and thus defined the extent of the field -of action, it must be frankly admitted that he has always made a -happy selection of pieces to be reproduced. Doubtless we may regret -the absence of some famous pieces, such as the Crouching Scribe of -the Louvre or the Cow of Deîr el-Baharî. The fault is not his, and -perhaps he will succeed in overcoming the obstacles which forced him -to deprive us of them. The omissions, at any rate, are not numerous. -When the list printed on the covers of the first part is exhausted, -amateurs and experts will have at their disposal nearly everything -required to follow the evolution of Egyptian statuary from its earliest -beginnings to the advent of Christianity. The schools of the Greek and -Roman epochs, unjustly contemned by archæologists who have written on -these subjects, are not wanting, and for the first time the ordinary -reader can decide for himself if all the artists of the decadence -equally deserve contempt or oblivion. Bissing has attempted a complete -picture, not a sketch restricted to the principal events in art between -the IVth Dynasty and the XXXth. No serious attempt of the kind had -before been made, and on many points he had to open out the roads he -traversed. For the moment he has stopped at the beginning of the Saïte -period; thus we have as yet no means of judging if the plan he has -imposed on himself is carried out to the end with a rigour and firmness -everywhere equal: but a rapid examination of the parts that have -appeared will show that it has been executed with fullness and fidelity. - -Four plates are devoted to Archaic Egypt: the two first are facsimiles -of the bas-reliefs that decorate the stele of the Horus Qa-âou, and -the so-called _palette_ of the king we designate Nâr-mer, since -we have not deciphered his name. It is in truth very little, but -the excavations have rendered such poor accounts of those distant -ages that it is almost all that could be given of them; it might, -however, have been worth while to add the statuettes of the Pharaoh -Khâsakhmouî. Notwithstanding the omission, the objects that appear give -a sufficient idea of the degree of skill attained by the sculptors of -those days. The stele of Qa-âou does not, of course, equal that of -the _King-Serpent_[3] which is in the Louvre; it is, however, of a -fairly good style, and the hawk of Horus is nearer to the real animal -than those of the protocol were later. Similarly the scenes engraved -on the _palette_ of Nâr-mer testify to an indisputable virtuosity in -the manner of attacking the stone. The drawing of the persons is less -schematic and their bearing freer than in the compositions of classical -art, but it is evident that the craftsman had as yet no very clear -idea of the way in which to compose a picture and group its elements. -Let us confess, nevertheless, that the bas-reliefs are far superior to -the statues yet known. We possess about half a dozen of them scattered -over the world. Bissing studied one to the exclusion of the others, -the one in the Naples Museum, and it may be thought to be sufficient -if only æsthetic impressions are desired, for nothing could be rougher -or more awkward. The head and face might perhaps pass, but the rest -is ill-proportioned, the neck is too short, the shoulders and chest -are massive, the legs lack slenderness under a heavy petticoat, the -feet and hands are enormous. The defects cannot be ascribed to the -hardness of the material, for the Scribe of the Cairo Museum, which is -in limestone, displays them as flagrantly as the good people in granite -at Naples, Munich, or Leyden. I must not therefore conclude, however, -that they are constant faults with the Thinites: the statuettes of -Khâsakhmouî are of a less heavy workmanship and more nearly approach -that of later studios. That the ruins have rendered only a few that -possess worth does not prove that there may not have been excellent -ones: we must have patience and wait till some happy chance belies the -mediocrity. - -The Memphian Empire has furnished thirteen plates, and I doubt if -they are enough. The number of masterpieces, and especially of pieces -which, without possessing claims to perfection, offer interest on some -count, is so large that Bissing could easily have found, in the Cairo -Museum alone, material enough to double the number. Very probably it -was due to the publisher and a question of economy: but all the same I -regret the absence of half a dozen statues that would have made a good -appearance by the side of the Scribe of the Berlin Museum. The chief -species of the period are at least represented by very good examples: -statues of the Pharaoh seated, receiving homage, are represented by two -of the Chephrên of the Cairo Museum; of the Pharaoh standing, by the -Pioupi in bronze; those of private individuals standing and isolated, -or in groups, by the Cheîkh el-Beled of the Gizeh Museum, by the -Sapouî and the Nasi of the Louvre, or by the pair at Munich; those of -individuals seated by the Scribe of Berlin and by one of the Readers -of Cairo. One of the Cairo statues, of mediocre workmanship, is, -however, curious, because it shows us a priest completely nude, by no -means usual, and circumcized, a fact still less usual. Three fragments -preserved at Munich, portions of three stelæ, a complete stele from -the Cairo Museum, an episode borrowed from the tomb of Apouî, of which -Cairo possesses almost an entire wall, provide specimens of bas-reliefs -for the student to study, without, however, permitting him to suspect -the variety of motives and abundance of detail usually met with in -the necropolises of Saqqarah or of Gizeh. Reduced to these elements, -Bissing’s book will make the impression on its readers of a noble art -exalted by inspiration, minute and skilful in the material execution, -but monotonous, and confined in a rather narrow circle of concepts -and forms of expression. It is only fair to add that the book is not -finished and that, thanks to the system employed of double and triple -plates, it is quite easy to insert new documents among those of the -parts that have already appeared. Some of the lacunæ will assuredly -be filled up, and the additions will place us in a better position to -judge the worth of the ancient Memphian school. - -The notices of the first Theban Empire are more numerous, and they -render it possible to study the history of statuary during the long -interval that separates the Heracleopolitan period from the domination -of the Shepherd Kings. For the XIth Dynasty, besides the wonderful -statue of Montouhotpou III, there are bas-reliefs or paintings found -at Gebeleîn in the ruins of a temple of Montouhotpou I. Afterwards, we -have, in the XIIth Dynasty itself, the seated statues of Sanouosrît -I, of Nofrît and of Amenemhaît III, the sphinx of Amenemhaît III that -Mariette declared to be the portrait of a Hyksôs king, an admirable -king’s head preserved in the Vienna Museum, and pieces of lesser -interest, among which a curious bas-relief of Sanouosrît I dancing -before the god Mînou at Coptos should be mentioned. For the XIIIth and -following Dynasties, I only see as yet the Sovkhotpou of the Louvre, -the barbarous head of Mît-Fares, and the Sovkemsaouf of Vienna, but we -must wait for the next parts before deciding to what point Bissing has -made use of the rich store of documents available for that period. The -second Theban Empire, so rich in souvenirs of all kinds, offered an -embarrassing choice: the Cairo Museum alone possesses material enough -for two or three volumes, especially since the fortunate excavations -conducted by Legrain at the _favissa_ of Karnak. The subjects in favour -of which Bissing decided have their special importance: they are each -the actual head of a pillar, the type of a series that he could, in -many cases, have reproduced almost entire, so well has chance served -us in the course of these last years. The statues of Amenôthes, of -Thoutmôsis, of the Ramses, of the Harmais are celebrated, and it is -unnecessary to enumerate them one after the other: the reader will -see them again with pleasure as he goes along, and will admire the -marvellous skill with which the photographer has reproduced them, and -the printer has responded to the photographer’s skill. The pictures of -the volume are often perfect, and plates like those of the head of one -of the sphinxes of Amenemhaît III are so successful that in looking at -them we have almost the sensation of the original. In a few, however, -the printing is too heavy and the thickness of the ink has distorted -and coarsened the modelling. As a general rule the larger number of -the defects I have noted are due to this tiresome question of inks. I -know too well from my own experience the difficulties caused by the -obstinacy of the workmen on that point, so I am able to make excuses -for both Bruckmann and Bissing. - - -II - -So much for the illustrations: the portion of the text as yet published -greatly increases their interest, and assures the work permanent -value. It contains information as to the origin of the object, its -migrations, its actual home to-day, its state of preservation and, at -need, the restorations it has undergone: descriptions showing careful -research, and extended bibliographies complete the suggestions made -by the picture, and inform us of previous criticisms. The shortest of -the notices fills two compact quarto columns, and are reinforced by -numerous footnotes; many of them are veritable essays in which the -subject is examined on every side and as exhaustively as is possible. -Vignettes are inserted which exhibit the object in a different light -from that of the plate, or show the reader some of the analogous -motives referred to in the discussion. - -Repetition of similar types has sometimes prevented Bissing from -developing his views as a whole, and we are compelled to look under -several rubrics before learning his full opinion. This is a serious -drawback unless it is remedied in the introduction: we shall perhaps -find all the observations brought together there into one system, with -justificatory references to each of the notices in particular. - -Bissing’s criticisms are always well justified: they testify to a -mature taste or a sure tact, and there are very few with which experts -would not willingly agree. Here and there, however, I must make some -reservations, for example, with regard to the Chephrên of Gizeh. After -discussing at length Borchardt’s reasons for attributing it to a Saïte -school, and refuting them, Bissing declares that it is perhaps a late -copy of a work contemporary with the Pharaoh. I recently had occasion -to study it closely in order to determine the position in the Museum -best suited to it, and to decide the height of the plinth on which -it should be placed. I went over Borchardt’s arguments and Bissing’s -hypotheses one after the other and came to the conclusion that the -date assigned by Mariette at the moment of its discovery is the only -admissible one. The archæological details belong to the Memphian age, -and the peculiarities of style which Bissing points out, and which -actually exist, are not sufficiently strongly marked to justify its -attribution to a later epoch. I only see in them the divergences which, -in every age, mark works coming from different and perhaps rival -studios. The artists who cut the _doubles_ in diorite destined for the -pyramid of the Pharaoh, did not certainly have the same masters as -those to whom we owe the Chephrên in alabaster and the royal statuettes -of Mitrahineh: the difference of origin sufficiently explains why -they do not resemble each other. I fear that in criticizing certain -sculptures Borchardt and others were governed in spite of themselves -by the ideas that long prevailed on the uniformity and monotony of -Egyptian art. It seemed to them that at one and the same period the -composition and inspiration must always remain identical, and wherever -they did not harmonize, the fact was attributed solely to an interval -in time. But we must accustom ourselves to think that things did not go -differently with the Egyptians than with the moderns. In a city like -Memphis there was more than one studio, and they all possessed their -traditions, their affectations, their style, which distinguished them -from each other, and which are found in their work like a trade-mark. -Some errors of classification will be avoided in the future if we can -be persuaded to recognize that many of the peculiarities that we begin -to note on statues and bas-reliefs may be the mannerisms of the school -to which they belong, and are not always indications of relative age. - -The care that Bissing has taken to render what is due to each of the -experts who discovered a piece or spoke of it, deserves the more praise -since many Egyptologists of the present generation have adopted the -attitude of ignoring what has been said or written before them. They -seem to insinuate to their readers that archæology, religion, grammar, -history, nothing indeed that they touch on, has ever been studied -before, and that the bibliography of a subject begins with the first -essay they have devoted to it. Although the past of Egyptology is so -short, it is a difficult subject to know, and it is not surprising -if Bissing has misrepresented some features or ignored others. For -example, he attributes the merit of recognizing in the animal’s -tail that the kings attach to their back, not a lion’s tail but a -jackal’s[4] to Wiedemann; I do not know if I was the first, but I think -that I certainly stated this before Wiedemann.[5] A little farther on, -I regret that Bissing was not acquainted with my notice of the statue -of Montouhotpou in the _Musée Egyptien_:[6] I am curious to know if he -accepts my explanation of the disproportion between the feet, legs, and -bust. It seems to me that it was not intended to be on the same level -as the spectator, but that it ought to be placed in a naos, on a fairly -high platform which could be reached by a staircase in front: seen from -below, foreshortened, the effect of the perspective would redeem the -exaggeration of form and re-establish the balance between the parts. -It seems also that Bissing was not acquainted with the part of the -_Musée_ in which this Montouhotpou is discussed, for he does not refer -to it again with regard to the Amenemhaît III discovered by Flinders -Petrie at Fayoum.[7] Farther on again, it would have been in keeping -to note that Legrain found the debris of a statuette in black granite -in the mud of the _favissa_ at Karnak, which so closely resembles the -admirable Ramses II of Turin that it might almost be the replica or a -sort of original rough model.[8] Unfortunately the head is wanting, but -we have been almost entirely successful in restoring the body: if it is -not by the same sculptor who took such pleasure in modelling the Turin -statue, it comes from the same royal studio. The few differences to be -noted between them arise solely from the inequality of the stature: it -was necessary to simplify certain details or to suppress them in the -smallest of the statues. - -These examples show that there is nothing very serious in the omissions -and negligences: we are surprised not that there should be some, but -that among such a mass of references there are not more. I might -perhaps disagree with some of the theories or points of doctrine -Bissing constantly advances, but I will wait to do so until he has -elaborated into a system the elements so abundantly spread through -the notices. But there is one criticism I will make now: he scarcely -mentions the schools into which Egypt was divided, so that we are -tempted to conclude that, like so many contemporary archæologists, -he believes in the existence of one sole school, which worked in an -almost uniform manner over the whole of Egypt at one time. It is, -however, certain that there were always several schools on the banks -of the Nile, each of which possessed its traditions, its designs, its -method of interpreting the costume or the pose of individuals, the -works of which have a sufficiently special physiognomy to admit of -their being easily separated into their different groups. Here, again, -it seems to me that sometimes varieties of execution which are the -result of the teaching are taken to be signs of age, and that pieces -which are contemporary within a few years, but which proceed from -distinct schools, are spread over centuries. I have not discovered -Bissing in such errors: his natural insight and his knowledge of the -monuments preserved him from making them. I wish, however, that he had -touched on the matter more definitely than he has, and, after letting -it be seen in several places that he admits the existence of those -schools, he should have defined their characteristics in accordance -as the progress of his book brought their work before the reader. He -has briefly touched on the matter in regard to the sphinxes of Tanis -and the statue of Amenemhaît III, but he might, for example, have -seized the opportunity of the Montouhotpou in order to demonstrate the -tendencies of Theban art at its birth; he could have followed them in -their evolution, and the Amenôthes I of Turin might perhaps have served -to teach us how those tendencies were developed or modified between the -beginning of the first Theban Empire and that of the second. A passage -in the notice of the so-called Hyksôs sphinxes leads me to hope that he -will do this for the Tanite school in regard to the celebrated _Bearers -of offerings_: I greatly wish that I may not be disappointed in my hope. - - -III - -As far as I can judge there were at least four large schools of -sculpture in the valley of the Nile: at Memphis, Thebes, Hermopolis, -and in the eastern part of the delta. I have attempted farther on to -sketch the history and define the principal characteristics of the -Theban school;[9] I shall only refer to it as far as it is necessary to -make clear in what it is distinguished from the three others. - -And to begin with, it is probable that the first of those in date, -the Memphian, is merely the prolongation and continuation of a -previous Thinite school. If I compare the few objects of real -art that have come to us from the Thinites with parallel works -of which the necropolises of Gizeh, Saqqarah and the Fayoum have -restored to us so many examples, I am struck by the resemblances in -inspiration and technique that exist between the two. We have no -statues originating from Thinis itself, but the stelæ, the amulets -in alto-relievo, the fragments of minute furniture discovered in the -tombs of Omm-el-Gaâb find their exact counterpart in similar pieces -that come from the excavations of Abousîr-el-Malak or of Meîdoum and -from the sub-structure of Memphian residences. I think I see that at -the beginning there were mediocre workmen in the plain of the Pyramids -capable, however, of sculpturing, ill or well, a statue of a man -seated or standing: to those men I attribute the statue No. 1 in the -Cairo Museum, the Matonou (Amten) of Berlin, the Sapouî (Sepa) of the -Louvre, and a few other lesser ones. The same defects are to be seen -in all: the head out of proportion to the body, the neck ungraceful, -the shoulders high, the bust summarily rough-hewn and without regard to -the dimensions of each part, the arms and legs heavy, thick, angular. -Their roughness and awkwardness compared with the beautiful appearance -of the two statues of Meîdoum, which are almost contemporary with them, -would astonish us if we did not think that the latter, commissioned -for relatives of Sanofraouî, proceed from the royal workshops. The -transference of the capital to Memphis, or rather to the district -stretching from the entrance into the Fayoum to the fork of the delta, -necessarily resulted in impoverishing Thinis-Abydos; the stone-cutters, -architects, statuaries, and masons accompanied the court, and planted -the traditions and teaching of their respective fatherlands in their -new homes. According to what is seen in the tombs of Meîdoum, the -latest Thinite style, or rather the transition style of the IIIrd -Dynasty, presents exactly the same characteristics as the perfect style -of the IVth, Vth, and VIth Dynasties, but with a less stiff manner. -The pose of the persons and the silhouettes of the animals are already -schematized and encircled in the lines which will enclose them almost -to the end of Egyptian civilization, but the detail is freer, and keeps -very close to reality. The tendency is perceived only in the roundness -and suppleness that prevails from the time of Cheops and Chephrên. -The Memphites sought to idealize their models rather than to make a -faithful copy of them, and while respecting the general resemblance, -desired to give the spectator an impression of calm majesty or of -gentleness. Their manner was adopted at Thinis by a counter-shock, and -it may be said that from the IVth to the XXVIth Dynasty Abydos remained -almost a branch of the Memphian school, which, however, grew out of it. -The productions only differ from those of the Memphites in subordinate -points, except during the XIXth Dynasty, when Setouî I and Ramses -II summoned Theban sculptors there, and for some years it became, -artistically, a fief of Thebes. - -If we would indicate in one word the character of this Thinito-Memphian -art, we should say that it resides in an idealism of convention as -opposed to the realism of Theban art. Thanks to the fluctuations of -political life which alternately made Memphis and Thebes the capitals -of the whole kingdom, the æsthetics of the two cities spread to the -neighbouring towns, and did not allow them to form an independent -art: Heracleopolis, Beni-Hassan, Assiout, Abydos took after Memphis, -while the Saîd and Nubia, from Denderah to Napata, remained under the -jurisdiction of Thebes. An original school arose, however, in one -place, and persisted for a fairly long time, in Hermopolis Magna, the -city of Thot. We observe there, from the end of the Ancient Empire, -sculptors who devoted themselves to expressing with a scrupulous -naturalism, and often with an intentional seeking after ugliness, -the bearing of individuals and the movement of groups. We should -observe with what humour they interpreted the extremes of obesity and -emaciation in man and beast, in the two tombs called _the fat and the -lean_. The region where they flourished is so little explored that -it is still unknown how long their activity practised a continuous -style: it was at its best under the first Theban Empire, at Bercheh, -at Beni-Hassan, at Cheîkh-Saîd, but the period at which it seems to -me to be most in evidence was at the end of the XVIIIth Dynasty, -under the heretic Pharaohs. When Amenôthes IV founded his capital -of Khouîtatonou, if, as is probable, he settled some Theban masters -there, he would certainly have utilized the studios of Hermopolis. -The scenes engraved on the tombs of El-Tell and El-Amarna are due to -the same spirit and the same teaching as those of the _fat and lean_ -tombs; there are similar deformations of the human figure bordering -on caricature, the same suppleness and sometimes the same violence -in the gestures and attitudes. In a number of portraits the Theban -importation prevails, but the cavalcades, processions, royal audiences, -popular scenes, must be attributed to the Hermopolitans, for their -inspiration and execution present so striking a contrast to those of -analogous pictures that adorn the walls of Louxor or Karnak. The fall -of the little Atonian Dynasty stopped their activity; deprived of the -vast commissions which opened a new field for their enterprise, they -fell back into their provincial routine, and we have not yet enough -documents to tell us what their successors became in the course of the -centuries. - -In the delta two fairly different styles may be seen from the -beginning. In the east, at Tanis and in its neighbourhood, there is, -at the beginning of the first Theban Empire, a veritable school, the -productions of which possess such an individual physiognomy that -Mariette did not hesitate to attribute them to the Shepherd Kings: -since the works of Golenischeff it is known that the so-called Hyksôs -sphinxes are of Amenemhaît III, and that they belong to the second half -of the XIIth Dynasty. This Tanite school is perpetuated through the -ages; it was still flourishing under the XXIst and XXIInd Dynasties, -as is proved by the fine group of bearers of offerings in the Cairo -Museum. The predominant features are the energy and harshness of the -modelling, especially of the human face: its masters have copied a -type, and modes of coiffure belonging, as Mariette formerly pointed -out, to the half-savage populations of Lake Menzaleh, the _Egyptians in -the marshes_ of Herodotus. It seems to me that their manner is still -to be noted in the Græco-Roman period in the statues of princes and -priests that we have in the Cairo Museum: the technical skill, however, -is less than in the sphinxes and the bearers of offerings. The centre -and west of the delta, on the other hand, came under the influence -of Memphis, as far as we can judge from the rare existing fragments -belonging to the Ancient Empire. Under the Thebans the dependence is -clear, and all that comes from those regions differs in nothing from -what we have from the Memphian necropolises. Only in the Ethiopian -period, and under the influence of the successors of Bocchoris, is a -Saïte school revealed to us, which, borrowing its general composition -from the Memphian school, comes closer to nature and impresses an -individual stamp on certain elements of the human figure that until -then had been handled in a loose, so to say, an abstract fashion. -The modelling of the face is as full of expression as in the fine -works of the Theban school, but with greater finish and less harsh -effects; the ravages of old age, wrinkles, crows’-feet, flabbiness of -flesh, thinness, are all reproduced with a care unusual in preceding -generations; the skull, indeed, is so minute in detail that it might -almost be called an anatomical study. This impulse towards skilled -realism, begun by instinct in the heart of the school, became -accentuated and accelerated by contact with the Hellenes, who from the -time of Psammetichus I swarmed in the provinces of the delta. Certain -bas-reliefs of Alexandria and Cairo, the date of which is assigned to -the reign of Nectanebo II, which I should like to place in that of -one of the first Ptolemies,[10] may be regarded as extant witnesses -of a kind of composite art analogous to that which was developed two -centuries later at Alexandria or at Memphis, and of which the Cairo -Museum possesses some rare examples. - -It should be clearly understood that I do not claim to put the complete -result of my study of the schools, the presence of which in Ancient -Egypt is now confirmed, in these few lines. I am only anxious to -point out the part played by them in historic times, and the errors -into which those who have written the history of Egyptian art without -suspecting their existence, or without taking into consideration what -we do know of them, have fallen. Bissing does not ignore them, and is -doubtless waiting to criticize them in his Introduction. He has so much -material that it will be easy for him to rectify my hypotheses, and to -confirm them where necessary; in that way his book will gain by being -no longer a mere collection of monuments each described as an isolated -piece, but a veritable treatise on sculpture, or at least on Egyptian -statuary. - -I shall be sincerely sorry if he fails in that particular, but even -so, I should feel it right to declare that he has come honourably -out of an enterprise in which he had no predecessors. The few plates -that I inserted a quarter of a century ago in the _Monuments de -l’Art Antique_, and the notices contained in the parts of the _Musée -Egyptien_ that have already appeared, afforded both experts and -amateurs a foretaste of the surprises that Egypt has in store in the -matter of art; they have been too few, and have related to subjects -too scattered in point of time, to produce a body of doctrine. But -here, on the contrary, nearly two hundred pieces are available, -classified according to the order of the Dynasties, and for the most -part unpublished, or better reproduced than in the past. Each will -be accompanied by an analysis in which the researches previously -connected with it will be set forth and discussed; for the first -time Egyptologists and the general public will have the artistic and -critical apparatus required for judging the value of the principal -pieces of Egyptian statuary before their eyes and in their hands. Those -who know the amount of the literature existing on Egyptology, and how -scattered it is, can easily imagine the patience and bibliographical -_flair_ that Bissing must have needed for gathering from libraries -the information so generously scattered on every page of his notices. -But that was only the least part of his task; the appreciation of -the objects themselves demanded of him an ever alert attention and a -continuous tension of mind which would promptly have exhausted a man -less devoted to the minutiæ of artistic observation. In other branches -of the science, the materials have for the most part been so often and -so repeatedly kneaded that nearly always half of the work has been -already done; here, nothing of that sort exists, and in many cases -Bissing has dealt with objects that he was the first to know, and of -which no previous study had been attempted. That he is sometimes weary, -and that here and there his opinions may be controverted, he willingly -confesses. But what surprises me is how very rarely it is necessary to -upset them, even partially. - -I hope then that we shall not have to wait too long for the completion -of this admirable work. May I venture to add that after the present -edition, which is an _édition de luxe_, a popular edition would be -welcome? Egyptologists like myself are condemned to pay such large sums -for our books that the price of these “Denkmäler” does not alarm us, -but the fact has greater importance for others. A reproduction in a -smaller _format_, and less expensive, would greatly help to spread the -knowledge of Egyptian art among classes of readers whom the book in its -present form will not reach. - - - - -II - -SOME PORTRAITS OF MYCERINUS[11] - - -It has long been a debatable question if the Egyptian statues of kings -and private individuals can be regarded as faithful portraits or as -merely approximate to their originals. No one has ever denied that -their authors desired to make them as like as possible, but we hesitate -to believe that they succeeded in doing so. The air of uniformity lent -them by the repeated employment of the same expressions and the same -postures encouraged the notion that, judging themselves incapable of -exactly transcribing the details of bodily form or physiognomy proper -to each individual, the sculptors decided that such details were not -necessary for the kind of service to which the statues were destined: -they considered that the task entrusted to them was sufficiently -fulfilled if the soul or the _double_ for which these statues provided -an imperishable body recognized in them enough of the perishable body -to enable them to attach themselves to it without hurt in the course of -their posthumous existence. The study of the monuments has dissipated -those doubts. Any one who has carefully handled one of the Saïte -heads, the skull and face of which present such clearly individual -characteristics, must acknowledge that so many details noted with such -felicitous care indicate an absolute intention of transmitting the -exact appearance of the model to posterity. And if, proceeding forward, -we reach the second Theban period, we shall soon, thanks to the chances -which have delivered to us the well-preserved corpses of about fifty -princes and princesses, recognize the success with which the royal -studios perpetuated in stone the effigies of their contemporaries. The -profile of Setouî I photographed in his coffin would coincide line for -line with that of his bas-reliefs of Karnak or Abydos were it not for -the thinness resulting from embalmment. Let us go back eight or ten -centuries and see how the master sculptors of the first Theban period -treated their Pharaohs. The statues of Amenemhaît III and of Sanouosrît -have so personal a note that we should be wrong to imagine they could -be anything but a sincere, almost a brutal likeness. The two Chephrên -of the Cairo Museum were not long ago alone in suggesting to us the -conviction that the Memphian times yielded nothing in this matter of -resemblance to ages farther removed from us; the recent discovery of -ten statues of Mycerinus prevents any further doubt. - -Most of them have not left Egypt. The first that came to us was -acquired by purchase in 1888, with four statuettes of Naousirrîya, -of Mankahorou, of Chephrên, and perhaps of Cheops. According to the -information collected at the time by Grébaut, they were found together, -two or three weeks before, by fellahs of Mît-Rahineh under the ruins of -a little brick building situated at the east of what was formerly the -sacred lake of the temple of Phtah at Memphis. That was certainly not -their original place; they had probably each adorned first the funerary -chapel annexed to the pyramid of its sovereign: their transference to -the town and their reunion in the place where they were discovered are -not earlier than the reign of the last Saïtes or the first Ptolemies. -It was then, in fact, that hatred of foreign domination having exalted -the love of all that was peculiarly Egyptian in the eyes of the people, -reverence for the glorious Pharaohs of former ages revived: their -priesthoods were reorganized, and they again received the worship -to which centuries of neglect had disaccustomed them. None of our -figures are life-size, and the Mycerinus in diorite, which is not one -of the smallest, is scarcely 21⅛ inches in height. It is enthroned -on a cubical block with the impassibility that the Chephrên has made -familiar to us; the bust is stiff, the arms rest on the thighs, he -looks straight before him, his face expressionless, as was imposed on -Pharaoh by etiquette, while the crowd of courtiers and vassals filed -past at his feet: if his name, engraved on the sides of his seat to the -right and left of his legs, had not told who he was, we should have -guessed it from his bearing. The composition, although not the best -imaginable, is good: but the head makes a poor effect in relation to -the torso, a defect always at first ascribed to the heedlessness of the -sculptor. But it is to be noted that the face somewhat recalled that of -two of the other Pharaohs, a fact to be explained by the relationship, -the second, Chephrên, being the father of Mycerinus, and the third, -probably Cheops, his grandfather. That is a reason for presuming -that they are portraits, but are they authentic portraits? Several -Berlin Egyptologists whose natural ingenuity encouraged them to revise -Mariette’s criticisms on art, thought to discern in certain details of -the costume and ornamentation a proof that if they were not figures -of pure imagination, they were at least copies of ancient originals -freely executed under one of the Saïte Dynasties, and their theory, -although opposed by experts who had a longer experience, disconcerted -the majority. It was soon upset by facts, but, as often happens, the -consequences deduced from it survived by force of habit. Many of us -feared for some years after to be asserting too much, to declare openly -that our Mycerinus was what we had entitled him on the faith of his -inscription, the real Mycerinus. - -[Illustration: THE MYCERINUS OF MÎT-RAHINEH. - -Diorite. Cairo Museum.] - -[Illustration: MYCERINUS (REISNER HEAD) - -Alabaster. Cairo Museum.] - -We did not do so until 1908, when Reisner and his Americans, excavating -at Gizeh round about the third pyramid, brought to light monuments that -with the best will in the world no one could assign to any other epoch -than that of Mycerinus. It seems that the fame of piety which popular -story ascribed to him was not wholly unmerited, at least as far as -his own divinity is concerned, for with the elements of a voluminous -funerary equipment in all kinds of stones, the workmen brought out -of the ruins of the chapel, fragments of a multitude of statues in -alabaster, schist, limestone, and rare breccia. Among them were some -unfinished or scarcely shaped out, for the sovereign having died while -they were being fashioned, the works, according to Oriental custom, had -been immediately interrupted and the workshops abandoned in confusion. - -The statues which were already finished and set up in their places were -overturned at some unknown period, perhaps when Saladin dismantled -the pyramids to build the new ramparts and citadel of Cairo, and the -fragments were so ill-treated that an enormous number of them have -disappeared. Out of a hundred baskets of debris collected by the -Americans, they found at most, besides five or six intact heads, enough -to put together, almost completely, two alabaster statues. The best of -the heads is in the Cairo Museum, and it has sufficient resemblance to -our statuette for us to have no hesitation in recognizing Mycerinus, -even if the place whence it comes did not help us to guess it. The -statue that the find brought us is seated, but the block on which -it is sculptured is not perpendicular to its base, so that it leans -slightly backward. On the other hand, the two arms being cut between -the armpit and the hip, the accident makes it appear at first glance -as if the bust is too narrow for its height. But, and this is the -important point, the head is small, so small that the head-dress, in -spite of its size, is not sufficient to correct the bad effect of this -disproportion between its smallness and the amplitude of the shoulders. -The fault is not to be ascribed to the artist’s ignorance and lack of -skill, as is probably done. He was not, it must be admitted, a man of -talent, but he knew his business, and proved it by the general quality -of his work. The harmony between the trunk and the leg, the muscles -of the chest, the texture of the costume, the modelling of the knee -and calf, conform to the æsthetics of the time; the foot and ankle -are particularized with the virtuosity of a craftsman skilled in all -the subtleties of his calling. So, now, returning to the statuette -of Mît-Rahineh, the technique of which shows it to proceed not from -a different school but from a different studio, we shall find a -difficulty in imagining that two sculptors would each have fallen -into so great an error, if they had not seen it themselves in their -model. Since their statues are microcephalous, Mycerinus must have been -microcephalous almost to deformity. - -[Illustration: ALABASTER STATUE OF MYCERINUS. - -Cairo Museum.] - -The search among the beds of fragments of stone was continued. A few -weeks before it was finished, at the end of May, 1908, it produced -four groups in schist, the testimony of which fully confirmed that -of the alabaster statues. The disposition is the same, with very -slight divergences, which do not sensibly modify the aspect of the -pieces. Three persons stand side by side against a slab 17 to 23 -inches high. Mycerinus is in the middle, his left foot advanced, the -waist-cloth fluted on the loins, and on his forehead the white cap of -the kingdom of Upper Egypt. He always has a goddess on his right, a -Hathor moulded in the sleeveless smock open on the chest, and on her -hair the short wig and the _coufieh_. On the top of this head-dress -she wears her two cow’s horns and the solar disk. In one of the groups -she is walking, her arms hanging down and her hands laid flat on her -thighs; in the second, she embraces him with her left arm and presses -against him; in the third she holds his right hand in her left. The -last of the figures is sometimes a woman, sometimes a man: the man, who -is shorter by a third than his companions, walks forward swinging his -arms; the two women are at rest, and one of them puts her right arm -round the king’s waist, in symmetry with the Hathor on the left. They -are geographical entities, nomes, and the standards on their heads tell -us their names: the two women personify the nomes of Sistrum and the -Dog, the man that of Oxyrrhinchus. The fragments of schist under which -they were buried assuredly belong to other groups now destroyed, but -how many of them were there in the beginning? The decorative theme of -which they formed part is one of which the intention is grasped at the -first glance, but if we needed a commentary to explain it, the brief -legends at the base would provide the material. They inform us, in -fact, that our Hathor is the lady of the Canton of the Sycomore, and -that the nome of the Dog, that of the Sistrum, that of Oxyrrhinchus, -bring the sovereign all the good things of their territory. Mycerinus, -in his quality of king of the Saîd and of the delta, had a right to -tribute during his life, and to offerings after his death from the -whole country, and on the other hand, Hathor, lady of the Sycomore, is -the patron of dead Osirians in the Memphian province where the palaces -and tombs of the Pharaohs are. It was natural then that she should -serve as the introducer of the delegates of the nomes when they came to -pay their tribute to the common master. With rich private individuals, -the operation was symbolized on the walls of the funerary chapels by -long processions of men or women in bas-relief, each of whom incarnated -one of the domains charged with the upkeep of the tomb. Here it was -expressed in even a more concrete fashion by two series of groups in -rondo-bosso, which were probably developed on the walls in one of the -court-yards of the temple of the pyramid. The four which have escaped -destruction belonged to the series of the Saîd, as is proved by their -names and the head-dress of the sovereign, but those of the delta could -not have been omitted without causing regrettable privations to the -_double_ in his life beyond the tomb; there were then about forty in -all, as many as there were nomes in the whole of Egypt. - -[Illustration: MYCERINUS, HATHOR, AND THE NOME OXYRRHINCHUS - -Schist. Cairo Museum.] - -[Illustration: MYCERINUS, HATHOR, AND THE NOME CYNOPOLITE - -Schist. Cairo Museum.] - -The excellence of those that have survived fills us with regret for -those that are lost. At the instant they emerged from the earth, they -preserved something of their primitive colouring, but contact with the -air and light speedily deprived them of it, and only traces remain -on the chest, at the neck, wrists, waist, places protected by the -customary ornaments of people of high rank. The gold-leaf with which -the necklaces and bracelets were decorated was stolen in times of -antiquity, but the thicker layers of paint on which they were placed -preserve their contours fairly exactly. It would be easy for us to -restore to the whole the aspect it had when fresh and new--a light -yellow complexion for the women, and red-brown for the men, black hair, -blue or white head-dresses, white crowns, and garments relieved by -the tawny brilliance of the jewels. In pieces where everything is so -minutely calculated for reality, it is scarcely probable that anything -is the effect of chance or of lack of skill; if then the sovereign’s -head is too small it is because it was so in reality. In fact, the -lack of proportion with the rest of the body is less perceptible here -than in the isolated statues, and it is not perceptible at the first -glance: but it is soon recognized when the sovereign is compared with -his two companions. Not only are their heads larger and more massive -than his, but it would seem that the sculptor desired to accentuate the -inequality between them by a trick of his craft: he has perceptibly -narrowed their shoulders, and the contrast between the small head that -surmounts the vast shoulders of Mycerinus with the two large heads that -weight the narrow shoulders of the acolytes, emphasizes the deformity -that the placing together of three figures on the same level had almost -concealed. Study of the schists leads to the same conclusion as that -formed of the alabasters. It is the real Mycerinus that contemporaries -have bound themselves to transmit to posterity, and they have spared no -details which were naturally calculated to make us better acquainted -with him. We have only to analyse their works to see him stand before -us in his habit as he lived. He was tall, robust, slender, with long -legs, powerful shoulders surmounted by a small face, an athlete with -the head almost of a child. In addition, projecting eyes, big ears, a -short nose, the tip turned up, a sensual mouth with full lips, a chin -receding under the artificial beard; the expression of the face is -benevolent, even weak. In vain has the sculptor stiffened the backbone -and the neck, thrown out the chest, stretched the biceps, clenched -the fist, and immobilized the features into a hieratic gravity: he -has not succeeded in inculcating the sovereign majesty that makes -our Chephrên the ideal Pharaoh, the equal of the gods. He has the -sanctimonious appearance of a private individual of good family, but -his general bearing is below his condition. We could easily point to a -dozen statues, his neighbours in the Cairo Museum, that of Rânafir, for -instance, which have a more exalted appearance and a prouder mien. - -[Illustration: MYCERINUS AND HIS WIFE. - -Schist. Boston Museum.] - -And the new schist group that Reisner discovered during the winter -of 1909 has not made any change in our opinion necessary. This time -Mycerinus is represented with his wife; the lower portions of the two -figures had not received the final polish when death intervened, but -those of the upper part were finished and are admirable. Mycerinus -wears the head-dress of the ordinary _claft_, which squarely frames the -face, and his features are those with which we have become familiar -in the statues described above; eyes starting from his head, a fixed -expression, turned up nose, a large, loose mouth, the lower lip -protruding, the physiognomy of a man of the middle class straining to -appear dignified. The queen does not appear much more noble, but in -looking at her we are disposed to think that she had more intelligence -and vivacity. We should not say that she was exactly smiling, but -a smile has just passed over her face, and traces of it remain on -her lips and in her eyes. She has beautiful round cheeks, a little -turned-up nose, a full chin, full lips cleft from top to bottom by a -strongly marked furrow: a determined expression shows itself between -her narrow, heavy eyelids. She resembles her husband, a fact that is -not surprising, since unions between brothers and sisters were not -only tolerated but commanded by custom; there is thus every chance -that the couple were born of the same father and mother; she has only -a greater appearance of strength than he has. Custom exacted that, -when a husband and wife were associated in a group, they should not -be placed side by side on a level of absolute equality, but that the -woman should be given a posture or merely a gesture implying a state of -more or less affectionate dependence on the husband; she crouched at -his feet, her chest against his knees, or her arm was round his waist -or his neck, as if she had no trust except in his protection. Here the -queen’s gesture is in conformity with convention, but the manner of -its execution contradicts the intention of submission: she leans less -against the Pharaoh than she draws him close to her, and looks as if -she is protecting him at least as much as he is protecting her. She is -his equal in height, and even if she is more slender than he is, as is -proper to her sex, her shoulders are as robust. Does it mean that the -sculptor has attributed to her the massive shoulders of a man? Not at -all: but following the example of his colleagues in the triads, he has -cheated a little in order to dissimulate the defect of his model. As -doubtless he would not have liked to show a deformed Pharaoh, and as he -might not alter features which, after all, were those of a god, he has -made the deformity less visible by taking away from the shoulders what -was wanted in order to establish a sort of apparent equilibrium between -the parts, and so we are brought back by a fresh detour to the point -to which the examination of the alabasters and triads had led us. Let -us once more conclude that the effigies of the Memphian Pharaohs and -their subjects were real portraits of the personages they claimed to -reproduce. - -[Illustration: MYCERINUS, HATHOR, AND THE NOME OF THE SISTRUM. - -Schist. Cairo Museum.] - -[Illustration: MYCERINUS AND HIS WIFE (DETAIL). - -Schist. Boston Museum.] - -They were real, but not realistic unless there was special necessity. -I have repeatedly attempted to define the two chief schools of -Egyptian sculpture, the Theban and the Memphian. From the beginning -the Theban school tends to copy the model brutally, as it was at the -moment when it was portrayed. Take the statues of Sanouosrît I or of -Sanouosrît III, which lately came to the Cairo Museum. The family -likeness between all of them is indubitable, but, according as they -come from a Theban or Memphian studio, the features which constitute -the complete resemblance are noted in such divergent ways that at the -first glance we are inclined to think that it scarcely exists. The -Thebans scrupulously marked the thinness of the cheeks, the hardness -of the eye, the harshness of the mouth, the heaviness of the jaw, and -have exaggerated rather than diminished those points. The Memphians -do not neglect them, but have treated them in a more merciful manner, -and, from the haggard faces in which the rival school took pleasure, -have brought out the happy smiling expression that its own traditions -ascribed without exception to all the Pharaohs. We cannot institute -comparisons of that kind for the epoch of Mycerinus: the Theban school, -if, as is probable, it was then in existence, still sleeps buried -beneath the ruins, and we know nothing belonging to it to place by the -side of the Memphian. It is sufficient, however, to walk through the -rooms of the Cairo Museum reserved for it to be convinced that if the -Cheîkh-el-Beled, the Chephrên statues, the royal couple of Meîdoum, -the Rânafir statues are portraits and likenesses, they are at the -same time idealized portraits according to the formula, the influence -of which we have seen in the monuments of the XIIth Dynasty. Whatever -the models presented that was too pronounced, was softened in order to -give them the serene bearing fitting the imperishable bodies of such -noble and respectable persons. They only departed from this routine -when there were monstrosities, the entire suppression of which would -have been fraught with danger for the immortality of the subject, as -in the case of the two dwarfs in the Cairo Museum; but it is not quite -certain if even in those cases some modification of the ugliness has -not been contrived. What has happened to Mycerinus renders it probable: -have we not seen, in fact, that the artist exerted his ingenuity to -dissimulate the disturbing exiguity of the head by an artifice? And he -must often have taken similar liberties, although we have no actual -means of proving it. I will venture to assert it of Chephrên, although -almost the half of one of his two statues, that in green serpentine, is -a restoration by Vassalli. For if we compare their profiles, we notice -that that of the serpentine statue is weaker than that of the diorite -statue: the eye is smaller and the chin less authoritative, the tip -of the nose recedes a little, and there is a slight resemblance with -Mycerinus. The lofty dignity which I noted just now as appearing in -the father in contrast to the son may be the result of the Memphians’ -determination to idealize their subjects so as to make each of them an -almost abstract type of the class to which they belonged. - -As might be expected, the alabasters of Mycerinus are a long way from -equalling the schists. Indeed, whenever we find statues of a person in -different materials, it is seldom that those most difficult to work -in are not also the best. Petrie concluded that in all periods Egypt -had a school of sculpture in limestone and soft stones, and one in -granite and hard stones. But who would think of classifying modern -sculptors in different schools according as they used bronze or marble? -In Egypt, as in later times, the instruction given to learners prepared -them to practise the complete calling, whatever the special branch to -which they later confined themselves might be, but as the handling of -certain stones required a more extended practice, care was taken in the -workshops to entrust them to the most expert. That is evidently what -happened in the case of Mycerinus. His alabasters are certainly very -estimable; but those to whom we owe them were not skilled virtuosi, -and if they acquitted themselves of their task honourably, they only -produced ordinary work. Those who executed the schists were much more -skilled. I will not venture to assert that they entirely triumphed over -their material: the bodies of princes and gods sculptured in matter -so unyielding and of so gloomy a tone present a rigidity of contour -which we feel as keenly as we do the lack of colour which would enliven -them. They almost repel any one who sees them for the first time, but -the repulsion once overcome, they reveal themselves as perfect of -their kind. The artist has done what he wished with the ungrateful -material, and has handled it with the same suppleness as if he had been -kneading the most ductile clay. The women are especially remarkable -with their full round shoulders, their small breasts placed low, the -belly strong and well designed, the thighs full and graceful, the legs -vigorous, one of the most elegant types created by Memphian Egypt. It -does not equal the diorite Chephrên, nor the Cheîkh-el-Beled, nor the -Crouching Scribe, nor the lady of Meîdoum, but it is not so far removed -from them, and few pieces take so high a rank in the work of the old -Memphian school. - -[Illustration: MYCERINUS AND HIS WIFE (DETAIL). - -Schist. Boston Museum.] - - - - -III - -A SCRIBE’S HEAD - -OF THE IVTH OR VTH DYNASTY - -(_The Louvre_) - - -The inventories give no indication of the origin of this head. So -little was its source suspected that for a long time it was believed to -be of Peruvian work: M. de Longpérier with his usual tact restored it -to its rightful place in the Egyptian series.[12] At the first glance -the style is seen to be that of the ancient Memphian Empire: it has -evidently been detached from a statue found in one of the necropolises -of Saqqarah. The absence of the plinth and the parts which usually bear -the inscription prevents us from knowing the name of the individual it -represents, a scribe contemporary, or very nearly, with the celebrated -Crouching Scribe. A narrow and somewhat receding forehead, a long -prominent eye slightly drawn up towards the temples, snub-nose, thin -nostrils, accentuated cheekbones, thin cheeks, large mouth with full -lips, a firm rounded chin, do not make a flattering portrait but -certainly an exact one. The material is the excellent limestone of -Tourah painted bright red: the technique shows delicacy and skill rare -even at that period of admirable artists. - -Almost all the statues of mere private individuals come from temples -or tombs. The right of setting up a statue in the temples belonged -exclusively to the king; so the greater number of those we have offer -a special formula: “_Granted as a favour_ on the part of the king to a -son of so and so,”[13] sometimes too the favour is qualified as _great_ -or _very great_. It was then by some exceptional title, in reward of -services rendered, or by a caprice of royalty, that an Egyptian was -authorized to place his portrait in a temple, whether of his native -city or of some other town, to the god for whom he professed a special -devotion. The great feudal lords, who all more or less aspired to -possess royal rights, sometimes took the liberty of setting up a statue -of themselves without the preliminary permission of Pharaoh; but in -spite of these usurpations of the royal prerogative, the number is -relatively small. Civil wars, foreign invasions, the ruin of towns, the -destruction of idols by the Christians, contributed to make private -statues coming from temples rare in our museums.[14] - -[Illustration: SCRIBE’S HEAD. - -The Louvre.] - -But, on the other hand, those that come from cemeteries are very -numerous. Every tomb that was somewhat cared for in the ancient or -new empire contained several which represented the defunct alone, or -accompanied by the principal members of his family. They were not -always placed in the same spot: in the IVth Dynasty they were sometimes -placed in the outer court, in the open air, sometimes also in the -chapel, where on certain days the family celebrated the worship of the -ancestor. Most often they were imprisoned in a narrow chamber, with a -lofty ceiling, something like a corridor, and for that reason called -_Serdâb_ by the Arabs. Sometimes the _Serdâb_ is lost in the masonry -and does not communicate with any of the other chambers. Sometimes it -is connected with the funerary chapel by a sort of quadrangular pipe, -so small that a hand can scarcely be inserted.[15] The priests would -burn incense near the orifice, pour libations, present offerings, -murmur prayers, and everything was supposed to penetrate to the little -apartment. Some of these _Serdâb_ contained one or two statues at -most, others would contain twenty. Some are in wood or hard stone, -but the greater number are in painted limestone. Seated or standing, -crouching or in the attitude of walking, they all claim to be -portraits--portraits of the dead man, of his wife, of his children, of -his servants. If they were more often found in places where they would -have been visible, their presence would be explained by the pleasure -members of a family would feel in seeing the features of those they -had loved. But they are generally walled up for all eternity in hidden -corners where no one would ever penetrate: we must seek other reasons. - -The Egyptians formed a somewhat coarse idea of the human soul. They -regarded it as an exact reproduction of the body of each individual, -formed of a substance less dense than flesh and bones, but susceptible -to the sight, feeling, and touch. The _double_, or to call it by the -name they gave it, the _ka_, was subject, though in a lesser degree -than its terrestrial type, to all the infirmities of our life: it -drank, ate, clothed itself, anointed itself with perfumes, came and -went in its tomb, required furniture, a house, servants, an income. A -man must be assured beyond the tomb of the possession of all the wealth -he had enjoyed in the world, under penalty of being condemned to an -eternity of unspeakable misery. His family’s first obligation towards -him was to provide him with a durable body; they therefore mummified -his mortal remains to the best of their ability, and buried the mummy -at the bottom of a pit where it could only be reached with the greatest -difficulty. The body, however, in spite of the care taken in preparing -it, only very remotely recalled the form of the living person. It was, -besides, unique and easily destroyed: it could be broken, methodically -dismembered, and the pieces scattered or burnt. If it disappeared, what -would become of the _double_? For its support statues were provided, -representing the exact form of the individual. Effigies in wood, -limestone, hard stone, bronze, were more solid than the mummy, and -there was nothing to prevent the manufacture of any number of them -desired. One body was a single chance of durability for the _double_: -twenty gave it twenty chances. And that is the explanation of the -astonishing number of statues sometimes found in one tomb. The piety of -the relatives multiplied the images, and consequently the supports, the -imperishable bodies, of the _double_ would, by themselves alone, almost -assure him immortality.[16] - -Both in the temples and hypogeums, the statues of private persons -were intended to serve as a support to the soul. The consecration -they received animated them, so to speak, and made them substitutes -for the defunct: the offerings destined for the other world were -served to them. The tomb of a rich man possessed a veritable chapel -to which a special body of priests was attached, formed of _hon-ka_ -or _priests of the double_. At the sacramental festivals the _priests -of the double_ performed the necessary rites, they looked after the -upkeep of the edifice and administered its revenues. The statues of the -towns themselves demanded particular care. Indeed, the clergy of the -temple in which they were placed claimed their part in the advantages -derived from ancestor worship: veritable acts of donation were drawn -up in their favour, in which were specified the part they were to -play in the ceremonies, the quantity of the offerings that fell to -their share for the service rendered, the number of days in the year -consecrated to each statue. “Agreement between Prince Hapi-T’aufi and -the _hour-priests_ of the temple of Anubis, master of Siout, in regard -to one white loaf that each must give to the statue of the prince, -under the hand of the _ka-priest_, the 18th Thot, the day of the -festival of _Ouaga_,[17] and also the gifts which every tomb owes to -its lord; afterwards in regard to the ceremony of kindling the flame, -and the procession that they ought to make with the _ka-priest_ while -he celebrates the service in honour of the defunct, and that they march -to the north corner of the temple on the day of kindling the flame. For -that Hapi-T’aufi gives the _hour-priests_ a bushel of corn from each of -the fields belonging to the tomb, the firstfruits of the harvest of -the prince’s domain, as each commoner in Siout is accustomed to do from -the firstfruits of his harvest, for every peasant always makes a gift -from the firstfruits of his harvest to the temple.”[18] The ceremonial -is set out in detail, and the monument tells us how, and under what -conditions, a dead person is fed in Egypt. The loaves, meat and corn -were placed in front of the statue by the priests: thence they reached -the gods, who, after taking their part, transmitted the rest to the -_double_. - -We now understand why the statues that do not represent gods are always -and uniquely portraits as exact as the artists could render them. Each -was a stone body; not an ideal body in which only beauty of form or -expression was sought, but a real body in which care should be taken -neither to add nor take away anything. If the body of flesh had been -ugly, the body of stone must be ugly in the same way, otherwise the -_double_ would not find the support it needed. The statue from which -the head preserved in the Louvre was broken off was, undoubtedly, the -faithful portrait of the individual whose name was engraved on it: if -the realism of the expression is somewhat brutal, it is the fault of -the model, who had not taken care to be handsome, and not that of the -sculptor, who would have been guilty of a sort of impiety if he had -altered the physiognomy of his model in the least detail. - - - - -IV - -SKHEMKA, HIS WIFE AND SON - -A GROUP FOUND AT MEMPHIS - -(_The Louvre_) - - -Skhemka lived at Memphis at the end of the Vth Dynasty. He was attached -to the administration of the domains, and was buried in the necropolis -of Saqqarah. His tomb, discovered by Mariette during the excavations of -the Serapeum, furnished three pretty statues to the Louvre.[19] I knew -the group reproduced here at a time when the coating that covered it -had suffered very little; the galleries of Europe possess nothing to be -compared with it for finish of execution. - -I shall not say much of the principal personage: he possesses all the -qualities and all the defects to which we are accustomed in the work of -the sculptors of the Ancient Empire. The modelling of the torso, arms, -and legs is excellent, of the foot mediocre, of the hands execrable; -the head lives, alive and intelligent under the large wig, with its -rows of braids one above the other, which frames it. The two accessory -statues are charming in design and composition. On the left Ati, the -dead man’s wife, stands leaning against the back of the seat embracing -her husband’s leg. The face and limbs are painted yellow in accordance -with a convention almost always respected in Egypt.[20] A layer of -bright red denotes the tan that the sun lays on the men’s skin; the -light yellow reproduces the more delicate shade induced by the indoor -life of the women. The hair, parted over the forehead, falls in two -masses alongside the cheeks. The sleeveless dress is open in front, and -the opening extends in a point to between the two breasts: the stuff -exactly follows the lines of the body, and the skirt ends a little -above the ankle. The position of the breasts is indicated by a special -design; all the rest from the waist to the feet is embroidered with -ornaments in colour, imitating the network of glass beads to be seen -in the museums.[21] A necklace with two rows and bracelets complete -the costume. On the right, Knom, son of Skhemka and Ati, serves as a -pendant to his mother: he is naked except for a necklace round the -bottom of his neck and a little square amulet that falls on his chest. -The grace and charm of the figures cannot be too much admired. Although -of small dimensions, the artist has endowed them with the physiognomy -and features suited to their age with as much exactness as if he -had been dealing with a colossus. The firm flesh and rounded but -muscular limbs of the woman in her prime, and the chubby flesh and soft -limbs of the child, are treated equally happily. The mother’s face has -a smiling charm, the son’s a naïve and wondering grace: the Egyptian -chisel did not often work with so much intelligence and lightness. - -[Illustration: SKHEMKA WITH HIS WIFE AND SON. - -Limestone. The Louvre.] - -The gesture with which each of the two small people embraces the leg -of the big one is not an artifice of composition, a simple way of -attaching the subordinate elements of the group to the principal one. -It is often to be found in turning over the plates of Lepsius’s fine -work.[22] The inscriptions repeatedly state of the wife that “she loved -her husband,” and the artists reveal it in action. Seated or standing -by his side, she puts her hand on his shoulder or her arm round his -neck; crouching or kneeling, she leans against him, her breast pressed -against his leg, her cheek leaning against his knee. And it is not only -in the privacy of the home that she treats him with this affectionate -abandon, but in public, before the servants or the assembled vassals, -while he is inspecting his lands and reviewing his possessions.[23] - -In the same way it is rare to find a personage without his children, -“who love him,” at his feet or by his side, from the little, naked -long-haired boy, like Knom, to the grown-up sons and married daughters. -To sum up, the sculptor to whom we owe the Louvre monument has carved -in stone a scene of contemporary life. He shows us Skhemka, Ati, and -Knom grouped as they were every day: and what is conventional in his -work is not the grouping of the three people, but the disproportion in -stature between the husband and wife, and between the mother and son. - -But here, again, he is only conforming to a prevailing tradition of -his art. In all the tombs of every period, the master of the hypogeum -is generally of the height of the wall, while servants, friends, sons, -and wives are only of the height of one of the rows. The king, in -the warlike paintings of the temples, is of colossal size, while the -others, friends or enemies, beside him, look like a crowd of pigmies. -In that case we might imagine that the difference in size showed only -the difference of rank, but the explanation does not suffice elsewhere. -A slave married for her beauty preserved something of the inferiority -of her former condition; a princess of the blood royal, united in -marriage to a private individual, did not therefore renounce her royal -rank. If inequality of stature corresponded to inequality of rank, -the sculptor would have made the first smaller and the second bigger -than her husband. They did not, however, do that: slave or princess, -they gave the wife a stature sometimes equal but more often lower than -that of the husband.[24] Thus the treatment does not show social -distinction; the woman was legally on the same level as the man. If -the master of the tomb is alone in his height, it is merely because he -alone is at home in the tomb, and it was desired to show in him the one -master, the personage who must be protected against the dangers of the -other world: so he was designed of large size, as we underline a word -in a sentence in order to emphasize it. - -In fact, the sculptor, in modelling his work, thought of the -necessities of the life beyond the tomb. Skhemka’s wife living might be -superior to Skhemka by fortune or birth, and so take precedence of him; -before the dead Skhemka she was only a subordinate personage. Egyptian -theology supposed, it would seem, that the wife was as indispensable -to the man after as during life, and that is why she is represented by -his side on the walls of his tomb; but, as she is only an accessory -there, the sculptor and the painter are free to treat her as they -understand the matter. If the husband demanded it, they gave both the -same stature, seated them on the same seat, made no sort of difference -between them. But if he expressed no wish, they could either suppress -her altogether or relegate her to the background and give her the -dimensions of her son, as they did with Ati, in order that she may lean -against the seat on which her husband is enthroned. - - - - -V - -THE CROUCHING SCRIBE - -VTH DYNASTY - -(_The Louvre_) - - -He was found by Mariette in the tomb of Skhemka in 1851, during the -soundings which preceded the discovery of the Serapeum. He is now -in the Louvre, in the centre of the “Salle civile” of the Egyptian -Gallery, surrounded by show-case tables. His attitude, in conjunction -with the unfortunate place assigned him, makes him look like a fellah -dealer in antiquities seated in the midst of his goods, patiently -waiting for customers. The red paint, which was perfect when he was -brought to the Louvre, has worn off in places with the coating on -which it was applied, and so the whity colour of the limestone shows -through here and there; the cross light from the two windows falls on -him in such a way as almost to efface the modelling of the shoulders -and chest: ordinary visitors, for whom there is nothing to mark it, -scarcely look at it, and pass it by in complete indifference to the -fact that one of the masterpieces of Egyptian sculpture is before them. - -[Illustration: CROUCHING SCRIBE. - -The Louvre.] - -Does he represent the great lord in whose tomb he was found? Other -statues that entered the Louvre with his bear the name of Skhemka and -pass for the faithful portrait of that personage.[25] If, as their -careful composition leads us to believe, that claim is justified, the -Crouching Scribe was only one of the numerous relatives or servants -named in the inscriptions of the chapel. The people of the Ancient -Empire had the custom of shutting up in the _Serdâb_,[26] by the side -of the statue of the dead person, those of other individuals belonging -to his family or his household. They are mourners, both men and women -crouching down, one hand hanging or cast on the ground about to pick -up the dust in sign of mourning, the other held in front of the face -and plunged into the hair;[27] women who crush the grain on the stone; -servants who thrust their arm into an amphora, probably to coat it with -pitch before pouring in the beer or wine. Ours is a scribe: his legs -bent under him and placed flat on the ground in one of those positions -familiar to Orientals, but almost impossible for Europeans, the bust -upright and well-balanced on the hips, the head raised; reed in hand, -and the sheet of papyrus spread over his knees, he still waits, at -an interval of 6,000 years, for his master to resume the interrupted -dictation. The paintings in the contemporary tombs tell us a hundred -times rather than once what he is preparing to write. In order to -sustain himself in the other world, the great Egyptian lord received on -appointed days the offerings due to him from the domains attached to -his tomb: one was to bring bread, one meat, others wine, cakes, fruit. -It was quite a big piece of bookkeeping, identical with that usual in -his lifetime. The scribes of flesh and blood entered the real revenues -as they came in; the scribe of stone rendered the same service to the -master of stone whom he attended for ever. - -We cannot say that our scribe was handsome in his lifetime, but the -truth and vigour of his portrait compensates largely for what he lacks -in beauty. The face is almost square, and the strongly accentuated -features indicate a man in his prime; the large mouth with thin -lips is slightly raised at the corners and almost disappears in the -prominent muscles that frame it; the cheeks are rather hard and bony; -the ears are thick and heavy, and stand out awkwardly from the head; -and the low brow is crowned with coarse, short hair. The eye is well -opened, and owes its special vivacity to an artifice of the ancient -sculptor. The stone in which it is set has been cut away and the -hollow filled with black and white enamel; a bronze mounting marks -the edges of the eyelids, while a little silver nail[28] fastened -under the crystal at the bottom of the eyeball receives the light, -and reflecting it, simulates the pupil of a real eye. It is difficult -to imagine the striking effect that this combination may produce in -certain circumstances. When Mariette cleared out the tomb of Râhotpou -at Meîdoum, the first ray of light which entered the tomb, that had -been closed for 6,000 years, fell on the forehead of two statues -leaning against the wall of the _Serdâb_, and made the eyes sparkle -so brilliantly that the fellahs threw down their tools and fled in -terror. Recovered from their fear, they wanted to destroy the statues, -persuaded that they contained an evil genius, and were only prevented -from doing so at the point of the pistol. More than one statue of the -Ancient Empire, intact at the moment of its discovery, was mutilated -for the same reason that nearly proved fatal to those of Meîdoum. In -the bad light in which the Crouching Scribe is placed, the eyeball does -not shine with a sufficiently strong sparkle, but it really does seem -to have life in it and to follow the visitor with its look. - -The rest of the body is equally full of expression. The flesh hangs a -little, as is fitting with a man of a certain age whose occupations -prevent exercise. The arms and back are good in detail; the lean bony -hands have fingers of a greater length than is usual; the rendering -of the knee is minute and exact in a way rarely found elsewhere in -Egyptian art. The whole body is, so to speak, governed by the animation -of the physiognomy, and under the influence of the same feeling of -expectation that dominates it: the muscles of the arm, bust, and -shoulder are only partly at rest, ready at the first signal to resume -the task that has been begun. No work better refutes the reproach of -stiffness usually made in regard to Egyptian art. Let us add that it -is unique in Europe, and that we must go to Boulaq for pieces fine -enough to sustain comparison without disadvantage. But it is not enough -to possess a masterpiece, it is still more important to preserve it. -In its present position the Crouching Scribe runs more risks than -formerly in Egypt. The thousands of years spent buried beneath the sand -in a hypogeum on the tableland of Saqqarah thoroughly dried up the -limestone of which it is made. Transported to our damp climate, and -submitted to its sudden changes of temperature, it is only too much -exposed to deterioration. It should not have been installed without -protection and naked, so to say, in the centre of a room, between -two large doors always open, round about which there are perpetual -draughts. The curators at Turin have placed the fine limestone statue -of Amenôphis I possessed by the Museum in a tightly closed glass cage, -and to that protection is due the fact that the Pharaoh has preserved -its epidermis and colour intact; the expense is not so great that the -Louvre would be impoverished by authorizing a similar proceeding. The -demotic inscriptions of the Serapeum are carefully placed under glass, -and the precaution is praiseworthy, although it makes the study of them -impossible; it is then high time to take similar precautions with the -Scribe. The damp has already acted on it a little; the red coating has -been loosened and has fallen away in some places. If the mechanical -work of destruction is allowed to proceed it will soon be in the same -condition as the three statues of Sapouî and his wife, and the Louvre -will have lost one of the finest pieces of sculpture Egypt has given us. - -In comparing it with the statues of Skhemka that we have already -described,[29] we are led to ask why the statue of a subordinate -person should be so superior to that of his master. The Egyptians -knew nothing of what we term art and the artist’s profession: their -sculptors were persons who cut stone with more or less skill, but whose -work, always subordinated to the plan of a building, or to theological -considerations, did not possess the absolute value belonging to the -least important statue of classical antiquity or of modern times. -The effigy of an individual was placed in his tomb, not because it -was beautiful, but because it represented him and served as a support -to his _double_. The question of skill or artistic feeling was a -subordinate one, and we find twenty statues of the same person, some of -which are of finished workmanship and others coarse sketches: whether a -masterpiece or not, the stone body equally served its purpose. Skhemka -fell into the hands of a merely conscientious workman, his scribe into -those of a highly skilled craftsman. I imagine that they cared little -enough if the sculptor brought more or less talent to his task: so long -as the resemblance was there, they asked for nothing more. - - - - -VI - -THE NEW SCRIBE OF THE GIZEH MUSEUM[30] - - -The excavations undertaken by M. de Morgan in the northern part of the -necropolis of Saqqarah have recently brought to light a mastaba in fine -white stone, near the tomb of Sabou, a little to the east of Mariette’s -old house. No architectural façade or chapels accessible to the living -were found, only a narrow corridor that plunges into the masonry from -north to south with 5° deviation to the east. The walls had been -prepared and made smooth to receive the usual decoration, but when the -mason had completed his task, the sculptor, it would seem, had no time -to begin his. None of the sketches with the chisel or brush customarily -found in the unfinished tombs of all periods are to be seen. Two large -stelæ, or, if it is preferred, two niches in the form of doors, had -been prepared in the right-hand wall, and a statue stood in front of -each in the same spot where the Egyptian workmen had placed them on the -day of the funeral. The first represents a man seated squarely on a -stool, wearing the loin-cloth, and on his head a wig with rows of small -curls one above the other. - -[Illustration: THE NEW SCRIBE OF THE GIZEH MUSEUM. - -Painted limestone.] - -The bust and legs are bare; the fore-arms and hands rest on the knees, -the right hand closed with the thumb sticking out, the left flat with -the tips of the fingers reaching beyond the hem of the loin-cloth. So -far as may be judged from a photograph, the general style is somewhat -weak; but the detail of the knee, the structure of the leg and foot, -are carefully rendered, the chest and back stand out by the excellent -modelling, the head, weighted as it is by the coiffure, is attached -to the shoulder with an easy and not ungraceful vivacity. The face is -not in good relief, and has a sheepish expression, but the mouth is -smiling, and the eyes of quartz and crystal have an extraordinarily -gentle expression. Taken altogether it is a very good piece of Egyptian -portraiture, and would be a valuable addition to any museum.[31] - -The new scribe was crouching in front of the second stele.[32] He -measures in height almost the same as his colleague in the Louvre, and -sufficiently resembles him to permit both being described in almost -similar terms. The legs are bent under and are flat on the ground, -the bust upright and well balanced on the hips, the head raised, the -hand armed with the reed, and in its place on the open papyrus sheet; -they are both waiting at an interval of 6,000 years for the master -to resume the interrupted dictation.[33] The professional gesture -and attitude are reproduced with a truth that leaves nothing to be -desired: it is not only a scribe whom we have before us, it is the -scribe as the Egyptians knew him from the beginning of their history. -The skill with which the sculptors have brought out and co-ordinated -the general features belonging to each class of society is largely -responsible for the impression of monotony produced by their works on -modern spectators. That impression is lessened and nearly effaced, if -we look a little more closely and see how carefully the sculptors have -noted and reproduced the details of form and bearing that make up the -physiognomy proper to each of the individuals who live in the same -social surroundings or practise the same profession. Our two scribes do -not cross their legs in identical fashion; he of the Louvre puts the -right leg in front, he of Gizeh the left. There is no fixed choice, and -children at first tuck their legs under without thought of preference -for one or the other; soon they acquire a habit which makes them keep -to the position once adopted, and in the East to-day you find people -who put either the left or right leg in front, and just a few who put -either one or the other indifferently. The Louvre scribe flattens out -the hand that holds the reed, the man of Gizeh sinks down, and his back -is slightly bent. This shows the habit of the individual, and is not a -question of age, for a glance at the two statues shows that the Gizeh -scribe is younger than his colleague of the Louvre: he is not out of -the thirties, while the other is certainly over forty. - -Indeed, the age of the two men is an important point of which we must -not lose sight, if we desire to judge soberly the real value of the two -works. I have heard archæologists, when comparing them, regret that the -scribe of Gizeh does not show the same abundance of carefully studied -anatomical detail as the scribe of the Louvre; that therein lies the -real inferiority of the first, whether it was that the sculptor was -less conversant with the anatomy of the human body than with that -of the face, or that time had pressed, and he had contented himself -with giving his subject the conventional body that for the most part -sufficed in funerary statues. The care, as I have pointed out, with -which the small details of the attitude are expressed shows that the -reproach is undeserved, and that the artist has worked to give a -portrait complete from top to toe, and not only to reproduce a head on -a conventional body. The roundness of the form preserves the appearance -of the original, and shows, realistically, the age the subject was at -the time of his death, or at least at the period of life at which his -relatives desired to have a portrait of him. In the best facsimile -something of the delicacy of the monument itself must be lost, and in -spite of the great care taken in engraving it, its original aspect is -not entirely preserved. I think, however, that in looking closely at it -there can still be seen in many places the artistic, supple workmanship -by which the chisel expressed the delicacy and vigour of the model. -The most vigorous fellah of our day, when young and in good health, -has apparently slender muscles that do not stand out: like those of -the porters of Boulaq, one of whom without aid moved a stone statue -of nearly the same height as himself, and yet had hands and calves -like those of a woman, that looked of slight strength and incapable of -continuous effort. The knotty and twisted excrescences to be seen on -the arms, back, or chest of our athletes were rarely found in Egyptians -of ancient race, at least in youth. The ancient sculptor rightly noted -that physiological trait of his people. He had a young man before him: -so he evolved from the limestone a young Egyptian body in which the -play of the muscles is hidden beneath the skin, and is only betrayed -by a number of touches manipulated with knowledge and discretion. If, -like his colleague who sculptured the Louvre scribe, he had had to -portray a person of ripe age, he would not have exerted himself to -bring out the flabbiness of the flesh and the heaviness of its folds, -to execute all the pleasant work of the chisel which so well reproduces -the depredations of age in a rich sedentary man of fifty. In short, he -worked differently because he had a different subject. - -There is no sort of inscription on either statue to inform us -of the name and characteristics of its original, who must have -been a person of some importance: a large tomb invariably meant a -considerable fortune, or a high post in the administrative hierarchy -which compensated for mediocrity of fortune. It might also be that -Pharaoh, desiring to reward services rendered him by some one in his -_entourage_, granted him a statue, a stele, an entire tomb built by -the royal architects at the expense of the Treasury.[34] It is certain -that our anonymous scribe held high rank in his lifetime, but to what -Dynasty did he belong? He so closely resembles the scribe of the Louvre -that he was evidently his contemporary: he must then have lived at the -end of the Vth Dynasty, and we reach a similar result if we compare him -with the other statues preserved at Gizeh. It is of the style of the -statues of Ti and of Rânofir, especially of the last two. One of them, -which formerly was No. 975 in the Boulaq Museum, is full of dignified -feeling.[35] Rânofir is standing, his two arms pressed against his -body, one leg in advance, in the attitude of a prince who is looking at -his vassals march past him. Whoever has seen him cannot fail to observe -how much he resembles our new scribe. Firstly, the head-dress is the -same; they both have the head framed, so to speak, in a bell-mouthed -wig. The hairs or fibres of which it is made were gummed, as is the -case to-day with the hair of certain African tribes. The hair is -carefully smoothed on the forehead and the top of the head, and being -parted on the cranium, hangs down and forms a kind of dark case round -the face which accentuates the ruddy tint of the flesh. The modelling -of the torso, the muscling of the arms, are treated in the same way -in both statues, and the dignified expression which characterizes the -physiognomy of Rânofir relieves the somewhat commonplace features of -the new scribe. Those are all facts that are not to be noted in other -portraits of our personages. The seated statue that I first described -possesses the general aspect of the individual, and undoubtedly -represents him; but the technique and feeling differ, since it is -necessarily that of a different sculptor. It is the same with Rânofir. -The statue of him numbered 1049 in the Boulaq Museum lacks the high -dignity we admire in No. 975. It is so heavy, so expressionless, -that it almost seems to be another Egyptian. The difference in the -workmanship proves that two artists were commissioned to execute -statues of the same man. The identity of workmanship, on the other -hand, compels us to recognize the same hand in the statue No. 975 of -Rânofir and in that of our new scribe: the two works proceeded almost -at the same time from one studio. - -[Illustration: STATUE OF RÂNOFIR. - -Cairo Museum.] - -It would be interesting to find out if, among the statues in the -museums, there are others that may be related to these and have a -common origin. I do not so far know any, but I ought to add to what -I have said the indication of a special sign by which they can be -distinguished. The Egyptians were accustomed to paint their statues -and bas-reliefs, and the colours in which they clothed them were more -varied, and more subject to change, than is generally recognized. We -are used to see only a red-brown tone for the flesh, and they certainly -employed it very often; they did not, however, employ that tone only, -and men’s faces are occasionally coloured in a very different way. The -colouring of statue No. 975 and of the new scribe differs from the -usual manner. That of statue No. 975 has grown paler since Rânofir -left his tomb and became exposed to the light, but that of the Gizeh -scribe is still fresh, and resembles as faithfully as possible the -yellow complexion bordering on red of the modern fellah. The greater -number of archæologists who occupy themselves with Egyptian art neglect -facts of this kind. During my stay in Egypt I have endeavoured to bring -them out, and it is in co-ordinating them systematically that I have -been able to verify the existence, either at Memphis itself or in the -ancient village of Saqqarah, of two principal studios of sculptors and -painters to which customers of the later periods of the Vth Dynasty -entrusted the task of decorating the tombs and carving the funerary -statues. - -Each had its special style, its traditions, its models, from which it -did not willingly depart. Commissions were divided between them in -unequal proportions, according to whether it was a question of isolated -statues or of bas-reliefs. I do not remember observing sensible -differences of style in the pictures that cover the walls of the same -mastaba: for that kind of work application was made to one or the other -studio, and it alone undertook the commission. For the statues, on the -contrary, recourse was had to both at the same time: the task, thus -divided, was more quickly accomplished, and there was more chance that -it would be finished by the day of the funeral. I do not mean to state -that there were then only the two studios of which I speak: I think -I have found traces of several others, but they perhaps enjoyed less -vogue, or the chances of excavation have not so far been favourable to -them. - -To sum up, we may say, without the risk of being taxed with -exaggeration, that the art of the Ancient Empire counts another -masterpiece. It was a gift of happy chance to M. de Morgan in his first -serious excavations as earnest of good fortune: it is of good augury -for the future, and, as he is not a man to let a chance slip once he -holds it, and since he has the material means and the money required -for methodical exploration, we may hope for further finds without long -delay. - - - - -VII - -THE KNEELING SCRIBE - -VTH DYNASTY - -(_Boulaq Museum_) - - -If he had not been dead for 6,000 years, I should swear that I met -him six months ago in a little town of Upper Egypt. It was the same -commonplace round face, the same flattened nose, the same full mouth, -slightly contracted on the left by a foolish smile, the same banal -expressionless physiognomy: the costume alone was different and -prevented the illusion from being complete. The loin-cloth is no longer -in fashion, and neither is the large wig; except the fellahs when at -work, no one now goes about with bare legs and torso. Some follow -fairly closely the custom of Cairo, and wear the too small tarbouche, -the stiff stambouline, the European starched shirt, but without a -cravat, black or crude blue trousers, shoes with cloth gaiters. Others -keep to the turban, long gown, wide trousers, and red or yellow -morocco leather babouches. But if his clothes have changed since the -Vth Dynasty, his deportment has remained perceivably identical. The -modern secretary, after delivering his papers to his master, crosses -his hands over his chest or his stomach in the fashion of the ancient -scribe; he no longer kneels while waiting, but assumes the humblest -attitude imaginable, and if his costume did not hide it, we should -recognize the suppleness that characterizes the Boulaq statue in the -movement of his shoulders and spine. His chief finishes reading the -papers, affixes his seal to this one or that, writes a few lines across -another, and throws the sheets on the ground: the secretary picks them -up, and returns to his office without offence at the cavalier manner -in which his work is given back to him. Indeed, is it to be expected -that a moudir, a man receiving a large salary, would take the trouble -to stretch out his arm to meet the hand of a mere ill-paid employee? -In fact, he treats his subordinates as his superiors treat him; his -subordinates, in their turn, act in a similar way towards theirs, and -so things go on right down the ladder, and no one dreams of objecting. - -[Illustration: KNEELING SCRIBE. - -Cairo Museum.] - -Our scribe was one of those to whom the papers were thrown more often -than to others. He occupied a somewhat low place in the hierarchy, and -no bond attached him to the great families of his period. If he is -kneeling, it is that the sculptor has represented him in one of his -ordinary attitudes during the hours of work; he has also drawn his -portrait with the fidelity and jovial good humour adopted by artists -in portraying scenes of everyday life. The man has just brought a -roll of papyrus or a tray laden with papers; kneeling in the approved -manner, the bust well-balanced on the hips, the hands crossed, the back -bowed, the head slightly bent, he waits until his master has finished -reading. Does he think? Scribes felt some secret apprehension when -appearing before their masters. The rod played a large part in the -discipline of the offices. An error in the addition of an account, a -word omitted in copying a letter, an instruction misunderstood, an -order awkwardly executed, and the blows fell. Few employees escaped -flogging. If they did not deserve it, it would be inflicted on -principle: “That young fellow requires a beating. He obeys when he is -flogged!”[36] The sculptor has admirably transferred to the stone the -expression of resigned uncertainty and sheepish gentleness with which -the routine of an entire life spent in service had endowed the model. -The mouth is smiling, for such is the demand of etiquette, but there -is no joy in the smile. The nose and cheeks grimace in unison with the -mouth. The two big enamel eyes, surrounded with bronze, have the fixed -expression of a man who is vaguely waiting, without looking attentively -at anything or concentrating his thought on a definite object. The -face lacks intelligence and vivacity. After all, the profession did -not exact great alertness of mind. The formulas of administration were -simple and of little variety, the arithmetic was not complicated; it -was possible to get on easily with memory and industry, and so, without -much trouble, to earn sufficient to purchase a good funerary statue. - -Our statue was found at Saqqarah[37] in a tomb of somewhat mediocre -appearance. Neither the name nor filiation of the man informs us under -what king or Dynasty he vegetated; but in comparing him with the statue -of Rânofir[38] we are able to assign him his place in the series. -First, both our scribe and Rânofir wear a wig of a form somewhat rare -at that period; the hair, parted from the centre of the brow, is drawn -back in a mass behind the ears and hangs down straight round the neck. -Our scribe, instead of the red complexion usually attributed to men’s -faces, is painted light yellow, very like those of women. Rânofir shows -the same peculiarity, an unusual one under the Ancient Empire. I do -not think it could have been mere caprice on the part of the artist. A -scribe, forced to live always in his office as women do in their homes, -would have a less sunburnt skin than his colleagues who worked in the -open air: the yellow colour of the limestone would thus be a sort of -professional sign, and would correspond with a lighter complexion in -the original. The titles of Rânofir prove that he lived under the last -reigns of the Vth Dynasty,[39] and in placing the kneeling scribe -at the same period, we are sure of not being much in error. I have -preferred to base my opinions on purely archæological grounds, but I -think an examination of the style of the two statues would carry the -connection still farther: the way in which the neck is attached to the -shoulders, and particularly the way in which the hands are treated, -is almost identical in the two cases. I do not know if I am mistaken, -but I have almost persuaded myself that the statue of Rânofir and that -of the kneeling scribe come from the same studio, and are perhaps the -fruit of the same chisel. I do not despair of finding other monuments -of a similar origin, and of reconstituting in part the work of one of -the masters of which the tombs of Memphis have preserved the various -productions, but without preserving their names. - -The execution is very careful: unfortunately the limestone in which the -scribe is cut was too soft, and it is worn away in places. The knees -have suffered most, and it is a great pity, for we can see by what -is left of them how careful the artist has been with the modelling. -The arms are not divided from the bust, the hands are heavy, the feet -long, but the play of the muscles of the chest and neck is well noted. -In short, it is an estimable work of a conscientious sculptor who -thoroughly understood his vocation. - - - - -VIII - -PEHOURNOWRI - -STATUETTE IN PAINTED LIMESTONE FOUND AT MEMPHIS - -(_The Louvre_) - - -Mariette found the statuette by chance when searching the Serapeum. -It had formerly been taken from the pit in which it was shut up and -thrown amid the rubbish of the great sphinx avenue that leads to the -tomb of Apis. The individual was named Pehournowri; he was cousin -royal, and fulfilled functions that I do not know how to define. -Nothing in the inscription helps us to conjecture with what king he -claimed relationship, but its style proves that he lived under the Vth -Dynasty. That he was of mature age is indicated by the plenitude of -form, by the fine proportions and the benevolent and benign aspect. -A short wig, a necklace, a loin-cloth scarcely reaching the knees, -completes his costume. His statue is not one in front of which we -naturally pause when walking through a museum. I do not think that -during the thirty years it has been in the Louvre it has attracted the -attention of any one except experts in Egyptology. Not that it lacks -merit: the modelling is exact, the execution skillful and delicate, the -expression frank and successful, but the pose differs very slightly -from that which hundreds of other artists have given to hundreds of -other statues. The careless visitor who passes from one seated man to -a second, and then to many others, does not think of looking for the -details of execution that distinguish them. He thinks that when he has -seen one or two he has seen all, and departs with the idea that the -chief attribute of Egyptian art is monotony. - -Egyptian sculptors did not greatly vary the pose of their sitters. -Sometimes they represented them standing and walking, one leg in -advance of the other, sometimes standing, but motionless, with the feet -together, sometimes sitting on a seat or a stone pedestal, sometimes -kneeling, more often crouching, the chin against the knees like the -fellahs of to-day, or the legs flat on the ground like the scribe of -the Louvre.