diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-22 00:21:03 -0700 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-22 00:21:03 -0700 |
| commit | 9ff41dc1a2e3fb106d353e696c6f477912d00957 (patch) | |
| tree | 4e090c16909b2272300fb2abd710ea2fe6368936 /75684-h | |
Diffstat (limited to '75684-h')
| -rw-r--r-- | 75684-h/75684-h.htm | 9989 | ||||
| -rw-r--r-- | 75684-h/images/cover.jpg | bin | 0 -> 259982 bytes | |||
| -rw-r--r-- | 75684-h/images/i_000.jpg | bin | 0 -> 256159 bytes | |||
| -rw-r--r-- | 75684-h/images/i_001.jpg | bin | 0 -> 54589 bytes | |||
| -rw-r--r-- | 75684-h/images/i_010.jpg | bin | 0 -> 255258 bytes | |||
| -rw-r--r-- | 75684-h/images/i_018.jpg | bin | 0 -> 255520 bytes | |||
| -rw-r--r-- | 75684-h/images/i_030.jpg | bin | 0 -> 260598 bytes | |||
| -rw-r--r-- | 75684-h/images/i_040.jpg | bin | 0 -> 258965 bytes | |||
| -rw-r--r-- | 75684-h/images/i_052.jpg | bin | 0 -> 258657 bytes | |||
| -rw-r--r-- | 75684-h/images/i_072.jpg | bin | 0 -> 256920 bytes | |||
| -rw-r--r-- | 75684-h/images/i_080.jpg | bin | 0 -> 257665 bytes | |||
| -rw-r--r-- | 75684-h/images/i_088.jpg | bin | 0 -> 254819 bytes | |||
| -rw-r--r-- | 75684-h/images/i_092.jpg | bin | 0 -> 254638 bytes | |||
| -rw-r--r-- | 75684-h/images/i_096.jpg | bin | 0 -> 254633 bytes | |||
| -rw-r--r-- | 75684-h/images/i_104.jpg | bin | 0 -> 260132 bytes | |||
| -rw-r--r-- | 75684-h/images/i_112.jpg | bin | 0 -> 258327 bytes | |||
| -rw-r--r-- | 75684-h/images/i_116.jpg | bin | 0 -> 257842 bytes | |||
| -rw-r--r-- | 75684-h/images/i_120.jpg | bin | 0 -> 257183 bytes | |||
| -rw-r--r-- | 75684-h/images/i_124.jpg | bin | 0 -> 256631 bytes | |||
| -rw-r--r-- | 75684-h/images/i_128.jpg | bin | 0 -> 259084 bytes | |||
| -rw-r--r-- | 75684-h/images/i_136.jpg | bin | 0 -> 257505 bytes | |||
| -rw-r--r-- | 75684-h/images/i_144.jpg | bin | 0 -> 259932 bytes | |||
| -rw-r--r-- | 75684-h/images/i_148.jpg | bin | 0 -> 249695 bytes | |||
| -rw-r--r-- | 75684-h/images/i_152.jpg | bin | 0 -> 254770 bytes | |||
| -rw-r--r-- | 75684-h/images/i_178.jpg | bin | 0 -> 258394 bytes | |||
| -rw-r--r-- | 75684-h/images/i_184.jpg | bin | 0 -> 255897 bytes | |||
| -rw-r--r-- | 75684-h/images/i_192.jpg | bin | 0 -> 259646 bytes | |||
| -rw-r--r-- | 75684-h/images/i_200.jpg | bin | 0 -> 258026 bytes | |||
| -rw-r--r-- | 75684-h/images/i_208.jpg | bin | 0 -> 255799 bytes | |||
| -rw-r--r-- | 75684-h/images/i_216.jpg | bin | 0 -> 256827 bytes | |||
| -rw-r--r-- | 75684-h/images/i_224.jpg | bin | 0 -> 254111 bytes | |||
| -rw-r--r-- | 75684-h/images/i_228.jpg | bin | 0 -> 254596 bytes | |||
| -rw-r--r-- | 75684-h/images/i_232.jpg | bin | 0 -> 260489 bytes | |||
| -rw-r--r-- | 75684-h/images/i_236.jpg | bin | 0 -> 254877 bytes | |||
| -rw-r--r-- | 75684-h/images/i_240.jpg | bin | 0 -> 252823 bytes |
35 files changed, 9989 insertions, 0 deletions
diff --git a/75684-h/75684-h.htm b/75684-h/75684-h.htm new file mode 100644 index 0000000..a62fecf --- /dev/null +++ b/75684-h/75684-h.htm @@ -0,0 +1,9989 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <title> + A Century of Excavation In the Land of the Pharaohs | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> /* <![CDATA[ */ + +body { + margin-left: 2.5em; + margin-right: 2.5em; +} +.x-ebookmaker body {margin: 0;} +.x-ebookmaker-drop {color: inherit;} + +h1, h2 { + text-align: center; + clear: both; + margin-top: 2.5em; + margin-bottom: 1em; + word-spacing: .2em; +} + +h1 {line-height: 1.5;} + +h2.chap {margin-bottom: 0;} +h2+p {margin-top: 1.5em;} +h2 .subhead {display: block; margin-top: 1em; margin-bottom: 1em;} +.x-ebookmaker h1, .x-ebookmaker .chapter, .x-ebookmaker .section {page-break-before: always;} +.x-ebookmaker h1.nobreak, .x-ebookmaker h2.nobreak, .x-ebookmaker .nobreak {page-break-before: avoid; padding-top: 0;} + +.transnote h2 { + margin-top: .5em; + margin-bottom: 1em; +} + +.subhead { + text-indent: 0; + text-align: center; + font-size: smaller; +} + +p { + text-indent: 1.75em; + margin-top: .51em; + margin-bottom: .24em; + text-align: justify; +} +.x-ebookmaker p { + margin-top: .5em; + margin-bottom: .25em; +} + +.caption p, .center p, p.center {text-align: center; text-indent: 0;} + +.p2 {margin-top: 2em;} +.p4 {margin-top: 4em;} +.vspace {line-height: 1.5;} + +.xsmall {font-size: 60%;} +.small {font-size: 70%;} +.smaller {font-size: 85%;} +.larger {font-size: 125%;} +.large {font-size: 150%;} +.xlarge {font-size: 175%;} + +p.drop-cap {text-indent: 0;} +p.drop-cap:first-letter { + float: left; + margin: .05em .3em 0 0; + font-size: 400%; + line-height:0.7em; + text-indent: 0; + clear: both; +} +p.drop-cap .smcap1 {margin-left: -1.2em;} +p.drop-cap.b .smcap1 {margin-left: -1.4em;} +p.drop-cap.al .smcap1 {margin-left: -1.9em;} +p .smcap1 {font-size: 110%;} +.smcap1 {text-transform: uppercase;} + +.x-ebookmaker-2 p.drop-cap {text-indent: 1.75em; margin-bottom: .24em;} +.x-ebookmaker-2 p.drop-cap:first-letter { + float: none; + font-size: 100%; + margin-left: 0; + margin-right: 0; + text-indent: 1.75em; +} + +.x-ebookmaker-2 p.drop-cap .smcap1, + .x-ebookmaker-2 p.drop-cap.b .smcap1, + .x-ebookmaker-2 p.drop-cap.al .smcap1 {margin-left: 0;} +.x-ebookmaker-2 p.drop-cap {text-indent: 0;} +.x-ebookmaker-2 p .smcap1 {font-size: 100%;} +.x-ebookmaker-2 .smcap1 {font-variant: normal;} + +.center {text-align: center;} + +.right {text-align: right; margin-right: 2em;} + +.smcap {font-variant: small-caps;} +.allsmcap {font-variant: small-caps; text-transform: lowercase;} + +hr { + width: 33%; + margin: 4em auto 4em auto; + clear: both; +} +.x-ebookmaker hr { + margin-top: .1em; + margin-bottom: .1em; + visibility: hidden; + color: white; + width: .01em; + display: none; +} + +table { + margin-left: auto; + margin-right: auto; + max-width: 80%; + border-collapse: collapse; +} +.x-ebookmaker table {width: auto; max-width: 90%; margin: 1em auto 1em auto;} + +.tdl { + text-align: left; + vertical-align: top; + padding-right: 1em; + padding-left: 1.5em; + text-indent: -1.5em; +} +.x-ebookmaker .tdl { + padding-left: 1em; + text-indent: -1em; + padding-right: 0; +} + +.tdc {text-align: center;} +.tdc.chap { + font-size: 115%; + padding-top: 1em; + padding-bottom: 0; +} + +.tdr { + text-align: right; + vertical-align: bottom; + padding-left: .3em; + white-space: nowrap; +} +.tdr.top{vertical-align: top; padding-left: 0; padding-right: .5em;} +.fright {float: right; padding-left: 2em;} +.tdl.norpad {padding-right: 0;} + +.pagenum { + position: absolute; + right: .25em; + text-indent: 0; + text-align: right; + font-size: 70%; + font-weight: normal; + font-variant: normal; + font-style: normal; + letter-spacing: normal; + line-height: normal; + color: #acacac; + border: .0625em solid #acacac; + background: #ffffff; + padding: .0625em .125em; +} + +.figcenter { + margin: 2em auto 2em auto; + text-align: center; + page-break-inside: avoid; +} + +img { + padding: 1em 0 0 0; + max-width: 100%; + height: auto; +} + +.caption {text-align: center; margin-top: 0; font-size: .8em; word-spacing: .2em;} +.caption .allsmcap {font-size: 1.4em;} + +ul {margin-left: 3em; padding-left: 0;} +li {list-style-type: none; padding-left: 2em; text-indent: -2.5em; text-align: left;} +.x-ebookmaker ul {margin-left: 1em; padding-left: 0;} +.x-ebookmaker li {list-style-type: none; padding-left: 1em; text-indent: -1.5em;} + +.footnote { + border: thin dashed black; + margin: 1.5em 10%; + padding: .5em 1em .5em 1.5em; +} + +.footnote {font-size: .95em;} +.footnote p {text-indent: 1em;} + +.fnanchor, .footnote .label { + vertical-align: 60%; + line-height: .7; + font-size: smaller; + text-decoration: none; +} +.fnanchor {font-weight: bold; font-size: .8em;} +.footnote .label {font-size: .8em;} +h2 .fnanchor {font-size: .5em; vertical-align: text-top;} + +.index {margin-left: 1em; text-align: center; display: flex; justify-content: center;} +ul.index {padding-left: 0; display: block; max-width: 30em;} +li {list-style-type: none; text-align: left;} +li.indx, li.ifrst {list-style-type: none; padding-left: 3em; text-indent: -3em; padding-top: .2em;} +li.isub1 {padding-left: 3em; text-indent: -2em;} +li.isub2 {padding-left: 3em; text-indent: -1em;} +li.ifrst {padding-top: 1em;} + +.poetry-container { + margin: 1.5em auto; + text-align: center; + font-size: 98%; + display: flex; + justify-content: center; +} + +.poetry {display: block; text-align: left; margin-left: 0;} +.x-ebookmaker .poetry {margin-left: 5%; margin-right: 5%;} +.poetry .stanza {padding: 0.5em 0; page-break-inside: avoid;} +.poetry .verse {text-indent: -3em; padding-left: 3em;} + +.poetry .indentq {text-indent: -3.45em;} +.poetry .indent0 {text-indent: -3em;} + +.transnote { + border: .3em double gray; + font-family: sans-serif, serif; + margin-left: 5%; + margin-right: 5%; + margin-top: 4em; + margin-bottom: 2em; + padding: 1em; +} +.x-ebookmaker .transnote { + page-break-before: always; + page-break-after: always; + margin-left: 2%; + margin-right: 2%; + margin-top: 1em; + margin-bottom: 1em; + padding: .5em; +} + +.covernote {visibility: hidden; display: none;} +.x-ebookmaker .covernote {visibility: visible; display: block; text-align: justify} + +.wspace {word-spacing: .3em;} +.wspace1 {word-spacing: .37em;} +.wspace2 {word-spacing: .4em;} +.wspace3 {word-spacing: .7em;} +.wspace4 {word-spacing: .3em;} + +.pagenum br {display: none; visibility: hidden;} +.narrow30 {max-width: 30em; margin-left: auto; margin-right: auto;} +.bt {border-top: thin solid black; padding-top: .4em;} +.sans {font-family: sans-serif, serif; font-weight: bold;} + + /* ]]> */ </style> +</head> + +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 75684 ***</div> + +<div class="transnote section"> +<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> + +<p class="covernote">The cover of this eBook is the original Title Page.</p> + +<p><a href="#Transcribers_Notes">Additional notes</a> will be found near the end of this ebook.</p> +<div> </div> +</div> + +<div class="section"> +<figure id="il_1" class="figcenter" style="max-width: 29em;"> + <img src="images/i_000.jpg" width="1365" height="1997" alt=""> + <figcaption class="caption">1. PORTRAIT STATUE OF THOTHMES III, CAIRO MUSEUM. + </figcaption> +</figure> +<hr class="chap x-ebookmaker-drop"> +<div> </div> +</div> + +<div class="section center wspace"> +<h1> +<span class="small">A</span><br> +Century of Excavation<br> +<span class="small">in the</span><br> +Land of the Pharaohs</h1> + +<p class="p2">BY<br> +<span class="large">JAMES BAIKIE, F.R.A.S.</span></p> + +<p class="smaller narrow30">AUTHOR OF “WONDER TALES OF THE ANCIENT WORLD,” +“LANDS AND PEOPLE OF THE BIBLE,” “THE SEA KINGS OF CRETE,” +“THE STORY OF THE PHARAOHS,” ETC.</p> + +<p class="p2 vspace">ILLUSTRATED WITH 32 PLATES<br> +SPECIALLY PREPARED FOR THIS VOLUME</p> + +<figure id="il_1a" class="figcenter" style="max-width: 4em;"> + <img src="images/i_001.jpg" width="192" height="278" alt=""> +</figure> + +<p class="p2 vspace"><span class="large">Fleming H. Revell Company</span><br> +<span class="smcap">New York</span> <span class="smcap">Chicago</span> <span class="smcap">Toronto</span> +</p> +<hr class="chap x-ebookmaker-drop"> +<div> </div> +</div> + +<div class="section center p4"> +<p> +<span class="smcap">Printed in Great Britain</span><br> +<span class="smcap">by</span><br> +<span class="smcap">William Clowes & Sons, Limited,</span><br> +<span class="smcap">London and Beccles.</span> +</p> +<hr class="chap x-ebookmaker-drop"> +<div> </div> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_3">3</span></p> + +<h2 class="nobreak" id="PREFACE">PREFACE</h2> +</div> + +<p class="drop-cap"><span class="smcap1">It</span> is somewhat remarkable that, in spite of the +considerable, if spasmodic, interest which is +taken in the results of research in Egypt, no +adequate account of the work of excavation has +ever been written. The student who wishes to +learn how, when, and where the facts and objects +which interest him were discovered, has himself +to excavate the desired information from the +innumerable volumes of reports issued by the +various exploration societies. It is much to be +desired that someone who is master of the subject, +and preferably, someone who has had actual +experience of the work of excavation, should tell +the story, not in a manner suited only to the ears +of experts, but so that the educated public on +whom in the long run excavation must depend +for its resources, could appreciate and enjoy a +narrative which ought to be as fascinating as any +story of search for buried treasure.</p> + +<p>This volume makes no pretension to the discharge +of such a task. All that it attempts to do is +to outline the story of certain aspects of the great +work which has given us back so many of the +wonders of the ancient civilisation of Egypt. Its +omissions are, doubtless, many; but two will be +at once conspicuous to anyone who has the +slightest acquaintance with the subject. Nothing +is said of the Search for the Cities, which in the<span class="pagenum" id="Page_4">4</span> +closing years of the nineteenth century created so +much interest, and resulted in so many identifications +of sites; and nothing is said of the great +work of Papyrus-hunting which has added so +much to our knowledge of ancient life. These +two matters were left untouched for reasons +which seemed valid. In the case of the Cities, +many of the identifications of the ’nineties are +at present being questioned, and it seemed better +to leave the matter till something like agreement +is reached. In the case of the Papyri, the subject +has become so specialised, and has developed so +large a literature of its own as to render impossible +any attempt to deal with it, on the scale which it +deserves, in such a volume as the present.</p> + +<p>It may be that at some time in the not far +distant future, when controversy has resulted in +more or less general agreement as to the sites, +these two aspects of Egyptian excavation may be +dealt with in a volume which may be a sequel and +companion to this. My indebtedness to many +authorities is manifest on almost every page of +the book; but I wish specially to acknowledge +my debt to Professor Sir W. M. Flinders Petrie, +D.C.L., F.R.S., not only for the kindness which +has allowed me to use the material of several of +the plates in the book (7, 9, 10), but also for the +constant inspiration and stimulus which his work +has given to me, as to so many other students of +the wonderful civilisation of Ancient Egypt.</p> + +<p class="right"> +JAMES BAIKIE. +</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_5">5</span></p> + +<h2 class="nobreak" id="CONTENTS">CONTENTS</h2> +</div> + +<table id="toc"> +<tr> + <td class="tdc chap" colspan="2">CHAPTER I</td> +</tr> +<tr class="xsmall"> + <td class="tdl"></td> + <td class="tdr">PAGE</td> +</tr> +<tr> + <td class="tdl"><span class="smcap">The Story of the Pioneers</span></td> + <td class="tdr"><a href="#toclink_7">7</a></td> +</tr> +<tr> + <td class="tdc chap" colspan="2">CHAPTER II</td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Mariette and his Work</span></td> + <td class="tdr"><a href="#toclink_18">18</a></td> +</tr> +<tr> + <td class="tdc chap" colspan="2">CHAPTER III</td> +</tr> +<tr> + <td class="tdl"><span class="smcap">The Beginnings of the Modern Period</span></td> + <td class="tdr"><a href="#toclink_35">35</a></td> +</tr> +<tr> + <td class="tdc chap" colspan="2">CHAPTER IV</td> +</tr> +<tr> + <td class="tdl"><span class="smcap">The Pyramids and their Explorers</span></td> + <td class="tdr"><a href="#toclink_48">48</a></td> +</tr> +<tr> + <td class="tdc chap" colspan="2">CHAPTER V</td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Work among the Temples</span></td> + <td class="tdr"><a href="#toclink_84">84</a></td> +</tr> +<tr> + <td class="tdc chap" colspan="2">CHAPTER VI</td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Buried Royalties</span></td> + <td class="tdr"><a href="#toclink_128">128</a></td> +</tr> +<tr> + <td class="tdc chap" colspan="2">CHAPTER VII</td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Tutankhamen and his Splendours</span></td> + <td class="tdr"><a href="#toclink_177">177</a></td> +</tr> +<tr> + <td class="tdc chap" colspan="2">CHAPTER VIII</td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Life, Arts, and Crafts in the Land of the Nile</span></td> + <td class="tdr"><a href="#toclink_213">213</a></td> +</tr> +</table> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="LIST_OF_ILLUSTRATIONS">LIST OF ILLUSTRATIONS</h2> +</div> + +<table id="loi"> +<tr class="xsmall"> + <td class="tdl" colspan="2">PLATE</td> + <td></td> +</tr> +<tr> + <td class="tdr top">1.