[40] The details of arrangement and costume may be modified -_ad infinitum_, but the attitude is nearly always regulated by the -six types I have enumerated. Some modern critics attribute this fact -to the inexperience of the sculptors, others to the inflexibility of -certain hieratical rules. But having seen not only the few incomplete -pieces to be found in Europe, but also the monuments still existing in -Egypt, I cannot admit those reasons. Everywhere in the bas-reliefs of -the temples and tombs a multiplicity of gestures or attitudes are to -be seen which show to what point the artists could, when they pleased, -diversify the human figure: the peasant bends over the hoe, the joiner -leans over his bench, the scribe stoops over his paper, the dancers, -girls and men, twist and balance their bodies, the soldiers brandish -their lances or march in time, as naturally as possible. And the -sculptors even reproduced positions in their statues very different -from those we are accustomed to see at the Louvre: the kneeling woman -who is grinding her corn, the baker who is kneading the dough, the -slave who coats the amphora with pitch before pouring in the wine, the -crouching mourner of Boulaq,[41] are all composed and modelled with -a lightness of action and a perfection of expression that leaves no -doubt as to the skill of the artist. It is true that hieratical rules -existed, and no one will dispute that fact, but they were reserved for -matters of religion and for those alone. They exacted, for instance, -that Amon must always, in every case, have the attributes, costume, and -attitude proper to the god, but they in no wise ordered that all men -were to be confined to one of the five attitudes I have just described. -The freedom of composition to which the large historical pictures of -the temples or the domestic scenes of the tombs testify, does not agree -with what we are told concerning the inflexibility of the hieratical -rules. - -[Illustration: PEHOURNOWRI. - -The Louvre.] - -I shall not now touch on the statues of kings or divinities: I shall -have an opportunity later of treating them at leisure. Those of private -individuals represent for the most part persons of rank, great nobles, -people of the court, officers, magistrates, priests, employees of -birth or fortune; they come from nearly all the cemeteries, and are -portraits of the man for whom the tomb was hollowed out or of people -of his house. The master stands in an attitude of command, or sits -like Pehournowri, and he could only have one or the other of those -attitudes. The tomb is, in fact, his private house, where he rests -from the fatigues of life, as he used to do in his terrestrial home. -A soldier when at home does not carry his arms, a magistrate does not -wear his robe: soldier or magistrate, the insignia of the profession -are laid aside when he returns home. Thus the master of the tomb -always wears his civil costume, and leaves the marks of his profession -at the door. - -Then, also, the accessible part of his dwelling has a special -destination which regulates the pose of the statues: it is, in fact, -his reception-room, where on certain days the family assembled to -present the offerings to him, in more prosaic words, to dine with -him. Whether his statue was visible in one of the open chambers or -invisible in the _Serdâb_,[42] it was his substitute. It is sufficient -to look at the neighbouring bas-reliefs to discover what were the -official attitudes of the dead man in the tomb. He was present at -the preliminaries of the sacrifice, the sowing and the harvest, the -rearing of the cattle, fishing, hunting, the execution of crafts, and -he saw all the works carried out for the _eternal dwelling_: he was -then standing, one foot in advance, head erect, hands hanging down, or -armed with the staff of command. Elsewhere, one after the other, the -different courses of the meal are served him, cakes, wines, canonical -meats, fruits which he needs in the world of the dead: then he is -seated in an armchair alone or with his wife. The sculptor employed for -his statues the two positions he has in the paintings: standing, he -receives the homage of his vassals; seated, he takes part in the meal. -And in the same way the statues which embody the members of the family -and of the household have likewise the attitude suited to their rank -and occupation. The wife is sometimes standing, sometimes sitting on -the same seat as her husband, or on a separate one; sometimes, as in -life, crouching at his feet. The son wears the costume of childhood, if -the statue was carved while he was still a child, or the costume and -attitude of his office if he was an adult. The acting scribe crouches, -the roll spread on his knees, as if he was writing from dictation or -reading from an account-book.[43] The slave grinds the corn, the bakers -knead the dough, the cellarers pitch their amphoras, the mourners -lament and tear their hair as it was their duty to do in the world -above; each individual is occupied according to his condition. The -social hierarchy followed the Egyptian after death, and it regulated -the pose of the statue after, as it had regulated that of the model -before, death. Up to a certain point it is the same to-day, and he who -carves the statue of a printer is careful not to attribute to him the -action and costume of a miner or a sailor. These statues, shut up in -the tomb, formed a sort of tableau in which each person held for ever -the pose characteristic of his rank or his profession. The artist was -free to vary the detail and regulate the accessories according to his -fancy, but he could not change the general disposition without injuring -the utility of his work. - -At bottom, it is with the statues of Ancient Egypt as with the pictures -of saints of the Italian schools. The painters had to treat their -subject on lines from which they could not depart without falsifying -or disfiguring it. Bring sixty or eighty St. Sebastians together -in a room: how many of those who saw them would escape the boredom -that infallibly results from constant repetition? When the tenth St. -Sebastian was reached only a few professional artists would not have -already gone away. I am supposing, too, that only choice pictures -had been collected in which the qualities of a master are easily -recognized. If, on the contrary, there had been collected at random -all the available St. Sebastians without first eliminating the bad -pictures, the finest St. Sebastians in the world, lost in the crowd, -would be likely to attract no more attention from the public than the -Crouching Scribe or the other masterpieces of Egyptian sculpture in -the Louvre. The hypothesis appears absurd, because no one will easily -admit that any one could have the idea of making such a collection. I -agree so far as modern or ancient works, the value of which is known, -are concerned; but Egyptian Museums have so far always been classified -as depôts of archæological objects, not as art galleries. Each statue -is a scribe, a god, a king; it is the scribe Hor of the XIXth Dynasty, -or the scribe Skhemka of the Vth, or the king Sovkhotpou, wearing -the head-dress of the pschent, and that is all. The trumpery scribes -and the scribes that emanate from the hands of a master are confused -under the same rubric, and no mark is placed to distinguish the good -from the bad. Pehournowri is a scribe, Ramke a second scribe, Rahotpou -a third scribe, just as the St. Sebastian of such or such a great -Italian master and the St. Sebastians of the Epinal pictures are two -St. Sebastians: the public which is not warned, and which has no more -interest in one scribe than in another, passes on without looking. - -The impression of monotony is produced by the perpetual repetition -of the same types and by the method of classification adopted in the -museums. If it was decided to do for Egypt what has been done for -Greece and Rome, to separate the productions of art and the objects of -archæology, people’s opinion would be promptly modified. The impression -of monotony would not wholly disappear, because the number of types -studied by the Egyptian sculptors was not sufficiently numerous: it -would be lessened and would no longer blind the crowd to the real -beauty and perfection that reside in Egyptian sculpture. - - - - -IX - -THE DWARF KHNOUMHOTPOU - -(VTH OR VITH DYNASTY) - -(_Boulaq Museum_) - - -The charming person who left us this statue is known, since the -Exhibition of 1878, by the name of the Superintendent of the Cooks; -his title in the inscription on the pedestal indicates a keeper of the -wardrobe. In his lifetime he doubtless enjoyed some notoriety, since he -had one of the fine tombs of Saqqarah for himself alone, but we know -nothing of his history. His name was Khnoumhotpou, a name later made -illustrious by a prince of Minieh under the XIIth Dynasty: his place of -burial proves that he was born at the end of the Vth or beginning of -the VIth Dynasty. - -He was a dwarf, and a very small dwarf. The statue is scarcely a foot -in height, and the dimensions of the head show that it was probably -half the natural size. It reproduces the characteristics proper to -dwarfs without exaggerating them. The head, of a suitable size, is -long-shaped and flanked by two large ears. The expression of the -face is heavy and stupid, the eyes narrow and raised at the temples, -and the mouth wide and ill-formed. The chest is strong and well -developed, but the artist has employed his ingenuity in vain in order -to dissimulate the hind-quarters by covering them with a vast white -petticoat; notwithstanding, we feel that the torso is not in proportion -to the arms and legs. The stomach forms a round projection, and the -hips recede in order to counterbalance the stomach. The thighs only -exist in a rudimentary state, and the whole individual, mounted as he -is on little deformed feet, seems about to fall face downwards on the -ground. The flesh was painted red, the hair black, but the colour has -peeled off or been effaced in places. The two legs were broken formerly -at the ankle, then stuck on again when the statue was transported to -the Museum. It is very possible that the accident happened during the -execution of the statue, for the limestone used by the Egyptians is so -fragile that the sculptor did not venture to detach the arms from the -body: too hard a blow of the mallet while freeing the legs may have -caused the unfortunate fracture that spoils the bottom of the monument. - -Khnoumhotpou is, so far, the only dwarf that has come to light who is a -nobleman. Similar dwarfs were not lacking in Egypt, but they nearly all -belonged to the class of jugglers and buffoons. The Pharaohs and the -princes of their court bestowed the same affection on these deformed -creatures as did Christian or Mussulman kings in mediæval times; their -household would not have been complete without two or three of them -of an aspect more or less grotesque. Ti possessed one that figures by -her in her tomb: the poor wretch holds in his right hand a kind of -large wooden sceptre terminated by a model of a human hand, and leads -a greyhound almost as tall as himself in a leash. Elsewhere dwarfs -are represented crouching on a stool at the feet of their masters, by -the side of the favourite monkey or dog. We know from the pictures -of Beni-Hassan that two of them belonged to the prince of Minieh’s -suite; one, despite his small size, does not lack elegance, but the -other enjoys with the exiguity of his stature the pleasure of being -club-footed. The Egyptian heaven did not escape the prevailing mania -any more than the court of the Pharaohs, and it included several -dwarfs, of whom two at least had an important rôle: Bîsa, who presided -over arms and the toilet, and the Phtah, who for a long while has, -without reason, been called embryonic Phtah.[44] Perhaps Knoumhotpou -joined to his functions of keeper of the wardrobe the office of court -buffoon; perhaps he was of noble birth, and preserved by his origin -from the disagreeables to which his brethren of low extraction were -exposed. - -[Illustration: THE DWARF KHNOUMHOTPOU. - -Cairo Museum.] - -But we have no need to know what he was: merely in leaving us his -portrait, he has rendered signal service to science. Let us recall the -part played by the statues of the tombs in the theological conceptions -of the Egyptians: they were the indispensable support of the _double_, -the body without which the soul of the dead person could not exist -in the other world. It might be thought that in passing from life in -this world to that beyond the tomb, the people to whom beauty had been -chary might not have been sorry to assume a new appearance; if we are -to be re-born, it is better to be re-born less ugly. The care that -poor Khnoumhotpou has taken to reach us deformed shows that the old -Egyptians did not hold our views on the subject: they desired to remain -always as nature created them at the moment of conception. It was not -absence of coquetry on their part, but necessity: their idea of the -soul compelled them so to act. From the moment that their personality -was indissolubly bound up with the existence of the body, the first -condition imposed on them for remaining identical with themselves after -death, as before, was to preserve their earthly form intact. In order -that the Khnoumhotpou who dwelt in the hypogeum of Saqqarah might not -be a different being from the Khnoumhotpou who walked through the -streets of Memphis, it was necessary that his disincarnated _double_ -should find there the support of a statue of a dwarf. Give him the fine -proportions of Ti or Rânofir, the proud bearing and haughty mien of the -Cheîkh-el-Beled, even the more common type of the Crouching Scribe, -he would not have known what to do. His substance, poured, so to -speak, into the exiguous and deformed mould of the dwarf, could never -have adapted itself to the new mould into which the artist would have -tried to cast it. Khnoumhotpou beautified would no longer have been -Khnoumhotpou; his tomb, without the statue of a dwarf, would only have -sheltered a double and a support strangers to each other. - -It was then the likeness, and the absolute likeness, that the artist -had to seek to reproduce, and the seriousness and scrupulousness with -which he rendered the deformity of his model is thus explained. The -Egyptians were scoffers by nature, and liked to mingle the comic with -the serious, not only in literature but in the arts. To take only -one example: the painter who, at Thebes, pictured the interment of -Nofrihotpou, has drawn, by the side of the large boats laden with -mourners and all the apparatus of grief, the contortions of two -sailors whose shallop was brutally struck by the oars of the funerary -barque. If the sculptor who chiselled Khnoumhotpou had been free to -follow his natural inclination, he would probably have exaggerated -certain features and given the unfortunate creature a slightly absurd -physiognomy. His religious conscience would not permit him to risk -anything of the kind: a statue uglier than nature would have been as -inconvenient to the soul of the original as a statue more beautiful -than nature. A body of stone identical at all points with the body -of flesh was what the Egyptian demanded, and that is exactly what -the sculptor fashioned for the little Khnoumhotpou. We see here that -what we call the question of art is subsidiary: a stone-cutter who -understood his business sufficed for all that was required. - -It must not, however, be concluded from what precedes that I regard -the portrait of Khnoumhotpou as the work of a mere artisan. It has -been too often repeated that statuary in Egypt was a mechanical craft; -sculptors were taught to fashion arms, legs, heads, and torsos, and -to join them, according to the formula, in imitation of two or three -models always the same. That opinion, repeated by the Greeks, is fairly -difficult to uphold in the presence of the statue of Knoumhotpou; it -might be possible to set up patterns for bodies of ordinary formation, -but all varieties of deformed bodies could not possibly be foreseen. -The unknown master whose work we have at Boulaq proceeded in exactly -the same manner as a modern sculptor, the necessities of whose work -confronted him with a deformed model: he produced a work of art, not -the task of a mechanic. - - - - -X - -THE FAVISSA OF KARNAK AND THE THEBAN SCHOOL OF SCULPTURE[45] - - -I - -A large pool among the ruins, and at the southern end two batteries -of _chadoufs_, one on top of the other, working to exhaust the water -continually renewed by the infiltrations. On the banks are blocks and -muddy statues, round which half-naked workmen are busily occupied, -beams, levers, coils of rope, and the beginnings of a Decauville line; -remains of storied walls dominate the workshops, and the modern village -of Karnak stands out clearly on the horizon beyond their irregular tops. - -When the first Ptolemies decided at the beginning of the third century -B.C. to restore the Theban temple of Amon, they found it encumbered -with _ex-votos_. Everywhere, in the halls, the corridors, the -court-yards, there were stelæ, stone statues, little wooden or bronze -figures, sacred or royal insignia, heaped up one on the other, and in -such quantities that there was no space for new ones. It was a legacy -of extinct Dynasties or of noble families who had died out, to whom the -Pharaohs had granted the privilege of consecrating their image in the -house of the god, and to sell or destroy any of them would have been -to commit sacrilege.[46] They were dealt with according to the custom -of the contemporary peoples: a vast pit was dug between the seventh -pylon and the hypostyle hall, and then they were buried pell-mell in -holy ground. Twenty centuries later, in 1883, hastily made soundings -revealed the richness of the site to me, but, lacking money, I could -not venture to undertake anything. It was not until 1901, when the -regular progress of clearing away brought the workmen to the spot, that -I advised M. Legrain to dig more deeply than usual, so that nothing -which was hidden beneath the earth might escape observation. The -excavations yielded just what I had foreseen, royal colossi in granite, -limestone, sandstone which were restored to their ancient places along -the pylon; a little below came fragments of a fine limestone building -of Amenôthes I that Thoutmôsis III had used for banking up when he -enlarged the temple; and at the very bottom, at a depth of over six, -twelve, fourteen yards, what none of us had thought of, an intact -_favissa_ in which hundreds of statues and small objects awaited in the -mud the hour of their deliverance. - -For four years M. Legrain has been exploring the spot foot by foot, -and I think he has succeeded in entirely emptying it. We must now draw -up the inventory of the treasures it has bestowed on us. The greatest -benefit conferred by them is assuredly on political history. All epochs -are not represented in equal abundance--the first Theban Empire is, so -to speak, merely mentioned, and the two great Dynasties of the second -are represented only by about a hundred pieces--but from the fall of -the Ramessides to the Persian conquest the series of the high priests -of Amon reappears almost complete, with their wives, sons, brothers, -the children or latest descendants of their brothers, and from the day -when the male line failed, the princesses who inherited its rights, -with the noble persons who wielded the power in their name. However, -the large find all at once of statues and inscriptions serves not only -to give information about the revolution that transformed the military -kingdom of Thebes into a theocracy, but also furnishes documents for -the study of the progress of art during the twenty centuries and more -that the revolution took. The artistic merit of the objects is very -unequal, and many of them are only interesting to the archæologist; -some, however, stand out distinguished above the mass, and take their -rank worthily beside the best known productions of Egyptian art. As -they come from the same temple, and have been erected by different -members of the same families, it is natural to see in them the work of -one school, established at Thebes in far-off antiquity. Indeed, a unity -of character common to all is easily discerned, which, perpetuating -itself without notable change from generation to generation, fixes -undeniable affinities of conception and technique. - -[Illustration: THE WORKS AT KARNAK IN JANUARY, 1906.] - - -II - -Setting aside a few stelæ in which the arrangement is bad and the -composition coarse,[47] the most ancient monuments we possess of that -school are those discovered by Carter and Naville between 1900 and -1906 in the tomb of Montouhotpou V at Deîr-el-Baharî. The bas-reliefs -of the chapel belonging to the pyramid are as correct in design and -as firm in touch as the fine Memphian bas-reliefs of the Vth or VIth -Dynasty; but the relief is more accentuated, the outline bolder and -freer, the man more thick-set, and more firmly placed on the ground, -the woman of a more slender figure, with larger hips and a more ample -bosom. The statue of the king which is in the Cairo Museum[48] was -cut in the sandstone with a bold, firm chisel. The feet and knees -are thick, the hands massive, the bust indicated in summary fashion, -the face boldly modelled. The colour is harsh, the flesh black, the -costume white, the cap red, according to the ritual of the ceremonies -for which it was destined; the whole has an aspect of barbarism, but -a premeditated barbarism, having regard to the religious effect to be -produced. If a Memphian sculptor had treated a similar subject, he -would not have failed to harmonize the lines and soften the colour: -unconsciously he would have fused its type with the softer type -of human physiognomy that prevailed in his school, at the risk of -enfeebling its energy. The Theban sculptor, on the contrary, exerted -himself above all to reproduce the truth as it revealed itself to him, -and that preoccupation is dominant to the end with all of his school. -They sought the likeness with the intention of exaggerating rather than -of softening the individual features of the subject, and in order to -attain it, did not shrink from roughness of execution nor violence of -colour: they often fell into barbarism, but scarcely ever into banality. - -When, under the XIIth Dynasty, Thebes became one of the capitals of -Egypt, its kings sometimes employed local artists, sometimes called -in sculptors imbued with the Memphian tradition from Heracleopolis -or the Fayoum. Chance has preserved for us two colossal heads, one of -Sanouosrît I (Ousirtasen),[49] discovered by Mariette in the ruins of -Abydos, the other of Sanouosrît III, extracted by M. Legrain from the -pit at Karnak. The handicraft is excellent in both cases, and seldom -has this unpromising stone been worked with greater skill, but the -inspiration of the whole is different. Here are two persons of the -same race, and the general resemblance is sufficient to set aside any -doubt: for if it were not there, we should be tempted to see in each -a sovereign of a different Dynasty. The first belongs to a school -inspired by the Memphian tradition: the sculptor has idealized or, if -preferred, symbolized his model, and has given it the short full oval, -the smiling good-humoured face that the school adopted for official -statues of the Pharaohs. The second, on the other hand, copied the -features without softening a single one; the face is long and thin, -the brow narrow, the cheek-bones prominent, the jaw bony and heavy. He -has hollowed the cheeks, surrounded the nose with two deep furrows, -tightened the lower lip and projected it into a contemptuous pout; he -has realized a strong work, whereas the other, penetrated by opposite -principles, has only evolved from the stone an agreeable composition, -but one lacking individuality. - -[Illustration: MONTOUHOTPOU V. - -Painted sandstone.] - -[Illustration: HEAD OF A COLOSSUS OF SANOUOSRÎT. - -Pink granite.] - -The contrast between the two methods is less striking in the -bas-reliefs than in the statues. Among the fragments used by Thoutmôsis -III for filling up is a square pillar emanating from a limestone -building of Sanouosrît I. The Pharaoh is seen on one of the -sides accompanied by Phtah. They are there, the sovereign and the -god, face to face, breathing each other’s breath, according to the -etiquette of greeting between persons equal in rank. The style greatly -resembles that of the Memphian school, but when examined more closely, -peculiarities of the Theban school are to be distinguished. The -contours are firmly fixed, the relief is less flat, and consequently -the shadows less thin, and thus the outline of the figures stands out -more strongly against the background than in the pictures of Gizeh -or Saqqarah: a Memphian would perhaps have displayed more elegance, -but would have remained true to convention. The scenes engraved on -the other three sides also present the characteristics of Theban art, -and it is a pity that the fragment is so far unique. If the rest of -the temple was decorated in the same happy fashion, the XIVth Dynasty -encouraged at Thebes a work comparable to the finest of the XVIIIth or -XIXth on the porticoes of Deîr-el-Baharî, in the sanctuary of Gournah, -and in the Memnonium erected by Setouî I at Abydos. - -[Illustration: SANOUOSRÎT AND THE GOD PHTAH. - -Fine sandstone.] - - -III - -It is with the statues of the XVIIIth Dynasty discovered at Karnak -by M. Legrain as with those of the XIIth: directly we look at them -we notice distinctive signs of the school, with modifications that -are explained when we consider the position of Thebes at that period. -The favourite residence of the Pharaohs and permanent seat of their -government, its prosperity was continually increased by the booty -gained in Syria or Ethiopia, and as wealth increased, so did the taste -for building. Not only did the kings never tire of embellishing the -city, but, following their example, private individuals built sumptuous -palaces and tombs there. For so much activity a large supply of artists -was needed: studios multiplied, sculptors came from all parts of the -country to supplement the few Theban sculptors. Those strangers did -not join the local school without exercising some influence on it: it -was subdivided into several branches, each of which, while preserving -a common ground of precepts and habits, soon assumed its personal -physiognomy. We already know two or three of them, but how many must -there have been during the three centuries that the Dynasty lasted, all -the work of which is lost for us or confused with the mass? - -[Illustration: BUST OF THOUTMÔSIS III. - -Grey Schist.] - -I like to attribute to the same studio, besides a certain number -of pieces recently acquired by the Cairo Museum, three of the best -fragments extricated by M. Legrain from the _favissa_, the Thoutmôsis -III, the Isis, and the Sanmaout. The Thoutmôsis III is in a very supple -schist that allows the most delicate chiselling, and no engraving -can do justice to the delicacy of the modelling: the play of the -muscles is discreetly noted, but with extraordinary sureness, and, the -imperceptible shadows it produces varying in proportion as we walk -round the figure, the aspect of the physiognomy seems to change from -moment to moment. Isis was not of royal birth, and perhaps came from -one of the lower strata of society: five-and-twenty years ago her -existence was not suspected, and the Karnak statue in pink granite -is the first portrait we have of her. It is through her, however, -that Thoutmôsis III possesses the features by which he differs from -his predecessors, the large aquiline nose, wide-opened, almost -protruding eyes, full mouth, rounded face. The heavy wig he wears -made the sculptor’s task difficult; so much the greater then is the -merit in conceiving a work before which we pause, even by the side of -the preceding one. It contains all the characteristics of the Theban -school, the seeking after the personal expression, the sincerity of -the rendering, the width of the shoulders and, as a set-off, the -intentional smallness of the waist between the ample breasts and broad -hips. Study of the composition compels us to attribute it to the -same studio, if not to the same artist to whom we owe the statue of -Thoutmôsis III. I think the same about the group representing Sanmaout -and the little princess Nafêrourîya whose steward he was: nothing could -be less conventional than the free, firm gesture with which he holds -the child, or the posture of trusting abandon with which she leans -against his breast. The frankness of the movement well harmonizes with -the spiritual gentleness of the face and the smile that animates the -eyes and the full lips. Sanmaout was Queen Hachopsouîtou’s major-domo, -and his sovereign had authorized him to erect his statues in the temple -of Amon. After examining those that remain to us, it cannot be doubted -that they all come from one of the royal studios, most probably the one -whence came later the statues of Thoutmôsis and his mother Isis. - -[Illustration: ISIS, MOTHER OF THOUTMÔSIS III.] - -And we have direct proof that the Theban sculptors of that period tried -above everything to make sure of the likeness. They drew their subject -over and over again before definitely making the rough sketch, and the -dry climate of Egypt has preserved many of their cartoons. Cartoon -is not exactly the term, since they used fragments of limestone for -their studies, but the word _ostraca_ by which they are designated -is not much better, and, further, is only intelligible to expert -Egyptologists. Hundreds of them have found their way to the Cairo -Museum, and they show the attempts of the artist, his hesitations -and corrections, the variations of his thought and of his hand, down -to the moment when he became absolute master of his model. More than -once, too, the chances of excavation have brought the model itself to -light, and provided us with the means of comparing the portrait with -the original. That is the case with Thoutmôsis III. His mummy was found -in 1881 in the _favissa_ of Deîr-el-Baharî and is exhibited with the -others in the Gallery of Sovereigns in the Cairo Museum. The face has -certainly greatly changed in course of mummification, and the shrunken -flesh, the sunken eyes, the flattened nose, and the discoloured -skin make him very different from what he was formerly. But if the -superficies has changed, what is beneath has endured: if we compare the -profile of the face with the mask of the statue, we must admit that -they are identical, with the addition of the life, the expression of -which was perpetuated by the sculptor. - -[Illustration: SANMAOUT AND THE PRINCESS NAFÊROURÎYA. - -Black granite.] - -Let us skip a century and a half, and transport ourselves to the -last years of the Dynasty: they have bequeathed us several pieces -that must be related to a common origin: the fine woman’s head that -Mariette called Taia, the Khonsou and the Amon of Harmhâbi,[50] the -Toutânoukhamanou, and perhaps also the statuette in petrified wood -extracted from the _favissa_ by Legrain in 1905. Is not a portrait -of Aî to be recognized there? It is broadly treated despite its -restricted dimensions, but the unfortunate material employed did not -allow the artist to go far as regards execution: the likeness remains -uncertain. But it preserves the mark of the school, and various details -in the nose, mouth, the cut of the eyes, the inset of the eyebrows, -lead me to think that we shall probably be right in attributing -it to the group of artists to whom we owe the Khonsou and the -Toutânoukhamanou. I am certain that they come from the same hand, and -an instant’s examination will prove it. The two figures might almost be -superimposed: the eye is hollowed out in an identical amount in both, -the attachment of the nose is similar, and so is the way of slightly -inflating the nostrils and of dilating the middle of the lips and -compressing the corners. The physiognomy has something ailing in it, -but the indications of ill-health, the obliquity and bruised appearance -of the eyes, the thinness of the cheeks and neck, the prominence of -the shoulder-bones, are more perceptible in the Khonsou than in the -Toutânoukhamanou; we might say that the model of the Khonsou, if it -is not Toutânoukhamanou at a more advanced age, had a more visible -tendency to consumption. A doctor should study them both: he alone -could decide, if, as I imagine, they represent a sick man, and possibly -he could, according to the external aspect of the subject, establish -the exact diagnosis of the disease. - -The similarities are less marked in the head called Taia, and they are -not at once noticeable in the engraving: but they are clear to those -who have studied the originals. In a slighter degree all the details -I have noted in Khonsou and Toutânoukhamanou are there: the queen is -not a sick woman, but the different parts of her face are treated -in the same way, and the hand which sculptured them is that which -so delicately chiselled the portraits of the god and the Pharaoh, -its contemporaries. Even when only the queen was known, her strange -physiognomy greatly excited the imagination of scholars. Mariette, who -discovered her, thought her a stranger to Egypt; he identified her -with Tîyi, the wife of Amenôthes III, and declared her to be Syrian, -Hittite, Armenian, and his opinion long prevailed. We know now that -her date is at least a quarter of a century after Tîyi, and that she -represents the wife or mother of Harmhâbi, one of the Pharaohs who -succeeded the heretical sovereigns of the XVIIIth Dynasty. And in fact -the portraits of Tîyi that have recently emerged from the earth have -no point of likeness with that of Mariette’s queen. They present a -woman of a thin bony type, with heavy jaw and long depressed chin, a -low receding forehead, the physiognomy of the Pharaoh Khouniatonou with -which the bas-reliefs and statues of El-Amarna have familiarized us. By -the form and expression of her face our queen is allied to the family -of Harmhâbi or Toutânoukhamanou: the resemblance of her statue to those -of Legrain would sufficiently prove it, if further proof were required. - -And now, when the two groups I have just described have been compared, -it is easily admitted that the inspiration and technique of the second -proceed directly from the inspiration and technique of the first. Taste -fluctuated during the five or six generations that divide them, and -the caprices of fashion have influenced the execution: but the general -characteristics remain unchanged, and their persistence allows us once -again to assert the continuity of the school. - -[Illustration: STATUETTE IN PETRIFIED WOOD.] - -[Illustration: THEBAN KHONSOU. - -Granite.] - -[Illustration: STATUE OF TOUTÂNOUKHAMANOU. - -Red granite.] - -[Illustration: THE SO-CALLED TAIA. - -White limestone.] - -[Illustration: RAMSES II. - -Alabaster. Turin Museum.] - -[Illustration: RAMSES IV LEADING A LIBYAN CAPTIVE. - -Grey granite.] - - -IV - -It maintained its flourishing condition during the XIXth Dynasty, and -the _favissa_ has restored to us works that yield in nothing to those -of the preceding age. In my opinion the best is a mutilated statue of -Ramses II, so like the big Turin statue in pose and execution that it -might be the first rough draft of it, or the exact smaller copy. A few -pieces of the XXth Dynasty are worthy of esteem without rising far -above mediocrity, as in a little group in granite of Ramses VI bringing -a Libyan prisoner to the god Amon: the bearing of the victorious -Pharaoh does not lack pride, the constrained posture of the barbarian -is skillfully noted, and the movement of the miniature lion that glides -between the two is interpreted with the customary naturalness of the -Egyptians when they portray animals.[51] I prefer the priest with the -monkey, or, to give him his name, Ramses-Nakhouîti, the chief prophet -of Amon. In a crouching posture, with calves and thighs flat on the -ground, a roll spread out before him across his legs, bewigged and -petticoated, uncomfortable in his robes of ceremony, with an air of -abstraction he meditates, or silently recites prayers to himself. A -little hairy cynocephalus perches on his shoulders, and looks at him -over his head: it is the god Thot who is revealed in this unusual -position, and it was difficult to co-ordinate the beast and the man in -a manner that should be neither absurd nor simply ugly. The sculptor -has come out with honour. The priest slightly bends his neck, but we -feel that the beast does not weigh on him: the monkey on his part half -shrinks behind the head-dress, and the deep frown of his face prevents -the mischievous effect that the countenance of an animal above a human -face might have produced. Like the group of Ramses VI, it bears the -imprint of the school, but with notable differences of technique: if -the first was sculptured in one of the royal studios, the second comes -from another studio of which the origin can be indicated. - -We know how, about a century after the death of Ramses III, the -pontiffs of Amon made themselves masters of the whole of the Thebaïd: -while a new Dynasty established itself at Tanis in the eastern delta, -they exercised supreme authority over Southern Egypt and Ethiopia, -sometimes with the title of high-priest, sometimes with that of king, -and their sacerdotal house was the seat of their government. We do -not know the exact site, but we learn from an inscription that it -was situated near the seventh pylon, not far from the spot where the -_favissa_ was dug out. It is probable that their relatives obtained -the privilege from them, at the moment they assumed domination, of -erecting their statues in the temple. The court-yard between the -seventh pylon and the hypostyle hall contains only a small number of -_ex-votos_: they chose it as the place in which to consecrate their -monuments, and filled it in the course of generations. What has come -down to us does not include all they erected in their own name or to -the memory of those they loved. Many statues were seized or destroyed -during civil or foreign wars, but when the Macedonians conquered the -land enough remained for more than five hundred to be thrown into the -_favissa_. A large number of artists must have been needed to execute -so many commissions, and, besides its royal studio, Thebes long -possessed one or several pontifical studios. To one of those must be -assigned the man with the monkey, and nearly all the statues after the -fall of the Ramessides. For the most part they have a real value, and -scarcely yield to the old royal works, such as the limestone statuette -of Orsorkon II, who drags himself along the ground and offers a boat -to his god, the fragments of which have disappeared. We are forced to -confess, however, that many are, if not bad, of no interest for the -history of art. - -[Illustration: THE PRIEST WITH THE MONKEY.] - -The usual posture did not lend itself to elegance. They are nearly all -crouching, the thighs up to the chest, the arms crossed on the knees: -what advantage was to be obtained from an attitude that reduced a man -to a mere packet surmounted by a head? Where the model departed from -the hieratical posture, the qualities of the school are revealed. The -Ankhnasnofiriabrê en Hathor has a somewhat strained gracefulness: it -would almost bear comparison with the Amenertaîous so much admired by -Mariette, if it were not leaning against a big ugly pillar. Perhaps -the contrast between the slender waist and the inflated bust and belly -is too marked in the Ankhnas, but the composition of the head is -irreproachable. It is nearly always so at that epoch: if the sculptors -sometimes neglected the bodies or interpreted them ill, they cared -lovingly for the heads. Fine portraits may be counted by the score -among the statues found in the _favissa_. I shall only give two here, -that of Mantimehê and his son, Nsiphtah, who lived under Taharkou and -Psammetichus I. Thebes was then under a curious government. When the -male descendants of the priests failed, the power, and those sacerdotal -functions that could be exercised by women, passed into the hands -of the princesses: one of them was elected, who, wedded to the god -in a mystic marriage, henceforth enjoyed the right of living free as -she pleased. To assist them in the government, these _pallacides_ of -Amon had major-domos, who often filled with them a similar rôle to -that of the chief minister with the queens of Madagascar before the -occupation of the island by the French. Mantimehê and his son are -the best known of these persons, and the artists to whom the care of -sculpturing their portraits was entrusted would certainly be the best -among those of the sacerdotal studio. It is, in fact, nature itself, -and no master of a former age could have expressed better or with a -bolder chisel the bustling vulgarity of the father and the aristocratic -inanity of the son. The second Saïte period and the beginning of the -Greek period are almost entirely unrepresented in the _favissa_; under -the Persians, distress was too general for artistic matters to be -thought of, and the Macedonian rule had only just been consolidated -when the common pit was dug. A granite head, of hasty workmanship but -dignified appearance, shows, however, that the Theban studio followed -the movement that prevailed in the schools of Lower Egypt, and that, -doubtless under the influence of Greek models, it gave attention to -details hitherto neglected: the skull is studied with a greater care -for accuracy, and also the slight accidents of the physiognomy, the -furrows of the forehead, the lines between the eyes and at the rise of -the nose, the falling in or puffing out of the cheeks, the play of the -muscles round the nostrils and mouth. The sculptor desired to note in -his work not only the broad lines of the face, but the small details -that characterize the individual and determine his personality. - -[Illustration: OSORKON II OFFERING A BOAT TO THE GOD AMON.] - -[Illustration: QUEEN ANKHNASNOFIRIABRÊ.] - -[Illustration: MANTIMEHÊ.] - -[Illustration: NSIPHTAH, SON OF MANTIMEHÊ.] - -[Illustration: HEAD (SAÏTE PERIOD).] - -[Illustration: THE COW OF DEIR-EL-BAHARÎ IN HER CHAPEL.] - - -V - -It is a long time since I undertook to distinguish, under the apparent -uniformity with which Egypt is reproached, the varieties of composition -and conception that may serve for the recognition of schools, and, -in the work of the schools, for that of particular studios. I have -not found it difficult to show how the Memphian manner differs from -the Theban, nor what distinguishes both from that which flourished at -Hermopolis, Tanis, Saïs; but for the lack of sufficiently numerous -documents, I had not succeeded in marking out the development of one -same school through a long series of centuries. The find at Karnak gave -me the materials I lacked, and since M. Legrain has been exploiting -it, I have not ceased to search in it for information on that point. -I have obtained much there, sometimes, it is true, of varying value, -and I have still much to learn both about the most ancient periods and -about certain moments of transition in more recent periods. I believe, -however, the results already obtained are sufficiently important and -significant to compel us to remodel the history of Egyptian art. I have -not ventured to do that here, but, short as the present essay is, it -may clearly be seen to what results it has led me. I have confirmed -the fact that the characteristics of Theban art were those I thought -I recognized at the beginning of my studies: I then rapidly noted the -stages that the art passed through from the moment that Thebes awoke to -political life almost to that when it ceased to exist as a great city. - - - - -XI - -THE COW OF DEIR-EL-BAHARÎ[52] - - -At two o’clock in the afternoon of February 12, 1906, while Naville -was finishing his lunch, a workman came running up to tell him that -the top of a vault was beginning to emerge from the earth. For several -days certain indications had led him to think that a discovery was at -hand: he went to the spot and at once saw in the mound of sand that -dominated the back porticoes of the temple of Montouhotpou a spectacle -that filled him with joy. The vault was almost half dug out; under it, -in the shade, an admirable cow extended her neck, and seemed to look -about her curiously. A few hours’ work sufficed to set her completely -free. She was intact, but a little figure leaning against her breast -had had its face crushed in distant ages, and the violence of the -blows had caused a crack in the head and shoulders that compromised -its solidity. The chamber that sheltered the cow was built in a -hollow of the rock with slabs of sculptured and painted sandstone. -The semicircular ceiling did not present the usual regular vault with -converging keystones and surfaces; it was composed of a double row of -bent blocks cut in quarters of a circle and buttressed one against -the other at their upper end. It was painted dark blue with yellow -five-pointed stars scattered over it to represent the sky. The three -vertical partitions were decorated with religious scenes: on the one at -the back Thoutmôsis III worships Amonrâ, lord of Thebes, and on the two -sides he makes an offering to Hathor, who is no other than the very cow -shut into the vault. - -[Illustration: AMENÔTHES II AND THE COW HATHOR. - -(From the right-hand side of the group.)] - -[Illustration: AMENÔTHES II AND THE COW HATHOR. - -Three-quarters view.] - -She was still half buried when some ten inquisitive persons turned -their kodaks on her, thus despoiling Naville, and disputing among -themselves the pleasure of being the first to photograph her. In the -evening nothing else was talked of in the Louxor hotels, and the -tourists did not fail to make up parties to go and admire her the next -day. The fellahs, on their side, related the most marvellous tales. She -had breathed noisily just at the moment that the light of day touched -her, and had shivered in all her limbs. She had directed such a look -on the workman who had perceived her that he broke his leg with an -awkward blow of his axe. She was not, as she seemed to be, of stone, -but of fine gold, disguised by Pharaoh’s magicians in order to keep -off treasure-seekers: a few formulas repeated at a fixed hour with the -prescribed fumigations and rites, a little dynamite, and after the -explosion the fragments would be transformed into ingots of metal. And -as if the sorcerers were not sufficient, dealers in antiquities prowled -about in the vicinity. Doubtless she was too heavy for them to think -of carrying her off whole, but would they have found it very difficult -to detach the head and decamp with it during the night, in spite of -the vigilance of our guards or with their complicity? Unscrupulous -amateurs are never far to seek, ready to pay heavily for a stolen -object, provided they believe it to have an artistic or archæological -value, and the certainty of gaining hundreds of pounds in case of -success largely compensates the honest brokers of Louxor for the petty -annoyance of disbursing a few pence by way of fine or of undergoing -a week’s imprisonment if they are caught in the act. I should have -preferred to leave the monument in its ancient place, but it would have -been tempting fortune, and the only means of saving it was to send it -to Cairo. I entrusted the matter to M. Baraize, one of our engineers, -and he carried it out extremely well: in less than three weeks he had -dismantled the blocks, packed up the cow, and transported the cases -by train across the Theban plain. The chapel is now rebuilt in a good -position at the end of one of the rooms of the Cairo Museum, but the -goddess is not hidden in darkness as at Deîr-el-Baharî. She stands at -the entrance, her body in the full light, the hinder parts a little -under the vault: she comes forth from her house and shows herself -freely to visitors, from the snout to the end of the tail.[53] - -[Illustration: THE COW HATHOR. - -Cairo Museum.] - - -II - -Our wonder is at first aroused by the mixture she presents of -conventional mysticism with realism. The front view shows only the -head surrounded by accessories, the significance of which is only -appreciated by those who are learned in religious matters. At the top -of the composition, between the tall horns in form of a lyre, the -usual head-dress of goddess-mothers, is the solar disk flanked -by upstanding feathers and stamped with an inflated uræus. This -scaffolding of emblems without thickness and almost without consistence -would run the risk of being broken by the slightest blow if it was not -supported, and so it rests on two tufts of aquatic plants, the stalks -of which, rising from a socket near the hoofs, spring up right and -left of the legs; flowers alternating with buds bend over the back of -the neck and form a fan-shaped support behind the disk and feathers. -Under the snout, and as if framed by the vegetation, is the statuette -of a man standing, his back to the cow’s chest. As I said, the face is -mutilated, the flesh black; he stretches out his hands, palms downward, -in front of him with a gesture of submission, as if avowing himself -the humble servant of Hathor: by the uræus of the crown and the stiff -petticoat spread in a triangle in front of the thighs, we guess him to -be a Pharaoh. He is found again in a less punctilious attitude under -the right flank of the statue. He is kneeling, naked, and his flesh -is red; he presses the teat between his hands, and drinks greedily of -the sacred milk. If we may believe the cartouche engraved between the -lotuses, the two figures, the black and the red, are one and the same -sovereign, Amenôthes II of the XVIIIth Dynasty, and perhaps that is -the case. But it was Thoutmôsis III who built the chapel, and it is -he that the artists have represented twice over, praying in front of -the cow and sucking the udder. It would be strange if, after erecting -the sanctuary, he should have omitted to provide it with his goddess. -It is more probable that the cow was commissioned by him, and shut up -there by his order, but without dedication or cartouche: he considered -doubtless that the neighbouring bas-reliefs would constitute sufficient -title-deeds. Later, Amenôthes II, wishing to associate himself with -his father’s act of piety, and noticing an empty space behind the -coiffure, inscribed his name there. - -Such a complexity of figures and attributes does not tend to make -the appreciation of the work easy for us, and we have also to add -the prescriptions of the ritual to the conventions of the craft from -which Egyptian artists were never free, at least when stone was their -material: the belly, tail, legs, all the lower parts of the group, are -enclosed in a stone partition which spoils the effect even while it -preserves them from the chances of breakage. And yet, despite defects -that shock a sculptor of our time, one glance suffices to reveal the -extraordinary beauty of the work. The head differs from that of our -European cows, but it is a question of race, and whoever has seen the -Soudanese cow of the present day will easily distinguish its features -in the Hathor of Deîr-el-Baharî: the fullness of the brow, the subtle -modelling of the temples and cheeks, the gentle widening out of the -snout, the suppleness of the nostrils, and the smallness of the mouth. -Such accuracy of detail will delight the naturalist, but it might be -feared that it would harm the artistic value of the whole. That is not -the case at all, and if at a distance the physiognomy seems to have -only an expression of gentleness and meditative somnolence, as soon as -we go near it assumes an air of intelligent attention. The eye seems -to grow larger and to follow the visitor who arrives, the snout to -contract and palpitate, as if to scent out. The sculptor, instead of -following the tradition and polishing the stone as highly as possible, -has respected the fine furrows of the chisel, and the light playing -on them gives at moments the illusion of a shudder running over the -skin. The body is of equally accurate composition, the chest narrow, -shoulders thin, spine long and saddle-backed, leg long and slender, -the thigh sinewy, the haunches prominent, the udder only slightly -developed. The hinder part is worked with an incredible fidelity. -Contrary to custom, the coat is red-brown, darker on the back, lighter, -of a tawny shade that becomes white, on the belly; it is speckled with -black spots, like flowers with four petals, which we should consider -artificial, if there were not animals of Soudanese origin in the -Egyptian herds of to-day that show similar markings. By those spots -they recognize among the heifers of the year the one in which Hathor -has deigned to become incarnated, and which must be worshipped as long -as she remains on earth. - - -III - -She was, above all, the divinity of the dead. The buildings scattered -about that corner of the necropolis were not exclusively consecrated -to the gods of the living; they were the chapels attached to royal -tombs, some of which, like that of Montouhotpou, were contiguous to the -tomb, while others, like that of Queen Hachopsouîtou, for example, were -relegated to the other side of the mountain, in the Bibân-el-Molouk. -The sovereigns were sometimes praying and bringing offerings to -the gods, sometimes associated with them and taking part in their -sacrifices. Hathor, ruler of the West and lady of the heaven, had -become by a concourse of ideas, the reasons of which can be understood, -the mistress of souls and _doubles_: she played thus a part of great -importance in places where the worship of her vassals was celebrated. -Walk through the halls of the large terraced temple and you will find -her repeatedly with the figure and posture assumed by her in the -oratory discovered by Naville: she is the foster-mother whose milk -Thoutmôsis and Hachopsouîtou are greedily imbibing. The suckling of the -sovereign was not a mere metaphor of language, realized and transcribed -on stone, but a material act borrowed from the customs of Egyptian law, -and the final formality of the ceremonies of the adoption. The woman -who had no son to perpetuate her memory, and desired to have one, after -reading the preliminary passages, had to offer one of her breasts, -in all probability the right, to the youth or man she had chosen; he -would press the teat between his lips for a few seconds, and by this -pretence of feeding would become to her as a son. Among half civilized -peoples where this custom prevails, it is not required that the woman -has been or is still married: only, the young girl who acquires a child -by this method covers her breast with a thin stuff before going through -the ceremony. If, then, Thoutmôsis III, or by usurpation Amenôthes II, -was represented kneeling under the right teat of the Hathor, he wished -thereby to prove that she was his divine mother, and the complacent -manner in which she yields him her milk sufficiently shows that she -admitted the legitimacy of his claim. - -[Illustration: AN UNKNOWN FIGURE AND THE COW HATHOR.] - -But these are only half the ideas expressed by the group, and it -remains for us to determine the meaning of the flowering lotuses which -stand at the right and left. As sovereign of the West and of the lands -in which the dead sojourned, she assumed different forms according to -the provinces. In the North the people imagined her under the aspect of -one of those fine sycamores which grow in the midst of the sand on the -borders of the Libyan Desert, rendered green and thick by the hidden -waters sent them by the infiltrations of the Nile. The mysterious -path which leads to the shores of the West brings the _doubles_ -to her feet; as soon as they are arrived, the divine soul, lodged in -the trunk, thrust out the half or the whole of her body, and offered -them a vase full of pure water and a tray filled with loaves. If they -accepted her gifts--and they could scarcely refuse them--they confessed -at once that they were her vassals; they were no longer authorized to -return to the living, but the regions of the world beyond the tomb -would open to them. In the nomes of the Saîd where she was imagined to -be a cow, she haunted a fertile marsh situated on the slopes of the -Libyan mountains; whenever a _double_ came to its edge she stretched -forth her head from among the herbage to meet him, and claimed his -homage, and when he had paid it, she allowed him to enter the realms of -the funereal gods. The 186th Chapter[54] of the “Book of the Dead,” a -very favourite one with devout persons under the second Theban Empire, -initiates us into this myth, and the vignette that precedes it shows -us the scene as the Egyptians conceived it: the red or yellow slopes -of the mountain, the tufts of aquatic plants, the cow conferring with -the defunct. The Pharaoh who commissioned our group--or rather the -sculptor who executed it--combined the idea common to all with the -royal concept of the adoption by the goddess, and he expressed the -result therefrom as completely as the processes of his art permitted. -He reduced the marsh to two slender clusters of lotus, and marked the -two chief points of the adoption by means of two little royal figures -and their attributes. The first, as we have seen, wears the costume of -the Pharaohs and has black flesh; standing upright under the animal’s -snout, it faces the spectator. Amenôthes II has just arrived in front -of the cow and addressed to her the prayer in which he conjures her -to aid him in his journey in search of the everlasting cities; his -colour indicates that he is still the slave of death, but the goddess -has already enrolled him among her adherents, and presents him to the -universe as her well-beloved son. That formality over, he slips through -the verdure, kneels down, and crushing the teat in his hand, greedily -puts his lips to it. That is the final rite of the adoption, and also -the pledge of his return to normal existence. Scarcely has he swallowed -the first mouthfuls of milk than life enters his veins; the artist has -represented him naked as a new-born infant, and painted his flesh red, -the colour of the living. - - -IV - -The two forms of Hathor welcoming the dead are not each confined to the -province in which it was born. They gradually spread over the whole -country, not without experiencing diverse fortunes. Hathor in the tree -was reserved for papyri, stelæ, and bas-reliefs. The first idea was -scarcely suitable for statuary, and the cleverest sculptor would have -been embarrassed to derive a large tree from the stone, a goddess lost -in the branches, a person in prayer before the tree and before the -goddess. But it lent itself to painting, and some of the vignettes in -which it is expressed in the excellent copies of the “Book of the Dead” -or on the walls of the Theban hypogeums, show us the admirable way in -which the designers of the new empire used it. Nothing could be more -varied or skilful than the relations they establish between the woman -and the sycamore on the one hand and the dead person on the other. He -is sometimes accompanied by his soul, a big hawk with human head -and arms, which mimics his slightest gestures: while the _double_ -receives the elixir of youth in his clasped hands, the soul turns a -runnel aside for his own benefit, and greedily drinks from it. Colour -adds its charm to the composition, and the replicas of the subject to -be seen at Cheîkh Abd-el-Gournah in the hypogeums of the XVIIIth and -XIXth Dynasties would obtain a place of honour in our museums, if it -was permitted to detach them and mount them in separate panels. - -[Illustration: PETESOMTOUS AND THE COW HATHOR.] - -Hathor in the marshes was entirely suited to the ordinary conditions of -sculpture, and if in some places serious difficulties were presented, -I have indicated how the Theban masters overcame them. She provided a -fairly frequent theme for the studios, and the Cairo Museum possesses -three examples. They are smaller than the Deîr-el-Baharî group, and -do not unite the two concepts of the adoration and the adoption. -Consequently the lotus is wanting and the dedicatory figure at the -cow’s udder. They are the affair of simple private persons who had -no right to proclaim themselves children of the goddess. If they had -attempted to touch the breast of Hathor they would have usurped one of -the privileges of royalty; they appear then only once in each group, -standing or crouching in front of the chest. In one, which is in grey -schist and measures nearly four and a half feet long, the donor has -lost his head and neck, and he lifts up a table of offerings with -both hands in front of him; the cow also is decapitated.[55] No trace -of inscription is to be seen on the pedestal, but the composition is -that of the first Saïte period. The piece, although not the most -mediocre that could be found, lacks originality; it is the work of a -skilful journeyman who had no personal inspiration, and only knew how -to apply the formulas of the school conscientiously. The second group -is in yellowish limestone. It measures not quite three feet in length -and has suffered more than the preceding one.[56] Not only has the -animal’s head been destroyed, but its tail and one of its hind legs -have vanished. The man is mutilated to the point that only one of his -feet remains to prove to us that he was kneeling. He bore a table of -offerings. An inscription engraved on the edge of the pedestal informs -us that he was called Petesomtous, and the name, together with the -style, takes us back to the Saïte period, perhaps to the period of the -Persian domination. The composition is, besides, sufficiently rough, -and it would not deserve any attention if the interest of the subject -did not compensate for its insignificance as a work of art. - -[Illustration: PSAMMETICHUS AND THE COW HATHOR. - -Three-quarters view.] - -The third was celebrated from the moment of its discovery. It is -in green schist, slightly over three feet in length, and under it -in height. It was found by Mariette at Saqqarah, fifty years ago, -in the tomb of a certain Psammetichus, a contemporary of the first -Nectanebo.[57] It was accompanied by two fine statues of Osiris and -Isis,[58] which are the glory of the Cairo Museum, and we owe them -for a certainty to the same artist. The posture of the cow is the -same as that of Deîr-el-Baharî; like her, the head-dress is formed of -the solar disk with the uræus surmounted by two long feathers, but a -_monaît_ fastened round the neck by its chain lies flat on the spine. -Psammetichus stands under the head, his back to the chest, his hands -hanging down over the apron, with the same gesture of submission as -that of Amenôthes II. Besides his name and protocol, the inscriptions -contain a prayer for his happiness, addressed to the benevolent Hathor. -The hardness of the material has prevented the sculptor from completely -freeing the fragile parts: the cow’s legs and belly are sunk in the -stone, as are the back and feet of the man; the head-dress is supported -by a semi-cone set in the back of the neck, and the ears are reinforced -by a pad which doubles their thickness. The sculptor, embarrassed by -the necessity of preserving masses of superfluous material, had the -ingenious idea of treating the lower limbs as a bas-relief. He has -designed them on each side of the panel that supports the belly, so -that Hathor has two chest profiles and a double supply of legs. He -has so cleverly arranged this superabundance of legs that it is not -noticeable at a first glance, and some effort of thought is required -to make sure that it exists. But despite these eccentricities the work -is of rare perfection. Never has such hard stone been manipulated -with greater suppleness; the outlines have a harshness that all the -virtuosity of the execution has not been able to prevent, but the -modelling of the bodies and the faces, both of the animal and of the -man, is of unparalleled delicacy, and the whole breathes serenity -mingled with melancholy. It is, as a piece of animal sculpture, the -best that has come down to us in Saïte art. - - -V - -Nevertheless, it loses when compared with the schist group of the time -of Amenôthes II. The mythological element is less predominant, and -the head gains by not being framed by two tufts of aquatic plants: -but if the religious convention is less encumbering, the artistic -convention and the conventions of the studio come out in a much more -apparent fashion. The Saqqarah group belongs to the Memphian school, -and, as with nearly all the products of that school, the form has -something artificial and impersonal. Hathor is a symbolic cow, the -half-abstract type of Egyptian cows, a type that in the eyes of the -Memphians realized the ideal of the earthly or sacred cow: she has -the elegance, but also the softness and the rather insipid meekness, -which distinguishes the human figures. The Hathor of Naville, on -the contrary, belongs to the Theban school, and possesses the -characteristics that I have described above.[59] The royal studio -whence it came was governed by the theological laws, and was forbidden -to modify in any way the types that, in the course of ages, had been -determined on for revealing the concepts of popular tradition or -learned dogma, but it tried to keep their expression as near to life -as the rites authorized. The artist who produced the Memphian Hathor -chose a pattern from his cartoons, and translated it into stone without -troubling to correct the banal purity by imitating a beast of the -sacred herd. The sculptor to whom we owe the Theban Hathor, on the -contrary, while preserving the ritual arrangement of the parts and -the accumulation of the symbols, has placed them on a real cow, -on the cow, perhaps, that for the moment incarnated the goddess in -the neighbouring temple of Queen Hachopsouîtou. Imagine her without -the emblematic surroundings he was compelled to give her--the heavy -head-dress, the lotus tufts, the two statuettes of the Pharaoh--and you -will have the good motherly creature who goes peaceably to pasture, -and, as she goes, observes everything with her eye, inquisitive and -dreamy at the same time. Neither Greece nor Rome has left us anything -that can be compared with it; we must go to the great sculptors of -animals of our own day to find an equally realistic piece of work. - -[Illustration: PSAMMETICHUS AND THE COW HATHOR. - -From the right-hand side of the group.] - - - - -XII - -THE STATUETTE OF AMENÔPHIS IV - -(_The Louvre_) - - -The statuette originally formed part of a group. The lower part has -been fairly skilfully restored in modern times: the upper comes -from the Salt collection,[60] and, like most of the objects of that -collection, was found at Thebes. It represents Amenôphis IV of the -XVIIIth Dynasty, the first in date of the Pharaohs we are accustomed to -name the heretic kings. - -In making only a cursory examination we are struck by the ways in -which it differs from the royal statuettes that have come down to us. -The Pharaohs are usually seated with the head erect, the bust firm, -in a posture of stiff dignity which did not lack grandeur. Here the -royal stiffness has almost wholly disappeared. The head leans slightly -forward, the bust sinks down, it seems as if the body, powerless to -hold itself up, is going to slip off the seat; the abandon of the -posture is in entire harmony with the character of the person. The back -is slightly rounded, the hips are larger than are suitable for a man, -the belly and chest inflated; the breasts are round like those of a -woman, the puffed-out torso is wrinkled in folds of fat, the face -is weak and good-natured. In all that, the artist has set aside the -æsthetic rules usual in Egypt. If it were not for the awkward angle -formed by the arm that holds the sceptre and the whip, and the bad -execution of the hand that rests on the left thigh, his work might be -quoted as an excellent specimen of what a conscientious sculptor could -do at the best moments of Theban art between Thoutmôsis III and Setouî -I. - -[Illustration: AMENÔPHIS IV. - -The Louvre.] - -I do not believe that in the long series of Pharaohs there is a prince -who has been so badly treated by contemporary scholars as he has been, -and about whom they have allowed greater rein to their imagination. At -first, the roundness of his body and the exaggeration of his breast -caused him to be taken for a woman: for a long time Champollion -characterized him as a queen, and was only convinced of his error -with difficulty. Later, Mariette thought he recognized in him the -exterior signs of a eunuch. Contemporary monuments assign him a wife -and children, and we can find a way of reconciling this embarrassing -posterity with the new theory. It suffices to suppose that, after -having been married and become the father of four daughters, he went -to war with one of those African tribes that have preserved to this -day the custom of castrating their prisoners: having fallen into their -hands, he would have left them as we see him. Some Egyptologists have -accused him of being an idiot, the more moderate only regard him as a -fanatic. Born of a foreign mother, the white Taîa, brought up by her -to worship Canaanitish deities, he had scarcely ascended the throne -before he wished officially to replace the worship of Amon by that of -the solar disk, whose Egyptian name, Aton, perhaps reminded him of the -Syrian name Adoni or Adonaï. This story is well imagined, but to me it -seems more than doubtful. Two proofs have been advanced concerning the -foreign origin of Taîa: the pink colour of her cheeks and the curious -form of the names used in her family. The flesh of Egyptian women was -always painted pale yellow: if Taîa is pink, it is because she was -fairer than they, and consequently of exotic birth. The argument was -specious, but it is not permissible to repeat it to-day. For it has -been discovered that in the time of Amenôphis II and Amenôphis III -the artists for some years employed pink tones for the flesh of their -personages, both men and women, and the confirmation of that fact takes -away any value from the reasoning deduced from Taîa’s colour. Taîa has -pink flesh in the monuments because the fashion of the day required -that she should so have it, and not because she possessed the fair -complexion of the northerner. As to the names of the members of her -family, Iouaa, Touaa, they do not seem to me to be Asiatic. Doubtless -they are not constructed in the Theban manner, but they are found, and -many like them, in the tombs of the Ancient Empire. Far from proving -a Canaanitish or Libyan extraction, they take us back to the oldest -periods of the history of Egypt and denote a Memphian or Heliopolitan -origin. - -If, as everything indicates, Taîa is not a foreigner, we no longer have -any cause to seek beyond Egypt for the motives that made Amenôphis -IV decide to proscribe the worship of Amon. In fact, the religion of -Aton that he professed is indigenous in its formulas and ceremonies. -Aton is the solar disk, the shining globe lighted every morning in -the east in order to be extinguished every evening in the west; for -some theologians it was the visible body in which Râ, the solar god -_par excellence_, was the soul; for others the actual god, and not the -shining manifestation of the god. The Theban priesthood had adopted the -first theory, which better harmonized with its monotheistic tendencies, -and it had developed it to the utmost: it had fused together all the -forms of the divinity, and only recognized in it the aspects, the -diverse conditions of one and the same being who was the soul of the -Sun, Amonrâ. The schools of Memphis and Heliopolis, older than those of -Thebes, had remained more closely attached to the ancient polytheism, -and interpreted its doctrines in a more material sense. A fact that, -so far, no one has ever brought forward, proves incontestably that the -worship rendered by Amenôphis IV to Aton was connected with that of the -sun as practised at Heliopolis: the high priest of Aton, the supreme -head of the royal religion, bore the same official name and the same -titles as that of Râ at Heliopolis. - -If, however, the monuments tell us that the worship of Aton was a -form of the most ancient worship of Râ, they do not so far assist us -to determine the points of detail in which it differed. The solar -disk of Amenôphis IV, the supreme god Aton, is recognized by the rays -terminating in hands that he darts on the earth: the hands brandish the -anserated cross, and bring life to everything that exists. I am not -sure that Amenôphis IV invented this imagery: I like to think that in -that, as in everything, he was bound to follow tradition. The prayers -that accompany the figure of the god, the ceremonies celebrated in his -name, are all Egyptian; they present that character of seriousness and -sometimes of licence to be observed at Denderah, and in all the places -where the sombre myth of dead Osiris does not rule. The bas-reliefs -that have preserved its physiognomy for us might serve as an -illustration for the picture drawn by Herodotus of the great festival -of Bubastis. - -Having said that, it may be asked what motives impelled Amenôphis IV -to deny the gods of his fore-fathers and to embrace a Heliopolitan -religion. It should be noted at once that his father, Amenôphis -III, had already set the example of a special affection for solar -worships other than that of Amon: we may then believe that Amenôphis -IV as a child was brought up in particular devotion for Râ, and that -later, a natural result of his early education, he was desirous of -imposing his favourite deity on his subjects. But I do not think that -religious faith was the sole, or even the principal reason of his cruel -persecution of the priests and partisans of Amon; politics probably -were chiefly responsible. Amon was, above all, the patron of Thebes: -he had made the greatness of the Theban Dynasties, and they, in their -turn, had exalted him above all his compeers. The conquests in Syria -and Ethiopia had not been without benefit for Egypt in general, but -they had been specially advantageous to Amon; the greater part of -the booty had passed into his coffers, his priests filled the public -offices, and his chief prophet was the highest personage of the empire -after the reigning sovereign. Had there been under Thoutmôsis IV an -attempt similar to that which delivered the last Ramessides to the -pontiffs of Amon and which raised Hrihor to the throne? I do not know; -but I believe the desire to counterbalance their power weighed heavily -in the favour shown by Amenôphis III to other divinities, and that a -definite wish to overturn not only Amon, but especially his clergy, -induced Amenôphis IV to thrust Aton into the first rank. He did not -recoil from any means that would lead to success. As the destiny of -Amon was indissolubly bound up with that of Thebes, so long as Thebes -was the capital, Amon and his priests would keep the supremacy. -Amenôphis IV, after changing his name, which was a profession of faith -in the excellence of Amon, for that of Khounaton, “splendour of Aton,” -founded a new capital which he called the city of Aton; he installed -there a new priesthood which he richly endowed, and then erased the -name of Amon from all the monuments throughout Egypt and even at -Thebes. But the worship of Amon had its roots too deeply implanted in -the land, and his priests were too powerful, for the king to prevail -against them. When he was dead, his successors gave up the struggle: -Aton returned into obscurity, his city was deserted, and the name of -the king, proscribed by sacerdotal hatred, vanished with the buildings -on which it had been engraved. - -His attempt was not without influence on art. The necropolis of -El-Amarna has told us the names of two of the sculptors who helped -to adorn the city during its brief existence. Their works are -distinguished from earlier ones by a greater freedom of composition, -and particularly by greater realism in the reproduction of the persons. -The Amenôphis IV of the Louvre does honour to their talent; it is the -more valuable since their works, treated with great ferocity by the -Theban reaction, have become very rare. We have a certain number of -bas-reliefs more or less mutilated, but very few statues; that of the -Louvre is, so far, a unique work of its kind. - - - - -XIII - -FOUR CANOPIC HEADS FOUND IN THE VALLEY OF THE KINGS AT THEBES[61] - - -Among the principal objects discovered by Theodore Davis in 1907 in the -Valley of the Kings, in the secret chamber where the heretic Pharaoh -Khouniatonou was buried with an equipment partly consisting of objects -that had belonged to his mother, Tîyi, there are four alabaster Canopic -jars of a rare perfection even for that period of perfect execution. -The body of the jar is a little longer than is usual, slender at the -base, bulging out at the top, with a polish at once unobtrusive and -pleasing to the eye. An inscription had been engraved on it, and so far -as may be judged by the place it occupied, was the ordinary dedication -to the deities protecting the entrails; but it has been effaced, then -the place smoothed over, and tinted with the colour of the surrounding -part. The touching up is accomplished with so much skill that we can -only here and there, beneath the transparence of the glazing, guess -at a few marks of the old writing. The four lids are in the form of -a human head, a very refined head framed in the short wig with close -rows of little flat locks of hair: a golden uræus, now vanished, stood -on the forehead. As the face is beardless, and the whole of the -equipment except the coffin bears the name of Tîyi, the Canopic jars -have been attributed to the queen. I do not share that opinion; I -maintain that they belonged to the Pharaoh, and that we should see his -authentic portrait in them. - -[Illustration: KING KHOUNIATONOU. - -Alabaster Canopic head found at Thebes.] - -[Illustration: KING KHOUNIATONOU. - -Alabaster Canopic head found at Thebes.] - -No one who has seen the four heads side by side will doubt that they -represent one and the same person. The insignificant differences to be -noticed between them are caused by unimportant technical details, or by -breakages in the stone, or by the action of damp, or the different way -in which time has treated the materials of which the eyes were formed. -The eyebrows consist of a fillet of blue enamel encrusted on the edge -of the arch, and the eye, properly so-called, is also designated by -a blue fillet, which includes a cornea in white limestone, relieved -with red at the corners, and an iris of black stone. In some, the -eyebrow is gone. In others the iris has fallen, leaving blind one or -both the eyes, or, the whole having been displaced, the eye has been -brought forward as if the person was suffering from the beginning of -an exophthalmic goître. Very different expressions of countenance are -the result, but under them all the same face is quickly recognized: a -longish oval, rather thin at the bottom, a somewhat narrow forehead, a -straight nose, thin where it joins the face and turned up at the end -almost like Roxelana’s, delicate wide-opened nostrils, the sides thin -and nervous, a short upper lip, a small but full mouth, a bony chin, -pointed and heavy, joined to the neck by a rather harsh line. None -of the heads have been entirely respected by time, and one of them -has lost its nose, but by good luck, rare in archæology, the best in -composition is also that which has suffered least: if the enamel of -the eyelids is wanting, the eyes are intact and the epidermis without -scratches. I do not think that there exists in the Egyptian sculpture -of that period a more energetic or living physiognomy: the mouth is -closed as if to retain the words that desire to escape, the nostrils -are inflated and palpitate, the eyes look keenly and frankly into -those of the visitor. With age, the alabaster has taken on the dull -complexion of the great Egyptian ladies, always protected by the veil, -which the sun can never burn. So that it is not surprising that many -should have felt in looking at them that they were heads of a woman, -and, knowing the circumstances of the discovery, imagined that they saw -the most celebrated woman there had then been in the Egyptian Empire, -the queen-dowager Tîyi. - -[Illustration: KING KHOUNIATONOU. - -Alabaster Canopic head found at Thebes.] - -Strictly speaking, that is quite possible, for on the one hand the -head-dress and necklace into which the neck fits are common to both -sexes, and on the other, the features, more accentuated than is usual -with a woman, are not so to the point of only fitting a man; directly, -however, they are compared with those of the portraits of Tîyi, we are -bound to confess that the resemblance is slight. Two types of these -have come down to us. In the first, which is by far the most frequent, -her face was remodelled and symbolized in the studios of Thebes in -accordance with the customary formula for queens. The colossal group -of Medinet Habou, recently transported to the Cairo Museum, offers, -perhaps, the best example. There, following the regulations, Tîyi is -furnished with a round, regular face, almond-shaped eyes, good cheeks, -straight nose, smiling mouth, and normal chin: there is something about -her which prevents us from confusing her with the other princesses -of her era, but she has preserved none of the peculiarities that -compose her actual physiognomy. That is no longer the case with the -most individual of the specimens of the second type, the soapstone head -that Petrie discovered at Sinaï, which is now in the Cairo Museum. -The right wing of the wig is wanting, and the nose has been crushed -by an unfortunate blow on the left nostril, without, however, losing -anything of its essential form; a cartouche engraved on the front of -the head-dress tells us the name, and at the first glance the portrait -gives the impression of a good likeness. It is not flattering. If we -are to believe it, Tîyi presented the racial characteristics of the -Berbers or of the women of the Egyptian desert: small eyes puckered -at the temples, a nose with a broad tip and contemptuous nostrils, a -heavy, sulky mouth with turned-down corners, the lower lip dragged back -by a receding chin like that of a semi-negress: the receding chin alone -forbids us to identify her with the original of our Canopic jars. They -have certainly a family likeness, and it could not be otherwise, for if -I am right it is a question of mother and son, but variations are to be -noted in the son which remove him from the type so clearly revealed in -Petrie’s statuette. That type, on the contrary, is preserved intact in -the admirable head in painted wood which has passed into the collection -of Herr Simon of Berlin. We might even say that it is exaggerated, -and that the eyes are more oblique, the cheek-bones more prominent, -the nose more aggressive, the smiling muscles more sharply evident, -the mouth and chin closer to that of a negress. I believe it to be -one of Tîyi’s granddaughters who became queen after the fall of the -Heretic Dynasty: her head-dress, which was originally that of a private -person, was afterwards modified to receive the insignia of royalty. -Was she married to Harmhâbi, to Ramses, or to Setouî I? The deviation -between the group to which she belongs and that of the Canopic jars is -sufficiently great to force us to give up the idea that they represent -one person. In addition, our Canopic sculptures possess only one uræus -on the forehead, as is customary with kings, while the others have -the double uræus which then begins to be the etiquette with queens. -That rule has exceptions, and therefore I shall not deduce too strict -conclusions from it: but the absence of the second uræus is not less a -somewhat strong presumption in favour of the opinion that our Canopic -heads are those of a man and not of a woman. - -[Illustration: KING KHOUNIATONOU. - -Cairo Museum.] - -[Illustration: KING KHOUNIATONOU. - -Alabaster Canopic head found at Thebes.] - -If, however, they are portraits of a man, the circumstances of their -discovery compel us to declare that he must be the king Khouniatonou; -but how are we to be convinced of this when we remember the grotesque -silhouette that the sculptors of El-Amarna have given him? To believe -them, he would have been physically a sort of degenerate, tall, weakly, -with hips and chest like a woman’s, a neck without consistency, an -absurd head, a flat, almost non-existent forehead, an enormous nose, -an ugly mouth, a massive chin.[62] He seems to have liked these -caricatures, and his friends, imitating him from a desire to flatter -him, altered more or less the shape of their own bodies in order that -they might resemble that of his. Documents of different origins prove, -however, that he was not, or had not always been, the queer figure that -is attributed to him. The Louvre alone possesses two such witnesses. -The first, which came to the Museum in its early days, is a charming -statuette in yellow soapstone. The king is seated, but he has lost the -bottom of the legs, which a modern restorer has skilfully replaced. -He wears the _coufeh_ with hanging ends, the bust is bare; in -his right hand he holds the hooked staff and the sacred whip emblems -of royalty; the left hand is indolently stretched over the thigh. The -body is young, the muscling supple and thick, and although he sinks -down a little, he has not the squat attitude we know so well. The face -and neck are somewhat slender, and contain the characteristics that, -exaggerated later, lent themselves almost naturally to caricature. It -is, in fact, the effigy of the young king sculptured at Thebes at the -time when he was only Amenôphis IV, but when he demanded that he should -be represented as he was, or as he saw himself, without reference to -the conventional type of the Pharaoh. In the second piece, a statue of -which only the head and shoulders remain, he is some years older. He -is armed for war, and his neck, too slender, has bent under the weight -of the helmet, as if thenceforth incapable of supporting it. It is the -profile of the bas-reliefs of El-Amarna with the rounded spine and the -particular curve that projects the head forward; the forehead, nose and -mouth only differ from those of the statuette in that they are thinner. -A plaster mask in the Cairo Museum which Petrie considers to have -been moulded on the corpse immediately after the sovereign’s death, -but which is undoubtedly a studio model, testifies to a condition of -physiological degeneracy that did not before exist. It presents the -emaciated features of the bas-reliefs and their bony texture, it is -true, but without their extreme exaggerations. When it was question -of a statue, the sculptor forbade himself the liberties that his -colleagues, commissioned to decorate the tombs, allowed themselves -with the master: he represented him just as he was at the moment, and -the physiognomy was sufficiently original for him to be certain of -always deriving from it a work that would force the attention of the -spectators. - -[Illustration: QUEEN TÎYI (FULL FACE). - -Cairo Museum.] - -[Illustration: QUEEN TÎYI (PROFILE). - -Cairo Museum.] - -[Illustration: PRINCESS OF THE FAMILY OF TÎYI (PROFILE). - -Painted wood. Berlin, collection of M. James Simon.] - -[Illustration: PRINCESS OF THE FAMILY OF TÎYI (FULL FACE). - -Painted wood. Berlin, collection of M. James Simon.] - -And now let us compare each of these pieces with our Canopic heads. -The profile of Khouniatonou helmeted is not as strong as theirs, -due perhaps to the contusions undergone by the surface of the stone -during a long sojourn in a damp soil where saltpetre was abundant, -but each of the elements may be superposed and adjusted, forehead, -nose, eyes, mouth, chin, in an absolutely satisfying manner: it -merely seems that the artist of the Canopic heads saw his model in -better health than that of the statue. The resemblance, although less -complete, with the statuette of yellow soapstone is still apparent. -No unprejudiced observer with the series in front of him can come to -any other conclusion than that we have in it portraits of one and -the same man. Leaving out the slight differences due to the chisel, -there is no more deviation between the group of statues and the best -of our heads than there is between that and the three found with it. -There is divergence in one point only: in the two statues the head -bends and leans forward more or less; in the Canopic jars it is erect -without weakness. A moment’s reflection will show that it could not -be otherwise. However greatly we are moved by the beauty of the work, -we must not forget that our four heads belong, not to art pure and -simple, but to industrial art, and that their purpose imposed special -rules on the master who chiselled them. They were prosaic lids for -the receptacles in which the entrails of the Pharaoh were placed, and -it was necessary that the median axis of the vase properly so-called -should coincide exactly with that of the lid. There was a question -of equilibrium to be managed between the two constituent elements of -the Canopic jar; the sculptor must straighten the neck of his -model, and consequently correct the impression of lassitude given by -the statues, by an appearance of vigour. If we examine the portraits -of Khouniatonou and his successors in company of a physician, certain -anatomical details that at the first glance we did not trouble -about--the depression of the temples, the obliquity of the eyes, the -contraction of the sides of the nostrils, the pinching of the mouth, -the attenuation of the neck--assume an etiological value that the -archæologist was far from suspecting. Dr. Baÿ, studying the faces of -Khouniatonou, Touatânkhamânou, and Harmhâbi with me, diagnosed symptoms -of consumption more or less advanced. If Khouniatonou died of the -disease when thirty years old, we need not be greatly surprised. - -[Illustration: KING KHOUNIATONOU. - -The Louvre.] - -I do not insist upon this kind of research, in which I am not -competent, and I leave it to the reader to decide if I have or have -not proved the identity of the person represented by our four heads -to be that of Khouniatonou, the heresiarch. One of them at least is a -masterpiece, and the others possess qualities that assure them a high -place in the estimation of connoisseurs, but to which of the great -Egyptian schools ought we to attribute them? We may hesitate between -two: the Theban, to which most of the artists who filled the royal -laboratories then belonged, and the Hermopolitan, in the province -of which was El-Amarna, the favourite residence of the sovereign. -It was certainly the latter school that worked at the hypogeums and -sculptured the pictures. We find in them its defects: harsh, rough -composition, a tendency to caricature the human form and to multiply -comic episodes; but also its good qualities: suppleness, movement, -life, freedom of execution. The few figures in alto-relievo that have -escaped destruction, those, for instance, that accompany two of the -large front stelæ, are of the same style as the bas-reliefs, but we -do not find in them any of the characteristics that we have noted as -proper to the monuments of the Louvre or to our Canopic jars. Just -as the others show an unfinished, worn aspect, these are carefully -finished in the least details: it is the perfect chiselling and high -polish of the Theban masters and their strong, dignified way of posing -the figure and expressing the physiognomy of the model. Whoever has -seen the statues of Thoutmôsis III, Amenôthes II, the so-called Taîa, -and Touatânkhamânou in the Cairo Museum will not doubt for a moment -that our four heads are from the hands of persons belonging to the same -school: they belong to the Theban school, and more particularly, I -think, to that portion of the Theban school which, a few years later, -decorated the temple of Gournah, the Memnonium of Abydos, and the -hypogeum of Setouî I. - -[Illustration: KING KHOUNIATONOU. - -Fragment of a stone statue. The Louvre.] - - - - -XIV - -A HEAD OF THE PHARAOH HARMHABI - -(_Boulaq Museum_) - - -The whole is composed of about ten pieces, collected in 1860 in one -of the halls of the temple of Karnak, and put together with plaster, -for good or ill, by one of the workmen belonging to the Museum. The -cementing was not always done with rigorous accuracy, and one of the -largest fragments, that which forms the centre of the head-dress, is -slightly out of the perpendicular. Last year I tried to remedy the -awkwardness of the restorer, but without success; if an attempt was -made to separate the badly joined pieces, there would be a risk of -reducing them to powder. But the irregularities in the joining are -sufficiently slight not to injure the general aspect. In its present -condition it is just the mutilated bust of a king with the uræus and -the double crown on the brow; the broken object that leans against the -left side is the end of a staff of office, terminated with a ram’s -head, the emblem of Khnoum or Theban Amon. If we would form some idea -of what the body was like, it is sufficient to look at any of the -statues with the insignia that adorn the museums, that of Ramses II at -Boulaq[63] or of Setouî I in the Louvre.[64] The king was standing, -with his back against a sort of pillar covered with inscriptions, -and holding the staff in his hand: as he looked in certain religious -ceremonies when he escorted the ark of Amon-Râ through the halls and -court-yards of the temple. What remain of the hieroglyphic legends do -not give any name. Mariette was tempted to recognize it as Menephtah, -son of Ramses II,[65] but he has not anywhere explained the motives -that led him to that identification. The lugubrious tone of the black -granite spoils the first impression, but an examination, even if only a -superficial one, soon reveals the subtlety of the work. The head, under -the enormous pschent, is full of charm and delicacy. The face is young, -with an expression of gentle melancholy rare among the Pharaohs of the -great Theban period. The nose is straight, thin, and well attached to -the forehead; the long eye turns up at the temples. The wide, full -lips, somewhat tightened at the corners as if for smiling, are boldly -cut with sharply defined edges. The chin is scarcely rendered heavy by -the weight of the artificial beard. Every detail is treated with as -much skill as if the sculptor had been manipulating a soft stone like -limestone, and not one of the materials that offer all the obstacles -possible to the chisel. The sureness of the execution is carried so -far that the spectator forgets the difficulty of the work in order to -think solely of its intrinsic value. It is a pity that Egyptian artists -did not sign their works: the name of the master to whom we owe this -deserves to have come down to us. - -[Illustration: HEAD OF THE PHARAOH HARMHABI. - -Black granite.] - -It remains to see who was the king whose portrait he has transmitted -to us. When a Pharaoh ascended the throne, the sculptors of the city -where he then was, Memphis, Thebes, Tanis, or another, hastened to make -a certain number of copies of his portrait, full face or in profile; -these were immediately sent into the provinces, in order that his -face might be everywhere substituted for that of the former sovereign -on the buildings in course of erection. Thus in the Boulaq Museum we -have several series of royal heads, some discovered at Tanis,[66] -some in the Fayoum,[67] others at Memphis,[68] which show what was -the procedure in such a case. The type, once carefully fixed, did not -change during the whole of the reign. Ramses II, who was nearly a -hundred years old when he died, after reigning for sixty-seven years, -kept the features of a young man even to his latest monuments. The -rule contains numerous exceptions, especially when it is a question -of statues commissioned in one of the capitals of the country, and -executed by artists who could see their subject at close quarters and -register the changes time produced in his face. Of the two Chephrên -exhibited at Boulaq, one is young and smiling,[69] the other old and -saddened by age.[70] But if there are examples of sovereigns who, -ascending the throne early, were sometimes represented as they were at -different periods of their life, I know of none who were rejuvenated -by the sculptors when they reached the throne at a late age. The head -of the statue with which we are here concerned is that of a young man, -almost a youth, and that is sufficient for me to rule out Menephtah. -Menephtah was fifty at least when he succeeded his father,[71] and his -portrait, as it is to be seen at Karnak, does not in any way resemble -the personage whose image is preserved in the Boulaq statue. The other -princes of the XIXth and XXth Dynasties, Setouî II, Siphtah Menephtah, -Amenmeses, Setinakht, of whom we have only a few poor portraits, have -no more claim to be commended than their great predecessors Setouî -I or Ramses II: the disturbed times in which they lived scarcely -admitted of works of careful composition. Like Menephtah, Ramses -I was too old at his accession, and besides, we have his portrait -at Gournah. And, moreover, the style of the piece recalls at first -sight that of the Turin statues belonging to the XVIIIth Dynasty, -and then we must eliminate _a priori_ a certain number of statues -of which we possess the exact description. Neither Ahmôsis I, nor -the Thouthmôsis, nor the Amenhotpou have anything in common with our -personage; and for even a stronger reason we cannot recognize in him -the characteristic physiognomy of Khounaton and Aî. Proceeding from one -exclusion to another, we come to restrict the choice to three princes, -Touatânkhâmonou, Sânakht, and Harmhabi. Sânakht had only an ephemeral -reign; Touatânkhâmonou has only left us insignificant monuments; -Harmhabi, on the contrary, appears to have been one of the most -important sovereigns of his time. A young man at the accession, he -restored the temples of Amon despoiled by his heretic predecessors, and -re-established the Egyptian power that had been weakened for a moment -in Syria and Ethiopia. Last year and this year I cleared away the -rubbish from two of the pylons he had built and decorated at Karnak; -his portrait was sculptured on them numerous times, and the outlines -are sufficiently well preserved for us to see in the king of the -bas-reliefs the original of the Boulaq bust. I attribute the statue of -which Mariette found the remains to Harmhabi, the Armaïs of the Greeks. - -In conclusion, I may observe that the fragments, when carefully -examined, show no trace of having been broken by a hammer; the statue -was not destroyed by the hand of man, the case with a certain number -of the monuments at Karnak. The great earthquake of the year 27 B.C., -which put the temple of Amon almost into the condition in which we see -it, brought down the ceilings of the halls; all the objects underneath -were injured by the blocks or architraves then violently thrown to the -ground and crushed under the weight of the ruins. Our Harmhabi did not -escape the common lot: it needed Mariette’s great patience to restore -the little we possess of him. - - - - -XV - -THE COLOSSUS OF RAMSES II AT BEDRECHEÎN[72] - - -Ramses II, Sesostris, having restored the portions of the great -temple of Phtah at Memphis, which bordered the sacred lake on the -west and south, had colossi erected in front of the doors, destined -to perpetuate his memory and his features for all “who should come -after him on the earth, priests, magicians, scribes,” and who should -recite a prayer to the gods on his behalf. The sacristans appointed -as guides to the profane, and the dragomans who act as showmen of the -wonders of Egypt, never fail to draw the tourist’s attention to these -statues; it gives them an opportunity to relate some amusing story like -those collected by Herodotus and transmitted to us by him as authentic -history. One day Darius I wished to consecrate his image in the -neighbourhood, but the high priest opposed his purpose: “Sesostris,” he -said, “has conquered all the nations that obey you, and the Scythians -to boot, on whom you never succeeded in inflicting much harm. There -is then no reason why your monument should be placed by the side of -that of a Pharaoh whom you have neither surpassed nor equalled!” When -Memphis fell and became Christian, the fame of the colossi died away. -When it perished and its temple of Phtah was dismantled stone by -stone to serve for the building of Cairo, they were thrown down, and -for the most part cut up into grindstones, whence they passed into the -lime-kiln. One of them, however, thrown from its pedestal and lying -face downwards on the ground, was covered with rubbish, and preserved -from destruction by that happy chance. Brought to light by Caviglia -at the beginning of the nineteenth century, it had the good luck to -please travellers, and owed it to them to have escaped the mania for -destruction that possesses the fellahs. - -[Illustration: THE HALF-BURIED COLOSSUS OF RAMSES II.] - -[Illustration: THE COLOSSUS OF RAMSES II EMERGING FROM THE EARTH.] - -All Europeans in turn who have visited Egypt have admired it. It lies -along the side of the path under the palm-trees of Bedrecheîn at the -bottom of a muddy ditch. At the period of the inundation, water fills -it and covers the statue for some weeks; then it gradually reappears, -the shoulder and the leg first, then the bust and face, until it is -all high and dry again in its hole. Its Pharaoh was standing, walking, -the arms close against the sides. The name of Ramses II is to be read -on the cartouche engraved on the buckle of the waistband that fastened -his petticoat. Nitre has destroyed one side of the face and body, but -what remains suffices to show the excellence of the work. The profile -is that of the young Ramses, with low forehead, large aquiline nose, -rather a large mouth, and a haughty expression. The base is at some -distance off, and farther away still, to the south, a smaller colossus -in wood, débris of walls, and fragments of statues point out the -position of ancient chambers. The palm forest which flourishes on the -site harasses excavation and prevents us from reconstituting the plan. -The building or group of buildings that our colossus adorned went -along the south bank of the sacred reservoir on which the mysteries of -Phtah and the Memphian gods were celebrated on the canonical days. In -spite of the long period of time, alluvial matter has not succeeded -in entirely filling the lake. The place is marked by a noticeable -depression, and the earth which fills it, instead of being planted with -date-trees, is sown with corn; it is like a square basin the edges of -which are drawn downwards from the surrounding ground. The rise of -the river partly restores the original aspect of the spot, but the -setting of porticoes and pylons which framed it has vanished; it is -replaced by clumps of big trees, under which is situated the village of -Tell-el-Khanzîr. - -It seems that Mohammed-Ali formerly gave Ramses II to England; the -fact is not exactly proven, and to admit it definitely a more serious -authority than that of one or several of the “Travellers’ Guides to -Egypt” would be required. The English have not availed themselves of -the doubtful tradition to remove the colossus: they were satisfied -to set it up again. They did not succeed at the first attempt, and -two trials made by Messrs. Garwood and Anderson failed ignominiously -enough. General Stephenson, who long commanded the army, was more -successful. He first had the ambitious project of setting the statue on -its feet again, but as the subscription opened for that purpose did not -produce sufficient money, he contented himself with raising it up above -the level of the inundation. The operations, conducted by Major Arthur -Bagnold, of the Engineers, were begun on January 20, 1887.[73] Having -drawn off the water, he applied eight lifting jacks of differing force -along the body: the effort was directed alternately to the head and -the feet: as soon as the whole mass was raised a little more than a -foot and a half, huge beams were slipped underneath, and the hollow was -filled up with broken potsherds collected in the ruins of the ancient -city, reduced to tiny pieces and beaten so as to form a compact bed. -The work was finished on April 16th. The colossus now lies on its back, -the face to the sky. A pent-house shelters the head; a thick brick wall -surrounds it and protects it from the gaze of the inquisitive crowd. -Its guardian dwells beside it in a small two-roomed house where Major -Bagnold installed him, and he only shows it to visitors on payment of -two Egyptian piastres: it costs about sixpence to see it at the bottom -of the new funnel in which it is plunged. The “Service des Antiquités” -employs a portion of the tax in keeping it in good condition. Another -Ramses in granite and a stele of Apries found in the neighbourhood were -afterwards placed there, and complete the little open air museum. - -The Arabs call the colossus _Abou’l-Hol_, the father of the Terror, -like the great Sphinx. I do not know what they think now that it is -under lock and key in its enclosure, but they were really frightened of -it when it was, so to speak, at large. The ancient Egyptians believed -that statues, human and divine, were animated by a spirit, a _double_, -detached from the soul of the person they represented. The _double_ -ate, drank, even spoke at need, and pronounced oracles; it has survived -the religion and civilization of the ancient people, but the changes -that have taken place around it seem to have soured its character. -It plays evil tricks on those who approach its hiding-place, injures -them, at need even kills them: Arab writers have a thousand tales -of persons who suffered because they imprudently attacked a monument -and the spirit that guards it. The means of rendering the _Afrite_ -powerless is to destroy, if not the whole statue, at least its face: -that is why so many Pharaohs have their noses broken or faces damaged. -The spirit of Ramses II walked in the palm forest at night, and it was -therefore imprudent to venture in the vicinity at twilight. Every time -that I was obliged to go that way at sunset, my donkey-boy mumbled -prayers and urged on his beast. One evening when I asked him if he was -afraid of some _Afrite_, he entreated me to keep silence, assuring -me that it was ill to speak of such things, and that if I persisted -some accident would happen to me. In fact, my donkey stumbled in the -middle of the forest and threw me against the trunk of a palm-tree: if -the donkey-boy had not caught me and averted the blow, I should have -smashed my head. From that time, whenever there was talk of the danger -in speaking disrespectfully of the spirit that lives in the statue, -what had happened to me was always quoted. The whole of Egypt is full -of analogous superstitions, the greater number of which are derived -from the ancient beliefs, and have been transmitted from generation -to generation from the time of the Pharaohs, the builders of the -Pyramids.[74] - - - - -XVI - -EGYPTIAN JEWELLERY IN THE LOUVRE[75] - - -So much has appeared in the newspapers about the treasure unearthed -at Dahchour last year by M. de Morgan, that every one in Europe knows -the number, form, and richness of the objects it comprises; but among -those who have described and justly praised them, how many--I do not -say Englishmen or Germans, but Frenchmen alone--know that the Louvre -possesses a collection of the finest Egyptian jewellery? Mariette was -fortunate enough twice in his life to find a number of magnificent -ornaments of great artistic value on the royal mummies, at the Serapeum -in the tomb of the Apis buried in the reign of Ramses II by the care -of one of the sons of the conqueror, Khâmoîsît, high-priest of Phtah, -and regent of the kingdom for his father, and at Thebes in the coffin -of a queen of the XVIIIth Dynasty, Ahhotpou I, who in her lifetime was -the daughter, sister, wife, and mother of Pharaohs. Mariette, artist -as he was, very skilfully brought out the interest of his discovery, -and the admirable idea it gave of the goldsmiths of the seventeenth -and fourteenth centuries B.C., but he went no further. He had brought -to light so many monuments of importance for the study of political -history and of civilization, that he never had time to dwell much -on the secondary result of his works. The jewellery of Ahhotpou is -preserved in the Boulaq Museum, where thousands of tourists admire it -every winter; that of the Serapeum is placed in the Louvre, and usually -obtains only an absent-minded glance from the few visitors who traverse -the solitudes of the Charles X Museum. - -It fills several compartments of a glass case that stands in the centre -of the historic hall. At first we note a large gold mask, unfortunately -damaged, and grouped near it gold chains with five and eight strands -of extraordinary suppleness and perfection; amulets of various shapes -in felspar, red and green jasper, and cornelian; scarabs, a buckle, -an olive, a little column, in the name of Khâmoîsît. A little farther -on a second series from the same source includes pieces, if not in -themselves more finished, more curious and more attractive to a modern -eye; the Lord Psarou, who was present with the prince at the funeral of -an Apis, did honour to the mummy of the sacred bull. I imagine that the -greater number of our contemporaries have but vague notions regarding -the way in which the Egyptians wore jewels. Men or women, their costume -at first was summary enough: the men protected their loins with a cloth -which scarcely reached the knee and left the bust entirely bare; the -women crept inside a clinging smock which reached the ankle, went up to -the pit of the stomach, disclosed the breast, and was kept in place by -two straps over the shoulders. Jewellery served partly to hide what the -stuff left uncovered, at least with the women. A necklace of several -rows encircled the neck and came down to the rise of the breasts; large -rings were round the wrists, the upper part of the arm, and the -lower part of the leg. The hair, or rather the wig, clothed the back -and half the shoulder; a square plaque suspended by a chain of beads -or a leather strap hung down below the necklace into the space between -the two breasts. That is what we call the pectoral. It often looks like -the façade of a temple, surrounded by a torus, and surmounted by a -curved cornice; portraits of gods or sacred emblems were crowded on the -surface, and inscriptions scattered everywhere tell us the name of the -owner, accompanied generally by pious formulas. - -[Illustration: EGYPTIAN JEWELLERY OF THE XIXTH DYNASTY. - -The Louvre.] - -[Illustration: GOLD PECTORAL INLAID WITH ENAMEL.] - -The buckle of Psarou must have served to fasten the linen waistband -which confined the loin-cloth, or the band which went round the head -and kept the head-dress in place. His pectoral is one of the richest -that has come down to us. It is fashioned in a plaque of green basalt, -polished and sculptured with a precision that is astonishing when we -remember how imperfect were the tools at the disposal of the Egyptians. -The central scarab is in very high relief against the flat background, -and the fidelity of the modelling is marvellous: the smallest details -of the head and corslet are rendered with almost scientific truth. -The two women who seem to worship it on the right and left are Isis -and Nephthys, the two sisters of Osiris. The contours of their bodies -are cut in the gold leaf that frames the scarab. Another pectoral of -which I give a reproduction is of less delicate workmanship, but the -technique presents interesting peculiarities. It has openings cut in -it, and the design of the parts is obtained by partitions of a very -supple gold, in which are set the scarab and the coloured glass which -relieve the uprights and cornice of the naos. The scarab is in lapis -lazuli, the dress of the goddesses in brilliant gold, engine-turned to -simulate the stripes of the stuff. The mystical meaning of this design -would not escape any educated Egyptian. The scarab represents the heart -and life of man, where life resides; it is the amulet which ensures -to each man, living or dead, the ownership of his heart. That is why -it was given to wealthy mummies, if not to all mummies: sometimes it -was stuck on to the skin of the corpse with bitumen at the rise of the -neck; sometimes it was set in the centre of a pectoral, lost in the -thickness of the swathings over the chest. As every Egyptian, when he -left this world, was assimilated to Osiris and became Osiris himself, -the heart and the scarab passed as the heart and scarab of Osiris, over -which Isis and Nephthys watched, as they had watched over Osiris; hence -the figures of the two goddesses. They warmed the heart with their -hands, they recited the formulas that prevented it from perishing, -they kept off evil spirits and the magicians who might have seized it -for their dark purposes. Religion provided the artists with a subtle -motive of decoration; while they never went far beyond the primary -idea, they varied its detail and expression with much skill. The women -are sometimes standing, sometimes seated or kneeling; they extend their -arms in front of them, or lift them to their foreheads like mourners, -or let them hang down in token of grief; the scarab rests on a boat -or a lotus flower or an altar, instead of floating in air, as in the -jewel of the Serapeum. Comparative study of all the scenes would prove -once again the Egyptians’ fertility of imagination and their skill in -ringing the changes on the most hackneyed subjects. - -[Illustration: PECTORAL OF RAMSES II. - -The Louvre.] - -[Illustration: PECTORAL IN SHAPE OF A HAWK WITH A RAM’s HEAD. - -The Louvre.] - -The pectoral in the centre belonged to Ramses II himself, or, at -least, was executed by his order, and as a personal gift in honour of -the Apis that was buried: the cartouche name _Ousirmârî_ is placed -just below the frieze, and serves, so to speak, as a centre for the -composition that fills the inside of the frame. There is first a hawk -with a ram’s head, with spread wings which curve in order to frame the -cartouche: in his claws he holds the seal, the emblem of eternity. -Lower, a large uræus and a vulture spread their wings and enfold both -the hawk and the cartouche in mutual protection. Two _Tats_ symbolize -eternity, and fill up the empty spaces in the decoration in the two -lower corners. The hawk with the ram’s head represents the soul of the -sun, the uræus and the vulture are the patron deities of the South and -the North: together they defend throughout the whole universe the king -whose name stands between their wings, and, by the intermediary of the -king, the dead man whose mummy wears the jewel. - -Here again the figures are designed in panels of gold encrusted with -coloured pastes or small pieces of cut stones. The whole is rich, -elegant, harmonious. The three principal motives grow in proportion -as they descend to the lower part of the picture, according to an -admirably calculated progression. The cartouche with its dull gold -occupies the centre; below it the hawk forms a first band of iridescent -tones, the lines of which, slightly curved back, correct the stiffness -of the long sides of the cartouche; the uræus and vulture, one pair of -wings seems to serve for both, envelop the hawk and the cartouche in a -semicircle of enamels, the tones of which pass from red and green to -dark blue, with a boldness and a feeling for colour that does honour -to the taste of the workman. If the general aspect makes an impression -of heaviness, it is not his fault; the form of the jewel imposed -by religious tradition is so rigid in itself that no combination -can correct the effect beyond a certain point. The rectangular or -square frame, the cornice at the top, the two rams’ heads which fit -in below the cornice, form a squat and massive whole. To fill the -interior suitably, it is impossible to avoid adding to the heaviness; -in manipulating the empty spaces a slender and narrow appearance is -procured, as in one at least of the pectorals of Dahchour. The type -of the jewels has its origin in the same ideas or notions whence -Egyptian architecture and sculpture are derived: it is monumental, -and seems to have been conceived for the use of gigantic beings. The -usual dimensions of the pectoral are too enormous for the adornment of -ordinary men and women. They only come into their own on the breasts -of the Theban colossi: the immensity of the stone body on which their -image is sculptured lightens them and seems to bring out their exact -proportions. - -Sometimes the Egyptians left aside the square form bequeathed to them -by their ancestors; the sacred bird left his cage when he could. -Mariette found two of these simplified pectorals at the Serapeum, both -of which represent a hawk: the first has its ordinary head and bends -its wings back, the other has assumed the ram’s head and keeps its -wings straight. It has the same wealth and the same elegance of line -as in the other objects of similar source, but the motive, rid of the -enamelled frame in which it was stifled, possesses more charm and is -better suited to humanity. The execution is wonderful, and the ram’s -head, in particular, surpasses in suppleness of workmanship all that is -so far known. It is cut in a little ingot of pure gold, but it is not -the material that is of most value: the old chaser knew how to model -it broadly, and has given it as faithful an expression as if he had cut -it life-size in a block of granite or limestone. It is no longer, as -everywhere else, industrial art: it is art pure and simple. Mariette, -and he understood, considered that he had never come across anything -approaching this among the Egyptian jewellery he had seen. The gold -ring also belongs to Ramses II. The two little horses who prance on -the bezel were celebrated in history. They were called _Nourit_ and -_Anaîtis-contented_, and were harnessed to the royal chariot on the day -of the battle of Qodshou, when Ramses II charged in person the Khitas -who had surprised him. The Pharaoh remembered the service they rendered -him on that memorable occasion. The chiselling, although not so good as -that of the hawk with the ram’s head, is very fine: it reproduces very -boldly the particular attributes of Egyptian horses, their exaggerated -mane, rather thin body, slightly swollen extremities. It is true that -the rings, as a rule, are not adorned with subjects in such strong -relief: the bezel is composed of a scarab or a metal cartouche turning -on a pivot, sometimes engraved with the name of the wearer of the -jewel, but more often with a pious formula or a series of symbols of -obscure meaning by way of inscription. The larger number of the rings -we see in the museums belonged to mummies, and are amulets that give -the dead man some sort of power over the inhabitants of the other -world: a small number only were used by their owners in their lifetime. -They are seals, affixed to deeds like our stamps, just as we affix -our signature. They are in every material: gold, electron, silver, -bronze, copper, enamel, even in wood, according to the wealth of the -individual; some are veritable masterpieces of engraving, but many -possess no more artistic value than the common copper seals bought -ready prepared at our stationers’. - -The largest of these jewels passed through so many hands before -reaching the Louvre that they have sensibly suffered: the panels are -warped or even broken, the enamels or encrusted plaques are here -and there worn off. The Dahchour jewellery, coming direct from the -excavation, has preserved an appearance of freshness which has not -a little contributed to increase the admiration of the public: the -objects seem scarcely to have left the hands of the goldsmith who -fashioned them, and the surprise we experience in finding them still so -fresh after more than four thousand years renders us indulgent towards -the imperfections that a close examination soon reveals. Their extreme -antiquity, and quite rightly, counts for much in the appreciation they -receive. It is indeed strange to confirm that from the twenty-fifth -century B.C. the Egyptians had carried the technique of precious metals -and the art of making jewellery to a very high degree of perfection. -This was, of course, already known, for it is not infrequent to find -rings, fragments of necklaces, isolated pectorals, some of which -perhaps go back to the Ancient Empire, while others belong to the Roman -period or betray Byzantine influence: our museums possess them by tens, -and there is scarcely a private collection that has not a certain -number of them. But these isolated objects do not attract the attention -of the public; to rouse its curiosity it is necessary that some happy -chance should bring to light a considerable treasure in which specimens -of all the types usually collected piece by piece are placed together. -Fortunately, these finds are not so rare as might be imagined: if -Gizeh can boast of possessing the substance of Dahchour and the queen -Ahhotpou, the Berlin Museum has the admirable ornaments that Ferlini -obtained from one of the Ethiopian pyramids; the Leyden Museum and the -British Museum shared the spoils of one of the Antouf kings of the XIth -Dynasty; and the Louvre carefully preserves the jewels of the Serapeum, -the most beautiful of all. - - - - -XVII - -THE TREASURE OF ZAGAZIG[76] - - -I - -Once more chance has served us well. Workmen who were making a railway -embankment on the site of ancient Bubastis discovered, on September 22, -1906, a real treasure of jewellery and Egyptian goldsmiths’ work in the -ruins of a brick house. They hoped to profit by the find themselves, -but one of our watchmen had seen them; he took no action, however, at -the moment, for fear of being ill-treated: the next day he reported -the matter to the native inspector, Mohammed Effendi Chabân, who at -once put the police on their track and informed his chief, Mr. Edgar, -inspector-general of the antiquities in the provinces of the delta. -Investigations were made in likely places, while the police searched -the workmen’s houses and recovered some of the pieces that had been -carried off. Several that escaped them fell later into the hands of a -dealer in Cairo: a gold strainer, three undecorated silver phials, a -large chased gold ring which strengthened the neck of a silver vase, -fragments of silver cups, all, except the gold ring, of no artistic -value. The two most valuable, a silver vase with a goat in gold as -handle and a gold goblet in the form of a half-opened lotus, were -seized at the house of the fellahs, Moursi Hassaneîn and Es-Sayed Eîd, -before they had sold them to a local Greek _bakal_. He immediately -claimed them of us as his personal property that, failing our -unfortunate interference, he would have acquired for ready money. As no -reply was vouchsafed to his summons, he went to law with us. The affair -dragged on for some weeks, during which Mr. Edgar had the railway works -carefully watched. At last, on October 17th, a workman with a blow of -his pick-axe laid bare several fragments of silver vases: he tried to -conceal them, but our _ghafirs_ prevented him, and the search proceeded -under the protection of the police: the objects lay in a heap, gold -between two layers of silver; the same evening they were in safety. -The work was carried out so quickly that nothing was lost, and there -was no reason for any one to contest our right to the windfall. To -bring this story to an end, I may add that on November 4th the court of -Zagazig found the two fellahs guilty of theft, and condemned them to -imprisonment and to pay half the costs. But the _bakal_ still persisted -in his claim, and rumour soon spread among the natives that he had -gained his suit in the Court of Appeal: we had been forced to deliver -up to him the objects of the litigation under penalty of a considerable -fine for each day of delay. The dealers never hesitate to spread lies -of this sort among the people: they thereby enhance their prestige with -the fellahs, and uphold them in the notion that they have nothing to -fear from the “Service des Antiquités.” - -The treasure safe, we had to take note of the condition in which it -reached us. At the first glance, two very different series were -perceived: one, which comprised the jewellery and the gold or silver -vases of most skilful workmanship, went back to the XIXth Dynasty; the -other was composed exclusively of silver plate, the coarseness of which -betrayed a much more recent period. Although it was all found at two -separate times, and in two places somewhat distant from each other, -did it originally form one collection? As we have seen, the whole made -a heap among the débris of two or three jars which were themselves -broken in the course of centuries under the continuous pressure of -the earth; the objects seemed to have been heaped up irregularly, -the most valuable in the middle, the others forming a bed above and -below. We had even still adhering to a large fragment of pottery a stem -partly of hardened mud and partly of metal, in which we recognized -on a precipitate of less ancient earrings and bracelets, the remains -of several Pharaonic goblets. How can it be explained that relics of -such different epochs should be found in the same place? Many of them -are intact, but others have purposely been clipped or broken, and the -fragments melted down; they are also mixed with plates of pliant silver -and with ingots coming from goldsmiths’ workshops like those that still -exist. We know what happens not only in Egypt but in European countries -when peasants dig up treasure while ploughing their land: they take -it to a jeweller, who buys it of them by weight, throws it into the -melting-pot, scarcely ever troubling about the loss thus caused to -art or science, and transforms it into modern horrors. It is to some -adventure of the sort that we owe the possession of our find. A fellah -who lived, I imagine, during the time of the Roman domination, found in -the ruins near Zagazig, if not at Zagazig itself, silver objects which -he sold to a native goldsmith who destroyed some of them for the -needs of his craft, and kept the others either to give to a collector -or to use himself in the same way as the first lot when that should -be exhausted. Did local sedition or the sack of the city by a hostile -army compel him to hide his property in two different places? His -goods, once hidden under the earth, were not again drawn forth, and we -received them from him, almost without an intermediary, sixteen months -ago. - -[Illustration: SILVER BRACELETS AND EARRING.] - -[Illustration: GOLD EARRING FROM THE TREASURE OF ZAGAZIG.] - - -II - -I will say nothing of the rubbish of his own fabrication. The types -are already those of present-day Egypt, and we could easily swear that -most of them were manufactured for sale to the fellahs, at most, twenty -years ago: earrings in the form of pendants or oblong rings, to the -lower part of which eight or ten metal beads are soldered in bunches; -rings with flat bezels, ornamented or left plain for a name to be -engraved; bracelets formed of a simple reed of silver foil, thinned at -each end and covered with a network of lozenges fixed by two or three -marks hollowed out by the chisel and lacking elegance, the ends, cut -off straight, nearly meet when the piece is finished, but they do not -join, and so facilitate the putting of the bracelet on the wrist. It -is the honest work of a man who did not spare his material, but only -knew just enough of his craft to please easily satisfied customers; -the taste of the good people of Bubastis who bought these things was -not of a discriminating sort, or they may have found their market only -in the people’s quarters. There are much better things of the kind in -the Cairo Museum, and if the new-found treasure had only yielded such -objects, it would have been at once despatched to the _salle de vente_ -for the delight of tourists. - -The contrast is striking as soon as we pass to what comes down from -the Pharaonic age. Not that it can be placed among the best we know -in that kind. The age of Ramses II is already marked by a less sure -taste than that of the ages that preceded it, and I cannot compare it -with the Dahchour objects nor with those of Queen Ahhotpou. One of the -necklaces is the common breastplate of five rows of little tubes in -stone and enamel, decorated with a fringe of gold egg-shaped ornaments -encrusted with coloured stone. Another necklace, also of gold, with its -eight rows of bottle-shaped pendants hanging to little chains of tiny -beads, would be somewhat out of keeping with the others if that was -its original form, but the parts had been separated, and we remounted -them ourselves in order to preserve them with less risk of loss. Five -lenticular earrings are formed of two convex gold pellicles closed at -the circumference and joined by a border of filigree, stamped in the -centre with a rosette, the leaves of which are grouped round a gold -or enamel button; a gold tube soldered to the inside and grooved in -the furrow of a screw passed through the lobe, and was fastened to an -invisible button which, pressed against the flesh, kept the jewel in -its place. There was also a bracelet in minute particles of metal and -enamel, like those of Ahhotpou and the princesses of Dahchour, but only -the clasp has come down to us, a sliding clasp of a most primitive -character, with no value except for the gold. The best thing in the -series was undoubtedly the pair of gold and lapis lazuli bracelets on -which may be read the cartouche name Ousimares--Osymandyas--of Ramses -II. - -[Illustration: ONE OF RAMSES II’S BRACELETS (OPEN).] - -[Illustration: ONE OF RAMSES II’S BRACELETS (CLOSED).] - -They form two circular portions of nearly equal size, joined by two -hinges, the first turning on a fixed axis, the second a movable bolt -taken away when the bracelet was opened. The back part is a mere plate -of polished gold about 1½ inches broad, on which eight twists and eight -fillets are laid side by side. The twists and fillets alternate, and -the ends are bordered with a thin strip parallel to the hinge. On it -are placed two rows of minute particles of metal soldered together, -and kept in place by two flat double-twisted little chains. The front -portion is expanded to the middle, where it is just over 2 inches in -height. At the hinges it is edged by a row of egg-shaped ornaments -set between two flat chains, and along the curves by a twist flanked -by two fillets. A second frame, included in the first, is of a more -complicated design: a double _motif_ of little beads and chains goes -round the curves, but on the side of the fixed hinge the cartouche -name of Ramses II is to be seen, and on the side of the movable hinge -two bands of beads and filigree lozenges on a plain background. In the -space thus reserved the goldsmith had traced the silhouette of a group -of ducks lying flat, by means of a line of beads and a thin thread. -The two bodies, which are packed together so as to be combined in one, -are formed of a piece of lapis lazuli, cut and highly polished. The -ends of the bodies are imprisoned in a gold sheath decorated with a -covering of small knobs and lozenges; the tails are joined together, -and simulate a fan; they are of lapis, striped with threads of gold to -mark the separation of the feathers. Another gold sheath, of similar -workmanship, envelops the chest; the two necks escape with a bold -movement, and the two heads, twisting round, lie symmetrically on the -back of the creatures. Between them and the frame is a smooth ribbon in -sharp zigzags on a seed-plot of granules. The whole effect is rather -heavy, and it would have been better if the artist had shown a more -sober taste; but having stated so much, it is clearly seen that his -work was conceived with a perfect understanding of decoration and a -mastery of all the secrets of the art. - -All the methods that he so well manipulated may be found in the work -of the goldsmiths of contemporary Egypt, especially in that of those -who, living in remote villages, have come less under European influence -than their colleagues in the cities. The models they copy are never -of so delicate an imagination or so skilled an execution; but we note -for the most part the same devices and the same decorative parts of -which we note the employment here; lozenges, zigzags, simple twisted -cords, double-plaited small chains, rounded mallets, threads, filigrees -in lines or in seeds. The ingots are beaten, stretched, fashioned, -polished on the same little anvil. The granules are blown as formerly -in charcoal powder, and the skill with which they are put together and -soldered to obtain the desired designs is as great as in the time of -the Pharaohs. In that, as in many other industries, the Egypt of to-day -has inherited from the Egypt of the past, and we have only to look at -the artisans in their shops to learn how the subjects of Ramses II set -about their work. - - -III - -The gold and silver vases are some years later than the bracelets. -On one of them, indeed, may be read the name of Taouasrît, a -great-granddaughter of Ramses II who married successively Siphtah and -Setouî II, and who enjoyed her hour of celebrity in the last days -of the XIXth Dynasty. It is a half-opened lotus, mounted on its -stem. The calyx of the flower is formed of thin gold-leaf, not lined, -sharply cut at the outer edge. The stalk is smooth except where the -cartouche is engraved: it expands and flattens out at the bottom to -form a foot, and the widening is decorated with folioles, kept in place -by three circular bands. The lines are sufficiently harmonious, but -the execution is poor, and the object would scarcely deserve a brief -mention in our catalogue if the royal name did not assign it a definite -date: here the artistic yields to the archæological value. - -[Illustration: GOLD CUP OF QUEEN TAOUASRÎT.] - -[Illustration: SMALLER OF THE TWO GOLD VASES (FRONT VIEW).] - -It is otherwise with the gold vases that accompany it. They are of -medium size, and the smallest of them all measures only about 3 inches -from bottom to top; but the harmony of the proportions makes them -perfect models of the kind of plate that appeared at banquets on the -sideboards or tables of the rich. The bowl is rounded, and surmounted -by a straight neck almost as high as the bowl itself, the upper edge of -which curves slightly outwards. The front is decorated with a traced -ornament simulating that of one of the large necklaces in lotus petals -with which the Egyptians adorned themselves on fête-days. The two -bands with which it was fastened to the neck fall undulating on the -right and left, and two cats--the two cats of the goddess worshipped -at Bubastis--look at them inquisitively, with attentive eye, distended -back, quivering tail, straight ears, as if asking to play with them. -A lotus escapes below, and on the slopes of its corolla two geese -glide flapping their wings. The neck is divided into three equal rows, -separated by flat cords: first a wreath of lotus buds points downwards, -joined together by a band of threads, one on top of the other; then a -row of egg-shaped fruits, and lastly a band of round florets hollowed -in the centre and the hollow encircled with points like stamens. There -is neither handle nor holder, but a small barrel, through which a gold -ring was passed and by which the object could be hung up, was fastened -by three rivets to the lotus buds on the side opposite to that of the -necklace. The barrel is of bluish faïence set in a gold mount with -a terminal flower. It shows signs of wear and is dented in several -places, but none of the blows it suffered have seriously injured it: it -is as perfect as at the moment it issued new from the shop. The choice -of motives is elegant, the grouping irreproachable, the composition -bold and a little summary: the artist seems to have worked quickly, -but he possessed such mastery of his craft that the rapidity of the -fabrication in no way injured the charm of the work. - -[Illustration: SMALLER OF THE TWO GOLD VASES (BACK VIEW).] - -[Illustration: MASS OF SILVER VASES SOLDERED TOGETHER BY OXIDE.] - -The second vase is larger, for it measures about 4½ inches in height; -if the shape is similar, the detail of the decoration is very -different. The bottom is flat, and the outer surface is filled by -a lotus, drawn so as to cover it entirely. The bowl is not smooth, -but three-fourths of it are covered with a regular bossage, which -gives it the appearance of an enormous symbolic ear of _dourah_. The -method employed to produce it is not repoussé work properly so-called, -hammered from the inside to the outside. The general network was -first very lightly traced on the metal; then the rounds were outlined -with a blunt instrument and hammered into a furrow, which, pressing -down the metal round them, left them themselves in relief. The neck -was finished by an almost imperceptible rim, obtained by turning the -upper edge of the gold plaque outwards. There are four rows instead -of the three of the small vase: at the top the line of buds, then -lotuses head downwards, with alternate bunches of grapes or undefined -flowers hanging between them, then centred florets, and then fruits. -The suspensory ring is fastened to the band of petals by a _motif_ in -shape of a calf. The beast lies on its belly, the tail folded over the -back; the head, turning to the right, is extended and raised, as if to -look over the edge of the neck. It seems to have been chiselled in the -solid metal, and not engrafted, and then finished with the graver. It -is treated broadly, with a sure touch and the knowledge of animal form -that is peculiar to the Egyptians; it may be placed beside the couchant -calves that serve as perfume caskets and are masterpieces of sculpture -in wood: it will lose nothing by the comparison. The whole presents the -same characteristics as the preceding vase, and when closely examined -we are soon convinced that it comes from the same workshop; indeed, -there is little risk of mistake if we attribute both to the same artist. - -[Illustration: LARGER OF THE TWO GOLD VASES (FRONT VIEW).] - -[Illustration: LARGER OF THE TWO GOLD VASES (BACK VIEW).] - -It is the same with the two silver jugs which accompany the two -gold vases: they have a common origin, and an equal importance for -oriental toreumatology. One of them, unfortunately, was broken, and -we do not possess all the pieces; but we have enough to be sure that -it resembled the one that has come to us intact. The bowl is covered -to two-thirds of its height with longitudinal rows of fruits, sitting -one on the other like the scales of a pine cone. Here again it is not -ordinary repoussé work, but the outline of each scale has been marked -round and the metal then pressed down from outside to inside. The -smooth belt which lies between the embossing and the rise of the neck -carries round the whole of the vase a single line of hieroglyphics -expressing a wish for the eternal life and prosperity of the royal -cupbearer, Toumoumtaouneb, then a vignette and the owner in worship -before a goddess, who is pacific and Egyptian on the perfect vase, but -bellicose and foreign on the broken vase, armed with lance and buckler. -Toumoumtaouneb was a person of importance in his time: not only was he -entitled chief cupbearer, but he is proclaimed the king’s messenger in -all barbarous lands, and he doubtless brought back his pious regard for -the bellicose goddess from one of his journeys in Syria. That is the -only exotic element found in the decoration of the two vases. The top -of the neck is ornamented with a rim of light gold. It has two rows -of subjects, one on top of the other: episodes of hunting or fishing. -A fragment of the broken vase shows a troop of wild horses running -towards a marsh with lotuses, where birds are flying. The intact -vase is unfortunately encrusted in places with oxide, which obscures -the detail of the scenes: we distinguish outlines of boats, tufts of -aquatic plants, men drawing nets or shooting arrows, beasts at full -gallop; in the upper row there are imaginary trees with palm-leaves or -volutes, among which griffins fight with lions. If we do not owe the -silver vases to the same artist who fashioned the gold vases, he was at -least endowed with the same admirable skill. He has greatly simplified -the outline of his figures, but the lines are firm, even, sunk in the -metal with the precision of a master: the craft had no secrets from -him. But that is not the chief merit of his work: twenty others would -have been capable of so much among the goldsmiths who worked for the -king and the great nobles. What specially distinguishes it is the -originality of the design he chose for the handle, and the manner in -which he treated it. A kid, attracted by the fumes of the wine -contained in the vase, had climbed the bowl, and boldly standing on -its hind feet, the legs strained, the spine rigid, the knees leaning -against two gold calyxes which spring horizontally from the silver -face, the muzzle pressed against the moulding, he looks greedily over -the edge: a ring passing through the nostril serves for hanging up the -vase. The body is hollow and has been fashioned in two pieces stamped -out, and the two halves soldered together longitudinally and touched -up with the graver. The horns and ears are inserted: a triangular -hole was introduced in the middle of the forehead. The material -technique is excellent, but the conception is even superior to the -technique: nothing could be truer than the movement that inspires the -little creature, nor more ingenious than the expression of greediness -emanating from the whole of the body. - -[Illustration: THE VASE WITH THE KID. - -(About 6¼ inches in height.)] - -Representations of many similar vases may be seen on the monuments -of the Theban Dynasties, with foxes, leopards, and human beings for -handles, and we had asked ourselves if they really existed anywhere -except in the imagination of the painters of the hypogeums. There is -now no manner of doubt that they were faithful reproductions of models -used by the Egyptians, or by the nations with whom the Egyptians had -relations either in war or in commerce. Shall we ever find one of -the large table épergnes which show scenes of conquest, with trees, -animals, statuettes of negroes or Asiatics in gold or in enamel? They -contained such a large amount of metal that they would have been cast -into the melting-pot at some moment of want, but we await the chance -that may give us depôts similar to that of Zagazig: I do not think, -however, that we shall find pieces of a finer inspiration or of a more -harmonious composition than that of the vase with the kid. - - -IV - -The silver pateræ have suffered much. Hurriedly piled up in the -receptacle where they were hidden, the oxide bound them solidly -together, and we have not yet succeeded in separating them all. It -has besides eaten into them in so thorough a fashion that we have -only ventured to clean two or three: it is doubtful if we shall ever -risk touching the rest. It is a misfortune common to most of the -silver objects found in Egypt: under the influence of the annual -infiltrations, the organic acids, of which the subsoil of the ancient -cities is composed, attack them and eat them away without truce or -mercy. If the metal was of suitable thickness we might hope that the -surface only was injured and the core of the metal unharmed, but most -often they consist of a leaf of metal of extreme thinness, which -quickly decomposes. Thus the object only endures at all thanks to the -oxide crust, and if that support was removed it would be resolved into -dust and tiny fragments. - -[Illustration: ONE OF THE SILVER PATERÆ OF ZAGAZIG (SIDE VIEW).] - -[Illustration: SILVER STRAINER.] - -Only one of the pateræ is almost intact. It measures just over 6 inches -in diameter and about 5½ inches in height. It is flat at the bottom -and the sides are slightly inflated at the base; they are decorated at -the top with a gold border fastened to the rim by rivets. Two small -decorated plates in chased gold are furnished with rings which hold a -little gold rod that, bent in three, serves to suspend it. Four large -gold rounds are placed flat on the rim opposite the handle. The side -is smooth, with a single line of hieroglyphics on the outside--a kind -wish, on the parvis of the temple of Neîth, for the owner, the -singing-girl of Neîth, Tamaî, “the Cat.” It is silver leaf, stamped -out in a curve, the two ends of which have been joined without any -appreciable overlapping and then soldered together. The bottom is also -formed of silver leaf, which is fastened to the lower edge of the -sides and divided into two concentric rows. In the centre is a sort of -umbilicus, with a gold flat-rimmed hat decorated by a line of rounded -beads of metal and several lines of little chains. The row nearest the -centre is slightly lower; on it may be seen water full of fish, with -tufts of lotus here and there. A little papyrus boat, occupied by a -naked shepherd and a calf, floats amid the patches of green; birds fly -about, and two nude figures of young women--the same who, modelled in -wood, provided the sculptors of the period with a charming design for -perfume ladles--swim side by side in order to gather flowers. A flat -space and a line of tiny rounds separate the pool from a hunting-ground -that four conventional palm-trees planted at equal distance divide -into the same number of distinct compartments. Two winged sphinxes -with women’s heads stand on either side of one palm, the paw raised -and stretched out as if to pull down the dates: two symmetrical pairs -of goats leap at the other palms to browse on them. Between these -groups, animals run madly about, a wild ox chased by a leopard, hares -and gazelles by foxes, dogs, or wolves. The figures of the middle row -are of repoussé work of so feeble a character that we should almost -say they are engraved on the metal: those of the outer row are of a -stronger repoussé, and then gone over again and finished with the -graver. - -The other pateræ resemble these as far as the technique and decoration -are concerned: they evidently came from the same workshop and belonged -to one owner. Were they for daily use or only for ornament? It would -seem that they were not fashioned for a definite use: at least they -do not recall the shapes seen on the monuments in the hands of guests -at a banquet or of priests in the sacrifices. They were hung on the -walls of halls, or placed on sideboards on fête-days, and if they were -given to the guests, it was not simply for them to eat or drink out of. -Filled with fresh water or clear wine, it was a sort of miniature lake, -in the centre of which the point of the gold hat rose like an islet: -the landscape and figures, seen through the transparent medium, stood -out on the flat background with peculiar vivacity, and were effaced or -deformed at pleasure when the liquid was disturbed. It is not so long -since we were pleased with similar puerilities, and Orientals do not -disdain them to-day: the pateræ were, perhaps, toys rather than objects -of real utility. I shall not say the same of the silver strainers, -the forms of which are elegant but not overladen with ornament, and -evidently intended for use. A wide opened funnel, a plaque at the -bottom pierced with tiny little holes--the handle alone testifies to -any artistic attempt--an open papyrus flower, the petals of which, bent -over the stem, lean on the rim of the funnel. It is a useful implement -for kitchen or cellar, well adapted to its end, easy to keep clean, in -a word practical, a thing in truth that the pateræ are not. - - -V - -It is clear, then, that the interest of the find is great in itself -on account of the number and beauty of the objects. Until now the -greater part of the goldsmiths’ work we possess was of the Ptolemaic -period, and those that could be attributed with certainty to the -Pharaonic period possessed no characteristics that permitted us to -judge the skill of the Egyptians. The pictures on the walls of tombs -or temples authorize our belief that it was very skilful, but the -conventions of their designs are still so ill-defined that there is not -always agreement about their interpretation. It is even necessary to -ask if certain motives figuring outside a vase ought not to be taken -as belonging to the decoration of the inside. We now have a sufficient -number of their works to justify our conjecture, and to declare in all -sincerity that the goldsmiths were in no way inferior to the sculptors, -at least so long as the second Theban Empire lasted. - -[Illustration: THE BOTTOM OF ONE OF THE ZAGAZIG SILVER PATERÆ.] - -These objects were found on the site of ancient Bubastis, and the -presence of the cats of the goddess Bastît on several of them, as -well as the name of Tamaî, the Cat, that is on the chief vase, seem -to point that they were made in the place that has restored them to -us. It is true that Tamaî was a singing-girl of Neîth, living in -the enclosed space before the temple of Neîth, and that might be a -counter-indication, at least so far as these objects are concerned. -Setting aside the question of origin, which is too uncertain, we may -ask if they are really Egyptian by inspiration, or if there is not a -risk in examining them more closely of the discovery of proofs of some -foreign influence. For about a quarter of a century, now, Assyria, -Chaldæa, Asia Minor, Crete and the Egyptian islands have become better -known to us, and the scholars who have studied those places have not -been slow to despoil Egypt in their favour: it is too often sufficient -for an object or an artistic design frequently occurring on Egyptian -monuments to be found in those places at once to attribute to them the -original invention or ownership. I cannot help thinking that many of -these claims are not legitimate, and that in a more general way it is -exceedingly rash in the case of a civilization so complex and distant -in its beginnings as that of Egypt at the time of the second Theban -Empire, to claim the ability to discern all the elements it borrowed -from outside. We know how rapidly the peoples of the Nile assimilate -the foreigner: in ancient times, it was with the arts as with men, -and forms of architecture, of drawing, of industrial production, -transplanted among them, either quickly disappeared and left no trace, -or yielded to the conditions of the country, and became so completely -fused with the taste of its environment that it is now scarcely -possible to distinguish the foreign from the native. I believe that -Egypt certainly accepted exotic types; but the lands with which she had -relations did not abstain from imitating her, and from the most distant -ages. She gave to others at least as much as she received from them, -and in many cases where the question of filiation has recently been -determined against her, it would be well to suspend that judgment, if -not to upset it. - -In this case, I imagine that it will not enter any one’s mind to -dispute that the bracelets of Ramses II and the chalice of Taouasrît -are Egyptian pure and simple. The two gold vases and the two silver -jugs present no foreign characteristic: the gold kid is of the same -family as the goats sculptured fifteen or twenty centuries earlier in -the Memphian bas-reliefs, standing on their hind legs and nibbling at -a bush. The pateræ, it is true, resemble the Phœnician gold and bronze -cups so often found in the Euphrates districts and in the lands on the -shores of the Mediterranean: but no one has refused to admit that -they were imitations of Egyptian models, and perhaps a more impartial -examination would lead archæologists to restore some of them at least -to Egypt. At any rate, the treasure of Zagazig shows us what those -models ought to be: the Phœnicians were not unmindful of them and -respected the general arrangement, even if they often modified the -detail. One element only in the scenes of the two rows may be exotic: -the female sphinx with the strange locks of hair, if we choose to see -in her a derivative of the griffin rather than a fantastic deformation -of the male sphinx of a former age. But even so, it must not be -forgotten that the griffin belongs to the ancient national foundations -like the oxen and gazelles, goats, dogs, leopards seen by its side: -its presence would only prove--if its form was so characteristic that -we could not refuse to believe it an incongruity--that it was borrowed -from the arts of Syria or Chaldæa by some artist tired of always using -the traditional types of his country. - - - - -XVIII - -THREE STATUETTES IN WOOD - -(_The Louvre_) - - -The three little wooden figures reproduced here are of Theban origin, -and represent persons who lived under the conqueror-kings of the -XVIIIth and XIXth Dynasties. - -The first was found in the Salt collection, purchased by Champollion at -Leghorn in 1825, which forms the basis of the Louvre collection.[77] -It is a young woman in a long clinging dress trimmed with a band of -embroidery in white thread running from top to bottom. She wears a gold -necklace of three rows and gold bracelets. On her head is a wig, the -hair of which hangs down to the rise of the breast; the wig is kept -in place by a large gilded band simulating a crown of leaves arranged -points downwards. The right arm hangs down beside the body, and the -hand held an object, probably in metal, which has disappeared; the -left arm is folded across the chest, and the hand clasps the stem of -a lotus, the bud pointing between the breasts. The body is supple and -well-formed, the breast young, straight, slight, the face broad, -and smiling with something of softness and vulgarity. The artist was -unable to avoid heaviness in the arrangement of the coiffure, but he -has modelled the body with an elegant and chaste delicacy; the dress -follows the form without revealing it indiscreetly, and the gesture -with which the young woman presses the flower against her is natural. -The statuette is painted dark red, except the eyes and the embroidery, -which are white, and the wig, which is black: the bracelets, the -necklace, and the bandeau are of a yellow gold identical with the small -book exhibited in the glass case marked Z in the “Salle civile.”[78] - -[Illustration: - - La Dame Naî Prêtre Officier en costume demi civil - -STATUETTES IN WOOD. - -The Louvre.] - -Two inscriptions engraved on the pedestal, and then painted yellow, -inform us of the name of the woman, and of that of the individual who -dedicated the statue. One on the front runs thus: - - (A) ADORATION TO PHTAH - SOKAR-OSIRI,[79] GREAT GOD, PRINCE - OF ETERNITY, TO WHOM ARE GIVEN ALL KINDS OF GOOD - THINGS AND PURE THINGS, TO THE DOUBLE OF THE - PERFECT LADY NAÎ OF THE TRUE PERFECT VOICE. - -The other is engraved on the right side, and runs: - - (B) IT IS HER BROTHER WHO MAKES HER NAME TO LIVE, - THE SERVANT PHTAH-MAÎ. - -From other monuments we know more than one Egyptian of the name -Phtah-Maî, and more than one lady Naî: but none of them has any claim -to be identified with our two personages. Phtah-Maî is not a noble: he -filled a very humble post, that of a page attached to a noble, or a -subordinate employé of a temple or of a court of justice. But the charm -of the monument he devoted to the memory of his sister is only the more -remarkable. - -The personage in the middle is a priest, standing, wearing the short -wig with little locks of hair in rows one above the other. The bust -is bare, and his only garment is a long skirt falling half way down -the leg, spread out in front into a sort of pleated apron. In his two -hands he bears a sacred insignia consisting of a ram’s head surmounted -by the solar disk, and forming an ægis, the whole set into a staff -of fairly large dimensions: the attitude is one of repose. The third -figure, on the contrary, is full of movement and activity. It is an -officer in semi-military costume of the time of Amenôphis III or of -his successors: a small wig, a clinging smock with sleeves, a short -loin-cloth tightly girded over the hips and scarcely descending to the -middle of the thigh, decorated in front with a small piece of stuff -standing out, pleated lengthwise. These two statuettes are painted -dark red with the exception of the wig, which is black, of the cornea -of the eyes, which is white, and the insignia of the priest, which is -yellow. The old pedestal has disappeared, and with it the name. Like -the limestone and wooden statues of large dimensions, these formed -part of the funerary equipment: they were the supports of souls in -miniature, and served as a body for the double of the model and _kept -alive the name_ of a person who had been loved or well known. There -are a large number of them in the museums, and nearly all are of the -same epoch. Neither the Ancient nor the Middle Empire made them--Saïte -art preferred hard stone: the wooden statuettes that I have so far seen -are of the second Theban period, and belong to the XVIIIth, XIXth, and -XXth Dynasties. - -Some of them, if not all, were used for purposes that seem strange to -us. Several had little rolls of papyrus fastened to their pedestal or -their body, ordinary letters that the writers sent to one another; -one possessed by the Leyden Museum is an adjuration addressed _to the -perfect soul of the lady Ankhari_ by her still living husband:[80] -“What fault have I committed against thee that I should be reduced -to the miserable condition in which I find myself? What have I done -to justify this attack on me, if no fault has been committed against -thee? From the time I became thy husband until this day, what have I -done against thee that I should conceal? What shall I do when I have -to bear witness to my conduct in regard to thee, and shall appear with -thee before the tribunal of the dead, addressing myself to the cycle of -the infernal gods, and thou wilt be judged after this writing, which -is in words uttering my complaint in regard to what thou hast done. -What wilt thou do?” The general tone of the piece is, as is clear, one -of complaint and accusation. The husband laments about “the miserable -condition to which he is reduced,” three years after he has become a -widower; then he relates the incidents of his conjugal life in order to -show the ingratitude he has received for his trouble and care. “When -thou becamest my wife, I was young, I was with thee, I did not desert -thee, I caused no grief to thy heart. Now so I acted when I was young; -when I was promoted to high dignities by Pharaoh, I did not desert -thee; I said: ‘Let them be mutual between us!’ and as everybody who -came saw me with thee, thou didst not receive those whom thou didst -not know, for I acted according to thy will. Now, here it is, thou -hast not satisfied my heart and I shall plead with thee, and the true -will be distinguished from the false.” He dwells on and reminds her of -his kindnesses: “I have never been found acting brutally to thee like -a peasant who enters other people’s houses.” When she died, during -an eight months’ absence occasioned by his service with Pharaoh, “I -did what was seeming for thee: I lamented thee greatly with my people -opposite my dwelling, I gave stuffs and swathings for thy burial, and -for that purpose had many linen cloths woven, and I omitted no good -offering I could make thee.”[81] The poor man does not state clearly -the nature of the troubles from which he suffered. Perhaps he imagined -that his wife tormented him in the form of a spectre; perhaps, what -after all comes to the same thing in the belief of an Egyptian, he -was attacked by diseases and overwhelmed with infirmities that he -attributed to the malignity of the dead woman. We are reminded of -the strange actions that the Icelanders of the Middle Ages practised -against ghosts. The administration set on foot the whole cortège of -officials and the whole of its legal code to bring the accusation, -judge and condemn the dead who persisted in haunting the house in -which they had lived. The records of the causes are extant and -testify to the gravity that presided over this strange procedure. The -Leyden papyrus certainly relates to an affair of the kind. A husband, -addressing his wife’s soul, summons her to suspend persecutions that -are in no way justified, under pain of answering for her conduct before -the infernal jury. If she did not heed this preliminary advice, the -matter would be brought later before the tribunal of the gods of the -west and pleaded: the papyrus would serve as a piece of convincing -evidence, and then “the true would be distinguished from the false.” - -There was one difficulty to be overcome: how was the summons to be sent -to her? The Egyptians were never embarrassed when it was a question of -communicating with the other world. The husband read the letter in the -tomb, then fastened it to a figure of the woman. Thus she could not -fail to receive the adjuration as she received the funerary banquet, or -the effect of the prayers that assured her happiness beyond the tomb. -The preoccupations of art held only a subordinate place in statues like -those of the lady Naî and her two companions: the religious idea was -predominant, and it was religion which gave the monument its meaning. - - - - -XIX - -A FRAGMENT OF A THEBAN STATUETTE[82] - - -The excavations undertaken by Mr. Mond on the eastern slope of the -hills of Cheîkh-Abd-el-Gournah, in one of the richest of the Theban -cemeteries of the XVIIIth and XIXth Dynasties, have already given -several valuable monuments to the “Service des Antiquités”; and nothing -surpasses or even equals the fragment illustrated here. The statuette -to which it belongs was broken in the middle. The hips and legs have -disappeared, as well as the right arm, and the plinth against which -the back leaned; Mr. Mond eagerly sought the missing pieces among the -residue of his find, but in vain; they were not forthcoming, and were -doubtless either destroyed in ancient times, or carried off by some -amateur during the nineteenth century. The fragment that remains to -us measures nearly a foot in length and about 4½ inches across the -shoulders; there is nothing in the lines by which one can determine -whether the person it represents was seated or standing. I am inclined -to think that, according to the custom of the time, the attitude -resembled that of the little lady Touî in the Louvre,[83] standing, the -feet nearly on the same level, the right arm hanging down, the head -erect, with the wig of ceremony, and the dress of great holidays. - -[Illustration: THE MOND STATUETTE (FRONT VIEW).] - -The material employed by the sculptor is limestone of the kind the -inscriptions describe as the _fine white stone of Tourah_, but thick -beds of it extend along the sides of the valley of Egypt from the -environs of Cairo to the defiles of Gebeleîn. It abounds in the Theban -plain, and although it is too split and cracked in every sense to be -of any use for building purposes, it is admirably suited for designs -of restricted dimensions, such as those of our statuette. It was most -probably carved in the stone of Cheîkh-Abd-el-Gournah itself, perhaps -in one of the blocks extracted at the time of hollowing out the tomb -for which it was destined. It forms an excellent substance, supple -and firm at the same time, and subserves with an inimitable docility -the boldest and the most delicate strokes of the chisel; the grain of -marble, crystalline and almost metallic, makes the sensation on the eye -of a rigid envelope in which the subject is, as it were, imprisoned, -while limestone, softer and richer, better reproduces the elasticity -of the surface of flesh and the free play of the muscles under the -skin. Our statuette had been illuminated in accordance with custom, -but it bears only imperceptible traces of painting and has the natural -colour of old limestone, a tone between cream and yellowed ivory, which -recalls the paleness of Egyptian women. The detail of the clothing -and ornaments which was due to the brush has vanished, and is only -indicated on the border of the mantle by faint tooling. It has thus -lost its archæological value, but has gained an aspect of refinement -wanting in works where the colour has been preserved intact. - -The young woman who has thus left us her portrait lived under the XIXth -Dynasty, at a time when fashion imposed enormous head-dresses and -scanty clothing on its votaries. An almost transparent linen covers the -left shoulder, then crosses the chest and is knotted under the right -armpit, concealing the rest of the costume; the left hand is freed -from it and clasps a lotus stem, the flower reaching to the hollow -between the breasts. The bust has not yet attained its plenitude, but -the breasts are well shaped and well separated, but so slight that -they scarcely make any impression on the linen; the lines of the arm, -shoulder, and neck indicate thinness. The artist has well understood -the characteristics of the dawn of womanhood, and the discreet fashion -in which he permits us to guess the slender grace beneath the garment -is that of a master craftsman, but it is in the head and face that he -shows the full measure of his talent. The head is fitted into a wig -of complicated structure which yields nothing in size to the majestic -peruke of Louis XIV. A double ribbon running from the forehead to the -back of the neck divides the hair into two equal masses, which are -themselves divided into volutes of little waved locks, each formed of -two thin tresses, twisted together at the extremity. The whole forms -a stiff heavy fabric which, unskilfully interpreted, would make the -piece ugly, no matter how successful in the other parts. Our sculptor -has made no change in the general arrangement--his model would not have -permitted it--but he has adjusted the parts with such happy ingenuity -that the monster wig, instead of overpowering the face, acts as a frame -to it and sets it off. - -[Illustration: THE MONO STATUETTE (PROFILE).] - -It is of the purest Egyptian type, not the heavy, brutal type which -predominates in the Memphian age and among the fellahs to-day, but -an elegant refined type of which numerous examples are provided by -statuettes of all periods. The forehead appears to be rather low, but -we cannot be sure if it was so by nature, or if it is the wig which -conceals its height. The eyes are long, almond-shaped, slanting towards -the temple, widely opened. The eyelids are drawn clearly, almost -sharply, and meet at an acute angle both at the inner corner and at the -outer commissure. The globe of the eye is rather prominent, the pupil -was added with the brush, and a sort of greyish tone vaguely marks the -place. The eyebrows are a flattened bow, thin and regular. The nose -is attached to the superciliary arcade by a fairly accentuated curve; -it is straight, thin, rounded at the end, with delicate nostrils. -The lower part of the face is thick-set, and of so firm a cut that -with age--if age ever came--it would have become hard. The lips are -full, thick, edged the whole length, split in the middle: they are -pressed together as if to keep back a smile. The whole face changes in -character and almost in century, according to the angle from which it -is looked at. Seen from the front it is round and full, with neither -superabundance nor softness of flesh: it is the little middle-class -girl of Thebes, pretty, but common in form and expression. Seen from -the side between the hanging pieces of the wig, as if between two long -ringlets falling on the shoulders, it assumes a malicious, roguish -expression not ordinarily usual in Egyptian women: it might be one of -our contemporaries who from caprice or coquetry had put on the ancient -coiffure. - -Who was she in her lifetime, and what was her name? The fragment -which represents her was found at the bottom of a funerary pit, in -the court-yard of the tomb of Menna, and Menna flourished under the -XIXth Dynasty. Was she one of his wives, or daughters, or sisters? The -inscription which might have told us is heaven knows where, and it will -be a great piece of good fortune if it is ever found. - - - - -XX - -THE LADY TOUÎ OF THE LOUVRE AND EGYPTIAN INDUSTRIAL SCULPTURE IN -WOOD[84] - - -The little lady Touî, who entered the Louvre last year, was in her -lifetime a singer in the service of Amon. The title gives rise to doubt -and scarcely permits us to determine to what class of society she -belonged. The singers in the service of Amon were of all ranks, some -married, others free. They were all bound to serve the god; they shook -before him the sistrum that kept off spirits, or wielded the magic -whip, the _monaît_, with which they beat the air to keep off with heavy -blows the evil beings who floated invisible in it. The most humble -were of easy morals, and the series of licentious vignettes in the -Turin Museum leaves no room for doubt regarding the kind of life they -led. They were the servants of the temple; they placed their bodies at -the free disposal of their master Amon, and whoever addressed them in -his name would not meet with refusal. In the Græco-Roman period the -high-priest chose a young girl of rare beauty from among the richest -and noblest families of Thebes and solemnly dedicated her. She became -the chief singer, and shared the life of her companions of lower origin -as long as youth lasted; when she was past the age of child-bearing -she retired, and an honourable marriage allowed her to end her days -amid the respect of all. The lady Touî’s position seems to have been -less curious. The wives of priests or those of citizens affiliated to -the different brotherhoods of Amon formed associations of _singers_ who -appeared in the temples on days of festival or at the hours fixed for -certain ceremonies: they only accepted the duty of playing the sistrum -or of plying the whip, leaving to the others the rest of the function. -Touî doubtless had a husband and children somewhere in Thebes. In -an Egyptian tale[85] the heroine, Tboubouî, daughter of a priest of -Bastît, replies to the lover who is importuning her: “I am pure, I am -no wanton.” Touî might say the same to us if, trusting to her title, we -confused her with the common _singing-girls_, who yielded their bodies -to all. - -[Illustration: THE LADY TOUÎ, STATUETTE IN WOOD. - -The Louvre.] - -The statuette that represents her may deservedly rank as one of the -best works which have recently emerged from Theban soil. She stands -upright in the hieratical attitude of repose, one foot in advance, the -head fixed, the right arm hanging by her side, the left arm across the -chest, holding the sacred whip, the _monaît_, folded up. She wears the -ceremonial costume, a long robe with sleeves, narrow, crossed in front, -edged with a heavy, stiff fringe, a broad necklace round the neck; on -her head the immense wig fashionable among the Thebans in the eleventh -and tenth centuries B.C., numerous little tresses gathered together at -the ends into two or three, and finished off with tassels or little -curls. The effect was fairly ugly: it lent heaviness to the top of the -figure, diminished the size of the face, cramped the neck, concealed -the fall of the shoulders and the rise of the breasts, broke the -equilibrium of the body. But the anonymous artist who made the portrait -of the lady Touî has derived an almost fortunate advantage from this -deplorable head-dress: he has treated it as a sort of background which -sets off the face, neck, and chest. The lateral tufts of hair frame -the features without making them too heavy, and the close-fitting coif -at the top is placed on the skull without appearing to crush it. The -slender, healthy forms of the body are rendered in remarkable fashion, -and the modelling of the belly and legs shows itself under the clinging -stuff with a precision that is in no way brutal. In looking at it we -certainly recognize more than one defect: the figure lacks suppleness -and the face expression; the wood is cut harshly and with an almost -puerile detail. The whole, however, pleases by some indescribable -simple and chaste charm: the Louvre was perfectly right to acquire it, -even if more money was expended than is usual on Egyptian objects of -such small size. - -Its use is easy to determine; it is a miniature _statue of the double_ -shut up in the tombs of the Memphian period. A statue was not within -the reach of everybody: only the rich could procure one, and people of -moderate means were obliged to content themselves with little figures -of less cost. The population of priests, _servants_, _singing-girls_, -heads of the works who lived round the sanctuary of Amon or in the -temples of the necropolis, had many pretensions to luxury with slender -resources: their tombs are filled with objects which pretend to be -what they are not, and veritably deceive the eye, destined to give -the dead the illusion of opulence; massive wooden vases painted to -represent alabaster or granite vases, rings and jewels in glass or -enamel that appear to be gold rings and jewels, furniture in common -wood, varnished, speckled, veined, to simulate furniture in rare woods. -The lady Touî belonged to that half-needy class, and had to substitute -statuettes of carved and polished wood for limestone or sandstone -statues. All the museums in Europe have similar ones, and through -Champollion, the Louvre possessed the lady Naî,[86] who sustains -comparison very well with her new comrade. Egyptian sculptors had -acquired veritable mastery in this subordinate form of sculpture, and -there are pieces of singular charm among those that have reached us. -Take, for instance, the little girl and the woman I have chosen almost -at hazard in one of the cases of the Turin Museum. The little girl is -standing, one foot in advance, the arms hanging down, naked according -to the custom of Egyptian children, with a necklace, and a belt which -loosely surrounds the loins, short plaited hair with a tress falling -over the ears. The material is less precious than with the lady Touî, -and the work less thorough, but has the slim delicacy of a little -Egyptian girl of eight or ten years old ever been better expressed? -It is an exact portrait, in costume and figure, of the little Nubian -girls of the Cataract before the age of puberty obliges them to wear -clothes; it is their thin chest, slender hips, clearly cut, delicate -thigh, their bearing, hesitating and bold at the same time, the roguish -expression of their features. - -[Illustration: STATUETTE IN WOOD. - -Turin Museum.] - -[Illustration: STATUETTE IN WOOD. - -Turin Museum.] - -The other statuette represents a well-developed woman standing on a -round pedestal without a scrap of clothing or veil, but very proud of -her head-dress, and especially of her big earrings. She touches the -right one with her hand and makes it stand out a little in order -to show it, or to assure herself that the jewel is very becoming; the -head is big, the shoulders thin, the chest narrow, and the sculptor -was embarrassed to render the movement of the arms; but the eyes are -so wide open, the smile so contented, the expression of the whole so -intelligent, that we can easily excuse that defect. - -Men were as well treated as women by this art fostered by persons of -small means. Scribes of subordinate rank, old retired officers, retail -merchants, or men at the head of small industrial concerns, all of -whom swarmed in the poorer quarters, felt as strongly as their wives, -in default of the stone statue, the need of acquiring a wooden image -which would show what they had been like in their lifetime. There -were as many artists as they wished to model them in the attitude -they preferred, in their everyday costume or in that of fête-days, -bearing and likeness guaranteed. Those found in the tombs in the early -years of the nineteenth century form a veritable gallery, most varied -and curious, of the different types prevailing from the thirteenth -to the ninth century B.C. in Thebes and its environs among the lower -middle-class.[87] Some had been soldiers, and wear the light petticoat -bulging at the waist of the Egyptian foot-soldier; others had spent -their lives scribbling in a Government office; the greater number -belonged to one of the funerary professions, guardians of mummies, -decorators of hypogeums, hewers of tombs, sacristans or priests of a -low order employed in the minor offices of burials or commemorative -rites. They proudly exhibit their insignia: they carry long staves -crowned with sacred emblems--the human head of Hathor, the hawk’s -beak of Horus--and everything in their attitude betrays the pride and -satisfaction of knowing themselves so fine and so important. Their -bearing reveals what the inscriptions usually placed on the pedestal -of their statuettes confirm: “It is I, Khâbokhni, the Servant of the -‘True’ Place,” he who poured the libations, or who, at the canonical -hours, distributed a portion of bread, flowers, and fruits to each -of the dead entrusted to his care. The Egyptians were admirable in -observation and full of satirical humour: I would not swear that, in -impressing this character of naïve vanity on their works, the sculptors -were not yielding to the temptation of discreetly amusing themselves at -the expense of their sitters. - -Study of these small monuments is too much neglected. By considering -the colossi of granite or sandstone, the heroic statues and the -ceremonial groups, we are inclined to recognize only qualities of -grandeur and immobile majesty in Egyptian art; the wooden statuettes -show how, on occasion, it could display charm and wit. Most of them -are the products of chance, commercial pieces, prepared in advance -for the needs of customers, of which a large assortment was always -kept in reserve. The family desiring to offer one to one of its dead -came to get it at the fairest price, and something was sold, more or -less well done according to the sum that was spent; the choice being -made, the piece was adapted to its definitive destination by engraving -on the pedestal, or on the back, the names which transformed the -anonymous doll into a body for the double of a particular individual. -They were artisans who sculptured these images, or rather manufactured -them for the undertakers of funerals. Their education was so complete -and their hand so practised that they rarely fell very low; their -average productions are of honest composition and sufficiently true in -feeling. When they were given enough time or commissioned to take great -care with a piece of work, those who combined natural talent with the -routine of their craft produced work of real value--the statuettes of -the lady Touî, of the little girl and the woman in the Turin Museum, -and many others hidden from the public in the cupboards of our museums. - - - - -XXI - -SOME PERFUME LADLES OF THE XVIIITH DYNASTY - -(_The Louvre_) - - -It is not without reason that these objects are called perfume ladles. -The Egyptians used them, in fact, for making either essences, pomades, -or the various coloured pigments with which both men and women painted -the cheeks, lips, eyelids and underneath the eyes, the nails and -palms of the hand. The form and decoration vary in accordance with -the epochs. At the time of the Ramessides, between the fourteenth and -twelfth centuries B.C., fashion introduced Syrian manufactures into -Egypt; later, under the Bubastis and under the Ethiopian kings of the -XXVth Dynasty, some Chaldæan or Ninevite manufactures came in. The five -ladles illustrated here are purely Egyptian in origin and style. The -designs were generally borrowed from the fauna and flora of the valley. -The first has by way of handle a young girl lost among the lotuses, -who is gathering a bud; a tuft of stems from which two full-blown -flowers escape attach the handle to the bowl, the oval of which has its -rounded part outside and the point inside. In the second, the young -girl is framed by two stems of lotus flowers and papyrus, and walks -along playing a long-handled guitar. The next ladle substitutes a -bearer of offerings for the musician, and the fourth has the musician -standing on a boat sailing among the reeds. The last takes the form -of a slave, half bent under an enormous sack. Nothing could be better -than the general design of the decoration. The artisans brought as much -conscience and skill to its execution as the sculptors gave to their -colossal statues. The physiognomy and age of the four young girls are -well characterized. The girl who plucks the lotuses is an _ingénue_: -that state is shown by her carefully plaited hair and her pleated -skirt. Theban ladies wore long skirts, and this is only turned up high -to facilitate walking among the reeds without soiling its edges. The -two musicians, on the contrary, belong to the lower class; one has -only a belt round her hips, the other a short petticoat, carelessly -fastened. The bearer of offerings has the tress of hair falling over -the ear, as was the custom with children, and her belt is her sole -garment. She is one of the slender, slim young girls of whom many may -be seen among the fellahs on the banks of the Nile, and her nudity -does not prevent her from belonging to a respectable family: children -of both sexes only began to wear clothes at the age of puberty. -Lastly, the slave, with his thick lips, flattened nose, bestial jaw, -low forehead, sugar-loaf head, is evidently a caricature of a foreign -prisoner; the brutish, conscientious way in which he lifts his heavy -burden, the angular prominences of the body, the type of the head, the -arrangement of the different parts, remind us of the general aspect of -some terra-cotta grotesques that come from Asia Minor. - -[Illustration: PERFUME LADLE. - -The Louvre.] - -[Illustration: PERFUME LADLE. - -The Louvre.] - -All the details of nature grouped round and framing the principal -subject, the exact form of the flowers and leaves, the species of the -birds, are very accurate, and sometimes betray wit. Of the three ducks -that the bearer of offerings has tied by their claws, and which hang -over her arm, two are resigned to their fate and go swinging along, the -neck stretched out, the eye wide open; the third lifts its head up and -flutters its wings. The two water-fowl perched on the lotuses listen -at ease, the beaks on their crops, to the lute-player who is passing -near them; experience has taught them that they need not disturb -themselves for songs, and that a young girl is only to be feared if -she is armed. In the bas-reliefs, the sight of a bow or a boomerang -throws them into confusion, just as to-day that of a gun scatters the -crows. The Egyptians knew the habits of the animals who lived in their -land, and took pleasure in minutely observing them. Observation became -instinctive with them, and they gave a striking air of reality to the -least of their productions. - -The bowl of the ladles is generally oval. It is edged by a running -decoration between two lines, a waving line, or a more or less -accentuated denticulation. The cavity made in the slave’s burden is of -irregular shape, and the thick border is decorated with lightly carved -flowers and foliage. It was a perfume box rather than a ladle, for -the little hole in the lower part, near the prisoner’s shoulder, held -the hinge of the lid, now lost. The fifth ladle is in the shape of a -quadrangular trough. The bottom, set in four rectangular mouldings, is -covered with waving lines simulating water; the edges represent the -banks of the lake and are covered with aquatic scenes. On the right, -amid the flowers and lotus buds, a little personage is catching birds -with a net; on the left, another is fishing from a boat. They are both -summarily indicated, but are not the less full of life. It is a -miniature reproduction on a wooden ladle of the great scenes of fishing -and bird-catching which are painted in the tombs and the temples. - -[Illustration: PERFUME LADLE. - -The Louvre.] - -[Illustration: PERFUME LADLE. - -The Louvre.] - -The objects are in wonderful preservation. A lid is lost, a lotus -branch is broken behind the girl who is gathering flowers, one of the -feet of the bearer of offerings is missing. Otherwise they are intact, -and might have just come from the hands of the craftsman. The wood is -of a very fine grain, marvellously adapted to the needs of the chisel. -It has never been painted, but has become darkened with time. The -original colour must have been the golden yellow seen in the cracks of -some pieces of thin wood found in the tombs. None of the ladles show -any signs of wear: they seem to have been deposited new in the tomb -near the dead person, who preserved them new until our day. Like the -rest of the funerary equipment, they were intended for use in the other -world. The lists of offerings mention antimony powder and green paint -among the things sent to the _double_ on festival days: the perfume -ladles and boxes were as necessary in the tomb as they had been on -earth. - -I do not think that any survive which we can with certainty attribute -to the time of the Pyramids: but the bas-reliefs of the Memphian tombs -show us the joiners at work, and do not allow us to doubt that the -trade in small wooden objects was very flourishing at that period. -Under the great Theban Dynasties, Egypt exported them by thousands; -imitated in Phœnicia, or even transported directly by the Phœnicians to -the Mediterranean coasts, they transmitted the forms of Oriental art to -the West. It is probable that Theban production--the only one known to -us by dated monuments found in the tombs--entirely ceased, or at least -became almost insignificant, when the greatness of Thebes declined -from the tenth century _B.C._ They were still manufactured at Memphis -and in the important cities of the Delta until the Ptolemies and the -Cæsars. Recent specimens are somewhat rare, and present considerable -differences from those of Theban manufacture. As it was exactly this -Memphian art that almost exclusively supplied the Phœnician market from -the time of Sheshonq, it is vexing that examples are not more abundant: -as we do not possess sufficient, we cannot accurately judge what their -influence was on the arts of the Mediterranean. - -The five objects I have been discussing come from the Salt collection. -The Theban tombs where they were found were exploited and emptied at -the beginning of the nineteenth century by collectors and dealers; it -is difficult to find any like them in Egypt now, and those that are -discovered are very inferior to these in delicacy and quality. - -[Illustration: PERFUME LADLE. - -The Louvre.] - - - - -XXII - -SOME GREEN BASALT STATUETTES OF THE SAÏTE PERIOD - - -These statuettes were cut in greenish basalt of fine grain, loved by -the artists of the New Empire and the Saïte Period above all other -stones. They formed part of the Salt collection, and are now exhibited -in the Louvre. - -The first represents a Pharaoh, as is proved by the serpent that rises -above his forehead and the hawk’s head that terminates the dagger -passed through his belt. He is standing, and walking quickly, the head -erect on his shoulders, and slightly bent forward in the attitude of a -man who is looking attentively at the point towards which he is going; -the arms are not detached from the body, and hang down along the bust -and the thigh. The composition is excellent, highly finished in spite -of the hardness of the material, and the detail is rendered as freely -as on the colossi of the Theban Period. - -The face has a particular character which struck Egyptologists long -since; it is short, wide at the height of the eyes, rounded at the -bottom. The eye is long, prominent, surmounted by strong curved -eyebrows, marked where they join on the forehead by two deep vertical -furrows. The nose is aquiline, short, thick at the end, flanked by -two nostrils the outside walls of which seem to be somewhat thin. The -mouth is widely opened and protrudes; full lips, short chin receding -a little under the shadow of the lips. On his return from his journey -in Egypt, M. de Rougé was struck by the resemblance of this statuette, -till then lying forgotten in the corner of a cupboard, with the -portraits of the Shepherd Kings discovered at Sân by Mariette. Dévéria -cleverly reproduced it in two plates in the _Revue archéologique_.