</td> + <td class="tdl norpad" colspan="2">Portrait Statue of Thothmes III, Cairo Museum +<span class="fright"><i><a href="#il_1">Frontispiece</a></i></span></td> +</tr> +<tr class="xsmall"> + <td></td> + <td></td> + <td class="tdr">PAGE</td> +</tr> +<tr> + <td class="tdr top">2.</td> + <td class="tdl">Wall of Chamber, Tomb of Sety I, Valley of the Kings</td> + <td class="tdr"><a href="#il_2">10</a></td> +</tr> +<tr> + <td class="tdr top">3.</td> + <td class="tdl">Detail of Decoration, Tomb of Sety I</td> + <td class="tdr"><a href="#il_3">18</a></td> +</tr> +<tr> + <td class="tdr top">4.</td> + <td class="tdl">Temple of Ramses III, Medinet Habu</td> + <td class="tdr"><a href="#il_4">30</a></td> +</tr> +<tr> + <td class="tdr top">5.</td> + <td class="tdl">Temple of Edfu—The Pylon, and View from the Pylon</td> + <td class="tdr"><a href="#il_5">40</a></td> +</tr> +<tr> + <td class="tdr top">6.</td> + <td class="tdl">Great Pyramid and Sphinx</td> + <td class="tdr"><a href="#il_6">52</a></td> +</tr> +<tr> + <td class="tdr top">7.</td> + <td class="tdl">Gold Pectorals of Senusert II and III, XIIth Dynasty</td> + <td class="tdr"><a href="#il_7">72</a></td> +</tr> +<tr> + <td class="tdr top">8.</td> + <td class="tdl">Diadems of Princess Khnumit, Gold work, XIIth Dynasty</td> + <td class="tdr"><a href="#il_8">80</a></td> +</tr> +<tr> + <td class="tdr top">9.</td> + <td class="tdl">Hatshepsut’s Temple, Der el-Bahri. General view</td> + <td class="tdr"><a href="#il_9">88</a><span class="pagenum" id="Page_6">6</span></td> +</tr> +<tr> + <td class="tdr top">10.</td> + <td class="tdl">North Colonnade, Der el-Bahri; “Proto-Doric” Columns</td> + <td class="tdr"><a href="#il_10">92</a></td> +</tr> +<tr> + <td class="tdr top">11.</td> + <td class="tdl">Reliefs, Der el-Bahri</td> + <td class="tdr"><a href="#il_11">96</a></td> +</tr> +<tr> + <td class="tdr top">12.</td> + <td class="tdl">Karnak, Avenue of Sphinxes</td> + <td class="tdr"><a href="#il_12">104</a></td> +</tr> +<tr> + <td class="tdr top">13.</td> + <td class="tdl">Karnak, Nave of Hypostyle Hall</td> + <td class="tdr"><a href="#il_13">112</a></td> +</tr> +<tr> + <td class="tdr top">14.</td> + <td class="tdl">Karnak, Columns of the Side-Aisle, Hypostyle Hall</td> + <td class="tdr"><a href="#il_14">116</a></td> +</tr> +<tr> + <td class="tdr top">15.</td> + <td class="tdl">Karnak, View from the North; Obelisks of Hatshepsut, and Thothmes I</td> + <td class="tdr"><a href="#il_15">120</a></td> +</tr> +<tr> + <td class="tdr top">16.</td> + <td class="tdl">Luxor, Forecourt of Amenhotep III</td> + <td class="tdr"><a href="#il_16">124</a></td> +</tr> +<tr> + <td class="tdr top">17.</td> + <td class="tdl">Luxor, Papyrus-Bud Columns and Colossi of Ramses II</td> + <td class="tdr"><a href="#il_17">128</a></td> +</tr> +<tr> + <td class="tdr top">18.</td> + <td class="tdl">Colonnade in Temple of Sety I, Abydos</td> + <td class="tdr"><a href="#il_18">136</a></td> +</tr> +<tr> + <td class="tdr top">19.</td> + <td class="tdl">Bracelets of 1st Dynasty Queen, Chain and Gold Seal, VIth Dynasty, with XIIth Dynasty Goldsmith’s Work</td> + <td class="tdr"><a href="#il_19">144</a></td> +</tr> +<tr> + <td class="tdr top">20.</td> + <td class="tdl">Entrance to the Valley of the Kings, Thebes</td> + <td class="tdr"><a href="#il_20">148</a></td> +</tr> +<tr> + <td class="tdr top">21.</td> + <td class="tdl">Tomb of Ramses IX, Valley of the Kings</td> + <td class="tdr"><a href="#il_21">152</a></td> +</tr> +<tr> + <td class="tdr top">22.</td> + <td class="tdl">Granite Head of Tutankhamen, Cairo Museum</td> + <td class="tdr"><a href="#il_22">178</a></td> +</tr> +<tr> + <td class="tdr top">23.</td> + <td class="tdl">Decoration from a Theban Tomb</td> + <td class="tdr"><a href="#il_23">184</a></td> +</tr> +<tr> + <td class="tdr top">24.</td> + <td class="tdl">Decoration from a Theban Tomb: Sowing, Reaping, the Vintage</td> + <td class="tdr"><a href="#il_24">192</a></td> +</tr> +<tr> + <td class="tdr top">25.</td> + <td class="tdl">Head of the Hathor-Cow, Der el-Bahri</td> + <td class="tdr"><a href="#il_25">200</a></td> +</tr> +<tr> + <td class="tdr top">26.</td> + <td class="tdl">Colossus of Ramses II, Luxor</td> + <td class="tdr"><a href="#il_26">208</a></td> +</tr> +<tr> + <td class="tdr top">27.</td> + <td class="tdl">Portrait-Statue of Mentuemhat, Cairo Museum</td> + <td class="tdr"><a href="#il_27">216</a></td> +</tr> +<tr> + <td class="tdr top">28.</td> + <td class="tdl">Vth Dynasty Relief-Work, Tomb of Ptah-Hetep</td> + <td class="tdr"><a href="#il_28">224</a></td> +</tr> +<tr> + <td class="tdr top">29.</td> + <td class="tdl">XIXth Dynasty Relief-Work, Temple of Sety I, Abydos</td> + <td class="tdr"><a href="#il_29">228</a></td> +</tr> +<tr> + <td class="tdr top">30.</td> + <td class="tdl">XIXth Dynasty Relief-Work, Temple of Ramses II, Luxor</td> + <td class="tdr"><a href="#il_30">232</a></td> +</tr> +<tr> + <td class="tdr top">31.</td> + <td class="tdl">XXth Dynasty Relief-Work, Temple of Ramses III, Medinet Habu</td> + <td class="tdr"><a href="#il_31">236</a></td> +</tr> +<tr> + <td class="tdr top">32.</td> + <td class="tdl">Ptolemaic Relief-Work, Kom Ombos</td> + <td class="tdr"><a href="#il_32">240</a></td> +</tr> +</table> + +<p><span class="pagenum" id="Page_7">7</span></p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p class="center xlarge"> +<span class="wspace1">A CENTURY OF</span><br> +<span class="wspace2">EXCAVATION IN</span><br> +<span class="wspace3">THE LAND OF</span><br> +<span class="wspace4">THE PHARAOHS</span> +</p> + +<h2 class="nobreak" id="CHAPTER_I"><span id="toclink_7"></span>CHAPTER I<br> + +<span class="subhead">THE STORY OF THE PIONEERS</span></h2> +</div> + +<p class="drop-cap"><span class="smcap1">The</span> story of the beginnings of research +into the wonders of antiquity in Egypt +is unique in at least one point. In no +other land does a conquering army march at +the head of the pioneers of exploration; but +the true beginnings of the century and a quarter +of research which has given to us so many +wonders from the Land of the Nile are to be +found with that amazing troop of learned camp-followers +who accompanied Napoleon’s army on +the expedition of 1798. The wonders of ancient +Egypt had never altogether been blotted from +the memory and the interest of man, as was the +case with some of the other lands of the Classic +East. The pages of Herodotus, never fuller or +more vivid than when he is dealing with Egypt, +prevented that oblivion; and therefore Herodotus +has some right to be named at the very beginning +of the story of the exploration of ancient Egypt<span class="pagenum" id="Page_8">8</span> +as the pioneer of pioneers. But the world was +first really awakened to the richness of the +Treasury of Egypt by the colossal production, +twelve volumes of plates and twenty-four of +text, which was the result of the untiring labours +of Vivant Denon and his collaborators—the +famous <cite lang="fr">Description de l’Egypte</cite>—a work almost +comparable in scale and grandeur with the +monuments which it described. Few armies +have left behind them such a memorial of their +passage across a land—the more credit to the +man whose inexhaustibly fertile brain conceived +the idea of making even war subserve the interests +of science.</p> + +<p>Unfortunately, however, the tie with international +strifes and jealousies, which had drawn +the French savants originally to the Nile Valley, +remained unbroken for many years; and +questions of archæology were continually complicated +by questions of national pride and +prestige, so that the early story of Egyptian +exploration is not the story of pure research, +conducted for the love of truth and of antiquity, +but very often merely the story of how the +representative of France strove with the representative +of Britain or Italy for the possession of +some ancient monument whose capture might +bring glory to his nation, or profit to his own +purse. There are few more melancholy chapters +in the story of human frailty than those in which +the early explorers of Egypt (if you can dignify +them by such a name) describe how they +wrangled and intrigued, lied and cheated, over +relics whose mutilated antiquity might have<span class="pagenum" id="Page_9">9</span> +taught them enough of the vanity of human +wishes to make them ashamed of their pettiness.</p> + +<p>Dr. Macalister has told us in the Cambridge +Ancient History that “it is impossible to give +any complete survey of the history of Egyptian +excavation.” This is true for the later period, +because the field is so vast, and the workers are +so many; it is not less true for the beginnings, +because it is impossible to write a history of the +scufflings of kites and crows—or rather, one +might say, of ghouls. It must be almost a +nightmare to the modern excavator, with his +ingrained appreciation of the importance of +even the very smallest object which may add +to the knowledge of ancient lands and peoples, +to think of the priceless material which was +destroyed by the undiscriminating zeal of men +like Belzoni, Drovetti, and their fellows, or if +not destroyed, at least deprived of half its value +by being torn from its historical place and +connection. These were the lamentable days +when interest in the antiquities of Egypt had +advanced but little beyond that displayed by +the gentleman of Addison’s first <cite>Spectator</cite>, +whose Egyptian researches are thus described +by himself—“I made a voyage to Grand Cairo +on purpose to take the measure of a pyramid; +and as soon as I had set myself right in that +particular, returned to my native country with +great satisfaction,” or by Lord Charlemont, who +according to Johnson had nothing to tell of his +travels except a story of a large serpent which +he had seen in one of the pyramids of Egypt.</p> + +<p>In the early years of the nineteenth century,<span class="pagenum" id="Page_10">10</span> +and, indeed, till Mariette in 1858 laid his masterful +hand upon the key of the great treasure-house +and allowed no one to spoil it but himself, there +was a perfect orgy of spoliation carried on, not +in the interests of science, but partly out of +vanity, and partly out of greed. Every important +or noble traveller had to add a few curios from +Egypt to his miscellaneous collection gathered +from half a dozen other lands, and sculptures, +inscriptions, and papyri of the greatest value +were thus uselessly dispersed in paltry private +collections, where, when they had gratified a +passing curiosity or ministered to a momentary +spirit of emulation, they were allowed to gather +dust through years of neglect, till at last the +futile cabinet of curios was dispersed, and its +items were lost sight of altogether.</p> + +<p>Some collections, such as those of Belzoni, +Passalacqua, Drovetti, and a few others, had +better fortune, and were finally purchased for +one or other of the great European Museums, +which nearly all formed the nucleus of their +Egyptological collections in this fashion; but +the amount of unnecessary loss of what can +never now be replaced must have been deplorable.</p> + +<figure id="il_2" class="figcenter" style="max-width: 43em;"> + <img src="images/i_010.jpg" width="2070" height="1341" alt=""> + <figcaption class="caption">2. WALL OF CHAMBER, TOMB OF SETY I, VALLEY OF THE KINGS. + </figcaption> +</figure> + +<p>This “unbridled pillage,” as Maspero justly +calls it, in which the consuls of the various +European powers played an ignoble but doubtless +lucrative part, lasted for more than thirty years, +in spite of the protests of men like Champollion, +who could understand the irreparable loss which +was being inflicted on the infant science of +Egyptology by this mutilation and confounding +of the documents on which its future depended.<span class="pagenum" id="Page_11">11</span> +Among its practitioners were one or two men +who were distinguished from the vulgar crowd +of papyrus, scarab, and mummy hunters by a +certain dim appreciation of the fact that the +treasures with which they were dealing had a +value greater than that of their price in the +curio-market, and who have added at least a +few interesting and remarkable items to the mass +of Egyptian treasure which the nineteenth century +accumulated, though our gratitude to them for +this must always be qualified by the fact that we +have no certain knowledge of what they lost +and destroyed in the process, but can only judge +from their own admissions that it must have +been far more than they preserved.</p> + +<p>Of these men who may be pronounced guilty, +but with extenuating circumstances, the most +interesting, and perhaps the least harmful, was +the inimitable Belzoni, to whose unwearying +efforts we owe the opening of the Second Pyramid, +the discovery of the tomb of Sety I, the most +perfect example of the rock-hewn tomb of a +Pharaoh of the New Empire, and the magnificent +alabaster sarcophagus of Sety which is one of +the treasures of the Soane Museum, London, +besides several of the most important royal +statues in the Egyptian Galleries of the British +Museum. No one who wishes to realise what +the young science had to endure at the hands +of its first devotees can afford to neglect the +extraordinary farrago of vanity and pomposity, +ignorance and self-seeking, but also of patience +and endurance, and a certain inborn instinct for +what was either beautiful or valuable, which<span class="pagenum" id="Page_12">12</span> +Belzoni has jumbled together under the sounding +title—“Narrative of the Operations and Recent +Discoveries within the Pyramids, Temples, +Tombs, and Excavations, in <span class="smcap">Egypt and Nubia</span>.”</p> + +<p>Belzoni’s original object in going to Egypt +was simply to get “The Bashaw” to adopt a +hydraulic machine for irrigation work—a project +in which it is almost needless to say that he +failed; his knowledge of the precious material +with which he was soon dealing was nothing at +the beginning, and not much more at the end of +his “Researches and Operations”; he had a +positive gift for quarrelling with everybody with +whom he came into contact, Egyptian or +European, and a mania for imputing the vilest +motives to anyone who coveted any piece of +antiquity on which he had set his own heart; +but with it all he had the <em>flair</em> of the true explorer +for a promising site, and could foresee hidden +treasures where his rivals dreamed of nothing, +and with all his petulance he had a patience which +was almost inexhaustible. It was these qualities +which have made him the only explorer of those +unhappy days whose name is really remembered, +or deserves to be remembered, in connection +with our knowledge of ancient Egypt.</p> + +<p>As to his methods, these, of course, were +unspeakable, and the mere mention of them is +enough to turn a modern excavator’s hair white. +He finds the entrance of a royal tomb in the +Western Valley of the Kings, and proceeds to +open it—with a battering-ram made of two palm-logs! +As to his reverence for the mighty dead +of the past one sentence may suffice: “Every<span class="pagenum" id="Page_13">13</span> +step I took I crushed a mummy in some part or +other.” Again he describes his journey through +a tomb-gallery which the modern excavator +would have given his ears to see as Belzoni +saw it. “It was choked with mummies, and +I could not pass without putting my face in +contact with that of some decayed Egyptian; +but as the passage inclined downwards my own +weight helped me on; however, I could not +avoid being covered with bones, legs, arms, and +heads rolling from above.”</p> + +<p>The object of these ghoulish journeys was +simply to plunder the coffins of their papyri, +which, of course, were marketable, though as yet +no one could read them; and there can be little +doubt that far more was destroyed than was +preserved by methods which were only a little +above those of the Ramesside tomb-robbers who +stripped the mummies of King Sebek-em-saf +and Queen Nub-khas of their jewels, and then +burned them. Such was Egyptian excavation +in the first quarter of the nineteenth century, +and in the hands of one of its most distinguished +practitioners, for Belzoni was an angel of light +compared with some of his rivals, native or +foreign.</p> + +<p>Fortunately, however, the time for such +ignorant and sordid exploitation of the treasures +of the past was not to last for long; though it +lasted far too long for the welfare of Egyptology. +By 1822, Jean François Champollion, working +on the material supplied by the Rosetta Stone +and the Philæ Obelisk, and aided to some extent +in his brilliant achievement by the previous<span class="pagenum" id="Page_14">14</span> +labours of Akerblad and Young, gave to the +world the key to the hieroglyphic inscriptions, +so that the Egyptian monuments were no longer +dumb. In 1828 came the second great general +survey of the monuments under Rosellini and +Champollion.</p> + +<p>It was now possible to read some, at least, +of the inscriptions, and therefore to reach some +approach to order in the classification of the +monuments dealt with. The work suffered an +irreparable loss by the early death of Champollion; +but the results of the expedition, presented in +the ten volumes of the <cite lang="fr">Monumenti storichi dell’ +Egitto e della Nubia</cite> constituted a great enlargement +of real knowledge as opposed to +the conjectures which had previously held the +field.</p> + +<p>For a time after the Rosellini Expedition, the +field was left to individual workers, of whom +the most notable were two Englishmen, F. E. +Perring and Colonel Howard Vyse, whose careful +measurements of the pyramids, especially the +great group of Gizeh, laid the foundation for +all subsequent study of these wonderful +structures. The work of Perring and Vyse was +done in 1837, and three years later came the +important Prussian Expedition directed by Karl +Richard Lepsius, whose name must always +stand among the foremost on the roll of +Egyptology.</p> + +<p>Lepsius began with the Pyramid field at +Memphis, where his theorising on the method +of erection of the pyramids, though perhaps the +part of his work by which he is most generally<span class="pagenum" id="Page_15">15</span> +known, was of less importance than his investigation +of the Old Kingdom tombs of the nobles +in the necropolis, with its revelation of the life +and culture of the Egypt of 3000 <span class="allsmcap">B.C.</span> Thence +the mission worked southwards, visiting the +Fayum, and carrying out investigations as to +the whereabouts of Lake Moeris and the +Labyrinth.</p> + +<p>Passing on up the Nile Valley, Lepsius paid +special attention to the tombs of the Middle +Kingdom with their valuable pictures of Egyptian +life a millennium later than the pyramid period, +and also visited the site which has since become +so famous as Tell el-Amarna. Not content +with carrying his researches to the limit of the +Second Cataract, where Rosellini had stopped, +he pressed on through Nubia as far as Napata +and Meroë, the former seats of that Ethiopian +extension of Egyptian civilisation which gave to +Egypt its ill-starred XXVth Dynasty, while on +his return journey he visited the Sinai Peninsula, +where he discovered and published the very +valuable inscriptions left by the Egyptian expeditions +which for many centuries were sent to +work the copper mines at the Wady Maghareh +and Serabit el-Khadem. He thus revealed to +us the first chapter of the wonderful story of +Egyptian exploring and commercial activity, +whose subsequent disclosures have at last almost +succeeded in destroying the time-honoured myth +which represented the ancient Egyptians as a +cloistered nation, the Chinese of the Near East.</p> + +<p>The <cite lang="de">Denkmäler aus Ægypten und Æthiopien</cite>, +published from 1849 to 1858 gave to the<span class="pagenum" id="Page_16">16</span> +world the results of the wonderfully fruitful +work of Lepsius, and has scarcely yet been +altogether superseded as a source of illustration +of the manners and culture of the ancient Egyptians. +“In the main,” says Dr. Macalister, “the +statement may stand, that Lepsius exhausted the +general topographical study of the country.” +Subsequent researches have done no more than +to add filling in to the broad outlines which he +drew with such care and certainty.</p> + +<p>But now the period of superficial survey of +the wealth of material which Egypt offers to the +student was drawing to a close, and was to be +succeeded by the period in which excavation, +conducted with constantly growing skill and +attention to the most minute details, was to do, +as it is still doing, what no amount of superficial +cataloguing of the monuments of the land could +ever do, and to give us back, not only pictures of +the life of these ancient days, but the tools and +weapons with which the Egyptian worked, fought, +and hunted, the vessels which he used for all the +purposes of life, the jewels with which he and +his women-kind adorned themselves, the books +which they read, and the songs which they sang; +all the material from which, if we have the vision +and the insight, we may reconstruct the life of +those far-off days; and to crown its gifts by +calling up from the tomb the very men themselves +who ruled and warred in the land of the Nile in +the great days when Egypt was the first of all +empires, and her Pharaoh a god incarnate, +before whose golden sandals all the lesser kings +of the world bowed in the dust “seven times<span class="pagenum" id="Page_17">17</span> +and seven times.” The pioneer of this work, +surely the most romantic and interesting, as it +has proved not the least fruitful, in the whole +realm of scientific research, was the brilliant +Frenchman, Auguste Mariette.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_18">18</span></p> + +<h2 class="nobreak" id="CHAPTER_II"><span id="toclink_18"></span>CHAPTER II<br> + +<span class="subhead">MARIETTE AND HIS WORK</span></h2> +</div> + +<p class="drop-cap"><span class="smcap1">The</span> story of the life-work of the man who, +more than any other, was responsible for +the creation of a genuine interest in the +great works of ancient Egypt, as distinguished from +the aimless or sordid antiquity-grubbing which has +been described in the preceding chapter, is one of +the romances of science. Mariette was one of those +men who, in the words of Cromwell, never go +so far as when they do not know whither they +are going, and in his early connection with +Egypt he was like Saul the son of Kish, who went +out to look for his father’s asses and found +a kingdom. Born in 1821, at Boulogne, and +employed as a teacher in the college of his native +town, he was drawn to the study of ancient +Egypt by the fact that the town museum had +acquired a fine Egyptian sarcophagus from the +collection of Denon, one of the savants who had +accompanied Napoleon’s Army of Egypt.</p> + +<figure id="il_3" class="figcenter" style="max-width: 41em;"> + <img src="images/i_018.jpg" width="1970" height="1345" alt=""> + <figcaption class="caption">3. DETAIL OF DECORATION, TOMB OF SETY I. + </figcaption> +</figure> + +<p>In 1849 he was appointed assistant in the +Egyptian Department of the Louvre, and in the +following year he was sent out to Egypt for +the purpose of buying Coptic manuscripts. The +mission, a comparatively trifling one in itself,<span class="pagenum" id="Page_19">19</span> +was one of those trifles which often prove turning-points +in a man’s life; and from the moment +when he set foot on Egyptian soil, Mariette’s +future career was marked out for him.</p> + +<p>The thing which determined his fate was a +passage from the old geographer and historian +Strabo. The god of Memphis, the most ancient +capital of Egypt, was Ptah, the artificer-god, who +was supposed to become incarnate in the sacred +bull Apis. As each successive Apis died, it +was buried with all the reverence and splendour +due to an incarnation of Divinity, in a special +necropolis at Saqqara. Later in the complicated +story of Egyptian religion Apis was identified +with the god of the Underworld, Osiris, and was +called Osiris-Apis, and the Greeks speedily +corrupted this into Serapis, and called the +burial-place of the Apis bulls the Serapeum.</p> + +<p>Now Strabo, in writing his account of Egypt, +inserted the following passage about this ancient +bull-cemetery. “One finds also [at Memphis] +a temple of Serapis in a spot so sandy that the +wind causes the sand to accumulate in heaps, +under which we could see many sphinxes, some +of them almost entirely buried, others only +partially covered; from which we may conjecture +that the route leading to this temple might be +attended with danger if one were surprised by +a sudden gust of wind.” While Mariette was +pursuing his inquiries after Coptic manuscripts, +he noticed in a garden at Alexandria several +sphinxes, and shortly after, when at Cairo, he +came across several more of the same type, +while more still were found at Gizeh. It was<span class="pagenum" id="Page_20">20</span> +plain that there was somewhere not far off some +storehouse of sphinxes which was being plundered +to furnish ornaments for the gardens of local +officials. The matter lay in Mariette’s mind +until one day when he was at Saqqara he noticed +the head of a similar sphinx sticking up out of +the sand. Searching round about it, he found +a libation-tablet, inscribed with a dedication to +Osiris-Apis. At once Strabo’s statement occurred +to his mind, and he realised that he was standing +over the avenue of sphinxes which the ancient +writer refers to.</p> + +<p>Coptic manuscripts went to the winds. Without +apparently asking permission of anybody, +“almost furtively,” as he says himself, Mariette +gathered a handful of workmen, and began the +excavation. “The first attempts were hard +indeed,” he says; “but before very long lions +and peacocks, and the Grecian statues of the +dromos, together with the monumental tablets +or <i lang="la">stelæ</i> of the temple of Nectanebo, were drawn +out of the sand, and I was able to announce my +success to the French Government, informing +them, at the same time, that the funds placed at +my disposal for the researches after the manuscripts +were entirely exhausted, and that a further +grant was indispensable. Thus was begun the +discovery of the Serapeum.”</p> + +<p>The passage is entirely characteristic of +Mariette, and the calmness with which he +assumes that the Government which had sent +him out to buy manuscripts will be quite pleased +to hear that he has spent all their money on +something quite different, and has committed<span class="pagenum" id="Page_21">21</span> +them to a huge excavation which was to last four +years, instead of to the purchase of a few parchments, +is particularly delightful. One wonders +what were the first thoughts of officialdom at +Paris when his letter reached the Louvre, and his +chiefs realised the kind of man and the irrepressible +energy which they had let loose in Egypt +to spend money on things which they had never +dreamed of.</p> + +<p>His action at the Serapeum was typical of +his whole career in Egypt. When Mariette had +once reached the conclusion that a certain object +was desirable, nothing was allowed to stand in +the way. He went for his object, one cannot +always say straight, for he had caution as well as +daring, and knew how to use the wisdom of the +serpent, but with a resolute determination which +seldom failed in the end to accomplish its purpose; +and if regulations stood in the way, so much the +worse for the regulations. It was this self-reliance +and impatience of restraint which were +responsible for a good deal of the wastefulness +which undoubtedly was a marked feature of his +Egyptian work; but, on the other hand, without +these same qualities it is difficult to see how his +work could have been accomplished at all, in the +face of all the obstacles which were thrown in +his way by Oriental lethargy and corruption, +and by European jealousy and selfishness.</p> + +<p>The great Apis-cemetery which was thus discovered +by Mariette’s happy disregard of the +limits of his commission is all that remains of the +original Serapeum. When the place was complete, +it comprised an avenue of sphinxes at<span class="pagenum" id="Page_22">22</span> +least 600 feet in length, leading up to the great +temple of Osiris-Apis. No fewer than 141 of +the sphinxes were discovered, together with the +pedestals of others. The temple had entirely +disappeared, having, no doubt, been used as a +quarry for other building operations; but an +inclined passage led from one of its chambers +downwards into the vast vaults where for +centuries the bodies of the dead Apis-bulls were +given burial with splendours which rival those of +the Pharaohs.</p> + +<p>The vaults belong to three periods. In the +first, which belongs to the XVIIIth Dynasty, the +tombs are separate vaults hewn here and there +in the rock; in the second, which is that of +Dynasties XXII to XXV, a long gallery was +excavated, on either side of which mortuary +chambers were excavated as needed; in the +third (XXVIth Dynasty) the gallery plan is +followed, but on a much larger scale. The +total length of the galleries of the XXVIth +Dynasty is 1150 feet, and the great gallery alone +measures 640 feet in length. In the side +chambers are the immense granite coffins, of +superb workmanship, which were provided for +the last resting-place of the Apis. Twenty-four +of these were found in the third gallery. They +average 13 feet in length, 11 feet in height, and +7 feet 8 inches in breadth, and weigh not less +than 65 tons apiece, magnificent specimens of +the engineering skill of the ancient workers who +transported these vast blocks from Aswan to +Memphis, a distance of almost 600 miles.</p> + +<p>The discovery of the Serapeum set the seal<span class="pagenum" id="Page_23">23</span> +on Mariette’s destiny. Henceforward his life-work +was to lie in the excavation and preservation +of the relics of that ancient land to which fate +had brought him; but as yet he occupied no +official position in the country, and was, indeed, +looked upon rather as an unauthorised interloper +by the native antiquity-hunters and the foreign +officials who encouraged the constant and shameless +pillage which had been going on for half a +century. It was in his struggles with these +vampires that the great explorer acquired the +habits of secret and solitary planning and working +which characterised his reign as chief of the +Egyptian Service of Antiquities, and the distrust +of all other excavators which led him to forbid all +such work even to the most famous scholars or +to his dearest friends, and to retain the right to +excavate exclusively in his own hands to the day +of his death.</p> + +<p>“Forced to struggle for more than three +years,” says Maspero in his vivid sketch of his +predecessor, “against the jealousy of the dealers +of the time and the sharp practices of the Egyptian +officials, he was not long in learning and putting +into practice all the dodges which the natives +employed to track out their rivals or to cheat +the treasury. No one knew better than he how +to conceal a quest, to pack up the product of it +in secret, and to dispatch it without arousing the +suspicion of anyone.” Curious qualifications for +the head of a great Government department; +yet they served him well in what was really a +lifelong battle against the rivalry of men of +science, who, instead of encouraging him in his<span class="pagenum" id="Page_24">24</span> +efforts to set Egyptology on a firm foundation +in its native land, did their worst to rob him of +the fruits of his labours; and against the apathy +and indifference of his master, who regarded the +antiquities which his untiring servant unearthed +as valuable only because he could gratify a globe-trotting +potentate by the gift of some of them, +or in the last resort might raise a loan on the +precious treasures of his Museum.