[88] -He asserted what M. de Rougé had admitted as a mere hypothesis: that -it was the portrait of a Shepherd King, and that it belonged to the -disturbed period which immediately preceded the XVIIIth Dynasty. I -must confess that these conclusions do not appear to me to be sound. -The long list of Pharaohs includes many sovereigns whose faces present -characteristics very different from those usually attributed to the -Egyptian race, and yet who, all the same, were Egyptians born and bred. -Without entering into the discussion, I will content myself with saying -that several of those who reigned at periods relatively late, Taharqa -(XXVth Dynasty) or Hakori (XXIXth Dynasty) for example, bear a singular -likeness to the sovereign of our statuette in the structure and -expression of the face. I cannot be certain here that it is a question -of one of them, but the general composition reminds me of the style of -the Saïte Period more than of that of the Theban. Without asserting -anything, I am inclined to believe that our Pharaoh lived in the last -centuries of Egyptian independence. - -[Illustration: GREEN BASALT STATUETTES OF THE SAÏTE PERIOD. - -The Louvre.] - -The second fragment is evidently Saïte; the somewhat harsh precision -of the modelling, the heaviness of the head-dress, the roundness -of shoulders and chest, sufficiently prove it. It is broken too high -up for us to determine if it belonged to a standing statue like the -Pharaoh, or a crouching figure like the third monument. It is a perfect -type of the middle-class Egyptian, developed in width rather than in -height. - -The shoulders are soft and flabby; the smiling insignificance of the -features, the sinking down of the trunk on the hips and the head on -the shoulders, are just what we should expect in one of the scribes -who led sedentary lives in offices, amid piles of documents, of whom -some bas-reliefs exaggerate the obesity with an evident intention of -caricature. The inscription engraved on the base tells us that he was -named Aî, son of Hapi, and that besides his sacerdotal functions he -possessed the dignity of director of the two store-houses of the money. -The Turin papyrus informs us of the nature of his office. The financial -system of Egypt rested on an entirely different principle from ours: -coins not being yet invented, or only lately come into use at the Saïte -Period, the payment of taxes and of the officials, the transactions -of the State with private individuals, or of private individuals with -each other, were valued and settled in kind. Every Egyptian owed the -Treasury, according to his profession and his fortune, so many fish -if he was a fisherman, so many bushels of grain or head of cattle if -he was an agriculturist; the whole was duly received, registered, and -stored by scribes who, in their turn, put aside for the Pharaoh what -would keep, and used what was perishable for the daily disbursements. -Silver and gold were articles of exchange in the same way as stuffs -or oxen; Pharaoh brought them back in quantities from his expeditions -abroad, and received them from his subjects as the equivalent of their -share of the tax. Gold and silver circulated in powder, in sachets -that contained a definite weight, in thin rings, in the form of -couchant oxen, of half-oxen, of ox or gazelle heads, of jars full or -empty, in curious shapes that generally were of no use in daily life, -and which consequently were only, in spite of their artistic value, -a sort of metallic reserve for the rich. The two store-houses or the -double house of the money formed the treasury in which Pharaoh stored -the quantities of gold and silver that belonged to him: taking into -account the value attached to these metals, the directors of these -establishments must have occupied a fairly high rank in the Egyptian -hierarchy. - -But for all that, we must not take the manuscript spread over Aî’s -knees and that he is attentively reading for an account-book, or a -document relating to his business. The portion of the scroll that he -holds in his right hand, placed flat on his knees, is divided into -vertical columns, which, cut by horizontal lines, presents a sort of -chequered surface, the squares of which are not all of the same size. -Each of the larger ones contains the name of an object, and each of the -smaller a number. It is the list of the gifts composing the banquet -offered to the dead person on the day of burial and during the funeral -ceremonies. In the tombs both of the Ancient and the New Empire it is -highly developed, and comprises the most varied materials: clear or -coloured waters, beers of different kinds, wines of four vintages, -seven or nine of the choice pieces of the victim, cakes of all sorts, -essences, cosmetics, stuffs. On the scroll of our scribe where the -space was restricted the list is shortened, and we only find the actual -necessities: water, beer, some meat, a little perfume. It is to that -of the tombs what the usual dinner of a middle-class family is to the -ceremonial banquet of a noble; nevertheless, our scribe reads it -with evident satisfaction: it is the menu of his meals for eternity, -and, however scanty others may deem it, he probably considers it more -pleasurable than that of his terrestrial dinners. We have here the -natural development of the ideas that the Egyptians had of the other -world. From the moment that the _double_ was to feed materially, they -sought to assure it the food of which it had need. The formulas of the -stelæ which mention bread, wine, meat, deciphered by the first comer, -secured the provisioning of the _double_; all that had been desired -for him in reciting it would be assured him in the other world by -virtue of the magic words. For lack of a passer-by to accomplish this -pious duty, it occurred to them to place statues in the tomb which -seemed to repeat for ever a written list held on their knees; this -simulation of a perpetual reading was more than sufficient to nourish -for ever the simulacrum of a man. Here, it is the defunct himself who -renders himself this good office; elsewhere it is a friend, a scribe, a -favourite servant. - -The study of these three little monuments brings out very happily one -of the qualities of Egyptian art: the skill with which the least of -artists, in reproducing in a sometimes realistic manner the portrait -of individuals, understood how to seize the physiognomy and bearing -characteristic of their craft or of their social rank. Compare the -submissive and sheepish face of the crouching scribe with the bold -carriage and imperious head of the Pharaoh: the contrast is striking. -With the scribe, all the muscles are relaxed; the whole body is bent, -as with a man accustomed to obey and resigned to endure everything from -his superiors. With the Pharaoh, the modelling is firm, the figure -upright, the mien haughty; we feel that here is a person accustomed -from childhood to walk upright in the midst of bowed backs. It is -unfortunate that the legend has disappeared with the lower part of -the second statuette; comparing it with several other monuments in -the Louvre, it reminds me of several priests of the Saïte Period. The -hardness in the eye and the corners of the lips is the same, the same -furrow surrounds the nostril and the mouth, the outer walls of the nose -are compressed in a similar fashion; in spite of the loss of the name -and titles, I am tempted to think that the individual who bears on -his face in so high a degree the peculiarities of the Egyptian priest -belonged to the sacerdotal caste. - - - - -XXIII - -A FIND OF SAÏTE JEWELS AT SAQQARAH[89] - - -As soon as I returned to my old post, I resumed the excavations of -the pyramids at the point where I had left them in 1886. I had then -made a systematic search of the entrance into the funerary vaults: -it was now necessary to seek out the exterior chapels, the caves, -the secondary pyramids or the mastabas, which, shut in by a walled -enclosure, completed the burial-place. At the end of November, 1899, I -placed workmen round Ounas, and as I found it impossible to direct the -operations myself with the requisite care, I entrusted the surveillance -of them to M. Alexandre Barsanti, the curator-restorer of the Museum, -with detailed instructions. The campaign then begun was only ended in -the last days of May, 1900, and the account of it will be published -elsewhere. I now wish to draw the attention of amateurs and scholars to -the discovery of a mass of Saïte jewels. - -The progress of the clearing away revealed the existence of a series of -intact tombs at the south of the pyramid. The last of those that had -been opened belonged to a very high personage named Zannehibou, in his -lifetime commandant of the king’s boats. The mummy, a block of shining -bitumen, was at once recognised as a very rich one. At the height of -the face it had a large gold mask which fitted on the front part of the -head like the _cartonnage_ case usual with mummies of the second Saïte -Period. It had a broad necklace round its neck of beads of gold and of -green felspar or of lapis lazuli mounted with gold thread, and fastened -to it were numerous amulets, also of gold. Below the necklace, on the -chest, an image of the goddess Nouît, in gold, spread its wings. A -network of gold and felspar hung down to the hip, and from the image of -the Nouît to the ankles might be read, on a long band of gold-leaf, the -usual inscriptions in relief: the name of the dead man, his filiation, -with short formulas of prayer. Two gold figures of Isis and Nephthys -were sewn on the chest, two leaves of gold cut as sandals were fitted -to the soles of the feet; a silver plaque with a line engraving of a -mystic eye for the incision whence the entrails had been extracted, -gold cases for the twenty fingers and toes, completed this magnificent -decoration. Everything that with the lower classes of the same period -would have been in cardboard, or gilded paste, or enamelled clay, was -pure gold and fine stones with Zannehibou. The find, estimated by -weight alone, would be valuable, but what gave it inestimable worth -was the delicate and artistic workmanship of the greater number of the -objects. A few of them, like the sandals and the finger-cases, are only -worth the raw metal; the rest are the work of veritable artists. The -inscriptions of the legs, the winged Nouît, the Isis and the Nephthys, -the mask, are stamped, and although the mask and the two goddesses were -miserably crushed by the lid when the sarcophagus was closed, the -mould of hard stone which was used to fix them was so delicately cut -that the best-preserved pieces, the winged Nouît, for instance, may be -quoted as the highest degree of perfection that could be attained by -that process. The amulet in shape of a necklace is only a leaf cut with -the chisel, on which a chapter of the “Book of the Dead” is engraved -with the graving needle. The vulture amulet is a small, thin plaque, on -one side of which the stamped figure of a vulture with spread wings has -been stuck, while on the other the chapter of the “Book of the Dead” -has been engraved, as with the necklace. It is all of good workmanship, -but in the amulets hanging on the real necklace of the mummy the -goldsmith has surpassed himself. - -[Illustration: NECKLACE AMULET. VULTURE AMULET.] - -[Illustration: GOLD PALM-TREE. BOAT OF SOKARIS.] - -[Illustration: RAM’S HEAD. GOLD HAWK. HAWK WITH HUMAN HEAD. HAWK WITH -RAM’S HEAD.] - -[Illustration: VULTURE. ISIS WITH THE CHILD. CROUCHING NEÎTH.] - -They are extraordinarily small, and in order to show the detail I -have had the illustrations made twice the actual size, a proceeding -that weakens the contours and the modelling. To realize their beauty -it is necessary to have held them in the hand. The palm-tree, which -has lost some leaves, is a unique object, more curious than elegant, -but the mystic boat which is beside it, unique also so far, is a -prodigy of delicate chiselling. It is the boat of the god Sokaris, -a boat of most archaic construction, and which was already used for -the accomplishment of the sacred rites under the Thinite Dynasty. The -belly is broad and round, the stern rather heavy, but the bows very -light and much decorated. It rests on a sort of side-ladder of beams -and ropes, which is itself built on to a sledge: it was pulled along -in the public ceremonies by means of a rope put through a hole made -in the curved front of the sledge. The decoration and the equipage -are most curious. On the bow is a gazelle’s head with straight horns -turned to the interior, and along the prow a row of divergent plates -of thin metal, the use of which is not very clear: it is as if the -carcase of the gazelle was opened and showed the ribs fixed on the -spine. At the back, to terminate the poop, there is a ram’s head with -curved horns. In the middle, on an oblong rectangular pedestal, a hawk -proudly perches; behind him are the four oar-rudders, two on each side; -in front of him six little hawks ascend in procession, two by two, -towards the gazelle’s head, led by a Nile fish placed edgeways on its -ventral fin. For the moment I will not attempt to explain the meaning -of these emblems, but what we can never grow tired of admiring is the -cleverness with which the craftsman has grouped these widely differing -elements into an harmonious whole, and especially the extraordinary -skill with which he worked his metal. His gazelle’s head, a mere -fraction of an inch in size, is of as proud a bearing as if it were -of natural size: everything is exact, intelligent; the curve of the -forehead, the flattening of the snout, the expression of the face, even -to the natural pout of the creature. Each of the six hawks preserves -its individual physiognomy, and the fish itself, reduced in size as it -is, has the exact shape of the big Nile perch, and not that of any sort -of fish. - -Similar qualities are to be seen in the neighbouring pieces, in -the ram’s head, the ordinary hawk, the hawk with a human head, and -that with a ram’s head, and in the vulture. The seated Isis who -nurses her child on her lap and the crouching Neîth have their usual -characteristics of resignation and gentleness, and at the same time -the simplicity of line that lends so dignified an air to the smallest -Egyptian figures. It has all been chiselled out of the ingot itself, -and the detail cut with so minute a point that we ask where the artisan -could have obtained it. - -[Illustration: MONKEYS WORSHIPPING THE EMBLEM OF OSIRIS.] - -[Illustration: VULTURE WITH EXTENDED WINGS. HAWK WITH EXTENDED WINGS.] - -[Illustration: THE SOUL (FRONT VIEW).] - -[Illustration: THE SOUL (BACK VIEW).] - -Tiny lions addorsed or couchant, tiny mystic eyes, tiny monkeys -worshipping the emblem of Osiris, tiny vultures, and tiny hawks -extending their wings, each piece claims careful examination, and would -by itself alone bring joy to the heart of a collector. The masterpiece -of the series is, however, the _soul_, the hawk with a human head, -enamelled body and wings, of which both back and front views are here -reproduced. The back follows the usual manner, small rods of bent gold, -curved, soldered on to a gold plaque and encrusted with thin plates -of felspar to simulate feathers; but on the other side, the body, -wings, and claws are modelled with the new purpose of reproducing the -natural form of the bird. The little human head is a marvel of somewhat -weak gracefulness: the eyes are well open, the mouth is smiling, the -nostrils actually palpitate, the ear is cut out and is hollowed broad -and high as is customary, and there is nothing, even to the wrinkles -of the neck and the roundness of a double chin, that does not clearly -stand out under the reflection of the gold. Here again, it is all -chiselled by a master-hand, with a sureness I have only found in the -hawk with a ram’s head in the Louvre,[90] with which this _soul of -Gizeh_ may be compared. - -The circumstances of the discovery would not have informed us of the -date, if the style of the jewels had not done so. It is Saïte art -with its lightness, suppleness, somewhat arch charm, its almost too -high relief. A tendency is felt in the direction of the exaggerated -roundness of the Ptolemies, and, in fact, a note furnished by M. -Chassinat permits us to fix the time at which Zannehibou lived. He -belonged to the family of a certain Psammetichus, whose tomb is near -his, which an inscription in the Louvre found by Mariette in the -Serapeum places at the beginning of the fifth century, during the last -years of the reign of Darius I. If, as is likely, he was the grandson -of that Psammetichus, he died at the end of the fourth century, just -when the Saïte kings were resuming their superiority over the Persians, -at most, a hundred years before the Macedonian conquest. The goldsmiths -who fashioned his ornaments had probably seen Greek jewels, and had -perhaps already felt Hellenic influence: in that way the almost -Ptolemaic characteristics of the collection are explained. We know that -Saïte jewels are very rare; the Louvre alone possesses any that are -out of the ordinary run: the two necklace fastenings in form of a ship -bought by M. G. Bénédite a few years ago. The mummy of Zannehibou has -filled up the lacuna in the Gizeh series, and thanks to it, we now know -that the goldsmith’s art yielded in nothing to the other arts at the -time of the last Egyptian renaissance. Let us add that these jewels, -although found on a mummy and made for it, are not, as is too often the -case, jewels of the dead, pleasing in colour and design, but too weakly -mounted to stand the wear and tear if worn by a living person. Like the -jewels of Ramses II in the Louvre,[91] like those of Queen Ahhotpou at -Gizeh, they are real jewels, identical at all points, except perhaps in -the choice of subjects, with the jewels worn every day. - -Such is the find that made a happy termination to our Saqqarah -campaign. All the pieces were covered with bitumen, and it is no slight -merit to M. Barsanti that he should have discovered them and separated -them one after the other. Several pits, equally untouched, await us at -the same spot under fifteen or eighteen yards of sand, and I have a -good hope that next year’s excavations may have as glad surprises for -us as those of this year. - - - - -XXIV - -A BRONZE EGYPTIAN CAT BELONGING TO M. BARRÈRE[92] - - -This fine bronze cat was purchased at Cairo in 1884 by M. Barrère, -then agent and consul-general of France in Egypt. It belongs to the -innumerable family of cats which suddenly came forth from the ruins -of Tell Bastah in 1878, and were, in a few years, scattered over the -whole world. It measures 1 foot 4⅛ inches in height, and if not the -largest found at that time, it is at least bigger than the average. -But its size is not its chief merit: the Egyptians, who were the -first to tame the cat, studied it so closely that they expressed its -characteristics with extraordinary excellence. M. Barrère’s cat is -firmly seated on her hind-quarters, looking straight in front of her, -in the satisfied attitude of an animal which has done its duty and has -nothing to reproach itself with. The wooden pedestal to which it was -attached is wanting, but the metal tenon which fastened it is still -in its place, and the body is in a perfect state of preservation. It -was moulded in one piece round a core of sand that has disappeared, -then touched up with the burin and the file, and then polished; it has -not suffered from its long sojourn in the earth, and we can judge its -qualities or its defects as clearly as if it had been made yesterday. -It is a fine piece, of very sure design and careful execution. The -artist was not afraid to multiply the details, and he has simplified -the surfaces; but the force of the line, the robust and vigorous -character of the execution, make his work a piece of the first rank. It -is wonderful to note the intelligent skill with which he has expressed -the characteristics and physiognomy of the race. The haunch is broad -and round, the back supple, the neck slender, the head delicate, the -ear straight; it is the Egyptian cat in all its elegance, as we can -still see it among the fellahs, for crossing with foreign species has -not altered it. - -[Illustration: BRONZE CAT OF THE SAÏTE PERIOD. - -Barrère Collection.] - -She is Bastît, a goddess of good family, the worship of whom flourished -especially in the east of the delta, and she is very often drawn or -named on the monuments, although they do not tell us enough of her -myths or her origin. She was allied or related to the Sun, and was now -said to be his sister or wife, now his daughter. She sometimes filled -a beneficent and gracious rôle, protecting men against contagious -diseases or evil spirits, keeping them off by the music of her sistrum: -she had also her hours of treacherous perversity, during which she -played with her victim as with a mouse, before finishing him off with -a blow of her claws. She dwelt by preference in the city that bore her -name, Poubastît, the Bubastis of classical writers. Her temple, at -which Cheops and Chephrên had worked while they were building their -pyramids, was rebuilt by the Pharaohs of the XXIInd Dynasty, enlarged -by those of the XXVIth; when Herodotus visited it in the middle of -the fifth century B.C., he considered it one of the most remarkable -he had seen in the parts of Egypt through which he had travelled. It -stood in the centre of the city, at the end of the market-place. It -was bordered by two canals, each 100 feet wide and shaded by trees; -they flowed without joining, one on the right, the other on the left -of the building, almost making it an artificial island. Travellers -before entering it looked over the enclosure, even into the exterior -court-yards, for Bubastis had undergone the fate of many of the large -cities of Egypt; in the course of ages the ground became raised in -such a way that the foundations of recent houses were on a higher -level than those of the temple. A big wall, decorated with pictures -like the outer wall of the temple of Edfou, enclosed the temenos. The -fêtes of Bastît attracted pilgrims from all parts of Egypt, as at the -present day those of Sidi Ahmed el-Bedaouî draw people to the modern -fair of Tantah. The people of each village crowded into large boats -to get there, men and women pell-mell, with the fixed intention of -enjoying themselves on the journey, a thing they never failed to do. -They accompanied the slow progress of navigation with endless songs, -love songs rather than sacred hymns, and there were always to be found -among them flute players and castanet players to support or keep time -to the voices. Whenever they passed by a town, they approached the bank -as near as they could without landing, and then, while the orchestra -redoubled its noise, the passengers threw volleys of insults and coarse -remarks at the women standing on the bank; they retorted, and when -they had exhausted words, they pulled up their petticoats and behaved -indecently by way of reply. Herodotus was told that 700,000 persons, -equal numbers of men and women, not reckoning little children, went -thus every year to Bubastis. Entry into the temple did not calm them, -far from it. They sacrificed a great number of victims with a sincere -and joyous piety; then they drank deeply from morning to evening, and -from evening to morning, as long as the festival lasted: more wine was -consumed in a few days than in all the rest of the year put together. - -The greater number of the pilgrims, before returning home, left a -souvenir of their visit at the feet of Bastît. It was a votive stele -with a fine inscription, and a picture showing the donor worshipping -his goddess; or a statuette in blue or green pottery, or if they were -wealthy, in bronze, silver, or sometimes gold: the goddess would be -standing, seated, crouching with a woman’s body and a cat’s head, a -sistrum or an ægis in her hand. During the Greek period the figures -were in bronze or in painted and gilded wood surmounted by a cat’s -head in bronze. Many were life-size and modelled with elaborate art; -they had eyes of enamel, a gilded necklace round the neck, earrings, -and amulets on the forehead. It sometimes happened that when a cat -he particularly venerated died in his house, the pilgrim embalmed it -according to the rites: he took the mummy with him, and, arrived at -Bubastis, shut it up in one of the figures he offered. These various -objects, at first placed anywhere in the temple, would quickly have -filled it, if some remedy had not been found. They were piled up -provisionally at the end of one of the secondary chambers, then thrown -outside, and there encountered diverse fortunes. I do not think I am -calumniating the Egyptian priests in saying that it must have been a -great grief to them to part with so many precious gifts without trying -to derive some honest profit from them. The gold and silver figures did -not endure; they quickly went into the melting-pot, and few emerge from -the ruins, but the bronze and copper were so abundant that there would -have been little to gain in melting down the cats. So they sorted out -the heap of bronzes, and while they kept some, the finest, doubtless, -or those that bore inscriptions, they sold the rest to new generations -of pilgrims, who, in their turn, offered them in due form. However -frequently this was done, the influx was considerable, and they were -forced to rid themselves quickly of the pieces that had at first been -kept in reserve. They shut them up in cellars, or in pits dug expressly -for them, veritable _favissæ_ similar to those of classical times;[93] -they accumulated by thousands, large and small, in wood and in bronze, -some intact and fresh as when just made, others already out of shape, -rotten, oxidized and of no value. The places of concealment were soon -forgotten, and the stuff in them reposed there beyond the reach of men -until the day when the chances of excavation brought it to light. - -One of them restored M. Barrère’s cat. It is not possible to determine -the period at which it was buried: the persons who found it were -seekers of nitreous manure, or dealers in antiquities who took good -care not to divulge the circumstances and the site of their discovery. -But judging from the roundness of certain forms and the aspect of -the bronze, we recognize the style of the second Saïte Period, and -the piece is to be attributed either to the Nectanebos, or the first -Ptolemies, in a general way to the fourth century B.C. or the beginning -of the third century B.C. It was the time when the worship of Bastît -and her subordinate forms, Pakhît, Maît, was most popular, the period -when, near Speos-Artemidos, the most extensive cemetery of cats in -Egypt was established. The execution is pure Egyptian, and in no way -betrays any Greek influence. - - - - -XXV - -A FIND OF CATS IN EGYPT[94] - - -It was announced in the English newspapers, and the French followed -suit, that a ship had recently reached London and disembarked 180,000 -mummies of Egyptian cats. For a long time manufacturers of different -nationalities have been accustomed to seek out the burying grounds of -animals throughout Egypt, and to export the bones to Europe, where -they are used as manure. A few years ago a necropolis full of monkeys -was sent to Germany to manure beet-root fields. It seems that the -cats of this year were discovered near Beni-Hassan; they were piled -up at hazard in a sort of cavern, into which a fellah in search of -antiquities was the first to penetrate. In fact, at some distance to -the south of the hypogeums of Beni-Hassan, in the place called by -geographers Speos-Artemidos, is a chapel hollowed out in the rock, and -consecrated by the kings of the XVIIIth and XIXth Dynasties to a local -goddess, a woman’s body with a cat’s or lion’s head, called Pakhît. -The depôt recently exploited was found there, and the cats which -reposed in it must have lived in the vicinity, under the protection -of their cousin, the goddess. Cemeteries of the same kind existed -wherever a divinity of a feline type was worshipped, lion, tiger, -or cat. The most celebrated was at Bubastis, in the delta, where the -seekers of antiquities cleared away the rubbish about thirty-seven -years ago.[95] The mummies of cats were buried there in _favissæ_, -deep pits, some merely wrapped in swathings, others enclosed in little -coffins reproducing the image of the animal. Some of these coffins -are entirely of wood covered with white stucco, gilded, painted in -bright colours; some are in bronze, others have the body in wood and -the head in bronze, with gold rings in their ears and encrustations of -gold on the forehead and in the eyes. Statuettes of cats of different -sizes, portraits of the goddess Bastît with a cat’s head, or of the god -Nofirtoumou, are mingled with the mummies. Thence come the thousands of -bronze cats, big and little, with which all the antiquaries of Europe -and Cairo were so abundantly provided from 1876 to 1888. The important -cat illustrated here, and who lives now in one of the glass cases in -the “Salle divine” of the Louvre, is a perfect type of the species, -long, slender in the back, broad in the hind-quarters, with a delicate, -well-set head, rings in the ears, a necklace round the neck, and a -little scarab on the top of the head; the artist who modelled it has -rendered excellently and truthfully the supple bearing and the bold -physiognomy of his original. - -[Illustration: BRONZE CAT. - -The Louvre.] - -The cats represented on the monuments, or the mummies of which are -found in Egypt, were not of the same race as our domestic cat. Scholars -have studied them and are unanimous--Virchow, too, recently--in -recognizing them as the _Felis maniculata_ and the _Felis chaus_. Egypt -had tamed a few individual ones, but had not domesticated the whole -species. They are sometimes to be seen on the bas-reliefs solemnly -seated near their masters. It is commonly asserted that they were -used for hunting birds in the marshes, and Wilkinson quotes in support -a fairly large number of mural paintings where they stalk through the -reeds, routing out little birds. I confess that this interpretation -does not seem to me to be correct. Where others claim to recognize -animals ready for the chase and acting on behalf of man, I only see -animals, tame or not, on marauding bent and scouring the bushes for -their own purposes; just as our domesticated cat chases the sparrows in -our gardens and destroys the nests in our parks without any advantage -to his master. Egyptian artists, very acute observers of what was going -on around them, reproduced their cats’ expeditions, as they noted other -picturesque details of the life of nature. - -If we examined the 180,000 cats--neither more nor less--we should -probably come upon a fairly large proportion of ichneumons. In Egypt -the ichneumon and the cat were always associated; wherever there are -mummies of cats it may be safely assumed that mummies of ichneumons are -not far off. Cats or ichneumons, I hope the whole of them will not be -used to manure the ground, but that some fine specimens may be chosen -for the museums of antiquities and of natural history: in sparing a -few hundreds, agriculture will not lose much, and science will gain -considerably. The origin of our tom-cat has long been under discussion; -some refer it to Egypt, others to Europe. It would be a pity not to -profit by such an invasion of Egyptian cats, and to try to obtain a -definite solution of the question. - - - - -FOOTNOTES - - -[1] From the _Journal des Savants_, 1908, pp. 1–17. - -[2] F.W. von Bissing, “Denkmäler Ægyptischer Skulptur.” Text, 4to; -portfolio of plates, fol.; Bruckmann, Munich, 1906–8. - -[3] It may also be asked if the stele of the King-Serpent is an -original or a restoration of the time of Setouî I. - -[4] Bissing, II. _Plate with the name of King Athotis_, note 6. - -[5] I even noted the existence of one of these tails in wood in the -Marseilles Museum (_Catalogue_, p. 92, No. 279). - -[6] _Musée Egyptien_, vol. ii., Pl. IX-X and pp. 25–30. - -[7] Ibid., vol. ii., Pl. XV, pp. 41–45. - -[8] Maspero, _Guide to the Cairo Museum_, 1906, pp. 156–7, No. 550. - -[9] _Revue de l’Art Ancien et Moderne_, 1906, vol. x., pp. 241–52, -337–48; cf. Chap. X. of the present volume. - -[10] _Musée Egyptien_, vol. ii., pp. 90–2. - -[11] From the _Revue de l’Art ancien et moderne_, 1912, vol. xxxi., pp. -241–54. - -[12] It is mentioned for the first time in Emmanuel de Rougé’s -_Catalogue_, 1855, under No. 6; it is placed on the mantelpiece in the -“Salle civile.” - -[13] See good examples in Mariette, “Karnak,” Pl. VIII. - -[14] This is no longer true since the discovery of the _favissa_ at -Karnak. The Cairo Museum possesses some hundreds of statues of private -individuals from the Theban temple of Amon (1912). - -[15] Mariette, “Sur les tombes de l’Ancien Empire qu’on trouve à -Saqqarah,” 1912, pp. 8–9. - -[16] On this theory see Lepage-Renouf, “On the True Sense of an -important Egyptian Word,” in the _Transactions of the Society of -Biblical Archæology_, vol. iv., pp. 494–508, and Maspero, “Mémoires -du Congrès des Orientalistes de Lyon,” vol. i., and _Bulletin de -l’Association scientifique de France_ (1878), No. 594, pp. 373–84. - -[17] One of the Egyptian festivals of the dead. - -[18] For complete translation of the contract see the _Transactions of -the Society of Biblical Archæology_, vol. vii., pp. 1–9. - -[19] The Skhemka group was catalogued for the first time by E. de -Rougé, “Notice sommaire des Monuments égyptiens,” 1855, pp. 50–51, -under the number S. 102. The other two statues of the same person -possessed by the Museum are both entered under the number S.103. One is -in granite, the other in painted limestone. - -[20] There are exceptions only in the middle of the XVIIIth Dynasty, -when men and women, and especially women, are painted light pink or -flesh colour. - -[21] The pretty painted bas-relief of the tomb of Seti I in the Louvre -(E. de Rougé, “Notice des principaux monuments,” p. 35, B. 7) shows in -large the arrangement of the glass beads on the stuff. - -[22] Cf., _e.g._, Lepsius, “Denkmäler,” ii., 47_b_, 74_e_, where the -woman crouching in front of her husband puts her arm round his leg. - -[23] Here are some references to plates in Lepsius where the husband -and wife are represented side by side in different positions. The woman -of low stature crouches behind her seated husband (“Denkmäler,” ii., -71_b_); the wife and husband, both of heroic stature, are seated on -the same armchair, and the wife puts her right arm round her husband’s -neck (“Denkmäler,” ii., 10_b_, 24, 25_b_, 41_b_, 42_a_-_b_, 75_a_, -etc.); the wife of low stature stands in front of her husband, who is -of heroic stature (“Denkmäler,” ii., 38_b_); she stands behind him and -puts her arm round his left arm (“Denkmäler,” ii., 27, 33_a_), or she -puts her arm round his waist (“Denkmäler,” ii., 38_a_); and lastly, the -husband and wife, of the same stature, are standing, the wife behind -her husband and putting her arm round his neck (“Denkmäler,” ii., 13, -20–1, 29_b_, 32, 34_b_, 40_b_, 43_b_, 46, 58_a_, 59_b_), or separated -from him (“Denkmäler,” ii., 73, etc.). - -[24] Thus in Lepsius (“Denkmäler,” ii., 74_e_), where the noble -Senotmhît, surnamed Mihi, is seated, of heroic stature, while his wife, -Khontkaous, is represented crouching and of low stature, although she -is a legitimate daughter of the king. In another part of the tomb -(Lepsius, “Denkmäler,” ii., 73) the same persons are represented -standing side by side and of heroic stature, while their children are -of ordinary stature. - -[25] See the preceding chapter, pp. 55–59. - -[26] See Chapter III, p. 51. - -[27] We know now (1912) that the figures described by Mariette as -mourners are cooks, who held the spit in one hand and with the other -protected their faces from the heat of the brazier where the chickens -were roasting. - -[28] In examining the eye of the Cheîkh-el-Beled closely, I found that -there was no silver nail in it, but that the luminous spangle was -produced by a scrap of polished ebony placed under the crystal; it -should be the same with the eyes of the Crouching Scribe. - -[29] Cf. pp. 55–59. - -[30] This article was published in two slightly different forms in the -_Gazette des Beaux-Arts_, 3rd period, 1893, vol. ix., pp. 265–70, and -in the _Monuments Piot_, 1894, vol. i., pp. 1–6: I have combined them -for this volume. - -[31] The statue is described in the “Visitor’s Guide to the Cairo -Museum,” 2nd edition, 1912, p. 58, No. 142. - -[32] Maspero, “Visitor’s Guide,” 2nd edition, 1912, pp. 57–8, No. 141. - -[33] Cf. p. 61. - -[34] Cf. what has already been said regarding statues of private -individuals erected by the favour of the Pharaoh, p. 40. - -[35] Maspero, “Visitor’s Guide to the Boulaq Museum,” p. 28, and now -“Visitor’s Guide to the Cairo Museum,” 2nd edition, 1912, p. 73, No. -227. - -[36] The expression is borrowed from a letter of the _Papyrus -Anastasis_, No. 3. Its position in the Egyptian context leads me to -believe that it was an often-quoted proverb. The idea is repeated in -different forms in the scribes’ correspondence: “Work, or you will -be beaten.” “When the scribe reaches the age of manhood, his back is -broken by the blows he has received.” - -[37] Mariette, “Notice des principaux monuments du Musée de Boulaq,” -6th edition, 1876, p. 235, No. 769: “Memphis. Saqqarah--limestone II, 1 -foot 2 inches--kneeling figure. His hands crossed on his legs. His eyes -are of mosaic work and formed of several stones curiously combined.” -The statue of the kneeling scribe figures in a group in Plate XX of -Mariette’s work, “Album du Musée de Boulaq,” containing 40 plates, -photographed by MM. Délié and Béchard, with explanatory text edited by -Auguste Mariette-Bey. Cairo, Mourès et Cie, 1871, fol. - -[38] Mariette, “Notice des principaux monuments du Musée de Boulaq,” -6th edition, 1876, p. 216, No. 582. The Boulaq Museum possesses a -second statue of the same person (_ibid._, p. 93, No. 28), but of a -less fine execution than the statue No. 582. Cf. what is said of the -two statues on pp. 70–73 of this volume. - -[39] Mariette, “Notice,” p. 217: “The sum of the qualities, and study -of the inscriptions on the base of the monument, leave no doubt as -to the epoch to which it belongs. Rânofir evidently lived under the -Ancient Empire. His titles bring him near the Vth Dynasty.” The study -of the inscriptions leads me to be more certain than Mariette was. -Rânofir undoubtedly lived at the end of the Vth Dynasty. - -[40] See pp. 60–65. - -[41] He is a cook, as I mentioned on p. 61, note 27. - -[42] See p. 51. - -[43] See p. 61. - -[44] See the curious study of Dr. Parrot, “Sur l’origine d’une des -formes du dieu Phtah,” in the “Recueil de travaux relatifs à la -philologie et à l’archéologie égyptiennes et assyriennes,” vol. ii., -pp. 129–33. - -[45] Published in the _Revue de l’Art ancien et moderne_, 1906, vol. -xx., pp. 247–52, 337–48. - -[46] See pp. 50–51. - -[47] See, _e.g._, the stelæ described or referred to in Maspero, “Guide -to the Cairo Museum,” 1903, pp. 73–5, 94–5, 96, etc. - -[48] Already published in the _Musée Egyptien_, vol. ii., Pl. IX-X, pp. -25–30. - -[49] The head was reproduced by Rougé-Banville, “Album photographique,” -Nos. 111–12; cf. Mariette, “Monuments divers,” Pl. XXI, _a_, _b_, _c_, -and p. 299; the whole is reproduced in the _Musée Egyptien_, vol. ii., -Pl. XIII, and pp. 34–5. - -[50] See article on this group by Legrain in the _Musée Egyptien_, vol. -ii., pp. 1–14 and Pl. I-IV. - -[51] The head of the Pharaoh, which was stolen at the moment of -discovery, has been found since this article appeared, and purchased by -the Cairo Museum, 1912. - -[52] Published in the _Revue de l’Art ancien et moderne_, 1907, vol. -xxii., pp. 5–18. - -[53] She is noted in the “Livre d’entrée” under No. 38575 and the -chapel under No. 38576. - -[54] Naville, “Das Thebanische Todtenbuch,” vol. i., Pl. CCXXII. - -[55] It comes from Tell Tmai, and is entered in the “Livre d’entrée” -under No. 38930, and in the “Guide to the Museum,” 3rd English edition, -under No. 461, p. 164. - -[56] No. 38932 in the “Livre d’entrée”; cf. “Notice des principaux -monuments du Musée de Gizeh,” 1893, p. 86, and No. 683 of Borchardt’s -unpublished catalogue. The monument comes from Saqqarah. - -[57] “Guide to the Cairo Museum,” 3rd edition, pp. 331–33, No. 1020; -“Livre d’entrée,” No. 38927. - -[58] “Guide to the Cairo Museum,” 3rd edition, p. 330, Nos. 1018, 1019; -“Livre d’entrée,” Nos. 38928, 38929. - -[59] See the _Revue_, 1906, vol. xx., pp. 241–52, and pp. 337–46; and -pp. 90–105 of the present volume. - -[60] It was catalogued by Champollion in his “Notice descriptive des -monuments égyptiens du Musée Charles X,” Paris, 1827, p. 55, No. 11. - -[61] Published in the _Revue de l’Art ancien et moderne_, 1910, vol. -xxviii., pp. 241–52. - -[62] See pp. 120–125. - -[63] Mariette, “Notice des principaux monuments du Musée de Boulaq,” -6th edition, 1876, p. 300, No. 100 C. - -[64] E. de Rougé, “Notice sommaire des monuments égyptiens,” 3rd -edition, 1864, p. 34, A. 21. The British Museum possesses a replica of -this statue. - -[65] Mariette, “Notice,” 1st edition, 1864, p. 184, No. 17; and 6th -edition, 1876, p. 92, No. 22. - -[66] Mariette, “Notice,” 6th edition, p. 221, Nos. 638–48; Maspero, -“Guide du Visiteur au Musée de Boulaq,” 1883, pp. 100–3. - -[67] Mariette, “Notice,” 6th edition, p. 221, Nos. 649–51; Maspero, -“Guide,” p. 101. - -[68] Mariette, “Notice,” 6th edition, p. 221, Nos. 623–37. - -[69] Mariette, “Notice,” 6th edition, pp. 212–13, No. 578; Maspero, -“Guide,” p. 75, No. 396. - -[70] Mariette, “Notice,” 6th edition, p. 239, No. 792. - -[71] Maspero, “Letter to M. Gustave d’Eichtal on the circumstances -of the history of Egypt which favoured the exodus of the Hebrew -nation,” in the _Comptes Rendus de l’Académie des Inscriptions et -Belles-Lettres_, 1873, pp. 37–8. - -[72] Published in _La Nature_, 1892, vol. lix., pp. 161–3. - -[73] Major Arthur Bagnold published an account of them, with three -drawings by Wallis and a few sketches, “An account of the manner in -which two Colossal Statues of Rameses II at Memphis were raised,” in -the _Proceedings of the Society of Biblical Archæology_, vol. x., p. -452 _et seq._ - -[74] I have related many examples of this belief in spirits inhabiting -the ancient monuments in “Egypt: Ancient Sites and Modern Scenes,” -1910, chap. xv., p. 155. I have collected many more, and hope one day -to have an opportunity of publishing them. - -[75] Published in _La Nature_, 1894, vol. lxiii., pp. 230–4. - -[76] Extract from the _Revue de l’Art ancien et moderne_, 1908, vol. -xxiii., pp. 401–12, and vol. xxiv., pp. 29–38. - -[77] Champollion, “Notice descriptive des monuments égyptiens du Musée -Charles X,” 1827, 8vo, describes the object as follows: “85. _Hard -wood_. A woman named Naï, standing, dressed in a long fringed tunic, -hair plaited. The statuette was dedicated by her brother, Phtah-Maï, -auditor of justice,” pp. 68–9. Now the little figure is numbered 37; it -is in case A of the “Salle civile” (first shelf). - -[78] Cf. E. de Rougé, “Notice des principaux monuments,” p. 82. - -[79] SOKARI (Σώχαρις of the fragment of Cratinus the Younger, -“Fragm. Comicor. græcorum,” edition Didot) was the god of the dead -at Memphis, as Osiris was at Abydos; so they were soon identified -one with the other, Sokar-Osiri, and with Phtah, _Phtah-Sokari_, -_Phtah-Sokar_-Osiri. Here the scribe, who first took the three sacred -names as belonging to one same god whom he qualified as Prince of -Eternity in the singular, later regarded them as belonging to three -different gods, and used the plural pronoun, SE, variant of SEN: “to -whom THEY give” instead of “to whom HE gives.” - -[80] The figure to which it was fastened is reproduced in Leemans, -“Egyptian Monuments in the Museum of Antiquities of Holland at Leyden,” -Part I, Pl. XXIV; cf. Chabas, “Notice sommaire des papyrus égyptiens,” -p. 19. - -[81] The facsimile of the text is in Leemans, “Monuments,” Part II, Pl. -CLXXXIII-CLXXXIV, and is translated and annotated in Maspero, “Etudes -égyptiennes,” vol. i., pp. 145–59. - -[82] Extract from the _Revue de l’art ancien et moderne_, 1905, vol. -xvii, p. 403. - -[83] See the Chapter on the little lady Touî, pp. 183–189. - -[84] Published in _La Nature_, 1895, vol. lii., pp. 211–14. - -[85] “The Adventure of Satni-Khamois with the Mummies,” in G. Maspero, -“Les contes populaires de l’Egypte ancienne,” 4th edition, p. 146. - -[86] See pp. 172–174. - -[87] See Chapter XVIII, pp. 172–177. - -[88] _Revue archéologique_, April, 1861, vol. iii., 2nd series. - -[89] Printed in the _Revue de l’Art ancien et moderne_, 1900, vol. -viii., p. 353. - -[90] See p. 150. - -[91] See Chapter XVI., p. 145. - -[92] Published in the _Revue de l’Art ancien et moderne_, 1902, vol. -xi., p. 377. - -[93] See Chapter X. - -[94] Published in _La Nature_, 1890, vol. xxxv., pp. 273–4. - -[95] See pp. 212–213. - - - - -INDEX - - - A - - Abousîr-el-Malak, excavations of, 29 - - Abydos, 30, 31, 37; - Memnonium of, 95, 134; - ruins of, 94 - - Adoni (Adonaï), 122 - - Ahhotpou I, 145, 146, 158 - - Ahhotpou, Queen, 152, 158, 206 - - Ahmôsis I, 138 - - Aî, 138; - portrait of, 98 - - Aî, son of Hapi, 197, 198 - - Alexandria, bas-reliefs of, 33 - - Amenemhaît III, 26, 32; - sphinx of, 22, 23; - statue of, 22, 28, 37 - - Amenertaîous, 103 - - Amenhotpou, 138 - - Amenmeses, 138 - - Amenôphis II, 122 - - Amenôphis III, 122, 124, 174 - - Amenôphis IV, 120, 122, 123, 124, 125, 131 - - Amenôphis, statue of, 64 - - Amenôthes I, 91 - - Amenôthes II, 109, 112, 113, 117, 118, 134 - - Amenôthes IV, 31 - - Amenôthes, statue of, 22, 28 - - Amon, 81, 101, 102, 104, 121, 122, 124, 125, 135, 183, 184, 185; - priests of, 92; - temple of, 90, 97, 137 - - Amon of Harmhabi, 98 - - Amonrâ, 107, 123 - - Amonrâ, ark of, 136 - - Anderson, 142 - - _Ankhari_, _the lady_, 175 - - Ankhasnofiriabrê en Hathor, 103 - - Ankhnas, 103 - - Antouf kings, the, 153 - - Anubis, temple of, 53 - - Apis, 146, 149; - tomb of, 79, 145 - - Apouî, tomb of, 21 - - Apries, 143 - - Armaïs, 139 - - Asia Minor, 169, 191 - - Assiout, 31 - - Assyria, 169 - - Ati, 56, 58, 59 - - Aton (Amon), 121, 122, 123, 124, 125 - - Atonian Dynasty, fall of the, 31 - - - B - - Bagnold, Major Arthur, 142, 143 - - Baraize, M., 108 - - Barrère, M., 208, 212 - - Barsanti, M. Alexandre, 201, 206 - - Bastît, the goddess, 184, 209, 212, 213, 215; - her festival at Bubastis, 210, 211 - - Baÿ, Dr., 133 - - Bedrecheîn, 141 - - Bénédite, M., 206 - - Beni-Hassan, 30, 31, 87, 214 - - Berbers, the, 129 - - Bercheh, 31 - - Berlin Museum, 152; - _Scribe_ of the, 20, 21 - - Bibân-el-Molouk, 111 - - Bissing, F.W. von, 17, 18, 20, 21, 22, 23, 24, 25, 26, 27, 34, 35 - - Bocchoris, 33 - - “Book of the Dead,” 113, 114, 203 - - Borchardt, 24, 25 - - Boulaq Museum, 63, 70, 71, 81, 85, 86, 135, 137, 138, 145, 146 - - British Museum, 153 - - Bruckmann, 17, 23 - - Bubastis, 124, 154, 157, 161, 190, 210, 211, 215 - - - C - - Cairo, 39, 108, 154, 179, 208, 215 - - Cairo Museum, the, 21, 22, 29, 32, 33, 39, 44, 46, 47, 93, 96, 98, - 108, 114, 115, 116, 128, 129, 131, 134, 157; - _Scribe_ of the, 20 - - Carter, 92 - - Caviglia, 141 - - Chaldæa, 169, 171 - - Champollion, 121, 172, 186 - - Chassinat, M., 206 - - Cheîkh-Abd-el-Gournah, 115, 178, 179 - - Cheîkh el-Beled, statue of the, 21, 46, 48, 88 - - Cheîkh-Saîd, 31 - - Cheops, 30, 209; - statuette of, 37, 38 - - Chephrên, 30, 44, 46, 47, 48, 137, 209; - statuette of, 37, 38 - - Chephrên, statues of the, 21, 24, 37 - - Coptos, 22 - - Cow, the, of Deîr-el-Baharî, 18, 106, 117 - - Crete, 169 - - Crouching Scribe, the, 18, 48, 49, 60, 61, 63, 64, 65, 84, 88 - - - D - - Dahchour, 145, 150, 152, 158 - - Darius, 140, 206 - - Davis, Theodore, 126 - - Decauville, 90 - - Denderah, 31, 123 - - Deîr-el-Baharî, 92, 108, 110, 115; - _favissa_ of, 98; - porticoes of, 95 - - Dévéria, 196 - - Dog, nome of the, 41 - - _Double_, the, 51, 52, 53, 54, 111, 115, 143, 193, 198 - - - E - - Ebers, 17 - - Edfou, temple of, 210 - - Edgar, Mr., 154, 155 - - Egypt, financial system of ancient, 197, 198 - - Egyptian cats, 208, 209, 214, 215, 216 - - Egyptian jewellery, 145–153, 201–207 - - Egyptian Scribes, 61, 62, 63, 67, 68, 69, 74, 75, 76, 77, 199, 200 - - Egyptian statuary, 17–35 - - El-Amarna, bas-reliefs of, 131; - necropolis of, 31, 125, 133; - sculptors of, 130; - statues of, 100 - - El-Tell, tombs of, 31 - - Es-Sayed Eîd, 155 - - Ethiopia, 95, 102, 124, 139 - - Ethiopian pyramids, the, 153 - - Euphrates, 170 - - Europe, 215, 216 - - - F - - Fayoum, the, 26, 29, 94, 137 - - Ferlini, 153 - - - G - - Garwood, 142 - - Gebeleîn, 22, 179, 214 - - Germany, 214 - - Gizeh, 39, 95 - - Gizeh Museum, 21, 24, 66, 68, 70, 152, 206 - - Gizeh, necropolis of, 21, 29 - - Gold and silver vases and cups, 160–8 - - Golenischeff, 32 - - Gournah, 138 - - Gournah, temple of, 95, 134 - - Grébaut, 37 - - Greece, 119 - - - H - - Hachopsouîtou, Queen, 97, 111, 112, 119 - - Hakori, 196 - - Hapi-T’aufi, Prince, 53 - - Harmais, statues of the, 22 - - Harmhâbi, 100, 130, 133, 135, 138, 139 - - Hathor, the goddess, 41, 42, 109, 110, 111, 112, 114, 115, 117, 118, 187 - - Heliopolis, 123 - - Hellenes, the, 33 - - Heracleopolis, 30, 94 - - Hermopolis, 28, 31, 105 - - Herodotus, 32, 124, 140, 210, 211 - - Hor, the scribe, 84 - - Horus, 188 - - Horus Qa-âou, stele of the, 19 - - Hrihor, 124 - - Hyksôs king, portrait of a, 22 - - - I - - Icelanders and ghosts, 176 - - Iouaa, 122 - - Isis, 97, 116, 147, 148, 202, 204 - - Isis, statue of, 96 - - - K - - Karnak, 31, 37, 105, 138, 139; - _favissa_ of, 22, 26, 90, 94, 95, 96; - modern village of, 90; - temple of, 135 - - Khâbokhni, 188 - - Khâmoîsît, high priest of Phtah, 145, 146 - - Khâsakhmouî, the Pharaoh, 19, 20 - - Khitas, the, 151 - - Khnoum, 135 - - Khnoumhotpou, the dwarf, 85, 86, 87, 88, 89 - - Khonsou, 98, 99 - - Khounaton, 125, 138 - - Khouniatonou, 31, 100, 126, 130, 133 - - Kings, Valley of the, 126 - - _King-Serpent_, stele of the, 19 - - Knom, 56, 58 - - - L - - Leghorn, 172 - - Legrain, M., 22, 26, 91, 94, 95, 96, 98, 100, 105 - - Lepsius, 57 - - Leyden, 20 - - Leyden Museum, 153, 175 - - Leyden papyrus, the, 177 - - Libyan Desert, the, 112 - - Libyan Mountains, the, 113 - - Longpérier, M. de, 49 - - Louis XIV, peruke of time of, 180 - - Louvre, the, 18, 21, 22, 49, 54, 55, 58, 60, 64, 67, 68, 70, 79, 80, - 84, 125, 130, 134, 136, 145, 146, 152, 153, 172, 178, 183, - 185, 186, 195, 200, 205, 206, 215 - - Louxor, 31, 107 - - - M - - Macedonians, the, 102 - - Madagascar, queens of, 104 - - Maît, 213 - - Mankahorou, statuette of, 37 - - Mantimehê, 103, 104 - - Mariette, 22, 24, 32, 38, 55, 60, 62, 66, 79, 94, 98, 100, 103, 116, - 121, 136, 139, 145, 150, 151, 196, 206 - - Matonou (Amten), statue of, at Berlin, 29 - - Medinet Habou, 128 - - Mediterranean, the, 171, 194 - - Meîdoum, 46, 48, 62, 63; - excavations of, 29, 30 - - Memphian Empire, the, 20 - - Memphis, 25, 28, 29, 30, 31, 32, 37, 55, 72, 78, 79, 88, 123, 137, 140 - - Menephtah, 136, 138 - - Menna, 182 - - Menzaleh, Lake, 32 - - Minieh, prince of, 85, 87 - - Mînou, the god, 22 - - Mît-Fares, 22 - - Mît-Rahineh, 24, 37, 39 - - Mohammed-Ali, 142 - - Mohammed Effendi Chabân, 154 - - Mond, Mr., 178 - - Montouhotpou, 111 - - Montouhotpou, statue of, 26 - - Montouhotpou I, temple of, 22, 106 - - Montouhotpou III, statue of, 22 - - Montouhotpou V, tomb of, 92 - - _Monuments de l’Art Antique_, 34 - - Morgan, M. de, 66, 73, 145 - - Moursi Hassaneîn, 155 - - Munich, 20, 21 - - _Musée Egyptien_, the, 26, 34 - - Mycerinus, statues of, 36, 37, 38, 39, 41, 43, 44, 46, 47, 48 - - - N - - Nafêrourîya, 97 - - Naî, the lady, 173, 174, 177, 186 - - Naousirrîya, statuette of, 37 - - Napata, 31 - - Naples Museum, the, 20 - - _Nâr_-mer, _palette_ of, 19 - - Nasi, statue of, 21 - - Naville, 92, 106, 107, 111, 118 - - Nectanebo I, 116 - - Nectanebo II, 33 - - Neîth, 204; - temple of, 167, 169 - - Nephthys, 147, 148, 202 - - Nile, the, 27, 112, 170; - valley of the, 28 - - Nofirtoumou, the god, 215 - - Nofrihotpou, funeral of, 88 - - Nofrît, statue of, 22 - - Nonît, the goddess, 202 - - Nsiphtah, 103 - - Nubia, 31 - - - O - - Omm-el-Gaâb, tombs of, 29 - - Osiris, 116, 123, 147, 148, 205 - - Osorkon II, statuette of, 103 - - _Ostraca_, 98 - - Ounas, 201 - - Ousimares (Osymandyas), 158 - - _Ousirmârî_, 149 - - Oxyrrhinchus, 41 - - - P - - Pakhît, 213, 214 - - Pehournowri, statuette of, 79, 84 - - Perfume ladles described, 190–3 - - Persian Conquest, the, 91 - - Persians, the, 104 - - Petesomtous, 116 - - Petrie, Flinders, 26, 47, 129, 131 - - Phœnicia, 193 - - Phœnicians, the, 171 - - Phtah, 87, 95, 141, 145, 173; - temple of, 37, 140 - - Phtah-Maî, 173, 174 - - Pioupi, bronze statue of, 21 - - Poubastît (Bubastis), 209 - - Psammetichus, 116, 117, 206 - - Psammetichus I, 33, 103 - - Psarou, 146, 147 - - Pyramids, plain of the, 29 - - - Q - - Qodshou, battle of, 151 - - - R - - Râ, the solar god, 123, 124 - - Rahotpou, the scribe, 84; - tomb of, 62 - - Ramessides, the, 91, 103, 124 - - Ramke, the scribe, 84 - - Ramses, 130; - statues of the, 22 - - Ramses I, 138 - - Ramses II, 30, 136, 137, 138, 140, 141, 142, 144, 145, 148, 151, 158, - 159, 160, 170, 206; - statues of, 26, 101, 135 - - Ramses III, 102 - - Ramses VI, 101, 102 - - Ramses-Nakhouîti, 101 - - Rânofir, 44, 46, 88; - statue of, 70, 71, 72, 77, 78 - - _Readers_, statue of the, at Cairo, 21 - - Reisner, 39, 44 - - Rome, 119 - - Rougé, M. de, 196 - - Roxelane, 127 - - - S - - Sabou, tomb of, 66 - - Saîd, the, 31, 113 - - St. Sebastian, paintings of, 83, 84 - - Saïs, 105 - - Saïte jewels, 201 - - Saladin, 39 - - Salt Collection, the, 120, 194 - - Sân, 196 - - Sânakht, 138 - - Sanmaout, statue of, 96, 97 - - Sanouosrît I, statue of, 22, 46; - bas-relief of, 22, 37; - (Ousirtasen), 94, 95 - - Sanouosrît III, 94; - statue of, 46 - - Sapouî (Sepa), statue of, in the Louvre, 21, 29, 64 - - Saqqarah, necropolises of, 21, 29, 49, 55, 63, 66, 76, 85, 88, 95; - village of, 72 - - Sculpture in wood, 172–4, 183–9 - - Scythians, the, 140 - - Serapeum, the, 55, 60, 64, 79, 145, 146, 148, 150, 153, 206 - - _Serdâb_, the, 51, 60, 62 - - “Service des Antiquités,” the, 143, 155, 178 - - Sesostris, 140 - - Setinakht, 138 - - Setouî I, 30, 37, 95, 121, 130, 138; - hypogeum of, 134; - statue of, 135 - - Setouî II, 138, 160 - - Shepherd Kings, the, 22, 32; - portraits of, 196 - - Sheshonq, 194 - - Sidi Ahmed el-Bedaouî, 210 - - Simon, Herr, of Berlin, 129 - - Sinai, 129 - - Siout, 54 - - Siphtah, 160 - - Siphtah Menephtah, 138 - - Sistrum, nome of the, 41 - - Skhemka, the scribe, 55, 56, 58, 59, 60, 64, 65, 84 - - Sokaris, boat of the god, 203 - - Sovkemsaouf, 22 - - Sovkhotpou, the king, 22, 84 - - Speos-Artemidos, cemetery of cats at, 213, 214 - - Sphinxes, the so-called Hyksôs, 28, 32 - - Stephenson, General, 142 - - Sycomore, Canton of the, 41 - - Syria, 95, 124, 139, 164, 171 - - - T - - Taharkou, 103 - - Taharqa, 196 - - Taîa, 98, 99, 121, 122, 134 - - Tamaî, singing-girl of Neîth, 167, 169 - - Tanis, 32, 102, 105, 137; - sphinxes of, 28 - - Tantah, fair of, 210 - - Taouasrît, 170 - - Tboubouî, 184 - - Tell Bastah, ruins of, 208 - - Tell-el-Khanzir, 142 - - Thebaïd, the, 102 - - Theban Empire, the, 21, 22, 28, 32 - - Thebes, 28, 30, 31, 88, 92, 93, 95, 105, 120, 123, 124, 125, 128, 131, - 137, 145, 181, 183, 187 - - Thebes, government of, 103, 104 - - Thinis, 30 - - Thinis-Abydos, 29 - - Thinites, the, 20, 29 - - Thot, city of, 31 - - Thoutmôsis, 138 - - Thoutmôsis, statue of, 22 - - Thoutmôsis III, 91, 94, 96, 97, 98, 107, 109, 112, 121, 134 - - Thoutmôsis IV, 124 - - Ti, 88; - statue of, 70 - - Tîyi, 126, 127, 128, 129 - - Tîyi, wife of Amenôthes III, 100 - - Touaa, 122 - - Touî, the lady, 178, 183, 184, 185, 186, 189 - - Toumoumtaouneb, the royal cupbearer, 164 - - Tourah, limestone of, 49, 179 - - Toutânkhamânou, 133, 134, 138 - - Toutânoukhamanou, 98, 99, 100 - - Turin Museum, 64, 183, 186, 189 - - Turin papyrus, the, 197 - - - U - - Upper Egypt, 41 - - - V - - Vassalli, 47 - - Vienna Museum, 22 - - Virchow, 215 - - - W - - Wiedemann, 26 - - Wilkinson, 216 - - - Z - - Zagazig, 154, 155, 156, 165, 171 - - Zannehibou, 201, 202, 206 - - -The Gresham Press, UNWIN BROTHERS, LIMITED WOKING AND LONDON. - - - - - * * * * * * - - - - -Transcriber’s note: - -Punctuation, hyphenation, and spelling were made consistent when a -predominant preference was found in the original book; otherwise they -were not changed. - -Spelling discrepancies between the main text and the Index were -resolved in favor of the main text. - -Simple typographical errors were corrected; unpaired quotation -marks were remedied when the change was obvious, and otherwise left -unpaired. - -Illustrations in this eBook have been positioned between paragraphs -and outside quotations. 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- clear: both; } - </style> -</head> -<body> -<h1 class="pgx" title="">The Project Gutenberg eBook, Egyptian Art, by G. (Gaston) Maspero, -Translated by Elizabeth Lee</h1> -<p>This eBook is for the use of anyone anywhere in the United States -and most other parts of the world at no cost and with almost no -restrictions whatsoever. You may copy it, give it away or re-use it -under the terms of the Project Gutenberg License included with this -eBook or online at <a -href="https://www.gutenberg.org">www.gutenberg.org</a>. If you are not -located in the United States, you'll have to check the laws of the -country where you are located before using this ebook.</p> -<p>Title: Egyptian Art</p> -<p> Studies</p> -<p>Author: G. (Gaston) Maspero</p> -<p>Release Date: January 26, 2021 [eBook #64387]</p> -<p>Language: English</p> -<p>Character set encoding: UTF-8</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK EGYPTIAN ART***</p> -<p> </p> -<h4 class="pgx" title="">E-text prepared by Turgut Dincer, Charlie Howard,<br /> - and the Online Distributed Proofreading Team<br /> - (https://www.pgdp.net)<br /> - from page images generously made available by<br /> - Internet Archive<br /> - (https://archive.org)</h4> -<p> </p> -<table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> - <tr> - <td valign="top"> - Note: - </td> - <td> - Images of the original pages are available through - Internet Archive. See - https://archive.org/details/egyptianartstudi00maspuoft - </td> - </tr> -</table> -<div class="transnote"> -<p class="center larger">Transcriber’s Note</p> -<p>Larger versions of most illustrations may be seen by right-clicking them -and selecting an option to view them separately, or by double-tapping and/or -stretching them.</p> -</div> -<p> </p> -<hr class="pgx" /> -<p> </p> -<p> </p> -<p> </p> - -<div class="newpage figcenter" style="max-width: 25em;"> - <img src="images/cover.jpg" width="2439" height="3890" alt="cover" /></div> - -<h1>EGYPTIAN ART</h1> - -<div class="chapter"><div class="bbox"><div class="center"> -<p class="wspace larger"><i>BY THE SAME AUTHOR</i></p> - -<p class="p1 xxlarge wspace bold"> -New Light on Ancient Egypt.</p> - -<p class="wspace">Translated by <span class="smcap">Elizabeth Lee</span>.</p> - -<p class="wspace">Illustrated. Demy 8vo, cloth. <b>12/6</b> net. Cheap Edition<br /> -<b>6/-</b> net.</p> - -<p class="p1 xxlarge bold">Egypt: Ancient Sites and Modern Scenes.</p> - -<p class="wspace">Translated by <span class="smcap">Elizabeth Lee</span>.</p> - -<p>With Coloured Frontispiece and 16 other Illustrations.<br /> -Demy 8vo, cloth. <b>12/6</b> net.</p> - -<p class="p2 wspace">LONDON: T. FISHER UNWIN</p> -</div></div></div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="newpage p4 center"> -<p class="xxlarge wspace bold">EGYPTIAN ART</p> - -<p class="p2 wspace vspace large"><span class="gesperrt">STUDIES</span><br /> -<span class="small">BY</span><br /> -<span class="wspace">SIR GASTON MASPERO</span></p> - -<p class="smaller"><span class="smcap">Hon. K.C.M.G., Hon. D.C.L., and Fellow of Queen’s College, Oxford</span></p> - -<p class="smaller"><i>Member of the Institute of France, Professor at the Collège de France,<br /> -Director-General of the Service des Antiquités, Cairo</i></p> - -<p class="p2 wspace">TRANSLATED BY ELIZABETH LEE</p> - -<p class="p2 smaller wspace">WITH 107 ILLUSTRATIONS</p> - -<p class="p2 wspace vspace"><span class="larger gesperrt2">T. FISHER UNWIN</span><br /> -<span class="smaller">LONDON: ADELPHI TERRACE<br /> -LEIPSIC: INSELSTRASSE 20</span> -</p> - -<hr class="chap x-ebookmaker-drop" /> - -<p class="newpage p4 wspace"> -<i>First published in 1913</i></p> - -<p class="p2 wspace">(<i>All rights reserved</i>) -</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_5" class="chapter"> -<p><span class="pagenum" id="Page_5">5</span></p> - -<h2 class="nobreak" id="PREFATORY_NOTE">PREFATORY NOTE</h2> -</div> - -<p class="in0"><span class="firstword">The</span> following essays were written during a period of more -than thirty years, and published at intervals of varying -lengths. The oldest of them appeared in <i>Les Monuments -de l’Art Antique</i> of my friend Olivier Rayet, and the -others in <i>La Nature</i> at the request of Gaston Tissandier, in -the <i>Gazette des Beaux-Arts</i>, in the <i>Monuments Piot</i>, and -chiefly in the <i>Revue de l’Art Ancien et Moderne</i>, where my -friend Jules Comte gave them hospitality. As most of -these periodicals do not circulate in purely scientific circles, -the essays are almost unknown to experts, and will for -the greater part be new to them. Indeed, they were not -intended for them. In writing them, I desired to familiarize -the general public, who were scarcely aware of their existence, -with some of the fine pieces of Egyptian sculpture -and goldsmiths’ work, and to point out how to approach -them in order to appreciate their worth. Some, after various -vicissitudes, had found a home in the Museums of Paris or -of Cairo, and I wrote the notices in my study, deducing -at leisure the reasons for my criticisms. Others I caught -as they emerged from the ground, the very day of or the -day after their discovery, and I described them on the -spot, as it were, under the influence of my first encounter -with them: they themselves dictated to me what I said -of them.</p> - -<p>Some persons will perhaps be surprised to find the same -ideas developed at length in several parts of the book. If<span class="pagenum" id="Page_6">6</span> -they will carry their thoughts back to the date at which I -wrote, they will recognize the necessity of such repetitions. -Egyptologists, absorbed in the task of deciphering, had -eyes for scarcely anything except the historical or religious -literary texts; and so amateurs or inquirers, finding nothing -in the works of experts to help them to any sound interpretation -of the characteristic manifestations of Egyptian -art, were reduced to register them without always understanding -them, for lack of knowledge of the concepts that -had imposed their forms on them. It is now admitted that -such objects of art are above all utilitarian, and that they -were originally commissioned with the fixed purpose of -assuring the well-being of human survival in an existence -beyond the grave. Thirty years ago, few were aware of -this, and to convince the rest, it was necessary to insist -continually on the proofs and to multiply examples. I -might of course have suppressed a portion of them here, -but had I done so, should I not have been reproached, and -quite rightly, with misrepresenting and almost falsifying a -passage in the history of the Egyptian arts? The ideas -which govern our present conception did not at once reach -the point where they now are. They came into being one -after the other, and spread themselves by successive waves -of unequal intensity, welcomed with favour by some, -rejected by others. I had to begin over again a dozen -times and in a dozen different ways before I obtained their -almost universal acceptation. I was at first laughed at -when I put forward the opinion that there was not one -unique art in Egypt, identical from one extremity of the -valley to the other except for almost imperceptible nuances -of execution, but that there were at least half a dozen local -schools, each with its own traditions and its own principles, -often divided into several studios, the technique of which I<span class="pagenum" id="Page_7">7</span> -tried to determine. In the end the incredulous rallied to -my side, and it would have been bad grace on my part to -leave out of the articles which helped to convert them, at -least I hope so, the repetitions which led to their being -convinced.</p> - -<p>Besides, I am sure that they will render my readers of -to-day the same service that they rendered formerly to my -colleagues in Egyptology. When they have thoroughly -entered into the spirit of the Egyptian ideas concerning -existence in this world and the next, they will understand -what Egyptian art is, and why it is above everything -realistic. The question for Egyptian art was not to create -a type of independent beauty in the person of the -individuals who furnish the principal elements of it, but to -express truthfully the features which constituted that -person and which must be preserved identical as long as -anything of him persisted among the living and the dead. -But why should I epitomize here in a necessarily incomplete -way ideas which are amply set forth in the book itself? I -shall do better in using the small space left me in thanking -the publishers who have kindly authorized me to reproduce -the illustrations which accompanied my articles, Jules -Comte, the directors of <i>La Nature</i>, and my old friends of -the firm of Hachette. They have thus collaborated in this -book, and it will owe a large part of its success to their -kindness.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_9">9</span></p> - -<h2 class="nobreak" id="CONTENTS">CONTENTS</h2> -</div> - -<table id="toc" summary="Contents"> -<tr class="smaller"> - <td> </td> - <td class="tdr">PAGE</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Prefatory Note</span></td> - <td class="tdr"><a href="#chap_5">5</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">I</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Egyptian Statuary and its Schools</span></td> - <td class="tdr"><a href="#chap_17">17</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">II</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Some Portraits of Mycerinus</span></td> - <td class="tdr"><a href="#chap_36">36</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">III</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">A Scribe’s Head of the IVth or Vth Dynasty</span></td> - <td class="tdr"><a href="#chap_49">49</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">IV</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Skhemka, his Wife and Son: a Group found at Memphis</span></td> - <td class="tdr"><a href="#chap_55">55</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">V</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Crouching Scribe: Vth Dynasty</span></td> - <td class="tdr"><a href="#chap_60">60</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">VI</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The New Scribe of the Gizeh Museum</span></td> - <td class="tdr"><a href="#chap_66">66</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">VII</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Kneeling Scribe: Vth Dynasty</span></td> - <td class="tdr"><a href="#chap_74">74</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">VIII</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Pehournowri: Statuette in painted Limestone found at Memphis</span></td> - <td class="tdr"><a href="#chap_79">79</a><span class="pagenum" id="Page_10">10</span></td> -</tr> -<tr class="chaphead"> - <td class="tdc">IX</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Dwarf Khnoumhotpou: Vth or VIth Dynasty</span></td> - <td class="tdr"><a href="#chap_85">85</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">X</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The “Favissa” of Karnak, and the Theban School of Sculpture</span></td> - <td class="tdr"><a href="#chap_90">90</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XI</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Cow of Deîr-el-Baharî</span></td> - <td class="tdr"><a href="#chap_106">106</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XII</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Statuette of Amenôphis IV</span></td> - <td class="tdr"><a href="#chap_120">120</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XIII</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Four Canopic Heads found in the Valley of the Kings at Thebes</span></td> - <td class="tdr"><a href="#chap_126">126</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XIV</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">A Head of the Pharaoh Harmhabi</span></td> - <td class="tdr"><a href="#chap_135">135</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XV</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Colossus of Ramses II at Bedrecheîn</span></td> - <td class="tdr"><a href="#chap_140">140</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XVI</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Egyptian Jewellery in the Louvre</span></td> - <td class="tdr"><a href="#chap_145">145</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XVII</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Treasure of Zagazig</span></td> - <td class="tdr"><a href="#chap_154">154</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XVIII</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Three Statuettes in Wood</span></td> - <td class="tdr"><a href="#chap_172">172</a><span class="pagenum" id="Page_11">11</span></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XIX</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">A Fragment of a Theban Statuette</span></td> - <td class="tdr"><a href="#chap_178">178</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XX</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Lady Touî of the Louvre and Egyptian Industrial Sculpture in Wood</span></td> - <td class="tdr"><a href="#chap_183">183</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XXI</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Some Perfume Ladles of the XVIIIth Dynasty</span></td> - <td class="tdr"><a href="#chap_190">190</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XXII</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Some Green Basalt Statuettes of the Saïte Period</span></td> - <td class="tdr"><a href="#chap_195">195</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XXIII</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">A Find of Saïte Jewels at Saqqarah</span></td> - <td class="tdr"><a href="#chap_201">201</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XXIV</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">A Bronze Egyptian Cat belonging to M. Barrère</span></td> - <td class="tdr"><a href="#chap_208">208</a></td> -</tr> -<tr class="chaphead"> - <td class="tdc">XXV</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">A Find of Cats in Egypt</span></td> - <td class="tdr"><a href="#chap_214">214</a></td> -</tr> -<tr class="tpad"> - <td class="tdl"><span class="smcap">Index</span></td> - <td class="tdr"><a href="#chap_217">217</a></td> -</tr> -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_13">13</span></p> - -<h2 class="nobreak" id="ILLUSTRATIONS">ILLUSTRATIONS</h2> -</div> - -<table id="loi" summary="Illustrations"> -<tr class="smaller"> - <td class="tdr" colspan="2">FACING PAGE</td> -</tr> -<tr> - <td class="tdl">THE MYCERINUS OF MÎT-RAHINEH</td> - <td class="tdr"><a href="#il_1">38</a></td> -</tr> -<tr> - <td class="tdl">MYCERINUS (REISNER HEAD)</td> - <td class="tdr"><a href="#il_2">38</a></td> -</tr> -<tr> - <td class="tdl">ALABASTER STATUE OF MYCERINUS</td> - <td class="tdr"><a href="#il_3">40</a></td> -</tr> -<tr> - <td class="tdl">MYCERINUS, HATHOR, AND THE NOME OXYRRHINCHUS</td> - <td class="tdr"><a href="#il_4">42</a></td> -</tr> -<tr> - <td class="tdl">MYCERINUS, HATHOR, AND THE NOME CYNOPOLITE</td> - <td class="tdr"><a href="#il_5">42</a></td> -</tr> -<tr> - <td class="tdl">MYCERINUS AND HIS WIFE</td> - <td class="tdr"><a href="#il_6">44</a></td> -</tr> -<tr> - <td class="tdl">MYCERINUS, HATHOR, AND THE NOME OF THE SISTRUM</td> - <td class="tdr"><a href="#il_7">46</a></td> -</tr> -<tr> - <td class="tdl">MYCERINUS AND HIS WIFE (DETAIL)</td> - <td class="tdr"><a href="#il_8">46</a></td> -</tr> -<tr> - <td class="tdl">MYCERINUS AND HIS WIFE (DETAIL)</td> - <td class="tdr"><a href="#il_9">48</a></td> -</tr> -<tr> - <td class="tdl">SCRIBE’S HEAD</td> - <td class="tdr"><a href="#il_10">50</a></td> -</tr> -<tr> - <td class="tdl">SKHEMKA WITH HIS WIFE AND SON</td> - <td class="tdr"><a href="#il_11">56</a></td> -</tr> -<tr> - <td class="tdl">CROUCHING SCRIBE</td> - <td class="tdr"><a href="#il_12">60</a></td> -</tr> -<tr> - <td class="tdl">THE NEW SCRIBE OF THE GIZEH MUSEUM</td> - <td class="tdr"><a href="#il_13">66</a></td> -</tr> -<tr> - <td class="tdl">STATUE OF RÂNOFIR</td> - <td class="tdr"><a href="#il_14">72</a></td> -</tr> -<tr> - <td class="tdl">KNEELING SCRIBE</td> - <td class="tdr"><a href="#il_15">74</a></td> -</tr> -<tr> - <td class="tdl">PEHOURNOWRI</td> - <td class="tdr"><a href="#il_16">80</a></td> -</tr> -<tr> - <td class="tdl">THE DWARF KHNOUMHOTPOU</td> - <td class="tdr"><a href="#il_17">86</a></td> -</tr> -<tr> - <td class="tdl">THE WORKS AT KARNAK IN JANUARY, 1906</td> - <td class="tdr"><a href="#il_18">92</a></td> -</tr> -<tr> - <td class="tdl">MONTOUHOTPOU V</td> - <td class="tdr"><a href="#il_19">94</a></td> -</tr> -<tr> - <td class="tdl">HEAD OF A COLOSSUS OF SANOUOSRÎT</td> - <td class="tdr"><a href="#il_20">94</a></td> -</tr> -<tr> - <td class="tdl">SANOUOSRÎT AND THE GOD PHTAH</td> - <td class="tdr"><a href="#il_21">94</a></td> -</tr> -<tr> - <td class="tdl">BUST OF THOUTMÔSIS III</td> - <td class="tdr"><a href="#il_22">96</a></td> -</tr> -<tr> - <td class="tdl">ISIS, MOTHER OF THOUTMÔSIS III</td> - <td class="tdr"><a href="#il_23">96</a><span class="pagenum" id="Page_14">14</span></td> -</tr> -<tr> - <td class="tdl">SANMAOUT AND THE PRINCESS NAFÊROURIYA</td> - <td class="tdr"><a href="#il_24">98</a></td> -</tr> -<tr> - <td class="tdl">STATUETTE IN PETRIFIED WOOD</td> - <td class="tdr"><a href="#il_25">100</a></td> -</tr> -<tr> - <td class="tdl">THEBAN KHONSOU</td> - <td class="tdr"><a href="#il_26">100</a></td> -</tr> -<tr> - <td class="tdl">STATUE OF TOUTÂNOUKHAMANOU</td> - <td class="tdr"><a href="#il_27">100</a></td> -</tr> -<tr> - <td class="tdl">THE SO-CALLED TAIA</td> - <td class="tdr"><a href="#il_28">100</a></td> -</tr> -<tr> - <td class="tdl">RAMSES II</td> - <td class="tdr"><a href="#il_29">100</a></td> -</tr> -<tr> - <td class="tdl">RAMSES IV LEADING A LIBYAN CAPTIVE</td> - <td class="tdr"><a href="#il_30">100</a></td> -</tr> -<tr> - <td class="tdl">THE PRIEST WITH THE MONKEY</td> - <td class="tdr"><a href="#il_31">102</a></td> -</tr> -<tr> - <td class="tdl">OSORKON II OFFERING A BOAT TO THE GOD AMON</td> - <td class="tdr"><a href="#il_32">104</a></td> -</tr> -<tr> - <td class="tdl">QUEEN ANKHNASNOFIRIABRÊ</td> - <td class="tdr"><a href="#il_33">104</a></td> -</tr> -<tr> - <td class="tdl">MANTIMEHÊ</td> - <td class="tdr"><a href="#il_34">104</a></td> -</tr> -<tr> - <td class="tdl">NSIPHTAH, SON OF MANTIMEHÊ</td> - <td class="tdr"><a href="#il_35">104</a></td> -</tr> -<tr> - <td class="tdl">HEAD (SAÏTE PERIOD)</td> - <td class="tdr"><a href="#il_36">104</a></td> -</tr> -<tr> - <td class="tdl">THE COW OF DEÎR-EL-BAHARÎ IN HER CHAPEL</td> - <td class="tdr"><a href="#il_37">104</a></td> -</tr> -<tr> - <td class="tdl">AMENÔTHES II AND THE COW HATHOR</td> - <td class="tdr"><a href="#il_38">106</a></td> -</tr> -<tr> - <td class="tdl">AMENÔTHES II AND THE COW HATHOR</td> - <td class="tdr"><a href="#il_39">106</a></td> -</tr> -<tr> - <td class="tdl">THE COW HATHOR</td> - <td class="tdr"><a href="#il_40">108</a></td> -</tr> -<tr> - <td class="tdl">AN UNKNOWN FIGURE AND THE COW HATHOR</td> - <td class="tdr"><a href="#il_41">112</a></td> -</tr> -<tr> - <td class="tdl">PETESOMTOUS AND THE COW HATHOR</td> - <td class="tdr"><a href="#il_42">114</a></td> -</tr> -<tr> - <td class="tdl">PSAMMETICHUS AND THE COW HATHOR</td> - <td class="tdr"><a href="#il_43">116</a></td> -</tr> -<tr> - <td class="tdl">PSAMMETICHUS AND THE COW HATHOR</td> - <td class="tdr"><a href="#il_44">118</a></td> -</tr> -<tr> - <td class="tdl">AMENÔPHIS IV</td> - <td class="tdr"><a href="#il_45">120</a></td> -</tr> -<tr> - <td class="tdl">KING KHOUNIATONOU</td> - <td class="tdr"><a href="#il_46">126</a></td> -</tr> -<tr> - <td class="tdl">KING KHOUNIATONOU</td> - <td class="tdr"><a href="#il_47">126</a></td> -</tr> -<tr> - <td class="tdl">KING KHOUNIATONOU</td> - <td class="tdr"><a href="#il_48">128</a></td> -</tr> -<tr> - <td class="tdl">KING KHOUNIATONOU</td> - <td class="tdr"><a href="#il_49">130</a></td> -</tr> -<tr> - <td class="tdl">KING KHOUNIATONOU</td> - <td class="tdr"><a href="#il_50">130</a></td> -</tr> -<tr> - <td class="tdl">QUEEN TÎYI (FULL FACE)</td> - <td class="tdr"><a href="#il_51">130</a><span class="pagenum" id="Page_15">15</span></td> -</tr> -<tr> - <td class="tdl">QUEEN TÎYI (PROFILE)</td> - <td class="tdr"><a href="#il_52">130</a></td> -</tr> -<tr> - <td class="tdl">PRINCESS OF THE FAMILY OF TÎYI (PROFILE)</td> - <td class="tdr"><a href="#il_53">132</a></td> -</tr> -<tr> - <td class="tdl">PRINCESS OF THE FAMILY OF TÎYI (FULL FACE)</td> - <td class="tdr"><a href="#il_54">132</a></td> -</tr> -<tr> - <td class="tdl">KING KHOUNIATONOU</td> - <td class="tdr"><a href="#il_55">132</a></td> -</tr> -<tr> - <td class="tdl">KING KHOUNIATONOU</td> - <td class="tdr"><a href="#il_56">134</a></td> -</tr> -<tr> - <td class="tdl">HEAD OF THE PHARAOH HARMHABI</td> - <td class="tdr"><a href="#il_57">136</a></td> -</tr> -<tr> - <td class="tdl">THE HALF-BURIED COLOSSUS OF RAMSES II</td> - <td class="tdr"><a href="#il_58">140</a></td> -</tr> -<tr> - <td class="tdl">THE COLOSSUS OF RAMSES II EMERGING FROM THE EARTH</td> - <td class="tdr"><a href="#il_59">140</a></td> -</tr> -<tr> - <td class="tdl">EGYPTIAN JEWELLERY OF THE XIXTH DYNASTY</td> - <td class="tdr"><a href="#il_60">146</a></td> -</tr> -<tr> - <td class="tdl">GOLD PECTORAL INLAID WITH ENAMEL</td> - <td class="tdr"><a href="#il_61">146</a></td> -</tr> -<tr> - <td class="tdl">PECTORAL OF RAMSES II</td> - <td class="tdr"><a href="#il_62">148</a></td> -</tr> -<tr> - <td class="tdl">PECTORAL IN SHAPE OF A HAWK WITH A RAM’S HEAD</td> - <td class="tdr"><a href="#il_63">148</a></td> -</tr> -<tr> - <td class="tdl">SILVER BRACELETS AND EARRINGS</td> - <td class="tdr"><a href="#il_64">156</a></td> -</tr> -<tr> - <td class="tdl">GOLD EARRING FROM THE TREASURE OF ZAGAZIG</td> - <td class="tdr"><a href="#il_65">156</a></td> -</tr> -<tr> - <td class="tdl">ONE OF RAMSES II’S BRACELETS (OPEN)</td> - <td class="tdr"><a href="#il_66">158</a></td> -</tr> -<tr> - <td class="tdl">ONE OF RAMSES II’s BRACELETS (CLOSED)</td> - <td class="tdr"><a href="#il_67">158</a></td> -</tr> -<tr> - <td class="tdl">GOLD CUP OF QUEEN TAOUASRÎT</td> - <td class="tdr"><a href="#il_68">160</a></td> -</tr> -<tr> - <td class="tdl">SMALLER OF THE TWO GOLD VASES (FRONT VIEW)</td> - <td class="tdr"><a href="#il_69">160</a></td> -</tr> -<tr> - <td class="tdl">SMALLER OF THE TWO GOLD VASES (BACK VIEW)</td> - <td class="tdr"><a href="#il_70">162</a></td> -</tr> -<tr> - <td class="tdl">MASS OF SILVER VASES SOLDERED TOGETHER BY OXIDE</td> - <td class="tdr"><a href="#il_71">162</a></td> -</tr> -<tr> - <td class="tdl">LARGER OF THE TWO GOLD VASES (FRONT VIEW)</td> - <td class="tdr"><a href="#il_72">164</a></td> -</tr> -<tr> - <td class="tdl">LARGER OF THE TWO GOLD VASES (BACK VIEW)</td> - <td class="tdr"><a href="#il_73">164</a></td> -</tr> -<tr> - <td class="tdl">THE VASE WITH THE KID</td> - <td class="tdr"><a href="#il_74">164</a></td> -</tr> -<tr> - <td class="tdl">ONE OF THE SILVER PATERÆ OF ZAGAZIG (SIDE VIEW)</td> - <td class="tdr"><a href="#il_75">166</a></td> -</tr> -<tr> - <td class="tdl">SILVER STRAINER</td> - <td class="tdr"><a href="#il_76">166</a></td> -</tr> -<tr> - <td class="tdl">THE BOTTOM OF ONE OF THE ZAGAZIG SILVER PATERÆ</td> - <td class="tdr"><a href="#il_77">168</a></td> -</tr> -<tr> - <td class="tdl">STATUETTES IN WOOD</td> - <td class="tdr"><a href="#il_78">172</a></td> -</tr> -<tr> - <td class="tdl">THE MOND STATUETTE (FRONT VIEW)</td> - <td class="tdr"><a href="#il_79">178</a><span class="pagenum" id="Page_16">16</span></td> -</tr> -<tr> - <td class="tdl">THE MOND STATUETTE (PROFILE)</td> - <td class="tdr"><a href="#il_80">180</a></td> -</tr> -<tr> - <td class="tdl">THE LADY TOUÎ, STATUETTE IN WOOD</td> - <td class="tdr"><a href="#il_81">184</a></td> -</tr> -<tr> - <td class="tdl">STATUETTE IN WOOD</td> - <td class="tdr"><a href="#il_82">186</a></td> -</tr> -<tr> - <td class="tdl">STATUETTE IN WOOD</td> - <td class="tdr"><a href="#il_83">186</a></td> -</tr> -<tr> - <td class="tdl">PERFUME LADLE</td> - <td class="tdr"><a href="#il_84">190</a></td> -</tr> -<tr> - <td class="tdl">PERFUME LADLE</td> - <td class="tdr"><a href="#il_85">190</a></td> -</tr> -<tr> - <td class="tdl">PERFUME LADLE</td> - <td class="tdr"><a href="#il_86">192</a></td> -</tr> -<tr> - <td class="tdl">PERFUME LADLE</td> - <td class="tdr"><a href="#il_87">192</a></td> -</tr> -<tr> - <td class="tdl">PERFUME LADLE</td> - <td class="tdr"><a href="#il_88">194</a></td> -</tr> -<tr> - <td class="tdl">GREEN BASALT STATUETTES OF THE SAÏTE PERIOD</td> - <td class="tdr"><a href="#il_89">196</a></td> -</tr> -<tr> - <td class="tdl">NECKLACE AMULET</td> - <td class="tdr"><a href="#il_90">202</a></td> -</tr> -<tr> - <td class="tdl">VULTURE AMULET</td> - <td class="tdr"><a href="#il_90">202</a></td> -</tr> -<tr> - <td class="tdl">GOLD PALM-TREE</td> - <td class="tdr"><a href="#il_91">202</a></td> -</tr> -<tr> - <td class="tdl">BOAT OF SOKARIS</td> - <td class="tdr"><a href="#il_91">202</a></td> -</tr> -<tr> - <td class="tdl">RAM’S HEAD</td> - <td class="tdr"><a href="#il_92l">202</a></td> -</tr> -<tr> - <td class="tdl">GOLD HAWK</td> - <td class="tdr"><a href="#il_92l">202</a></td> -</tr> -<tr> - <td class="tdl">HAWK WITH HUMAN HEAD</td> - <td class="tdr"><a href="#il_92r">202</a></td> -</tr> -<tr> - <td class="tdl">HAWK WITH RAM’S HEAD</td> - <td class="tdr"><a href="#il_92r">202</a></td> -</tr> -<tr> - <td class="tdl">VULTURE</td> - <td class="tdr"><a href="#il_93">202</a></td> -</tr> -<tr> - <td class="tdl">ISIS WITH THE CHILD</td> - <td class="tdr"><a href="#il_93">202</a></td> -</tr> -<tr> - <td class="tdl">CROUCHING NEÎTH</td> - <td class="tdr"><a href="#il_93">202</a></td> -</tr> -<tr> - <td class="tdl">MONKEYS WORSHIPPING THE EMBLEM OF OSIRIS</td> - <td class="tdr"><a href="#il_94">204</a></td> -</tr> -<tr> - <td class="tdl">VULTURE WITH EXTENDED WINGS</td> - <td class="tdr"><a href="#il_95">204</a></td> -</tr> -<tr> - <td class="tdl">HAWK WITH EXTENDED WINGS</td> - <td class="tdr"><a href="#il_95">204</a></td> -</tr> -<tr> - <td class="tdl">THE SOUL (FRONT VIEW)</td> - <td class="tdr"><a href="#il_96">204</a></td> -</tr> -<tr> - <td class="tdl">THE SOUL (BACK VIEW)</td> - <td class="tdr"><a href="#il_97">204</a></td> -</tr> -<tr> - <td class="tdl">BRONZE CAT OF THE SAÏTE PERIOD</td> - <td class="tdr"><a href="#il_98">208</a></td> -</tr> -<tr> - <td class="tdl">BRONZE CAT</td> - <td class="tdr"><a href="#il_99">214</a></td> -</tr> -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_17" class="chapter"> -<p><span class="pagenum" id="Page_17">17</span></p> - -<h2 class="nobreak" id="EGYPTIAN_ART">EGYPTIAN ART</h2> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="I" title="I EGYPTIAN STATUARY AND ITS SCHOOLS">I<br /> - -<span class="subhead">EGYPTIAN STATUARY AND ITS SCHOOLS<a id="FNanchor_1" href="#Footnote_1" class="fnanchor smaller">1</a></span></h2> -</div> - -<p class="in0"><span class="firstword">I opened</span> F.W. von Bissing’s work<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">2</a> with a certain feeling -of melancholy, for it was a thing that I had hoped to do -myself. Ebers had suggested to Bruckmann, the publisher, -that he should entrust the task to me, and I was on the -point of arranging with him when the preparations for an -Orientalist Congress to meet at Paris in 1897 deprived -me of the leisure left me by my lectures and the printing -of my “History,” and I was forced to give up the project. -Herr von Bissing, who was less occupied then than I -was, consented to hazard the adventure, and no one -could have been better equipped than he was to carry -it through. The seeking of materials, the execution of -typographical <i>clichés</i>, the composition of the text and its -careful setting forth exacted eight years of travelling and -continuous labour. Bissing issued the first part at the -end of 1905, and five other parts have quickly followed, -forming almost the half of the work, seventy-two plates -folio, and the portions of the explanatory text belonging -to the plates.</p> - -<p><span class="pagenum" id="Page_18">18</span></p> - -<h3>I</h3> - -<p>The title is not, at least as yet, exactly accurate. -Egyptian sculpture includes, in fact, besides statues and -groups in alto-relievo, bas-reliefs often of very large -dimensions which adorn the tombs or the walls of temples. -Now Bissing has only admitted statues and groups to -the honours of publication: the few specimens of the -bas-reliefs that he gives are not taken from the ruins themselves, -but have been selected from pieces in the museums, -stelæ, or fragments of ruined buildings. It is then the -monuments of Egyptian statuary that he presents to us -rather than those of Egyptian sculpture as a whole.</p> - -<p>Having made that statement and thus defined the -extent of the field of action, it must be frankly admitted -that he has always made a happy selection of pieces to be -reproduced. Doubtless we may regret the absence of some -famous pieces, such as the Crouching Scribe of the Louvre -or the Cow of Deîr el-Baharî. The fault is not his, and -perhaps he will succeed in overcoming the obstacles which -forced him to deprive us of them. The omissions, at -any rate, are not numerous. When the list printed on -the covers of the first part is exhausted, amateurs and -experts will have at their disposal nearly everything -required to follow the evolution of Egyptian statuary -from its earliest beginnings to the advent of Christianity. -The schools of the Greek and Roman epochs, unjustly -contemned by archæologists who have written on these -subjects, are not wanting, and for the first time the -ordinary reader can decide for himself if all the artists -of the decadence equally deserve contempt or oblivion. -Bissing has attempted a complete picture, not a sketch -restricted to the principal events in art between the IVth<span class="pagenum" id="Page_19">19</span> -Dynasty and the XXXth. No serious attempt of the -kind had before been made, and on many points he had -to open out the roads he traversed. For the moment he -has stopped at the beginning of the Saïte period; thus -we have as yet no means of judging if the plan he has -imposed on himself is carried out to the end with a -rigour and firmness everywhere equal: but a rapid -examination of the parts that have appeared will show -that it has been executed with fullness and fidelity.</p> - -<p>Four plates are devoted to Archaic Egypt: the two -first are facsimiles of the bas-reliefs that decorate the -stele of the Horus Qa-âou, and the so-called <i>palette</i> of -the king we designate Nâr-mer, since we have not -deciphered his name. It is in truth very little, but the -excavations have rendered such poor accounts of those -distant ages that it is almost all that could be given of -them; it might, however, have been worth while to add -the statuettes of the Pharaoh Khâsakhmouî. Notwithstanding -the omission, the objects that appear give a -sufficient idea of the degree of skill attained by the -sculptors of those days. The stele of Qa-âou does not, -of course, equal that of the <i>King-Serpent</i><a id="FNanchor_3" href="#Footnote_3" class="fnanchor">3</a> which is in -the Louvre; it is, however, of a fairly good style, and the -hawk of Horus is nearer to the real animal than those -of the protocol were later. Similarly the scenes engraved -on the <i>palette</i> of Nâr-mer testify to an indisputable -virtuosity in the manner of attacking the stone. The -drawing of the persons is less schematic and their bearing -freer than in the compositions of classical art, but it is -evident that the craftsman had as yet no very clear -idea of the way in which to compose a picture and<span class="pagenum" id="Page_20">20</span> -group its elements. Let us confess, nevertheless, that the -bas-reliefs are far superior to the statues yet known. We -possess about half a dozen of them scattered over the -world. Bissing studied one to the exclusion of the others, -the one in the Naples Museum, and it may be thought -to be sufficient if only æsthetic impressions are desired, -for nothing could be rougher or more awkward. The -head and face might perhaps pass, but the rest is ill-proportioned, -the neck is too short, the shoulders and -chest are massive, the legs lack slenderness under a heavy -petticoat, the feet and hands are enormous. The defects -cannot be ascribed to the hardness of the material, for the -Scribe of the Cairo Museum, which is in limestone, -displays them as flagrantly as the good people in granite -at Naples, Munich, or Leyden. I must not therefore -conclude, however, that they are constant faults with the -Thinites: the statuettes of Khâsakhmouî are of a less -heavy workmanship and more nearly approach that of -later studios. That the ruins have rendered only a few -that possess worth does not prove that there may not -have been excellent ones: we must have patience and -wait till some happy chance belies the mediocrity.</p> - -<p>The Memphian Empire has furnished thirteen plates, -and I doubt if they are enough. The number of masterpieces, -and especially of pieces which, without possessing -claims to perfection, offer interest on some count, is so -large that Bissing could easily have found, in the Cairo -Museum alone, material enough to double the number. -Very probably it was due to the publisher and a question -of economy: but all the same I regret the absence of -half a dozen statues that would have made a good appearance -by the side of the Scribe of the Berlin Museum. -The chief species of the period are at least represented<span class="pagenum" id="Page_21">21</span> -by very good examples: statues of the Pharaoh seated, -receiving homage, are represented by two of the Chephrên -of the Cairo Museum; of the Pharaoh standing, by the -Pioupi in bronze; those of private individuals standing -and isolated, or in groups, by the Cheîkh el-Beled of the -Gizeh Museum, by the Sapouî and the Nasi of the -Louvre, or by the pair at Munich; those of individuals -seated by the Scribe of Berlin and by one of the Readers -of Cairo. One of the Cairo statues, of mediocre workmanship, -is, however, curious, because it shows us a priest -completely nude, by no means usual, and circumcized, a -fact still less usual. Three fragments preserved at Munich, -portions of three stelæ, a complete stele from the Cairo -Museum, an episode borrowed from the tomb of Apouî, -of which Cairo possesses almost an entire wall, provide -specimens of bas-reliefs for the student to study, without, -however, permitting him to suspect the variety -of motives and abundance of detail usually met with in -the necropolises of Saqqarah or of Gizeh. Reduced to -these elements, Bissing’s book will make the impression -on its readers of a noble art exalted by inspiration, minute -and skilful in the material execution, but monotonous, -and confined in a rather narrow circle of concepts and -forms of expression. It is only fair to add that the book -is not finished and that, thanks to the system employed -of double and triple plates, it is quite easy to insert -new documents among those of the parts that have -already appeared. Some of the lacunæ will assuredly be -filled up, and the additions will place us in a better -position to judge the worth of the ancient Memphian -school.</p> - -<p>The notices of the first Theban Empire are more -numerous, and they render it possible to study the<span class="pagenum" id="Page_22">22</span> -history of statuary during the long interval that separates -the Heracleopolitan period from the domination of the -Shepherd Kings. For the XIth Dynasty, besides the -wonderful statue of Montouhotpou III, there are bas-reliefs -or paintings found at Gebeleîn in the ruins of a -temple of Montouhotpou I. Afterwards, we have, in the -XIIth Dynasty itself, the seated statues of Sanouosrît I, -of Nofrît and of Amenemhaît III, the sphinx of Amenemhaît -III that Mariette declared to be the portrait of a -Hyksôs king, an admirable king’s head preserved in the -Vienna Museum, and pieces of lesser interest, among -which a curious bas-relief of Sanouosrît I dancing before -the god Mînou at Coptos should be mentioned. For the -XIIIth and following Dynasties, I only see as yet the -Sovkhotpou of the Louvre, the barbarous head of Mît-Fares, -and the Sovkemsaouf of Vienna, but we must wait -for the next parts before deciding to what point Bissing -has made use of the rich store of documents available for -that period. The second Theban Empire, so rich in -souvenirs of all kinds, offered an embarrassing choice: the -Cairo Museum alone possesses material enough for two -or three volumes, especially since the fortunate excavations -conducted by Legrain at the <i>favissa</i> of Karnak. -The subjects in favour of which Bissing decided have -their special importance: they are each the actual head -of a pillar, the type of a series that he could, in many -cases, have reproduced almost entire, so well has chance -served us in the course of these last years. The statues -of Amenôthes, of Thoutmôsis, of the Ramses, of the Harmais -are celebrated, and it is unnecessary to enumerate -them one after the other: the reader will see them again -with pleasure as he goes along, and will admire the marvellous -skill with which the photographer has reproduced<span class="pagenum" id="Page_23">23</span> -them, and the printer has responded to the photographer’s -skill. The pictures of the volume are often perfect, and -plates like those of the head of one of the sphinxes of -Amenemhaît III are so successful that in looking at -them we have almost the sensation of the original. In a -few, however, the printing is too heavy and the thickness -of the ink has distorted and coarsened the modelling. -As a general rule the larger number of the defects I -have noted are due to this tiresome question of inks. I -know too well from my own experience the difficulties -caused by the obstinacy of the workmen on that point, -so I am able to make excuses for both Bruckmann and -Bissing.</p> - -<h3>II</h3> - -<p>So much for the illustrations: the portion of the text -as yet published greatly increases their interest, and -assures the work permanent value. It contains information -as to the origin of the object, its migrations, its -actual home to-day, its state of preservation and, at need, -the restorations it has undergone: descriptions showing -careful research, and extended bibliographies complete the -suggestions made by the picture, and inform us of -previous criticisms. The shortest of the notices fills two -compact quarto columns, and are reinforced by numerous -footnotes; many of them are veritable essays in which -the subject is examined on every side and as exhaustively -as is possible. Vignettes are inserted which exhibit the -object in a different light from that of the plate, or show -the reader some of the analogous motives referred to in -the discussion.</p> - -<p>Repetition of similar types has sometimes prevented -Bissing from developing his views as a whole, and we<span class="pagenum" id="Page_24">24</span> -are compelled to look under several rubrics before learning -his full opinion. This is a serious drawback unless -it is remedied in the introduction: we shall perhaps find -all the observations brought together there into one system, -with justificatory references to each of the notices in -particular.</p> - -<p>Bissing’s criticisms are always well justified: they -testify to a mature taste or a sure tact, and there are very -few with which experts would not willingly agree. Here -and there, however, I must make some reservations, for -example, with regard to the Chephrên of Gizeh. After -discussing at length Borchardt’s reasons for attributing -it to a Saïte school, and refuting them, Bissing declares -that it is perhaps a late copy of a work contemporary with -the Pharaoh. I recently had occasion to study it closely -in order to determine the position in the Museum best -suited to it, and to decide the height of the plinth on -which it should be placed. I went over Borchardt’s -arguments and Bissing’s hypotheses one after the other and -came to the conclusion that the date assigned by Mariette -at the moment of its discovery is the only admissible -one. The archæological details belong to the Memphian -age, and the peculiarities of style which Bissing points out, -and which actually exist, are not sufficiently strongly -marked to justify its attribution to a later epoch. I only -see in them the divergences which, in every age, mark -works coming from different and perhaps rival studios. -The artists who cut the <i>doubles</i> in diorite destined for -the pyramid of the Pharaoh, did not certainly have the -same masters as those to whom we owe the Chephrên -in alabaster and the royal statuettes of Mitrahineh: -the difference of origin sufficiently explains why they -do not resemble each other. I fear that in criticizing<span class="pagenum" id="Page_25">25</span> -certain sculptures Borchardt and others were governed -in spite of themselves by the ideas that long prevailed -on the uniformity and monotony of Egyptian art. It -seemed to them that at one and the same period the -composition and inspiration must always remain identical, -and wherever they did not harmonize, the fact was attributed -solely to an interval in time. But we must -accustom ourselves to think that things did not go -differently with the Egyptians than with the moderns. -In a city like Memphis there was more than one studio, -and they all possessed their traditions, their affectations, -their style, which distinguished them from each other, -and which are found in their work like a trade-mark. -Some errors of classification will be avoided in the future -if we can be persuaded to recognize that many of -the peculiarities that we begin to note on statues and -bas-reliefs may be the mannerisms of the school to -which they belong, and are not always indications of -relative age.</p> - -<p>The care that Bissing has taken to render what is due to -each of the experts who discovered a piece or spoke of it, -deserves the more praise since many Egyptologists of the -present generation have adopted the attitude of ignoring -what has been said or written before them. They seem -to insinuate to their readers that archæology, religion, -grammar, history, nothing indeed that they touch on, -has ever been studied before, and that the bibliography -of a subject begins with the first essay they have devoted -to it. Although the past of Egyptology is so short, it is -a difficult subject to know, and it is not surprising if -Bissing has misrepresented some features or ignored others. -For example, he attributes the merit of recognizing in -the animal’s tail that the kings attach to their back, not<span class="pagenum" id="Page_26">26</span> -a lion’s tail but a jackal’s<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">4</a> to Wiedemann; I do not -know if I was the first, but I think that I certainly stated -this before Wiedemann.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">5</a> A little farther on, I regret -that Bissing was not acquainted with my notice of the -statue of Montouhotpou in the <i>Musée Egyptien</i>:<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">6</a> I am -curious to know if he accepts my explanation of the disproportion -between the feet, legs, and bust. It seems to -me that it was not intended to be on the same level -as the spectator, but that it ought to be placed in a -naos, on a fairly high platform which could be reached -by a staircase in front: seen from below, foreshortened, -the effect of the perspective would redeem the exaggeration -of form and re-establish the balance between the -parts. It seems also that Bissing was not acquainted -with the part of the <i>Musée</i> in which this Montouhotpou -is discussed, for he does not refer to it again with regard -to the Amenemhaît III discovered by Flinders Petrie -at Fayoum.<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">7</a> Farther on again, it would have been in -keeping to note that Legrain found the debris of a -statuette in black granite in the mud of the <i>favissa</i> at -Karnak, which so closely resembles the admirable Ramses -II of Turin that it might almost be the replica or a -sort of original rough model.<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">8</a> Unfortunately the head -is wanting, but we have been almost entirely successful -in restoring the body: if it is not by the same -sculptor who took such pleasure in modelling the Turin -statue, it comes from the same royal studio. The few<span class="pagenum" id="Page_27">27</span> -differences to be noted between them arise solely from -the inequality of the stature: it was necessary to simplify -certain details or to suppress them in the smallest of -the statues.</p> - -<p>These examples show that there is nothing very -serious in the omissions and negligences: we are surprised -not that there should be some, but that among -such a mass of references there are not more. I might -perhaps disagree with some of the theories or points -of doctrine Bissing constantly advances, but I will -wait to do so until he has elaborated into a system the -elements so abundantly spread through the notices. But -there is one criticism I will make now: he scarcely -mentions the schools into which Egypt was divided, so -that we are tempted to conclude that, like so many contemporary -archæologists, he believes in the existence of -one sole school, which worked in an almost uniform -manner over the whole of Egypt at one time. It is, -however, certain that there were always several schools -on the banks of the Nile, each of which possessed its -traditions, its designs, its method of interpreting the -costume or the pose of individuals, the works of which -have a sufficiently special physiognomy to admit of their -being easily separated into their different groups. Here, -again, it seems to me that sometimes varieties of execution -which are the result of the teaching are taken to -be signs of age, and that pieces which are contemporary -within a few years, but which proceed from distinct -schools, are spread over centuries. I have not discovered -Bissing in such errors: his natural insight and his knowledge -of the monuments preserved him from making -them. I wish, however, that he had touched on the -matter more definitely than he has, and, after letting it<span class="pagenum" id="Page_28">28</span> -be seen in several places that he admits the existence of -those schools, he should have defined their characteristics -in accordance as the progress of his book brought their -work before the reader. He has briefly touched on the -matter in regard to the sphinxes of Tanis and the statue -of Amenemhaît III, but he might, for example, have -seized the opportunity of the Montouhotpou in order to -demonstrate the tendencies of Theban art at its birth; he -could have followed them in their evolution, and the -Amenôthes I of Turin might perhaps have served to -teach us how those tendencies were developed or modified -between the beginning of the first Theban Empire and -that of the second. A passage in the notice of the so-called -Hyksôs sphinxes leads me to hope that he will do -this for the Tanite school in regard to the celebrated -<i>Bearers of offerings</i>: I greatly wish that I may not be -disappointed in my hope.</p> - -<h3>III</h3> - -<p>As far as I can judge there were at least four large -schools of sculpture in the valley of the Nile: at Memphis, -Thebes, Hermopolis, and in the eastern part of the -delta. I have attempted farther on to sketch the -history and define the principal characteristics of the -Theban school;<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">9</a> I shall only refer to it as far as it is -necessary to make clear in what it is distinguished from -the three others.</p> - -<p>And to begin with, it is probable that the first of -those in date, the Memphian, is merely the prolongation -and continuation of a previous Thinite school. If I<span class="pagenum" id="Page_29">29</span> -compare the few objects of real art that have come to -us from the Thinites with parallel works of which the -necropolises of Gizeh, Saqqarah and the Fayoum have -restored to us so many examples, I am struck by the -resemblances in inspiration and technique that exist -between the two. We have no statues originating from -Thinis itself, but the stelæ, the amulets in alto-relievo, -the fragments of minute furniture discovered in the tombs -of Omm-el-Gaâb find their exact counterpart in similar -pieces that come from the excavations of Abousîr-el-Malak -or of Meîdoum and from the sub-structure of -Memphian residences. I think I see that at the beginning -there were mediocre workmen in the plain of the -Pyramids capable, however, of sculpturing, ill or well, a -statue of a man seated or standing: to those men I -attribute the statue No. 1 in the Cairo Museum, the -Matonou (Amten) of Berlin, the Sapouî (Sepa) of the -Louvre, and a few other lesser ones. The same defects -are to be seen in all: the head out of proportion to -the body, the neck ungraceful, the shoulders high, the -bust summarily rough-hewn and without regard to the -dimensions of each part, the arms and legs heavy, thick, -angular. Their roughness and awkwardness compared -with the beautiful appearance of the two statues of -Meîdoum, which are almost contemporary with them, -would astonish us if we did not think that the latter, -commissioned for relatives of Sanofraouî, proceed from -the royal workshops. The transference of the capital to -Memphis, or rather to the district stretching from the -entrance into the Fayoum to the fork of the delta, -necessarily resulted in impoverishing Thinis-Abydos; the -stone-cutters, architects, statuaries, and masons accompanied -the court, and planted the traditions and teaching<span class="pagenum" id="Page_30">30</span> -of their respective fatherlands in their new homes. -According to what is seen in the tombs of Meîdoum, -the latest Thinite style, or rather the transition style of -the IIIrd Dynasty, presents exactly the same characteristics -as the perfect style of the IVth, Vth, and VIth -Dynasties, but with a less stiff manner. The pose of the -persons and the silhouettes of the animals are already -schematized and encircled in the lines which will enclose -them almost to the end of Egyptian civilization, but the -detail is freer, and keeps very close to reality. The -tendency is perceived only in the roundness and suppleness -that prevails from the time of Cheops and Chephrên. -The Memphites sought to idealize their models rather -than to make a faithful copy of them, and while respecting -the general resemblance, desired to give the -spectator an impression of calm majesty or of gentleness. -Their manner was adopted at Thinis by a counter-shock, -and it may be said that from the IVth to the XXVIth -Dynasty Abydos remained almost a branch of the -Memphian school, which, however, grew out of it. The -productions only differ from those of the Memphites in -subordinate points, except during the XIXth Dynasty, -when Setouî I and Ramses II summoned Theban -sculptors there, and for some years it became, artistically, -a fief of Thebes.</p> - -<p>If we would indicate in one word the character of this -Thinito-Memphian art, we should say that it resides in -an idealism of convention as opposed to the realism of -Theban art. Thanks to the fluctuations of political life -which alternately made Memphis and Thebes the capitals -of the whole kingdom, the æsthetics of the two cities -spread to the neighbouring towns, and did not allow -them to form an independent art: Heracleopolis, Beni-Hassan,<span class="pagenum" id="Page_31">31</span> -Assiout, Abydos took after Memphis, while the -Saîd and Nubia, from Denderah to Napata, remained -under the jurisdiction of Thebes. An original school -arose, however, in one place, and persisted for a fairly -long time, in Hermopolis Magna, the city of Thot. We -observe there, from the end of the Ancient Empire, sculptors -who devoted themselves to expressing with a scrupulous -naturalism, and often with an intentional seeking after ugliness, -the bearing of individuals and the movement of groups. -We should observe with what humour they interpreted -the extremes of obesity and emaciation in man and beast, -in the two tombs called <i>the fat and the lean</i>. The region -where they flourished is so little explored that it is still -unknown how long their activity practised a continuous -style: it was at its best under the first Theban Empire, -at Bercheh, at Beni-Hassan, at Cheîkh-Saîd, but the period -at which it seems to me to be most in evidence was at the -end of the XVIIIth Dynasty, under the heretic Pharaohs. -When Amenôthes IV founded his capital of Khouîtatonou, -if, as is probable, he settled some Theban masters there, he -would certainly have utilized the studios of Hermopolis. -The scenes engraved on the tombs of El-Tell and El-Amarna -are due to the same spirit and the same teaching as those -of the <i>fat and lean</i> tombs; there are similar deformations -of the human figure bordering on caricature, the -same suppleness and sometimes the same violence in -the gestures and attitudes. In a number of portraits the -Theban importation prevails, but the cavalcades, processions, -royal audiences, popular scenes, must be attributed -to the Hermopolitans, for their inspiration and execution -present so striking a contrast to those of analogous -pictures that adorn the walls of Louxor or Karnak. The -fall of the little Atonian Dynasty stopped their activity;<span class="pagenum" id="Page_32">32</span> -deprived of the vast commissions which opened a new field -for their enterprise, they fell back into their provincial -routine, and we have not yet enough documents to tell us -what their successors became in the course of the centuries.