</p> + +<p>Mariette’s appointment as head of the Service +of Antiquities was due, indeed, to a piece of +skilful wire-pulling in which de Lesseps and +Prince Napoleon, afterwards Napoleon III, were +concerned; and Said Pasha gave him the post, +not because he cared for his royal predecessors, +but because, as Maspero caustically puts it, “he +came to the conclusion that he would be more +acceptable to the Emperor if he made some show +of taking pity on the Pharaohs.”</p> + +<p>An appointment due to no higher inspiration +than self-interest on the part of the giver +obviously depended largely on how long self-interest +coincided with the interests of the new +post; and perhaps the most arduous part of +Mariette’s task consisted in trying to make his +thoroughly Oriental master see that it was his +interest to maintain what he had begun, and +in overcoming the whims and caprices, and the +secret intrigues which continually threatened to +undermine his position and destroy the structure +which he was so painfully rearing. He never +could get a permanent grant for the work of his +department from the Egyptian Government. +When money was needed he had always to ask<span class="pagenum" id="Page_25">25</span> +it direct from the Khedive, who granted a subsidy +or refused it according to the mood in which he +happened to be at the moment. Again and +again Mariette had to close down his excavations +because he had unfortunately approached Said +when the Khedive was in a bad temper; but +though the continuance of work under such +conditions might have driven the most phlegmatic +of men, let alone a mercurial Frenchman, to +despair, he never for a moment lost sight of his +end. Repulsed once, he only waited a more +favourable opportunity to return to the charge, +and in the end he was almost invariably successful.</p> + +<p>When his work is criticised, as it has often, +and not unjustly, been, as hasty and wanting in +thoroughness, let it be remembered that, with all +its faults, it was done under conditions which +would have driven most men mad, and that +thoroughness and minute care are not precisely +the qualities which are encouraged by the +knowledge that the exchequer is empty, and that +there is no prospect of being able to pay the +workmen unless one can catch a wayward prince +in a favourable mood. All things considered, +the wonder is, not that so much was overlooked +and left undone, but that so much was actually +accomplished under such maddening conditions.</p> + +<p>His main object was to form such a Museum +in Egypt that it would no longer be possible for +the representatives of the European powers to +excuse their spoliation by the suggestion that +Egypt was unable to safeguard her own treasures +of antiquity. With this end in view he was +indefatigable in the work of excavation, doing<span class="pagenum" id="Page_26">26</span> +his utmost to gather from Memphis, Thebes, +Abydos, Tanis, and other famous sites, such a +collection of historical monuments as should +render the creation of a permanent home for +them a crying necessity.</p> + +<p>Erelong he had so far succeeded that his +collection included fine statues of Ramses II, +the well-known Amenartas, the so-called Hyksos +Sphinxes, the Triumphal Stele of Thothmes III, +and a great mass of amulets from the cemeteries +of Memphis, Abydos, and Thebes. To house +these treasures he was provided with a set of +miserable buildings which were of no use for +any other purpose—a deserted mosque which +was falling into ruin, some filthy sheds, and a +dwelling-house alive with vermin, in which he +lived himself. Making the most of this heap of +ruins, he improvised pedestals for the statues +and cases for the amulets, and turned his early +training as a drawing-master to account in the +painting of the decorations of his crazy walls.</p> + +<p>The incident which finally determined Said +to yield to the importunity of his energetic +Director of Antiquities was highly characteristic, +both of the daring and persistence of Mariette, +and the waywardness of the ruler with whom he +had to deal. One of the chief hindrances to +the erection of the Museum was the fact that the +excavations, though highly productive of objects +of historic interest, had as yet yielded nothing +in the way of gold or jewellery, and Said, a +thorough Oriental, cared but little for researches +which only produced inscribed or sculptured +stones. Early in 1859, Mariette’s workmen at<span class="pagenum" id="Page_27">27</span> +Drah-Abou’l-Neggah, near Thebes, discovered +the splendid gilded sarcophagus of the Queen +Aah-hotep. Mariette sent orders for it to be +sent to Cairo at once; but meanwhile the Mudir +of Keneh had laid hands on it, opened it in his +harem, and, throwing aside the mummy, took +possession of the fine set of jewellery which the +coffin contained, and hurried off by boat to +present it to the Khedive as an offering from +himself.</p> + +<p>Mariette immediately set out on his steamboat, +the <i>Samanoud</i>, to meet the robber. Boarding +the Mudir’s boat, he tried to persuade him to +give up his ill-gotten goods, and when persuasion +failed he passed to threats, and from threats to +blows. Finally he triumphed, and took possession +of the treasure. Knowing the danger which +he ran of having his action represented to the +Khedive as sheer robbery of a treasure addressed +to the Royal Palace, Mariette took care to be the +first to tell the story to his royal master, and +did so with such effect that the Khedive +thoroughly enjoyed the joke, and laughed heartily +at the spoiling of the spoiler. He kept a gold +chain for one of his wives, and himself wore for +awhile a fine scarab which he afterwards returned; +but the rest of the treasure was reserved, as +Mariette wished, for his darling Museum, and +the Khedive, now convinced that the collection +was worth housing, gave orders for the erection +of a suitable building at Boulak.</p> + +<p>Thus, by a happy combination of good fortune +and daring, the great explorer succeeded in the +attainment of at least a part of his heart’s desire.<span class="pagenum" id="Page_28">28</span> +The buildings at Boulak, however, were far from +satisfactory, and his heart was always set on a +dream-museum, which he did not live to realise, +which indeed has not yet been realised, though +the great Egyptian Museum has known two +changes of abode since his time, and is now +preparing for a fresh extension to house the +treasures of Tutankhamen’s tomb. In addition, +he had to be continually on his guard to see that +the priceless things which he had gathered with +such pains, and housed at such risk, were not +dissipated to gratify his patron’s passing whims +of generosity towards some favourite guests, or +sold <i lang="fr">en masse</i> to act as security for a loan. +Mariette had no intention of allowing his treasures +to be treated as pawnbroker’s pledges; but it +took all his energy and authority to prevent this +happening, for whenever Said was short of money, +which happened with unfailing regularity, his +first thought was to raise a loan on the Museum, +and it was only the Director’s personal acceptability +with his master which enabled him to stave +off disaster once and again.</p> + +<p>The narrowest escape came just on the heels +of what had seemed the greatest triumph of his +life. At the Paris Exhibition of 1867, he had +secured the first adequate representation of +Egyptian antiquities. A small Egyptian temple +was built, preceded by a short avenue of sphinxes; +and within the temple were housed the finest +specimens of art and craftsmanship which Egypt +could produce. For six months all the world +admired and wondered; then came the blow. +Mariette had wrought too well, and made his<span class="pagenum" id="Page_29">29</span> +treasures look too inviting. The Empress +Eugenie had cast covetous eyes upon them, and +the Khedive Ismail was informed that she +desired to have the whole collection offered to +her as a gift. Ismail, taken by surprise, and, as +usual, short of cash, did not dare to refuse; but +he had the sense to make his consent subject to +one condition. “There is,” he said to the +emissary of the Empress, “someone at Boulak +more powerful than I, and you must address +yourself to him.” It must have been the cruellest +of blows to Mariette thus to be wounded in the +house of his friends; but his resolution was +proof against both imperial wiles and threats, +and the collection returned in safety to its native +home. The explorer had saved the treasures of +the land of his adoption from the greed of his +native land; but it was at a heavy cost that the +victory was gained. The favour of France, +which had always been one of his main supports, +was immediately withdrawn, and for the next two +or three years Mariette found himself in disgrace +at the palace, and unable to obtain any support +for his schemes. Curiously enough, it was the +downfall of France in 1870 which brought him +into favour once more with the Khedive, and for +the last ten years of his life he saw the work to +which he had given himself steadily growing, +though on at least one occasion the proposal to +raise a loan on the Museum was revived, and +though Ismail’s grandiose plans for the extension +of the buildings remained only dreams, which +came through the ivory gate.</p> + +<p>In respect to the excavations which he kept so<span class="pagenum" id="Page_30">30</span> +jealously in his own hands, Mariette’s energy +was amazing, though its results were never so +carefully chronicled as they might have been, +and were sometimes scarcely chronicled at all. +The two greatest charges to be brought against +him as an excavator are, first, this lack of adequate +publication of his results, a huge mass of precious +material being gathered without anything to tell +the student its actual provenance, or its historical +connection, and, second, the craving for big +and imposing results, which led him often to +neglect the smaller but often more important +material which would have been of priceless +value to modern workers, but did not appeal to +him, and consequently got overlooked and lost.</p> + +<p>With regard to the latter point, however, +we must remember that the knowledge of the +infinite importance of the small game of the +archæologist is a thing of modern growth, and that +it is scarcely fair to blame Mariette for not being +a quarter of a century in advance of his time; +and also that the difficulties of his position obliged +him to lay stress on the big and imposing monument, +even at the cost of neglecting what was +really of more value to the serious student. +Broken potsherds may mean far more for the +reconstruction of history than intact colossi; +but to the men in authority on whom depended +the continuance of the excavator’s work, they +were just-broken potsherds.</p> + +<figure id="il_4" class="figcenter" style="max-width: 43em;"> + <img src="images/i_030.jpg" width="2043" height="1356" alt=""> + <figcaption class="caption">4. TEMPLE OF RAMSES III, MEDINET HABU. + </figcaption> +</figure> + +<p>Spite of all the defects of his methods, we +owe him an infinite debt, both for what he +accomplished and for what he hindered others +from destroying. The chief fruit of his toil,<span class="pagenum" id="Page_31">31</span> +apart from the work at the Serapeum and in the +necropolis at Saqqara, was the unveiling at +Abydos of the noble temple of Sety I, with its +exquisite reliefs, which will always rank among +the very finest work of the artists of the New +Empire. Besides the excavation of the temple, +he did an immense amount of work, very imperfectly +recorded, alas, in the great necropolis of +Abydos, where he unearthed over 15,000 monuments +of one kind or another. It ought not to +be forgotten either, though it often has been, +and though it has been stated that in his work +at Abydos he had no idea of the existence there +of any remains of the early dynasties, that it was +Mariette who prophesied both the discovery of +Ist Dynasty tombs and that of the great +subterranean “Pool of Osiris,” which is the +latest fruit of M. Naville’s work there.</p> + +<p>Scarcely less important was his work at +Thebes, where he for the first time made some +approach to establishing the architectural history +of the great temple of Karnak from its foundation +under the Middle Kingdom down to the close +of building under the Ptolemies. To him, also, +we owe the excavation of the great temple of +Ramses III at Medinet Habu, and the first +beginnings of that huge piece of work which +M. Naville and his assistants at Der el-Bahri +only completed, after thirteen years’ hard labour, +in 1908.</p> + +<p>How many of the visitors to Hatshepsut’s +beautiful memorial temple, who wonder at the +patience which unearthed this most exquisite of +Egyptian buildings, remember that it was Mariette<span class="pagenum" id="Page_32">32</span> +who first gave to the world the most interesting +part of the whole building with its reliefs of +the royal expedition to the Land of Punt?</p> + +<p>To tell of all his work at the thirty-seven +places in which he excavated would take a +volume, and not a chapter. One of his greatest +successes, though it dealt only with a Ptolemaic +building, was the excavation of the very perfect +temple of Edfu. He found it so completely +covered with rubbish that an Arab village had +established itself upon the roof of the ancient +sanctuary of Horus. Mariette succeeded in +getting these interlopers cleared away, and was +at last able to reveal the whole of a building, +which, while comparatively modern as Egyptian +temples go, is yet one of the most complete and +perfect specimens of Egyptian architecture, showing +the almost pure type of temple architecture +as it can be seen only in one or two other instances +in the whole land.</p> + +<p>The great explorer’s work in Egypt lasted for +almost exactly thirty years. Before his death on +January 18, 1881, he had the satisfaction of knowing +that the work of which he had so well laid +the foundations would not be interrupted when +he had to lay it down. He never, indeed, saw +the accomplishment of his great life-dream, the +completion of a Museum really worthy of the +treasures which he had gathered. Sir Gaston +Maspero, his able successor, has told us how +that vision hovered round his death-bed, and +cheered his last hours; but even to-day the +great Museum at Cairo is scarcely worthy of +the matchless stores which it holds, and it is<span class="pagenum" id="Page_33">33</span> +becoming more and more doubtful whether +Cairo is the right place for a collection of such +priceless value. But at least Mariette accomplished +one thing which will never be undone; he +put a stop to the worst of the pillage of Egyptian +antiquities which had gone on unchecked for +half a century, and he established the fact that +the proper place where the historical monuments +of a great nation’s past should be gathered is on +national soil, where they are at home, and where +they have a value which could never be theirs +if they were scattered through a score of alien +collections.</p> + +<p>A noble statue keeps his memory alive in the +Cairo Museum. Maspero tells us that a great +personage who visited the Museum asked whether +this monument was that of a Pharaoh or of a +modern individual; and when he was told that +it was the monument of Mariette, the founder of +the Museum, “Mariette,” said he, “I did not +know that the founder of the Museum was a +woman!” Such is fame, even in the land +where memories seem to endure longer than +in any other spot on earth. But Mariette’s +worth to the world does not depend on monuments, +though he had so much to do with them, +nor on great personages, though he suffered so +much at their hands all his life. It lies in this, +that he saved the relics of ancient Egyptian +history from the bottomless bog of international +jealousies and greed and insisted that a nation +with a great past had the right and the responsibility +to hold the treasures of that past within its +own bounds—in trust for the world.</p> + +<p><span class="pagenum" id="Page_34">34</span></p> + +<p>“Assuredly,” says Maspero, “Mariette is not +a model to be blindly imitated; and the man who +should imitate him to-day would run the risk of +committing irreparable blunders; but let anyone +who is tempted to depreciate him replace himself +in spirit in the Egypt of sixty years ago, and let +him ask himself how he would have acted in the +midst of the difficulties which would then have +assailed him on all sides; I believe that, if he is +an honest man, he will be forced to admit that +though perhaps he would have handled matters +differently, he would not have come better out +of the business. Mariette was the man who +fitted the time.”</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_35">35</span></p> + +<h2 class="nobreak" id="CHAPTER_III"><span id="toclink_35"></span>CHAPTER III<br> + +<span class="subhead">THE BEGINNINGS OF THE MODERN PERIOD</span></h2> +</div> + +<p class="drop-cap"><span class="smcap1">The</span> coming of Mariette in 1850 marked +the close of the old and bad period of +reckless pillage in Egypt. His thirty +years of ceaseless struggle against difficulties +formed the transition period, in which the +foundations of the modern science of Egyptology +were being laid, but in which its aims and methods +were as yet but partially and imperfectly understood. +With his death in 1881, and the beginning +of the reign of his successor, the late Sir Gaston +Maspero, we may fairly be said to reach the +dawn of the modern period, in which new men +and new methods have completely revolutionised +the whole conception of archæology, and made it +one of the most fruitful aids to the reconstruction +and the comprehension of ancient history, and +above all the indispensable interpreter of the +life of ancient peoples. It seems fitting, therefore, +that at this point we should stop for a little +to consider what archæology is, and what are its +aims, its methods, and its materials; for with +regard to all these points there is, save in the case +of those who are more or less students of the +past, a very general haziness in the public mind.</p> + +<p><span class="pagenum" id="Page_36">36</span></p> + +<p>To the average man, archæology might be +quite satisfactorily defined as the study of old +stones and old bones, potsherds, and fragments +of corroded metal—a study presupposing, on +the part of the student, a curious and perverted +taste for the dry and the dusty and a disregard +for all the things which have in them the true +sap and joy of life. “Your true antiquarian,” +it has been said, “loveth a thing the better for +that it is rotten and stinketh”; and this judgment, +more pointed than polite, fairly represents +the conception which most people cherish of the +work of the excavator and the interpreter of his +results.</p> + +<p>Now and again this crude and summary +judgment is shaken for a little by some wonderful +discovery which seems to hint that there is more +in archæology than the man in the street had +thought. Some Pharaoh, like Tutankhamen, is +found “lying in glory, in his own house,” as +Isaiah puts it, and the world in general begins +to turn in its sleep and dream for a while of the +romance of buried treasure. It may be suspected +that no small part of the interest awakened with +regard to Tutankhamen’s tomb arose from the +fact that there was talk of the money value of the +find running into millions sterling. A science +which can produce assets like that must be worth +attention. To tell anyone whose interest has +thus been excited that the money value of the +find, even if it has not been ridiculously overestimated, +as is most likely the case, is the least +important aspect of it, absolutely negligible in +comparison with its other values, is merely to<span class="pagenum" id="Page_37">37</span> +invite incredulity, polite or otherwise. In any +case the temporary interest of the find soon dies +away, and the public reverts to its old and normal +conception of the archæologist as an amiable and +quite harmless lunatic, and of his study as the +dullest and dustiest thing under heaven.</p> + +<p>All this, of course, is just about as wrong, +and as stupidly wrong, as anything well can be. +It is, indeed, exactly the opposite of the truth. +The explorer, instead of being inspired with a +malignant disregard for the sap and joy of life, +is really so enamoured of these very things that +one of his main objects is to endeavour to make +the world realise them not only in the present, +but for the past also. His purpose, and his +business, if he has any real understanding of +the end for which Providence created him (for +there are some archæologists who have not, and +who almost justify the worst that the public +can believe of their science), is not the mere +gathering of facts, but the reconstruction by +means of these of the life of the past, for the +interest, the help, and the guidance of the +present. His work is not complete until he has +presented a picture of that ancient world in +which he is interested, not as it is now, a handful +of unrelated fragments of dry bone and dusty +papyrus and mouldering metal, but as it was +when the dry bones were alive, clothed with +flesh and inspired with spirit, when the words +on the scroll throbbed with the hopes and fears +of a living man or woman, and the corroded +bronze or iron was a sword in the hand of a +mighty man of valour, or a chisel in that of a<span class="pagenum" id="Page_38">38</span> +cunning sculptor. Unless he keeps this in view +as his real object, he is misconceiving his whole +purpose, and substituting means for ends; unless +he can to some extent accomplish this (no man, +of course, can do it completely) he is failing of +his aim.</p> + +<p>But we are still waiting for our definition of +what archæology is, and what are the ways in +which it is to accomplish this desirable revivifying +of the past. It has been defined by a well-known +excavator and writer as “the study of the facts +of ancient history and ancient lore”—which is +very well as far as it goes, but omits, strangely +enough, the very point in which its author has +shown himself most keenly interested. To complete +the definition, one would need to add, +“and of ancient life in all aspects.”</p> + +<p>The archæologist deals with ancient history, +and may prove helpful to the historian of the +past in many ways; he deals with ancient lore, +and may reveal material which is of the utmost +importance for the study of the knowledge and +literature of the past; but his main concern is +always with the life of the past, and his main +use to the world is to enable the present to see +and to realise the life of the past as it really was, +to give life again to the men of old so that they +shall no longer be names in a dry text-book, but +flesh-and-blood figures, and to do this for the +common man of the past as well as for his rulers, +so that ancient history shall no longer be the +chronicle of the deeds, great or otherwise, of +Pharaohs and monarchs of all sorts, but shall +give you the whole many-coloured tapestry of<span class="pagenum" id="Page_39">39</span> +life as it was in those far-off days with the fates +of common men interwoven with the glittering +destinies of their lords and masters.</p> + +<p>“Archæological research,” says Dr. R. A. S. +Macalister in the latest summary of its results, +“consists principally in the discovery and the +classification of the common things of daily life, +houses, personal ornaments, domestic utensils, +tools, weapons, and the like.” To have said +such a thing fifty years ago would have been to +make the scientific man of those days hold up +his hands in horror at such a degradation of +a science whose chief end was the discovery of +the great monuments of great men, and the +substantiation or correction of history by their +means.</p> + +<p>To put the change of view in a word, +archæology has during the modern period become +human. It has learned that history never existed, +and cannot be viewed, in a vacuum; and that +quite as important for its right apprehension of +the facts is the realisation of the medium in +which the facts transpired, and which largely +conditioned them. “The true function of +archæological research,” says Dr. Macalister +again, “is to discover the conditions amid which +lived such heroes of old as we have mentioned; +to show them, no longer as solitary, more or less +idealised or superhuman, figures, but as men of +like passions to ourselves moving with other +men, in a busy world engrossed in its secular +interests, and making daily use of the common +things of life.” To take an illustration from a +familiar figure of Egyptian history, we know, as<span class="pagenum" id="Page_40">40</span> +a fact of history, that the favourite son of the +mighty Ramses II was Setna-Khaemuast, that he +fought in his father’s Syrian wars, that about +the middle of the reign he was high-priest of +Memphis, and that he died somewhere before +the fifty-fifth year of Ramses; in other words, +so far as the big records of the historical monuments +go, he is to us “magni nominis umbra,” +and no more. The real living interest of the +man begins for us with the discovery of a papyrus +of the Ptolemaic period, now in the Cairo +Museum, which shows him studying the old +inscriptions at Memphis in search of magic +charms, stealing the roll of Thoth from the tomb +of an earlier prince, just like a modern explorer, +and getting into trouble over the theft.</p> + +<figure id="il_5" class="figcenter" style="max-width: 28em;"> + <img src="images/i_040.jpg" width="1356" height="1945" alt=""> + <figcaption class="caption">5. TEMPLE OF EDFU—THE PYLON, AND VIEW FROM THE PYLON. + </figcaption> +</figure> + +<p>“The lofty personages,” says Maspero in +the Introduction to his charming <cite lang="fr">Contes +Populaires</cite>, “The lofty personages whose +mummies repose in our museums had a reputation +for gravity so thoroughly established, that +nobody suspected them of having ever diverted +themselves with such futilities in those days +when they were only mummies in expectation.” +That is just the point. It is not the impassive +mummies, with their reputation for gravity, +thoroughly well-deserved for the last three +thousand years, since they became mummies, +that we want to know; it is the folk who were +only “mummies in expectation,” who lived and +loved, hated and fought, and made fools of +themselves, like other people. And the business +of archæology is to show you these people, in +their habit as they lived, and in the ordinary<span class="pagenum" id="Page_41">41</span> +medium which conditioned their actions. If it +cannot or does not do that, then it deserves all +the vivid abuse which Carlyle used to hurl at +the Dry-as-dusts of the past.</p> + +<p>Now it is the supreme merit of the modern +period that it has been steadily learning the +importance of this aspect of its work among the +treasures of the past, till now it can say “nothing +human is foreign to me.” The change of view +is set before us very plainly in the contrast +between our modern histories of Egypt and those +of our forefathers.</p> + +<p>Take, for instance, Maspero’s <cite lang="fr">Histoire +Ancienne</cite>, or Breasted’s <cite>History of Egypt</cite>, +and compare the brilliant pictures of ancient +Egyptian life which you will find in their pages +with the dry summaries of events which passed +for Egyptian history fifty years ago. What +has made the difference? Simply the fact that +in the interval the archæologist has been learning +that his business is not only or even chiefly with +the great historical monuments of the land with +which he is dealing, but, above all, with the small +things which made the background of life, +“the pots and pans,” as Dr. Macalister puts it, +“which are essential if he is to fill in the picture +of the ancient life of the region.”</p> + +<p>The change of view thus brought about is +marked by a corresponding change of judgment +as to what shall constitute the chief object of +search in the excavations which reveal the past +to us. In the dawn of excavation it was the big +and imposing monument which was eagerly and +almost exclusively sought for—very naturally,<span class="pagenum" id="Page_42">42</span> +for it was only by the discovery of such relics +that the explorer could hope, in the existing state +of knowledge, to justify his work, and to create +the interest on the part of the public which would +provide him with the funds which were needed +for its prosecution. Colossal statues, granite +sarcophaguses, intact burials in Egypt, winged +human-headed bulls, alabaster slabs carved in +relief, cuneiform tablets inscribed with legends +of the Creation and the Flood in Mesopotamia; +such were the prizes which rewarded and vindicated +the labours of men like Mariette, Botta, +and Layard in the middle of last century. It was +all very natural and inevitable, as things then +were; and it is both unjust and unreasonable +to denounce the work of such pioneers because +they worked with the knowledge and under the +conditions of their own time.</p> + +<p>The science of excavation and the knowledge +of its true objects did not exist when they did +their work; it had to be slowly and painfully +created by experience, and in the process it was +inevitable that many things should suffer and +that there should be much loss of material which +a better instructed generation would have known +how to value. These great men would doubtless +do their work very differently now; but it is +vain to criticise them for not possessing a knowledge +which nobody possessed in their day. We +owe them rather our gratitude for that they +accomplished so much in such unfavourable +circumstances.</p> + +<p>There can be no doubt, nevertheless, that the +methods of the early excavators, judged from<span class="pagenum" id="Page_43">43</span> +the modern point of view, were wasteful to a +large degree of the things which we have learned +to consider of supreme importance in the study +of the past. In their search for the big game +of excavation they overlooked, too often with +fatal loss to the science of the future, the common +things which would have made the indispensable +background to their more imposing discoveries, +and in many instances what they let slip will +never be recovered. To-day the outlook is +entirely changed, and the man who should +excavate on the lines of Mariette or Layard would +be a hopeless anachronism among explorers. +The excavator goes to his work now, not with +the hope of finding some great monument which +will confirm some doubtful statement of history +or disprove some theory of succession, not even +with the hope of discovering some store of +tablets which will let new light in on a dark +period. Such things may of course be found, +and are welcomed when they are found; and +such discoveries as that of the tomb of Tutankhamen +tell us that the romance of exploration is +by no means a thing of the past. But the modern +explorer has learned the infinite importance of +little things, and the results for which he mainly +hopes are such things as would be heartily +despised by the casual and uninstructed beholder. +Perhaps the change may be expressed most +simply by saying that while the explorer of two +generations back looked for colossi, his present-day +successor looks for crockery.