</p> - -<p>In the delta two fairly different styles may be seen -from the beginning. In the east, at Tanis and in its -neighbourhood, there is, at the beginning of the first -Theban Empire, a veritable school, the productions of -which possess such an individual physiognomy that -Mariette did not hesitate to attribute them to the -Shepherd Kings: since the works of Golenischeff it is -known that the so-called Hyksôs sphinxes are of -Amenemhaît III, and that they belong to the second -half of the XIIth Dynasty. This Tanite school is perpetuated -through the ages; it was still flourishing under -the XXIst and XXIInd Dynasties, as is proved by the -fine group of bearers of offerings in the Cairo Museum. -The predominant features are the energy and harshness -of the modelling, especially of the human face: its -masters have copied a type, and modes of coiffure belonging, -as Mariette formerly pointed out, to the half-savage -populations of Lake Menzaleh, the <i>Egyptians in the -marshes</i> of Herodotus. It seems to me that their manner -is still to be noted in the Græco-Roman period in the -statues of princes and priests that we have in the Cairo -Museum: the technical skill, however, is less than in the -sphinxes and the bearers of offerings. The centre and -west of the delta, on the other hand, came under the -influence of Memphis, as far as we can judge from -the rare existing fragments belonging to the Ancient -Empire. Under the Thebans the dependence is clear, -and all that comes from those regions differs in nothing -from what we have from the Memphian necropolises.<span class="pagenum" id="Page_33">33</span> -Only in the Ethiopian period, and under the influence -of the successors of Bocchoris, is a Saïte school revealed -to us, which, borrowing its general composition from the -Memphian school, comes closer to nature and impresses -an individual stamp on certain elements of the human -figure that until then had been handled in a loose, so to -say, an abstract fashion. The modelling of the face is as -full of expression as in the fine works of the Theban -school, but with greater finish and less harsh effects; the -ravages of old age, wrinkles, crows’-feet, flabbiness of -flesh, thinness, are all reproduced with a care unusual in -preceding generations; the skull, indeed, is so minute in -detail that it might almost be called an anatomical study. -This impulse towards skilled realism, begun by instinct in -the heart of the school, became accentuated and accelerated -by contact with the Hellenes, who from the time of -Psammetichus I swarmed in the provinces of the delta. -Certain bas-reliefs of Alexandria and Cairo, the date of -which is assigned to the reign of Nectanebo II, which -I should like to place in that of one of the first Ptolemies,<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">10</a> -may be regarded as extant witnesses of a kind of composite -art analogous to that which was developed two -centuries later at Alexandria or at Memphis, and of -which the Cairo Museum possesses some rare examples.</p> - -<p>It should be clearly understood that I do not claim -to put the complete result of my study of the schools, -the presence of which in Ancient Egypt is now confirmed, -in these few lines. I am only anxious to point -out the part played by them in historic times, and the -errors into which those who have written the history of -Egyptian art without suspecting their existence, or without -taking into consideration what we do know of them,<span class="pagenum" id="Page_34">34</span> -have fallen. Bissing does not ignore them, and is doubtless -waiting to criticize them in his Introduction. He has -so much material that it will be easy for him to rectify -my hypotheses, and to confirm them where necessary; -in that way his book will gain by being no longer a mere -collection of monuments each described as an isolated -piece, but a veritable treatise on sculpture, or at least on -Egyptian statuary.</p> - -<p>I shall be sincerely sorry if he fails in that particular, -but even so, I should feel it right to declare that he has come -honourably out of an enterprise in which he had no predecessors. -The few plates that I inserted a quarter of a century -ago in the <i>Monuments de l’Art Antique</i>, and the notices -contained in the parts of the <i>Musée Egyptien</i> that have -already appeared, afforded both experts and amateurs a -foretaste of the surprises that Egypt has in store in the -matter of art; they have been too few, and have related -to subjects too scattered in point of time, to produce a -body of doctrine. But here, on the contrary, nearly two -hundred pieces are available, classified according to the -order of the Dynasties, and for the most part unpublished, -or better reproduced than in the past. Each will be -accompanied by an analysis in which the researches previously -connected with it will be set forth and discussed; -for the first time Egyptologists and the general public -will have the artistic and critical apparatus required for -judging the value of the principal pieces of Egyptian -statuary before their eyes and in their hands. Those who -know the amount of the literature existing on Egyptology, -and how scattered it is, can easily imagine the patience -and bibliographical <i>flair</i> that Bissing must have needed -for gathering from libraries the information so generously -scattered on every page of his notices. But that was<span class="pagenum" id="Page_35">35</span> -only the least part of his task; the appreciation of the -objects themselves demanded of him an ever alert attention -and a continuous tension of mind which would -promptly have exhausted a man less devoted to the -minutiæ of artistic observation. In other branches of the -science, the materials have for the most part been so often -and so repeatedly kneaded that nearly always half of the -work has been already done; here, nothing of that sort exists, -and in many cases Bissing has dealt with objects that he -was the first to know, and of which no previous study -had been attempted. That he is sometimes weary, and -that here and there his opinions may be controverted, he -willingly confesses. But what surprises me is how very -rarely it is necessary to upset them, even partially.</p> - -<p>I hope then that we shall not have to wait too long -for the completion of this admirable work. May I venture -to add that after the present edition, which is an -<i>édition de luxe</i>, a popular edition would be welcome? -Egyptologists like myself are condemned to pay such large -sums for our books that the price of these “Denkmäler” -does not alarm us, but the fact has greater importance -for others. A reproduction in a smaller <i>format</i>, and less -expensive, would greatly help to spread the knowledge -of Egyptian art among classes of readers whom the book -in its present form will not reach.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_36" class="chapter"> -<p><span class="pagenum" id="Page_36">36</span></p> - -<h2 class="nobreak" id="II" title="II SOME PORTRAITS OF MYCERINUS">II<br /> - -<span class="subhead">SOME PORTRAITS OF MYCERINUS<a id="FNanchor_11" href="#Footnote_11" class="fnanchor smaller">11</a></span></h2> -</div> - -<p class="in0"><span class="firstword">It</span> has long been a debatable question if the Egyptian -statues of kings and private individuals can be regarded as -faithful portraits or as merely approximate to their originals. -No one has ever denied that their authors desired to make -them as like as possible, but we hesitate to believe that they -succeeded in doing so. The air of uniformity lent them by -the repeated employment of the same expressions and -the same postures encouraged the notion that, judging -themselves incapable of exactly transcribing the details of -bodily form or physiognomy proper to each individual, the -sculptors decided that such details were not necessary for -the kind of service to which the statues were destined: they -considered that the task entrusted to them was sufficiently -fulfilled if the soul or the <i>double</i> for which these statues -provided an imperishable body recognized in them -enough of the perishable body to enable them to attach -themselves to it without hurt in the course of their -posthumous existence. The study of the monuments has -dissipated those doubts. Any one who has carefully handled -one of the Saïte heads, the skull and face of which present -such clearly individual characteristics, must acknowledge -that so many details noted with such felicitous care indicate<span class="pagenum" id="Page_37">37</span> -an absolute intention of transmitting the exact appearance -of the model to posterity. And if, proceeding forward, we -reach the second Theban period, we shall soon, thanks to -the chances which have delivered to us the well-preserved -corpses of about fifty princes and princesses, recognize the -success with which the royal studios perpetuated in stone -the effigies of their contemporaries. The profile of Setouî I -photographed in his coffin would coincide line for line with -that of his bas-reliefs of Karnak or Abydos were it not for -the thinness resulting from embalmment. Let us go back -eight or ten centuries and see how the master sculptors of -the first Theban period treated their Pharaohs. The statues -of Amenemhaît III and of Sanouosrît have so personal a -note that we should be wrong to imagine they could be -anything but a sincere, almost a brutal likeness. The two -Chephrên of the Cairo Museum were not long ago alone in -suggesting to us the conviction that the Memphian times -yielded nothing in this matter of resemblance to ages farther -removed from us; the recent discovery of ten statues of -Mycerinus prevents any further doubt.</p> - -<p>Most of them have not left Egypt. The first that came -to us was acquired by purchase in 1888, with four statuettes -of Naousirrîya, of Mankahorou, of Chephrên, and perhaps -of Cheops. According to the information collected at the -time by Grébaut, they were found together, two or three -weeks before, by fellahs of Mît-Rahineh under the ruins -of a little brick building situated at the east of what was -formerly the sacred lake of the temple of Phtah at -Memphis. That was certainly not their original place; -they had probably each adorned first the funerary chapel -annexed to the pyramid of its sovereign: their transference -to the town and their reunion in the place where they were -discovered are not earlier than the reign of the last Saïtes<span class="pagenum" id="Page_38">38</span> -or the first Ptolemies. It was then, in fact, that hatred of -foreign domination having exalted the love of all that was -peculiarly Egyptian in the eyes of the people, reverence for -the glorious Pharaohs of former ages revived: their priesthoods -were reorganized, and they again received the worship -to which centuries of neglect had disaccustomed them. -None of our figures are life-size, and the Mycerinus in -diorite, which is not one of the smallest, is scarcely 21⅛ inches -in height. It is enthroned on a cubical block with the -impassibility that the Chephrên has made familiar to us; -the bust is stiff, the arms rest on the thighs, he looks straight -before him, his face expressionless, as was imposed on -Pharaoh by etiquette, while the crowd of courtiers and -vassals filed past at his feet: if his name, engraved on the -sides of his seat to the right and left of his legs, had not told -who he was, we should have guessed it from his bearing. -The composition, although not the best imaginable, is -good: but the head makes a poor effect in relation to the -torso, a defect always at first ascribed to the heedlessness of -the sculptor. But it is to be noted that the face somewhat -recalled that of two of the other Pharaohs, a fact to be -explained by the relationship, the second, Chephrên, being -the father of Mycerinus, and the third, probably Cheops, -his grandfather. That is a reason for presuming that they -are portraits, but are they authentic portraits? Several -Berlin Egyptologists whose natural ingenuity encouraged -them to revise Mariette’s criticisms on art, thought to discern -in certain details of the costume and ornamentation a -proof that if they were not figures of pure imagination, they -were at least copies of ancient originals freely executed -under one of the Saïte Dynasties, and their theory, although -opposed by experts who had a longer experience, disconcerted -the majority. It was soon upset by facts, but, as<span class="pagenum" id="Page_39">39</span> -often happens, the consequences deduced from it survived -by force of habit. Many of us feared for some years after -to be asserting too much, to declare openly that our -Mycerinus was what we had entitled him on the faith of -his inscription, the real Mycerinus.</p> - -<div id="il_1" class="figcenter" style="max-width: 17em;"> - <img src="images/i_038.jpg" width="1295" height="2050" alt="" /> - <div class="caption"><p>THE MYCERINUS OF MÎT-RAHINEH.</p> - -<p>Diorite. Cairo Museum.</p></div></div> - -<div id="il_2" class="figcenter" style="max-width: 12em;"> - <img src="images/i_038b.jpg" width="923" height="869" alt="" /> - <div class="caption"><p>MYCERINUS (REISNER HEAD)</p> - -<p>Alabaster. Cairo Museum.</p></div></div> - -<p>We did not do so until 1908, when Reisner and his -Americans, excavating at Gizeh round about the third -pyramid, brought to light monuments that with the best -will in the world no one could assign to any other epoch -than that of Mycerinus. It seems that the fame of piety -which popular story ascribed to him was not wholly -unmerited, at least as far as his own divinity is concerned, -for with the elements of a voluminous funerary equipment -in all kinds of stones, the workmen brought out of the ruins -of the chapel, fragments of a multitude of statues in alabaster, -schist, limestone, and rare breccia. Among them were -some unfinished or scarcely shaped out, for the sovereign -having died while they were being fashioned, the works, -according to Oriental custom, had been immediately -interrupted and the workshops abandoned in confusion.</p> - -<p>The statues which were already finished and set up -in their places were overturned at some unknown period, -perhaps when Saladin dismantled the pyramids to build -the new ramparts and citadel of Cairo, and the fragments -were so ill-treated that an enormous number of them -have disappeared. Out of a hundred baskets of debris -collected by the Americans, they found at most, besides -five or six intact heads, enough to put together, almost -completely, two alabaster statues. The best of the heads -is in the Cairo Museum, and it has sufficient resemblance -to our statuette for us to have no hesitation in recognizing -Mycerinus, even if the place whence it comes -did not help us to guess it. The statue that the find<span class="pagenum" id="Page_40">40</span> -brought us is seated, but the block on which it is sculptured -is not perpendicular to its base, so that it leans slightly -backward. On the other hand, the two arms being cut -between the armpit and the hip, the accident makes it -appear at first glance as if the bust is too narrow for its -height. But, and this is the important point, the head is -small, so small that the head-dress, in spite of its size, is -not sufficient to correct the bad effect of this disproportion -between its smallness and the amplitude of the -shoulders. The fault is not to be ascribed to the artist’s -ignorance and lack of skill, as is probably done. He was -not, it must be admitted, a man of talent, but he knew -his business, and proved it by the general quality of his -work. The harmony between the trunk and the leg, the -muscles of the chest, the texture of the costume, the -modelling of the knee and calf, conform to the æsthetics -of the time; the foot and ankle are particularized with -the virtuosity of a craftsman skilled in all the subtleties -of his calling. So, now, returning to the statuette of -Mît-Rahineh, the technique of which shows it to proceed not -from a different school but from a different studio, we -shall find a difficulty in imagining that two sculptors -would each have fallen into so great an error, if they had -not seen it themselves in their model. Since their statues -are microcephalous, Mycerinus must have been microcephalous -almost to deformity.</p> - -<div id="il_3" class="figcenter" style="max-width: 19em;"> - <img src="images/i_040.jpg" width="1501" height="2722" alt="" /> - <div class="caption"><p>ALABASTER STATUE OF MYCERINUS.</p> - -<p>Cairo Museum.</p></div></div> - -<p>The search among the beds of fragments of stone was -continued. A few weeks before it was finished, at the -end of May, 1908, it produced four groups in schist, the -testimony of which fully confirmed that of the alabaster -statues. The disposition is the same, with very slight -divergences, which do not sensibly modify the aspect of -the pieces. Three persons stand side by side against a<span class="pagenum" id="Page_41">41</span> -slab 17 to 23 inches high. Mycerinus is in the middle, -his left foot advanced, the waist-cloth fluted on the loins, -and on his forehead the white cap of the kingdom of -Upper Egypt. He always has a goddess on his right, a -Hathor moulded in the sleeveless smock open on the -chest, and on her hair the short wig and the <i>coufieh</i>. -On the top of this head-dress she wears her two cow’s -horns and the solar disk. In one of the groups she is -walking, her arms hanging down and her hands laid flat -on her thighs; in the second, she embraces him with her -left arm and presses against him; in the third she holds -his right hand in her left. The last of the figures is -sometimes a woman, sometimes a man: the man, who is -shorter by a third than his companions, walks forward -swinging his arms; the two women are at rest, and one of -them puts her right arm round the king’s waist, in -symmetry with the Hathor on the left. They are -geographical entities, nomes, and the standards on their -heads tell us their names: the two women personify the -nomes of Sistrum and the Dog, the man that of -Oxyrrhinchus. The fragments of schist under which -they were buried assuredly belong to other groups now -destroyed, but how many of them were there in the -beginning? The decorative theme of which they formed -part is one of which the intention is grasped at the first -glance, but if we needed a commentary to explain it, the -brief legends at the base would provide the material. They -inform us, in fact, that our Hathor is the lady of the -Canton of the Sycomore, and that the nome of the Dog, -that of the Sistrum, that of Oxyrrhinchus, bring the -sovereign all the good things of their territory. Mycerinus, -in his quality of king of the Saîd and of the delta, had a -right to tribute during his life, and to offerings after his<span class="pagenum" id="Page_42">42</span> -death from the whole country, and on the other hand, -Hathor, lady of the Sycomore, is the patron of dead -Osirians in the Memphian province where the palaces -and tombs of the Pharaohs are. It was natural then -that she should serve as the introducer of the delegates -of the nomes when they came to pay their tribute to -the common master. With rich private individuals, the -operation was symbolized on the walls of the funerary -chapels by long processions of men or women in bas-relief, -each of whom incarnated one of the domains -charged with the upkeep of the tomb. Here it was -expressed in even a more concrete fashion by two series -of groups in rondo-bosso, which were probably developed -on the walls in one of the court-yards of the temple of -the pyramid. The four which have escaped destruction -belonged to the series of the Saîd, as is proved by their -names and the head-dress of the sovereign, but those of -the delta could not have been omitted without causing -regrettable privations to the <i>double</i> in his life beyond -the tomb; there were then about forty in all, as many -as there were nomes in the whole of Egypt.</p> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_4" class="figleft" style="max-width: 19em;"> - <img src="images/i_042.jpg" width="1477" height="2232" alt="" /> - <div class="caption"><p>MYCERINUS, HATHOR, AND THE NOME -OXYRRHINCHUS</p> - -<p>Schist. Cairo Museum.</p></div></div> - -<div id="il_5" class="figright" style="max-width: 19em;"> - <img src="images/i_042b.jpg" width="1464" height="2676" alt="" /> - <div class="caption"><p>MYCERINUS, HATHOR, AND THE NOME -CYNOPOLITE</p> - -<p>Schist. Cairo Museum.</p></div></div> -</div></div> - -<p class="clear">The excellence of those that have survived fills us -with regret for those that are lost. At the instant they -emerged from the earth, they preserved something of -their primitive colouring, but contact with the air and -light speedily deprived them of it, and only traces remain -on the chest, at the neck, wrists, waist, places -protected by the customary ornaments of people of high -rank. The gold-leaf with which the necklaces and -bracelets were decorated was stolen in times of antiquity, -but the thicker layers of paint on which they were -placed preserve their contours fairly exactly. It would -be easy for us to restore to the whole the aspect it had<span class="pagenum" id="Page_43">43</span> -when fresh and new—a light yellow complexion for the -women, and red-brown for the men, black hair, blue or -white head-dresses, white crowns, and garments relieved -by the tawny brilliance of the jewels. In pieces where -everything is so minutely calculated for reality, it is -scarcely probable that anything is the effect of chance -or of lack of skill; if then the sovereign’s head is too -small it is because it was so in reality. In fact, the lack -of proportion with the rest of the body is less perceptible -here than in the isolated statues, and it is not perceptible -at the first glance: but it is soon recognized when -the sovereign is compared with his two companions. Not -only are their heads larger and more massive than his, -but it would seem that the sculptor desired to accentuate -the inequality between them by a trick of his craft: he -has perceptibly narrowed their shoulders, and the contrast -between the small head that surmounts the vast shoulders -of Mycerinus with the two large heads that weight the -narrow shoulders of the acolytes, emphasizes the deformity -that the placing together of three figures on the -same level had almost concealed. Study of the schists -leads to the same conclusion as that formed of the -alabasters. It is the real Mycerinus that contemporaries -have bound themselves to transmit to posterity, and they -have spared no details which were naturally calculated -to make us better acquainted with him. We have only -to analyse their works to see him stand before us in his -habit as he lived. He was tall, robust, slender, with -long legs, powerful shoulders surmounted by a small -face, an athlete with the head almost of a child. In -addition, projecting eyes, big ears, a short nose, the tip -turned up, a sensual mouth with full lips, a chin -receding under the artificial beard; the expression of the<span class="pagenum" id="Page_44">44</span> -face is benevolent, even weak. In vain has the sculptor -stiffened the backbone and the neck, thrown out the -chest, stretched the biceps, clenched the fist, and immobilized -the features into a hieratic gravity: he has -not succeeded in inculcating the sovereign majesty that -makes our Chephrên the ideal Pharaoh, the equal of -the gods. He has the sanctimonious appearance of a -private individual of good family, but his general bearing -is below his condition. We could easily point to a dozen -statues, his neighbours in the Cairo Museum, that of -Rânafir, for instance, which have a more exalted appearance -and a prouder mien.</p> - -<div id="il_6" class="figcenter" style="max-width: 23em;"> - <img src="images/i_044.jpg" width="1763" height="3314" alt="" /> - <div class="caption"><p>MYCERINUS AND HIS WIFE.</p> - -<p>Schist. Boston Museum.</p></div></div> - -<p>And the new schist group that Reisner discovered -during the winter of 1909 has not made any change in -our opinion necessary. This time Mycerinus is represented -with his wife; the lower portions of the two -figures had not received the final polish when death -intervened, but those of the upper part were finished -and are admirable. Mycerinus wears the head-dress of -the ordinary <i>claft</i>, which squarely frames the face, and -his features are those with which we have become -familiar in the statues described above; eyes starting -from his head, a fixed expression, turned up nose, a -large, loose mouth, the lower lip protruding, the -physiognomy of a man of the middle class straining -to appear dignified. The queen does not appear much -more noble, but in looking at her we are disposed to -think that she had more intelligence and vivacity. -We should not say that she was exactly smiling, -but a smile has just passed over her face, and traces -of it remain on her lips and in her eyes. She has -beautiful round cheeks, a little turned-up nose, a full -chin, full lips cleft from top to bottom by a strongly<span class="pagenum" id="Page_45">45</span> -marked furrow: a determined expression shows itself -between her narrow, heavy eyelids. She resembles her -husband, a fact that is not surprising, since unions -between brothers and sisters were not only tolerated -but commanded by custom; there is thus every chance -that the couple were born of the same father and -mother; she has only a greater appearance of strength -than he has. Custom exacted that, when a husband -and wife were associated in a group, they should not -be placed side by side on a level of absolute equality, -but that the woman should be given a posture or -merely a gesture implying a state of more or less -affectionate dependence on the husband; she crouched -at his feet, her chest against his knees, or her arm was -round his waist or his neck, as if she had no trust -except in his protection. Here the queen’s gesture is -in conformity with convention, but the manner of its -execution contradicts the intention of submission: she -leans less against the Pharaoh than she draws him close -to her, and looks as if she is protecting him at least as -much as he is protecting her. She is his equal in -height, and even if she is more slender than he is, as is -proper to her sex, her shoulders are as robust. Does it -mean that the sculptor has attributed to her the massive -shoulders of a man? Not at all: but following the -example of his colleagues in the triads, he has cheated -a little in order to dissimulate the defect of his model. -As doubtless he would not have liked to show a deformed -Pharaoh, and as he might not alter features -which, after all, were those of a god, he has made the -deformity less visible by taking away from the shoulders -what was wanted in order to establish a sort of apparent -equilibrium between the parts, and so we are brought<span class="pagenum" id="Page_46">46</span> -back by a fresh detour to the point to which the examination -of the alabasters and triads had led us. Let us -once more conclude that the effigies of the Memphian -Pharaohs and their subjects were real portraits of the -personages they claimed to reproduce.</p> - -<div id="il_7" class="figcenter" style="max-width: 19em;"> - <img src="images/i_046.jpg" width="1482" height="2060" alt="" /> - <div class="caption"><p>MYCERINUS, HATHOR, AND THE NOME OF THE -SISTRUM.</p> - -<p>Schist. Cairo Museum.</p></div></div> - -<div id="il_8" class="figcenter" style="max-width: 31em;"> - <img src="images/i_046b.jpg" width="2451" height="1788" alt="" /> - <div class="caption"><p>MYCERINUS AND HIS WIFE (DETAIL).</p> - -<p>Schist. Boston Museum.</p></div></div> - -<p>They were real, but not realistic unless there was special -necessity. I have repeatedly attempted to define the two -chief schools of Egyptian sculpture, the Theban and the -Memphian. From the beginning the Theban school tends -to copy the model brutally, as it was at the moment when -it was portrayed. Take the statues of Sanouosrît I or of -Sanouosrît III, which lately came to the Cairo Museum. -The family likeness between all of them is indubitable, -but, according as they come from a Theban or Memphian -studio, the features which constitute the complete resemblance -are noted in such divergent ways that at the -first glance we are inclined to think that it scarcely exists. -The Thebans scrupulously marked the thinness of the -cheeks, the hardness of the eye, the harshness of the mouth, -the heaviness of the jaw, and have exaggerated rather than -diminished those points. The Memphians do not neglect -them, but have treated them in a more merciful manner, -and, from the haggard faces in which the rival school took -pleasure, have brought out the happy smiling expression -that its own traditions ascribed without exception to all -the Pharaohs. We cannot institute comparisons of that -kind for the epoch of Mycerinus: the Theban school, if, -as is probable, it was then in existence, still sleeps buried -beneath the ruins, and we know nothing belonging to it -to place by the side of the Memphian. It is sufficient, -however, to walk through the rooms of the Cairo Museum -reserved for it to be convinced that if the Cheîkh-el-Beled, -the Chephrên statues, the royal couple of Meîdoum, the -Rânafir statues are portraits and likenesses, they are at the<span class="pagenum" id="Page_47">47</span> -same time idealized portraits according to the formula, -the influence of which we have seen in the monuments of -the XIIth Dynasty. Whatever the models presented that -was too pronounced, was softened in order to give them the -serene bearing fitting the imperishable bodies of such noble -and respectable persons. They only departed from this -routine when there were monstrosities, the entire suppression -of which would have been fraught with danger for the -immortality of the subject, as in the case of the two dwarfs -in the Cairo Museum; but it is not quite certain if even -in those cases some modification of the ugliness has not -been contrived. What has happened to Mycerinus renders -it probable: have we not seen, in fact, that the artist -exerted his ingenuity to dissimulate the disturbing exiguity -of the head by an artifice? And he must often have -taken similar liberties, although we have no actual means -of proving it. I will venture to assert it of Chephrên, -although almost the half of one of his two statues, that -in green serpentine, is a restoration by Vassalli. For if -we compare their profiles, we notice that that of the -serpentine statue is weaker than that of the diorite statue: -the eye is smaller and the chin less authoritative, the tip -of the nose recedes a little, and there is a slight resemblance -with Mycerinus. The lofty dignity which I noted just -now as appearing in the father in contrast to the son may -be the result of the Memphians’ determination to idealize -their subjects so as to make each of them an almost abstract -type of the class to which they belonged.</p> - -<p>As might be expected, the alabasters of Mycerinus -are a long way from equalling the schists. Indeed, -whenever we find statues of a person in different materials, -it is seldom that those most difficult to work in are not -also the best. Petrie concluded that in all periods Egypt -had a school of sculpture in limestone and soft stones,<span class="pagenum" id="Page_48">48</span> -and one in granite and hard stones. But who would -think of classifying modern sculptors in different schools -according as they used bronze or marble? In Egypt, as -in later times, the instruction given to learners prepared -them to practise the complete calling, whatever the -special branch to which they later confined themselves -might be, but as the handling of certain stones required -a more extended practice, care was taken in the workshops -to entrust them to the most expert. That is evidently -what happened in the case of Mycerinus. His alabasters -are certainly very estimable; but those to whom we owe -them were not skilled virtuosi, and if they acquitted -themselves of their task honourably, they only produced -ordinary work. Those who executed the schists were -much more skilled. I will not venture to assert that -they entirely triumphed over their material: the bodies -of princes and gods sculptured in matter so unyielding -and of so gloomy a tone present a rigidity of contour -which we feel as keenly as we do the lack of colour -which would enliven them. They almost repel any one -who sees them for the first time, but the repulsion once -overcome, they reveal themselves as perfect of their kind. -The artist has done what he wished with the ungrateful -material, and has handled it with the same suppleness as -if he had been kneading the most ductile clay. The -women are especially remarkable with their full round -shoulders, their small breasts placed low, the belly strong -and well designed, the thighs full and graceful, the legs -vigorous, one of the most elegant types created by -Memphian Egypt. It does not equal the diorite Chephrên, -nor the Cheîkh-el-Beled, nor the Crouching Scribe, nor -the lady of Meîdoum, but it is not so far removed from -them, and few pieces take so high a rank in the work of -the old Memphian school.</p> - -<div id="il_9" class="figcenter" style="max-width: 35em;"> - <img src="images/i_048.jpg" width="1899" height="1238" alt="" /> - <div class="caption"><p>MYCERINUS AND HIS WIFE (DETAIL).</p> - -<p>Schist. Boston Museum.</p></div></div> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_49" class="chapter"> -<p><span class="pagenum" id="Page_49">49</span></p> - -<h2 class="nobreak" id="III">III<br /> - -<span class="subhead">A SCRIBE’S HEAD<br /> - -<span class="subhead">OF THE <span class="smcap">IVth</span> OR <span class="smcap">Vth</span> DYNASTY<br /> - -(<i>The Louvre</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">The</span> inventories give no indication of the origin of -this head. So little was its source suspected that for a -long time it was believed to be of Peruvian work: M. de -Longpérier with his usual tact restored it to its rightful -place in the Egyptian series.<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">12</a> At the first glance -the style is seen to be that of the ancient Memphian -Empire: it has evidently been detached from a statue found -in one of the necropolises of Saqqarah. The absence of -the plinth and the parts which usually bear the inscription -prevents us from knowing the name of the individual -it represents, a scribe contemporary, or very nearly, with the -celebrated Crouching Scribe. A narrow and somewhat -receding forehead, a long prominent eye slightly drawn -up towards the temples, snub-nose, thin nostrils, accentuated -cheekbones, thin cheeks, large mouth with full -lips, a firm rounded chin, do not make a flattering portrait -but certainly an exact one. The material is the excellent -limestone of Tourah painted bright red: the technique<span class="pagenum" id="Page_50">50</span> -shows delicacy and skill rare even at that period of -admirable artists.</p> - -<p>Almost all the statues of mere private individuals -come from temples or tombs. The right of setting -up a statue in the temples belonged exclusively -to the king; so the greater number of those we have -offer a special formula: “<i>Granted as a favour</i> on the -part of the king to a son of so and so,”<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">13</a> sometimes too -the favour is qualified as <i>great</i> or <i>very great</i>. It was -then by some exceptional title, in reward of services -rendered, or by a caprice of royalty, that an Egyptian -was authorized to place his portrait in a temple, whether -of his native city or of some other town, to the god for -whom he professed a special devotion. The great feudal -lords, who all more or less aspired to possess royal rights, -sometimes took the liberty of setting up a statue of -themselves without the preliminary permission of Pharaoh; -but in spite of these usurpations of the royal prerogative, -the number is relatively small. Civil wars, foreign invasions, -the ruin of towns, the destruction of idols by the -Christians, contributed to make private statues coming -from temples rare in our museums.<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">14</a></p> - -<div id="il_10" class="figcenter" style="max-width: 25em;"> - <img src="images/i_050.jpg" width="1928" height="2746" alt="" /> - <div class="caption"><p>SCRIBE’S HEAD.</p> - -<p>The Louvre.</p></div></div> - -<p>But, on the other hand, those that come from cemeteries -are very numerous. Every tomb that was somewhat -cared for in the ancient or new empire contained several -which represented the defunct alone, or accompanied by -the principal members of his family. They were not -always placed in the same spot: in the IVth Dynasty -they were sometimes placed in the outer court, in the<span class="pagenum" id="Page_51">51</span> -open air, sometimes also in the chapel, where on certain -days the family celebrated the worship of the ancestor. -Most often they were imprisoned in a narrow chamber, -with a lofty ceiling, something like a corridor, and for -that reason called <i>Serdâb</i> by the Arabs. Sometimes the -<i>Serdâb</i> is lost in the masonry and does not communicate -with any of the other chambers. Sometimes it is connected -with the funerary chapel by a sort of quadrangular -pipe, so small that a hand can scarcely be inserted.<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">15</a> -The priests would burn incense near the orifice, pour -libations, present offerings, murmur prayers, and everything -was supposed to penetrate to the little apartment. -Some of these <i>Serdâb</i> contained one or two statues at -most, others would contain twenty. Some are in wood -or hard stone, but the greater number are in painted -limestone. Seated or standing, crouching or in the -attitude of walking, they all claim to be portraits—portraits -of the dead man, of his wife, of his children, of his -servants. If they were more often found in places where -they would have been visible, their presence would be -explained by the pleasure members of a family would -feel in seeing the features of those they had loved. But -they are generally walled up for all eternity in hidden -corners where no one would ever penetrate: we must -seek other reasons.</p> - -<p>The Egyptians formed a somewhat coarse idea of -the human soul. They regarded it as an exact reproduction -of the body of each individual, formed of a substance -less dense than flesh and bones, but susceptible to the -sight, feeling, and touch. The <i>double</i>, or to call it by the -name they gave it, the <i>ka</i>, was subject, though in a lesser<span class="pagenum" id="Page_52">52</span> -degree than its terrestrial type, to all the infirmities of -our life: it drank, ate, clothed itself, anointed itself with -perfumes, came and went in its tomb, required furniture, a -house, servants, an income. A man must be assured beyond -the tomb of the possession of all the wealth he had enjoyed -in the world, under penalty of being condemned -to an eternity of unspeakable misery. His family’s first -obligation towards him was to provide him with a durable -body; they therefore mummified his mortal remains to -the best of their ability, and buried the mummy at the -bottom of a pit where it could only be reached with the -greatest difficulty. The body, however, in spite of the -care taken in preparing it, only very remotely recalled -the form of the living person. It was, besides, unique -and easily destroyed: it could be broken, methodically -dismembered, and the pieces scattered or burnt. If it -disappeared, what would become of the <i>double</i>? For its -support statues were provided, representing the exact -form of the individual. Effigies in wood, limestone, hard -stone, bronze, were more solid than the mummy, and -there was nothing to prevent the manufacture of any number -of them desired. One body was a single chance of -durability for the <i>double</i>: twenty gave it twenty chances. -And that is the explanation of the astonishing number -of statues sometimes found in one tomb. The piety of -the relatives multiplied the images, and consequently the -supports, the imperishable bodies, of the <i>double</i> would, -by themselves alone, almost assure him immortality.<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">16</a></p> - -<p><span class="pagenum" id="Page_53">53</span></p> - -<p>Both in the temples and hypogeums, the statues of -private persons were intended to serve as a support to -the soul. The consecration they received animated them, -so to speak, and made them substitutes for the defunct: -the offerings destined for the other world were served to -them. The tomb of a rich man possessed a veritable -chapel to which a special body of priests was attached, -formed of <i>hon-ka</i> or <i>priests of the double</i>. At the sacramental -festivals the <i>priests of the double</i> performed the -necessary rites, they looked after the upkeep of the -edifice and administered its revenues. The statues of -the towns themselves demanded particular care. Indeed, -the clergy of the temple in which they were placed claimed -their part in the advantages derived from ancestor worship: -veritable acts of donation were drawn up in their favour, -in which were specified the part they were to play in -the ceremonies, the quantity of the offerings that fell to -their share for the service rendered, the number of days -in the year consecrated to each statue. “Agreement -between Prince Hapi-T’aufi and the <i>hour-priests</i> of the -temple of Anubis, master of Siout, in regard to one -white loaf that each must give to the statue of the -prince, under the hand of the <i>ka-priest</i>, the 18th Thot, -the day of the festival of <i>Ouaga</i>,<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">17</a> and also the gifts -which every tomb owes to its lord; afterwards in regard -to the ceremony of kindling the flame, and the procession -that they ought to make with the <i>ka-priest</i> while he -celebrates the service in honour of the defunct, and that -they march to the north corner of the temple on the day -of kindling the flame. For that Hapi-T’aufi gives the -<i>hour-priests</i> a bushel of corn from each of the fields -belonging to the tomb, the firstfruits of the harvest<span class="pagenum" id="Page_54">54</span> -of the prince’s domain, as each commoner in Siout is -accustomed to do from the firstfruits of his harvest, -for every peasant always makes a gift from the firstfruits -of his harvest to the temple.”<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">18</a> The ceremonial is -set out in detail, and the monument tells us how, and -under what conditions, a dead person is fed in Egypt. -The loaves, meat and corn were placed in front of the -statue by the priests: thence they reached the gods, who, -after taking their part, transmitted the rest to the <i>double</i>.</p> - -<p>We now understand why the statues that do not -represent gods are always and uniquely portraits as exact -as the artists could render them. Each was a stone body; -not an ideal body in which only beauty of form or expression -was sought, but a real body in which care should -be taken neither to add nor take away anything. If the -body of flesh had been ugly, the body of stone must be -ugly in the same way, otherwise the <i>double</i> would not -find the support it needed. The statue from which the -head preserved in the Louvre was broken off was, undoubtedly, -the faithful portrait of the individual whose -name was engraved on it: if the realism of the expression -is somewhat brutal, it is the fault of the model, who had -not taken care to be handsome, and not that of the -sculptor, who would have been guilty of a sort of impiety -if he had altered the physiognomy of his model in the -least detail.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_55" class="chapter"> -<p><span class="pagenum" id="Page_55">55</span></p> - -<h2 class="nobreak" id="IV">IV<br /> - -<span class="subhead">SKHEMKA, HIS WIFE AND SON<br /> - -<span class="subhead">A GROUP FOUND AT MEMPHIS<br /> - -(<i>The Louvre</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">Skhemka</span> lived at Memphis at the end of the Vth -Dynasty. He was attached to the administration of the -domains, and was buried in the necropolis of Saqqarah. -His tomb, discovered by Mariette during the excavations -of the Serapeum, furnished three pretty statues to the -Louvre.<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">19</a> I knew the group reproduced here at a time -when the coating that covered it had suffered very little; -the galleries of Europe possess nothing to be compared -with it for finish of execution.</p> - -<p>I shall not say much of the principal personage: he -possesses all the qualities and all the defects to which -we are accustomed in the work of the sculptors of the -Ancient Empire. The modelling of the torso, arms, and -legs is excellent, of the foot mediocre, of the hands -execrable; the head lives, alive and intelligent under the -large wig, with its rows of braids one above the other,<span class="pagenum" id="Page_56">56</span> -which frames it. The two accessory statues are charming -in design and composition. On the left Ati, the dead -man’s wife, stands leaning against the back of the seat -embracing her husband’s leg. The face and limbs are -painted yellow in accordance with a convention almost -always respected in Egypt.<a id="FNanchor_20" href="#Footnote_20" class="fnanchor">20</a> A layer of bright red denotes -the tan that the sun lays on the men’s skin; the light -yellow reproduces the more delicate shade induced by -the indoor life of the women. The hair, parted over -the forehead, falls in two masses alongside the cheeks. -The sleeveless dress is open in front, and the opening -extends in a point to between the two breasts: the stuff -exactly follows the lines of the body, and the skirt ends -a little above the ankle. The position of the breasts is -indicated by a special design; all the rest from the waist -to the feet is embroidered with ornaments in colour, -imitating the network of glass beads to be seen in the -museums.<a id="FNanchor_21" href="#Footnote_21" class="fnanchor">21</a> A necklace with two rows and bracelets -complete the costume. On the right, Knom, son of -Skhemka and Ati, serves as a pendant to his mother: -he is naked except for a necklace round the bottom of -his neck and a little square amulet that falls on his chest. -The grace and charm of the figures cannot be too much -admired. Although of small dimensions, the artist has -endowed them with the physiognomy and features suited -to their age with as much exactness as if he had been -dealing with a colossus. The firm flesh and rounded but<span class="pagenum" id="Page_57">57</span> -muscular limbs of the woman in her prime, and the -chubby flesh and soft limbs of the child, are treated equally -happily. The mother’s face has a smiling charm, the son’s -a naïve and wondering grace: the Egyptian chisel did not -often work with so much intelligence and lightness.</p> - -<div id="il_11" class="figcenter" style="max-width: 24em;"> - <img src="images/i_056.jpg" width="1896" height="2841" alt="" /> - <div class="caption"><p>SKHEMKA WITH HIS WIFE AND SON.</p> - -<p>Limestone. The Louvre.</p></div></div> - -<p>The gesture with which each of the two small people -embraces the leg of the big one is not an artifice of -composition, a simple way of attaching the subordinate -elements of the group to the principal one. It is often -to be found in turning over the plates of Lepsius’s fine -work.<a id="FNanchor_22" href="#Footnote_22" class="fnanchor">22</a> The inscriptions repeatedly state of the wife -that “she loved her husband,” and the artists reveal it -in action. Seated or standing by his side, she puts her -hand on his shoulder or her arm round his neck; crouching -or kneeling, she leans against him, her breast pressed -against his leg, her cheek leaning against his knee. And -it is not only in the privacy of the home that she treats -him with this affectionate abandon, but in public, before -the servants or the assembled vassals, while he is -inspecting his lands and reviewing his possessions.<a id="FNanchor_23" href="#Footnote_23" class="fnanchor">23</a></p> - -<p><span class="pagenum" id="Page_58">58</span></p> - -<p>In the same way it is rare to find a personage without -his children, “who love him,” at his feet or by his side, -from the little, naked long-haired boy, like Knom, to -the grown-up sons and married daughters. To sum up, -the sculptor to whom we owe the Louvre monument -has carved in stone a scene of contemporary life. He -shows us Skhemka, Ati, and Knom grouped as they -were every day: and what is conventional in his work -is not the grouping of the three people, but the disproportion -in stature between the husband and wife, and -between the mother and son.</p> - -<p>But here, again, he is only conforming to a prevailing -tradition of his art. In all the tombs of every period, -the master of the hypogeum is generally of the height -of the wall, while servants, friends, sons, and wives are -only of the height of one of the rows. The king, in the -warlike paintings of the temples, is of colossal size, while -the others, friends or enemies, beside him, look like a -crowd of pigmies. In that case we might imagine that -the difference in size showed only the difference of rank, -but the explanation does not suffice elsewhere. A slave -married for her beauty preserved something of the inferiority -of her former condition; a princess of the blood -royal, united in marriage to a private individual, did not -therefore renounce her royal rank. If inequality of stature -corresponded to inequality of rank, the sculptor would -have made the first smaller and the second bigger than -her husband. They did not, however, do that: slave or -princess, they gave the wife a stature sometimes equal -but more often lower than that of the husband.<a id="FNanchor_24" href="#Footnote_24" class="fnanchor">24</a> Thus<span class="pagenum" id="Page_59">59</span> -the treatment does not show social distinction; the woman -was legally on the same level as the man. If the master -of the tomb is alone in his height, it is merely because -he alone is at home in the tomb, and it was desired to -show in him the one master, the personage who must be -protected against the dangers of the other world: so he was -designed of large size, as we underline a word in a sentence -in order to emphasize it.</p> - -<p>In fact, the sculptor, in modelling his work, thought -of the necessities of the life beyond the tomb. Skhemka’s -wife living might be superior to Skhemka by fortune or -birth, and so take precedence of him; before the dead -Skhemka she was only a subordinate personage. Egyptian -theology supposed, it would seem, that the wife was as -indispensable to the man after as during life, and that is -why she is represented by his side on the walls of his -tomb; but, as she is only an accessory there, the sculptor -and the painter are free to treat her as they understand -the matter. If the husband demanded it, they gave both -the same stature, seated them on the same seat, made no -sort of difference between them. But if he expressed no -wish, they could either suppress her altogether or relegate -her to the background and give her the dimensions -of her son, as they did with Ati, in order that she may -lean against the seat on which her husband is -enthroned.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_60" class="chapter"> -<p><span class="pagenum" id="Page_60">60</span></p> - -<h2 class="nobreak" id="V">V<br /> - -<span class="subhead">THE CROUCHING SCRIBE<br /> - -<span class="subhead"><span class="smcap">Vth</span> DYNASTY<br /> - -(<i>The Louvre</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">He</span> was found by Mariette in the tomb of Skhemka in -1851, during the soundings which preceded the discovery -of the Serapeum. He is now in the Louvre, in the centre -of the “Salle civile” of the Egyptian Gallery, surrounded -by show-case tables. His attitude, in conjunction with -the unfortunate place assigned him, makes him look like -a fellah dealer in antiquities seated in the midst of his -goods, patiently waiting for customers. The red paint, -which was perfect when he was brought to the Louvre, -has worn off in places with the coating on which it was -applied, and so the whity colour of the limestone shows -through here and there; the cross light from the two -windows falls on him in such a way as almost to efface -the modelling of the shoulders and chest: ordinary -visitors, for whom there is nothing to mark it, scarcely -look at it, and pass it by in complete indifference to the -fact that one of the masterpieces of Egyptian sculpture -is before them.</p> - -<div id="il_12" class="figcenter" style="max-width: 25em;"> - <img src="images/i_060.jpg" width="1921" height="2593" alt="" /> - <div class="caption"><p>CROUCHING SCRIBE.</p> - -<p>The Louvre.</p></div></div> - -<p>Does he represent the great lord in whose tomb -he was found? Other statues that entered the Louvre -with his bear the name of Skhemka and pass for<span class="pagenum" id="Page_61">61</span> -the faithful portrait of that personage.<a id="FNanchor_25" href="#Footnote_25" class="fnanchor">25</a> If, as their -careful composition leads us to believe, that claim is -justified, the Crouching Scribe was only one of the -numerous relatives or servants named in the inscriptions -of the chapel. The people of the Ancient -Empire had the custom of shutting up in the <i>Serdâb</i>,<a id="FNanchor_26" href="#Footnote_26" class="fnanchor">26</a> -by the side of the statue of the dead person, those of -other individuals belonging to his family or his household. -They are mourners, both men and women crouching -down, one hand hanging or cast on the ground about -to pick up the dust in sign of mourning, the other held -in front of the face and plunged into the hair;<a id="FNanchor_27" href="#Footnote_27" class="fnanchor">27</a> women -who crush the grain on the stone; servants who thrust -their arm into an amphora, probably to coat it with -pitch before pouring in the beer or wine. Ours is a -scribe: his legs bent under him and placed flat on the -ground in one of those positions familiar to Orientals, -but almost impossible for Europeans, the bust upright -and well-balanced on the hips, the head raised; reed -in hand, and the sheet of papyrus spread over his -knees, he still waits, at an interval of 6,000 years, -for his master to resume the interrupted dictation. -The paintings in the contemporary tombs tell us a -hundred times rather than once what he is preparing to -write. In order to sustain himself in the other world, -the great Egyptian lord received on appointed days the -offerings due to him from the domains attached to his -tomb: one was to bring bread, one meat, others wine,<span class="pagenum" id="Page_62">62</span> -cakes, fruit. It was quite a big piece of bookkeeping, -identical with that usual in his lifetime. The scribes of -flesh and blood entered the real revenues as they came -in; the scribe of stone rendered the same service to the -master of stone whom he attended for ever.</p> - -<p>We cannot say that our scribe was handsome in his -lifetime, but the truth and vigour of his portrait compensates -largely for what he lacks in beauty. The face -is almost square, and the strongly accentuated features -indicate a man in his prime; the large mouth with thin -lips is slightly raised at the corners and almost disappears -in the prominent muscles that frame it; the cheeks are -rather hard and bony; the ears are thick and heavy, and -stand out awkwardly from the head; and the low brow -is crowned with coarse, short hair. The eye is well -opened, and owes its special vivacity to an artifice of -the ancient sculptor. The stone in which it is set has -been cut away and the hollow filled with black and white -enamel; a bronze mounting marks the edges of the eyelids, -while a little silver nail<a id="FNanchor_28" href="#Footnote_28" class="fnanchor">28</a> fastened under the crystal -at the bottom of the eyeball receives the light, and -reflecting it, simulates the pupil of a real eye. It is difficult -to imagine the striking effect that this combination -may produce in certain circumstances. When Mariette -cleared out the tomb of Râhotpou at Meîdoum, the first -ray of light which entered the tomb, that had been closed -for 6,000 years, fell on the forehead of two statues leaning -against the wall of the <i>Serdâb</i>, and made the eyes -sparkle so brilliantly that the fellahs threw down their<span class="pagenum" id="Page_63">63</span> -tools and fled in terror. Recovered from their fear, they -wanted to destroy the statues, persuaded that they contained -an evil genius, and were only prevented from doing -so at the point of the pistol. More than one statue of -the Ancient Empire, intact at the moment of its discovery, -was mutilated for the same reason that nearly -proved fatal to those of Meîdoum. In the bad light in -which the Crouching Scribe is placed, the eyeball does -not shine with a sufficiently strong sparkle, but it really -does seem to have life in it and to follow the visitor with -its look.</p> - -<p>The rest of the body is equally full of expression. -The flesh hangs a little, as is fitting with a man of a -certain age whose occupations prevent exercise. The arms -and back are good in detail; the lean bony hands have -fingers of a greater length than is usual; the rendering -of the knee is minute and exact in a way rarely found -elsewhere in Egyptian art. The whole body is, so to -speak, governed by the animation of the physiognomy, -and under the influence of the same feeling of expectation -that dominates it: the muscles of the arm, bust, and -shoulder are only partly at rest, ready at the first signal -to resume the task that has been begun. No work better -refutes the reproach of stiffness usually made in regard -to Egyptian art. Let us add that it is unique in -Europe, and that we must go to Boulaq for pieces fine -enough to sustain comparison without disadvantage. -But it is not enough to possess a masterpiece, it is still -more important to preserve it. In its present position -the Crouching Scribe runs more risks than formerly in -Egypt. The thousands of years spent buried beneath -the sand in a hypogeum on the tableland of Saqqarah -thoroughly dried up the limestone of which it is made.<span class="pagenum" id="Page_64">64</span> -Transported to our damp climate, and submitted to its -sudden changes of temperature, it is only too much -exposed to deterioration. It should not have been installed -without protection and naked, so to say, in the -centre of a room, between two large doors always open, -round about which there are perpetual draughts. The -curators at Turin have placed the fine limestone statue -of Amenôphis I possessed by the Museum in a tightly -closed glass cage, and to that protection is due the fact -that the Pharaoh has preserved its epidermis and colour -intact; the expense is not so great that the Louvre -would be impoverished by authorizing a similar proceeding. -The demotic inscriptions of the Serapeum are carefully -placed under glass, and the precaution is praiseworthy, -although it makes the study of them impossible; -it is then high time to take similar precautions with the -Scribe. The damp has already acted on it a little; the -red coating has been loosened and has fallen away in some -places. If the mechanical work of destruction is allowed -to proceed it will soon be in the same condition as the -three statues of Sapouî and his wife, and the Louvre will -have lost one of the finest pieces of sculpture Egypt has -given us.</p> - -<p>In comparing it with the statues of Skhemka that -we have already described,<a id="FNanchor_29" href="#Footnote_29" class="fnanchor">29</a> we are led to ask why the -statue of a subordinate person should be so superior to -that of his master. The Egyptians knew nothing of -what we term art and the artist’s profession: their -sculptors were persons who cut stone with more or less -skill, but whose work, always subordinated to the plan -of a building, or to theological considerations, did not -possess the absolute value belonging to the least important<span class="pagenum" id="Page_65">65</span> -statue of classical antiquity or of modern times. The -effigy of an individual was placed in his tomb, not -because it was beautiful, but because it represented him -and served as a support to his <i>double</i>. The question -of skill or artistic feeling was a subordinate one, and we -find twenty statues of the same person, some of which -are of finished workmanship and others coarse sketches: -whether a masterpiece or not, the stone body equally -served its purpose. Skhemka fell into the hands of a -merely conscientious workman, his scribe into those of a -highly skilled craftsman. I imagine that they cared little -enough if the sculptor brought more or less talent to his -task: so long as the resemblance was there, they asked -for nothing more.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_66" class="chapter"> -<p><span class="pagenum" id="Page_66">66</span></p> - -<h2 class="nobreak" id="VI" title="VI THE NEW SCRIBE OF THE GIZEH MUSEUM">VI<br /> - -<span class="subhead">THE NEW SCRIBE OF THE GIZEH MUSEUM<a id="FNanchor_30" href="#Footnote_30" class="fnanchor smaller">30</a></span></h2> -</div> - -<p class="in0"><span class="firstword">The</span> excavations undertaken by M. de Morgan in the -northern part of the necropolis of Saqqarah have recently -brought to light a mastaba in fine white stone, near the -tomb of Sabou, a little to the east of Mariette’s old house. -No architectural façade or chapels accessible to the living -were found, only a narrow corridor that plunges into the -masonry from north to south with 5° deviation to the -east. The walls had been prepared and made smooth to -receive the usual decoration, but when the mason had completed -his task, the sculptor, it would seem, had no time to -begin his. None of the sketches with the chisel or brush -customarily found in the unfinished tombs of all periods are -to be seen. Two large stelæ, or, if it is preferred, two -niches in the form of doors, had been prepared in the right-hand -wall, and a statue stood in front of each in the same -spot where the Egyptian workmen had placed them on -the day of the funeral. The first represents a man seated -squarely on a stool, wearing the loin-cloth, and on his -head a wig with rows of small curls one above the other.</p> - -<div id="il_13" class="figcenter" style="max-width: 18em;"> - <img src="images/i_066.jpg" width="1403" height="1770" alt="" /> - <div class="caption"><p>THE NEW SCRIBE OF THE GIZEH MUSEUM.</p> - -<p>Painted limestone.</p></div></div> - -<p><span class="pagenum" id="Page_67">67</span></p> - -<p>The bust and legs are bare; the fore-arms and hands -rest on the knees, the right hand closed with the thumb -sticking out, the left flat with the tips of the fingers -reaching beyond the hem of the loin-cloth. So far as -may be judged from a photograph, the general style is -somewhat weak; but the detail of the knee, the structure -of the leg and foot, are carefully rendered, the chest and -back stand out by the excellent modelling, the head, -weighted as it is by the coiffure, is attached to the -shoulder with an easy and not ungraceful vivacity. The -face is not in good relief, and has a sheepish expression, -but the mouth is smiling, and the eyes of quartz and -crystal have an extraordinarily gentle expression. Taken -altogether it is a very good piece of Egyptian portraiture, -and would be a valuable addition to any museum.<a id="FNanchor_31" href="#Footnote_31" class="fnanchor">31</a></p> - -<p>The new scribe was crouching in front of the second -stele.<a id="FNanchor_32" href="#Footnote_32" class="fnanchor">32</a> He measures in height almost the same as his -colleague in the Louvre, and sufficiently resembles him -to permit both being described in almost similar terms. -The legs are bent under and are flat on the ground, the -bust upright and well balanced on the hips, the head -raised, the hand armed with the reed, and in its place -on the open papyrus sheet; they are both waiting at -an interval of 6,000 years for the master to resume -the interrupted dictation.<a id="FNanchor_33" href="#Footnote_33" class="fnanchor">33</a> The professional gesture and -attitude are reproduced with a truth that leaves nothing -to be desired: it is not only a scribe whom we have -before us, it is the scribe as the Egyptians knew him -from the beginning of their history. The skill with which<span class="pagenum" id="Page_68">68</span> -the sculptors have brought out and co-ordinated the -general features belonging to each class of society is -largely responsible for the impression of monotony produced -by their works on modern spectators. That -impression is lessened and nearly effaced, if we look a -little more closely and see how carefully the sculptors -have noted and reproduced the details of form and -bearing that make up the physiognomy proper to each of -the individuals who live in the same social surroundings -or practise the same profession. Our two scribes do not -cross their legs in identical fashion; he of the Louvre -puts the right leg in front, he of Gizeh the left. There -is no fixed choice, and children at first tuck their legs -under without thought of preference for one or the other; -soon they acquire a habit which makes them keep to the -position once adopted, and in the East to-day you find -people who put either the left or right leg in front, and -just a few who put either one or the other indifferently. -The Louvre scribe flattens out the hand that holds the -reed, the man of Gizeh sinks down, and his back is -slightly bent. This shows the habit of the individual, and -is not a question of age, for a glance at the two statues -shows that the Gizeh scribe is younger than his colleague -of the Louvre: he is not out of the thirties, while the -other is certainly over forty.</p> - -<p>Indeed, the age of the two men is an important point -of which we must not lose sight, if we desire to judge -soberly the real value of the two works. I have heard -archæologists, when comparing them, regret that the -scribe of Gizeh does not show the same abundance of -carefully studied anatomical detail as the scribe of the -Louvre; that therein lies the real inferiority of the first, -whether it was that the sculptor was less conversant with<span class="pagenum" id="Page_69">69</span> -the anatomy of the human body than with that of the face, -or that time had pressed, and he had contented himself with -giving his subject the conventional body that for the most -part sufficed in funerary statues. The care, as I have -pointed out, with which the small details of the attitude -are expressed shows that the reproach is undeserved, and -that the artist has worked to give a portrait complete -from top to toe, and not only to reproduce a head on a -conventional body. The roundness of the form preserves -the appearance of the original, and shows, realistically, -the age the subject was at the time of his death, or -at least at the period of life at which his relatives desired -to have a portrait of him. In the best facsimile something -of the delicacy of the monument itself must be -lost, and in spite of the great care taken in engraving it, -its original aspect is not entirely preserved. I think, -however, that in looking closely at it there can still be -seen in many places the artistic, supple workmanship by -which the chisel expressed the delicacy and vigour of the -model. The most vigorous fellah of our day, when young -and in good health, has apparently slender muscles that -do not stand out: like those of the porters of Boulaq, -one of whom without aid moved a stone statue of nearly -the same height as himself, and yet had hands and -calves like those of a woman, that looked of slight -strength and incapable of continuous effort. The knotty -and twisted excrescences to be seen on the arms, back, -or chest of our athletes were rarely found in Egyptians -of ancient race, at least in youth. The ancient sculptor -rightly noted that physiological trait of his people. He -had a young man before him: so he evolved from the -limestone a young Egyptian body in which the play of -the muscles is hidden beneath the skin, and is only<span class="pagenum" id="Page_70">70</span> -betrayed by a number of touches manipulated with -knowledge and discretion. If, like his colleague who -sculptured the Louvre scribe, he had had to portray a -person of ripe age, he would not have exerted himself to -bring out the flabbiness of the flesh and the heaviness -of its folds, to execute all the pleasant work of the chisel -which so well reproduces the depredations of age in a rich -sedentary man of fifty. In short, he worked differently -because he had a different subject.</p> - -<p>There is no sort of inscription on either statue to -inform us of the name and characteristics of its original, -who must have been a person of some importance: a -large tomb invariably meant a considerable fortune, or a -high post in the administrative hierarchy which compensated -for mediocrity of fortune. It might also be that -Pharaoh, desiring to reward services rendered him by -some one in his <i>entourage</i>, granted him a statue, a stele, -an entire tomb built by the royal architects at the -expense of the Treasury.<a id="FNanchor_34" href="#Footnote_34" class="fnanchor">34</a> It is certain that our anonymous -scribe held high rank in his lifetime, but to what -Dynasty did he belong? He so closely resembles the -scribe of the Louvre that he was evidently his contemporary: -he must then have lived at the end of the Vth -Dynasty, and we reach a similar result if we compare him -with the other statues preserved at Gizeh. It is of the -style of the statues of Ti and of Rânofir, especially of -the last two. One of them, which formerly was No. 975 -in the Boulaq Museum, is full of dignified feeling.<a id="FNanchor_35" href="#Footnote_35" class="fnanchor">35</a> -Rânofir is standing, his two arms pressed against his<span class="pagenum" id="Page_71">71</span> -body, one leg in advance, in the attitude of a prince who -is looking at his vassals march past him. Whoever has -seen him cannot fail to observe how much he resembles -our new scribe. Firstly, the head-dress is the same; they -both have the head framed, so to speak, in a bell-mouthed -wig. The hairs or fibres of which it is made were -gummed, as is the case to-day with the hair of certain -African tribes. The hair is carefully smoothed on the -forehead and the top of the head, and being parted on -the cranium, hangs down and forms a kind of dark case -round the face which accentuates the ruddy tint of the -flesh. The modelling of the torso, the muscling of the -arms, are treated in the same way in both statues, and -the dignified expression which characterizes the physiognomy -of Rânofir relieves the somewhat commonplace -features of the new scribe. Those are all facts that are -not to be noted in other portraits of our personages. -The seated statue that I first described possesses the -general aspect of the individual, and undoubtedly represents -him; but the technique and feeling differ, since it -is necessarily that of a different sculptor. It is the same -with Rânofir. The statue of him numbered 1049 in the -Boulaq Museum lacks the high dignity we admire in -No. 975. It is so heavy, so expressionless, that it almost -seems to be another Egyptian. The difference in the -workmanship proves that two artists were commissioned -to execute statues of the same man. The identity of -workmanship, on the other hand, compels us to recognize -the same hand in the statue No. 975 of Rânofir and in -that of our new scribe: the two works proceeded almost -at the same time from one studio.</p> - -<div id="il_14" class="figleft" style="max-width: 10em;"> - <img src="images/i_072.jpg" width="745" height="1785" alt="" /> - <div class="caption"><p>STATUE OF RÂNOFIR.</p> - -<p>Cairo Museum.</p></div></div> - -<p>It would be interesting to find out if, among the statues -in the museums, there are others that may be related to these<span class="pagenum" id="Page_72">72</span> -and have a common origin. I do not so far know any, but -I ought to add to what I have said the indication of a -special sign by which they can be distinguished. The -Egyptians were accustomed to paint their statues and bas-reliefs, -and the colours in which -they clothed them were more -varied, and more subject to -change, than is generally recognized. -We are used to see only -a red-brown tone for the flesh, -and they certainly employed it -very often; they did not, however, -employ that tone only, -and men’s faces are occasionally -coloured in a very different way. -The colouring of statue No. 975 -and of the new scribe differs -from the usual manner. That of -statue No. 975 has grown paler -since Rânofir left his tomb and -became exposed to the light, but -that of the Gizeh scribe is still -fresh, and resembles as faithfully -as possible the yellow complexion -bordering on red of the modern -fellah. The greater number of -archæologists who occupy themselves -with Egyptian art neglect -facts of this kind. During my stay -in Egypt I have endeavoured to bring them out, and it is -in co-ordinating them systematically that I have been able -to verify the existence, either at Memphis itself or in the -ancient village of Saqqarah, of two principal studios of<span class="pagenum" id="Page_73">73</span> -sculptors and painters to which customers of the later periods -of the Vth Dynasty entrusted the task of decorating the -tombs and carving the funerary statues.</p> - -<p>Each had its special style, its traditions, its models, from -which it did not willingly depart. Commissions were -divided between them in unequal proportions, according to -whether it was a question of isolated statues or of bas-reliefs. -I do not remember observing sensible differences of -style in the pictures that cover the walls of the same -mastaba: for that kind of work application was made to -one or the other studio, and it alone undertook the commission. -For the statues, on the contrary, recourse was -had to both at the same time: the task, thus divided, was -more quickly accomplished, and there was more chance that -it would be finished by the day of the funeral. I do not -mean to state that there were then only the two studios of -which I speak: I think I have found traces of several others, -but they perhaps enjoyed less vogue, or the chances of -excavation have not so far been favourable to them.</p> - -<p>To sum up, we may say, without the risk of being taxed -with exaggeration, that the art of the Ancient Empire -counts another masterpiece. It was a gift of happy chance -to M. de Morgan in his first serious excavations as earnest -of good fortune: it is of good augury for the future, and, as -he is not a man to let a chance slip once he holds it, and -since he has the material means and the money required -for methodical exploration, we may hope for further finds -without long delay.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_74" class="chapter"> -<p><span class="pagenum" id="Page_74">74</span></p> - -<h2 class="nobreak" id="VII">VII<br /> - -<span class="subhead">THE KNEELING SCRIBE<br /> - -<span class="subhead"><span class="smcap">Vth</span> DYNASTY<br /> - -(<i>Boulaq Museum</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">If</span> he had not been dead for 6,000 years, I should swear that -I met him six months ago in a little town of Upper Egypt. -It was the same commonplace round face, the same -flattened nose, the same full mouth, slightly contracted on -the left by a foolish smile, the same banal expressionless -physiognomy: the costume alone was different and -prevented the illusion from being complete. The loin-cloth -is no longer in fashion, and neither is the large wig; except -the fellahs when at work, no one now goes about with bare -legs and torso. Some follow fairly closely the custom of -Cairo, and wear the too small tarbouche, the stiff stambouline, -the European starched shirt, but without a cravat, -black or crude blue trousers, shoes with cloth gaiters. -Others keep to the turban, long gown, wide trousers, and -red or yellow morocco leather babouches. But if his clothes -have changed since the Vth Dynasty, his deportment has -remained perceivably identical. The modern secretary, -after delivering his papers to his master, crosses his hands -over his chest or his stomach in the fashion of the ancient -scribe; he no longer kneels while waiting, but assumes the -humblest attitude imaginable, and if his costume did not<span class="pagenum" id="Page_75">75</span> -hide it, we should recognize the suppleness that characterizes -the Boulaq statue in the movement of his shoulders and -spine. His chief finishes reading the papers, affixes his seal -to this one or that, writes a few lines across another, and -throws the sheets on the ground: the secretary picks -them up, and returns to his office without offence at the -cavalier manner in which his work is given back to him. -Indeed, is it to be expected that a moudir, a man receiving -a large salary, would take the trouble to stretch out his arm -to meet the hand of a mere ill-paid employee? In fact, -he treats his subordinates as his superiors treat him; his -subordinates, in their turn, act in a similar way towards -theirs, and so things go on right down the ladder, and no -one dreams of objecting.</p> - -<div id="il_15" class="figcenter" style="max-width: 27em;"> - <img src="images/i_074.jpg" width="2112" height="2746" alt="" /> - <div class="caption"><p>KNEELING SCRIBE.</p> - -<p>Cairo Museum.</p></div></div> - -<p>Our scribe was one of those to whom the papers were -thrown more often than to others. He occupied a -somewhat low place in the hierarchy, and no bond attached -him to the great families of his period. If he is kneeling, -it is that the sculptor has represented him in one of his -ordinary attitudes during the hours of work; he has -also drawn his portrait with the fidelity and jovial good -humour adopted by artists in portraying scenes of everyday -life. The man has just brought a roll of papyrus or a -tray laden with papers; kneeling in the approved manner, -the bust well-balanced on the hips, the hands crossed, the -back bowed, the head slightly bent, he waits until his master -has finished reading. Does he think? Scribes felt some -secret apprehension when appearing before their masters. -The rod played a large part in the discipline of the offices. -An error in the addition of an account, a word omitted -in copying a letter, an instruction misunderstood, an order -awkwardly executed, and the blows fell. Few employees -escaped flogging. If they did not deserve it, it would be<span class="pagenum" id="Page_76">76</span> -inflicted on principle: “That young fellow requires a beating. -He obeys when he is flogged!”<a id="FNanchor_36" href="#Footnote_36" class="fnanchor">36</a> The sculptor has -admirably transferred to the stone the expression of resigned -uncertainty and sheepish gentleness with which the routine -of an entire life spent in service had endowed the model. -The mouth is smiling, for such is the demand of etiquette, -but there is no joy in the smile. The nose and cheeks -grimace in unison with the mouth. The two big enamel -eyes, surrounded with bronze, have the fixed expression -of a man who is vaguely waiting, without looking attentively -at anything or concentrating his thought on a -definite object. The face lacks intelligence and vivacity. -After all, the profession did not exact great alertness of -mind. The formulas of administration were simple and -of little variety, the arithmetic was not complicated; it -was possible to get on easily with memory and industry, -and so, without much trouble, to earn sufficient to purchase -a good funerary statue.</p> - -<p>Our statue was found at Saqqarah<a id="FNanchor_37" href="#Footnote_37" class="fnanchor">37</a> in a tomb of -somewhat mediocre appearance. Neither the name nor<span class="pagenum" id="Page_77">77</span> -filiation of the man informs us under what king or Dynasty -he vegetated; but in comparing him with the statue of -Rânofir<a id="FNanchor_38" href="#Footnote_38" class="fnanchor">38</a> we are able to assign him his place in the series. -First, both our scribe and Rânofir wear a wig of a form -somewhat rare at that period; the hair, parted from the -centre of the brow, is drawn back in a mass behind the -ears and hangs down straight round the neck. Our scribe, -instead of the red complexion usually attributed to men’s -faces, is painted light yellow, very like those of women. -Rânofir shows the same peculiarity, an unusual one under -the Ancient Empire. I do not think it could have been -mere caprice on the part of the artist. A scribe, forced -to live always in his office as women do in their homes, -would have a less sunburnt skin than his colleagues who -worked in the open air: the yellow colour of the limestone -would thus be a sort of professional sign, and would -correspond with a lighter complexion in the original. The -titles of Rânofir prove that he lived under the last reigns of -the Vth Dynasty,<a id="FNanchor_39" href="#Footnote_39" class="fnanchor">39</a> and in placing the kneeling scribe at the -same period, we are sure of not being much in error. I -have preferred to base my opinions on purely archæological -grounds, but I think an examination of the style of the -two statues would carry the connection still farther: the<span class="pagenum" id="Page_78">78</span> -way in which the neck is attached to the shoulders, and -particularly the way in which the hands are treated, is -almost identical in the two cases. I do not know if I -am mistaken, but I have almost persuaded myself that -the statue of Rânofir and that of the kneeling scribe come -from the same studio, and are perhaps the fruit of the -same chisel. I do not despair of finding other monuments -of a similar origin, and of reconstituting in part the work -of one of the masters of which the tombs of Memphis -have preserved the various productions, but without -preserving their names.</p> - -<p>The execution is very careful: unfortunately the limestone -in which the scribe is cut was too soft, and it is -worn away in places. The knees have suffered most, and -it is a great pity, for we can see by what is left of them -how careful the artist has been with the modelling. The -arms are not divided from the bust, the hands are heavy, -the feet long, but the play of the muscles of the chest -and neck is well noted. In short, it is an estimable work -of a conscientious sculptor who thoroughly understood -his vocation.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_79" class="chapter"> -<p><span class="pagenum" id="Page_79">79</span></p> - -<h2 class="nobreak" id="VIII">VIII<br /> - -<span class="subhead">PEHOURNOWRI<br /> - -<span class="subhead">STATUETTE IN PAINTED LIMESTONE FOUND AT MEMPHIS<br /> - -(<i>The Louvre</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">Mariette</span> found the statuette by chance when searching -the Serapeum. It had formerly been taken from the pit -in which it was shut up and thrown amid the rubbish of -the great sphinx avenue that leads to the tomb of Apis. -The individual was named Pehournowri; he was cousin -royal, and fulfilled functions that I do not know how -to define. Nothing in the inscription helps us to conjecture -with what king he claimed relationship, but its -style proves that he lived under the Vth Dynasty. That -he was of mature age is indicated by the plenitude of -form, by the fine proportions and the benevolent and -benign aspect. A short wig, a necklace, a loin-cloth -scarcely reaching the knees, completes his costume. His -statue is not one in front of which we naturally pause when -walking through a museum. I do not think that during -the thirty years it has been in the Louvre it has attracted -the attention of any one except experts in Egyptology. -Not that it lacks merit: the modelling is exact, the -execution skillful and delicate, the expression frank and -successful, but the pose differs very slightly from that -which hundreds of other artists have given to hundreds<span class="pagenum" id="Page_80">80</span> -of other statues. The careless visitor who passes from -one seated man to a second, and then to many others, -does not think of looking for the details of execution -that distinguish them. He thinks that when he has seen -one or two he has seen all, and departs with the idea -that the chief attribute of Egyptian art is monotony.</p> - -<p>Egyptian sculptors did not greatly vary the pose of -their sitters. Sometimes they represented them standing -and walking, one leg in advance of the other, sometimes -standing, but motionless, with the feet together, sometimes -sitting on a seat or a stone pedestal, sometimes -kneeling, more often crouching, the chin against the knees -like the fellahs of to-day, or the legs flat on the ground -like the scribe of the Louvre.<a id="FNanchor_40" href="#Footnote_40" class="fnanchor">40</a> The details of arrangement -and costume may be modified <i>ad infinitum</i>, but -the attitude is nearly always regulated by the six types -I have enumerated. Some modern critics attribute this fact -to the inexperience of the sculptors, others to the inflexibility -of certain hieratical rules. But having seen not -only the few incomplete pieces to be found in Europe, but -also the monuments still existing in Egypt, I cannot -admit those reasons. Everywhere in the bas-reliefs of the -temples and tombs a multiplicity of gestures or attitudes -are to be seen which show to what point the artists -could, when they pleased, diversify the human figure: -the peasant bends over the hoe, the joiner leans over his -bench, the scribe stoops over his paper, the dancers, -girls and men, twist and balance their bodies, the soldiers -brandish their lances or march in time, as naturally as -possible. And the sculptors even reproduced positions -in their statues very different from those we are accustomed -to see at the Louvre: the kneeling woman who is grinding<span class="pagenum" id="Page_81">81</span> -her corn, the baker who is kneading the dough, the -slave who coats the amphora with pitch before pouring -in the wine, the crouching mourner of Boulaq,<a id="FNanchor_41" href="#Footnote_41" class="fnanchor">41</a> are all composed -and modelled with a lightness of action and a -perfection of expression that leaves no doubt as to the skill -of the artist. It is true that hieratical rules existed, and -no one will dispute that fact, but they were reserved for -matters of religion and for those alone. They exacted, -for instance, that Amon must always, in every case, -have the attributes, costume, and attitude proper to the -god, but they in no wise ordered that all men were to -be confined to one of the five attitudes I have just -described. The freedom of composition to which the -large historical pictures of the temples or the domestic -scenes of the tombs testify, does not agree with what we -are told concerning the inflexibility of the hieratical rules.</p> - -<div id="il_16" class="figcenter" style="max-width: 21em;"> - <img src="images/i_080.jpg" width="1671" height="2723" alt="" /> - <div class="caption"><p>PEHOURNOWRI.</p> - -<p>The Louvre.</p></div></div> - -<p>I shall not now touch on the statues of kings or -divinities: I shall have an opportunity later of treating -them at leisure. Those of private individuals represent -for the most part persons of rank, great nobles, people of -the court, officers, magistrates, priests, employees of birth -or fortune; they come from nearly all the cemeteries, -and are portraits of the man for whom the tomb was -hollowed out or of people of his house. The master -stands in an attitude of command, or sits like Pehournowri, -and he could only have one or the other of those -attitudes. The tomb is, in fact, his private house, where -he rests from the fatigues of life, as he used to do in -his terrestrial home. A soldier when at home does not -carry his arms, a magistrate does not wear his robe: -soldier or magistrate, the insignia of the profession are -laid aside when he returns home. Thus the master of<span class="pagenum" id="Page_82">82</span> -the tomb always wears his civil costume, and leaves the -marks of his profession at the door.</p> - -<p>Then, also, the accessible part of his dwelling has a -special destination which regulates the pose of the statues: -it is, in fact, his reception-room, where on certain days the -family assembled to present the offerings to him, in more -prosaic words, to dine with him. Whether his statue was -visible in one of the open chambers or invisible in the -<i>Serdâb</i>,<a id="FNanchor_42" href="#Footnote_42" class="fnanchor">42</a> it was his substitute. It is sufficient to look at the -neighbouring bas-reliefs to discover what were the official -attitudes of the dead man in the tomb. He was present -at the preliminaries of the sacrifice, the sowing and -the harvest, the rearing of the cattle, fishing, hunting, the -execution of crafts, and he saw all the works carried -out for the <i>eternal dwelling</i>: he was then standing, one -foot in advance, head erect, hands hanging down, or -armed with the staff of command. Elsewhere, one after -the other, the different courses of the meal are served -him, cakes, wines, canonical meats, fruits which he needs -in the world of the dead: then he is seated in an armchair -alone or with his wife. The sculptor employed for -his statues the two positions he has in the paintings: -standing, he receives the homage of his vassals; seated, -he takes part in the meal. And in the same way the -statues which embody the members of the family and of -the household have likewise the attitude suited to their -rank and occupation. The wife is sometimes standing, -sometimes sitting on the same seat as her husband, or on a -separate one; sometimes, as in life, crouching at his feet. -The son wears the costume of childhood, if the statue was -carved while he was still a child, or the costume and -attitude of his office if he was an adult. The acting<span class="pagenum" id="Page_83">83</span> -scribe crouches, the roll spread on his knees, as if he was -writing from dictation or reading from an account-book.<a id="FNanchor_43" href="#Footnote_43" class="fnanchor">43</a> -The slave grinds the corn, the bakers knead the dough, the -cellarers pitch their amphoras, the mourners lament and -tear their hair as it was their duty to do in the world -above; each individual is occupied according to his -condition. The social hierarchy followed the Egyptian -after death, and it regulated the pose of the statue after, -as it had regulated that of the model before, death. Up -to a certain point it is the same to-day, and he who carves -the statue of a printer is careful not to attribute to him -the action and costume of a miner or a sailor. These -statues, shut up in the tomb, formed a sort of tableau in -which each person held for ever the pose characteristic of -his rank or his profession. The artist was free to vary -the detail and regulate the accessories according to his -fancy, but he could not change the general disposition -without injuring the utility of his work.</p> - -<p>At bottom, it is with the statues of Ancient Egypt as -with the pictures of saints of the Italian schools. The -painters had to treat their subject on lines from which -they could not depart without falsifying or disfiguring it. -Bring sixty or eighty St. Sebastians together in a room: -how many of those who saw them would escape the -boredom that infallibly results from constant repetition? -When the tenth St. Sebastian was reached only a few professional -artists would not have already gone away. I am -supposing, too, that only choice pictures had been collected -in which the qualities of a master are easily -recognized. If, on the contrary, there had been collected -at random all the available St. Sebastians without first -eliminating the bad pictures, the finest St. Sebastians in<span class="pagenum" id="Page_84">84</span> -the world, lost in the crowd, would be likely to attract -no more attention from the public than the Crouching -Scribe or the other masterpieces of Egyptian sculpture -in the Louvre. The hypothesis appears absurd, because -no one will easily admit that any one could have the idea -of making such a collection. I agree so far as modern -or ancient works, the value of which is known, are concerned; -but Egyptian Museums have so far always been -classified as depôts of archæological objects, not as art -galleries. Each statue is a scribe, a god, a king; it is the -scribe Hor of the XIXth Dynasty, or the scribe Skhemka -of the Vth, or the king Sovkhotpou, wearing the head-dress -of the pschent, and that is all. The trumpery -scribes and the scribes that emanate from the hands of -a master are confused under the same rubric, and no -mark is placed to distinguish the good from the bad. -Pehournowri is a scribe, Ramke a second scribe, Rahotpou -a third scribe, just as the St. Sebastian of such or such -a great Italian master and the St. Sebastians of the Epinal -pictures are two St. Sebastians: the public which is not -warned, and which has no more interest in one scribe -than in another, passes on without looking.</p> - -<p>The impression of monotony is produced by the perpetual -repetition of the same types and by the method -of classification adopted in the museums. If it was decided -to do for Egypt what has been done for Greece and Rome, -to separate the productions of art and the objects of -archæology, people’s opinion would be promptly modified. -The impression of monotony would not wholly disappear, -because the number of types studied by the Egyptian -sculptors was not sufficiently numerous: it would be -lessened and would no longer blind the crowd to the real -beauty and perfection that reside in Egyptian sculpture.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_85" class="chapter"> -<p><span class="pagenum" id="Page_85">85</span></p> - -<h2 class="nobreak" id="IX">IX<br /> - -<span class="subhead">THE DWARF KHNOUMHOTPOU<br /> - -<span class="subhead">(<span class="smcap">Vth</span> OR <span class="smcap">VIth</span> DYNASTY)<br /> - -(<i>Boulaq Museum</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">The</span> charming person who left us this statue is known, -since the Exhibition of 1878, by the name of the Superintendent -of the Cooks; his title in the inscription on the -pedestal indicates a keeper of the wardrobe. In his lifetime -he doubtless enjoyed some notoriety, since he had one of -the fine tombs of Saqqarah for himself alone, but we know -nothing of his history. His name was Khnoumhotpou, a -name later made illustrious by a prince of Minieh under -the XIIth Dynasty: his place of burial proves that he -was born at the end of the Vth or beginning of the -VIth Dynasty.</p> - -<p>He was a dwarf, and a very small dwarf. The statue -is scarcely a foot in height, and the dimensions of the -head show that it was probably half the natural size. It -reproduces the characteristics proper to dwarfs without -exaggerating them. The head, of a suitable size, is long-shaped -and flanked by two large ears. The expression -of the face is heavy and stupid, the eyes narrow and -raised at the temples, and the mouth wide and ill-formed. -The chest is strong and well developed, but the artist -has employed his ingenuity in vain in order to dissimulate<span class="pagenum" id="Page_86">86</span> -the hind-quarters by covering them with a vast white -petticoat; notwithstanding, we feel that the torso is -not in proportion to the arms and legs. The stomach -forms a round projection, and the hips recede in order -to counterbalance the stomach. The thighs only exist in -a rudimentary state, and the whole individual, mounted as -he is on little deformed feet, seems about to fall face -downwards on the ground. The flesh was painted red, -the hair black, but the colour has peeled off or been -effaced in places. The two legs were broken formerly at -the ankle, then stuck on again when the statue was -transported to the Museum. It is very possible that the -accident happened during the execution of the statue, for -the limestone used by the Egyptians is so fragile that the -sculptor did not venture to detach the arms from the -body: too hard a blow of the mallet while freeing the legs -may have caused the unfortunate fracture that spoils the -bottom of the monument.</p> - -<p>Khnoumhotpou is, so far, the only dwarf that has come -to light who is a nobleman. Similar dwarfs were not -lacking in Egypt, but they nearly all belonged to the -class of jugglers and buffoons. The Pharaohs and the -princes of their court bestowed the same affection on these -deformed creatures as did Christian or Mussulman kings -in mediæval times; their household would not have been -complete without two or three of them of an aspect more -or less grotesque. Ti possessed one that figures by her -in her tomb: the poor wretch holds in his right hand a -kind of large wooden sceptre terminated by a model of -a human hand, and leads a greyhound almost as tall as -himself in a leash. Elsewhere dwarfs are represented -crouching on a stool at the feet of their masters, by the -side of the favourite monkey or dog. We know from<span class="pagenum" id="Page_87">87</span> -the pictures of Beni-Hassan that two of them belonged to -the prince of Minieh’s suite; one, despite his small size, -does not lack elegance, but the other enjoys with the -exiguity of his stature the pleasure of being club-footed. -The Egyptian heaven did not escape the prevailing mania -any more than the court of the Pharaohs, and it included -several dwarfs, of whom two at least had an important -rôle: Bîsa, who presided over arms and the toilet, and the -Phtah, who for a long while has, without reason, been -called embryonic Phtah.<a id="FNanchor_44" href="#Footnote_44" class="fnanchor">44</a> Perhaps Knoumhotpou joined -to his functions of keeper of the wardrobe the office of -court buffoon; perhaps he was of noble birth, and preserved -by his origin from the disagreeables to which his brethren -of low extraction were exposed.</p> - -<div id="il_17" class="figcenter" style="max-width: 22em;"> - <img src="images/i_086.jpg" width="1749" height="2722" alt="" /> - <div class="caption"><p>THE DWARF KHNOUMHOTPOU.</p> - -<p>Cairo Museum.</p></div></div> - -<p>But we have no need to know what he was: merely -in leaving us his portrait, he has rendered signal service -to science. Let us recall the part played by the statues -of the tombs in the theological conceptions of the -Egyptians: they were the indispensable support of the -<i>double</i>, the body without which the soul of the dead -person could not exist in the other world. It might be -thought that in passing from life in this world to that -beyond the tomb, the people to whom beauty had been -chary might not have been sorry to assume a new -appearance; if we are to be re-born, it is better to be -re-born less ugly. The care that poor Khnoumhotpou -has taken to reach us deformed shows that the old -Egyptians did not hold our views on the subject: they -desired to remain always as nature created them at the<span class="pagenum" id="Page_88">88</span> -moment of conception. It was not absence of coquetry -on their part, but necessity: their idea of the soul -compelled them so to act. From the moment that their -personality was indissolubly bound up with the existence -of the body, the first condition imposed on them for -remaining identical with themselves after death, as before, -was to preserve their earthly form intact. In order that -the Khnoumhotpou who dwelt in the hypogeum of -Saqqarah might not be a different being from the -Khnoumhotpou who walked through the streets of -Memphis, it was necessary that his disincarnated <i>double</i> -should find there the support of a statue of a dwarf. Give -him the fine proportions of Ti or Rânofir, the proud -bearing and haughty mien of the Cheîkh-el-Beled, even the -more common type of the Crouching Scribe, he would -not have known what to do. His substance, poured, so -to speak, into the exiguous and deformed mould of the -dwarf, could never have adapted itself to the new mould -into which the artist would have tried to cast it. -Khnoumhotpou beautified would no longer have been -Khnoumhotpou; his tomb, without the statue of a dwarf, -would only have sheltered a double and a support strangers -to each other.