</p> + +<p>It may seem that from a science thus occupied +and concerned mainly with the infinitely little,<span class="pagenum" id="Page_44">44</span> +the romance of the early days of exploration has +departed; but this is to misunderstand the situation. +The explorer’s work was never romantic +in the sense in which the average man understands +the word. The idea of the excavator as a man +who spends his days in exploring wonderful +underground chambers filled with the treasures +of the past, is just about as true as the picture of +the great detective who is always unravelling the +mysteries of crime by the most amazing strokes +of genius, and landing himself incidentally in +the most appalling situations. There never was +such an explorer, or such a detective; and the +life of the one as of the other is mainly one of +monotonous drudgery at which most of the folk +who talk about romance would shudder. The +great thrilling moments, when a discovery which +will excite the imagination of the world is made, +have always been far between, and the finding of +Tutankhamen’s tomb has shown that they may +still come to the modern explorer just as richly +as to his predecessor. But the true romance of +modern excavation lies in this, not that it can +reveal the dead monarchs of thirty centuries +back in all their splendour, but that by its patient +piecing together of innumerable small details +it can give back to us the actual life of the period +in which the dead monarch lived, and let us see +the order of his court, and what is far more +important to our knowledge of the past, the +traffic of the market-place in his cities, and the +intercourse of his land with the nations around +it. It is scarcely too much to say that because +of the minute care with which the modern<span class="pagenum" id="Page_45">45</span> +excavator has treated the minutest fragments of +the relics of ancient days we are better acquainted +with the life of the Egypt of the New Empire +than we are with that of the ordinary European +nation of the Dark Ages, though the latter be +more than two millenniums nearer us in time. +A science which can accomplish such a miracle +of resurrection can never lack the element of +true romance in the eyes of anyone who has a +real sense of the wonder of life.</p> + +<p>It follows from the fact that the modern +excavator is called to deal with such a multitude +of matters, each in itself perhaps comparatively +insignificant, but each of importance, as an +additional stroke in the picture of the past which +is being slowly built up on the canvas, that far +more extensive qualifications are exacted of him +than sufficed for his predecessor. “Our explorer +in Egypt,” says Miss Amelia Edwards, “is only +called upon to be an ‘all-round’ archæologist +within the field of the national history: namely, +from the time of Mena, the prototype of Egyptian +royalty, who probably reigned about five thousand +years before Christ, down to the time of the +Emperor Theodosius, Anno Domini 379. Yet +even within that limit, he has to know about a +vast number of things. He must be familiar +with all the styles and periods of Egyptian +architecture, sculpture and decoration; with +the forms, patterns and glazes of Egyptian +pottery; with the distinctive characteristics of +the mummy-cases, sarcophagi, methods of embalmment +and styles of bandaging peculiar to +interments of various epochs; and with all<span class="pagenum" id="Page_46">46</span> +phases of the art of writing, hieroglyphic, hieratic, +and demotic. Nor is this all. He must know +by the measurement of a mud brick, by the +colour of a glass bead, by the modelling of a +porcelain statuette, by the pattern of an earring, +to what period each should be assigned. +He must be conversant with all the types of all +the gods; and last, not least, he must be able +to recognise a forgery at first sight. After this, +it must, I think, be admitted that the explorer, like +the poet, is ‘born, not made’! The wonder +perhaps is that he should ever be born at all.”</p> + +<p>It seems, no doubt, a sufficiently formidable +catalogue of qualifications; but to Miss Edwards’ +list others would now have to be added. For +the progress of investigation of the inter-relation +of the nations of the ancient east has broken down +the limitation which she imposed upon the +knowledge of her imaginary explorer, and the +Egyptian excavator of the present day must be +familiar, not only with all that has been mentioned, +but with the related work of Mesopotamia +and Babylonia, with the art of the brilliant +Minoan craftsman, with all that is known of the +enigmatic Hittite civilisation, and with the art, +both archaic and mature, of Greece, together +with a score of other related matters!</p> + +<p>All this development of a science which has +grown almost within the lifetime of some of its +exponents from a comparatively simple thing to +one of the most complex and exacting of human +studies, has, of course, been the work of many +minds and hands. But if the name of any one +man must be associated with modern excavation<span class="pagenum" id="Page_47">47</span> +as that of the chief begetter of its principles and +methods, it must be the name of Professor Sir +W. M. Flinders Petrie. It was he, as one of +the most brilliant of the exponents of his methods +has recently stated, who first called the attention +of modern excavators to the importance of +“unconsidered trifles,” as means for the reconstruction +of the past. Above all, it was he who +first taught us that for purposes of certainty in +the establishment of the succession of different +periods, the “broken earthenware” of a people +may be of far greater value than its most gigantic +monuments. And it has been men trained in +the principles which he established who have +during the last generation been doing the work +which has made the past of the Classic East +a living thing to the world of to-day. It remains +now to trace the outline of their accomplishment +in Egypt.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_48">48</span></p> + +<h2 class="nobreak" id="CHAPTER_IV"><span id="toclink_48"></span>CHAPTER IV<br> + +<span class="subhead">THE PYRAMIDS AND THEIR EXPLORERS</span></h2> +</div> + +<p class="drop-cap b"><span class="smcap1">Of</span> all the works of man there is none +which has attained such lasting and +universal fame as the group of buildings +known as the Pyramids of Gizeh. For the +best part of five thousand years this group of +mighty structures has been one of the wonders +of the world, and the theories which have been +framed to account for their existence have been +more numerous than the Pyramids themselves. +Egypt has many buildings far more beautiful, +and perhaps as wonderful; but the Pyramids +are, to the great majority of people, the characteristic +buildings of the land, and whenever Egypt +is named there rises before the mind at once a +vision of three vast bulks of masonry squatting +defiantly on the rising ground above the Libyan +desert, as though challenging Time himself to +make any impression on their stupendous mass. +“All things dread Time,” it has been said, +“but Time itself dreads the Pyramids”; and +the very exaggeration testifies to the profound +impression which their bulk and strength have +made upon the mind of man. The mere lapse +of forty-five centuries would seemingly of itself<span class="pagenum" id="Page_49">49</span> +have made next to no impression on them; the +vandalism of man has done a little more; but +even the efforts of those who for many centuries +have used the vast masses as a convenient quarry +have done little more than show more convincingly +the power and skill of the builders +who reared in the beginning these huge +mausoleums around whose bases the workers +of succeeding generations have pottered and +scratched like children playing with toy spades +in the sand.</p> + +<p>Yet though the Pyramids may fairly claim to +be the most famous and the best-known buildings +in the world, the ignorance in the average mind +with regard to them and the purpose for which +they were reared is still just about as general and +widespread as the fame of them; and the purpose +of this chapter is, first, to tell what, and how many, +and of what kind they are; next, what was the +end for which they were reared in the beginning +of history; and lastly, to recount something of +the efforts which have taught us what is really +known about them.</p> + +<p>To most people the Pyramids mean solely +the great group at Gizeh; but though these are +by far the greatest and the most famous, they are +by no means the only pyramids, nor are they +even the oldest. The chief field, known as the +Great Pyramid Field, begins almost opposite +Cairo, on the western side of the Nile, at Abu +Roash, where is the pyramid of Dadefra (Razedef) +of the IVth Dynasty, and extends south along +the bank of the Nile for a distance of about +sixty miles to the Fayum, where lie the pyramids<span class="pagenum" id="Page_50">50</span> +of the great XIIth Dynasty Pharaohs, the last +of the regular kings of Egypt to build pyramids +for themselves. Far to the south again in the +country which we know as the Soudan, there +lie two other pyramid fields, the one at Gebel +Barkal or Napata, near to the Fourth Cataract, +the other at Begarawiyah, the ancient Meroë, +between the Fifth and Sixth Cataracts, and a +little more than a hundred miles north of +Khartoum. These two fields have neither the +greatness of scale nor the historic importance +and interest of the Great Pyramid Field, for +they belong to the Ethiopian kings, some of +whom, for a time, reigned over Egypt in the days +of its decline. The Napata group belongs to +the earlier Ethiopian monarchs, who founded +the XXVth Egyptian Dynasty, which was finally +driven out of Egypt by the Assyrians in the +reign of Tanutamen, and to their successors, +who after the disasters of 661 <span class="allsmcap">B.C.</span> maintained +the old Ethiopian sovereignty in the south; the +Meroë group belongs to the later Ethiopian kings +who reigned after 300 <span class="allsmcap">B.C.</span> As things go in +Egypt, therefore, these southern pyramids are +quite modern, nor do they belong to the most +interesting period of Egyptian history, and though +they have been long known, they are only now +in process of being investigated by the Harvard-Boston +Expedition under G. A. Reisner, whose +work at Begarawiyah is still unfinished. Our +attention, therefore, may be given solely to the +Great Pyramid Field.</p> + +<p>Beginning with Abu Roash, the next site of +importance is Gizeh itself, with all its wonders<span class="pagenum" id="Page_51">51</span> +of IVth Dynasty work. Passing southwards, +we come to Abusir, with its remains of the +pyramids and temples of the Sun-worshipping +Pharaohs of the Vth Dynasty, lately excavated by +the German expedition; beyond these again +comes the great field of Saqqara, with remains +dating over a long period of Egyptian history. +The Step-Pyramid of King Zeser of the IIIrd +Dynasty is, of course, the most important and +imposing monument; but besides, there are +pyramids dating from the latter part of the Vth +Dynasty, a number of VIth Dynasty ones, and +the splendid tombs of many of the nobles of the +early dynastic period, so that, though the Saqqara +portion of the field cannot compare with Gizeh +in the size of its monuments, it is only second +to its northern rival, and surpasses it in the +variety and the pictorial interest of its minor +tombs. Still travelling southwards, we pass in +succession Dahshur and Lisht with their pyramids +of the great Pharaohs of the XIIth Dynasty, +Medum, with its remarkable pyramid of King +Seneferu of the IIIrd Dynasty, rising in three +stages, like a Mesopotamian Ziggurat, to a height +of 114 feet, and Illahun, where Senusert II had +his pyramid, and where the exquisite jewellery +of some of the royal princesses was found recently, +and reach the last of the series at Hawara, where +Amenemhat III, one of the greatest and noblest +of the long line of Egyptian Pharaohs, had his +last resting-place. In later days there were +pyramid tombs at Thebes and Abydos; but the +pyramid part of these structures was comparatively +unimportant, and they have, in any<span class="pagenum" id="Page_52">52</span> +case, left few traces behind. Indeed, after the +XIIth Dynasty the fashion of pyramid-burial +seems to have gradually died out, though we +know from the revelations of the Abbott Papyrus +that in the XXth Dynasty there were in the +Theban necropolis at least ten royal pyramids +belonging to kings of the XIIIth to the XVIIIth +Dynasty. Altogether there must be at present in +Egypt something like seventy pyramids of greater +or less importance, without reckoning the later +and less important groups of Napata and Meroë.</p> + +<p>Passing by the Abu Roash pyramid of King +Razedef, we begin our survey with the magnificent +group of Gizeh, which to the ordinary man +are the Pyramids to the exclusion of all others. +Everyone knows, of course, what the Pyramids +are like, and has some rough idea of their surpassing +size, and perhaps the only way to impress +the sense of their vastness on the mind is to use +one or other of the comparisons which have +been worked out to illustrate the stupendous +scale on which they are built. To tell the +reader that the weight of the stones built into +the Great Pyramid is over six million tons is +merely to bewilder him; the vastness of the +business may be better appreciated when one +realises that a town of the size of Aberdeen might +be built out of the materials which Khufu +gathered together for his monstrous tomb, or +that if the stones were divided into blocks a +foot square, and these blocks placed end to end +in a straight line, the line would be long enough +to reach two-thirds of the length of the circumference +of the earth at the Equator.</p> + +<figure id="il_6" class="figcenter" style="max-width: 42em;"> + <img src="images/i_052.jpg" width="2032" height="1350" alt=""> + <figcaption class="caption">6. GREAT PYRAMID AND SPHINX, WITH PART OF TEMPLE OF THE SPHINX. + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_53">53</span></p> + +<p>Khufu’s pyramid was originally about 481 +feet in height, and each of its sides measured +at the base a matter of 755 feet 8 inches, and these +long lines were laid out and built with such +wonderful accuracy that the maximum error is +not more than an inch. “The laying out of the +base of the Great Pyramid of Khufu,” says +Professor Sir W. M. F. Petrie, “is a triumph of +skill; its errors, both in length and in angles, +could be covered by placing one’s thumb on +them; and to lay out a square of more than a +furlong in the side (and with rock in the midst +of it, which prevented any diagonal checks +being measured) with such accuracy shows +surprising care. The work of the casing stones +which remain is of the same class; the faces are +so straight and so truly square, that when the +stones were built together the film of mortar +left between them is on an average not thicker +than one’s thumb-nail, though the joint is a +couple of yards long; and the levelling of them +over long distances has not any larger errors.” +“Equal to optician’s work of the present day,” +says the same authority elsewhere, “but on a +scale of acres instead of feet or yards of material.”</p> + +<p>The Second Pyramid is slightly inferior to +the first in size, its measurements being 472 feet +in height and 706 feet 3 inches on each side; +and its workmanship is also of inferior accuracy, +the errors in length being double, and those of +angle quadruple those of its predecessor, while +the masonry is of poorer quality. Curiously +enough, the sarcophagus, the core of the whole +vast building, was in the case of the Great<span class="pagenum" id="Page_54">54</span> +Pyramid one of the poorest pieces of work of +its kind in the period, and much inferior to that +of Khafra in the Second Pyramid. Spite of +its smaller size, which most travellers scarcely +notice owing to the fact of its somewhat superior +position, and its inferior workmanship, the +Second Pyramid is itself a world’s wonder.</p> + +<p>Beside these great twin brethren, Menkaura’s +Third Pyramid, with its 215 feet of +height and its length on the side of 346 feet +2 inches, seems diminutive, though its partial +outer casing of granite may have given it a +richness of appearance which to some extent +compensated for its smallness.</p> + +<p>Here, then, we have a group of buildings +which, from whatever point of view they are +regarded, are among the most wonderful ever +reared by the hand of man, and which in sheer +bulk are by far the greatest of all architectural +works. What was the purpose for which these +stupendous bulks were built and maintained for +so long? To ask such a question was, not so +long ago, to let loose all the flood of vain imaginations +which always gathers about a subject which +is great and imperfectly understood.</p> + +<p>The theories which have been framed about +the Great Pyramid in particular are almost as +monstrous as itself, but have none of its solidity. +Of these, perhaps the favourite, because of a +certain romance attaching to it, and because of +the reputation of some of those who have +supported it, is, or rather one should say, was, +that it was designed for an astronomical observatory. +R. A. Proctor, to whose advocacy the<span class="pagenum" id="Page_55">55</span> +idea owes a great deal of what vogue it had, has +told us that the entrance passage is so placed +that at the date which he assumes for the erection +of the pyramid (3400 <span class="allsmcap">B.C.</span>) it bore directly on +the then Pole-Star, Thuban, or Theta Draconis, +when the star was on the meridian below the +pole, and further, that the great gallery which +leads up to the King’s Chamber was designed +to serve the purpose of a great transit instrument, +through whose open upper end the transits of +stars could be observed by astronomers occupying +seats on cross-benches laid across the gallery at +different levels! Still wilder are the fancies +which would have us see in the measurements +of the Great Pyramid divinely inspired revelations +as to units of length, capacity, and so forth, and +which gravely inform us that the granite sarcophagus +of Khufu is really a standard measure +of capacity, of which our British quarter is a +fourth part. It seems rather a pity in view of +this wonderful theory that Professor Petrie +should have just told us of the inferiority of +Khufu’s sarcophagus in accuracy to that of +Khafra, as such a fact tends to disturb the mind +as to the truth of our own measures; but it is +a sufficient indication of the flimsy nature of +the foundations on which all these theories +rest.</p> + +<p>The fact is that no evidence worth consideration +has been brought forward in support of any +of them, and in especial that the idea of the +great gallery having been a gigantic transit +instrument (surely the most cumbrous and +inefficient ever designed) is absolutely negatived<span class="pagenum" id="Page_56">56</span> +by the knowledge which we possess of the object +with which the whole building was constructed—an +object whose all-important condition was +absolute secrecy and concealment. To dream +that Khufu built a pyramid to secure his body +from discovery and destruction, and then allowed +its passages to remain open to the sky for years +that astronomers might observe the stars, and +tomb-robbers the plan of the pyramid, is to put +a fool’s cap on the whole business. The Great +Pyramid, like all the other pyramids, great and +small, was none of the extraordinary things +which we have been told it was; it was something +simpler and more wonderful than any of +them—the greatest witness ever given on earth +to the human craving for immortality!</p> + +<p>There is no longer any doubt that all the +pyramids, from the first imperfect conception +of the form in the Step-Pyramid of Saqqara, +through the giants of Gizeh, down to the crumbling +heaps of brickwork which are all that remain +of some of the later fabrics, were built simply +and solely as tombs, and that their one object was +to render the resting-place of their royal tenant +as secure as precautions could make it from the +attacks of dynastic enemies or mere robbers.</p> + +<p>The pyramid was just one pathetic expression +of that marvellously persistent passion which +gave us the tomb-chambers of Abydos, with +their storerooms for the supply of the dead +king’s wants in the Underworld, the Mummy +with all its wonderful elaboration of means for +preserving the shape and likeness of the dead +man, the Funerary Statue, with its amazingly<span class="pagenum" id="Page_57">57</span> +lifelike portrait of the man whose place it was +designed to take when time had reduced the +mummy to dust, and the soul still craved a +recognisable dwelling-place, and the long, rock-hewn +galleries of the Valley of the Kings, with +their pictured representations of all that could +help their owner through the dangers and +difficulties of the long journey to the Egyptian +Fields of Contentment.</p> + +<p>No race has ever been so possessed by any +religious idea as was the ancient Egyptian by +the faith that it was possible to secure immortal +life for humanity beyond the gates of death, +possible, but difficult to the last degree, and +needing all the effort which could be given to +secure so great and so difficult an end; and the +Great Pyramid is just the most colossal seal +ever put on that creed, expressing, as nothing +else ever could, both the intensity of the conviction +and the consciousness of the extreme +difficulty of its attainment in actual fact. The +Egyptian Pharaoh built his pyramid as the +expression of his faith in life everlasting; he +built it as huge and as massy as he could, as the +expression of his consciousness of the numberless +difficulties and dangers which compassed the +road which led to the attainment of immortality, +and of his determination that, so far as human +effort could secure it, he would be secured against +everything which might prejudice his chance +of winning eternity.</p> + +<p>The Pyramid, then, is a tomb, or rather it is +the sole surviving part of the elaborate and +complicated structure which the Egyptians of<span class="pagenum" id="Page_58">58</span> +the Pyramid period devised for the accomplishment +of this end of securing the duration of the +personality of its owner. For what we see now +at Gizeh and elsewhere is by no means what the +Egyptians of the early dynasties saw when they +looked upon the “eternal dwelling-places” of +their great kings, but only a fragment, which +by reason of its massiveness, and especially of +its form, has survived while the rest of the +fabric has perished. The complete pyramid-complex +was a development of the normal +Egyptian arrangement of tomb-chamber and +tomb-chapel. Each Egyptian of any rank or +pretensions was buried in a chamber, generally +underground, which contained his coffin of stone +or wood; but he had also another chamber +above ground, where the necessary rites might +be observed at the stated times, and the daily +offerings of food and drink made for his use +in the other world by his relations or by the +priests who were appointed for this purpose. +These two chambers were combined in the +“mastabas” of the Old Kingdom nobles, with +their shafts and their chapels. The pyramid +took the place of the mastaba, and as it developed, +the chapel, instead of being within the same mass +of building as the tomb-chamber, was built +outside, at the foot of the great structure which +protected the mummy of the king, as was fondly +hoped, from sacrilegious attack. This pyramid-temple +lay at the east side of the pyramid, and +in close connection with it. But the pyramids +were situated on rising ground, generally at a +considerable distance from the cultivated land,<span class="pagenum" id="Page_59">59</span> +and it was therefore necessary to arrange for a +convenient approach to them, instead of allowing +the priests or the royal relatives to scramble +over the rough ground. Accordingly a secondary +temple, or portico, was built down on the level +of the cultivated land in a position where it could +be approached by boats during the inundation; +and from this portico-temple a covered causeway +led up to the temple proper at the foot of the +pyramid.</p> + +<p>We are to conceive of the pyramid fabric, +then, as consisting of these four parts, first the +part for whose sake all the rest existed, the +pyramid itself, with its concealed passages and +its carefully protected sarcophagus-chamber, in +which lay the mummy of the king in its granite +coffin; then the temple crouching at the foot of +the great tomb-chamber; then the long covered +causeway leading down to the lower levels, and +finally the Portico-temple on the margin of the +flooded river. One imagines the scene on the +feast-day of a great Pharaoh—the graceful and +gaily decorated Egyptian river-skiffs drawing +up to the stately columned portico on the river +bank, and landing their freight of white-robed +priests and gorgeous courtiers and princes of +the blood, the preliminary service within the +lower temple, and then the solemn procession +up the causeway to the temple proper where the +memory of Khufu or Khafra is celebrated, and +his wants for the other world supplied under the +shadow of the mighty mass of stone where the +bones of the great builder are laid. The Pyramids +are impressive enough to-day in their stripped<span class="pagenum" id="Page_60">60</span> +and gaunt majesty—one wonders if they could +be more impressive even in the days of their +perfected splendour. Possibly not, but at all +events the world can have seen few more imposing +sights than an Egyptian Pyramid Field such as +that of Gizeh, when its three giants were girt +with all the sumptuous fabrics which were part +of their essential design as their architects +planned them, and without which we are no more +seeing them as they were meant to be seen than +if we were viewing Salisbury without its spire, +or the Duomo of Florence without its campanile.</p> + +<p>As to the sumptuousness of these subsidiary +parts of the pyramid-complex, we have fortunately +first-hand evidence. Little remains of the temple +proper of the Second Pyramid, though what there +is has been completely excavated; but the causeway +leading down from it has been traced, and +it terminates in a building which has been for +long familiar as one of the most striking examples +of the combined restraint and magnificence of +the Egyptian architects of the early dynasties, +the so-called Temple of the Sphinx, which is in +reality the Portico-temple of Khafra’s pyramid. +With its severely simple architecture of vertical +and horizontal lines, its great blocks of stone +absolutely without ornament of any sort, and the +richness of its granite monoliths and its alabaster +wall-surfaces, it tells us something of what must +have been the dignity and splendour of the Gizeh +Pyramid Field when it stood intact.</p> + +<p>So far as the fulfilment of the object for +which they were erected is concerned, the +Pyramids of Gizeh are no more than a melancholy<span class="pagenum" id="Page_61">61</span> +monument of the vanity of human wishes, and +an illustration of how human cupidity or malice +will in the long run break through the most +elaborate system of defence. Professor Petrie +has suggested that Sir Thomas Browne was in +the wrong when he wrote that “to be but +pyramidally extant is a fallacy of duration,” and +comments upon that characteristic utterance: +“Khufu has provided the grandest monument +that any man ever had, and is by this means +better remembered than any other Eastern king +throughout history.”</p> + +<p>That is so; and yet one cannot help +remembering that this was not at all Khufu’s +object in the rearing of his vast mausoleum. It +was not to keep his memory green, but to keep +his body intact that the greatest builder of the +world raised the Great Pyramid, and in that +simple object he utterly failed, as did all his +brother pyramid-builders great and small. The +evidence shows that not in one single case has +greed or hatred failed to overcome all the obstacles +placed in their way by royal power. Every +pyramid known has been rifled in ancient times, +probably not long after its builder was laid to +rest in his stately tomb, and the duration of the +mass of senseless stone, which bids fair to be +as long as that of the everlasting hills, only +mocks the hopes with which it was reared. +The pyramid remains; but the jewel for whose +sake so costly a casket was devised is long ages +since “blown about the desert dust.”</p> + +<p>The story of excavation at the Pyramids of +Gizeh has nothing very exciting about it. The<span class="pagenum" id="Page_62">62</span> +first excavators were, no doubt, the enemies of +the Crown, who, as Petrie has suggested, penetrated +into the burial-chambers in the troubled +days between the VIIth and Xth Dynasties and +wreaked their spite on the bodies of their dead +masters. Thereafter, through the Classical +period, the entrance into the subterranean passages +of the Great Pyramid was well known; +but the knowledge had been lost by the time of +the Arab Conquest, and the Khalif Mamun had +laboriously to quarry his way through the +masonry into the actual passages, leaving behind +him the great hole, which is still called “Mamun’s +Hole.” This was the beginning of the vandalism +which has done so much destruction at the +Pyramids of Gizeh, though the worst efforts of +human stupidity have somehow only seemed to +emphasise the dignity and grandeur of the great +buildings whose might mocks at the puny +attempts of the destroyer. After Mamun had +showed the way, his successors followed him, +and used the pyramid as a quarry. In 1356 +Sultan Hasan used part of the casing of the +Great Pyramid in the building of his mosque, +and though his work may be, as it has been called, +“the finest monument in Cairo,” and “the +most perfect specimen extant of Saracenic architecture,” +its beauty is sadly discounted by the +fact that it was created by the robbery of the +most magnificent example of an architecture +more ancient and more noble. Hasan, or one +of his immediate successors, added to his crime +by stripping part of the casing from the Second +Pyramid also, leaving it in the partially despoiled<span class="pagenum" id="Page_63">63</span> +condition in which it now appears, for one of +his coins was found by Petrie deep down in +the southern foundation. Compared with such +barbarities, the indignities which the Pyramids +have had to suffer in all ages at the hands of +tourists, who have insisted on disgracing their undistinguished +names by scrawling them on these +great memorials of the past, are mere trifles.</p> + +<p>Early in the nineteenth century Caviglia +succeeded in penetrating into the centre of the +Great Pyramid, and he was followed in the +spring of 1818 by the redoubtable Belzoni, +whose account of the manner in which he +forced an entrance into the Second Pyramid is as +vivacious as the rest of his narrative. Belzoni’s +earlier efforts only resulted in the discovery of +one of the passages by which former explorers +had vainly attempted to force their way into +the pyramid; but his disappointment only +quickened his desire, and as he says in his own +inimitable way: “Hope returned to cherish +my pyramidical brains.” His workmen were +speedily set to work again at a new spot. “As +to expectation that the entrance might be found, +they had none; and I often heard them utter, +in a low voice, the word ‘<em>magnoon</em>,’ in plain +English, <em>madman</em>. I pointed out to the Arabs +the spot where they had to dig, and such was +my measurement, that I was right within two +feet, in a straight direction, as to the entrance; +and I have the pleasure of reckoning this day as +fortunate.” Even after the passage was discovered, +the removal of the blocks of stone which +obstructed it required several days of hard labour;<span class="pagenum" id="Page_64">64</span> +but at last, thirty days after the work began, the +explorer found himself standing in the sarcophagus +chamber of Khafra. Besides the empty +sarcophagus, Belzoni found the evidence that he +had not been the first who had penetrated into +the secret of the pyramid, for in addition to +many graffiti on the walls of the chamber, which +were written in charcoal and rubbed off at the +slightest touch, there was an Arabic inscription +which ran: “The Master Mohammed Ahmed, +lapicide, has opened them; and the Master +Othman attended this opening: and the King Ali +Mohammed, from the beginning to the closing up.”