</p> - -<p>It was then the likeness, and the absolute likeness, -that the artist had to seek to reproduce, and the seriousness -and scrupulousness with which he rendered the deformity -of his model is thus explained. The Egyptians were -scoffers by nature, and liked to mingle the comic with -the serious, not only in literature but in the arts. To take -only one example: the painter who, at Thebes, pictured -the interment of Nofrihotpou, has drawn, by the side of -the large boats laden with mourners and all the apparatus -of grief, the contortions of two sailors whose shallop<span class="pagenum" id="Page_89">89</span> -was brutally struck by the oars of the funerary barque. -If the sculptor who chiselled Khnoumhotpou had been -free to follow his natural inclination, he would probably -have exaggerated certain features and given the unfortunate -creature a slightly absurd physiognomy. His -religious conscience would not permit him to risk anything -of the kind: a statue uglier than nature would have -been as inconvenient to the soul of the original as a statue -more beautiful than nature. A body of stone identical -at all points with the body of flesh was what the -Egyptian demanded, and that is exactly what the sculptor -fashioned for the little Khnoumhotpou. We see here -that what we call the question of art is subsidiary: a -stone-cutter who understood his business sufficed for all -that was required.</p> - -<p>It must not, however, be concluded from what precedes -that I regard the portrait of Khnoumhotpou as the work -of a mere artisan. It has been too often repeated that -statuary in Egypt was a mechanical craft; sculptors were -taught to fashion arms, legs, heads, and torsos, and to -join them, according to the formula, in imitation of two -or three models always the same. That opinion, repeated -by the Greeks, is fairly difficult to uphold in the presence -of the statue of Knoumhotpou; it might be possible to -set up patterns for bodies of ordinary formation, but all -varieties of deformed bodies could not possibly be foreseen. -The unknown master whose work we have at Boulaq -proceeded in exactly the same manner as a modern -sculptor, the necessities of whose work confronted him -with a deformed model: he produced a work of art, not -the task of a mechanic.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_90" class="chapter"> -<p><span class="pagenum" id="Page_90">90</span></p> - -<h2 class="nobreak" id="X" title="X THE FAVISSA OF KARNAK AND THE THEBAN -SCHOOL OF SCULPTURE">X<br /> - -<span class="subhead">THE FAVISSA OF KARNAK AND THE THEBAN -SCHOOL OF SCULPTURE<a id="FNanchor_45" href="#Footnote_45" class="fnanchor smaller">45</a></span></h2> -</div> - -<h3>I</h3> - -<p class="in0"><span class="firstword">A large</span> pool among the ruins, and at the southern end -two batteries of <i>chadoufs</i>, one on top of the other, working -to exhaust the water continually renewed by the infiltrations. -On the banks are blocks and muddy statues, -round which half-naked workmen are busily occupied, -beams, levers, coils of rope, and the beginnings of a -Decauville line; remains of storied walls dominate the -workshops, and the modern village of Karnak stands out -clearly on the horizon beyond their irregular tops.</p> - -<p>When the first Ptolemies decided at the beginning of -the third century <span class="allsmcap">B.C.</span> to restore the Theban temple of -Amon, they found it encumbered with <i>ex-votos</i>. Everywhere, -in the halls, the corridors, the court-yards, there -were stelæ, stone statues, little wooden or bronze figures, -sacred or royal insignia, heaped up one on the other, and -in such quantities that there was no space for new ones. -It was a legacy of extinct Dynasties or of noble families -who had died out, to whom the Pharaohs had granted the -privilege of consecrating their image in the house of the<span class="pagenum" id="Page_91">91</span> -god, and to sell or destroy any of them would have -been to commit sacrilege.<a id="FNanchor_46" href="#Footnote_46" class="fnanchor">46</a> They were dealt with -according to the custom of the contemporary peoples: a -vast pit was dug between the seventh pylon and the -hypostyle hall, and then they were buried pell-mell in -holy ground. Twenty centuries later, in 1883, hastily -made soundings revealed the richness of the site to me, -but, lacking money, I could not venture to undertake -anything. It was not until 1901, when the regular progress -of clearing away brought the workmen to the spot, that -I advised M. Legrain to dig more deeply than usual, so -that nothing which was hidden beneath the earth might -escape observation. The excavations yielded just what I -had foreseen, royal colossi in granite, limestone, sandstone -which were restored to their ancient places along the -pylon; a little below came fragments of a fine limestone -building of Amenôthes I that Thoutmôsis III had used -for banking up when he enlarged the temple; and at the -very bottom, at a depth of over six, twelve, fourteen yards, -what none of us had thought of, an intact <i>favissa</i> in which -hundreds of statues and small objects awaited in the mud -the hour of their deliverance.</p> - -<p>For four years M. Legrain has been exploring the spot -foot by foot, and I think he has succeeded in entirely -emptying it. We must now draw up the inventory of -the treasures it has bestowed on us. The greatest benefit -conferred by them is assuredly on political history. All -epochs are not represented in equal abundance—the first -Theban Empire is, so to speak, merely mentioned, and the -two great Dynasties of the second are represented only by -about a hundred pieces—but from the fall of the Ramessides -to the Persian conquest the series of the high priests<span class="pagenum" id="Page_92">92</span> -of Amon reappears almost complete, with their wives, -sons, brothers, the children or latest descendants of their -brothers, and from the day when the male line failed, -the princesses who inherited its rights, with the noble -persons who wielded the power in their name. However, -the large find all at once of statues and inscriptions serves not -only to give information about the revolution that transformed -the military kingdom of Thebes into a theocracy, -but also furnishes documents for the study of the progress -of art during the twenty centuries and more that the -revolution took. The artistic merit of the objects is very -unequal, and many of them are only interesting to the -archæologist; some, however, stand out distinguished -above the mass, and take their rank worthily beside -the best known productions of Egyptian art. As they -come from the same temple, and have been erected by -different members of the same families, it is natural -to see in them the work of one school, established at -Thebes in far-off antiquity. Indeed, a unity of character -common to all is easily discerned, which, perpetuating -itself without notable change from generation to generation, -fixes undeniable affinities of conception and technique.</p> - -<div id="il_18" class="figcenter" style="max-width: 24em;"> - <img src="images/i_092.jpg" width="1920" height="1507" alt="" /> - <div class="caption">THE WORKS AT KARNAK IN JANUARY, 1906.</div></div> - -<h3>II</h3> - -<p>Setting aside a few stelæ in which the arrangement -is bad and the composition coarse,<a id="FNanchor_47" href="#Footnote_47" class="fnanchor">47</a> the most ancient -monuments we possess of that school are those discovered -by Carter and Naville between 1900 and 1906 in the tomb -of Montouhotpou V at Deîr-el-Baharî. The bas-reliefs of -the chapel belonging to the pyramid are as correct in design<span class="pagenum" id="Page_93">93</span> -and as firm in touch as the fine Memphian bas-reliefs -of the Vth or VIth Dynasty; but the relief is more -accentuated, the outline bolder and freer, the man more -thick-set, and more firmly placed on the ground, the -woman of a more slender figure, with larger hips and a -more ample bosom. The statue of the king which -is in the Cairo Museum<a id="FNanchor_48" href="#Footnote_48" class="fnanchor">48</a> was cut in the sandstone with -a bold, firm chisel. The feet and knees are thick, the -hands massive, the bust indicated in summary fashion, -the face boldly modelled. The colour is harsh, the flesh -black, the costume white, the cap red, according to the -ritual of the ceremonies for which it was destined; the -whole has an aspect of barbarism, but a premeditated -barbarism, having regard to the religious effect to be -produced. If a Memphian sculptor had treated a -similar subject, he would not have failed to harmonize -the lines and soften the colour: unconsciously he would -have fused its type with the softer type of human -physiognomy that prevailed in his school, at the risk -of enfeebling its energy. The Theban sculptor, on the -contrary, exerted himself above all to reproduce the truth -as it revealed itself to him, and that preoccupation is -dominant to the end with all of his school. They sought -the likeness with the intention of exaggerating rather than -of softening the individual features of the subject, and -in order to attain it, did not shrink from roughness of -execution nor violence of colour: they often fell into -barbarism, but scarcely ever into banality.</p> - -<p>When, under the XIIth Dynasty, Thebes became one -of the capitals of Egypt, its kings sometimes employed -local artists, sometimes called in sculptors imbued with<span class="pagenum" id="Page_94">94</span> -the Memphian tradition from Heracleopolis or the Fayoum. -Chance has preserved for us two colossal heads, one of -Sanouosrît I (Ousirtasen),<a id="FNanchor_49" href="#Footnote_49" class="fnanchor">49</a> discovered by Mariette in the -ruins of Abydos, the other of Sanouosrît III, extracted -by M. Legrain from the pit at Karnak. The handicraft -is excellent in both cases, and seldom has this unpromising -stone been worked with greater skill, but the -inspiration of the whole is different. Here are two -persons of the same race, and the general resemblance -is sufficient to set aside any doubt: for if it were not -there, we should be tempted to see in each a sovereign -of a different Dynasty. The first belongs to a school -inspired by the Memphian tradition: the sculptor has -idealized or, if preferred, symbolized his model, and has -given it the short full oval, the smiling good-humoured -face that the school adopted for official statues of the -Pharaohs. The second, on the other hand, copied the -features without softening a single one; the face is long -and thin, the brow narrow, the cheek-bones prominent, -the jaw bony and heavy. He has hollowed the cheeks, -surrounded the nose with two deep furrows, tightened the -lower lip and projected it into a contemptuous pout; he -has realized a strong work, whereas the other, penetrated -by opposite principles, has only evolved from the stone -an agreeable composition, but one lacking individuality.</p> - -<div class="center"><div class="ilb ilbpad"> - -<div id="il_19" class="figleft" style="max-width: 14em;"> - <img src="images/i_094.jpg" width="1053" height="1986" alt="" /> - <div class="caption"><p>MONTOUHOTPOU V.</p> - -<p>Painted sandstone.</p></div></div> - -<div id="il_20" class="figright" style="max-width: 15em;"> - <img src="images/i_094b.jpg" width="1164" height="1917" alt="" /> - <div class="caption"><p>HEAD OF A COLOSSUS OF SANOUOSRÎT.</p> - -<p>Pink granite.</p></div></div> -</div></div> - -<p class="clear">The contrast between the two methods is less striking -in the bas-reliefs than in the statues. Among the -fragments used by Thoutmôsis III for filling up is -a square pillar emanating from a limestone building of<span class="pagenum" id="Page_95">95</span> -Sanouosrît I. The Pharaoh is seen on one of the sides -accompanied by Phtah. They are there, the sovereign -and the god, face to face, breathing each other’s breath, -according to the etiquette of greeting between persons -equal in rank. The style greatly resembles that of the -Memphian school, but when examined more closely, -peculiarities of the Theban school are to be distinguished. -The contours are firmly fixed, the relief is less flat, and -consequently the shadows less thin, and thus the outline of -the figures stands out more strongly against the background -than in the pictures of Gizeh or Saqqarah: -a Memphian would perhaps have displayed more elegance, -but would have remained true to convention. The scenes -engraved on the other three sides also present the characteristics -of Theban art, and it is a pity that the -fragment is so far unique. If the rest of the temple was -decorated in the same happy fashion, the XIVth -Dynasty encouraged at Thebes a work comparable to -the finest of the XVIIIth or XIXth on the porticoes -of Deîr-el-Baharî, in the sanctuary of Gournah, and in -the Memnonium erected by Setouî I at Abydos.</p> - -<div id="il_21" class="figcenter" style="max-width: 30em;"> - <img src="images/i_094a.jpg" width="2870" height="2079" alt="" /> - <div class="caption"><p>SANOUOSRÎT AND THE GOD PHTAH.</p> - -<p>Fine sandstone.</p></div></div> - -<h3>III</h3> - -<p>It is with the statues of the XVIIIth Dynasty discovered -at Karnak by M. Legrain as with those of the -XIIth: directly we look at them we notice distinctive -signs of the school, with modifications that are explained -when we consider the position of Thebes at that period. -The favourite residence of the Pharaohs and permanent -seat of their government, its prosperity was -continually increased by the booty gained in Syria or -Ethiopia, and as wealth increased, so did the taste for<span class="pagenum" id="Page_96">96</span> -building. Not only did the kings never tire of embellishing -the city, but, following their example, private -individuals built sumptuous palaces and tombs there. -For so much activity a large supply of artists was -needed: studios multiplied, sculptors came from all parts -of the country to supplement the few Theban sculptors. -Those strangers did not join the local school without -exercising some influence on it: it was subdivided into -several branches, each of which, while preserving a -common ground of precepts and habits, soon assumed -its personal physiognomy. We already know two or -three of them, but how many must there have been -during the three centuries that the Dynasty lasted, all -the work of which is lost for us or confused with the -mass?</p> - -<div id="il_22" class="figcenter" style="max-width: 33em;"> - <img src="images/i_096.jpg" width="2617" height="3430" alt="" /> - <div class="caption"><p>BUST OF THOUTMÔSIS III.</p> - -<p>Grey Schist.</p></div></div> - -<p>I like to attribute to the same studio, besides a -certain number of pieces recently acquired by the Cairo -Museum, three of the best fragments extricated by M. -Legrain from the <i>favissa</i>, the Thoutmôsis III, the Isis, -and the Sanmaout. The Thoutmôsis III is in a very -supple schist that allows the most delicate chiselling, and -no engraving can do justice to the delicacy of the modelling: -the play of the muscles is discreetly noted, but -with extraordinary sureness, and, the imperceptible -shadows it produces varying in proportion as we walk -round the figure, the aspect of the physiognomy seems -to change from moment to moment. Isis was not of -royal birth, and perhaps came from one of the lower -strata of society: five-and-twenty years ago her existence -was not suspected, and the Karnak statue in pink granite -is the first portrait we have of her. It is through her, -however, that Thoutmôsis III possesses the features -by which he differs from his predecessors, the large<span class="pagenum" id="Page_97">97</span> -aquiline nose, wide-opened, almost protruding eyes, full -mouth, rounded face. The heavy wig he wears made -the sculptor’s task difficult; so much the greater then -is the merit in conceiving a work before which we pause, -even by the side of the preceding one. It contains all -the characteristics of the Theban school, the seeking -after the personal expression, the sincerity of the rendering, -the width of the shoulders and, as a set-off, the -intentional smallness of the waist between the ample -breasts and broad hips. Study of the composition compels -us to attribute it to the same studio, if not to the -same artist to whom we owe the statue of Thoutmôsis -III. I think the same about the group representing -Sanmaout and the little princess Nafêrourîya whose -steward he was: nothing could be less conventional than -the free, firm gesture with which he holds the child, or -the posture of trusting abandon with which she leans -against his breast. The frankness of the movement well -harmonizes with the spiritual gentleness of the face and -the smile that animates the eyes and the full lips. -Sanmaout was Queen Hachopsouîtou’s major-domo, and -his sovereign had authorized him to erect his statues in -the temple of Amon. After examining those that -remain to us, it cannot be doubted that they all come -from one of the royal studios, most probably the one -whence came later the statues of Thoutmôsis and his -mother Isis.</p> - -<div id="il_23" class="figcenter" style="max-width: 20em;"> - <img src="images/i_096a.jpg" width="1553" height="3066" alt="" /> - <div class="caption">ISIS, MOTHER OF THOUTMÔSIS III.</div></div> - -<p>And we have direct proof that the Theban sculptors -of that period tried above everything to make sure of the -likeness. They drew their subject over and over -again before definitely making the rough sketch, and -the dry climate of Egypt has preserved many of -their cartoons. Cartoon is not exactly the term, since<span class="pagenum" id="Page_98">98</span> -they used fragments of limestone for their studies, -but the word <i>ostraca</i> by which they are designated -is not much better, and, further, is only intelligible to -expert Egyptologists. Hundreds of them have found -their way to the Cairo Museum, and they show the -attempts of the artist, his hesitations and corrections, the -variations of his thought and of his hand, down to the -moment when he became absolute master of his model. -More than once, too, the chances of excavation have -brought the model itself to light, and provided us with -the means of comparing the portrait with the original. -That is the case with Thoutmôsis III. His mummy -was found in 1881 in the <i>favissa</i> of Deîr-el-Baharî -and is exhibited with the others in the Gallery of Sovereigns -in the Cairo Museum. The face has certainly -greatly changed in course of mummification, and the -shrunken flesh, the sunken eyes, the flattened nose, and -the discoloured skin make him very different from what -he was formerly. But if the superficies has changed, what -is beneath has endured: if we compare the profile of the -face with the mask of the statue, we must admit that -they are identical, with the addition of the life, the expression -of which was perpetuated by the sculptor.</p> - -<div id="il_24" class="figcenter" style="max-width: 25em;"> - <img src="images/i_098.jpg" width="1964" height="2783" alt="" /> - <div class="caption"><p>SANMAOUT AND THE PRINCESS NAFÊROURÎYA.</p> - -<p>Black granite.</p></div></div> - -<p>Let us skip a century and a half, and transport ourselves -to the last years of the Dynasty: they have -bequeathed us several pieces that must be related to a -common origin: the fine woman’s head that Mariette -called Taia, the Khonsou and the Amon of Harmhâbi,<a id="FNanchor_50" href="#Footnote_50" class="fnanchor">50</a> -the Toutânoukhamanou, and perhaps also the statuette in -petrified wood extracted from the <i>favissa</i> by Legrain in -1905. Is not a portrait of Aî to be recognized there?<span class="pagenum" id="Page_99">99</span> -It is broadly treated despite its restricted dimensions, but -the unfortunate material employed did not allow the -artist to go far as regards execution: the likeness remains -uncertain. But it preserves the mark of the school, and -various details in the nose, mouth, the cut of the eyes, -the inset of the eyebrows, lead me to think that we shall -probably be right in attributing it to the group of artists -to whom we owe the Khonsou and the Toutânoukhamanou. -I am certain that they come from the same hand, and an -instant’s examination will prove it. The two figures might -almost be superimposed: the eye is hollowed out in an -identical amount in both, the attachment of the nose is -similar, and so is the way of slightly inflating the nostrils -and of dilating the middle of the lips and compressing -the corners. The physiognomy has something ailing in it, -but the indications of ill-health, the obliquity and bruised -appearance of the eyes, the thinness of the cheeks and -neck, the prominence of the shoulder-bones, are more -perceptible in the Khonsou than in the Toutânoukhamanou; -we might say that the model of the Khonsou, -if it is not Toutânoukhamanou at a more advanced age, -had a more visible tendency to consumption. A doctor -should study them both: he alone could decide, if, as I -imagine, they represent a sick man, and possibly he could, -according to the external aspect of the subject, establish -the exact diagnosis of the disease.</p> - -<p>The similarities are less marked in the head called -Taia, and they are not at once noticeable in the engraving: -but they are clear to those who have studied -the originals. In a slighter degree all the details I have -noted in Khonsou and Toutânoukhamanou are there: the -queen is not a sick woman, but the different parts of her -face are treated in the same way, and the hand which<span class="pagenum" id="Page_100">100</span> -sculptured them is that which so delicately chiselled the -portraits of the god and the Pharaoh, its contemporaries. -Even when only the queen was known, her strange physiognomy -greatly excited the imagination of scholars. -Mariette, who discovered her, thought her a stranger to -Egypt; he identified her with Tîyi, the wife of Amenôthes -III, and declared her to be Syrian, Hittite, Armenian, -and his opinion long prevailed. We know now that her -date is at least a quarter of a century after Tîyi, and that -she represents the wife or mother of Harmhâbi, one of -the Pharaohs who succeeded the heretical sovereigns of -the XVIIIth Dynasty. And in fact the portraits of Tîyi -that have recently emerged from the earth have no point -of likeness with that of Mariette’s queen. They present -a woman of a thin bony type, with heavy jaw and long -depressed chin, a low receding forehead, the physiognomy -of the Pharaoh Khouniatonou with which the bas-reliefs -and statues of El-Amarna have familiarized us. By the -form and expression of her face our queen is allied to -the family of Harmhâbi or Toutânoukhamanou: the resemblance -of her statue to those of Legrain would -sufficiently prove it, if further proof were required.</p> - -<p>And now, when the two groups I have just described -have been compared, it is easily admitted that the inspiration -and technique of the second proceed directly from -the inspiration and technique of the first. Taste fluctuated -during the five or six generations that divide them, and -the caprices of fashion have influenced the execution: but -the general characteristics remain unchanged, and their -persistence allows us once again to assert the continuity -of the school.</p> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_25" class="figleft" style="max-width: 15em;"> - <img src="images/i_100-1.jpg" width="1158" height="1791" alt="" /> - <div class="caption">STATUETTE IN PETRIFIED WOOD.</div></div> - -<div id="il_26" class="figright" style="max-width: 22em;"> - <img src="images/i_100-2.jpg" width="1760" height="2468" alt="" /> - <div class="caption"><p>THEBAN KHONSOU.</p> - -<p>Granite.</p></div></div> -</div></div> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_27" class="figleft" style="max-width: 21em;"> - <img src="images/i_100-3.jpg" width="1670" height="2449" alt="" /> - <div class="caption"><p>STATUE OF TOUTÂNOUKHAMANOU.</p> - -<p>Red granite.</p></div></div> - -<div id="il_28" class="figright" style="max-width: 24em;"> - <img src="images/i_100-4.jpg" width="1856" height="2500" alt="" /> - <div class="caption"><p>THE SO-CALLED TAIA.</p> - -<p>White limestone.</p></div></div> -</div></div> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_29" class="figleft" style="max-width: 24em;"> - <img src="images/i_100-5.jpg" width="1843" height="2549" alt="" /> - <div class="caption"><p>RAMSES II.</p> - -<p>Alabaster. Turin Museum.</p></div></div> - -<div id="il_30" class="figright" style="max-width: 20em;"> - <img src="images/i_100-6.jpg" width="1560" height="2663" alt="" /> - <div class="caption"><p>RAMSES IV LEADING A LIBYAN CAPTIVE.</p> - -<p>Grey granite.</p></div></div> -</div></div> - -<p><span class="pagenum" id="Page_101">101</span></p> - -<h3>IV</h3> - -<p>It maintained its flourishing condition during the -XIXth Dynasty, and the <i>favissa</i> has restored to us works -that yield in nothing to those of the preceding age. In -my opinion the best is a mutilated statue of Ramses II, -so like the big Turin statue in pose and execution that -it might be the first rough draft of it, or the exact -smaller copy. A few pieces of the XXth Dynasty are -worthy of esteem without rising far above mediocrity, as -in a little group in granite of Ramses VI bringing a -Libyan prisoner to the god Amon: the bearing of the -victorious Pharaoh does not lack pride, the constrained -posture of the barbarian is skillfully noted, and the movement -of the miniature lion that glides between the two -is interpreted with the customary naturalness of the -Egyptians when they portray animals.<a id="FNanchor_51" href="#Footnote_51" class="fnanchor">51</a> I prefer the -priest with the monkey, or, to give him his name, -Ramses-Nakhouîti, the chief prophet of Amon. In a -crouching posture, with calves and thighs flat on the -ground, a roll spread out before him across his legs, -bewigged and petticoated, uncomfortable in his robes of -ceremony, with an air of abstraction he meditates, or -silently recites prayers to himself. A little hairy cynocephalus -perches on his shoulders, and looks at him over -his head: it is the god Thot who is revealed in this -unusual position, and it was difficult to co-ordinate the -beast and the man in a manner that should be neither -absurd nor simply ugly. The sculptor has come out with -honour. The priest slightly bends his neck, but we feel<span class="pagenum" id="Page_102">102</span> -that the beast does not weigh on him: the monkey on -his part half shrinks behind the head-dress, and the deep -frown of his face prevents the mischievous effect that the -countenance of an animal above a human face might -have produced. Like the group of Ramses VI, it bears -the imprint of the school, but with notable differences of -technique: if the first was sculptured in one of the royal -studios, the second comes from another studio of which -the origin can be indicated.</p> - -<p>We know how, about a century after the death of Ramses -III, the pontiffs of Amon made themselves masters of the -whole of the Thebaïd: while a new Dynasty established -itself at Tanis in the eastern delta, they exercised supreme -authority over Southern Egypt and Ethiopia, sometimes -with the title of high-priest, sometimes with that of king, -and their sacerdotal house was the seat of their government. -We do not know the exact site, but we learn -from an inscription that it was situated near the seventh -pylon, not far from the spot where the <i>favissa</i> was dug -out. It is probable that their relatives obtained the -privilege from them, at the moment they assumed -domination, of erecting their statues in the temple. The -court-yard between the seventh pylon and the hypostyle -hall contains only a small number of <i>ex-votos</i>: they chose -it as the place in which to consecrate their monuments, -and filled it in the course of generations. What has come -down to us does not include all they erected in their own -name or to the memory of those they loved. Many -statues were seized or destroyed during civil or foreign -wars, but when the Macedonians conquered the land -enough remained for more than five hundred to be -thrown into the <i>favissa</i>. A large number of artists must -have been needed to execute so many commissions, and,<span class="pagenum" id="Page_103">103</span> -besides its royal studio, Thebes long possessed one or -several pontifical studios. To one of those must be -assigned the man with the monkey, and nearly all the -statues after the fall of the Ramessides. For the most -part they have a real value, and scarcely yield to the old -royal works, such as the limestone statuette of Orsorkon II, -who drags himself along the ground and offers a boat to -his god, the fragments of which have disappeared. We -are forced to confess, however, that many are, if not bad, -of no interest for the history of art.</p> - -<div id="il_31" class="figcenter" style="max-width: 25em;"> - <img src="images/i_102.jpg" width="1946" height="2754" alt="" /> - <div class="caption">THE PRIEST WITH THE MONKEY.</div></div> - -<p>The usual posture did not lend itself to elegance. -They are nearly all crouching, the thighs up to the -chest, the arms crossed on the knees: what advantage -was to be obtained from an attitude that reduced a -man to a mere packet surmounted by a head? Where -the model departed from the hieratical posture, the -qualities of the school are revealed. The Ankhnasnofiriabrê -en Hathor has a somewhat strained gracefulness: -it would almost bear comparison with the Amenertaîous -so much admired by Mariette, if it were not leaning -against a big ugly pillar. Perhaps the contrast between -the slender waist and the inflated bust and belly is too -marked in the Ankhnas, but the composition of the head -is irreproachable. It is nearly always so at that epoch: -if the sculptors sometimes neglected the bodies or interpreted -them ill, they cared lovingly for the heads. Fine -portraits may be counted by the score among the statues -found in the <i>favissa</i>. I shall only give two here, that of -Mantimehê and his son, Nsiphtah, who lived under -Taharkou and Psammetichus I. Thebes was then under -a curious government. When the male descendants of -the priests failed, the power, and those sacerdotal functions -that could be exercised by women, passed into the hands<span class="pagenum" id="Page_104">104</span> -of the princesses: one of them was elected, who, wedded -to the god in a mystic marriage, henceforth enjoyed the -right of living free as she pleased. To assist them in -the government, these <i>pallacides</i> of Amon had major-domos, -who often filled with them a similar rôle to that -of the chief minister with the queens of Madagascar -before the occupation of the island by the French. -Mantimehê and his son are the best known of these -persons, and the artists to whom the care of sculpturing -their portraits was entrusted would certainly be the best -among those of the sacerdotal studio. It is, in fact, -nature itself, and no master of a former age could have -expressed better or with a bolder chisel the bustling -vulgarity of the father and the aristocratic inanity of the -son. The second Saïte period and the beginning of -the Greek period are almost entirely unrepresented in -the <i>favissa</i>; under the Persians, distress was too general -for artistic matters to be thought of, and the Macedonian -rule had only just been consolidated when the common -pit was dug. A granite head, of hasty workmanship -but dignified appearance, shows, however, that the Theban -studio followed the movement that prevailed in the -schools of Lower Egypt, and that, doubtless under the -influence of Greek models, it gave attention to details -hitherto neglected: the skull is studied with a greater -care for accuracy, and also the slight accidents of the -physiognomy, the furrows of the forehead, the lines -between the eyes and at the rise of the nose, the falling -in or puffing out of the cheeks, the play of the muscles -round the nostrils and mouth. The sculptor desired -to note in his work not only the broad lines of the face, -but the small details that characterize the individual and -determine his personality.</p> - -<div id="il_32" class="figcenter" style="max-width: 40em;"> - <img src="images/i_104-1.jpg" width="2648" height="1476" alt="" /> - <div class="caption">OSORKON II OFFERING A BOAT TO THE GOD AMON.</div></div> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_33" class="figleft" style="max-width: 15em;"> - <img src="images/i_104-2.jpg" width="1145" height="2763" alt="" /> - <div class="caption">QUEEN ANKHNASNOFIRIABRÊ.</div></div> - -<div id="il_34" class="figright" style="max-width: 23em;"> - <img src="images/i_104-3.jpg" width="1772" height="2448" alt="" /> - <div class="caption">MANTIMEHÊ.</div></div> -</div></div> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_35" class="figleft" style="max-width: 23em;"> - <img src="images/i_104-4.jpg" width="1799" height="2461" alt="" /> - <div class="caption">NSIPHTAH, SON OF MANTIMEHÊ.</div></div> - -<div id="il_36" class="figright" style="max-width: 15em;"> - <img src="images/i_104-5.jpg" width="1181" height="1417" alt="" /> - <div class="caption">HEAD (SAÏTE PERIOD).</div></div> - -<div id="il_37" class="figright" style="max-width: 19em;"> - <img src="images/i_104-6.jpg" width="1460" height="1180" alt="" /> - <div class="caption">THE COW OF DEIR-EL-BAHARÎ IN HER CHAPEL.</div></div> -</div></div> - -<p><span class="pagenum" id="Page_105">105</span></p> - -<h3>V</h3> - -<p>It is a long time since I undertook to distinguish, under -the apparent uniformity with which Egypt is reproached, -the varieties of composition and conception that may serve -for the recognition of schools, and, in the work of the schools, -for that of particular studios. I have not found it difficult -to show how the Memphian manner differs from the Theban, -nor what distinguishes both from that which flourished at -Hermopolis, Tanis, Saïs; but for the lack of sufficiently -numerous documents, I had not succeeded in marking out -the development of one same school through a long series of -centuries. The find at Karnak gave me the materials I -lacked, and since M. Legrain has been exploiting it, I have -not ceased to search in it for information on that point. I -have obtained much there, sometimes, it is true, of varying -value, and I have still much to learn both about the most -ancient periods and about certain moments of transition -in more recent periods. I believe, however, the results -already obtained are sufficiently important and significant to -compel us to remodel the history of Egyptian art. I have -not ventured to do that here, but, short as the present essay -is, it may clearly be seen to what results it has led me. I -have confirmed the fact that the characteristics of Theban -art were those I thought I recognized at the beginning of -my studies: I then rapidly noted the stages that the art -passed through from the moment that Thebes awoke to -political life almost to that when it ceased to exist as a -great city.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_106" class="chapter"> -<p><span class="pagenum" id="Page_106">106</span></p> - -<h2 class="nobreak" id="XI" title="XI THE COW OF DEIR-EL-BAHARÎ">XI<br /> - -<span class="subhead">THE COW OF DEIR-EL-BAHARÎ<a id="FNanchor_52" href="#Footnote_52" class="fnanchor smaller">52</a></span></h2> -</div> - -<p class="in0"><span class="firstword">At</span> two o’clock in the afternoon of February 12, 1906, while -Naville was finishing his lunch, a workman came running -up to tell him that the top of a vault was beginning to -emerge from the earth. For several days certain -indications had led him to think that a discovery was -at hand: he went to the spot and at once saw in -the mound of sand that dominated the back porticoes -of the temple of Montouhotpou a spectacle that filled -him with joy. The vault was almost half dug out; -under it, in the shade, an admirable cow extended her -neck, and seemed to look about her curiously. A few -hours’ work sufficed to set her completely free. She -was intact, but a little figure leaning against her breast -had had its face crushed in distant ages, and the violence -of the blows had caused a crack in the head and shoulders -that compromised its solidity. The chamber that sheltered -the cow was built in a hollow of the rock with slabs of -sculptured and painted sandstone. The semicircular ceiling -did not present the usual regular vault with converging -keystones and surfaces; it was composed of a double row -of bent blocks cut in quarters of a circle and buttressed one<span class="pagenum" id="Page_107">107</span> -against the other at their upper end. It was painted dark -blue with yellow five-pointed stars scattered over it to -represent the sky. The three vertical partitions were -decorated with religious scenes: on the one at the back -Thoutmôsis III worships Amonrâ, lord of Thebes, and -on the two sides he makes an offering to Hathor, who -is no other than the very cow shut into the vault.</p> - -<div id="il_38" class="figcenter" style="max-width: 32em;"> - <img src="images/i_106.jpg" width="2549" height="2166" alt="" /> - <div class="caption"><p>AMENÔTHES II AND THE COW HATHOR.</p> - -<p>(From the right-hand side of the group.)</p></div></div> - -<div id="il_39" class="figcenter" style="max-width: 35em;"> - <img src="images/i_106a.jpg" width="2739" height="4087" alt="" /> - <div class="caption"><p>AMENÔTHES II AND THE COW HATHOR.</p> - -<p>Three-quarters view.</p></div></div> - -<p>She was still half buried when some ten inquisitive -persons turned their kodaks on her, thus despoiling Naville, -and disputing among themselves the pleasure of being the -first to photograph her. In the evening nothing else was -talked of in the Louxor hotels, and the tourists did not fail -to make up parties to go and admire her the next day. -The fellahs, on their side, related the most marvellous tales. -She had breathed noisily just at the moment that the light -of day touched her, and had shivered in all her limbs. -She had directed such a look on the workman who had -perceived her that he broke his leg with an awkward -blow of his axe. She was not, as she seemed to be, of -stone, but of fine gold, disguised by Pharaoh’s magicians -in order to keep off treasure-seekers: a few formulas -repeated at a fixed hour with the prescribed fumigations -and rites, a little dynamite, and after the explosion -the fragments would be transformed into ingots of -metal. And as if the sorcerers were not sufficient, -dealers in antiquities prowled about in the vicinity. -Doubtless she was too heavy for them to think of -carrying her off whole, but would they have found it -very difficult to detach the head and decamp with it -during the night, in spite of the vigilance of our -guards or with their complicity? Unscrupulous amateurs -are never far to seek, ready to pay heavily for a -stolen object, provided they believe it to have an<span class="pagenum" id="Page_108">108</span> -artistic or archæological value, and the certainty of -gaining hundreds of pounds in case of success largely -compensates the honest brokers of Louxor for the -petty annoyance of disbursing a few pence by way of -fine or of undergoing a week’s imprisonment if they are -caught in the act. I should have preferred to leave the -monument in its ancient place, but it would have been -tempting fortune, and the only means of saving it was to -send it to Cairo. I entrusted the matter to M. Baraize, -one of our engineers, and he carried it out extremely well: -in less than three weeks he had dismantled the blocks, -packed up the cow, and transported the cases by train -across the Theban plain. The chapel is now rebuilt in a -good position at the end of one of the rooms of the -Cairo Museum, but the goddess is not hidden in -darkness as at Deîr-el-Baharî. She stands at the -entrance, her body in the full light, the hinder parts a -little under the vault: she comes forth from her house -and shows herself freely to visitors, from the snout to -the end of the tail.<a id="FNanchor_53" href="#Footnote_53" class="fnanchor">53</a></p> - -<div id="il_40" class="figcenter" style="max-width: 33em;"> - <img src="images/i_108.jpg" width="2578" height="3489" alt="" /> - <div class="caption"><p>THE COW HATHOR.</p> - -<p>Cairo Museum.</p></div></div> - -<h3>II</h3> - -<p>Our wonder is at first aroused by the mixture she -presents of conventional mysticism with realism. The -front view shows only the head surrounded by accessories, -the significance of which is only appreciated by those who -are learned in religious matters. At the top of the composition, -between the tall horns in form of a lyre, the -usual head-dress of goddess-mothers, is the solar disk flanked<span class="pagenum" id="Page_109">109</span> -by upstanding feathers and stamped with an inflated uræus. -This scaffolding of emblems without thickness and almost -without consistence would run the risk of being broken -by the slightest blow if it was not supported, and so it -rests on two tufts of aquatic plants, the stalks of which, -rising from a socket near the hoofs, spring up right and -left of the legs; flowers alternating with buds bend over -the back of the neck and form a fan-shaped support behind -the disk and feathers. Under the snout, and as if framed -by the vegetation, is the statuette of a man standing, his -back to the cow’s chest. As I said, the face is mutilated, -the flesh black; he stretches out his hands, palms downward, -in front of him with a gesture of submission, as if avowing -himself the humble servant of Hathor: by the uræus of -the crown and the stiff petticoat spread in a triangle in -front of the thighs, we guess him to be a Pharaoh. He -is found again in a less punctilious attitude under the -right flank of the statue. He is kneeling, naked, and his -flesh is red; he presses the teat between his hands, and -drinks greedily of the sacred milk. If we may believe -the cartouche engraved between the lotuses, the two figures, -the black and the red, are one and the same sovereign, -Amenôthes II of the XVIIIth Dynasty, and perhaps -that is the case. But it was Thoutmôsis III who built -the chapel, and it is he that the artists have represented -twice over, praying in front of the cow and sucking the -udder. It would be strange if, after erecting the sanctuary, -he should have omitted to provide it with his goddess. -It is more probable that the cow was commissioned by -him, and shut up there by his order, but without dedication -or cartouche: he considered doubtless that the neighbouring -bas-reliefs would constitute sufficient title-deeds. Later, -Amenôthes II, wishing to associate himself with his father’s<span class="pagenum" id="Page_110">110</span> -act of piety, and noticing an empty space behind the -coiffure, inscribed his name there.</p> - -<p>Such a complexity of figures and attributes does not -tend to make the appreciation of the work easy for us, -and we have also to add the prescriptions of the ritual to -the conventions of the craft from which Egyptian artists -were never free, at least when stone was their material: -the belly, tail, legs, all the lower parts of the group, are -enclosed in a stone partition which spoils the effect even -while it preserves them from the chances of breakage. -And yet, despite defects that shock a sculptor of our time, -one glance suffices to reveal the extraordinary beauty of -the work. The head differs from that of our European -cows, but it is a question of race, and whoever has seen the -Soudanese cow of the present day will easily distinguish -its features in the Hathor of Deîr-el-Baharî: the fullness -of the brow, the subtle modelling of the temples and -cheeks, the gentle widening out of the snout, the suppleness -of the nostrils, and the smallness of the mouth. Such -accuracy of detail will delight the naturalist, but it might -be feared that it would harm the artistic value of the -whole. That is not the case at all, and if at a distance -the physiognomy seems to have only an expression of -gentleness and meditative somnolence, as soon as we go -near it assumes an air of intelligent attention. The eye -seems to grow larger and to follow the visitor who arrives, -the snout to contract and palpitate, as if to scent out. The -sculptor, instead of following the tradition and polishing the -stone as highly as possible, has respected the fine furrows -of the chisel, and the light playing on them gives at -moments the illusion of a shudder running over the skin. -The body is of equally accurate composition, the chest -narrow, shoulders thin, spine long and saddle-backed, leg<span class="pagenum" id="Page_111">111</span> -long and slender, the thigh sinewy, the haunches prominent, -the udder only slightly developed. The hinder part is -worked with an incredible fidelity. Contrary to custom, -the coat is red-brown, darker on the back, lighter, of a -tawny shade that becomes white, on the belly; it is speckled -with black spots, like flowers with four petals, which we -should consider artificial, if there were not animals of -Soudanese origin in the Egyptian herds of to-day that -show similar markings. By those spots they recognize -among the heifers of the year the one in which Hathor -has deigned to become incarnated, and which must be -worshipped as long as she remains on earth.</p> - -<h3>III</h3> - -<p>She was, above all, the divinity of the dead. The -buildings scattered about that corner of the necropolis -were not exclusively consecrated to the gods of the living; -they were the chapels attached to royal tombs, some of -which, like that of Montouhotpou, were contiguous to -the tomb, while others, like that of Queen Hachopsouîtou, -for example, were relegated to the other side of the -mountain, in the Bibân-el-Molouk. The sovereigns were -sometimes praying and bringing offerings to the gods, -sometimes associated with them and taking part in their -sacrifices. Hathor, ruler of the West and lady of the -heaven, had become by a concourse of ideas, the reasons -of which can be understood, the mistress of souls and -<i>doubles</i>: she played thus a part of great importance in -places where the worship of her vassals was celebrated. -Walk through the halls of the large terraced temple and -you will find her repeatedly with the figure and posture -assumed by her in the oratory discovered by Naville: she<span class="pagenum" id="Page_112">112</span> -is the foster-mother whose milk Thoutmôsis and Hachopsouîtou -are greedily imbibing. The suckling of the sovereign -was not a mere metaphor of language, realized and transcribed -on stone, but a material act borrowed from the -customs of Egyptian law, and the final formality of the -ceremonies of the adoption. The woman who had no son -to perpetuate her memory, and desired to have one, after -reading the preliminary passages, had to offer one of her -breasts, in all probability the right, to the youth or man -she had chosen; he would press the teat between his lips -for a few seconds, and by this pretence of feeding would -become to her as a son. Among half civilized peoples -where this custom prevails, it is not required that the -woman has been or is still married: only, the young girl -who acquires a child by this method covers her breast with -a thin stuff before going through the ceremony. If, then, -Thoutmôsis III, or by usurpation Amenôthes II, was -represented kneeling under the right teat of the Hathor, -he wished thereby to prove that she was his divine mother, -and the complacent manner in which she yields him her -milk sufficiently shows that she admitted the legitimacy -of his claim.</p> - -<div id="il_41" class="figcenter" style="max-width: 31em;"> - <img src="images/i_112.jpg" width="2439" height="1864" alt="" /> - <div class="caption">AN UNKNOWN FIGURE AND THE COW HATHOR.</div></div> - -<p>But these are only half the ideas expressed by the -group, and it remains for us to determine the meaning -of the flowering lotuses which stand at the right and left. -As sovereign of the West and of the lands in which the -dead sojourned, she assumed different forms according -to the provinces. In the North the people imagined her -under the aspect of one of those fine sycamores which -grow in the midst of the sand on the borders of the -Libyan Desert, rendered green and thick by the hidden -waters sent them by the infiltrations of the Nile. The -mysterious path which leads to the shores of the West<span class="pagenum" id="Page_113">113</span> -brings the <i>doubles</i> to her feet; as soon as they are arrived, -the divine soul, lodged in the trunk, thrust out the half -or the whole of her body, and offered them a vase full of -pure water and a tray filled with loaves. If they accepted -her gifts—and they could scarcely refuse them—they -confessed at once that they were her vassals; they were -no longer authorized to return to the living, but the -regions of the world beyond the tomb would open to -them. In the nomes of the Saîd where she was imagined -to be a cow, she haunted a fertile marsh situated on the -slopes of the Libyan mountains; whenever a <i>double</i> came -to its edge she stretched forth her head from among the -herbage to meet him, and claimed his homage, and when -he had paid it, she allowed him to enter the realms of -the funereal gods. The 186th Chapter<a id="FNanchor_54" href="#Footnote_54" class="fnanchor">54</a> of the “Book of -the Dead,” a very favourite one with devout persons -under the second Theban Empire, initiates us into this -myth, and the vignette that precedes it shows us the -scene as the Egyptians conceived it: the red or yellow -slopes of the mountain, the tufts of aquatic plants, the -cow conferring with the defunct. The Pharaoh who -commissioned our group—or rather the sculptor who -executed it—combined the idea common to all with the -royal concept of the adoption by the goddess, and he -expressed the result therefrom as completely as the processes -of his art permitted. He reduced the marsh to -two slender clusters of lotus, and marked the two chief -points of the adoption by means of two little royal -figures and their attributes. The first, as we have seen, -wears the costume of the Pharaohs and has black flesh; -standing upright under the animal’s snout, it faces the -spectator. Amenôthes II has just arrived in front of<span class="pagenum" id="Page_114">114</span> -the cow and addressed to her the prayer in which he -conjures her to aid him in his journey in search of the -everlasting cities; his colour indicates that he is still the -slave of death, but the goddess has already enrolled him -among her adherents, and presents him to the universe -as her well-beloved son. That formality over, he slips -through the verdure, kneels down, and crushing the teat -in his hand, greedily puts his lips to it. That is the final -rite of the adoption, and also the pledge of his return -to normal existence. Scarcely has he swallowed the first -mouthfuls of milk than life enters his veins; the artist -has represented him naked as a new-born infant, and -painted his flesh red, the colour of the living.</p> - -<h3>IV</h3> - -<p>The two forms of Hathor welcoming the dead are not -each confined to the province in which it was born. They -gradually spread over the whole country, not without -experiencing diverse fortunes. Hathor in the tree was -reserved for papyri, stelæ, and bas-reliefs. The first idea -was scarcely suitable for statuary, and the cleverest -sculptor would have been embarrassed to derive a large -tree from the stone, a goddess lost in the branches, a -person in prayer before the tree and before the goddess. -But it lent itself to painting, and some of the vignettes in -which it is expressed in the excellent copies of the “Book -of the Dead” or on the walls of the Theban hypogeums, -show us the admirable way in which the designers of the -new empire used it. Nothing could be more varied or -skilful than the relations they establish between the -woman and the sycamore on the one hand and the dead -person on the other. He is sometimes accompanied by<span class="pagenum" id="Page_115">115</span> -his soul, a big hawk with human head and arms, which -mimics his slightest gestures: while the <i>double</i> receives -the elixir of youth in his clasped hands, the soul turns -a runnel aside for his own benefit, and greedily drinks -from it. Colour adds its charm to the composition, and -the replicas of the subject to be seen at Cheîkh Abd-el-Gournah -in the hypogeums of the XVIIIth and XIXth -Dynasties would obtain a place of honour in our museums, -if it was permitted to detach them and mount them in -separate panels.</p> - -<div id="il_42" class="figcenter" style="max-width: 31em;"> - <img src="images/i_114.jpg" width="2452" height="1887" alt="" /> - <div class="caption">PETESOMTOUS AND THE COW HATHOR.</div></div> - -<p>Hathor in the marshes was entirely suited to the -ordinary conditions of sculpture, and if in some places -serious difficulties were presented, I have indicated how -the Theban masters overcame them. She provided a fairly -frequent theme for the studios, and the Cairo Museum -possesses three examples. They are smaller than the Deîr-el-Baharî -group, and do not unite the two concepts of -the adoration and the adoption. Consequently the lotus -is wanting and the dedicatory figure at the cow’s udder. -They are the affair of simple private persons who had -no right to proclaim themselves children of the goddess. -If they had attempted to touch the breast of Hathor -they would have usurped one of the privileges of royalty; -they appear then only once in each group, standing or -crouching in front of the chest. In one, which is in -grey schist and measures nearly four and a half feet long, -the donor has lost his head and neck, and he lifts up -a table of offerings with both hands in front of him; the -cow also is decapitated.<a id="FNanchor_55" href="#Footnote_55" class="fnanchor">55</a> No trace of inscription is to -be seen on the pedestal, but the composition is that of<span class="pagenum" id="Page_116">116</span> -the first Saïte period. The piece, although not the most -mediocre that could be found, lacks originality; it is the -work of a skilful journeyman who had no personal inspiration, -and only knew how to apply the formulas of the -school conscientiously. The second group is in yellowish -limestone. It measures not quite three feet in length -and has suffered more than the preceding one.<a id="FNanchor_56" href="#Footnote_56" class="fnanchor">56</a> Not -only has the animal’s head been destroyed, but its tail -and one of its hind legs have vanished. The man is -mutilated to the point that only one of his feet remains -to prove to us that he was kneeling. He bore a table -of offerings. An inscription engraved on the edge of the -pedestal informs us that he was called Petesomtous, -and the name, together with the style, takes us back to -the Saïte period, perhaps to the period of the Persian -domination. The composition is, besides, sufficiently -rough, and it would not deserve any attention if the -interest of the subject did not compensate for its insignificance -as a work of art.</p> - -<div id="il_43" class="figcenter" style="max-width: 32em;"> - <img src="images/i_116.jpg" width="2483" height="4299" alt="" /> - <div class="caption"><p>PSAMMETICHUS AND THE COW HATHOR.</p> - -<p>Three-quarters view.</p></div></div> - -<p>The third was celebrated from the moment of its -discovery. It is in green schist, slightly over three feet -in length, and under it in height. It was found by -Mariette at Saqqarah, fifty years ago, in the tomb of a -certain Psammetichus, a contemporary of the first Nectanebo.<a id="FNanchor_57" href="#Footnote_57" class="fnanchor">57</a> -It was accompanied by two fine statues of -Osiris and Isis,<a id="FNanchor_58" href="#Footnote_58" class="fnanchor">58</a> which are the glory of the Cairo Museum, -and we owe them for a certainty to the same artist. The<span class="pagenum" id="Page_117">117</span> -posture of the cow is the same as that of Deîr-el-Baharî; -like her, the head-dress is formed of the solar disk with -the uræus surmounted by two long feathers, but a -<i>monaît</i> fastened round the neck by its chain lies flat -on the spine. Psammetichus stands under the head, his -back to the chest, his hands hanging down over the -apron, with the same gesture of submission as that -of Amenôthes II. Besides his name and protocol, -the inscriptions contain a prayer for his happiness, addressed -to the benevolent Hathor. The hardness of the -material has prevented the sculptor from completely freeing -the fragile parts: the cow’s legs and belly are sunk -in the stone, as are the back and feet of the man; the -head-dress is supported by a semi-cone set in the back -of the neck, and the ears are reinforced by a pad which -doubles their thickness. The sculptor, embarrassed by the -necessity of preserving masses of superfluous material, -had the ingenious idea of treating the lower limbs as a -bas-relief. He has designed them on each side of the -panel that supports the belly, so that Hathor has two -chest profiles and a double supply of legs. He has so -cleverly arranged this superabundance of legs that it is -not noticeable at a first glance, and some effort of thought -is required to make sure that it exists. But despite these -eccentricities the work is of rare perfection. Never has -such hard stone been manipulated with greater suppleness; -the outlines have a harshness that all the virtuosity -of the execution has not been able to prevent, but the -modelling of the bodies and the faces, both of the -animal and of the man, is of unparalleled delicacy, and the -whole breathes serenity mingled with melancholy. It is, -as a piece of animal sculpture, the best that has come -down to us in Saïte art.</p> - -<p><span class="pagenum" id="Page_118">118</span></p> - -<h3>V</h3> - -<p>Nevertheless, it loses when compared with the schist -group of the time of Amenôthes II. The mythological -element is less predominant, and the head gains by not -being framed by two tufts of aquatic plants: but if the -religious convention is less encumbering, the artistic convention -and the conventions of the studio come out in a -much more apparent fashion. The Saqqarah group belongs -to the Memphian school, and, as with nearly all the -products of that school, the form has something artificial -and impersonal. Hathor is a symbolic cow, the half-abstract -type of Egyptian cows, a type that in the eyes -of the Memphians realized the ideal of the earthly or -sacred cow: she has the elegance, but also the softness -and the rather insipid meekness, which distinguishes the -human figures. The Hathor of Naville, on the contrary, -belongs to the Theban school, and possesses the characteristics -that I have described above.<a id="FNanchor_59" href="#Footnote_59" class="fnanchor">59</a> The royal studio -whence it came was governed by the theological laws, and -was forbidden to modify in any way the types that, in -the course of ages, had been determined on for revealing -the concepts of popular tradition or learned dogma, but -it tried to keep their expression as near to life as the -rites authorized. The artist who produced the Memphian -Hathor chose a pattern from his cartoons, and translated -it into stone without troubling to correct the banal purity -by imitating a beast of the sacred herd. The sculptor to -whom we owe the Theban Hathor, on the contrary, while -preserving the ritual arrangement of the parts and the -accumulation of the symbols, has placed them on a real<span class="pagenum" id="Page_119">119</span> -cow, on the cow, perhaps, that for the moment incarnated -the goddess in the neighbouring temple of Queen Hachopsouîtou. -Imagine her without the emblematic surroundings -he was compelled to give her—the heavy -head-dress, the lotus tufts, the two statuettes of the -Pharaoh—and you will have the good motherly creature -who goes peaceably to pasture, and, as she goes, observes -everything with her eye, inquisitive and dreamy at the -same time. Neither Greece nor Rome has left us anything -that can be compared with it; we must go to the -great sculptors of animals of our own day to find an -equally realistic piece of work.</p> - -<p><span class="pagenum" id="Page_120">120</span></p> - -<div id="il_44" class="figcenter" style="max-width: 31em;"> - <img src="images/i_118.jpg" width="2453" height="2092" alt="" /> - <div class="caption"><p>PSAMMETICHUS AND THE COW HATHOR.</p> - -<p>From the right-hand side of the group.</p></div></div> - -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_120" class="chapter"> -<h2 class="nobreak" id="XII">XII<br /> - -<span class="subhead">THE STATUETTE OF AMENÔPHIS IV<br /> - -<span class="subhead">(<i>The Louvre</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">The</span> statuette originally formed part of a group. The -lower part has been fairly skilfully restored in modern -times: the upper comes from the Salt collection,<a id="FNanchor_60" href="#Footnote_60" class="fnanchor">60</a> and, -like most of the objects of that collection, was found at -Thebes. It represents Amenôphis IV of the XVIIIth -Dynasty, the first in date of the Pharaohs we are accustomed -to name the heretic kings.</p> - -<p>In making only a cursory examination we are -struck by the ways in which it differs from the royal -statuettes that have come down to us. The Pharaohs are -usually seated with the head erect, the bust firm, in a -posture of stiff dignity which did not lack grandeur. -Here the royal stiffness has almost wholly disappeared. -The head leans slightly forward, the bust sinks down, it -seems as if the body, powerless to hold itself up, is going -to slip off the seat; the abandon of the posture is in -entire harmony with the character of the person. The -back is slightly rounded, the hips are larger than are -suitable for a man, the belly and chest inflated; the -breasts are round like those of a woman, the puffed-out<span class="pagenum" id="Page_121">121</span> -torso is wrinkled in folds of fat, the face is weak and -good-natured. In all that, the artist has set aside the -æsthetic rules usual in Egypt. If it were not for the -awkward angle formed by the arm that holds the sceptre -and the whip, and the bad execution of the hand that -rests on the left thigh, his work might be quoted as an -excellent specimen of what a conscientious sculptor could -do at the best moments of Theban art between Thoutmôsis -III and Setouî I.</p> - -<div id="il_45" class="figcenter" style="max-width: 34em;"> - <img src="images/i_120.jpg" width="2678" height="3673" alt="" /> - <div class="caption"><p>AMENÔPHIS IV.</p> - -<p>The Louvre.</p></div></div> - -<p>I do not believe that in the long series of Pharaohs -there is a prince who has been so badly treated by contemporary -scholars as he has been, and about whom they -have allowed greater rein to their imagination. At first, -the roundness of his body and the exaggeration of his -breast caused him to be taken for a woman: for a long -time Champollion characterized him as a queen, and was -only convinced of his error with difficulty. Later, Mariette -thought he recognized in him the exterior signs of a -eunuch. Contemporary monuments assign him a wife -and children, and we can find a way of reconciling this -embarrassing posterity with the new theory. It suffices -to suppose that, after having been married and become -the father of four daughters, he went to war with one of -those African tribes that have preserved to this day the -custom of castrating their prisoners: having fallen into -their hands, he would have left them as we see him. -Some Egyptologists have accused him of being an idiot, -the more moderate only regard him as a fanatic. Born -of a foreign mother, the white Taîa, brought up by her -to worship Canaanitish deities, he had scarcely ascended -the throne before he wished officially to replace the -worship of Amon by that of the solar disk, whose -Egyptian name, Aton, perhaps reminded him of the Syrian<span class="pagenum" id="Page_122">122</span> -name Adoni or Adonaï. This story is well imagined, but -to me it seems more than doubtful. Two proofs have -been advanced concerning the foreign origin of Taîa: the -pink colour of her cheeks and the curious form of the -names used in her family. The flesh of Egyptian women -was always painted pale yellow: if Taîa is pink, it is -because she was fairer than they, and consequently of -exotic birth. The argument was specious, but it is not -permissible to repeat it to-day. For it has been discovered -that in the time of Amenôphis II and Amenôphis III -the artists for some years employed pink tones for the -flesh of their personages, both men and women, and the -confirmation of that fact takes away any value from -the reasoning deduced from Taîa’s colour. Taîa has pink -flesh in the monuments because the fashion of the day -required that she should so have it, and not because she -possessed the fair complexion of the northerner. As to the -names of the members of her family, Iouaa, Touaa, they -do not seem to me to be Asiatic. Doubtless they are -not constructed in the Theban manner, but they are -found, and many like them, in the tombs of the Ancient -Empire. Far from proving a Canaanitish or Libyan extraction, -they take us back to the oldest periods of the -history of Egypt and denote a Memphian or Heliopolitan -origin.</p> - -<p>If, as everything indicates, Taîa is not a foreigner, we -no longer have any cause to seek beyond Egypt for the -motives that made Amenôphis IV decide to proscribe the -worship of Amon. In fact, the religion of Aton that he -professed is indigenous in its formulas and ceremonies. -Aton is the solar disk, the shining globe lighted every -morning in the east in order to be extinguished every -evening in the west; for some theologians it was the<span class="pagenum" id="Page_123">123</span> -visible body in which Râ, the solar god <i>par excellence</i>, -was the soul; for others the actual god, and not the -shining manifestation of the god. The Theban priesthood -had adopted the first theory, which better harmonized -with its monotheistic tendencies, and it had developed it -to the utmost: it had fused together all the forms of -the divinity, and only recognized in it the aspects, the -diverse conditions of one and the same being who was the -soul of the Sun, Amonrâ. The schools of Memphis and -Heliopolis, older than those of Thebes, had remained more -closely attached to the ancient polytheism, and interpreted -its doctrines in a more material sense. A fact that, so -far, no one has ever brought forward, proves incontestably -that the worship rendered by Amenôphis IV to Aton was -connected with that of the sun as practised at Heliopolis: -the high priest of Aton, the supreme head of the royal -religion, bore the same official name and the same titles -as that of Râ at Heliopolis.</p> - -<p>If, however, the monuments tell us that the worship -of Aton was a form of the most ancient worship of Râ, -they do not so far assist us to determine the points -of detail in which it differed. The solar disk of -Amenôphis IV, the supreme god Aton, is recognized by -the rays terminating in hands that he darts on the earth: -the hands brandish the anserated cross, and bring life to -everything that exists. I am not sure that Amenôphis IV -invented this imagery: I like to think that in that, as in -everything, he was bound to follow tradition. The prayers -that accompany the figure of the god, the ceremonies -celebrated in his name, are all Egyptian; they present -that character of seriousness and sometimes of licence to -be observed at Denderah, and in all the places where the -sombre myth of dead Osiris does not rule. The bas-reliefs<span class="pagenum" id="Page_124">124</span> -that have preserved its physiognomy for us might -serve as an illustration for the picture drawn by Herodotus -of the great festival of Bubastis.</p> - -<p>Having said that, it may be asked what motives -impelled Amenôphis IV to deny the gods of his fore-fathers -and to embrace a Heliopolitan religion. It should -be noted at once that his father, Amenôphis III, had -already set the example of a special affection for solar -worships other than that of Amon: we may then believe -that Amenôphis IV as a child was brought up in -particular devotion for Râ, and that later, a natural -result of his early education, he was desirous of imposing -his favourite deity on his subjects. But I do not think -that religious faith was the sole, or even the principal -reason of his cruel persecution of the priests and partisans -of Amon; politics probably were chiefly responsible. -Amon was, above all, the patron of Thebes: he had -made the greatness of the Theban Dynasties, and they, -in their turn, had exalted him above all his compeers. -The conquests in Syria and Ethiopia had not been -without benefit for Egypt in general, but they had been -specially advantageous to Amon; the greater part of the -booty had passed into his coffers, his priests filled the public -offices, and his chief prophet was the highest personage of -the empire after the reigning sovereign. Had there been -under Thoutmôsis IV an attempt similar to that which -delivered the last Ramessides to the pontiffs of Amon -and which raised Hrihor to the throne? I do not know; -but I believe the desire to counterbalance their power -weighed heavily in the favour shown by Amenôphis III -to other divinities, and that a definite wish to overturn -not only Amon, but especially his clergy, induced -Amenôphis IV to thrust Aton into the first rank. He<span class="pagenum" id="Page_125">125</span> -did not recoil from any means that would lead to -success. As the destiny of Amon was indissolubly bound -up with that of Thebes, so long as Thebes was the -capital, Amon and his priests would keep the supremacy. -Amenôphis IV, after changing his name, which was a -profession of faith in the excellence of Amon, for that of -Khounaton, “splendour of Aton,” founded a new capital -which he called the city of Aton; he installed there -a new priesthood which he richly endowed, and then -erased the name of Amon from all the monuments -throughout Egypt and even at Thebes. But the worship -of Amon had its roots too deeply implanted in the land, -and his priests were too powerful, for the king to prevail -against them. When he was dead, his successors gave -up the struggle: Aton returned into obscurity, his city -was deserted, and the name of the king, proscribed by -sacerdotal hatred, vanished with the buildings on which -it had been engraved.</p> - -<p>His attempt was not without influence on art. The -necropolis of El-Amarna has told us the names of two -of the sculptors who helped to adorn the city during its -brief existence. Their works are distinguished from -earlier ones by a greater freedom of composition, and -particularly by greater realism in the reproduction of -the persons. The Amenôphis IV of the Louvre does -honour to their talent; it is the more valuable since -their works, treated with great ferocity by the Theban -reaction, have become very rare. We have a certain -number of bas-reliefs more or less mutilated, but very -few statues; that of the Louvre is, so far, a unique -work of its kind.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_126" class="chapter"> -<p><span class="pagenum" id="Page_126">126</span></p> - -<h2 class="nobreak" id="XIII" title="XIII FOUR CANOPIC HEADS FOUND IN THE VALLEY OF -THE KINGS AT THEBES">XIII<br /> - -<span class="subhead">FOUR CANOPIC HEADS FOUND IN THE VALLEY OF -THE KINGS AT THEBES<a id="FNanchor_61" href="#Footnote_61" class="fnanchor smaller">61</a></span></h2> -</div> - -<p class="in0"><span class="firstword">Among</span> the principal objects discovered by Theodore -Davis in 1907 in the Valley of the Kings, in the secret -chamber where the heretic Pharaoh Khouniatonou was -buried with an equipment partly consisting of objects -that had belonged to his mother, Tîyi, there are four -alabaster Canopic jars of a rare perfection even for that -period of perfect execution. The body of the jar is a -little longer than is usual, slender at the base, bulging -out at the top, with a polish at once unobtrusive and -pleasing to the eye. An inscription had been engraved -on it, and so far as may be judged by the place it occupied, -was the ordinary dedication to the deities protecting the -entrails; but it has been effaced, then the place smoothed -over, and tinted with the colour of the surrounding part. -The touching up is accomplished with so much skill that -we can only here and there, beneath the transparence of -the glazing, guess at a few marks of the old writing. The -four lids are in the form of a human head, a very refined -head framed in the short wig with close rows of little flat -locks of hair: a golden uræus, now vanished, stood on the<span class="pagenum" id="Page_127">127</span> -forehead. As the face is beardless, and the whole of the -equipment except the coffin bears the name of Tîyi, the -Canopic jars have been attributed to the queen. I do not -share that opinion; I maintain that they belonged to the -Pharaoh, and that we should see his authentic portrait -in them.</p> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_46" class="figleft" style="max-width: 22em;"> - <img src="images/i_126.jpg" width="1690" height="1910" alt="" /> - <div class="caption"><p>KING KHOUNIATONOU.</p> - -<p>Alabaster Canopic head found at Thebes.</p></div></div> - -<div id="il_47" class="figright" style="max-width: 22em;"> - <img src="images/i_126b.jpg" width="1720" height="2044" alt="" /> - <div class="caption"><p>KING KHOUNIATONOU.</p> - -<p>Alabaster Canopic head found at Thebes.</p></div></div> -</div></div> - -<p class="clear">No one who has seen the four heads side by side will -doubt that they represent one and the same person. The -insignificant differences to be noticed between them are -caused by unimportant technical details, or by breakages -in the stone, or by the action of damp, or the different -way in which time has treated the materials of which the -eyes were formed. The eyebrows consist of a fillet of -blue enamel encrusted on the edge of the arch, and the eye, -properly so-called, is also designated by a blue fillet, which -includes a cornea in white limestone, relieved with red -at the corners, and an iris of black stone. In some, the -eyebrow is gone. In others the iris has fallen, leaving -blind one or both the eyes, or, the whole having been -displaced, the eye has been brought forward as if the -person was suffering from the beginning of an exophthalmic -goître. Very different expressions of countenance are the -result, but under them all the same face is quickly -recognized: a longish oval, rather thin at the bottom, a -somewhat narrow forehead, a straight nose, thin where it -joins the face and turned up at the end almost like -Roxelana’s, delicate wide-opened nostrils, the sides thin -and nervous, a short upper lip, a small but full mouth, -a bony chin, pointed and heavy, joined to the neck by a -rather harsh line. None of the heads have been entirely -respected by time, and one of them has lost its nose, but -by good luck, rare in archæology, the best in composition -is also that which has suffered least: if the enamel of<span class="pagenum" id="Page_128">128</span> -the eyelids is wanting, the eyes are intact and the -epidermis without scratches. I do not think that there -exists in the Egyptian sculpture of that period a more -energetic or living physiognomy: the mouth is closed as -if to retain the words that desire to escape, the nostrils -are inflated and palpitate, the eyes look keenly and -frankly into those of the visitor. With age, the alabaster -has taken on the dull complexion of the great Egyptian -ladies, always protected by the veil, which the sun can -never burn. So that it is not surprising that many -should have felt in looking at them that they were heads -of a woman, and, knowing the circumstances of the -discovery, imagined that they saw the most celebrated -woman there had then been in the Egyptian Empire, -the queen-dowager Tîyi.</p> - -<div id="il_48" class="figcenter" style="max-width: 22em;"> - <img src="images/i_128.jpg" width="1694" height="1923" alt="" /> - <div class="caption"><p>KING KHOUNIATONOU.</p> - -<p>Alabaster Canopic head found at Thebes.</p></div></div> - -<p>Strictly speaking, that is quite possible, for on the one -hand the head-dress and necklace into which the neck fits -are common to both sexes, and on the other, the features, -more accentuated than is usual with a woman, are not -so to the point of only fitting a man; directly, however, -they are compared with those of the portraits of Tîyi, -we are bound to confess that the resemblance is slight. -Two types of these have come down to us. In the -first, which is by far the most frequent, her face was -remodelled and symbolized in the studios of Thebes in -accordance with the customary formula for queens. The -colossal group of Medinet Habou, recently transported to -the Cairo Museum, offers, perhaps, the best example. -There, following the regulations, Tîyi is furnished with a -round, regular face, almond-shaped eyes, good cheeks, -straight nose, smiling mouth, and normal chin: there is -something about her which prevents us from confusing -her with the other princesses of her era, but she has preserved<span class="pagenum" id="Page_129">129</span> -none of the peculiarities that compose her actual -physiognomy. That is no longer the case with the most -individual of the specimens of the second type, the soapstone -head that Petrie discovered at Sinaï, which is now -in the Cairo Museum. The right wing of the wig is -wanting, and the nose has been crushed by an unfortunate -blow on the left nostril, without, however, losing -anything of its essential form; a cartouche engraved on -the front of the head-dress tells us the name, and at the -first glance the portrait gives the impression of a good -likeness. It is not flattering. If we are to believe it, Tîyi -presented the racial characteristics of the Berbers or of -the women of the Egyptian desert: small eyes puckered -at the temples, a nose with a broad tip and contemptuous -nostrils, a heavy, sulky mouth with turned-down corners, -the lower lip dragged back by a receding chin like that -of a semi-negress: the receding chin alone forbids us to -identify her with the original of our Canopic jars. They -have certainly a family likeness, and it could not be -otherwise, for if I am right it is a question of mother -and son, but variations are to be noted in the son which -remove him from the type so clearly revealed in Petrie’s -statuette. That type, on the contrary, is preserved intact -in the admirable head in painted wood which has passed -into the collection of Herr Simon of Berlin. We might -even say that it is exaggerated, and that the eyes are -more oblique, the cheek-bones more prominent, the nose -more aggressive, the smiling muscles more sharply -evident, the mouth and chin closer to that of a negress. -I believe it to be one of Tîyi’s granddaughters who -became queen after the fall of the Heretic Dynasty: -her head-dress, which was originally that of a private person, -was afterwards modified to receive the insignia of royalty.<span class="pagenum" id="Page_130">130</span> -Was she married to Harmhâbi, to Ramses, or to Setouî -I? The deviation between the group to which she belongs -and that of the Canopic jars is sufficiently great to force -us to give up the idea that they represent one person. -In addition, our Canopic sculptures possess only one uræus -on the forehead, as is customary with kings, while the -others have the double uræus which then begins to be -the etiquette with queens. That rule has exceptions, and -therefore I shall not deduce too strict conclusions from it: -but the absence of the second uræus is not less a somewhat -strong presumption in favour of the opinion that our -Canopic heads are those of a man and not of a woman.</p> - -<div id="il_49" class="figcenter" style="max-width: 34em;"> - <img src="images/i_130.jpg" width="2699" height="3416" alt="" /> - <div class="caption"><p>KING KHOUNIATONOU.</p> - -<p>Cairo Museum.</p></div></div> - -<div id="il_50" class="figcenter" style="max-width: 33em;"> - <img src="images/i_130a.jpg" width="2590" height="2969" alt="" /> - <div class="caption"><p>KING KHOUNIATONOU.</p> - -<p>Alabaster Canopic head found at Thebes.</p></div></div> - -<p>If, however, they are portraits of a man, the circumstances -of their discovery compel us to declare that he -must be the king Khouniatonou; but how are we to be -convinced of this when we remember the grotesque silhouette -that the sculptors of El-Amarna have given him? -To believe them, he would have been physically a sort -of degenerate, tall, weakly, with hips and chest like a -woman’s, a neck without consistency, an absurd head, a -flat, almost non-existent forehead, an enormous nose, an -ugly mouth, a massive chin.<a id="FNanchor_62" href="#Footnote_62" class="fnanchor">62</a> He seems to have liked these -caricatures, and his friends, imitating him from a desire -to flatter him, altered more or less the shape of their own -bodies in order that they might resemble that of his. -Documents of different origins prove, however, that he -was not, or had not always been, the queer figure that is -attributed to him. The Louvre alone possesses two such -witnesses. The first, which came to the Museum in its -early days, is a charming statuette in yellow soapstone. -The king is seated, but he has lost the bottom of the legs, -which a modern restorer has skilfully replaced. He wears<span class="pagenum" id="Page_131">131</span> -the <i>coufeh</i> with hanging ends, the bust is bare; in his -right hand he holds the hooked staff and the sacred whip -emblems of royalty; the left hand is indolently stretched -over the thigh. The body is young, the muscling supple -and thick, and although he sinks down a little, he has -not the squat attitude we know so well. The face and -neck are somewhat slender, and contain the characteristics -that, exaggerated later, lent themselves almost naturally -to caricature. It is, in fact, the effigy of the young king -sculptured at Thebes at the time when he was only -Amenôphis IV, but when he demanded that he should -be represented as he was, or as he saw himself, without -reference to the conventional type of the Pharaoh. In the -second piece, a statue of which only the head and shoulders -remain, he is some years older. He is armed for war, and -his neck, too slender, has bent under the weight of the -helmet, as if thenceforth incapable of supporting it. It is -the profile of the bas-reliefs of El-Amarna with the rounded -spine and the particular curve that projects the head -forward; the forehead, nose and mouth only differ from -those of the statuette in that they are thinner. A plaster -mask in the Cairo Museum which Petrie considers to -have been moulded on the corpse immediately after the -sovereign’s death, but which is undoubtedly a studio -model, testifies to a condition of physiological degeneracy -that did not before exist. It presents the emaciated -features of the bas-reliefs and their bony texture, it is -true, but without their extreme exaggerations. When it -was question of a statue, the sculptor forbade himself the -liberties that his colleagues, commissioned to decorate the -tombs, allowed themselves with the master: he represented -him just as he was at the moment, and the -physiognomy was sufficiently original for him to be certain<span class="pagenum" id="Page_132">132</span> -of always deriving from it a work that would force the -attention of the spectators.</p> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_51" class="figleft" style="max-width: 20em;"> - <img src="images/i_130b.jpg" width="1548" height="1950" alt="" /> - <div class="caption"><p>QUEEN TÎYI (FULL FACE).</p> - -<p>Cairo Museum.</p></div></div> - -<div id="il_52" class="figright" style="max-width: 21em;"> - <img src="images/i_130c.jpg" width="1652" height="1952" alt="" /> - <div class="caption"><p>QUEEN TÎYI (PROFILE).</p> - -<p>Cairo Museum.</p></div></div> -</div></div> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_53" class="figleft" style="max-width: 24em;"> - <img src="images/i_132.jpg" width="1856" height="2057" alt="" /> - <div class="caption"><p>PRINCESS OF THE FAMILY OF TÎYI (PROFILE).</p> - -<p>Painted wood. Berlin, collection of M. James Simon.</p></div></div> - -<div id="il_54" class="figright" style="max-width: 24em;"> - <img src="images/i_132a.jpg" width="1867" height="2064" alt="" /> - <div class="caption"><p>PRINCESS OF THE FAMILY OF TÎYI (FULL FACE).</p> - -<p>Painted wood. Berlin, collection of M. James Simon.</p></div></div> -</div></div> - -<p class="clear">And now let us compare each of these pieces with our -Canopic heads. The profile of Khouniatonou helmeted -is not as strong as theirs, due perhaps to the contusions -undergone by the surface of the stone during a long -sojourn in a damp soil where saltpetre was abundant, but -each of the elements may be superposed and adjusted, -forehead, nose, eyes, mouth, chin, in an absolutely satisfying -manner: it merely seems that the artist of the -Canopic heads saw his model in better health than that of -the statue. The resemblance, although less complete, -with the statuette of yellow soapstone is still apparent. -No unprejudiced observer with the series in front of him -can come to any other conclusion than that we have in -it portraits of one and the same man. Leaving out the -slight differences due to the chisel, there is no more -deviation between the group of statues and the best of -our heads than there is between that and the three found -with it. There is divergence in one point only: in the -two statues the head bends and leans forward more or -less; in the Canopic jars it is erect without weakness. A -moment’s reflection will show that it could not be otherwise. -However greatly we are moved by the beauty of -the work, we must not forget that our four heads belong, -not to art pure and simple, but to industrial art, and that -their purpose imposed special rules on the master who -chiselled them. They were prosaic lids for the receptacles -in which the entrails of the Pharaoh were placed, and it -was necessary that the median axis of the vase properly -so-called should coincide exactly with that of the lid. -There was a question of equilibrium to be managed between -the two constituent elements of the Canopic jar; the<span class="pagenum" id="Page_133">133</span> -sculptor must straighten the neck of his model, and consequently -correct the impression of lassitude given by the -statues, by an appearance of vigour. If we examine the -portraits of Khouniatonou and his successors in company -of a physician, certain anatomical details that at the first -glance we did not trouble about—the depression of the -temples, the obliquity of the eyes, the contraction of the -sides of the nostrils, the pinching of the mouth, the attenuation -of the neck—assume an etiological value that the -archæologist was far from suspecting. Dr. Baÿ, studying -the faces of Khouniatonou, Touatânkhamânou, and Harmhâbi -with me, diagnosed symptoms of consumption more -or less advanced. If Khouniatonou died of the disease -when thirty years old, we need not be greatly surprised.</p> - -<div id="il_55" class="figcenter" style="max-width: 31em;"> - <img src="images/i_132b.jpg" width="2464" height="2322" alt="" /> - <div class="caption"><p>KING KHOUNIATONOU.</p> - -<p>The Louvre.</p></div></div> - -<p>I do not insist upon this kind of research, in which -I am not competent, and I leave it to the reader to decide -if I have or have not proved the identity of the person -represented by our four heads to be that of Khouniatonou, -the heresiarch. One of them at least is a masterpiece, and -the others possess qualities that assure them a high place -in the estimation of connoisseurs, but to which of the -great Egyptian schools ought we to attribute them? We -may hesitate between two: the Theban, to which most of -the artists who filled the royal laboratories then belonged, -and the Hermopolitan, in the province of which was -El-Amarna, the favourite residence of the sovereign. It -was certainly the latter school that worked at the -hypogeums and sculptured the pictures. We find in them -its defects: harsh, rough composition, a tendency to caricature -the human form and to multiply comic episodes; but -also its good qualities: suppleness, movement, life, freedom -of execution. The few figures in alto-relievo that -have escaped destruction, those, for instance, that accompany<span class="pagenum" id="Page_134">134</span> -two of the large front stelæ, are of the same style -as the bas-reliefs, but we do not find in them any of the -characteristics that we have noted as proper to the -monuments of the Louvre or to our Canopic jars. Just -as the others show an unfinished, worn aspect, these are -carefully finished in the least details: it is the perfect -chiselling and high polish of the Theban masters and their -strong, dignified way of posing the figure and expressing -the physiognomy of the model. Whoever has seen the -statues of Thoutmôsis III, Amenôthes II, the so-called -Taîa, and Touatânkhamânou in the Cairo Museum will -not doubt for a moment that our four heads are from the -hands of persons belonging to the same school: they -belong to the Theban school, and more particularly, I -think, to that portion of the Theban school which, a -few years later, decorated the temple of Gournah, the -Memnonium of Abydos, and the hypogeum of Setouî I.</p> - -<div id="il_56" class="figcenter" style="max-width: 24em;"> - <img src="images/i_134.jpg" width="1868" height="2524" alt="" /> - <div class="caption"><p>KING KHOUNIATONOU.</p> - -<p>Fragment of a stone statue. The Louvre.</p></div></div> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_135" class="chapter"> -<p><span class="pagenum" id="Page_135">135</span></p> - -<h2 class="nobreak" id="XIV">XIV<br /> - -<span class="subhead">A HEAD OF THE PHARAOH HARMHABI<br /> - -<span class="subhead">(<i>Boulaq Museum</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">The</span> whole is composed of about ten pieces, collected -in 1860 in one of the halls of the temple of Karnak, and -put together with plaster, for good or ill, by one of the -workmen belonging to the Museum. The cementing -was not always done with rigorous accuracy, and one of -the largest fragments, that which forms the centre of the -head-dress, is slightly out of the perpendicular. Last year -I tried to remedy the awkwardness of the restorer, but -without success; if an attempt was made to separate the -badly joined pieces, there would be a risk of reducing -them to powder. But the irregularities in the joining -are sufficiently slight not to injure the general aspect. -In its present condition it is just the mutilated bust of a -king with the uræus and the double crown on the brow; -the broken object that leans against the left side is the end -of a staff of office, terminated with a ram’s head, the -emblem of Khnoum or Theban Amon. If we would -form some idea of what the body was like, it is sufficient -to look at any of the statues with the insignia that adorn -the museums, that of Ramses II at Boulaq<a id="FNanchor_63" href="#Footnote_63" class="fnanchor">63</a> or of Setouî I<span class="pagenum" id="Page_136">136</span> -in the Louvre.<a id="FNanchor_64" href="#Footnote_64" class="fnanchor">64</a> The king was standing, with his back -against a sort of pillar covered with inscriptions, and -holding the staff in his hand: as he looked in certain -religious ceremonies when he escorted the ark of Amon-Râ -through the halls and court-yards of the temple. What -remain of the hieroglyphic legends do not give any name. -Mariette was tempted to recognize it as Menephtah, son -of Ramses II,<a id="FNanchor_65" href="#Footnote_65" class="fnanchor">65</a> but he has not anywhere explained -the motives that led him to that identification. The -lugubrious tone of the black granite spoils the first -impression, but an examination, even if only a superficial -one, soon reveals the subtlety of the work. The head, -under the enormous pschent, is full of charm and delicacy. -The face is young, with an expression of gentle melancholy -rare among the Pharaohs of the great Theban period. -The nose is straight, thin, and well attached to the forehead; -the long eye turns up at the temples. The wide, full -lips, somewhat tightened at the corners as if for smiling, -are boldly cut with sharply defined edges. The chin is -scarcely rendered heavy by the weight of the artificial -beard. Every detail is treated with as much skill as if -the sculptor had been manipulating a soft stone like -limestone, and not one of the materials that offer all the -obstacles possible to the chisel. The sureness of the execution -is carried so far that the spectator forgets the difficulty -of the work in order to think solely of its intrinsic value. -It is a pity that Egyptian artists did not sign their works: -the name of the master to whom we owe this deserves to -have come down to us.</p> - -<div id="il_57" class="figcenter" style="max-width: 22em;"> - <img src="images/i_136.jpg" width="1708" height="3244" alt="" /> - <div class="caption"><p>HEAD OF THE PHARAOH HARMHABI.</p> - -<p>Black granite.</p></div></div> - -<p><span class="pagenum" id="Page_137">137</span></p> - -<p>It remains to see who was the king whose portrait -he has transmitted to us. When a Pharaoh ascended the -throne, the sculptors of the city where he then was, -Memphis, Thebes, Tanis, or another, hastened to make a -certain number of copies of his portrait, full face or in profile; -these were immediately sent into the provinces, in -order that his face might be everywhere substituted for that -of the former sovereign on the buildings in course of erection. -Thus in the Boulaq Museum we have several series -of royal heads, some discovered at Tanis,<a id="FNanchor_66" href="#Footnote_66" class="fnanchor">66</a> some in the -Fayoum,<a id="FNanchor_67" href="#Footnote_67" class="fnanchor">67</a> others at Memphis,<a id="FNanchor_68" href="#Footnote_68" class="fnanchor">68</a> which show what was the -procedure in such a case. The type, once carefully fixed, -did not change during the whole of the reign. Ramses II, -who was nearly a hundred years old when he died, after -reigning for sixty-seven years, kept the features of a young -man even to his latest monuments. The rule contains -numerous exceptions, especially when it is a question -of statues commissioned in one of the capitals of the -country, and executed by artists who could see their subject -at close quarters and register the changes time -produced in his face. Of the two Chephrên exhibited at -Boulaq, one is young and smiling,<a id="FNanchor_69" href="#Footnote_69" class="fnanchor">69</a> the other old and -saddened by age.<a id="FNanchor_70" href="#Footnote_70" class="fnanchor">70</a> But if there are examples of sovereigns -who, ascending the throne early, were sometimes represented -as they were at different periods of their life, I -know of none who were rejuvenated by the sculptors when<span class="pagenum" id="Page_138">138</span> -they reached the throne at a late age. The head of the -statue with which we are here concerned is that of a -young man, almost a youth, and that is sufficient for me -to rule out Menephtah. Menephtah was fifty at least -when he succeeded his father,<a id="FNanchor_71" href="#Footnote_71" class="fnanchor">71</a> and his portrait, as it is to -be seen at Karnak, does not in any way resemble the -personage whose image is preserved in the Boulaq statue. -The other princes of the XIXth and XXth Dynasties, -Setouî II, Siphtah Menephtah, Amenmeses, Setinakht, of -whom we have only a few poor portraits, have no more -claim to be commended than their great predecessors -Setouî I or Ramses II: the disturbed times in which they -lived scarcely admitted of works of careful composition. -Like Menephtah, Ramses I was too old at his accession, -and besides, we have his portrait at Gournah. And, -moreover, the style of the piece recalls at first sight that -of the Turin statues belonging to the XVIIIth Dynasty, -and then we must eliminate <i>a priori</i> a certain number of -statues of which we possess the exact description. Neither -Ahmôsis I, nor the Thouthmôsis, nor the Amenhotpou have -anything in common with our personage; and for even -a stronger reason we cannot recognize in him the characteristic -physiognomy of Khounaton and Aî. Proceeding -from one exclusion to another, we come to restrict the -choice to three princes, Touatânkhâmonou, Sânakht, and -Harmhabi. Sânakht had only an ephemeral reign; Touatânkhâmonou -has only left us insignificant monuments; -Harmhabi, on the contrary, appears to have been one of -the most important sovereigns of his time. A young man<span class="pagenum" id="Page_139">139</span> -at the accession, he restored the temples of Amon despoiled -by his heretic predecessors, and re-established the Egyptian -power that had been weakened for a moment in Syria -and Ethiopia. Last year and this year I cleared away -the rubbish from two of the pylons he had built and -decorated at Karnak; his portrait was sculptured on them -numerous times, and the outlines are sufficiently well -preserved for us to see in the king of the bas-reliefs the -original of the Boulaq bust. I attribute the statue of -which Mariette found the remains to Harmhabi, the -Armaïs of the Greeks.</p> - -<p>In conclusion, I may observe that the fragments, when -carefully examined, show no trace of having been broken -by a hammer; the statue was not destroyed by the hand -of man, the case with a certain number of the monuments -at Karnak. The great earthquake of the year -27 <span class="allsmcap">B.C.</span>, which put the temple of Amon almost into the -condition in which we see it, brought down the ceilings -of the halls; all the objects underneath were injured by -the blocks or architraves then violently thrown to the -ground and crushed under the weight of the ruins. Our -Harmhabi did not escape the common lot: it needed -Mariette’s great patience to restore the little we possess -of him.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_140" class="chapter"> -<p><span class="pagenum" id="Page_140">140</span></p> - -<h2 class="nobreak" id="XV" title="XV THE COLOSSUS OF RAMSES II AT BEDRECHEÎN">XV<br /> - -<span class="subhead">THE COLOSSUS OF RAMSES II AT BEDRECHEÎN<a id="FNanchor_72" href="#Footnote_72" class="fnanchor smaller">72</a></span></h2> -</div> - -<p class="in0"><span class="firstword">Ramses II,</span> Sesostris, having restored the portions of the -great temple of Phtah at Memphis, which bordered the -sacred lake on the west and south, had colossi erected in -front of the doors, destined to perpetuate his memory and -his features for all “who should come after him on the -earth, priests, magicians, scribes,” and who should recite -a prayer to the gods on his behalf. The sacristans -appointed as guides to the profane, and the dragomans -who act as showmen of the wonders of Egypt, never fail -to draw the tourist’s attention to these statues; it gives -them an opportunity to relate some amusing story like -those collected by Herodotus and transmitted to us by -him as authentic history. One day Darius I wished to -consecrate his image in the neighbourhood, but the high -priest opposed his purpose: “Sesostris,” he said, “has -conquered all the nations that obey you, and the Scythians -to boot, on whom you never succeeded in inflicting much -harm. There is then no reason why your monument -should be placed by the side of that of a Pharaoh whom you -have neither surpassed nor equalled!” When Memphis fell -and became Christian, the fame of the colossi died away. -When it perished and its temple of Phtah was dismantled<span class="pagenum" id="Page_141">141</span> -stone by stone to serve for the building of Cairo, they -were thrown down, and for the most part cut up into -grindstones, whence they passed into the lime-kiln. One -of them, however, thrown from its pedestal and lying face -downwards on the ground, was covered with rubbish, and -preserved from destruction by that happy chance. Brought -to light by Caviglia at the beginning of the nineteenth -century, it had the good luck to please travellers, and owed -it to them to have escaped the mania for destruction -that possesses the fellahs.</p> - -<div id="il_58" class="figcenter" style="max-width: 25em;"> - <img src="images/i_140.jpg" width="1945" height="1329" alt="" /> - <div class="caption">THE HALF-BURIED COLOSSUS OF RAMSES II.</div></div> - -<div id="il_59" class="figcenter" style="max-width: 25em;"> - <img src="images/i_140b.jpg" width="1926" height="1500" alt="" /> - <div class="caption">THE COLOSSUS OF RAMSES II EMERGING FROM THE EARTH.</div></div> - -<p>All Europeans in turn who have visited Egypt have -admired it. It lies along the side of the path under the -palm-trees of Bedrecheîn at the bottom of a muddy ditch. -At the period of the inundation, water fills it and covers -the statue for some weeks; then it gradually reappears, -the shoulder and the leg first, then the bust and face, until -it is all high and dry again in its hole. Its Pharaoh was -standing, walking, the arms close against the sides. The -name of Ramses II is to be read on the cartouche -engraved on the buckle of the waistband that fastened his -petticoat. Nitre has destroyed one side of the face and -body, but what remains suffices to show the excellence of -the work. The profile is that of the young Ramses, with -low forehead, large aquiline nose, rather a large mouth, and -a haughty expression. The base is at some distance off, -and farther away still, to the south, a smaller colossus in -wood, débris of walls, and fragments of statues point -out the position of ancient chambers. The palm forest -which flourishes on the site harasses excavation and -prevents us from reconstituting the plan. The building -or group of buildings that our colossus adorned went along -the south bank of the sacred reservoir on which the -mysteries of Phtah and the Memphian gods were celebrated<span class="pagenum" id="Page_142">142</span> -on the canonical days. In spite of the long period -of time, alluvial matter has not succeeded in entirely -filling the lake. The place is marked by a noticeable depression, -and the earth which fills it, instead of being planted -with date-trees, is sown with corn; it is like a square basin -the edges of which are drawn downwards from the -surrounding ground. The rise of the river partly restores -the original aspect of the spot, but the setting of porticoes -and pylons which framed it has vanished; it is replaced -by clumps of big trees, under which is situated the village -of Tell-el-Khanzîr.</p> - -<p>It seems that Mohammed-Ali formerly gave Ramses II -to England; the fact is not exactly proven, and to admit -it definitely a more serious authority than that of one -or several of the “Travellers’ Guides to Egypt” would -be required. The English have not availed themselves -of the doubtful tradition to remove the colossus: they -were satisfied to set it up again. They did not succeed -at the first attempt, and two trials made by Messrs. -Garwood and Anderson failed ignominiously enough. -General Stephenson, who long commanded the army, was -more successful. He first had the ambitious project of -setting the statue on its feet again, but as the subscription -opened for that purpose did not produce sufficient money, -he contented himself with raising it up above the level -of the inundation. The operations, conducted by Major -Arthur Bagnold, of the Engineers, were begun on January -20, 1887.<a id="FNanchor_73" href="#Footnote_73" class="fnanchor">73</a> Having drawn off the water, he applied eight<span class="pagenum" id="Page_143">143</span> -lifting jacks of differing force along the body: the effort -was directed alternately to the head and the feet: as -soon as the whole mass was raised a little more than a -foot and a half, huge beams were slipped underneath, -and the hollow was filled up with broken potsherds -collected in the ruins of the ancient city, reduced to tiny -pieces and beaten so as to form a compact bed. The -work was finished on April 16th. The colossus now lies on -its back, the face to the sky. A pent-house shelters the -head; a thick brick wall surrounds it and protects it from -the gaze of the inquisitive crowd. Its guardian dwells -beside it in a small two-roomed house where Major -Bagnold installed him, and he only shows it to visitors on -payment of two Egyptian piastres: it costs about sixpence -to see it at the bottom of the new funnel in which it -is plunged. The “Service des Antiquités” employs a -portion of the tax in keeping it in good condition. Another -Ramses in granite and a stele of Apries found in the -neighbourhood were afterwards placed there, and complete -the little open air museum.</p> - -<p>The Arabs call the colossus <i>Abou’l-Hol</i>, the father -of the Terror, like the great Sphinx. I do not know -what they think now that it is under lock and key -in its enclosure, but they were really frightened of it -when it was, so to speak, at large. The ancient Egyptians -believed that statues, human and divine, were animated -by a spirit, a <i>double</i>, detached from the soul of -the person they represented. The <i>double</i> ate, drank, -even spoke at need, and pronounced oracles; it has survived -the religion and civilization of the ancient people, but the -changes that have taken place around it seem to have -soured its character. It plays evil tricks on those who -approach its hiding-place, injures them, at need even kills<span class="pagenum" id="Page_144">144</span> -them: Arab writers have a thousand tales of persons who -suffered because they imprudently attacked a monument -and the spirit that guards it. The means of rendering the -<i>Afrite</i> powerless is to destroy, if not the whole statue, at -least its face: that is why so many Pharaohs have their -noses broken or faces damaged. The spirit of Ramses II -walked in the palm forest at night, and it was therefore -imprudent to venture in the vicinity at twilight. Every -time that I was obliged to go that way at sunset, my -donkey-boy mumbled prayers and urged on his beast. -One evening when I asked him if he was afraid of some -<i>Afrite</i>, he entreated me to keep silence, assuring me that -it was ill to speak of such things, and that if I persisted -some accident would happen to me. In fact, my donkey -stumbled in the middle of the forest and threw me against -the trunk of a palm-tree: if the donkey-boy had not caught -me and averted the blow, I should have smashed my head. -From that time, whenever there was talk of the danger -in speaking disrespectfully of the spirit that lives in the -statue, what had happened to me was always quoted. -The whole of Egypt is full of analogous superstitions, the -greater number of which are derived from the ancient -beliefs, and have been transmitted from generation to -generation from the time of the Pharaohs, the builders -of the Pyramids.<a id="FNanchor_74" href="#Footnote_74" class="fnanchor">74</a></p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_145" class="chapter"> -<p><span class="pagenum" id="Page_145">145</span></p> - -<h2 class="nobreak" id="XVI" title="XVI EGYPTIAN JEWELLERY IN THE LOUVRE">XVI<br /> - -<span class="subhead">EGYPTIAN JEWELLERY IN THE LOUVRE<a id="FNanchor_75" href="#Footnote_75" class="fnanchor smaller">75</a></span></h2> -</div> - -<p class="in0"><span class="firstword">So</span> much has appeared in the newspapers about the -treasure unearthed at Dahchour last year by M. de -Morgan, that every one in Europe knows the number, -form, and richness of the objects it comprises; but among -those who have described and justly praised them, how many—I -do not say Englishmen or Germans, but Frenchmen -alone—know that the Louvre possesses a collection of -the finest Egyptian jewellery? Mariette was fortunate -enough twice in his life to find a number of magnificent -ornaments of great artistic value on the royal mummies, -at the Serapeum in the tomb of the Apis buried in -the reign of Ramses II by the care of one of the -sons of the conqueror, Khâmoîsît, high-priest of Phtah, -and regent of the kingdom for his father, and at Thebes -in the coffin of a queen of the XVIIIth Dynasty, -Ahhotpou I, who in her lifetime was the daughter, -sister, wife, and mother of Pharaohs. Mariette, artist -as he was, very skilfully brought out the interest of his -discovery, and the admirable idea it gave of the goldsmiths -of the seventeenth and fourteenth centuries <span class="allsmcap">B.C.</span>, -but he went no further. He had brought to light -so many monuments of importance for the study of<span class="pagenum" id="Page_146">146</span> -political history and of civilization, that he never had -time to dwell much on the secondary result of his works. -The jewellery of Ahhotpou is preserved in the Boulaq -Museum, where thousands of tourists admire it every -winter; that of the Serapeum is placed in the Louvre, -and usually obtains only an absent-minded glance from -the few visitors who traverse the solitudes of the Charles -X Museum.</p> - -<p>It fills several compartments of a glass case that -stands in the centre of the historic hall. At first we -note a large gold mask, unfortunately damaged, and -grouped near it gold chains with five and eight strands -of extraordinary suppleness and perfection; amulets of -various shapes in felspar, red and green jasper, and -cornelian; scarabs, a buckle, an olive, a little column, -in the name of Khâmoîsît. A little farther on a second -series from the same source includes pieces, if not in -themselves more finished, more curious and more attractive -to a modern eye; the Lord Psarou, who was present -with the prince at the funeral of an Apis, did honour -to the mummy of the sacred bull. I imagine that the -greater number of our contemporaries have but vague -notions regarding the way in which the Egyptians wore -jewels. Men or women, their costume at first was -summary enough: the men protected their loins with a -cloth which scarcely reached the knee and left the bust -entirely bare; the women crept inside a clinging smock -which reached the ankle, went up to the pit of the -stomach, disclosed the breast, and was kept in place by -two straps over the shoulders. Jewellery served partly -to hide what the stuff left uncovered, at least with the -women. A necklace of several rows encircled the neck -and came down to the rise of the breasts; large rings<span class="pagenum" id="Page_147">147</span> -were round the wrists, the upper part of the arm, and -the lower part of the leg. The hair, or rather the wig, -clothed the back and half the shoulder; a square plaque -suspended by a chain of beads or a leather strap -hung down below the necklace into the space between -the two breasts. That is what we call the pectoral. It -often looks like the façade of a temple, surrounded by a -torus, and surmounted by a curved cornice; portraits of -gods or sacred emblems were crowded on the surface, -and inscriptions scattered everywhere tell us the -name of the owner, accompanied generally by pious -formulas.</p> - -<div id="il_60" class="figcenter" style="max-width: 23em;"> - <img src="images/i_146.jpg" width="1801" height="1589" alt="" /> - <div class="caption"><p>EGYPTIAN JEWELLERY OF THE XIXTH DYNASTY.</p> - -<p>The Louvre.</p></div></div> - -<div id="il_61" class="figcenter" style="max-width: 23em;"> - <img src="images/i_146b.jpg" width="1768" height="1561" alt="" /> - <div class="caption">GOLD PECTORAL INLAID WITH ENAMEL.</div></div> - -<p>The buckle of Psarou must have served to fasten the -linen waistband which confined the loin-cloth, or the -band which went round the head and kept the head-dress -in place. His pectoral is one of the richest that -has come down to us. It is fashioned in a plaque of -green basalt, polished and sculptured with a precision -that is astonishing when we remember how imperfect -were the tools at the disposal of the Egyptians. The -central scarab is in very high relief against the flat background, -and the fidelity of the modelling is marvellous: -the smallest details of the head and corslet are rendered -with almost scientific truth. The two women who seem -to worship it on the right and left are Isis and Nephthys, -the two sisters of Osiris. The contours of their bodies -are cut in the gold leaf that frames the scarab. Another -pectoral of which I give a reproduction is of less delicate -workmanship, but the technique presents interesting -peculiarities. It has openings cut in it, and the design -of the parts is obtained by partitions of a very supple -gold, in which are set the scarab and the coloured glass -which relieve the uprights and cornice of the naos. The<span class="pagenum" id="Page_148">148</span> -scarab is in lapis lazuli, the dress of the goddesses in -brilliant gold, engine-turned to simulate the stripes of the -stuff. The mystical meaning of this design would not -escape any educated Egyptian. The scarab represents the -heart and life of man, where life resides; it is the amulet -which ensures to each man, living or dead, the ownership -of his heart. That is why it was given to wealthy -mummies, if not to all mummies: sometimes it was stuck -on to the skin of the corpse with bitumen at the rise of -the neck; sometimes it was set in the centre of a pectoral, -lost in the thickness of the swathings over the chest. As -every Egyptian, when he left this world, was assimilated -to Osiris and became Osiris himself, the heart and the -scarab passed as the heart and scarab of Osiris, over -which Isis and Nephthys watched, as they had watched -over Osiris; hence the figures of the two goddesses. They -warmed the heart with their hands, they recited the -formulas that prevented it from perishing, they kept off -evil spirits and the magicians who might have seized it -for their dark purposes. Religion provided the artists -with a subtle motive of decoration; while they never -went far beyond the primary idea, they varied its detail -and expression with much skill. The women are sometimes -standing, sometimes seated or kneeling; they extend -their arms in front of them, or lift them to their foreheads -like mourners, or let them hang down in token of -grief; the scarab rests on a boat or a lotus flower or an -altar, instead of floating in air, as in the jewel of the -Serapeum. Comparative study of all the scenes would -prove once again the Egyptians’ fertility of imagination -and their skill in ringing the changes on the most -hackneyed subjects.</p> - -<div id="il_62" class="figcenter" style="max-width: 23em;"> - <img src="images/i_148.jpg" width="1782" height="1584" alt="" /> - <div class="caption"><p>PECTORAL OF RAMSES II.</p> - -<p>The Louvre.</p></div></div> - -<div id="il_63" class="figcenter" style="max-width: 36em;"> - <img src="images/i_148b.jpg" width="2824" height="1626" alt="" /> - <div class="caption"><p>PECTORAL IN SHAPE OF A HAWK WITH A RAM’s HEAD.</p> - -<p>The Louvre.</p></div></div> - -<p>The pectoral in the centre belonged to Ramses II<span class="pagenum" id="Page_149">149</span> -himself, or, at least, was executed by his order, and as a -personal gift in honour of the Apis that was buried: -the cartouche name <i>Ousirmârî</i> is placed just below the -frieze, and serves, so to speak, as a centre for the -composition that fills the inside of the frame. There is -first a hawk with a ram’s head, with spread wings which -curve in order to frame the cartouche: in his claws he -holds the seal, the emblem of eternity. Lower, a large -uræus and a vulture spread their wings and enfold both -the hawk and the cartouche in mutual protection. Two -<i>Tats</i> symbolize eternity, and fill up the empty spaces in -the decoration in the two lower corners. The hawk with -the ram’s head represents the soul of the sun, the uræus -and the vulture are the patron deities of the South and -the North: together they defend throughout the whole -universe the king whose name stands between their -wings, and, by the intermediary of the king, the dead -man whose mummy wears the jewel.</p> - -<p>Here again the figures are designed in panels of gold -encrusted with coloured pastes or small pieces of cut -stones. The whole is rich, elegant, harmonious. The -three principal motives grow in proportion as they -descend to the lower part of the picture, according to an -admirably calculated progression. The cartouche with its -dull gold occupies the centre; below it the hawk forms a -first band of iridescent tones, the lines of which, slightly -curved back, correct the stiffness of the long sides of the -cartouche; the uræus and vulture, one pair of wings seems -to serve for both, envelop the hawk and the cartouche -in a semicircle of enamels, the tones of which pass from -red and green to dark blue, with a boldness and a -feeling for colour that does honour to the taste of the -workman. If the general aspect makes an impression of<span class="pagenum" id="Page_150">150</span> -heaviness, it is not his fault; the form of the jewel -imposed by religious tradition is so rigid in itself that -no combination can correct the effect beyond a certain -point. The rectangular or square frame, the cornice at -the top, the two rams’ heads which fit in below the -cornice, form a squat and massive whole. To fill the -interior suitably, it is impossible to avoid adding to the -heaviness; in manipulating the empty spaces a slender -and narrow appearance is procured, as in one at least of -the pectorals of Dahchour. The type of the jewels has -its origin in the same ideas or notions whence Egyptian -architecture and sculpture are derived: it is monumental, -and seems to have been conceived for the use of gigantic -beings. The usual dimensions of the pectoral are too -enormous for the adornment of ordinary men and women. -They only come into their own on the breasts of the -Theban colossi: the immensity of the stone body on -which their image is sculptured lightens them and seems -to bring out their exact proportions.</p> - -<p>Sometimes the Egyptians left aside the square form -bequeathed to them by their ancestors; the sacred bird -left his cage when he could. Mariette found two of these -simplified pectorals at the Serapeum, both of which represent -a hawk: the first has its ordinary head and bends its -wings back, the other has assumed the ram’s head and -keeps its wings straight. It has the same wealth and the -same elegance of line as in the other objects of similar -source, but the motive, rid of the enamelled frame in which -it was stifled, possesses more charm and is better suited -to humanity. The execution is wonderful, and the ram’s -head, in particular, surpasses in suppleness of workmanship -all that is so far known. It is cut in a little ingot of pure -gold, but it is not the material that is of most value: the<span class="pagenum" id="Page_151">151</span> -old chaser knew how to model it broadly, and has given -it as faithful an expression as if he had cut it life-size in -a block of granite or limestone. It is no longer, as everywhere -else, industrial art: it is art pure and simple. Mariette, -and he understood, considered that he had never come -across anything approaching this among the Egyptian -jewellery he had seen. The gold ring also belongs to -Ramses II. The two little horses who prance on the bezel -were celebrated in history. They were called <i>Nourit</i> and -<i>Anaîtis-contented</i>, and were harnessed to the royal chariot -on the day of the battle of Qodshou, when Ramses II -charged in person the Khitas who had surprised him. The -Pharaoh remembered the service they rendered him on -that memorable occasion. The chiselling, although not -so good as that of the hawk with the ram’s head, is -very fine: it reproduces very boldly the particular -attributes of Egyptian horses, their exaggerated mane, -rather thin body, slightly swollen extremities. It is true -that the rings, as a rule, are not adorned with subjects -in such strong relief: the bezel is composed of a scarab -or a metal cartouche turning on a pivot, sometimes engraved -with the name of the wearer of the jewel, but more -often with a pious formula or a series of symbols of obscure -meaning by way of inscription. The larger number of -the rings we see in the museums belonged to mummies, -and are amulets that give the dead man some sort of power -over the inhabitants of the other world: a small number -only were used by their owners in their lifetime. They -are seals, affixed to deeds like our stamps, just as we -affix our signature. They are in every material: gold, -electron, silver, bronze, copper, enamel, even in wood, -according to the wealth of the individual; some are -veritable masterpieces of engraving, but many possess no<span class="pagenum" id="Page_152">152</span> -more artistic value than the common copper seals bought -ready prepared at our stationers’.</p> - -<p>The largest of these jewels passed through so many -hands before reaching the Louvre that they have sensibly -suffered: the panels are warped or even broken, the enamels -or encrusted plaques are here and there worn off. The -Dahchour jewellery, coming direct from the excavation, -has preserved an appearance of freshness which has not -a little contributed to increase the admiration of the public: -the objects seem scarcely to have left the hands of the -goldsmith who fashioned them, and the surprise we experience -in finding them still so fresh after more than four -thousand years renders us indulgent towards the imperfections -that a close examination soon reveals. Their -extreme antiquity, and quite rightly, counts for much in -the appreciation they receive. It is indeed strange to confirm -that from the twenty-fifth century <span class="allsmcap">B.C.</span> the Egyptians -had carried the technique of precious metals and the art -of making jewellery to a very high degree of perfection. -This was, of course, already known, for it is not infrequent -to find rings, fragments of necklaces, isolated pectorals, some -of which perhaps go back to the Ancient Empire, while others -belong to the Roman period or betray Byzantine influence: -our museums possess them by tens, and there is scarcely -a private collection that has not a certain number of them. -But these isolated objects do not attract the attention of -the public; to rouse its curiosity it is necessary that some -happy chance should bring to light a considerable treasure -in which specimens of all the types usually collected piece -by piece are placed together. Fortunately, these finds are -not so rare as might be imagined: if Gizeh can boast of -possessing the substance of Dahchour and the queen -Ahhotpou, the Berlin Museum has the admirable ornaments<span class="pagenum" id="Page_153">153</span> -that Ferlini obtained from one of the Ethiopian -pyramids; the Leyden Museum and the British Museum -shared the spoils of one of the Antouf kings of the XIth -Dynasty; and the Louvre carefully preserves the jewels -of the Serapeum, the most beautiful of all.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_154" class="chapter"> -<p><span class="pagenum" id="Page_154">154</span></p> - -<h2 class="nobreak" id="XVII" title="XVII THE TREASURE OF ZAGAZIG">XVII<br /> - -<span class="subhead">THE TREASURE OF ZAGAZIG<a id="FNanchor_76" href="#Footnote_76" class="fnanchor smaller">76</a></span></h2> -</div> - -<h3>I</h3> - -<p class="in0"><span class="firstword">Once</span> more chance has served us well. Workmen who -were making a railway embankment on the site of -ancient Bubastis discovered, on September 22, 1906, a real -treasure of jewellery and Egyptian goldsmiths’ work in -the ruins of a brick house. They hoped to profit by the -find themselves, but one of our watchmen had seen them; -he took no action, however, at the moment, for fear of -being ill-treated: the next day he reported the matter to -the native inspector, Mohammed Effendi Chabân, who -at once put the police on their track and informed his -chief, Mr. Edgar, inspector-general of the antiquities in -the provinces of the delta. Investigations were made -in likely places, while the police searched the workmen’s -houses and recovered some of the pieces that had been -carried off. Several that escaped them fell later into the -hands of a dealer in Cairo: a gold strainer, three undecorated -silver phials, a large chased gold ring which -strengthened the neck of a silver vase, fragments of silver -cups, all, except the gold ring, of no artistic value. The<span class="pagenum" id="Page_155">155</span> -two most valuable, a silver vase with a goat in gold as -handle and a gold goblet in the form of a half-opened lotus, -were seized at the house of the fellahs, Moursi Hassaneîn -and Es-Sayed Eîd, before they had sold them to a local -Greek <i>bakal</i>. He immediately claimed them of us as his -personal property that, failing our unfortunate interference, -he would have acquired for ready money. As no reply -was vouchsafed to his summons, he went to law with us. -The affair dragged on for some weeks, during which Mr. -Edgar had the railway works carefully watched. At last, -on October 17th, a workman with a blow of his pick-axe -laid bare several fragments of silver vases: he tried to -conceal them, but our <i>ghafirs</i> prevented him, and the -search proceeded under the protection of the police: the -objects lay in a heap, gold between two layers of silver; -the same evening they were in safety. The work was -carried out so quickly that nothing was lost, and -there was no reason for any one to contest our right to -the windfall. To bring this story to an end, I may add -that on November 4th the court of Zagazig found the -two fellahs guilty of theft, and condemned them to imprisonment -and to pay half the costs. But the <i>bakal</i> still -persisted in his claim, and rumour soon spread among the -natives that he had gained his suit in the Court of Appeal: -we had been forced to deliver up to him the objects of -the litigation under penalty of a considerable fine for each -day of delay. The dealers never hesitate to spread lies -of this sort among the people: they thereby enhance their -prestige with the fellahs, and uphold them in the notion -that they have nothing to fear from the “Service des -Antiquités.”</p> - -<p>The treasure safe, we had to take note of the condition -in which it reached us. At the first glance, two very<span class="pagenum" id="Page_156">156</span> -different series were perceived: one, which comprised the -jewellery and the gold or silver vases of most skilful -workmanship, went back to the XIXth Dynasty; the -other was composed exclusively of silver plate, the -coarseness of which betrayed a much more recent period. -Although it was all found at two separate times, and -in two places somewhat distant from each other, did it -originally form one collection? As we have seen, the -whole made a heap among the débris of two or three jars -which were themselves broken in the course of centuries -under the continuous pressure of the earth; the objects -seemed to have been heaped up irregularly, the most -valuable in the middle, the others forming a bed above -and below. We had even still adhering to a large -fragment of pottery a stem partly of hardened mud and -partly of metal, in which we recognized on a precipitate -of less ancient earrings and bracelets, the remains of -several Pharaonic goblets. How can it be explained that -relics of such different epochs should be found in the same -place? Many of them are intact, but others have -purposely been clipped or broken, and the fragments melted -down; they are also mixed with plates of pliant silver and -with ingots coming from goldsmiths’ workshops like those -that still exist. We know what happens not only in Egypt -but in European countries when peasants dig up treasure -while ploughing their land: they take it to a jeweller, who -buys it of them by weight, throws it into the melting-pot, -scarcely ever troubling about the loss thus caused to -art or science, and transforms it into modern horrors. It is -to some adventure of the sort that we owe the possession -of our find. A fellah who lived, I imagine, during the -time of the Roman domination, found in the ruins near -Zagazig, if not at Zagazig itself, silver objects which he<span class="pagenum" id="Page_157">157</span> -sold to a native goldsmith who destroyed some of them -for the needs of his craft, and kept the others either -to give to a collector or to use himself in the same way -as the first lot when that should be exhausted. Did local -sedition or the sack of the city by a hostile army compel -him to hide his property in two different places? His -goods, once hidden under the earth, were not again drawn -forth, and we received them from him, almost without an -intermediary, sixteen months ago.</p> - -<div id="il_64" class="figcenter" style="max-width: 19em;"> - <img src="images/i_156.jpg" width="1490" height="1206" alt="" /> - <div class="caption">SILVER BRACELETS AND EARRING.</div></div> - -<div id="il_65" class="figcenter" style="max-width: 17em;"> - <img src="images/i_156b.jpg" width="1300" height="1274" alt="" /> - <div class="caption">GOLD EARRING FROM THE TREASURE OF ZAGAZIG.</div></div> - -<h3>II</h3> - -<p>I will say nothing of the rubbish of his own fabrication. -The types are already those of present-day Egypt, and we -could easily swear that most of them were manufactured -for sale to the fellahs, at most, twenty years ago: earrings -in the form of pendants or oblong rings, to the lower part of -which eight or ten metal beads are soldered in bunches; -rings with flat bezels, ornamented or left plain for a name -to be engraved; bracelets formed of a simple reed of -silver foil, thinned at each end and covered with a network -of lozenges fixed by two or three marks hollowed -out by the chisel and lacking elegance, the ends, cut off -straight, nearly meet when the piece is finished, but they -do not join, and so facilitate the putting of the bracelet -on the wrist. It is the honest work of a man who did -not spare his material, but only knew just enough of his -craft to please easily satisfied customers; the taste of the -good people of Bubastis who bought these things was -not of a discriminating sort, or they may have found -their market only in the people’s quarters. There are much -better things of the kind in the Cairo Museum, and if -the new-found treasure had only yielded such objects,<span class="pagenum" id="Page_158">158</span> -it would have been at once despatched to the <i>salle de vente</i> -for the delight of tourists.</p> - -<p>The contrast is striking as soon as we pass to what -comes down from the Pharaonic age. Not that it can be -placed among the best we know in that kind. The age -of Ramses II is already marked by a less sure taste than -that of the ages that preceded it, and I cannot compare it -with the Dahchour objects nor with those of Queen -Ahhotpou. One of the necklaces is the common breastplate -of five rows of little tubes in stone and enamel, -decorated with a fringe of gold egg-shaped ornaments -encrusted with coloured stone. Another necklace, also -of gold, with its eight rows of bottle-shaped pendants -hanging to little chains of tiny beads, would be somewhat -out of keeping with the others if that was its -original form, but the parts had been separated, and we -remounted them ourselves in order to preserve them with -less risk of loss. Five lenticular earrings are formed of two -convex gold pellicles closed at the circumference and joined -by a border of filigree, stamped in the centre with a rosette, -the leaves of which are grouped round a gold or enamel -button; a gold tube soldered to the inside and grooved in -the furrow of a screw passed through the lobe, and was -fastened to an invisible button which, pressed against the -flesh, kept the jewel in its place. There was also a -bracelet in minute particles of metal and enamel, like those -of Ahhotpou and the princesses of Dahchour, but only the -clasp has come down to us, a sliding clasp of a most -primitive character, with no value except for the gold. -The best thing in the series was undoubtedly the pair -of gold and lapis lazuli bracelets on which may be -read the cartouche name Ousimares—Osymandyas—of -Ramses II.</p> - -<div id="il_66" class="figcenter" style="max-width: 33em;"> - <img src="images/i_158.jpg" width="2588" height="1640" alt="" /> - <div class="caption">ONE OF RAMSES II’S BRACELETS (OPEN).</div></div> - -<div id="il_67" class="figcenter" style="max-width: 23em;"> - <img src="images/i_158b.jpg" width="1788" height="1647" alt="" /> - <div class="caption">ONE OF RAMSES II’S BRACELETS (CLOSED).</div></div> - -<p><span class="pagenum" id="Page_159">159</span></p> - -<p>They form two circular portions of nearly equal size, -joined by two hinges, the first turning on a fixed axis, the -second a movable bolt taken away when the bracelet was -opened. The back part is a mere plate of polished gold -about 1½ inches broad, on which eight twists and eight fillets -are laid side by side. The twists and fillets alternate, and -the ends are bordered with a thin strip parallel to the -hinge. On it are placed two rows of minute particles of -metal soldered together, and kept in place by two flat -double-twisted little chains. The front portion is expanded -to the middle, where it is just over 2 inches in height. -At the hinges it is edged by a row of egg-shaped ornaments -set between two flat chains, and along the curves by a -twist flanked by two fillets. A second frame, included in -the first, is of a more complicated design: a double <i>motif</i> of -little beads and chains goes round the curves, but on the -side of the fixed hinge the cartouche name of Ramses II -is to be seen, and on the side of the movable hinge two -bands of beads and filigree lozenges on a plain background. -In the space thus reserved the goldsmith had traced the -silhouette of a group of ducks lying flat, by means of a line -of beads and a thin thread. The two bodies, which are -packed together so as to be combined in one, are formed -of a piece of lapis lazuli, cut and highly polished. The ends -of the bodies are imprisoned in a gold sheath decorated with -a covering of small knobs and lozenges; the tails are joined -together, and simulate a fan; they are of lapis, striped -with threads of gold to mark the separation of the feathers. -Another gold sheath, of similar workmanship, envelops the -chest; the two necks escape with a bold movement, and the -two heads, twisting round, lie symmetrically on the back -of the creatures. Between them and the frame is a smooth -ribbon in sharp zigzags on a seed-plot of granules. The<span class="pagenum" id="Page_160">160</span> -whole effect is rather heavy, and it would have been better -if the artist had shown a more sober taste; but having -stated so much, it is clearly seen that his work was conceived -with a perfect understanding of decoration and a mastery -of all the secrets of the art.</p> - -<p>All the methods that he so well manipulated may be -found in the work of the goldsmiths of contemporary -Egypt, especially in that of those who, living in remote -villages, have come less under European influence than their -colleagues in the cities. The models they copy are never -of so delicate an imagination or so skilled an execution; -but we note for the most part the same devices and the -same decorative parts of which we note the employment -here; lozenges, zigzags, simple twisted cords, double-plaited -small chains, rounded mallets, threads, filigrees in lines or in -seeds. The ingots are beaten, stretched, fashioned, polished -on the same little anvil. The granules are blown as formerly -in charcoal powder, and the skill with which they are put -together and soldered to obtain the desired designs is as -great as in the time of the Pharaohs. In that, as in -many other industries, the Egypt of to-day has inherited -from the Egypt of the past, and we have only to look at -the artisans in their shops to learn how the subjects of -Ramses II set about their work.</p> - -<h3>III</h3> - -<p>The gold and silver vases are some years later than -the bracelets. On one of them, indeed, may be read the -name of Taouasrît, a great-granddaughter of Ramses II -who married successively Siphtah and Setouî II, and who -enjoyed her hour of celebrity in the last days of the -XIXth Dynasty. It is a half-opened lotus, mounted on<span class="pagenum" id="Page_161">161</span> -its stem. The calyx of the flower is formed of thin gold-leaf, -not lined, sharply cut at the outer edge. The stalk -is smooth except where the cartouche is engraved: it -expands and flattens out at the bottom to form a foot, -and the widening is decorated with folioles, kept in place -by three circular bands. The lines are sufficiently -harmonious, but the execution is poor, and the object -would scarcely deserve a brief mention in our catalogue -if the royal name did not assign it a definite date: here -the artistic yields to the archæological value.</p> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_68" class="figleft" style="max-width: 19em;"> - <img src="images/i_160.jpg" width="1443" height="1844" alt="" /> - <div class="caption">GOLD CUP OF QUEEN TAOUASRÎT.</div></div> - -<div id="il_69" class="figright" style="max-width: 18em;"> - <img src="images/i_160b.jpg" width="1436" height="1993" alt="" /> - <div class="caption">SMALLER OF THE TWO GOLD VASES (FRONT VIEW).</div></div> -</div></div> - -<p class="clear">It is otherwise with the gold vases that accompany it. -They are of medium size, and the smallest of them all -measures only about 3 inches from bottom to top; but -the harmony of the proportions makes them perfect -models of the kind of plate that appeared at banquets -on the sideboards or tables of the rich. The bowl is -rounded, and surmounted by a straight neck almost as -high as the bowl itself, the upper edge of which curves -slightly outwards. The front is decorated with a traced -ornament simulating that of one of the large necklaces -in lotus petals with which the Egyptians adorned themselves -on fête-days. The two bands with which it was -fastened to the neck fall undulating on the right and -left, and two cats—the two cats of the goddess worshipped -at Bubastis—look at them inquisitively, with attentive -eye, distended back, quivering tail, straight ears, as if -asking to play with them. A lotus escapes below, and -on the slopes of its corolla two geese glide flapping their -wings. The neck is divided into three equal rows, -separated by flat cords: first a wreath of lotus buds points -downwards, joined together by a band of threads, one -on top of the other; then a row of egg-shaped fruits, -and lastly a band of round florets hollowed in the<span class="pagenum" id="Page_162">162</span> -centre and the hollow encircled with points like -stamens. There is neither handle nor holder, but a -small barrel, through which a gold ring was passed -and by which the object could be hung up, was fastened -by three rivets to the lotus buds on the side opposite -to that of the necklace. The barrel is of bluish faïence -set in a gold mount with a terminal flower. It shows -signs of wear and is dented in several places, but none -of the blows it suffered have seriously injured it: it -is as perfect as at the moment it issued new from the -shop. The choice of motives is elegant, the grouping -irreproachable, the composition bold and a little summary: -the artist seems to have worked quickly, but he -possessed such mastery of his craft that the rapidity -of the fabrication in no way injured the charm of the -work.</p> - -<div id="il_70" class="figcenter" style="max-width: 23em;"> - <img src="images/i_162.jpg" width="1780" height="1979" alt="" /> - <div class="caption">SMALLER OF THE TWO GOLD VASES (BACK VIEW).</div></div> - -<div id="il_71" class="figcenter" style="max-width: 31em;"> - <img src="images/i_162b.jpg" width="2433" height="1170" alt="" /> - <div class="caption">MASS OF SILVER VASES SOLDERED TOGETHER BY OXIDE.</div></div> - -<p>The second vase is larger, for it measures about -4½ inches in height; if the shape is similar, the detail -of the decoration is very different. The bottom is flat, -and the outer surface is filled by a lotus, drawn so as -to cover it entirely. The bowl is not smooth, but three-fourths -of it are covered with a regular bossage, which -gives it the appearance of an enormous symbolic ear of -<i>dourah</i>. The method employed to produce it is not -repoussé work properly so-called, hammered from the -inside to the outside. The general network was first -very lightly traced on the metal; then the rounds were -outlined with a blunt instrument and hammered into a -furrow, which, pressing down the metal round them, left -them themselves in relief. The neck was finished by an -almost imperceptible rim, obtained by turning the upper -edge of the gold plaque outwards. There are four -rows instead of the three of the small vase: at the top<span class="pagenum" id="Page_163">163</span> -the line of buds, then lotuses head downwards, with -alternate bunches of grapes or undefined flowers hanging -between them, then centred florets, and then fruits. The -suspensory ring is fastened to the band of petals by a -<i>motif</i> in shape of a calf. The beast lies on its belly, the -tail folded over the back; the head, turning to the right, -is extended and raised, as if to look over the edge of -the neck. It seems to have been chiselled in the solid -metal, and not engrafted, and then finished with the -graver. It is treated broadly, with a sure touch and the -knowledge of animal form that is peculiar to the -Egyptians; it may be placed beside the couchant calves -that serve as perfume caskets and are masterpieces of -sculpture in wood: it will lose nothing by the comparison. -The whole presents the same characteristics as the preceding -vase, and when closely examined we are soon -convinced that it comes from the same workshop; indeed, -there is little risk of mistake if we attribute both to -the same artist.</p> - -<div id="il_72" class="figcenter" style="max-width: 24em;"> - <img src="images/i_164.jpg" width="1872" height="2548" alt="" /> - <div class="caption">LARGER OF THE TWO GOLD VASES (FRONT VIEW).</div></div> - -<div id="il_73" class="figcenter" style="max-width: 24em;"> - <img src="images/i_164a.jpg" width="1859" height="2653" alt="" /> - <div class="caption">LARGER OF THE TWO GOLD VASES (BACK VIEW).</div></div> - -<p>It is the same with the two silver jugs which accompany -the two gold vases: they have a common origin, and -an equal importance for oriental toreumatology. One of -them, unfortunately, was broken, and we do not possess -all the pieces; but we have enough to be sure that it -resembled the one that has come to us intact. The -bowl is covered to two-thirds of its height with longitudinal -rows of fruits, sitting one on the other like the -scales of a pine cone. Here again it is not ordinary -repoussé work, but the outline of each scale has been -marked round and the metal then pressed down from -outside to inside. The smooth belt which lies between -the embossing and the rise of the neck carries round -the whole of the vase a single line of hieroglyphics expressing<span class="pagenum" id="Page_164">164</span> -a wish for the eternal life and prosperity of -the royal cupbearer, Toumoumtaouneb, then a vignette -and the owner in worship before a goddess, who is -pacific and Egyptian on the perfect vase, but bellicose -and foreign on the broken vase, armed with lance and -buckler. Toumoumtaouneb was a person of importance -in his time: not only was he entitled chief cupbearer, -but he is proclaimed the king’s messenger in all barbarous -lands, and he doubtless brought back his pious regard for -the bellicose goddess from one of his journeys in Syria. -That is the only exotic element found in the decoration -of the two vases. The top of the neck is ornamented -with a rim of light gold. It has two rows of subjects, -one on top of the other: episodes of hunting or fishing. -A fragment of the broken vase shows a troop of wild -horses running towards a marsh with lotuses, where birds -are flying. The intact vase is unfortunately encrusted in -places with oxide, which obscures the detail of the scenes: -we distinguish outlines of boats, tufts of aquatic plants, -men drawing nets or shooting arrows, beasts at full -gallop; in the upper row there are imaginary trees with -palm-leaves or volutes, among which griffins fight with -lions. If we do not owe the silver vases to the same -artist who fashioned the gold vases, he was at least -endowed with the same admirable skill. He has greatly -simplified the outline of his figures, but the lines are -firm, even, sunk in the metal with the precision of a -master: the craft had no secrets from him. But that is -not the chief merit of his work: twenty others would -have been capable of so much among the goldsmiths -who worked for the king and the great nobles. What -specially distinguishes it is the originality of the design -he chose for the handle, and the manner in which he<span class="pagenum" id="Page_165">165</span> -treated it. A kid, attracted by the fumes of the wine -contained in the vase, had climbed the bowl, and boldly -standing on its hind feet, the legs strained, the spine -rigid, the knees leaning against two gold calyxes which -spring horizontally from the silver face, the muzzle -pressed against the moulding, he looks greedily over the -edge: a ring passing through the nostril serves for hanging -up the vase. The body is hollow and has been fashioned -in two pieces stamped out, and the two halves soldered -together longitudinally and touched up with the graver. -The horns and ears are inserted: a triangular hole was -introduced in the middle of the forehead. The material -technique is excellent, but the conception is even superior -to the technique: nothing could be truer than the movement -that inspires the little creature, nor more ingenious -than the expression of greediness emanating from the -whole of the body.</p> - -<div id="il_74" class="figcenter" style="max-width: 28em;"> - <img src="images/i_164b.jpg" width="2203" height="2849" alt="" /> - <div class="caption"><p>THE VASE WITH THE KID.</p> - -<p>(About 6¼ inches in height.)</p></div></div> - -<p>Representations of many similar vases may be seen -on the monuments of the Theban Dynasties, with foxes, -leopards, and human beings for handles, and we had -asked ourselves if they really existed anywhere except in -the imagination of the painters of the hypogeums. There -is now no manner of doubt that they were faithful reproductions -of models used by the Egyptians, or by the -nations with whom the Egyptians had relations either in -war or in commerce. Shall we ever find one of the large -table épergnes which show scenes of conquest, with trees, -animals, statuettes of negroes or Asiatics in gold or in -enamel? They contained such a large amount of metal -that they would have been cast into the melting-pot at -some moment of want, but we await the chance that -may give us depôts similar to that of Zagazig: I do not -think, however, that we shall find pieces of a finer inspiration<span class="pagenum" id="Page_166">166</span> -or of a more harmonious composition than that of -the vase with the kid.</p> - -<h3>IV</h3> - -<p>The silver pateræ have suffered much. Hurriedly piled -up in the receptacle where they were hidden, the oxide -bound them solidly together, and we have not yet succeeded -in separating them all. It has besides eaten into -them in so thorough a fashion that we have only ventured -to clean two or three: it is doubtful if we shall -ever risk touching the rest. It is a misfortune common to -most of the silver objects found in Egypt: under the -influence of the annual infiltrations, the organic acids, of -which the subsoil of the ancient cities is composed, attack -them and eat them away without truce or mercy. If -the metal was of suitable thickness we might hope that the -surface only was injured and the core of the metal unharmed, -but most often they consist of a leaf of metal -of extreme thinness, which quickly decomposes. Thus -the object only endures at all thanks to the oxide crust, -and if that support was removed it would be resolved into -dust and tiny fragments.</p> - -<div id="il_75" class="figcenter" style="max-width: 35em;"> - <img src="images/i_166.jpg" width="2744" height="1022" alt="" /> - <div class="caption">ONE OF THE SILVER PATERÆ OF ZAGAZIG (SIDE VIEW).</div></div> - -<div id="il_76" class="figcenter" style="max-width: 20em;"> - <img src="images/i_166b.jpg" width="1571" height="1734" alt="" /> - <div class="caption">SILVER STRAINER.</div></div> - -<p>Only one of the pateræ is almost intact. It measures -just over 6 inches in diameter and about 5½ inches in height. -It is flat at the bottom and the sides are slightly inflated -at the base; they are decorated at the top with a gold -border fastened to the rim by rivets. Two small decorated -plates in chased gold are furnished with rings which hold -a little gold rod that, bent in three, serves to suspend it. -Four large gold rounds are placed flat on the rim opposite -the handle. The side is smooth, with a single line of -hieroglyphics on the outside—a kind wish, on the parvis<span class="pagenum" id="Page_167">167</span> -of the temple of Neîth, for the owner, the singing-girl -of Neîth, Tamaî, “the Cat.” It is silver leaf, -stamped out in a curve, the two ends of which have -been joined without any appreciable overlapping and then -soldered together. The bottom is also formed of silver -leaf, which is fastened to the lower edge of the sides -and divided into two concentric rows. In the centre is -a sort of umbilicus, with a gold flat-rimmed hat decorated -by a line of rounded beads of metal and several lines of -little chains. The row nearest the centre is slightly -lower; on it may be seen water full of fish, with tufts -of lotus here and there. A little papyrus boat, occupied -by a naked shepherd and a calf, floats amid the -patches of green; birds fly about, and two nude figures -of young women—the same who, modelled in wood, -provided the sculptors of the period with a charming -design for perfume ladles—swim side by side in order to -gather flowers. A flat space and a line of tiny rounds -separate the pool from a hunting-ground that four conventional -palm-trees planted at equal distance divide into -the same number of distinct compartments. Two winged -sphinxes with women’s heads stand on either side of one -palm, the paw raised and stretched out as if to pull down -the dates: two symmetrical pairs of goats leap at the -other palms to browse on them. Between these groups, -animals run madly about, a wild ox chased by a leopard, -hares and gazelles by foxes, dogs, or wolves. The figures -of the middle row are of repoussé work of so feeble a -character that we should almost say they are engraved -on the metal: those of the outer row are of a stronger -repoussé, and then gone over again and finished with the -graver.</p> - -<p>The other pateræ resemble these as far as the technique<span class="pagenum" id="Page_168">168</span> -and decoration are concerned: they evidently came from -the same workshop and belonged to one owner. Were -they for daily use or only for ornament? It would seem -that they were not fashioned for a definite use: at least -they do not recall the shapes seen on the monuments in -the hands of guests at a banquet or of priests in the -sacrifices. They were hung on the walls of halls, or placed -on sideboards on fête-days, and if they were given to the -guests, it was not simply for them to eat or drink out -of. Filled with fresh water or clear wine, it was a sort -of miniature lake, in the centre of which the point of -the gold hat rose like an islet: the landscape and figures, -seen through the transparent medium, stood out on the -flat background with peculiar vivacity, and were effaced -or deformed at pleasure when the liquid was disturbed. -It is not so long since we were pleased with similar -puerilities, and Orientals do not disdain them to-day: -the pateræ were, perhaps, toys rather than objects of real -utility. I shall not say the same of the silver strainers, -the forms of which are elegant but not overladen with -ornament, and evidently intended for use. A wide opened -funnel, a plaque at the bottom pierced with tiny little -holes—the handle alone testifies to any artistic attempt—an -open papyrus flower, the petals of which, bent over the -stem, lean on the rim of the funnel. It is a useful implement -for kitchen or cellar, well adapted to its end, -easy to keep clean, in a word practical, a thing in truth -that the pateræ are not.</p> - -<h3>V</h3> - -<p>It is clear, then, that the interest of the find is great -in itself on account of the number and beauty of the<span class="pagenum" id="Page_169">169</span> -objects. Until now the greater part of the goldsmiths’ -work we possess was of the Ptolemaic period, and those -that could be attributed with certainty to the Pharaonic -period possessed no characteristics that permitted us to -judge the skill of the Egyptians. The pictures on the -walls of tombs or temples authorize our belief that it was -very skilful, but the conventions of their designs are still -so ill-defined that there is not always agreement about -their interpretation. It is even necessary to ask if certain -motives figuring outside a vase ought not to be taken -as belonging to the decoration of the inside. We now -have a sufficient number of their works to justify our conjecture, -and to declare in all sincerity that the goldsmiths -were in no way inferior to the sculptors, at least so long as -the second Theban Empire lasted.</p> - -<div id="il_77" class="figcenter" style="max-width: 32em;"> - <img src="images/i_168.jpg" width="2549" height="2750" alt="" /> - <div class="caption">THE BOTTOM OF ONE OF THE ZAGAZIG SILVER PATERÆ.</div></div> - -<p>These objects were found on the site of ancient -Bubastis, and the presence of the cats of the goddess -Bastît on several of them, as well as the name of Tamaî, -the Cat, that is on the chief vase, seem to point that they -were made in the place that has restored them to us. -It is true that Tamaî was a singing-girl of Neîth, living -in the enclosed space before the temple of Neîth, and -that might be a counter-indication, at least so far as these -objects are concerned. Setting aside the question of -origin, which is too uncertain, we may ask if they are -really Egyptian by inspiration, or if there is not a risk -in examining them more closely of the discovery of proofs -of some foreign influence. For about a quarter of a -century, now, Assyria, Chaldæa, Asia Minor, Crete and -the Egyptian islands have become better known to us, -and the scholars who have studied those places have not -been slow to despoil Egypt in their favour: it is too -often sufficient for an object or an artistic design frequently<span class="pagenum" id="Page_170">170</span> -occurring on Egyptian monuments to be found in those -places at once to attribute to them the original invention -or ownership. I cannot help thinking that many of these -claims are not legitimate, and that in a more general way -it is exceedingly rash in the case of a civilization so complex -and distant in its beginnings as that of Egypt at the -time of the second Theban Empire, to claim the ability to -discern all the elements it borrowed from outside. We -know how rapidly the peoples of the Nile assimilate the -foreigner: in ancient times, it was with the arts as with men, -and forms of architecture, of drawing, of industrial production, -transplanted among them, either quickly disappeared -and left no trace, or yielded to the conditions of the -country, and became so completely fused with the taste of -its environment that it is now scarcely possible to distinguish -the foreign from the native. I believe that Egypt -certainly accepted exotic types; but the lands with -which she had relations did not abstain from imitating -her, and from the most distant ages. She gave to others -at least as much as she received from them, and in many -cases where the question of filiation has recently been -determined against her, it would be well to suspend that -judgment, if not to upset it.</p> - -<p>In this case, I imagine that it will not enter any one’s -mind to dispute that the bracelets of Ramses II and -the chalice of Taouasrît are Egyptian pure and simple. -The two gold vases and the two silver jugs present no -foreign characteristic: the gold kid is of the same family -as the goats sculptured fifteen or twenty centuries earlier -in the Memphian bas-reliefs, standing on their hind legs -and nibbling at a bush. The pateræ, it is true, resemble -the Phœnician gold and bronze cups so often found in -the Euphrates districts and in the lands on the shores<span class="pagenum" id="Page_171">171</span> -of the Mediterranean: but no one has refused to admit -that they were imitations of Egyptian models, and -perhaps a more impartial examination would lead -archæologists to restore some of them at least to Egypt. -At any rate, the treasure of Zagazig shows us what -those models ought to be: the Phœnicians were not unmindful -of them and respected the general arrangement, -even if they often modified the detail. One element only -in the scenes of the two rows may be exotic: the female -sphinx with the strange locks of hair, if we choose to -see in her a derivative of the griffin rather than a -fantastic deformation of the male sphinx of a former age. -But even so, it must not be forgotten that the griffin -belongs to the ancient national foundations like the oxen -and gazelles, goats, dogs, leopards seen by its side: its -presence would only prove—if its form was so characteristic -that we could not refuse to believe it an incongruity—that -it was borrowed from the arts of Syria or Chaldæa by -some artist tired of always using the traditional types of -his country.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_172" class="chapter"> -<p><span class="pagenum" id="Page_172">172</span></p> - -<h2 class="nobreak" id="XVIII">XVIII<br /> - -<span class="subhead">THREE STATUETTES IN WOOD<br /> - -<span class="subhead">(<i>The Louvre</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">The</span> three little wooden figures reproduced here are of -Theban origin, and represent persons who lived under the -conqueror-kings of the XVIIIth and XIXth Dynasties.</p> - -<p>The first was found in the Salt collection, purchased by -Champollion at Leghorn in 1825, which forms the basis -of the Louvre collection.<a id="FNanchor_77" href="#Footnote_77" class="fnanchor">77</a> It is a young woman in a long -clinging dress trimmed with a band of embroidery in -white thread running from top to bottom. She wears a -gold necklace of three rows and gold bracelets. On her -head is a wig, the hair of which hangs down to the rise -of the breast; the wig is kept in place by a large gilded -band simulating a crown of leaves arranged points downwards. -The right arm hangs down beside the body, and -the hand held an object, probably in metal, which has -disappeared; the left arm is folded across the chest, and -the hand clasps the stem of a lotus, the bud pointing -between the breasts. The body is supple and well-formed,<span class="pagenum" id="Page_173">173</span> -the breast young, straight, slight, the face broad, and -smiling with something of softness and vulgarity. The -artist was unable to avoid heaviness in the arrangement of -the coiffure, but he has modelled the body with an elegant -and chaste delicacy; the dress follows the form without -revealing it indiscreetly, and the gesture with which the -young woman presses the flower against her is natural. -The statuette is painted dark red, except the eyes and the -embroidery, which are white, and the wig, which is black: -the bracelets, the necklace, and the bandeau are of a yellow -gold identical with the small book exhibited in the glass -case marked Z in the “Salle civile.”<a id="FNanchor_78" href="#Footnote_78" class="fnanchor">78</a></p> - -<div id="il_78" class="figcenter" style="max-width: 38em;"> - <img src="images/i_172.jpg" width="2996" height="2377" alt="" /> - <div class="caption"> - <div class="htmlonly"> - <p class="floatl in2 smaller">La Dame Naî</p> - <p class="floatr smaller">Officier en costume demi civil</p> - <p class="p0 b1 floatc smaller"><span class="in4">Prêtre</span></p> - </div> - <div class="epubonly smaller"> - <p>La Dame Naî</p> - <p>Prêtre</p> - <p>Officier en costume demi civil</p> - </div> - <p>STATUETTES IN WOOD.</p> - <p>The Louvre.</p></div></div> - -<p>Two inscriptions engraved on the pedestal, and then -painted yellow, inform us of the name of the woman, and -of that of the individual who dedicated the statue. One -on the front runs thus:</p> - -<p class="p1 b1 center"> -(A) <span class="smcap">Adoration to Phtah<br /> -Sokar-Osiri,<a id="FNanchor_79" href="#Footnote_79" class="fnanchor">79</a> great God, Prince<br /> -of Eternity, to whom are given all kinds of good<br /> -things and pure things, to the double of the<br /> -perfect lady Naî of the true perfect voice.</span> -</p> - -<p>The other is engraved on the right side, and runs:</p> - -<p class="p1 b1 center"> -(B) <span class="smcap">It is her Brother who makes her name to live,<br /> -the servant Phtah-Maî.</span> -</p> - -<p><span class="pagenum" id="Page_174">174</span></p> - -<p>From other monuments we know more than one -Egyptian of the name Phtah-Maî, and more than one -lady Naî: but none of them has any claim to be identified -with our two personages. Phtah-Maî is not a noble: he -filled a very humble post, that of a page attached to a -noble, or a subordinate employé of a temple or of -a court of justice. But the charm of the monument he -devoted to the memory of his sister is only the more -remarkable.</p> - -<p>The personage in the middle is a priest, standing, -wearing the short wig with little locks of hair in rows -one above the other. The bust is bare, and his only -garment is a long skirt falling half way down the leg, -spread out in front into a sort of pleated apron. In his -two hands he bears a sacred insignia consisting of a ram’s -head surmounted by the solar disk, and forming an ægis, -the whole set into a staff of fairly large dimensions: the -attitude is one of repose. The third figure, on the contrary, -is full of movement and activity. It is an officer -in semi-military costume of the time of Amenôphis III -or of his successors: a small wig, a clinging smock with -sleeves, a short loin-cloth tightly girded over the hips and -scarcely descending to the middle of the thigh, decorated -in front with a small piece of stuff standing out, pleated -lengthwise. These two statuettes are painted dark red -with the exception of the wig, which is black, of the cornea -of the eyes, which is white, and the insignia of the priest, -which is yellow. The old pedestal has disappeared, and -with it the name. Like the limestone and wooden statues -of large dimensions, these formed part of the funerary -equipment: they were the supports of souls in miniature, -and served as a body for the double of the model and -<i>kept alive the name</i> of a person who had been loved or<span class="pagenum" id="Page_175">175</span> -well known. There are a large number of them in the -museums, and nearly all are of the same epoch. Neither -the Ancient nor the Middle Empire made them—Saïte art -preferred hard stone: the wooden statuettes that I have -so far seen are of the second Theban period, and belong -to the XVIIIth, XIXth, and XXth Dynasties.</p> - -<p>Some of them, if not all, were used for purposes that -seem strange to us. Several had little rolls of papyrus -fastened to their pedestal or their body, ordinary letters -that the writers sent to one another; one possessed by the -Leyden Museum is an adjuration addressed <i>to the perfect -soul of the lady Ankhari</i> by her still living husband:<a id="FNanchor_80" href="#Footnote_80" class="fnanchor">80</a> -“What fault have I committed against thee that I should -be reduced to the miserable condition in which I find -myself? What have I done to justify this attack on me, -if no fault has been committed against thee? From the -time I became thy husband until this day, what have I done -against thee that I should conceal? What shall I do when -I have to bear witness to my conduct in regard to thee, -and shall appear with thee before the tribunal of the -dead, addressing myself to the cycle of the infernal gods, -and thou wilt be judged after this writing, which is in -words uttering my complaint in regard to what thou -hast done. What wilt thou do?” The general tone of the -piece is, as is clear, one of complaint and accusation. The -husband laments about “the miserable condition to which -he is reduced,” three years after he has become a widower; -then he relates the incidents of his conjugal life in order -to show the ingratitude he has received for his trouble<span class="pagenum" id="Page_176">176</span> -and care. “When thou becamest my wife, I was young, -I was with thee, I did not desert thee, I caused no grief -to thy heart. Now so I acted when I was young; when -I was promoted to high dignities by Pharaoh, I did not -desert thee; I said: ‘Let them be mutual between us!’ -and as everybody who came saw me with thee, thou didst -not receive those whom thou didst not know, for I acted -according to thy will. Now, here it is, thou hast not satisfied -my heart and I shall plead with thee, and the true -will be distinguished from the false.” He dwells on and -reminds her of his kindnesses: “I have never been found -acting brutally to thee like a peasant who enters other -people’s houses.” When she died, during an eight months’ -absence occasioned by his service with Pharaoh, “I did -what was seeming for thee: I lamented thee greatly with -my people opposite my dwelling, I gave stuffs and swathings -for thy burial, and for that purpose had many -linen cloths woven, and I omitted no good offering I -could make thee.”<a id="FNanchor_81" href="#Footnote_81" class="fnanchor">81</a> The poor man does not state clearly -the nature of the troubles from which he suffered. Perhaps -he imagined that his wife tormented him in the -form of a spectre; perhaps, what after all comes to the -same thing in the belief of an Egyptian, he was attacked -by diseases and overwhelmed with infirmities that he -attributed to the malignity of the dead woman. We are -reminded of the strange actions that the Icelanders of the -Middle Ages practised against ghosts. The administration -set on foot the whole cortège of officials and the whole of its -legal code to bring the accusation, judge and condemn the -dead who persisted in haunting the house in which they<span class="pagenum" id="Page_177">177</span> -had lived. The records of the causes are extant and -testify to the gravity that presided over this strange procedure. -The Leyden papyrus certainly relates to an affair -of the kind. A husband, addressing his wife’s soul, -summons her to suspend persecutions that are in no way -justified, under pain of answering for her conduct before -the infernal jury. If she did not heed this preliminary -advice, the matter would be brought later before the -tribunal of the gods of the west and pleaded: the papyrus -would serve as a piece of convincing evidence, and then -“the true would be distinguished from the false.”</p> - -<p>There was one difficulty to be overcome: how was -the summons to be sent to her? The Egyptians were -never embarrassed when it was a question of communicating -with the other world. The husband read the letter -in the tomb, then fastened it to a figure of the woman. -Thus she could not fail to receive the adjuration as she -received the funerary banquet, or the effect of the prayers -that assured her happiness beyond the tomb. The preoccupations -of art held only a subordinate place in statues -like those of the lady Naî and her two companions: the -religious idea was predominant, and it was religion which -gave the monument its meaning.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_178" class="chapter"> -<p><span class="pagenum" id="Page_178">178</span></p> - -<h2 class="nobreak" id="XIX" title="XIX A FRAGMENT OF A THEBAN STATUETTE">XIX<br /> - -<span class="subhead">A FRAGMENT OF A THEBAN STATUETTE<a id="FNanchor_82" href="#Footnote_82" class="fnanchor smaller">82</a></span></h2> -</div> - -<p class="in0"><span class="firstword">The</span> excavations undertaken by Mr. Mond on the eastern -slope of the hills of Cheîkh-Abd-el-Gournah, in one of the -richest of the Theban cemeteries of the XVIIIth and XIXth -Dynasties, have already given several valuable monuments -to the “Service des Antiquités”; and nothing surpasses or -even equals the fragment illustrated here. The statuette -to which it belongs was broken in the middle. The hips -and legs have disappeared, as well as the right arm, -and the plinth against which the back leaned; Mr. Mond -eagerly sought the missing pieces among the residue of his -find, but in vain; they were not forthcoming, and were -doubtless either destroyed in ancient times, or carried -off by some amateur during the nineteenth century. -The fragment that remains to us measures nearly a foot -in length and about 4½ inches across the shoulders; there -is nothing in the lines by which one can determine -whether the person it represents was seated or standing. -I am inclined to think that, according to the custom -of the time, the attitude resembled that of the little -lady Touî in the Louvre,<a id="FNanchor_83" href="#Footnote_83" class="fnanchor">83</a> standing, the feet nearly on<span class="pagenum" id="Page_179">179</span> -the same level, the right arm hanging down, the head -erect, with the wig of ceremony, and the dress of great -holidays.</p> - -<div id="il_79" class="figcenter" style="max-width: 26em;"> - <img src="images/i_178.jpg" width="2077" height="2986" alt="" /> - <div class="caption">THE MOND STATUETTE (FRONT VIEW).</div></div> - -<p>The material employed by the sculptor is limestone of -the kind the inscriptions describe as the <i>fine white stone of -Tourah</i>, but thick beds of it extend along the sides of -the valley of Egypt from the environs of Cairo to the -defiles of Gebeleîn. It abounds in the Theban plain, and -although it is too split and cracked in every sense to be -of any use for building purposes, it is admirably suited -for designs of restricted dimensions, such as those of our -statuette. It was most probably carved in the stone -of Cheîkh-Abd-el-Gournah itself, perhaps in one of the -blocks extracted at the time of hollowing out the tomb -for which it was destined. It forms an excellent substance, -supple and firm at the same time, and subserves with an -inimitable docility the boldest and the most delicate strokes -of the chisel; the grain of marble, crystalline and almost -metallic, makes the sensation on the eye of a rigid -envelope in which the subject is, as it were, imprisoned, -while limestone, softer and richer, better reproduces the -elasticity of the surface of flesh and the free play of -the muscles under the skin. Our statuette had been -illuminated in accordance with custom, but it bears only -imperceptible traces of painting and has the natural colour -of old limestone, a tone between cream and yellowed -ivory, which recalls the paleness of Egyptian women. The -detail of the clothing and ornaments which was due to -the brush has vanished, and is only indicated on the border -of the mantle by faint tooling. It has thus lost its archæological -value, but has gained an aspect of refinement -wanting in works where the colour has been preserved -intact.</p> - -<p><span class="pagenum" id="Page_180">180</span></p> - -<p>The young woman who has thus left us her portrait -lived under the XIXth Dynasty, at a time when fashion -imposed enormous head-dresses and scanty clothing on its -votaries. An almost transparent linen covers the left -shoulder, then crosses the chest and is knotted under the -right armpit, concealing the rest of the costume; the -left hand is freed from it and clasps a lotus stem, the flower -reaching to the hollow between the breasts. The bust -has not yet attained its plenitude, but the breasts are -well shaped and well separated, but so slight that they -scarcely make any impression on the linen; the lines of -the arm, shoulder, and neck indicate thinness. The artist -has well understood the characteristics of the dawn of -womanhood, and the discreet fashion in which he permits -us to guess the slender grace beneath the garment is that -of a master craftsman, but it is in the head and face that -he shows the full measure of his talent. The head is fitted -into a wig of complicated structure which yields nothing -in size to the majestic peruke of Louis XIV. A double -ribbon running from the forehead to the back of the neck -divides the hair into two equal masses, which are themselves -divided into volutes of little waved locks, each -formed of two thin tresses, twisted together at the extremity. -The whole forms a stiff heavy fabric which, -unskilfully interpreted, would make the piece ugly, no -matter how successful in the other parts. Our sculptor -has made no change in the general arrangement—his -model would not have permitted it—but he has adjusted -the parts with such happy ingenuity that the monster wig, -instead of overpowering the face, acts as a frame to it -and sets it off.</p> - -<div id="il_80" class="figcenter" style="max-width: 26em;"> - <img src="images/i_180.jpg" width="2055" height="2967" alt="" /> - <div class="caption">THE MONO STATUETTE (PROFILE).</div></div> - -<p>It is of the purest Egyptian type, not the heavy, -brutal type which predominates in the Memphian age and<span class="pagenum" id="Page_181">181</span> -among the fellahs to-day, but an elegant refined type -of which numerous examples are provided by statuettes -of all periods. The forehead appears to be rather low, -but we cannot be sure if it was so by nature, or if it is -the wig which conceals its height. The eyes are long, -almond-shaped, slanting towards the temple, widely -opened. The eyelids are drawn clearly, almost sharply, -and meet at an acute angle both at the inner corner -and at the outer commissure. The globe of the eye is -rather prominent, the pupil was added with the brush, -and a sort of greyish tone vaguely marks the place. -The eyebrows are a flattened bow, thin and regular. -The nose is attached to the superciliary arcade by a fairly -accentuated curve; it is straight, thin, rounded at the -end, with delicate nostrils. The lower part of the face -is thick-set, and of so firm a cut that with age—if age -ever came—it would have become hard. The lips are -full, thick, edged the whole length, split in the middle: -they are pressed together as if to keep back a smile. -The whole face changes in character and almost in -century, according to the angle from which it is looked -at. Seen from the front it is round and full, with neither -superabundance nor softness of flesh: it is the little middle-class -girl of Thebes, pretty, but common in form and -expression. Seen from the side between the hanging -pieces of the wig, as if between two long ringlets falling -on the shoulders, it assumes a malicious, roguish expression -not ordinarily usual in Egyptian women: it might be -one of our contemporaries who from caprice or coquetry -had put on the ancient coiffure.</p> - -<p>Who was she in her lifetime, and what was her name? -The fragment which represents her was found at the -bottom of a funerary pit, in the court-yard of the tomb<span class="pagenum" id="Page_182">182</span> -of Menna, and Menna flourished under the XIXth -Dynasty. Was she one of his wives, or daughters, or -sisters? The inscription which might have told us is -heaven knows where, and it will be a great piece of -good fortune if it is ever found.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_183" class="chapter"> -<p><span class="pagenum" id="Page_183">183</span></p> - -<h2 class="nobreak" id="XX" title="XX THE LADY TOUÎ OF THE LOUVRE AND EGYPTIAN -INDUSTRIAL SCULPTURE IN WOOD">XX<br /> - -<span class="subhead">THE LADY TOUÎ OF THE LOUVRE AND EGYPTIAN -INDUSTRIAL SCULPTURE IN WOOD<a id="FNanchor_84" href="#Footnote_84" class="fnanchor smaller">84</a></span></h2> -</div> - -<p class="in0"><span class="firstword">The</span> little lady Touî, who entered the Louvre last year, -was in her lifetime a singer in the service of Amon. -The title gives rise to doubt and scarcely permits us to -determine to what class of society she belonged. The -singers in the service of Amon were of all ranks, some -married, others free. They were all bound to serve the -god; they shook before him the sistrum that kept off -spirits, or wielded the magic whip, the <i>monaît</i>, with which -they beat the air to keep off with heavy blows the evil -beings who floated invisible in it. The most humble were -of easy morals, and the series of licentious vignettes in -the Turin Museum leaves no room for doubt regarding -the kind of life they led. They were the servants of the -temple; they placed their bodies at the free disposal of -their master Amon, and whoever addressed them in his -name would not meet with refusal. In the Græco-Roman -period the high-priest chose a young girl of rare beauty -from among the richest and noblest families of Thebes -and solemnly dedicated her. She became the chief singer, -and shared the life of her companions of lower origin as -long as youth lasted; when she was past the age of child-bearing<span class="pagenum" id="Page_184">184</span> -she retired, and an honourable marriage allowed -her to end her days amid the respect of all. The lady -Touî’s position seems to have been less curious. The -wives of priests or those of citizens affiliated to the different -brotherhoods of Amon formed associations of -<i>singers</i> who appeared in the temples on days of festival -or at the hours fixed for certain ceremonies: they only -accepted the duty of playing the sistrum or of plying -the whip, leaving to the others the rest of the function. -Touî doubtless had a husband and children somewhere in -Thebes. In an Egyptian tale<a id="FNanchor_85" href="#Footnote_85" class="fnanchor">85</a> the heroine, Tboubouî, -daughter of a priest of Bastît, replies to the lover who is -importuning her: “I am pure, I am no wanton.” Touî -might say the same to us if, trusting to her title, we -confused her with the common <i>singing-girls</i>, who yielded -their bodies to all.</p> - -<div id="il_81" class="figcenter" style="max-width: 21em;"> - <img src="images/i_184.jpg" width="1634" height="2916" alt="" /> - <div class="caption"><p>THE LADY TOUÎ, STATUETTE IN WOOD.</p> - -<p>The Louvre.</p></div></div> - -<p>The statuette that represents her may deservedly rank -as one of the best works which have recently emerged -from Theban soil. She stands upright in the hieratical -attitude of repose, one foot in advance, the head fixed, -the right arm hanging by her side, the left arm across -the chest, holding the sacred whip, the <i>monaît</i>, folded up. -She wears the ceremonial costume, a long robe with -sleeves, narrow, crossed in front, edged with a heavy, stiff -fringe, a broad necklace round the neck; on her head the -immense wig fashionable among the Thebans in the -eleventh and tenth centuries <span class="allsmcap">B.C.</span>, numerous little tresses -gathered together at the ends into two or three, and -finished off with tassels or little curls. The effect was -fairly ugly: it lent heaviness to the top of the figure,<span class="pagenum" id="Page_185">185</span> -diminished the size of the face, cramped the neck, concealed -the fall of the shoulders and the rise of the breasts, -broke the equilibrium of the body. But the anonymous -artist who made the portrait of the lady Touî has derived -an almost fortunate advantage from this deplorable head-dress: -he has treated it as a sort of background which -sets off the face, neck, and chest. The lateral tufts of -hair frame the features without making them too heavy, -and the close-fitting coif at the top is placed on the skull -without appearing to crush it. The slender, healthy forms -of the body are rendered in remarkable fashion, and the -modelling of the belly and legs shows itself under the -clinging stuff with a precision that is in no way brutal. -In looking at it we certainly recognize more than one -defect: the figure lacks suppleness and the face expression; -the wood is cut harshly and with an almost puerile -detail. The whole, however, pleases by some indescribable -simple and chaste charm: the Louvre was perfectly right -to acquire it, even if more money was expended than is -usual on Egyptian objects of such small size.</p> - -<p>Its use is easy to determine; it is a miniature <i>statue -of the double</i> shut up in the tombs of the Memphian -period. A statue was not within the reach of everybody: -only the rich could procure one, and people of moderate -means were obliged to content themselves with little -figures of less cost. The population of priests, <i>servants</i>, -<i>singing-girls</i>, heads of the works who lived round the -sanctuary of Amon or in the temples of the necropolis, -had many pretensions to luxury with slender resources: -their tombs are filled with objects which pretend to be -what they are not, and veritably deceive the eye, destined -to give the dead the illusion of opulence; massive wooden -vases painted to represent alabaster or granite vases, rings<span class="pagenum" id="Page_186">186</span> -and jewels in glass or enamel that appear to be gold -rings and jewels, furniture in common wood, varnished, -speckled, veined, to simulate furniture in rare woods. -The lady Touî belonged to that half-needy class, and had -to substitute statuettes of carved and polished wood for -limestone or sandstone statues. All the museums in -Europe have similar ones, and through Champollion, the -Louvre possessed the lady Naî,<a id="FNanchor_86" href="#Footnote_86" class="fnanchor">86</a> who sustains comparison -very well with her new comrade. Egyptian sculptors -had acquired veritable mastery in this subordinate form -of sculpture, and there are pieces of singular charm -among those that have reached us. Take, for instance, -the little girl and the woman I have chosen almost at -hazard in one of the cases of the Turin Museum. The -little girl is standing, one foot in advance, the arms -hanging down, naked according to the custom of -Egyptian children, with a necklace, and a belt which -loosely surrounds the loins, short plaited hair with a -tress falling over the ears. The material is less precious -than with the lady Touî, and the work less thorough, -but has the slim delicacy of a little Egyptian girl of -eight or ten years old ever been better expressed? It -is an exact portrait, in costume and figure, of the little -Nubian girls of the Cataract before the age of puberty -obliges them to wear clothes; it is their thin chest, -slender hips, clearly cut, delicate thigh, their bearing, -hesitating and bold at the same time, the roguish expression -of their features.</p> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_82" class="figleft" style="max-width: 19em;"> - <img src="images/i_186.jpg" width="1448" height="2246" alt="" /> - <div class="caption"><p>STATUETTE IN WOOD.</p> - -<p>Turin Museum.</p></div></div> - -<div id="il_83" class="figright" style="max-width: 19em;"> - <img src="images/i_186b.jpg" width="1452" height="2251" alt="" /> - <div class="caption"><p>STATUETTE IN WOOD.</p> - -<p>Turin Museum.</p></div></div> -</div></div> - -<p class="clear">The other statuette represents a well-developed woman -standing on a round pedestal without a scrap of clothing -or veil, but very proud of her head-dress, and especially of -her big earrings. She touches the right one with her hand<span class="pagenum" id="Page_187">187</span> -and makes it stand out a little in order to show it, or -to assure herself that the jewel is very becoming; the -head is big, the shoulders thin, the chest narrow, and the -sculptor was embarrassed to render the movement of the -arms; but the eyes are so wide open, the smile so contented, -the expression of the whole so intelligent, that -we can easily excuse that defect.</p> - -<p>Men were as well treated as women by this art fostered -by persons of small means. Scribes of subordinate -rank, old retired officers, retail merchants, or men at the -head of small industrial concerns, all of whom swarmed -in the poorer quarters, felt as strongly as their wives, in -default of the stone statue, the need of acquiring a -wooden image which would show what they had been -like in their lifetime. There were as many artists as -they wished to model them in the attitude they preferred, -in their everyday costume or in that of fête-days, bearing -and likeness guaranteed. Those found in the tombs in -the early years of the nineteenth century form a veritable -gallery, most varied and curious, of the different types -prevailing from the thirteenth to the ninth century <span class="allsmcap">B.C.</span> -in Thebes and its environs among the lower middle-class.<a id="FNanchor_87" href="#Footnote_87" class="fnanchor">87</a> -Some had been soldiers, and wear the light petticoat -bulging at the waist of the Egyptian foot-soldier; -others had spent their lives scribbling in a Government -office; the greater number belonged to one of the -funerary professions, guardians of mummies, decorators -of hypogeums, hewers of tombs, sacristans or priests of -a low order employed in the minor offices of burials -or commemorative rites. They proudly exhibit their -insignia: they carry long staves crowned with sacred -emblems—the human head of Hathor, the hawk’s beak<span class="pagenum" id="Page_188">188</span> -of Horus—and everything in their attitude betrays the -pride and satisfaction of knowing themselves so fine and -so important. Their bearing reveals what the inscriptions -usually placed on the pedestal of their statuettes confirm: -“It is I, Khâbokhni, the Servant of the ‘True’ Place,” -he who poured the libations, or who, at the canonical -hours, distributed a portion of bread, flowers, and fruits to -each of the dead entrusted to his care. The Egyptians -were admirable in observation and full of satirical -humour: I would not swear that, in impressing this -character of naïve vanity on their works, the sculptors -were not yielding to the temptation of discreetly amusing -themselves at the expense of their sitters.</p> - -<p>Study of these small monuments is too much neglected. -By considering the colossi of granite or sandstone, -the heroic statues and the ceremonial groups, we are -inclined to recognize only qualities of grandeur and immobile -majesty in Egyptian art; the wooden statuettes -show how, on occasion, it could display charm and wit. -Most of them are the products of chance, commercial -pieces, prepared in advance for the needs of customers, -of which a large assortment was always kept in reserve. -The family desiring to offer one to one of its dead came -to get it at the fairest price, and something was sold, -more or less well done according to the sum that was -spent; the choice being made, the piece was adapted -to its definitive destination by engraving on the pedestal, -or on the back, the names which transformed the -anonymous doll into a body for the double of a particular -individual. They were artisans who sculptured -these images, or rather manufactured them for the undertakers -of funerals. Their education was so complete and -their hand so practised that they rarely fell very low;<span class="pagenum" id="Page_189">189</span> -their average productions are of honest composition and -sufficiently true in feeling. When they were given -enough time or commissioned to take great care with a -piece of work, those who combined natural talent with -the routine of their craft produced work of real value—the -statuettes of the lady Touî, of the little girl and the -woman in the Turin Museum, and many others hidden -from the public in the cupboards of our museums.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_190" class="chapter"> -<p><span class="pagenum" id="Page_190">190</span></p> - -<h2 class="nobreak" id="XXI">XXI<br /> - -<span class="subhead">SOME PERFUME LADLES OF THE <span class="smcap">XVIIIth</span> DYNASTY<br /> - -<span class="subhead">(<i>The Louvre</i>)</span></span></h2> -</div> - -<p class="in0"><span class="firstword">It</span> is not without reason that these objects are called -perfume ladles. The Egyptians used them, in fact, for -making either essences, pomades, or the various coloured -pigments with which both men and women painted -the cheeks, lips, eyelids and underneath the eyes, the -nails and palms of the hand. The form and decoration -vary in accordance with the epochs. At the time -of the Ramessides, between the fourteenth and twelfth -centuries <span class="allsmcap">B.C.</span>, fashion introduced Syrian manufactures -into Egypt; later, under the Bubastis and under the -Ethiopian kings of the XXVth Dynasty, some Chaldæan -or Ninevite manufactures came in. The five ladles -illustrated here are purely Egyptian in origin and -style. The designs were generally borrowed from the -fauna and flora of the valley. The first has by way -of handle a young girl lost among the lotuses, who is -gathering a bud; a tuft of stems from which two full-blown -flowers escape attach the handle to the bowl, the -oval of which has its rounded part outside and the point -inside. In the second, the young girl is framed by two -stems of lotus flowers and papyrus, and walks along playing<span class="pagenum" id="Page_191">191</span> -a long-handled guitar. The next ladle substitutes a -bearer of offerings for the musician, and the fourth has -the musician standing on a boat sailing among the reeds. -The last takes the form of a slave, half bent under an -enormous sack. Nothing could be better than the -general design of the decoration. The artisans brought -as much conscience and skill to its execution as the -sculptors gave to their colossal statues. The physiognomy -and age of the four young girls are well characterized. -The girl who plucks the lotuses is an <i>ingénue</i>: -that state is shown by her carefully plaited hair and her -pleated skirt. Theban ladies wore long skirts, and this -is only turned up high to facilitate walking among -the reeds without soiling its edges. The two musicians, -on the contrary, belong to the lower class; one -has only a belt round her hips, the other a short petticoat, -carelessly fastened. The bearer of offerings has -the tress of hair falling over the ear, as was the custom -with children, and her belt is her sole garment. She is -one of the slender, slim young girls of whom many may -be seen among the fellahs on the banks of the Nile, -and her nudity does not prevent her from belonging to -a respectable family: children of both sexes only began -to wear clothes at the age of puberty. Lastly, the slave, -with his thick lips, flattened nose, bestial jaw, low -forehead, sugar-loaf head, is evidently a caricature of a -foreign prisoner; the brutish, conscientious way in -which he lifts his heavy burden, the angular prominences -of the body, the type of the head, the arrangement -of the different parts, remind us of the general -aspect of some terra-cotta grotesques that come from -Asia Minor.</p> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_84" class="figleft" style="max-width: 11em;"> - <img src="images/i_190.jpg" width="816" height="2278" alt="" /> - <div class="caption"><p>PERFUME LADLE.</p> - -<p>The Louvre.</p></div></div> - -<div id="il_85" class="figright" style="max-width: 8em;"> - <img src="images/i_190b.jpg" width="620" height="1659" alt="" /> - <div class="caption"><p>PERFUME LADLE.</p> - -<p>The Louvre.</p></div></div> -</div></div> - -<p class="clear">All the details of nature grouped round and framing<span class="pagenum" id="Page_192">192</span> -the principal subject, the exact form of the flowers and -leaves, the species of the birds, are very accurate, and -sometimes betray wit. Of the three ducks that the bearer -of offerings has tied by their claws, and which hang over -her arm, two are resigned to their fate and go swinging -along, the neck stretched out, the eye wide open; the third -lifts its head up and flutters its wings. The two water-fowl -perched on the lotuses listen at ease, the beaks on -their crops, to the lute-player who is passing near them; -experience has taught them that they need not disturb -themselves for songs, and that a young girl is only to be -feared if she is armed. In the bas-reliefs, the sight of a bow -or a boomerang throws them into confusion, just as to-day -that of a gun scatters the crows. The Egyptians knew -the habits of the animals who lived in their land, and -took pleasure in minutely observing them. Observation -became instinctive with them, and they gave a striking -air of reality to the least of their productions.</p> - -<p>The bowl of the ladles is generally oval. It is edged -by a running decoration between two lines, a waving line, -or a more or less accentuated denticulation. The cavity -made in the slave’s burden is of irregular shape, and the -thick border is decorated with lightly carved flowers and -foliage. It was a perfume box rather than a ladle, for the -little hole in the lower part, near the prisoner’s shoulder, -held the hinge of the lid, now lost. The fifth ladle is in -the shape of a quadrangular trough. The bottom, set in -four rectangular mouldings, is covered with waving lines -simulating water; the edges represent the banks of the -lake and are covered with aquatic scenes. On the right, -amid the flowers and lotus buds, a little personage is -catching birds with a net; on the left, another is fishing -from a boat. They are both summarily indicated, but are<span class="pagenum" id="Page_193">193</span> -not the less full of life. It is a miniature reproduction on -a wooden ladle of the great scenes of fishing and bird-catching -which are painted in the tombs and the temples.</p> - -<div class="center"><div class="ilb ilbpad"> -<div id="il_86" class="figleft" style="max-width: 12em;"> - <img src="images/i_192.jpg" width="881" height="2740" alt="" /> - <div class="caption"><p>PERFUME LADLE.</p> - -<p>The Louvre.</p></div></div> - -<div id="il_87" class="figright" style="max-width: 10em;"> - <img src="images/i_192b.jpg" width="760" height="2276" alt="" /> - <div class="caption"><p>PERFUME LADLE.</p> - -<p>The Louvre.</p></div></div> -</div></div> - -<p>The objects are in wonderful preservation. A lid is -lost, a lotus branch is broken behind the girl who is -gathering flowers, one of the feet of the bearer of offerings -is missing. Otherwise they are intact, and might have just -come from the hands of the craftsman. The wood is of -a very fine grain, marvellously adapted to the needs of -the chisel. It has never been painted, but has become -darkened with time. The original colour must have been -the golden yellow seen in the cracks of some pieces of -thin wood found in the tombs. None of the ladles show -any signs of wear: they seem to have been deposited new -in the tomb near the dead person, who preserved them -new until our day. Like the rest of the funerary equipment, -they were intended for use in the other world. The -lists of offerings mention antimony powder and green -paint among the things sent to the <i>double</i> on festival days: -the perfume ladles and boxes were as necessary in the -tomb as they had been on earth.</p> - -<p>I do not think that any survive which we can with certainty -attribute to the time of the Pyramids: but the -bas-reliefs of the Memphian tombs show us the joiners at -work, and do not allow us to doubt that the trade in -small wooden objects was very flourishing at that period. -Under the great Theban Dynasties, Egypt exported them -by thousands; imitated in Phœnicia, or even transported -directly by the Phœnicians to the Mediterranean coasts, -they transmitted the forms of Oriental art to the West. -It is probable that Theban production—the only one -known to us by dated monuments found in the tombs—entirely -ceased, or at least became almost insignificant,<span class="pagenum" id="Page_194">194</span> -when the greatness of Thebes declined from the tenth -century <i>B.C.</i> They were still manufactured at Memphis -and in the important cities of the Delta until the Ptolemies -and the Cæsars. Recent specimens are somewhat rare, and -present considerable differences from those of Theban -manufacture. As it was exactly this Memphian art that -almost exclusively supplied the Phœnician market from -the time of Sheshonq, it is vexing that examples are not -more abundant: as we do not possess sufficient, we cannot -accurately judge what their influence was on the arts of -the Mediterranean.</p> - -<p>The five objects I have been discussing come from the -Salt collection. The Theban tombs where they were -found were exploited and emptied at the beginning of the -nineteenth century by collectors and dealers; it is difficult -to find any like them in Egypt now, and those that are -discovered are very inferior to these in delicacy and -quality.</p> - -<div id="il_88" class="figcenter" style="max-width: 13em;"> - <img src="images/i_194.jpg" width="985" height="3595" alt="" /> - <div class="caption"><p>PERFUME LADLE.</p> - -<p>The Louvre.</p></div></div> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_195" class="chapter"> -<p><span class="pagenum" id="Page_195">195</span></p> - -<h2 class="nobreak" id="XXII">XXII<br /> - -<span class="subhead">SOME GREEN BASALT STATUETTES OF THE SAÏTE -PERIOD</span></h2> -</div> - -<p class="in0"><span class="firstword">These</span> statuettes were cut in greenish basalt of fine -grain, loved by the artists of the New Empire and the -Saïte Period above all other stones. They formed part -of the Salt collection, and are now exhibited in the -Louvre.</p> - -<p>The first represents a Pharaoh, as is proved by the -serpent that rises above his forehead and the hawk’s head -that terminates the dagger passed through his belt. He -is standing, and walking quickly, the head erect on his -shoulders, and slightly bent forward in the attitude of -a man who is looking attentively at the point towards -which he is going; the arms are not detached from the -body, and hang down along the bust and the thigh. -The composition is excellent, highly finished in spite of -the hardness of the material, and the detail is rendered -as freely as on the colossi of the Theban Period.</p> - -<p>The face has a particular character which struck -Egyptologists long since; it is short, wide at the height -of the eyes, rounded at the bottom. The eye is long, -prominent, surmounted by strong curved eyebrows, -marked where they join on the forehead by two deep -vertical furrows. The nose is aquiline, short, thick at the<span class="pagenum" id="Page_196">196</span> -end, flanked by two nostrils the outside walls of which -seem to be somewhat thin. The mouth is widely opened -and protrudes; full lips, short chin receding a little under -the shadow of the lips. On his return from his journey -in Egypt, M. de Rougé was struck by the resemblance of -this statuette, till then lying forgotten in the corner of -a cupboard, with the portraits of the Shepherd Kings -discovered at Sân by Mariette. Dévéria cleverly reproduced -it in two plates in the <i>Revue archéologique</i>.<a id="FNanchor_88" href="#Footnote_88" class="fnanchor">88</a> -He asserted what M. de Rougé had admitted as a mere -hypothesis: that it was the portrait of a Shepherd King, -and that it belonged to the disturbed period which -immediately preceded the XVIIIth Dynasty. I must -confess that these conclusions do not appear to me to -be sound. The long list of Pharaohs includes many -sovereigns whose faces present characteristics very -different from those usually attributed to the Egyptian -race, and yet who, all the same, were Egyptians -born and bred. Without entering into the discussion, I -will content myself with saying that several of those -who reigned at periods relatively late, Taharqa (XXVth -Dynasty) or Hakori (XXIXth Dynasty) for example, -bear a singular likeness to the sovereign of our statuette -in the structure and expression of the face. I cannot be -certain here that it is a question of one of them, but -the general composition reminds me of the style of the -Saïte Period more than of that of the Theban. Without -asserting anything, I am inclined to believe that our -Pharaoh lived in the last centuries of Egyptian independence.</p> - -<div id="il_89" class="figcenter" style="max-width: 44em;"> - <img src="images/i_196.jpg" width="3465" height="1917" alt="" /> - <div class="caption"><p>GREEN BASALT STATUETTES OF THE SAÏTE PERIOD.</p> - -<p>The Louvre.</p></div></div> - -<p>The second fragment is evidently Saïte; the somewhat -harsh precision of the modelling, the heaviness of the<span class="pagenum" id="Page_197">197</span> -head-dress, the roundness of shoulders and chest, -sufficiently prove it. It is broken too high up for us to -determine if it belonged to a standing statue like the -Pharaoh, or a crouching figure like the third monument. -It is a perfect type of the middle-class Egyptian, developed -in width rather than in height.</p> - -<p>The shoulders are soft and flabby; the smiling insignificance -of the features, the sinking down of the trunk on -the hips and the head on the shoulders, are just what we -should expect in one of the scribes who led sedentary -lives in offices, amid piles of documents, of whom some -bas-reliefs exaggerate the obesity with an evident intention -of caricature. The inscription engraved on the base tells -us that he was named Aî, son of Hapi, and that besides -his sacerdotal functions he possessed the dignity of director -of the two store-houses of the money. The Turin papyrus -informs us of the nature of his office. The financial system -of Egypt rested on an entirely different principle from ours: -coins not being yet invented, or only lately come into -use at the Saïte Period, the payment of taxes and of -the officials, the transactions of the State with private -individuals, or of private individuals with each other, were -valued and settled in kind. Every Egyptian owed the -Treasury, according to his profession and his fortune, so -many fish if he was a fisherman, so many bushels of grain -or head of cattle if he was an agriculturist; the whole was -duly received, registered, and stored by scribes who, in -their turn, put aside for the Pharaoh what would keep, -and used what was perishable for the daily disbursements. -Silver and gold were articles of exchange in the same way -as stuffs or oxen; Pharaoh brought them back in quantities -from his expeditions abroad, and received them from his -subjects as the equivalent of their share of the tax. Gold<span class="pagenum" id="Page_198">198</span> -and silver circulated in powder, in sachets that contained -a definite weight, in thin rings, in the form of couchant -oxen, of half-oxen, of ox or gazelle heads, of jars full or -empty, in curious shapes that generally were of no use -in daily life, and which consequently were only, in spite -of their artistic value, a sort of metallic reserve for the -rich. The two store-houses or the double house of the -money formed the treasury in which Pharaoh stored -the quantities of gold and silver that belonged to him: -taking into account the value attached to these metals, -the directors of these establishments must have occupied -a fairly high rank in the Egyptian hierarchy.</p> - -<p>But for all that, we must not take the manuscript -spread over Aî’s knees and that he is attentively reading -for an account-book, or a document relating to his -business. The portion of the scroll that he holds in his -right hand, placed flat on his knees, is divided into vertical -columns, which, cut by horizontal lines, presents a sort of -chequered surface, the squares of which are not all of the -same size. Each of the larger ones contains the name of -an object, and each of the smaller a number. It is the -list of the gifts composing the banquet offered to the dead -person on the day of burial and during the funeral ceremonies. -In the tombs both of the Ancient and the New -Empire it is highly developed, and comprises the most -varied materials: clear or coloured waters, beers of different -kinds, wines of four vintages, seven or nine of the choice -pieces of the victim, cakes of all sorts, essences, cosmetics, -stuffs. On the scroll of our scribe where the space was -restricted the list is shortened, and we only find the actual -necessities: water, beer, some meat, a little perfume. -It is to that of the tombs what the usual dinner of a -middle-class family is to the ceremonial banquet of<span class="pagenum" id="Page_199">199</span> -a noble; nevertheless, our scribe reads it with evident -satisfaction: it is the menu of his meals for eternity, and, -however scanty others may deem it, he probably considers -it more pleasurable than that of his terrestrial -dinners. We have here the natural development of the -ideas that the Egyptians had of the other world. From -the moment that the <i>double</i> was to feed materially, they -sought to assure it the food of which it had need. The -formulas of the stelæ which mention bread, wine, meat, -deciphered by the first comer, secured the provisioning -of the <i>double</i>; all that had been desired for him in -reciting it would be assured him in the other world by -virtue of the magic words. For lack of a passer-by to -accomplish this pious duty, it occurred to them to place -statues in the tomb which seemed to repeat for ever a -written list held on their knees; this simulation of a perpetual -reading was more than sufficient to nourish for ever -the simulacrum of a man. Here, it is the defunct himself -who renders himself this good office; elsewhere it is a -friend, a scribe, a favourite servant.</p> - -<p>The study of these three little monuments brings out -very happily one of the qualities of Egyptian art: the skill -with which the least of artists, in reproducing in a sometimes -realistic manner the portrait of individuals, understood -how to seize the physiognomy and bearing characteristic -of their craft or of their social rank. Compare the -submissive and sheepish face of the crouching scribe with -the bold carriage and imperious head of the Pharaoh: the -contrast is striking. With the scribe, all the muscles are -relaxed; the whole body is bent, as with a man accustomed -to obey and resigned to endure everything from his -superiors. With the Pharaoh, the modelling is firm, the -figure upright, the mien haughty; we feel that here is<span class="pagenum" id="Page_200">200</span> -a person accustomed from childhood to walk upright in -the midst of bowed backs. It is unfortunate that the -legend has disappeared with the lower part of the second -statuette; comparing it with several other monuments in -the Louvre, it reminds me of several priests of the Saïte -Period. The hardness in the eye and the corners of the -lips is the same, the same furrow surrounds the nostril -and the mouth, the outer walls of the nose are compressed -in a similar fashion; in spite of the loss of the name and -titles, I am tempted to think that the individual who -bears on his face in so high a degree the peculiarities of -the Egyptian priest belonged to the sacerdotal caste.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_201" class="chapter"> -<p><span class="pagenum" id="Page_201">201</span></p> - -<h2 class="nobreak" id="XXIII" title="XXIII A FIND OF SAÏTE JEWELS AT SAQQARAH">XXIII<br /> - -<span class="subhead">A FIND OF SAÏTE JEWELS AT SAQQARAH<a id="FNanchor_89" href="#Footnote_89" class="fnanchor smaller">89</a></span></h2> -</div> - -<p class="in0"><span class="firstword">As</span> soon as I returned to my old post, I resumed the -excavations of the pyramids at the point where I had left -them in 1886. I had then made a systematic search of -the entrance into the funerary vaults: it was now -necessary to seek out the exterior chapels, the caves, the -secondary pyramids or the mastabas, which, shut in by -a walled enclosure, completed the burial-place. At the -end of November, 1899, I placed workmen round Ounas, -and as I found it impossible to direct the operations -myself with the requisite care, I entrusted the surveillance -of them to M. Alexandre Barsanti, the curator-restorer -of the Museum, with detailed instructions. The -campaign then begun was only ended in the last days of -May, 1900, and the account of it will be published -elsewhere. I now wish to draw the attention of -amateurs and scholars to the discovery of a mass of -Saïte jewels.</p> - -<p>The progress of the clearing away revealed the -existence of a series of intact tombs at the south of -the pyramid. The last of those that had been opened -belonged to a very high personage named Zannehibou,<span class="pagenum" id="Page_202">202</span> -in his lifetime commandant of the king’s boats. The -mummy, a block of shining bitumen, was at once recognised -as a very rich one. At the height of the face it had -a large gold mask which fitted on the front part of -the head like the <i>cartonnage</i> case usual with mummies -of the second Saïte Period. It had a broad necklace -round its neck of beads of gold and of green felspar or of -lapis lazuli mounted with gold thread, and fastened to it -were numerous amulets, also of gold. Below the necklace, -on the chest, an image of the goddess Nouît, in -gold, spread its wings. A network of gold and felspar -hung down to the hip, and from the image of the Nouît -to the ankles might be read, on a long band of gold-leaf, -the usual inscriptions in relief: the name of the dead -man, his filiation, with short formulas of prayer. Two -gold figures of Isis and Nephthys were sewn on the -chest, two leaves of gold cut as sandals were fitted to -the soles of the feet; a silver plaque with a line -engraving of a mystic eye for the incision whence the -entrails had been extracted, gold cases for the twenty -fingers and toes, completed this magnificent decoration. -Everything that with the lower classes of the same -period would have been in cardboard, or gilded paste, or -enamelled clay, was pure gold and fine stones with -Zannehibou. The find, estimated by weight alone, would -be valuable, but what gave it inestimable worth was the -delicate and artistic workmanship of the greater number -of the objects. A few of them, like the sandals and the -finger-cases, are only worth the raw metal; the rest -are the work of veritable artists. The inscriptions of -the legs, the winged Nouît, the Isis and the Nephthys, the -mask, are stamped, and although the mask and -the two goddesses were miserably crushed by the lid<span class="pagenum" id="Page_203">203</span> -when the sarcophagus was closed, the mould of hard -stone which was used to fix them was so delicately -cut that the best-preserved pieces, the winged Nouît, -for instance, may be quoted as the highest degree of -perfection that could be attained by that process. The -amulet in shape of a necklace is only a leaf cut with -the chisel, on which a chapter of the “Book of the -Dead” is engraved with the graving needle. The vulture -amulet is a small, thin plaque, on one side of which -the stamped figure of a vulture with spread wings has -been stuck, while on the other the chapter of the “Book -of the Dead” has been engraved, as with the necklace. -It is all of good workmanship, but in the amulets hanging -on the real necklace of the mummy the goldsmith has -surpassed himself.</p> - -<div id="il_90" class="figcenter" style="max-width: 30em;"> - <img src="images/i_202.jpg" width="2334" height="799" alt="" /> - <div class="caption"> - <div class="htmlonly"> - <p class="floatl in2">NECKLACE AMULET.</p> - <p class="floatr l2">VULTURE AMULET.</p> - </div> - <div class="epubonly"> - <p>NECKLACE AMULET. <span class="in4">VULTURE AMULET.</span></p> - </div> - </div> -</div> - -<div id="il_91" class="figcenter" style="max-width: 20em;"> - <img src="images/i_202b.jpg" width="1464" height="704" alt="" /> - <div class="caption"> - <div class="htmlonly"> - <p class="floatl">GOLD PALM-TREE.</p> - <p class="floatr">BOAT OF SOKARIS.</p> - </div> - <div class="epubonly"> - <p>GOLD PALM-TREE. <span class="in2">BOAT OF SOKARIS.</span></p> - </div> - </div> -</div> - -<div class="center"><div class="ilb" style="max-width: 34em;"> - <div id="il_92l" class="figleft"> - <img src="images/i_202cl.jpg" width="975" height="326" alt="" /> - <div class="caption"> - <div class="htmlonly"> - <p class="floatl">RAM’S HEAD.</p> - <p class="floatr">GOLD HAWK.</p> - </div> - <div class="epubonly"> - <p>RAM’S HEAD. <span class="in4">GOLD HAWK.</span></p> - </div> - </div> - </div> - <div id="il_92r" class="figright"> - <img src="images/i_202cr.jpg" width="973" height="326" alt="" /> - <div class="caption"> - <div class="htmlonly"> - <p class="floatl">HAWK WITH<br />HUMAN HEAD.</p> - <p class="floatr">HAWK WITH<br />RAM’S HEAD.</p> - </div> - <div class="epubonly"> - <p>HAWK WITH HUMAN HEAD.</p> - <p>HAWK WITH RAM’S HEAD.</p> - </div> - </div> - </div> -</div></div> - -<div id="il_93" class="figcenter" style="max-width: 27em;"> - <img src="images/i_202d.jpg" width="2133" height="558" alt="" /> - <div class="caption"> - <div class="htmlonly"> - <p class="floatl">VULTURE.</p> - <p class="floatr">CROUCHING NEÎTH.</p> - <p class="floatc">ISIS WITH THE CHILD.</p> - </div> - <div class="epubonly"> - <p>VULTURE.</p> - <p>ISIS WITH THE CHILD.</p> - <p>CROUCHING NEÎTH.</p> - </div> - </div> -</div> - -<p class="p1">They are extraordinarily small, and in order to show -the detail I have had the illustrations made twice the -actual size, a proceeding that weakens the contours and -the modelling. To realize their beauty it is necessary -to have held them in the hand. The palm-tree, which -has lost some leaves, is a unique object, more curious -than elegant, but the mystic boat which is beside it, -unique also so far, is a prodigy of delicate chiselling. -It is the boat of the god Sokaris, a boat of most -archaic construction, and which was already used for the -accomplishment of the sacred rites under the Thinite -Dynasty. The belly is broad and round, the stern -rather heavy, but the bows very light and much -decorated. It rests on a sort of side-ladder of beams -and ropes, which is itself built on to a sledge: it was -pulled along in the public ceremonies by means of a -rope put through a hole made in the curved front of -the sledge. The decoration and the equipage are most<span class="pagenum" id="Page_204">204</span> -curious. On the bow is a gazelle’s head with straight -horns turned to the interior, and along the prow a row of -divergent plates of thin metal, the use of which is not very -clear: it is as if the carcase of the gazelle was opened -and showed the ribs fixed on the spine. At the back, to -terminate the poop, there is a ram’s head with curved -horns. In the middle, on an oblong rectangular pedestal, -a hawk proudly perches; behind him are the four oar-rudders, -two on each side; in front of him six little -hawks ascend in procession, two by two, towards the -gazelle’s head, led by a Nile fish placed edgeways on its -ventral fin. For the moment I will not attempt to -explain the meaning of these emblems, but what we can -never grow tired of admiring is the cleverness with -which the craftsman has grouped these widely differing -elements into an harmonious whole, and especially the -extraordinary skill with which he worked his metal. His -gazelle’s head, a mere fraction of an inch in size, is of as -proud a bearing as if it were of natural size: everything -is exact, intelligent; the curve of the forehead, the -flattening of the snout, the expression of the face, even -to the natural pout of the creature. Each of the six -hawks preserves its individual physiognomy, and the fish -itself, reduced in size as it is, has the exact shape of the -big Nile perch, and not that of any sort of fish.</p> - -<p>Similar qualities are to be seen in the neighbouring -pieces, in the ram’s head, the ordinary hawk, the hawk -with a human head, and that with a ram’s head, and in -the vulture. The seated Isis who nurses her child on -her lap and the crouching Neîth have their usual characteristics -of resignation and gentleness, and at the same -time the simplicity of line that lends so dignified an air -to the smallest Egyptian figures. It has all been<span class="pagenum" id="Page_205">205</span> -chiselled out of the ingot itself, and the detail cut with -so minute a point that we ask where the artisan could -have obtained it.</p> - -<div id="il_94" class="figcenter" style="max-width: 18em;"> - <img src="images/i_204.jpg" width="1417" height="727" alt="" /> - <div class="caption">MONKEYS WORSHIPPING THE EMBLEM OF OSIRIS.</div></div> - -<div id="il_95" class="figcenter" style="max-width: 20em;"> - <img src="images/i_204b.jpg" width="1592" height="342" alt="" /> - <div class="caption"> - <p class="floatl">VULTURE WITH<br /> EXTENDED WINGS.</p> - <p class="floatr">HAWK WITH<br />EXTENDED WINGS.</p> -</div></div> - -<div id="il_96" class="figcenter" style="max-width: 18em;"> - <img src="images/i_204c.jpg" width="1402" height="828" alt="" /> - <div class="caption">THE SOUL (FRONT VIEW).</div></div> - -<div id="il_97" class="figcenter" style="max-width: 18em;"> - <img src="images/i_204d.jpg" width="1393" height="765" alt="" /> - <div class="caption">THE SOUL (BACK VIEW).</div></div> - -<p>Tiny lions addorsed or couchant, tiny mystic eyes, -tiny monkeys worshipping the emblem of Osiris, tiny -vultures, and tiny hawks extending their wings, each -piece claims careful examination, and would by itself -alone bring joy to the heart of a collector. The masterpiece -of the series is, however, the <i>soul</i>, the hawk with -a human head, enamelled body and wings, of which both -back and front views are here reproduced. The back -follows the usual manner, small rods of bent gold, curved, -soldered on to a gold plaque and encrusted with thin -plates of felspar to simulate feathers; but on the other side, -the body, wings, and claws are modelled with the new -purpose of reproducing the natural form of the bird. -The little human head is a marvel of somewhat weak -gracefulness: the eyes are well open, the mouth is smiling, -the nostrils actually palpitate, the ear is cut out and -is hollowed broad and high as is customary, and there -is nothing, even to the wrinkles of the neck and the -roundness of a double chin, that does not clearly stand out -under the reflection of the gold. Here again, it is all -chiselled by a master-hand, with a sureness I have only -found in the hawk with a ram’s head in the Louvre,<a id="FNanchor_90" href="#Footnote_90" class="fnanchor">90</a> with -which this <i>soul of Gizeh</i> may be compared.</p> - -<p>The circumstances of the discovery would not have -informed us of the date, if the style of the jewels had -not done so. It is Saïte art with its lightness, suppleness, -somewhat arch charm, its almost too high relief. A -tendency is felt in the direction of the exaggerated -roundness of the Ptolemies, and, in fact, a note furnished<span class="pagenum" id="Page_206">206</span> -by M. Chassinat permits us to fix the time at which -Zannehibou lived. He belonged to the family of a -certain Psammetichus, whose tomb is near his, which an -inscription in the Louvre found by Mariette in the -Serapeum places at the beginning of the fifth century, -during the last years of the reign of Darius I. If, as is -likely, he was the grandson of that Psammetichus, he -died at the end of the fourth century, just when the -Saïte kings were resuming their superiority over the -Persians, at most, a hundred years before the Macedonian -conquest. The goldsmiths who fashioned his ornaments -had probably seen Greek jewels, and had perhaps already -felt Hellenic influence: in that way the almost Ptolemaic -characteristics of the collection are explained. We know -that Saïte jewels are very rare; the Louvre alone possesses -any that are out of the ordinary run: the two necklace -fastenings in form of a ship bought by M. G. Bénédite -a few years ago. The mummy of Zannehibou has filled up -the lacuna in the Gizeh series, and thanks to it, we now -know that the goldsmith’s art yielded in nothing to the -other arts at the time of the last Egyptian renaissance. -Let us add that these jewels, although found on a mummy -and made for it, are not, as is too often the case, jewels -of the dead, pleasing in colour and design, but too weakly -mounted to stand the wear and tear if worn by a living -person. Like the jewels of Ramses II in the Louvre,<a id="FNanchor_91" href="#Footnote_91" class="fnanchor">91</a> -like those of Queen Ahhotpou at Gizeh, they are real -jewels, identical at all points, except perhaps in the choice -of subjects, with the jewels worn every day.</p> - -<p>Such is the find that made a happy termination to -our Saqqarah campaign. All the pieces were covered with -bitumen, and it is no slight merit to M. Barsanti that<span class="pagenum" id="Page_207">207</span> -he should have discovered them and separated them one -after the other. Several pits, equally untouched, await -us at the same spot under fifteen or eighteen yards -of sand, and I have a good hope that next year’s excavations -may have as glad surprises for us as those of -this year.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_208" class="chapter"> -<p><span class="pagenum" id="Page_208">208</span></p> - -<h2 class="nobreak" id="XXIV" title="XXIV A BRONZE EGYPTIAN CAT BELONGING TO -M. BARRÈRE">XXIV<br /> - -<span class="subhead">A BRONZE EGYPTIAN CAT BELONGING TO -M. BARRÈRE<a id="FNanchor_92" href="#Footnote_92" class="fnanchor smaller">92</a></span></h2> -</div> - -<p class="in0"><span class="firstword">This</span> fine bronze cat was purchased at Cairo in 1884 by -M. Barrère, then agent and consul-general of France in -Egypt. It belongs to the innumerable family of cats -which suddenly came forth from the ruins of Tell Bastah -in 1878, and were, in a few years, scattered over the -whole world. It measures 1 foot 4⅛ inches in height, -and if not the largest found at that time, it is at least -bigger than the average. But its size is not its chief -merit: the Egyptians, who were the first to tame the cat, -studied it so closely that they expressed its characteristics -with extraordinary excellence. M. Barrère’s cat is firmly -seated on her hind-quarters, looking straight in front of -her, in the satisfied attitude of an animal which has done -its duty and has nothing to reproach itself with. The -wooden pedestal to which it was attached is wanting, -but the metal tenon which fastened it is still in its place, -and the body is in a perfect state of preservation. It -was moulded in one piece round a core of sand that has<span class="pagenum" id="Page_209">209</span> -disappeared, then touched up with the burin and the file, -and then polished; it has not suffered from its long -sojourn in the earth, and we can judge its qualities or -its defects as clearly as if it had been made yesterday. It -is a fine piece, of very sure design and careful execution. -The artist was not afraid to multiply the details, and he -has simplified the surfaces; but the force of the line, the -robust and vigorous character of the execution, make his -work a piece of the first rank. It is wonderful to note -the intelligent skill with which he has expressed the -characteristics and physiognomy of the race. The haunch -is broad and round, the back supple, the neck slender, -the head delicate, the ear straight; it is the Egyptian -cat in all its elegance, as we can still see it among -the fellahs, for crossing with foreign species has not -altered it.</p> - -<div id="il_98" class="figcenter" style="max-width: 23em;"> - <img src="images/i_208.jpg" width="1832" height="3493" alt="" /> - <div class="caption"><p>BRONZE CAT OF THE SAÏTE PERIOD.</p> - -<p>Barrère Collection.</p></div></div> - -<p>She is Bastît, a goddess of good family, the worship -of whom flourished especially in the east of the delta, -and she is very often drawn or named on the monuments, -although they do not tell us enough of her myths or -her origin. She was allied or related to the Sun, and -was now said to be his sister or wife, now his daughter. -She sometimes filled a beneficent and gracious rôle, protecting -men against contagious diseases or evil spirits, -keeping them off by the music of her sistrum: she had -also her hours of treacherous perversity, during which she -played with her victim as with a mouse, before finishing -him off with a blow of her claws. She dwelt by -preference in the city that bore her name, Poubastît, the -Bubastis of classical writers. Her temple, at which -Cheops and Chephrên had worked while they were -building their pyramids, was rebuilt by the Pharaohs of -the XXIInd Dynasty, enlarged by those of the XXVIth;<span class="pagenum" id="Page_210">210</span> -when Herodotus visited it in the middle of the fifth -century <span class="allsmcap">B.C.</span>, he considered it one of the most remarkable -he had seen in the parts of Egypt through which -he had travelled. It stood in the centre of the city, -at the end of the market-place. It was bordered by -two canals, each 100 feet wide and shaded by trees; they -flowed without joining, one on the right, the other on -the left of the building, almost making it an artificial -island. Travellers before entering it looked over the -enclosure, even into the exterior court-yards, for Bubastis -had undergone the fate of many of the large cities of -Egypt; in the course of ages the ground became raised -in such a way that the foundations of recent houses -were on a higher level than those of the temple. A big -wall, decorated with pictures like the outer wall of the -temple of Edfou, enclosed the temenos. The fêtes of -Bastît attracted pilgrims from all parts of Egypt, as at -the present day those of Sidi Ahmed el-Bedaouî draw -people to the modern fair of Tantah. The people of -each village crowded into large boats to get there, men -and women pell-mell, with the fixed intention of enjoying -themselves on the journey, a thing they never -failed to do. They accompanied the slow progress of -navigation with endless songs, love songs rather than -sacred hymns, and there were always to be found among -them flute players and castanet players to support or -keep time to the voices. Whenever they passed by a town, -they approached the bank as near as they could without -landing, and then, while the orchestra redoubled its noise, -the passengers threw volleys of insults and coarse remarks -at the women standing on the bank; they retorted, and -when they had exhausted words, they pulled up their -petticoats and behaved indecently by way of reply.<span class="pagenum" id="Page_211">211</span> -Herodotus was told that 700,000 persons, equal numbers -of men and women, not reckoning little children, went -thus every year to Bubastis. Entry into the temple -did not calm them, far from it. They sacrificed a great -number of victims with a sincere and joyous piety; then -they drank deeply from morning to evening, and from evening -to morning, as long as the festival lasted: more wine -was consumed in a few days than in all the rest of the -year put together.</p> - -<p>The greater number of the pilgrims, before returning -home, left a souvenir of their visit at the feet of Bastît. -It was a votive stele with a fine inscription, and a -picture showing the donor worshipping his goddess; or a -statuette in blue or green pottery, or if they were -wealthy, in bronze, silver, or sometimes gold: the goddess -would be standing, seated, crouching with a woman’s -body and a cat’s head, a sistrum or an ægis in her hand. -During the Greek period the figures were in bronze or -in painted and gilded wood surmounted by a cat’s head -in bronze. Many were life-size and modelled with -elaborate art; they had eyes of enamel, a gilded necklace -round the neck, earrings, and amulets on the forehead. -It sometimes happened that when a cat he particularly -venerated died in his house, the pilgrim embalmed it -according to the rites: he took the mummy with him, and, -arrived at Bubastis, shut it up in one of the figures he -offered. These various objects, at first placed anywhere -in the temple, would quickly have filled it, if some remedy -had not been found. They were piled up provisionally -at the end of one of the secondary chambers, then thrown -outside, and there encountered diverse fortunes. I do not -think I am calumniating the Egyptian priests in saying -that it must have been a great grief to them to part with so<span class="pagenum" id="Page_212">212</span> -many precious gifts without trying to derive some honest -profit from them. The gold and silver figures did not -endure; they quickly went into the melting-pot, and few -emerge from the ruins, but the bronze and copper were so -abundant that there would have been little to gain in melting -down the cats. So they sorted out the heap of bronzes, -and while they kept some, the finest, doubtless, or those -that bore inscriptions, they sold the rest to new generations -of pilgrims, who, in their turn, offered them in due form. -However frequently this was done, the influx was considerable, -and they were forced to rid themselves quickly of -the pieces that had at first been kept in reserve. They -shut them up in cellars, or in pits dug expressly for them, -veritable <i>favissæ</i> similar to those of classical times;<a id="FNanchor_93" href="#Footnote_93" class="fnanchor">93</a> they -accumulated by thousands, large and small, in wood and in -bronze, some intact and fresh as when just made, others -already out of shape, rotten, oxidized and of no value. -The places of concealment were soon forgotten, and the -stuff in them reposed there beyond the reach of men -until the day when the chances of excavation brought -it to light.</p> - -<p>One of them restored M. Barrère’s cat. It is not -possible to determine the period at which it was buried: -the persons who found it were seekers of nitreous manure, -or dealers in antiquities who took good care not to divulge -the circumstances and the site of their discovery. But -judging from the roundness of certain forms and the -aspect of the bronze, we recognize the style of the second -Saïte Period, and the piece is to be attributed either to -the Nectanebos, or the first Ptolemies, in a general way -to the fourth century <span class="allsmcap">B.C.</span> or the beginning of the third -century <span class="allsmcap">B.C.</span> It was the time when the worship of Bastît<span class="pagenum" id="Page_213">213</span> -and her subordinate forms, Pakhît, Maît, was most -popular, the period when, near Speos-Artemidos, the most -extensive cemetery of cats in Egypt was established. The -execution is pure Egyptian, and in no way betrays any -Greek influence.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div id="chap_214" class="chapter"> -<p><span class="pagenum" id="Page_214">214</span></p> - -<h2 class="nobreak" id="XXV" title="XXV A FIND OF CATS IN EGYPT">XXV<br /> - -<span class="subhead">A FIND OF CATS IN EGYPT<a id="FNanchor_94" href="#Footnote_94" class="fnanchor smaller">94</a></span></h2> -</div> - -<p class="in0"><span class="firstword">It</span> was announced in the English newspapers, and the -French followed suit, that a ship had recently reached -London and disembarked 180,000 mummies of Egyptian -cats. For a long time manufacturers of different nationalities -have been accustomed to seek out the burying -grounds of animals throughout Egypt, and to export the -bones to Europe, where they are used as manure. A few -years ago a necropolis full of monkeys was sent to Germany -to manure beet-root fields. It seems that the cats of this -year were discovered near Beni-Hassan; they were piled -up at hazard in a sort of cavern, into which a fellah in -search of antiquities was the first to penetrate. In fact, -at some distance to the south of the hypogeums of Beni-Hassan, -in the place called by geographers Speos-Artemidos, -is a chapel hollowed out in the rock, and consecrated -by the kings of the XVIIIth and XIXth Dynasties -to a local goddess, a woman’s body with a cat’s or lion’s -head, called Pakhît. The depôt recently exploited was -found there, and the cats which reposed in it must have -lived in the vicinity, under the protection of their cousin, -the goddess. Cemeteries of the same kind existed -wherever a divinity of a feline type was worshipped,<span class="pagenum" id="Page_215">215</span> -lion, tiger, or cat. The most celebrated was at Bubastis, -in the delta, where the seekers of antiquities cleared -away the rubbish about thirty-seven years ago.<a id="FNanchor_95" href="#Footnote_95" class="fnanchor">95</a> The -mummies of cats were buried there in <i>favissæ</i>, deep pits, -some merely wrapped in swathings, others enclosed in -little coffins reproducing the image of the animal. Some -of these coffins are entirely of wood covered with white -stucco, gilded, painted in bright colours; some are in -bronze, others have the body in wood and the head in -bronze, with gold rings in their ears and encrustations of -gold on the forehead and in the eyes. Statuettes of cats -of different sizes, portraits of the goddess Bastît with a -cat’s head, or of the god Nofirtoumou, are mingled with -the mummies. Thence come the thousands of bronze -cats, big and little, with which all the antiquaries of Europe -and Cairo were so abundantly provided from 1876 to 1888. -The important cat illustrated here, and who lives now in -one of the glass cases in the “Salle divine” of the Louvre, -is a perfect type of the species, long, slender in the back, -broad in the hind-quarters, with a delicate, well-set head, -rings in the ears, a necklace round the neck, and a little -scarab on the top of the head; the artist who modelled it -has rendered excellently and truthfully the supple bearing -and the bold physiognomy of his original.</p> - -<div id="il_99" class="figcenter" style="max-width: 18em;"> - <img src="images/i_214.jpg" width="1426" height="1825" alt="" /> - <div class="caption"><p>BRONZE CAT.</p> - -<p>The Louvre.</p></div></div> - -<p>The cats represented on the monuments, or the -mummies of which are found in Egypt, were not of the -same race as our domestic cat. Scholars have studied -them and are unanimous—Virchow, too, recently—in -recognizing them as the <i>Felis maniculata</i> and the <i>Felis -chaus</i>. Egypt had tamed a few individual ones, but -had not domesticated the whole species. They are -sometimes to be seen on the bas-reliefs solemnly seated<span class="pagenum" id="Page_216">216</span> -near their masters. It is commonly asserted that -they were used for hunting birds in the marshes, and -Wilkinson quotes in support a fairly large number of -mural paintings where they stalk through the reeds, -routing out little birds. I confess that this interpretation -does not seem to me to be correct. Where -others claim to recognize animals ready for the chase and -acting on behalf of man, I only see animals, tame or not, -on marauding bent and scouring the bushes for their own -purposes; just as our domesticated cat chases the sparrows -in our gardens and destroys the nests in our parks without -any advantage to his master. Egyptian artists, very acute -observers of what was going on around them, reproduced -their cats’ expeditions, as they noted other picturesque -details of the life of nature.</p> - -<p>If we examined the 180,000 cats—neither more nor -less—we should probably come upon a fairly large proportion -of ichneumons. In Egypt the ichneumon and -the cat were always associated; wherever there are -mummies of cats it may be safely assumed that -mummies of ichneumons are not far off. Cats or -ichneumons, I hope the whole of them will not be -used to manure the ground, but that some fine specimens -may be chosen for the museums of antiquities and -of natural history: in sparing a few hundreds, agriculture -will not lose much, and science will gain considerably. -The origin of our tom-cat has long been under discussion; -some refer it to Egypt, others to Europe. It would be -a pity not to profit by such an invasion of Egyptian cats, -and to try to obtain a definite solution of the question.</p> - -<p><span class="pagenum" id="Page_217">217</span></p> - -<div class="chapter"><div class="footnotes"> -<h2 class="nobreak p1" id="FOOTNOTES">FOOTNOTES</h2> - -<div class="footnote"> - -<p class="fn1"><a id="Footnote_1" href="#FNanchor_1" class="fnanchor">1</a> From the <i>Journal des Savants</i>, 1908, pp. 1–17.</p> - -</div> - -<div class="footnote"> - -<p class="fn1"><a id="Footnote_2" href="#FNanchor_2" class="fnanchor">2</a> F.W. von Bissing, “Denkmäler Ægyptischer Skulptur.” Text, -4to; portfolio of plates, fol.; Bruckmann, Munich, 1906–8.</p> - -</div> - -<div class="footnote"> - -<p class="fn1"><a id="Footnote_3" href="#FNanchor_3" class="fnanchor">3</a> It may also be asked if the stele of the King-Serpent is an -original or a restoration of the time of Setouî I.</p> - -</div> - -<div class="footnote"> - -<p class="fn1"><a id="Footnote_4" href="#FNanchor_4" class="fnanchor">4</a> Bissing, II. <i>Plate with the name of King Athotis</i>, note 6.</p> - -</div> - -<div class="footnote"> - -<p class="fn1"><a id="Footnote_5" href="#FNanchor_5" class="fnanchor">5</a> I even noted the existence of one of these tails in wood in the -Marseilles Museum (<i>Catalogue</i>, p. 92, No. 279).</p> - -</div> - -<div class="footnote"> - -<p class="fn1"><a id="Footnote_6" href="#FNanchor_6" class="fnanchor">6</a> <i>Musée Egyptien</i>, vol. ii., Pl. IX-X and pp. 25–30.</p> - -</div> - -<div class="footnote"> - -<p class="fn1"><a id="Footnote_7" href="#FNanchor_7" class="fnanchor">7</a> Ibid., vol. ii., Pl. XV, pp. 41–45.</p> - -</div> - -<div class="footnote"> - -<p class="fn1"><a id="Footnote_8" href="#FNanchor_8" class="fnanchor">8</a> Maspero, <i>Guide to the Cairo Museum</i>, 1906, pp. 156–7, -No. 550.</p> - -</div> - -<div class="footnote"> - -<p class="fn1"><a id="Footnote_9" href="#FNanchor_9" class="fnanchor">9</a> <i>Revue de l’Art Ancien et Moderne</i>, 1906, vol. x., pp. 241–52, -337–48; cf. Chap. X. of the present volume.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_10" href="#FNanchor_10" class="fnanchor">10</a> <i>Musée Egyptien</i>, vol. ii., pp. 90–2.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_11" href="#FNanchor_11" class="fnanchor">11</a> From the <i>Revue de l’Art ancien et moderne</i>, 1912, vol. xxxi., -pp. 241–54.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_12" href="#FNanchor_12" class="fnanchor">12</a> It is mentioned for the first time in Emmanuel de Rougé’s <i>Catalogue</i>, -1855, under No. 6; it is placed on the mantelpiece in the “Salle -civile.”</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_13" href="#FNanchor_13" class="fnanchor">13</a> See good examples in Mariette, “Karnak,” Pl. VIII.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_14" href="#FNanchor_14" class="fnanchor">14</a> This is no longer true since the discovery of the <i>favissa</i> at Karnak. -The Cairo Museum possesses some hundreds of statues of private individuals -from the Theban temple of Amon (1912).</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_15" href="#FNanchor_15" class="fnanchor">15</a> Mariette, “Sur les tombes de l’Ancien Empire qu’on trouve à -Saqqarah,” 1912, pp. 8–9.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_16" href="#FNanchor_16" class="fnanchor">16</a> On this theory see Lepage-Renouf, “On the True Sense of an important -Egyptian Word,” in the <i>Transactions of the Society of Biblical -Archæology</i>, vol. iv., pp. 494–508, and Maspero, “Mémoires du -Congrès des Orientalistes de Lyon,” vol. i., and <i>Bulletin de l’Association -scientifique de France</i> (1878), No. 594, pp. 373–84.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_17" href="#FNanchor_17" class="fnanchor">17</a> One of the Egyptian festivals of the dead.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_18" href="#FNanchor_18" class="fnanchor">18</a> For complete translation of the contract see the <i>Transactions of -the Society of Biblical Archæology</i>, vol. vii., pp. 1–9.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_19" href="#FNanchor_19" class="fnanchor">19</a> The Skhemka group was catalogued for the first time by E. de -Rougé, “Notice sommaire des Monuments égyptiens,” 1855, pp. -50–51, under the number S. 102. The other two statues of the same -person possessed by the Museum are both entered under the number -S.103. One is in granite, the other in painted limestone.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_20" href="#FNanchor_20" class="fnanchor">20</a> There are exceptions only in the middle of the XVIIIth Dynasty, -when men and women, and especially women, are painted light pink -or flesh colour.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_21" href="#FNanchor_21" class="fnanchor">21</a> The pretty painted bas-relief of the tomb of Seti I in the -Louvre (E. de Rougé, “Notice des principaux monuments,” p. 35, -B. 7) shows in large the arrangement of the glass beads on the -stuff.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_22" href="#FNanchor_22" class="fnanchor">22</a> Cf., <i>e.g.</i>, Lepsius, “Denkmäler,” ii., 47<i>b</i>, 74<i>e</i>, where the woman -crouching in front of her husband puts her arm round his leg.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_23" href="#FNanchor_23" class="fnanchor">23</a> Here are some references to plates in Lepsius where the husband -and wife are represented side by side in different positions. The -woman of low stature crouches behind her seated husband (“Denkmäler,” -ii., 71<i>b</i>); the wife and husband, both of heroic stature, are -seated on the same armchair, and the wife puts her right arm round -her husband’s neck (“Denkmäler,” ii., 10<i>b</i>, 24, 25<i>b</i>, 41<i>b</i>, 42<i>a</i>-<i>b</i>, 75<i>a</i>, -etc.); the wife of low stature stands in front of her husband, who -is of heroic stature (“Denkmäler,” ii., 38<i>b</i>); she stands behind him -and puts her arm round his left arm (“Denkmäler,” ii., 27, 33<i>a</i>), -or she puts her arm round his waist (“Denkmäler,” ii., 38<i>a</i>); and lastly, -the husband and wife, of the same stature, are standing, the wife behind -her husband and putting her arm round his neck (“Denkmäler,” ii., -13, 20–1, 29<i>b</i>, 32, 34<i>b</i>, 40<i>b</i>, 43<i>b</i>, 46, 58<i>a</i>, 59<i>b</i>), or separated from him -(“Denkmäler,” ii., 73, etc.).</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_24" href="#FNanchor_24" class="fnanchor">24</a> Thus in Lepsius (“Denkmäler,” ii., 74<i>e</i>), where the noble -Senotmhît, surnamed Mihi, is seated, of heroic stature, while his -wife, Khontkaous, is represented crouching and of low stature, -although she is a legitimate daughter of the king. In another part -of the tomb (Lepsius, “Denkmäler,” ii., 73) the same persons are -represented standing side by side and of heroic stature, while their -children are of ordinary stature.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_25" href="#FNanchor_25" class="fnanchor">25</a> See the preceding chapter, <a href="#Page_55">pp. 55–59</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_26" href="#FNanchor_26" class="fnanchor">26</a> See Chapter III, <a href="#Page_51">p. 51</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_27" href="#FNanchor_27" class="fnanchor">27</a> We know now (1912) that the figures described by Mariette as -mourners are cooks, who held the spit in one hand and with the other -protected their faces from the heat of the brazier where the chickens -were roasting.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_28" href="#FNanchor_28" class="fnanchor">28</a> In examining the eye of the Cheîkh-el-Beled closely, I found that -there was no silver nail in it, but that the luminous spangle was produced -by a scrap of polished ebony placed under the crystal; it should -be the same with the eyes of the Crouching Scribe.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_29" href="#FNanchor_29" class="fnanchor">29</a> Cf. <a href="#Page_55">pp. 55–59</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_30" href="#FNanchor_30" class="fnanchor">30</a> This article was published in two slightly different forms in -the <i>Gazette des Beaux-Arts</i>, 3rd period, 1893, vol. ix., pp. 265–70, -and in the <i>Monuments Piot</i>, 1894, vol. i., pp. 1–6: I have combined -them for this volume.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_31" href="#FNanchor_31" class="fnanchor">31</a> The statue is described in the “Visitor’s Guide to the Cairo -Museum,” 2nd edition, 1912, p. 58, No. 142.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_32" href="#FNanchor_32" class="fnanchor">32</a> Maspero, “Visitor’s Guide,” 2nd edition, 1912, pp. 57–8, No. 141.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_33" href="#FNanchor_33" class="fnanchor">33</a> Cf. <a href="#Page_61">p. 61</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_34" href="#FNanchor_34" class="fnanchor">34</a> Cf. what has already been said regarding statues of private -individuals erected by the favour of the Pharaoh, <a href="#Page_40">p. 40</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_35" href="#FNanchor_35" class="fnanchor">35</a> Maspero, “Visitor’s Guide to the Boulaq Museum,” p. 28, and -now “Visitor’s Guide to the Cairo Museum,” 2nd edition, 1912, -p. 73, No. 227.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_36" href="#FNanchor_36" class="fnanchor">36</a> The expression is borrowed from a letter of the <i>Papyrus -Anastasis</i>, No. 3. Its position in the Egyptian context leads me -to believe that it was an often-quoted proverb. The idea is repeated -in different forms in the scribes’ correspondence: “Work, or you -will be beaten.” “When the scribe reaches the age of manhood, his -back is broken by the blows he has received.”</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_37" href="#FNanchor_37" class="fnanchor">37</a> Mariette, “Notice des principaux monuments du Musée de -Boulaq,” 6th edition, 1876, p. 235, No. 769: “Memphis. Saqqarah—limestone -II, 1 foot 2 inches—kneeling figure. His hands crossed -on his legs. His eyes are of mosaic work and formed of several stones -curiously combined.” The statue of the kneeling scribe figures in a -group in Plate XX of Mariette’s work, “Album du Musée de Boulaq,” -containing 40 plates, photographed by MM. Délié and Béchard, with -explanatory text edited by Auguste Mariette-Bey. Cairo, Mourès et -Cie, 1871, fol.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_38" href="#FNanchor_38" class="fnanchor">38</a> Mariette, “Notice des principaux monuments du Musée de -Boulaq,” 6th edition, 1876, p. 216, No. 582. The Boulaq Museum -possesses a second statue of the same person (<i>ibid.</i>, p. 93, No. 28), but -of a less fine execution than the statue No. 582. Cf. what is said -of the two statues on <a href="#Page_70">pp. 70–73</a> of this volume.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_39" href="#FNanchor_39" class="fnanchor">39</a> Mariette, “Notice,” p. 217: “The sum of the qualities, and study -of the inscriptions on the base of the monument, leave no doubt as -to the epoch to which it belongs. Rânofir evidently lived under the -Ancient Empire. His titles bring him near the Vth Dynasty.” The -study of the inscriptions leads me to be more certain than Mariette -was. Rânofir undoubtedly lived at the end of the Vth Dynasty.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_40" href="#FNanchor_40" class="fnanchor">40</a> See <a href="#Page_60">pp. 60–65</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_41" href="#FNanchor_41" class="fnanchor">41</a> He is a cook, as I mentioned on <a href="#Page_61">p. 61</a>, <a href="#Footnote_27">note 27</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_42" href="#FNanchor_42" class="fnanchor">42</a> See <a href="#Page_51">p. 51</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_43" href="#FNanchor_43" class="fnanchor">43</a> See <a href="#Page_61">p. 61</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_44" href="#FNanchor_44" class="fnanchor">44</a> See the curious study of Dr. Parrot, “Sur l’origine d’une des -formes du dieu Phtah,” in the “Recueil de travaux relatifs à -la philologie et à l’archéologie égyptiennes et assyriennes,” vol. ii., -pp. 129–33.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_45" href="#FNanchor_45" class="fnanchor">45</a> Published in the <i>Revue de l’Art ancien et moderne</i>, 1906, vol. xx., -pp. 247–52, 337–48.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_46" href="#FNanchor_46" class="fnanchor">46</a> See <a href="#Page_50">pp. 50–51</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_47" href="#FNanchor_47" class="fnanchor">47</a> See, <i>e.g.</i>, the stelæ described or referred to in Maspero, “Guide -to the Cairo Museum,” 1903, pp. 73–5, 94–5, 96, etc.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_48" href="#FNanchor_48" class="fnanchor">48</a> Already published in the <i>Musée Egyptien</i>, vol. ii., Pl. IX-X, -pp. 25–30.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_49" href="#FNanchor_49" class="fnanchor">49</a> The head was reproduced by Rougé-Banville, “Album photographique,” -Nos. 111–12; cf. Mariette, “Monuments divers,” Pl. XXI, -<i>a</i>, <i>b</i>, <i>c</i>, and p. 299; the whole is reproduced in the <i>Musée Egyptien</i>, -vol. ii., Pl. XIII, and pp. 34–5.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_50" href="#FNanchor_50" class="fnanchor">50</a> See article on this group by Legrain in the <i>Musée Egyptien</i>, -vol. ii., pp. 1–14 and Pl. I-IV.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_51" href="#FNanchor_51" class="fnanchor">51</a> The head of the Pharaoh, which was stolen at the moment of -discovery, has been found since this article appeared, and purchased by -the Cairo Museum, 1912.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_52" href="#FNanchor_52" class="fnanchor">52</a> Published in the <i>Revue de l’Art ancien et moderne</i>, 1907, -vol. xxii., pp. 5–18.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_53" href="#FNanchor_53" class="fnanchor">53</a> She is noted in the “Livre d’entrée” under No. 38575 and -the chapel under No. 38576.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_54" href="#FNanchor_54" class="fnanchor">54</a> Naville, “Das Thebanische Todtenbuch,” vol. i., Pl. CCXXII.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_55" href="#FNanchor_55" class="fnanchor">55</a> It comes from Tell Tmai, and is entered in the “Livre d’entrée” -under No. 38930, and in the “Guide to the Museum,” 3rd English -edition, under No. 461, p. 164.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_56" href="#FNanchor_56" class="fnanchor">56</a> No. 38932 in the “Livre d’entrée”; cf. “Notice des principaux -monuments du Musée de Gizeh,” 1893, p. 86, and No. 683 of Borchardt’s -unpublished catalogue. The monument comes from Saqqarah.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_57" href="#FNanchor_57" class="fnanchor">57</a> “Guide to the Cairo Museum,” 3rd edition, pp. 331–33, No. 1020; -“Livre d’entrée,” No. 38927.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_58" href="#FNanchor_58" class="fnanchor">58</a> “Guide to the Cairo Museum,” 3rd edition, p. 330, Nos. 1018, 1019; -“Livre d’entrée,” Nos. 38928, 38929.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_59" href="#FNanchor_59" class="fnanchor">59</a> See the <i>Revue</i>, 1906, vol. xx., pp. 241–52, and pp. 337–46; and -<a href="#Page_90">pp. 90–105</a> of the present volume.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_60" href="#FNanchor_60" class="fnanchor">60</a> It was catalogued by Champollion in his “Notice descriptive des -monuments égyptiens du Musée Charles X,” Paris, 1827, p. 55, No. 11.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_61" href="#FNanchor_61" class="fnanchor">61</a> Published in the <i>Revue de l’Art ancien et moderne</i>, 1910, vol. -xxviii., pp. 241–52.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_62" href="#FNanchor_62" class="fnanchor">62</a> See <a href="#Page_120">pp. 120–125</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_63" href="#FNanchor_63" class="fnanchor">63</a> Mariette, “Notice des principaux monuments du Musée de -Boulaq,” 6th edition, 1876, p. 300, No. 100 C.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_64" href="#FNanchor_64" class="fnanchor">64</a> E. de Rougé, “Notice sommaire des monuments égyptiens,” -3rd edition, 1864, p. 34, A. 21. The British Museum possesses a -replica of this statue.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_65" href="#FNanchor_65" class="fnanchor">65</a> Mariette, “Notice,” 1st edition, 1864, p. 184, No. 17; and -6th edition, 1876, p. 92, No. 22.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_66" href="#FNanchor_66" class="fnanchor">66</a> Mariette, “Notice,” 6th edition, p. 221, Nos. 638–48; Maspero, -“Guide du Visiteur au Musée de Boulaq,” 1883, pp. 100–3.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_67" href="#FNanchor_67" class="fnanchor">67</a> Mariette, “Notice,” 6th edition, p. 221, Nos. 649–51; Maspero, -“Guide,” p. 101.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_68" href="#FNanchor_68" class="fnanchor">68</a> Mariette, “Notice,” 6th edition, p. 221, Nos. 623–37.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_69" href="#FNanchor_69" class="fnanchor">69</a> Mariette, “Notice,” 6th edition, pp. 212–13, No. 578; Maspero, -“Guide,” p. 75, No. 396.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_70" href="#FNanchor_70" class="fnanchor">70</a> Mariette, “Notice,” 6th edition, p. 239, No. 792.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_71" href="#FNanchor_71" class="fnanchor">71</a> Maspero, “Letter to M. Gustave d’Eichtal on the circumstances -of the history of Egypt which favoured the exodus of the Hebrew -nation,” in the <i>Comptes Rendus de l’Académie des Inscriptions et Belles-Lettres</i>, -1873, pp. 37–8.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_72" href="#FNanchor_72" class="fnanchor">72</a> Published in <i>La Nature</i>, 1892, vol. lix., pp. 161–3.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_73" href="#FNanchor_73" class="fnanchor">73</a> Major Arthur Bagnold published an account of them, with three -drawings by Wallis and a few sketches, “An account of the manner -in which two Colossal Statues of Rameses II at Memphis were raised,” -in the <i>Proceedings of the Society of Biblical Archæology</i>, vol. x., -p. 452 <i>et seq.</i></p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_74" href="#FNanchor_74" class="fnanchor">74</a> I have related many examples of this belief in spirits inhabiting -the ancient monuments in “Egypt: Ancient Sites and Modern Scenes,” -1910, chap. xv., p. 155. I have collected many more, and hope one -day to have an opportunity of publishing them.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_75" href="#FNanchor_75" class="fnanchor">75</a> Published in <i>La Nature</i>, 1894, vol. lxiii., pp. 230–4.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_76" href="#FNanchor_76" class="fnanchor">76</a> Extract from the <i>Revue de l’Art ancien et moderne</i>, 1908, vol. xxiii., -pp. 401–12, and vol. xxiv., pp. 29–38.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_77" href="#FNanchor_77" class="fnanchor">77</a> Champollion, “Notice descriptive des monuments égyptiens du -Musée Charles X,” 1827, 8vo, describes the object as follows: “85. -<i>Hard wood</i>. A woman named Naï, standing, dressed in a long fringed -tunic, hair plaited. The statuette was dedicated by her brother, Phtah-Maï, -auditor of justice,” pp. 68–9. Now the little figure is numbered -37; it is in case A of the “Salle civile” (first shelf).</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_78" href="#FNanchor_78" class="fnanchor">78</a> Cf. E. de Rougé, “Notice des principaux monuments,” p. 82.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_79" href="#FNanchor_79" class="fnanchor">79</a> <span class="smcap">Sokari</span> (Σώχαρις of the fragment of Cratinus the Younger, -“Fragm. Comicor. græcorum,” edition Didot) was the god of the dead -at Memphis, as Osiris was at Abydos; so they were soon identified -one with the other, Sokar-Osiri, and with Phtah, <i>Phtah-Sokari</i>, <i>Phtah-Sokar</i>-Osiri. -Here the scribe, who first took the three sacred names as -belonging to one same god whom he qualified as Prince of Eternity -in the singular, later regarded them as belonging to three different -gods, and used the plural pronoun, <span class="allsmcap">SE</span>, variant of <span class="allsmcap">SEN</span>: “to whom <span class="allsmcap">THEY</span> -give” instead of “to whom <span class="allsmcap">HE</span> gives.”</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_80" href="#FNanchor_80" class="fnanchor">80</a> The figure to which it was fastened is reproduced in Leemans, -“Egyptian Monuments in the Museum of Antiquities of Holland at -Leyden,” Part I, Pl. XXIV; cf. Chabas, “Notice sommaire des -papyrus égyptiens,” p. 19.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_81" href="#FNanchor_81" class="fnanchor">81</a> The facsimile of the text is in Leemans, “Monuments,” Part II, -Pl. CLXXXIII-CLXXXIV, and is translated and annotated in Maspero, -“Etudes égyptiennes,” vol. i., pp. 145–59.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_82" href="#FNanchor_82" class="fnanchor">82</a> Extract from the <i>Revue de l’art ancien et moderne</i>, 1905, vol. -xvii, p. 403.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_83" href="#FNanchor_83" class="fnanchor">83</a> See the Chapter on the little lady Touî, <a href="#Page_183">pp. 183–189</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_84" href="#FNanchor_84" class="fnanchor">84</a> Published in <i>La Nature</i>, 1895, vol. lii., pp. 211–14.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_85" href="#FNanchor_85" class="fnanchor">85</a> “The Adventure of Satni-Khamois with the Mummies,” in G. -Maspero, “Les contes populaires de l’Egypte ancienne,” 4th edition, -p. 146.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_86" href="#FNanchor_86" class="fnanchor">86</a> See <a href="#Page_172">pp. 172–174</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_87" href="#FNanchor_87" class="fnanchor">87</a> See Chapter XVIII, <a href="#Page_172">pp. 172–177</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_88" href="#FNanchor_88" class="fnanchor">88</a> <i>Revue archéologique</i>, April, 1861, vol. iii., 2nd series.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_89" href="#FNanchor_89" class="fnanchor">89</a> Printed in the <i>Revue de l’Art ancien et moderne</i>, 1900, vol. -viii., p. 353.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_90" href="#FNanchor_90" class="fnanchor">90</a> See <a href="#Page_150">p. 150</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_91" href="#FNanchor_91" class="fnanchor">91</a> See Chapter XVI., <a href="#Page_145">p. 145</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_92" href="#FNanchor_92" class="fnanchor">92</a> Published in the <i>Revue de l’Art ancien et moderne</i>, 1902, vol. xi., -p. 377.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_93" href="#FNanchor_93" class="fnanchor">93</a> See <a href="#X">Chapter X</a>.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_94" href="#FNanchor_94" class="fnanchor">94</a> Published in <i>La Nature</i>, 1890, vol. xxxv., pp. 273–4.</p> - -</div> - -<div class="footnote"> - -<p class="fn2"><a id="Footnote_95" href="#FNanchor_95" class="fnanchor">95</a> See <a href="#Page_212">pp. 212–213</a>.</p> - -</div> -</div></div> - -<div id="chap_217" class="chapter"><div class="index"> -<h2 class="nobreak p1" id="INDEX">INDEX</h2> - -<ul class="index"> -<li class="ifrst">A</li> - -<li class="indx">Abousîr-el-Malak, excavations of, <a href="#Page_29">29</a></li> - -<li class="indx">Abydos, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_37">37</a>;</li> -<li class="isub1">Memnonium of, <a href="#Page_95">95</a>, <a href="#Page_134">134</a>;</li> -<li class="isub1">ruins of, <a href="#Page_94">94</a></li> - -<li class="indx">Adoni (Adonaï), <a href="#Page_122">122</a></li> - -<li class="indx">Ahhotpou I, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>, <a href="#Page_158">158</a></li> - -<li class="indx">Ahhotpou, Queen, <a href="#Page_152">152</a>, <a href="#Page_158">158</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Ahmôsis I, <a href="#Page_138">138</a></li> - -<li class="indx">Aî, <a href="#Page_138">138</a>;</li> -<li class="isub1">portrait of, <a href="#Page_98">98</a></li> - -<li class="indx">Aî, son of Hapi, <a href="#Page_197">197</a>, <a href="#Page_198">198</a></li> - -<li class="indx">Alexandria, bas-reliefs of, <a href="#Page_33">33</a></li> - -<li class="indx">Amenemhaît III, <a href="#Page_26">26</a>, <a href="#Page_32">32</a>;</li> -<li class="isub1">sphinx of, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>;</li> -<li class="isub1">statue of, <a href="#Page_22">22</a>, <a href="#Page_28">28</a>, <a href="#Page_37">37</a></li> - -<li class="indx">Amenertaîous, <a href="#Page_103">103</a></li> - -<li class="indx">Amenhotpou, <a href="#Page_138">138</a></li> - -<li class="indx">Amenmeses, <a href="#Page_138">138</a></li> - -<li class="indx">Amenôphis II, <a href="#Page_122">122</a></li> - -<li class="indx">Amenôphis III, <a href="#Page_122">122</a>, <a href="#Page_124">124</a>, <a href="#Page_174">174</a></li> - -<li class="indx">Amenôphis IV, <a href="#Page_120">120</a>, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>, <a href="#Page_131">131</a></li> - -<li class="indx">Amenôphis, statue of, <a href="#Page_64">64</a></li> - -<li class="indx">Amenôthes I, <a href="#Page_91">91</a></li> - -<li class="indx">Amenôthes II, <a href="#Page_109">109</a>, <a href="#Page_112">112</a>, <a href="#Page_113">113</a>, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>, <a href="#Page_134">134</a></li> - -<li class="indx">Amenôthes IV, <a href="#Page_31">31</a></li> - -<li class="indx">Amenôthes, statue of, <a href="#Page_22">22</a>, <a href="#Page_28">28</a></li> - -<li class="indx">Amon, <a href="#Page_81">81</a>, <a href="#Page_101">101</a>, <a href="#Page_102">102</a>, <a href="#Page_104">104</a>, <a href="#Page_121">121</a>, <a href="#Page_122">122</a>, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>, <a href="#Page_135">135</a>, <a href="#Page_183">183</a>, <a href="#Page_184">184</a>, <a href="#Page_185">185</a>;</li> -<li class="isub1">priests of, <a href="#Page_92">92</a>;</li> -<li class="isub1">temple of, <a href="#Page_90">90</a>, <a href="#Page_97">97</a>, <a href="#Page_137">137</a></li> - -<li class="indx">Amon of Harmhabi, <a href="#Page_98">98</a></li> - -<li class="indx">Amonrâ, <a href="#Page_107">107</a>, <a href="#Page_123">123</a></li> - -<li class="indx">Amonrâ, ark of, <a href="#Page_136">136</a></li> - -<li class="indx">Anderson, <a href="#Page_142">142</a></li> - -<li class="indx"><i>Ankhari</i>, <i>the lady</i>, <a href="#Page_175">175</a></li> - -<li class="indx">Ankhasnofiriabrê en Hathor, <a href="#Page_103">103</a></li> - -<li class="indx">Ankhnas, <a href="#Page_103">103</a></li> - -<li class="indx">Antouf kings, the, <a href="#Page_153">153</a></li> - -<li class="indx">Anubis, temple of, <a href="#Page_53">53</a></li> - -<li class="indx">Apis, <a href="#Page_146">146</a>, <a href="#Page_149">149</a>;</li> -<li class="isub1">tomb of, <a href="#Page_79">79</a>, <a href="#Page_145">145</a></li> - -<li class="indx">Apouî, tomb of, <a href="#Page_21">21</a></li> - -<li class="indx">Apries, <a href="#Page_143">143</a></li> - -<li class="indx">Armaïs, <a href="#Page_139">139</a></li> - -<li class="indx">Asia Minor, <a href="#Page_169">169</a>, <a href="#Page_191">191</a></li> - -<li class="indx">Assiout, <a href="#Page_31">31</a></li> - -<li class="indx">Assyria, <a href="#Page_169">169</a></li> - -<li class="indx">Ati, <a href="#Page_56">56</a>, <a href="#Page_58">58</a>, <a href="#Page_59">59</a></li> - -<li class="indx">Aton (Amon), <a href="#Page_121">121</a>, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>, <a href="#Page_124">124</a>, <a href="#Page_125">125</a></li> - -<li class="indx">Atonian Dynasty, fall of the, <a href="#Page_31">31</a></li> - -<li class="ifrst">B</li> - -<li class="indx">Bagnold, Major Arthur, <a href="#Page_142">142</a>, <a href="#Page_143">143</a></li> - -<li class="indx">Baraize, M., <a href="#Page_108">108</a></li> - -<li class="indx">Barrère, M., <a href="#Page_208">208</a>, <a href="#Page_212">212</a></li> - -<li class="indx">Barsanti, M. Alexandre, <a href="#Page_201">201</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Bastît, the goddess, <a href="#Page_184">184</a>, <a href="#Page_209">209</a>, <a href="#Page_212">212</a>, <a href="#Page_213">213</a>, <a href="#Page_215">215</a>;</li> -<li class="isub1">her festival at Bubastis, <a href="#Page_210">210</a>, <a href="#Page_211">211</a></li> - -<li class="indx"><span class="pagenum" id="Page_218">218</span>Baÿ, Dr., <a href="#Page_133">133</a></li> - -<li class="indx">Bedrecheîn, <a href="#Page_141">141</a></li> - -<li class="indx">Bénédite, M., <a href="#Page_206">206</a></li> - -<li class="indx">Beni-Hassan, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_87">87</a>, <a href="#Page_214">214</a></li> - -<li class="indx">Berbers, the, <a href="#Page_129">129</a></li> - -<li class="indx">Bercheh, <a href="#Page_31">31</a></li> - -<li class="indx">Berlin Museum, <a href="#Page_152">152</a>;</li> -<li class="isub1"><i>Scribe</i> of the, <a href="#Page_20">20</a>, <a href="#Page_21">21</a></li> - -<li class="indx">Bibân-el-Molouk, <a href="#Page_111">111</a></li> - -<li class="indx">Bissing, F.W. von, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a></li> - -<li class="indx">Bocchoris, <a href="#Page_33">33</a></li> - -<li class="indx">“Book of the Dead,” <a href="#Page_113">113</a>, <a href="#Page_114">114</a>, <a href="#Page_203">203</a></li> - -<li class="indx">Borchardt, <a href="#Page_24">24</a>, <a href="#Page_25">25</a></li> - -<li class="indx">Boulaq Museum, <a href="#Page_63">63</a>, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>, <a href="#Page_81">81</a>, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>, <a href="#Page_135">135</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a></li> - -<li class="indx">British Museum, <a href="#Page_153">153</a></li> - -<li class="indx">Bruckmann, <a href="#Page_17">17</a>, <a href="#Page_23">23</a></li> - -<li class="indx">Bubastis, <a href="#Page_124">124</a>, <a href="#Page_154">154</a>, <a href="#Page_157">157</a>, <a href="#Page_161">161</a>, <a href="#Page_190">190</a>, <a href="#Page_210">210</a>, <a href="#Page_211">211</a>, <a href="#Page_215">215</a></li> - -<li class="ifrst">C</li> - -<li class="indx">Cairo, <a href="#Page_39">39</a>, <a href="#Page_108">108</a>, <a href="#Page_154">154</a>, <a href="#Page_179">179</a>, <a href="#Page_208">208</a>, <a href="#Page_215">215</a></li> - -<li class="indx">Cairo Museum, the, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_29">29</a>, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>, <a href="#Page_39">39</a>, <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_93">93</a>, <a href="#Page_96">96</a>, <a href="#Page_98">98</a>, <a href="#Page_108">108</a>, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_116">116</a>, <a href="#Page_128">128</a>, <a href="#Page_129">129</a>, <a href="#Page_131">131</a>, <a href="#Page_134">134</a>, <a href="#Page_157">157</a>;</li> -<li class="isub1"><i>Scribe</i> of the, <a href="#Page_20">20</a></li> - -<li class="indx">Carter, <a href="#Page_92">92</a></li> - -<li class="indx">Caviglia, <a href="#Page_141">141</a></li> - -<li class="indx">Chaldæa, <a href="#Page_169">169</a>, <a href="#Page_171">171</a></li> - -<li class="indx">Champollion, <a href="#Page_121">121</a>, <a href="#Page_172">172</a>, <a href="#Page_186">186</a></li> - -<li class="indx">Chassinat, M., <a href="#Page_206">206</a></li> - -<li class="indx">Cheîkh-Abd-el-Gournah, <a href="#Page_115">115</a>, <a href="#Page_178">178</a>, <a href="#Page_179">179</a></li> - -<li class="indx">Cheîkh el-Beled, statue of the, <a href="#Page_21">21</a>, <a href="#Page_46">46</a>, <a href="#Page_48">48</a>, <a href="#Page_88">88</a></li> - -<li class="indx">Cheîkh-Saîd, <a href="#Page_31">31</a></li> - -<li class="indx">Cheops, <a href="#Page_30">30</a>, <a href="#Page_209">209</a>;</li> -<li class="isub1">statuette of, <a href="#Page_37">37</a>, <a href="#Page_38">38</a></li> - -<li class="indx">Chephrên, <a href="#Page_30">30</a>, <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_48">48</a>, <a href="#Page_137">137</a>, <a href="#Page_209">209</a>;</li> -<li class="isub1">statuette of, <a href="#Page_37">37</a>, <a href="#Page_38">38</a></li> - -<li class="indx">Chephrên, statues of the, <a href="#Page_21">21</a>, <a href="#Page_24">24</a>, <a href="#Page_37">37</a></li> - -<li class="indx">Coptos, <a href="#Page_22">22</a></li> - -<li class="indx">Cow, the, of Deîr-el-Baharî, <a href="#Page_18">18</a>, <a href="#Page_106">106</a>, <a href="#Page_117">117</a></li> - -<li class="indx">Crete, <a href="#Page_169">169</a></li> - -<li class="indx">Crouching Scribe, the, <a href="#Page_18">18</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_84">84</a>, <a href="#Page_88">88</a></li> - -<li class="ifrst">D</li> - -<li class="indx">Dahchour, <a href="#Page_145">145</a>, <a href="#Page_150">150</a>, <a href="#Page_152">152</a>, <a href="#Page_158">158</a></li> - -<li class="indx">Darius, <a href="#Page_140">140</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Davis, Theodore, <a href="#Page_126">126</a></li> - -<li class="indx">Decauville, <a href="#Page_90">90</a></li> - -<li class="indx">Denderah, <a href="#Page_31">31</a>, <a href="#Page_123">123</a></li> - -<li class="indx">Deîr-el-Baharî, <a href="#Page_92">92</a>, <a href="#Page_108">108</a>, <a href="#Page_110">110</a>, <a href="#Page_115">115</a>;</li> -<li class="isub1"><i>favissa</i> of, <a href="#Page_98">98</a>;</li> -<li class="isub1">porticoes of, <a href="#Page_95">95</a></li> - -<li class="indx">Dévéria, <a href="#Page_196">196</a></li> - -<li class="indx">Dog, nome of the, <a href="#Page_41">41</a></li> - -<li class="indx"><i>Double</i>, the, <a href="#Page_51">51</a>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>, <a href="#Page_111">111</a>, <a href="#Page_115">115</a>, <a href="#Page_143">143</a>, <a href="#Page_193">193</a>, <a href="#Page_198">198</a></li> - -<li class="ifrst">E</li> - -<li class="indx">Ebers, <a href="#Page_17">17</a></li> - -<li class="indx">Edfou, temple of, <a href="#Page_210">210</a></li> - -<li class="indx">Edgar, Mr., <a href="#Page_154">154</a>, <a href="#Page_155">155</a></li> - -<li class="indx">Egypt, financial system of ancient, <a href="#Page_197">197</a>, <a href="#Page_198">198</a></li> - -<li class="indx">Egyptian cats, <a href="#Page_208">208</a>, <a href="#Page_209">209</a>, <a href="#Page_214">214</a>, <a href="#Page_215">215</a>, <a href="#Page_216">216</a></li> - -<li class="indx"><span class="pagenum" id="Page_219">219</span>Egyptian jewellery, <a href="#Page_145">145–153</a>, <a href="#Page_201">201–207</a></li> - -<li class="indx">Egyptian Scribes, <a href="#Page_61">61</a>, <a href="#Page_62">62</a>, <a href="#Page_63">63</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>, <a href="#Page_199">199</a>, <a href="#Page_200">200</a></li> - -<li class="indx">Egyptian statuary, <a href="#Page_17">17–35</a></li> - -<li class="indx">El-Amarna, bas-reliefs of, <a href="#Page_131">131</a>;</li> -<li class="isub1">necropolis of, <a href="#Page_31">31</a>, <a href="#Page_125">125</a>, <a href="#Page_133">133</a>;</li> -<li class="isub1">sculptors of, <a href="#Page_130">130</a>;</li> -<li class="isub1">statues of, <a href="#Page_100">100</a></li> - -<li class="indx">El-Tell, tombs of, <a href="#Page_31">31</a></li> - -<li class="indx">Es-Sayed Eîd, <a href="#Page_155">155</a></li> - -<li class="indx">Ethiopia, <a href="#Page_95">95</a>, <a href="#Page_102">102</a>, <a href="#Page_124">124</a>, <a href="#Page_139">139</a></li> - -<li class="indx">Ethiopian pyramids, the, <a href="#Page_153">153</a></li> - -<li class="indx">Euphrates, <a href="#Page_170">170</a></li> - -<li class="indx">Europe, <a href="#Page_215">215</a>, <a href="#Page_216">216</a></li> - -<li class="ifrst">F</li> - -<li class="indx">Fayoum, the, <a href="#Page_26">26</a>, <a href="#Page_29">29</a>, <a href="#Page_94">94</a>, <a href="#Page_137">137</a></li> - -<li class="indx">Ferlini, <a href="#Page_153">153</a></li> - -<li class="ifrst">G</li> - -<li class="indx">Garwood, <a href="#Page_142">142</a></li> - -<li class="indx">Gebeleîn, <a href="#Page_22">22</a>, <a href="#Page_179">179</a>, <a href="#Page_214">214</a></li> - -<li class="indx">Germany, <a href="#Page_214">214</a></li> - -<li class="indx">Gizeh, <a href="#Page_39">39</a>, <a href="#Page_95">95</a></li> - -<li class="indx">Gizeh Museum, <a href="#Page_21">21</a>, <a href="#Page_24">24</a>, <a href="#Page_66">66</a>, <a href="#Page_68">68</a>, <a href="#Page_70">70</a>, <a href="#Page_152">152</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Gizeh, necropolis of, <a href="#Page_21">21</a>, <a href="#Page_29">29</a></li> - -<li class="indx">Gold and silver vases and cups, <a href="#Page_160">160–8</a></li> - -<li class="indx">Golenischeff, <a href="#Page_32">32</a></li> - -<li class="indx">Gournah, <a href="#Page_138">138</a></li> - -<li class="indx">Gournah, temple of, <a href="#Page_95">95</a>, <a href="#Page_134">134</a></li> - -<li class="indx">Grébaut, <a href="#Page_37">37</a></li> - -<li class="indx">Greece, <a href="#Page_119">119</a></li> - -<li class="ifrst">H</li> - -<li class="indx">Hachopsouîtou, Queen, <a href="#Page_97">97</a>, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>, <a href="#Page_119">119</a></li> - -<li class="indx">Hakori, <a href="#Page_196">196</a></li> - -<li class="indx">Hapi-T’aufi, Prince, <a href="#Page_53">53</a></li> - -<li class="indx">Harmais, statues of the, <a href="#Page_22">22</a></li> - -<li class="indx">Harmhâbi, <a href="#Page_100">100</a>, <a href="#Page_130">130</a>, <a href="#Page_133">133</a>, <a href="#Page_135">135</a>, <a href="#Page_138">138</a>, <a href="#Page_139">139</a></li> - -<li class="indx">Hathor, the goddess, <a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a href="#Page_109">109</a>, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>, <a href="#Page_187">187</a></li> - -<li class="indx">Heliopolis, <a href="#Page_123">123</a></li> - -<li class="indx">Hellenes, the, <a href="#Page_33">33</a></li> - -<li class="indx">Heracleopolis, <a href="#Page_30">30</a>, <a href="#Page_94">94</a></li> - -<li class="indx">Hermopolis, <a href="#Page_28">28</a>, <a href="#Page_31">31</a>, <a href="#Page_105">105</a></li> - -<li class="indx">Herodotus, <a href="#Page_32">32</a>, <a href="#Page_124">124</a>, <a href="#Page_140">140</a>, <a href="#Page_210">210</a>, <a href="#Page_211">211</a></li> - -<li class="indx">Hor, the scribe, <a href="#Page_84">84</a></li> - -<li class="indx">Horus, <a href="#Page_188">188</a></li> - -<li class="indx">Horus Qa-âou, stele of the, <a href="#Page_19">19</a></li> - -<li class="indx">Hrihor, <a href="#Page_124">124</a></li> - -<li class="indx">Hyksôs king, portrait of a, <a href="#Page_22">22</a></li> - -<li class="ifrst">I</li> - -<li class="indx">Icelanders and ghosts, <a href="#Page_176">176</a></li> - -<li class="indx">Iouaa, <a href="#Page_122">122</a></li> - -<li class="indx">Isis, <a href="#Page_97">97</a>, <a href="#Page_116">116</a>, <a href="#Page_147">147</a>, <a href="#Page_148">148</a>, <a href="#Page_202">202</a>, <a href="#Page_204">204</a></li> - -<li class="indx">Isis, statue of, <a href="#Page_96">96</a></li> - -<li class="ifrst">K</li> - -<li class="indx">Karnak, <a href="#Page_31">31</a>, <a href="#Page_37">37</a>, <a href="#Page_105">105</a>, <a href="#Page_138">138</a>, <a href="#Page_139">139</a>;</li> -<li class="isub1"><i>favissa</i> of, <a href="#Page_22">22</a>, <a href="#Page_26">26</a>, <a href="#Page_90">90</a>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>;</li> -<li class="isub1">modern village of, <a href="#Page_90">90</a>;</li> -<li class="isub1">temple of, <a href="#Page_135">135</a></li> - -<li class="indx">Khâbokhni, <a href="#Page_188">188</a></li> - -<li class="indx">Khâmoîsît, high priest of Phtah, <a href="#Page_145">145</a>, <a href="#Page_146">146</a></li> - -<li class="indx">Khâsakhmouî, the Pharaoh, <a href="#Page_19">19</a>, <a href="#Page_20">20</a></li> - -<li class="indx">Khitas, the, <a href="#Page_151">151</a></li> - -<li class="indx">Khnoum, <a href="#Page_135">135</a></li> - -<li class="indx"><span class="pagenum" id="Page_220">220</span>Khnoumhotpou, the dwarf, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>, <a href="#Page_87">87</a>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a></li> - -<li class="indx">Khonsou, <a href="#Page_98">98</a>, <a href="#Page_99">99</a></li> - -<li class="indx">Khounaton, <a href="#Page_125">125</a>, <a href="#Page_138">138</a></li> - -<li class="indx">Khouniatonou, <a href="#Page_31">31</a>, <a href="#Page_100">100</a>, <a href="#Page_126">126</a>, <a href="#Page_130">130</a>, <a href="#Page_133">133</a></li> - -<li class="indx">Kings, Valley of the, <a href="#Page_126">126</a></li> - -<li class="indx"><i>King-Serpent</i>, stele of the, <a href="#Page_19">19</a></li> - -<li class="indx">Knom, <a href="#Page_56">56</a>, <a href="#Page_58">58</a></li> - -<li class="ifrst">L</li> - -<li class="indx">Leghorn, <a href="#Page_172">172</a></li> - -<li class="indx">Legrain, M., <a href="#Page_22">22</a>, <a href="#Page_26">26</a>, <a href="#Page_91">91</a>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a href="#Page_98">98</a>, <a href="#Page_100">100</a>, <a href="#Page_105">105</a></li> - -<li class="indx">Lepsius, <a href="#Page_57">57</a></li> - -<li class="indx">Leyden, <a href="#Page_20">20</a></li> - -<li class="indx">Leyden Museum, <a href="#Page_153">153</a>, <a href="#Page_175">175</a></li> - -<li class="indx">Leyden papyrus, the, <a href="#Page_177">177</a></li> - -<li class="indx">Libyan Desert, the, <a href="#Page_112">112</a></li> - -<li class="indx">Libyan Mountains, the, <a href="#Page_113">113</a></li> - -<li class="indx">Longpérier, M. de, <a href="#Page_49">49</a></li> - -<li class="indx">Louis XIV, peruke of time of, <a href="#Page_180">180</a></li> - -<li class="indx">Louvre, the, <a href="#Page_18">18</a>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_49">49</a>, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>, <a href="#Page_58">58</a>, <a href="#Page_60">60</a>, <a href="#Page_64">64</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>, <a href="#Page_70">70</a>, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>, <a href="#Page_84">84</a>, <a href="#Page_125">125</a>, <a href="#Page_130">130</a>, <a href="#Page_134">134</a>, <a href="#Page_136">136</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>, <a href="#Page_152">152</a>, <a href="#Page_153">153</a>, <a href="#Page_172">172</a>, <a href="#Page_178">178</a>, <a href="#Page_183">183</a>, <a href="#Page_185">185</a>, <a href="#Page_186">186</a>, <a href="#Page_195">195</a>, <a href="#Page_200">200</a>, <a href="#Page_205">205</a>, <a href="#Page_206">206</a>, <a href="#Page_215">215</a></li> - -<li class="indx">Louxor, <a href="#Page_31">31</a>, <a href="#Page_107">107</a></li> - -<li class="ifrst">M</li> - -<li class="indx">Macedonians, the, <a href="#Page_102">102</a></li> - -<li class="indx">Madagascar, queens of, <a href="#Page_104">104</a></li> - -<li class="indx">Maît, <a href="#Page_213">213</a></li> - -<li class="indx">Mankahorou, statuette of, <a href="#Page_37">37</a></li> - -<li class="indx">Mantimehê, <a href="#Page_103">103</a>, <a href="#Page_104">104</a></li> - -<li class="indx">Mariette, <a href="#Page_22">22</a>, <a href="#Page_24">24</a>, <a href="#Page_32">32</a>, <a href="#Page_38">38</a>, <a href="#Page_55">55</a>, <a href="#Page_60">60</a>, <a href="#Page_62">62</a>, <a href="#Page_66">66</a>, <a href="#Page_79">79</a>, <a href="#Page_94">94</a>, <a href="#Page_98">98</a>, <a href="#Page_100">100</a>, <a href="#Page_103">103</a>, <a href="#Page_116">116</a>, <a href="#Page_121">121</a>, <a href="#Page_136">136</a>, <a href="#Page_139">139</a>, <a href="#Page_145">145</a>, <a href="#Page_150">150</a>, <a href="#Page_151">151</a>, <a href="#Page_196">196</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Matonou (Amten), statue of, at Berlin, <a href="#Page_29">29</a></li> - -<li class="indx">Medinet Habou, <a href="#Page_128">128</a></li> - -<li class="indx">Mediterranean, the, <a href="#Page_171">171</a>, <a href="#Page_194">194</a></li> - -<li class="indx">Meîdoum, <a href="#Page_46">46</a>, <a href="#Page_48">48</a>, <a href="#Page_62">62</a>, <a href="#Page_63">63</a>;</li> -<li class="isub1">excavations of, <a href="#Page_29">29</a>, <a href="#Page_30">30</a></li> - -<li class="indx">Memphian Empire, the, <a href="#Page_20">20</a></li> - -<li class="indx">Memphis, <a href="#Page_25">25</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>, <a href="#Page_37">37</a>, <a href="#Page_55">55</a>, <a href="#Page_72">72</a>, <a href="#Page_78">78</a>, <a href="#Page_79">79</a>, <a href="#Page_88">88</a>, <a href="#Page_123">123</a>, <a href="#Page_137">137</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Menephtah, <a href="#Page_136">136</a>, <a href="#Page_138">138</a></li> - -<li class="indx">Menna, <a href="#Page_182">182</a></li> - -<li class="indx">Menzaleh, Lake, <a href="#Page_32">32</a></li> - -<li class="indx">Minieh, prince of, <a href="#Page_85">85</a>, <a href="#Page_87">87</a></li> - -<li class="indx">Mînou, the god, <a href="#Page_22">22</a></li> - -<li class="indx">Mît-Fares, <a href="#Page_22">22</a></li> - -<li class="indx">Mît-Rahineh, <a href="#Page_24">24</a>, <a href="#Page_37">37</a>, <a href="#Page_39">39</a></li> - -<li class="indx">Mohammed-Ali, <a href="#Page_142">142</a></li> - -<li class="indx">Mohammed Effendi Chabân, <a href="#Page_154">154</a></li> - -<li class="indx">Mond, Mr., <a href="#Page_178">178</a></li> - -<li class="indx">Montouhotpou, <a href="#Page_111">111</a></li> - -<li class="indx">Montouhotpou, statue of, <a href="#Page_26">26</a></li> - -<li class="indx">Montouhotpou I, temple of, <a href="#Page_22">22</a>, <a href="#Page_106">106</a></li> - -<li class="indx">Montouhotpou III, statue of, <a href="#Page_22">22</a></li> - -<li class="indx">Montouhotpou V, tomb of, <a href="#Page_92">92</a></li> - -<li class="indx"><i>Monuments de l’Art Antique</i>, <a href="#Page_34">34</a></li> - -<li class="indx">Morgan, M. de, <a href="#Page_66">66</a>, <a href="#Page_73">73</a>, <a href="#Page_145">145</a></li> - -<li class="indx">Moursi Hassaneîn, <a href="#Page_155">155</a></li> - -<li class="indx">Munich, <a href="#Page_20">20</a>, <a href="#Page_21">21</a></li> - -<li class="indx"><i>Musée Egyptien</i>, the, <a href="#Page_26">26</a>, <a href="#Page_34">34</a></li> - -<li class="indx">Mycerinus, statues of, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>, <a href="#Page_41">41</a>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_48">48</a></li> - -<li class="ifrst">N</li> - -<li class="indx">Nafêrourîya, <a href="#Page_97">97</a></li> - -<li class="indx"><span class="pagenum" id="Page_221">221</span>Naî, the lady, <a href="#Page_173">173</a>, <a href="#Page_174">174</a>, <a href="#Page_177">177</a>, <a href="#Page_186">186</a></li> - -<li class="indx">Naousirrîya, statuette of, <a href="#Page_37">37</a></li> - -<li class="indx">Napata, <a href="#Page_31">31</a></li> - -<li class="indx">Naples Museum, the, <a href="#Page_20">20</a></li> - -<li class="indx"><i>Nâr</i>-mer, <i>palette</i> of, <a href="#Page_19">19</a></li> - -<li class="indx">Nasi, statue of, <a href="#Page_21">21</a></li> - -<li class="indx">Naville, <a href="#Page_92">92</a>, <a href="#Page_106">106</a>, <a href="#Page_107">107</a>, <a href="#Page_111">111</a>, <a href="#Page_118">118</a></li> - -<li class="indx">Nectanebo I, <a href="#Page_116">116</a></li> - -<li class="indx">Nectanebo II, <a href="#Page_33">33</a></li> - -<li class="indx">Neîth, <a href="#Page_204">204</a>;</li> -<li class="isub1">temple of, <a href="#Page_167">167</a>, <a href="#Page_169">169</a></li> - -<li class="indx">Nephthys, <a href="#Page_147">147</a>, <a href="#Page_148">148</a>, <a href="#Page_202">202</a></li> - -<li class="indx">Nile, the, <a href="#Page_27">27</a>, <a href="#Page_112">112</a>, <a href="#Page_170">170</a>;</li> -<li class="isub1">valley of the, <a href="#Page_28">28</a></li> - -<li class="indx">Nofirtoumou, the god, <a href="#Page_215">215</a></li> - -<li class="indx">Nofrihotpou, funeral of, <a href="#Page_88">88</a></li> - -<li class="indx">Nofrît, statue of, <a href="#Page_22">22</a></li> - -<li class="indx">Nonît, the goddess, <a href="#Page_202">202</a></li> - -<li class="indx">Nsiphtah, <a href="#Page_103">103</a></li> - -<li class="indx">Nubia, <a href="#Page_31">31</a></li> - -<li class="ifrst">O</li> - -<li class="indx">Omm-el-Gaâb, tombs of, <a href="#Page_29">29</a></li> - -<li class="indx">Osiris, <a href="#Page_116">116</a>, <a href="#Page_123">123</a>, <a href="#Page_147">147</a>, <a href="#Page_148">148</a>, <a href="#Page_205">205</a></li> - -<li class="indx">Osorkon II, statuette of, <a href="#Page_103">103</a></li> - -<li class="indx"><i>Ostraca</i>, <a href="#Page_98">98</a></li> - -<li class="indx">Ounas, <a href="#Page_201">201</a></li> - -<li class="indx">Ousimares (Osymandyas), <a href="#Page_158">158</a></li> - -<li class="indx"><i>Ousirmârî</i>, <a href="#Page_149">149</a></li> - -<li class="indx">Oxyrrhinchus, <a href="#Page_41">41</a></li> - -<li class="ifrst">P</li> - -<li class="indx">Pakhît, <a href="#Page_213">213</a>, <a href="#Page_214">214</a></li> - -<li class="indx">Pehournowri, statuette of, <a href="#Page_79">79</a>, <a href="#Page_84">84</a></li> - -<li class="indx">Perfume ladles described, <a href="#Page_190">190–3</a></li> - -<li class="indx">Persian Conquest, the, <a href="#Page_91">91</a></li> - -<li class="indx">Persians, the, <a href="#Page_104">104</a></li> - -<li class="indx">Petesomtous, <a href="#Page_116">116</a></li> - -<li class="indx">Petrie, Flinders, <a href="#Page_26">26</a>, <a href="#Page_47">47</a>, <a href="#Page_129">129</a>, <a href="#Page_131">131</a></li> - -<li class="indx">Phœnicia, <a href="#Page_193">193</a></li> - -<li class="indx">Phœnicians, the, <a href="#Page_171">171</a></li> - -<li class="indx">Phtah, <a href="#Page_87">87</a>, <a href="#Page_95">95</a>, <a href="#Page_141">141</a>, <a href="#Page_145">145</a>, <a href="#Page_173">173</a>;</li> -<li class="isub1">temple of, <a href="#Page_37">37</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Phtah-Maî, <a href="#Page_173">173</a>, <a href="#Page_174">174</a></li> - -<li class="indx">Pioupi, bronze statue of, <a href="#Page_21">21</a></li> - -<li class="indx">Poubastît (Bubastis), <a href="#Page_209">209</a></li> - -<li class="indx">Psammetichus, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Psammetichus I, <a href="#Page_33">33</a>, <a href="#Page_103">103</a></li> - -<li class="indx">Psarou, <a href="#Page_146">146</a>, <a href="#Page_147">147</a></li> - -<li class="indx">Pyramids, plain of the, <a href="#Page_29">29</a></li> - -<li class="ifrst">Q</li> - -<li class="indx">Qodshou, battle of, <a href="#Page_151">151</a></li> - -<li class="ifrst">R</li> - -<li class="indx">Râ, the solar god, <a href="#Page_123">123</a>, <a href="#Page_124">124</a></li> - -<li class="indx">Rahotpou, the scribe, <a href="#Page_84">84</a>;</li> -<li class="isub1">tomb of, <a href="#Page_62">62</a></li> - -<li class="indx">Ramessides, the, <a href="#Page_91">91</a>, <a href="#Page_103">103</a>, <a href="#Page_124">124</a></li> - -<li class="indx">Ramke, the scribe, <a href="#Page_84">84</a></li> - -<li class="indx">Ramses, <a href="#Page_130">130</a>;</li> -<li class="isub1">statues of the, <a href="#Page_22">22</a></li> - -<li class="indx">Ramses I, <a href="#Page_138">138</a></li> - -<li class="indx">Ramses II, <a href="#Page_30">30</a>, <a href="#Page_136">136</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_140">140</a>, <a href="#Page_141">141</a>, <a href="#Page_142">142</a>, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>, <a href="#Page_148">148</a>, <a href="#Page_151">151</a>, <a href="#Page_158">158</a>, <a href="#Page_159">159</a>, <a href="#Page_160">160</a>, <a href="#Page_170">170</a>, <a href="#Page_206">206</a>;</li> -<li class="isub1">statues of, <a href="#Page_26">26</a>, <a href="#Page_101">101</a>, <a href="#Page_135">135</a></li> - -<li class="indx">Ramses III, <a href="#Page_102">102</a></li> - -<li class="indx">Ramses VI, <a href="#Page_101">101</a>, <a href="#Page_102">102</a></li> - -<li class="indx">Ramses-Nakhouîti, <a href="#Page_101">101</a></li> - -<li class="indx">Rânofir, <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_88">88</a>;</li> -<li class="isub1">statue of, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>, <a href="#Page_72">72</a>, <a href="#Page_77">77</a>, <a href="#Page_78">78</a></li> - -<li class="indx"><i>Readers</i>, statue of the, at Cairo, <a href="#Page_21">21</a></li> - -<li class="indx"><span class="pagenum" id="Page_222">222</span>Reisner, <a href="#Page_39">39</a>, <a href="#Page_44">44</a></li> - -<li class="indx">Rome, <a href="#Page_119">119</a></li> - -<li class="indx">Rougé, M. de, <a href="#Page_196">196</a></li> - -<li class="indx">Roxelane, <a href="#Page_127">127</a></li> - -<li class="ifrst">S</li> - -<li class="indx">Sabou, tomb of, <a href="#Page_66">66</a></li> - -<li class="indx">Saîd, the, <a href="#Page_31">31</a>, <a href="#Page_113">113</a></li> - -<li class="indx">St. Sebastian, paintings of, <a href="#Page_83">83</a>, <a href="#Page_84">84</a></li> - -<li class="indx">Saïs, <a href="#Page_105">105</a></li> - -<li class="indx">Saïte jewels, <a href="#Page_201">201</a></li> - -<li class="indx">Saladin, <a href="#Page_39">39</a></li> - -<li class="indx">Salt Collection, the, <a href="#Page_120">120</a>, <a href="#Page_194">194</a></li> - -<li class="indx">Sân, <a href="#Page_196">196</a></li> - -<li class="indx">Sânakht, <a href="#Page_138">138</a></li> - -<li class="indx">Sanmaout, statue of, <a href="#Page_96">96</a>, <a href="#Page_97">97</a></li> - -<li class="indx">Sanouosrît I, statue of, <a href="#Page_22">22</a>, <a href="#Page_46">46</a>;</li> -<li class="isub1">bas-relief of, <a href="#Page_22">22</a>, <a href="#Page_37">37</a>;</li> -<li class="isub1">(Ousirtasen), <a href="#Page_94">94</a>, <a href="#Page_95">95</a></li> - -<li class="indx">Sanouosrît III, <a href="#Page_94">94</a>;</li> -<li class="isub1">statue of, <a href="#Page_46">46</a></li> - -<li class="indx">Sapouî (Sepa), statue of, in the Louvre, <a href="#Page_21">21</a>, <a href="#Page_29">29</a>, <a href="#Page_64">64</a></li> - -<li class="indx">Saqqarah, necropolises of, <a href="#Page_21">21</a>, <a href="#Page_29">29</a>, <a href="#Page_49">49</a>, <a href="#Page_55">55</a>, <a href="#Page_63">63</a>, <a href="#Page_66">66</a>, <a href="#Page_76">76</a>, <a href="#Page_85">85</a>, <a href="#Page_88">88</a>, <a href="#Page_95">95</a>;</li> -<li class="isub1">village of, <a href="#Page_72">72</a></li> - -<li class="indx">Sculpture in wood, <a href="#Page_172">172–4</a>, <a href="#Page_183">183–9</a></li> - -<li class="indx">Scythians, the, <a href="#Page_140">140</a></li> - -<li class="indx">Serapeum, the, <a href="#Page_55">55</a>, <a href="#Page_60">60</a>, <a href="#Page_64">64</a>, <a href="#Page_79">79</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>, <a href="#Page_148">148</a>, <a href="#Page_150">150</a>, <a href="#Page_153">153</a>, <a href="#Page_206">206</a></li> - -<li class="indx"><i>Serdâb</i>, the, <a href="#Page_51">51</a>, <a href="#Page_60">60</a>, <a href="#Page_62">62</a></li> - -<li class="indx">“Service des Antiquités,” the, <a href="#Page_143">143</a>, <a href="#Page_155">155</a>, <a href="#Page_178">178</a></li> - -<li class="indx">Sesostris, <a href="#Page_140">140</a></li> - -<li class="indx">Setinakht, <a href="#Page_138">138</a></li> - -<li class="indx">Setouî I, <a href="#Page_30">30</a>, <a href="#Page_37">37</a>, <a href="#Page_95">95</a>, <a href="#Page_121">121</a>, <a href="#Page_130">130</a>, <a href="#Page_138">138</a>;</li> -<li class="isub1">hypogeum of, <a href="#Page_134">134</a>;</li> -<li class="isub1">statue of, <a href="#Page_135">135</a></li> - -<li class="indx">Setouî II, <a href="#Page_138">138</a>, <a href="#Page_160">160</a></li> - -<li class="indx">Shepherd Kings, the, <a href="#Page_22">22</a>, <a href="#Page_32">32</a>;</li> -<li class="isub1">portraits of, <a href="#Page_196">196</a></li> - -<li class="indx">Sheshonq, <a href="#Page_194">194</a></li> - -<li class="indx">Sidi Ahmed el-Bedaouî, <a href="#Page_210">210</a></li> - -<li class="indx">Simon, Herr, of Berlin, <a href="#Page_129">129</a></li> - -<li class="indx">Sinai, <a href="#Page_129">129</a></li> - -<li class="indx">Siout, <a href="#Page_54">54</a></li> - -<li class="indx">Siphtah, <a href="#Page_160">160</a></li> - -<li class="indx">Siphtah Menephtah, <a href="#Page_138">138</a></li> - -<li class="indx">Sistrum, nome of the, <a href="#Page_41">41</a></li> - -<li class="indx">Skhemka, the scribe, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_58">58</a>, <a href="#Page_59">59</a>, <a href="#Page_60">60</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_84">84</a></li> - -<li class="indx">Sokaris, boat of the god, <a href="#Page_203">203</a></li> - -<li class="indx">Sovkemsaouf, <a href="#Page_22">22</a></li> - -<li class="indx">Sovkhotpou, the king, <a href="#Page_22">22</a>, <a href="#Page_84">84</a></li> - -<li class="indx">Speos-Artemidos, cemetery of cats at, <a href="#Page_213">213</a>, <a href="#Page_214">214</a></li> - -<li class="indx">Sphinxes, the so-called Hyksôs, <a href="#Page_28">28</a>, <a href="#Page_32">32</a></li> - -<li class="indx">Stephenson, General, <a href="#Page_142">142</a></li> - -<li class="indx">Sycomore, Canton of the, <a href="#Page_41">41</a></li> - -<li class="indx">Syria, <a href="#Page_95">95</a>, <a href="#Page_124">124</a>, <a href="#Page_139">139</a>, <a href="#Page_164">164</a>, <a href="#Page_171">171</a></li> - -<li class="ifrst">T</li> - -<li class="indx">Taharkou, <a href="#Page_103">103</a></li> - -<li class="indx">Taharqa, <a href="#Page_196">196</a></li> - -<li class="indx">Taîa, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>, <a href="#Page_121">121</a>, <a href="#Page_122">122</a>, <a href="#Page_134">134</a></li> - -<li class="indx">Tamaî, singing-girl of Neîth, <a href="#Page_167">167</a>, <a href="#Page_169">169</a></li> - -<li class="indx">Tanis, <a href="#Page_32">32</a>, <a href="#Page_102">102</a>, <a href="#Page_105">105</a>, <a href="#Page_137">137</a>;</li> -<li class="isub1">sphinxes of, <a href="#Page_28">28</a></li> - -<li class="indx">Tantah, fair of, <a href="#Page_210">210</a></li> - -<li class="indx">Taouasrît, <a href="#Page_170">170</a></li> - -<li class="indx">Tboubouî, <a href="#Page_184">184</a></li> - -<li class="indx">Tell Bastah, ruins of, <a href="#Page_208">208</a></li> - -<li class="indx">Tell-el-Khanzir, <a href="#Page_142">142</a></li> - -<li class="indx"><span class="pagenum" id="Page_223">223</span>Thebaïd, the, <a href="#Page_102">102</a></li> - -<li class="indx">Theban Empire, the, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_28">28</a>, <a href="#Page_32">32</a></li> - -<li class="indx">Thebes, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_88">88</a>, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>, <a href="#Page_95">95</a>, <a href="#Page_105">105</a>, <a href="#Page_120">120</a>, <a href="#Page_123">123</a>, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>, <a href="#Page_128">128</a>, <a href="#Page_131">131</a>, <a href="#Page_137">137</a>, <a href="#Page_145">145</a>, <a href="#Page_181">181</a>, <a href="#Page_183">183</a>, <a href="#Page_187">187</a></li> - -<li class="indx">Thebes, government of, <a href="#Page_103">103</a>, <a href="#Page_104">104</a></li> - -<li class="indx">Thinis, <a href="#Page_30">30</a></li> - -<li class="indx">Thinis-Abydos, <a href="#Page_29">29</a></li> - -<li class="indx">Thinites, the, <a href="#Page_20">20</a>, <a href="#Page_29">29</a></li> - -<li class="indx">Thot, city of, <a href="#Page_31">31</a></li> - -<li class="indx">Thoutmôsis, <a href="#Page_138">138</a></li> - -<li class="indx">Thoutmôsis, statue of, <a href="#Page_22">22</a></li> - -<li class="indx">Thoutmôsis III, <a href="#Page_91">91</a>, <a href="#Page_94">94</a>, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>, <a href="#Page_107">107</a>, <a href="#Page_109">109</a>, <a href="#Page_112">112</a>, <a href="#Page_121">121</a>, <a href="#Page_134">134</a></li> - -<li class="indx">Thoutmôsis IV, <a href="#Page_124">124</a></li> - -<li class="indx">Ti, <a href="#Page_88">88</a>;</li> -<li class="isub1">statue of, <a href="#Page_70">70</a></li> - -<li class="indx">Tîyi, <a href="#Page_126">126</a>, <a href="#Page_127">127</a>, <a href="#Page_128">128</a>, <a href="#Page_129">129</a></li> - -<li class="indx">Tîyi, wife of Amenôthes III, <a href="#Page_100">100</a></li> - -<li class="indx">Touaa, <a href="#Page_122">122</a></li> - -<li class="indx">Touî, the lady, <a href="#Page_178">178</a>, <a href="#Page_183">183</a>, <a href="#Page_184">184</a>, <a href="#Page_185">185</a>, <a href="#Page_186">186</a>, <a href="#Page_189">189</a></li> - -<li class="indx">Toumoumtaouneb, the royal cupbearer, <a href="#Page_164">164</a></li> - -<li class="indx">Tourah, limestone of, <a href="#Page_49">49</a>, <a href="#Page_179">179</a></li> - -<li class="indx">Toutânkhamânou, <a href="#Page_133">133</a>, <a href="#Page_134">134</a>, <a href="#Page_138">138</a></li> - -<li class="indx">Toutânoukhamanou, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>, <a href="#Page_100">100</a></li> - -<li class="indx">Turin Museum, <a href="#Page_64">64</a>, <a href="#Page_183">183</a>, <a href="#Page_186">186</a>, <a href="#Page_189">189</a></li> - -<li class="indx">Turin papyrus, the, <a href="#Page_197">197</a></li> - -<li class="ifrst">U</li> - -<li class="indx">Upper Egypt, <a href="#Page_41">41</a></li> - -<li class="ifrst">V</li> - -<li class="indx">Vassalli, <a href="#Page_47">47</a></li> - -<li class="indx">Vienna Museum, <a href="#Page_22">22</a></li> - -<li class="indx">Virchow, <a href="#Page_215">215</a></li> - -<li class="ifrst">W</li> - -<li class="indx">Wiedemann, <a href="#Page_26">26</a></li> - -<li class="indx">Wilkinson, <a href="#Page_216">216</a></li> - -<li class="ifrst">Z</li> - -<li class="indx">Zagazig, <a href="#Page_154">154</a>, <a href="#Page_155">155</a>, <a href="#Page_156">156</a>, <a href="#Page_165">165</a>, <a href="#Page_171">171</a></li> - -<li class="indx">Zannehibou, <a href="#Page_201">201</a>, <a href="#Page_202">202</a>, <a href="#Page_206">206</a></li> -</ul> -</div></div> - -<hr class="chap x-ebookmaker-drop" /> - -<p class="newpage p4 center vspace smaller"><span class="bold">The Gresham Press,</span><br /> -UNWIN BROTHERS, LIMITED<br /> -WOKING AND LONDON.</p> - 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