</p> + +<p>The Third Pyramid, that of Menkaura, was +opened in 1226 by treasure-hunters. “After +passing through various passages, a room was +reached wherein was found a long blue vessel +[the sarcophagus] quite empty.... They +found in this basin, after they had broken the +covering of it, the decayed remains of a man, +but no treasures, excepting some golden tablets +inscribed with characters of a language which +nobody could understand.” The disappointed +treasure-seekers were succeeded in 1837 by +Colonel Howard Vyse, some of the results of +whose discoveries are in the British Museum in +the shape of a fragment of the basalt sarcophagus, +and portions of a wooden coffin, purporting to +be that of “the King of the North and South, +Men-kau-Ra, living for ever,” together with the +remains of a man, wrapped in a coarse woollen +cloth of a yellow colour. “In clearing the +rubbish out of the large entrance room,” says +Colonel Vyse, “after the men had been employed<span class="pagenum" id="Page_65">65</span> +there several days and had advanced some +distance towards the south-eastern corner, some +bones were first discovered at the bottom of +the rubbish; and the remaining bones and part +of the coffin were immediately discovered all +together. No other parts of the coffin or bones +could be found in the room; I therefore had the +rubbish which had been previously turned out +of the same room carefully re-examined, when +several pieces of the coffin and of the mummy-cloth +were found; but in no other part of the +pyramid were any parts of it to be discovered, +although every place was most minutely examined, +to make the coffin as complete as possible.” +Unfortunately some doubt exists as to the coffin +being actually of the period which its inscription +claims, and the same doubt hangs over the +remains. It has been suggested that the coffin +is a restoration of the time of the XXVIth +Dynasty, and that the remains are not those of +Menkaura, but of one of the treasure-hunters +who lost his life in the attempt of 1226. Accordingly +we cannot say, as might otherwise have +been the case, that Vyse actually discovered a +Pharaoh in the great tomb which he had built +for his eternal abode. The fine basalt sarcophagus +was taken out of the pyramid by Vyse, +and shipped for England in 1838; but the ill-luck +which has dogged the pyramid explorations +attended Menkaura’s coffin also. The ship left +Leghorn on October 12, 1838, and was never +heard of again, though some bits of wreckage +were picked up off Carthagena.</p> + +<p>Valuable work was done at Gizeh during the<span class="pagenum" id="Page_66">66</span> +years after Vyse’s researches by Perring and +Piazzi Smyth, though the careful measurement +work of the latter was somewhat obscured by +the fanciful theories which possessed his mind +on the subject of the purpose of the Great +Pyramid; but the most complete survey of the +Gizeh field was due to Flinders Petrie, who in +1880–1881 measured and planned the whole +site with the most scrupulous care.</p> + +<p>Perhaps the most interesting result of his +work, apart from the evidence which he gathered +as to Egyptian methods of working stone, was +his discovery, behind the Second Pyramid, of +the barracks in which the skilled masons who +were permanently employed on the building +lived while the work was going on. These +were capable of containing easily about 4000 +men. The rest of the 100,000, who, as Herodotus +tells us, were employed in the building of the +Great Pyramid, were doubtless merely labourers +employed during the three months of high Nile, +when work on the land was impossible, to bring +up the blocks of stone and leave them ready for +the skilled hewers and masons to work upon. +As to the methods of these skilled workmen, +evidence of the most interesting kind was +accumulated. It was found that the great blocks +of stone were sawn by means of bronze saws over +nine feet in length, and equipped with jewelled +cutting points. The sarcophagi of hard granite +or basalt were thus sawn to shape with the most +remarkable accuracy, while they were hollowed +out by cutting rows of holes with tubular drills +also set with jewelled cutting points. The<span class="pagenum" id="Page_67">67</span> +chief difference between this kind of ancient +Egyptian work and modern practice with diamond +drills is that the ancient work is undeniably +superior to the modern. “Truth to tell, modern +drill cores cannot hold a candle to the Egyptians; +by the side of the ancient work they look +wretchedly scraped out and irregular.” “There +has been no flinching or jumping of the tool,” +says Petrie again, speaking of a drill core from +Gizeh, “every crystal, quartz, or felspar has +been cut through in the most equable way, with +a clean irresistible cut.”</p> + +<p>Our wonder at the mighty mass of the +Pyramids of Gizeh, then, is not to be mere wonder +at the barbaric power which summoned myriads +of slaves and forced them to toil till by sheer +brute force they had piled up these mountains +of stone. Brute force, unguided and unorganised, +would never have built the Pyramids, though +millions instead of thousands had been employed, +and for centuries instead of decades, but would +only have led to disaster and confusion. The +wonder of the Pyramids is that five thousand +years ago there was found a race whose keen +intelligence so clearly understood the need and +the marvellous power of organised and trained +human labour, architects and engineers who +were capable of directing the energies of a hundred +thousand men without confusion towards a +clearly foreseen end, and craftsmen who were +capable of producing, with tools whose material +seems to us pathetic in its inadequacy, results +which put to shame the best achievements of +men using the finest modern tools.</p> + +<p><span class="pagenum" id="Page_68">68</span></p> + +<p>The recent excavations in the Gizeh Pyramid +Field, directed by Dr. G. A. Reisner, have added +much to our knowledge of the subordinate tombs +of the period, and of the life of the times.</p> + +<p>Moving southwards from Gizeh, we come to +the pyramid field of Abusir, passing on the way +the unfinished pyramid of Zawiyet el Aryan. +Of this pyramid, designed for the Pharaoh Nefer-ka-Ra +of the IIIrd Dynasty, nothing exists +above ground. The remains consist simply of +the trenches destined for the superstructure, +and the inclined plane leading down to the +mortuary chamber with its fine oval libation-trough, +or sarcophagus. Yet there are few +works of ancient Egypt which impress one more +with the sense of the magnificent power with +which these early architects carried out their +designs. “The whole,” says Maspero, “is +merely a <span class="sans">T</span>-shaped ditch, some 100 feet deep; +and yet the impression it makes when one goes +down into it is unforgettable. The richness +and the cutting of the materials, the perfection +of the joints and sections, the incomparable +finish of the basin, the boldness of the lines and +the height of the walls all combine to make up a +unique creation.”</p> + +<p>The German excavations have resulted in +the discovery at Abusir of a curious development +both of the pyramid idea and of the early Egyptian +temple. It was already known from one of the +magical tales of the Westcar Papyrus, that the +kings of the Vth Dynasty were probably a +priestly line of usurpers, who claimed to be +related to the Sun-god Ra by direct descent—a<span class="pagenum" id="Page_69">69</span> +relationship which was henceforth claimed by +every subsequent Pharaoh, and embodied in +the royal titulary. The German Expedition has +revealed to us the unmistakable proof of the +devotion of the Vth Dynasty kings to the worship +of the Sun-god, and the unique form which their +temples took. The temple of Ne-user-ra, for +example, consisted of a rectangular court, 380 feet +by 280 feet, whose main axis ran east and west. +In the western half of this area rose the pyramid, +a curious combination of the idea of the mastaba-pyramid +of Seneferu at Medum and the later +obelisk. On a great block of building about +130 feet square by 100 feet in height, shaped like +a truncated pyramid, rose a squat brick obelisk +whose point reached a height of about 120 feet. +Roofed corridors surrounded the enclosure on +the other three sides, and probably provided +storerooms for the temple furniture, and for the +materials of the offerings. At the foot of the +pyramid an immense alabaster altar stood in a +small court surrounded by low walls. The +obelisk, on its truncated pyramid, represented +the Sun-god, and outside the temple wall, near +the south side, was placed the most curious of +all the furnishings of this curious temple, in the +shape of a great boat, built of brick, which bore +all the sacred insignia of the Sun-god in his +voyage across the heavens. The interior of the +temple walls was covered with sculptured scenes +of the life created by the god, scenes from the +river, the swamps, the fields and the desert, +these being the earliest specimens of such mural +decorations in any Egyptian temple.</p> + +<p><span class="pagenum" id="Page_70">70</span></p> + +<p>The next stage of the Great Pyramid Field is +at Saqqara, where the chief feature is the most +ancient, and save for the monsters of Gizeh, the +most famous of all the pyramids, the Stepped-Pyramid +of King Zeser of the IIIrd Dynasty, +the earliest great stone structure in the world. +This remarkable building was probably the work +of Zeser’s famous counsellor and architect +Imhotep, the typical wise man of early Egypt, +whose counsel was “as though one inquired at +the oracle of God,” and who was subsequently +deified and became the patron-deity of the scribes.</p> + +<p>The tomb which he reared for his master +(who had also another great tomb at Bet-Khallaf) +was built in six stages, stands about 197 feet in +height, and has the peculiarity that its base is +not a square but a rectangle, measuring 394 by +351 feet. But though the interest attaching to +man’s first great piece of stonework must always +be great, the actually living interest at Saqqara +attaches not so much to Zeser’s hoary and imposing +tomb, as to the comparatively insignificant +and decayed pyramids of the Vth and VIth +Dynasty kings, Unas, Teti, Pepy I, Merenra, +and Pepy II. Mere heaps of rubble and sand as +they seem, with none of the splendour of construction +or greatness of scale of the Gizeh group, +these monuments of the time when the royal +power of the Old Kingdom was beginning to +decline are yet of supreme value; for they are +the first pyramids in which inscriptions have +been found, and the long religious texts discovered +in them, and now known as the Pyramid Texts, +are unique and of infinite importance.</p> + +<p><span class="pagenum" id="Page_71">71</span></p> + +<p>Up to the end of his career, Mariette believed +that the pyramids were dumb, as the Gizeh +group had proved to be, and therefore looked +upon the attempt to open any of the Saqqara +group as mere waste labour. Maspero, however, +believed otherwise, and the opening of the +pyramid of Pepy I in 1880 proved that he was +right. The other pyramids named proved also +to be inscribed, and altogether the five pyramids +give us a series of religious texts covering a +period of about one hundred and fifty years, or +perhaps one hundred and eighty, from 2825 to +2644 <span class="allsmcap">B.C.</span>, or, on Petrie’s dating, from 4275 to +4090 <span class="allsmcap">B.C.</span> Even taking the later dates, these +Pyramid Texts form by far the earliest large body +of religious writings which have come down from +any part of the ancient East, and their importance +as sources of knowledge as to the beliefs of the +earliest Dynastic period can scarcely be overrated.</p> + +<p>Apart from the interest of its pyramids, +Saqqara has proved of infinite value to the +student of ancient Egyptian life because of the +richness of its necropolis in the great mastaba +tombs of the nobles of the Old Kingdom. Since +Mariette’s excavation of the tomb of Ti, who was +a great man in his day, and architect to two +successive kings of the Vth Dynasty, Nefer-ari-ka-ra +and Ne-user-ra, the sculptures of this +splendid tomb, and those, scarcely less remarkable, +of the tombs of Ptah-hetep, Mereruka and +Kagemni, have been recognised as among the +most precious accomplishments of ancient art.</p> + +<p>Apart altogether from their artistic value, +their importance as first-hand documents for<span class="pagenum" id="Page_72">72</span> +the reconstruction of life in ancient Egypt five +thousand years ago is supreme, for their representations, +executed with infinite vivacity and +spirit, cover almost every department of Egyptian +life. The great man is represented as surrounded +by all the busy life which ministered to his comfort +when he was on earth, or engaged in the +sports and diversions which were his relaxation +in the intervals of his public duties, sailing, +fishing, fowling, or hippopotamus-hunting among +the Nile swamps. Farm life, with its changing +activities according to the season, and all its +peaceful and beautiful incident, is faithfully +depicted, so that the crops which the Egyptian +landowner grew and the stock he kept can be +perfectly known; while all the crafts which were +necessary to the upkeep of a great estate are also +depicted with abundant detail and a charming +directness and dash. The tomb-paintings of the +New Empire at Thebes are much and deservedly +admired; but even they must yield in freshness +and charm to these pictures from the dawn of +history, which have the dew of youth still upon +them, and all the vigour of an art which is already +quite sure of itself, but has not had the time to +grow stale.</p> + +<figure id="il_7" class="figcenter" style="max-width: 27em;"> + <img src="images/i_072.jpg" width="1266" height="1801" alt=""> + <figcaption class="caption"><p>7. CHASED GOLD PECTORAL ORNAMENTS OF SENUSERT II +AND III (XIIth DYNASTY).</p> + +<p>(<cite>From “Arts and Crafts of Ancient Egypt.”</cite>)</p> + </figcaption> +</figure> + +<p>From Dahshur down to Illahun and Hawara +lie the pyramids of the great kings of the XIIth +Dynasty, who, though Thebans, realised that +the centre of gravity of the national government +must be further north, and who therefore made +their royal residence between Memphis and the +Fayum. The earlier kings of the dynasty, +Amenemhat I and Senusert I, had their pyramids<span class="pagenum" id="Page_73">73</span> +at Lisht; Amenemhat II and Senusert III +preferred Dahshur for their resting-place; while +Senusert II chose Lahun, and Amenemhat III +Hawara, where he could sleep beside the great +works which he had wrought at Lake Moeris for +the welfare of his land. The XIIth Dynasty +pyramids are not imposing externally. The +ruinous piles of brickwork at Dahshur and Lahun +look more like gigantic ant-heaps than true +pyramids; yet they were the work of kings who +in their own way were quite as powerful as +the pyramid-builders of the IVth Dynasty, and +the detail of the inner workmanship of the +sarcophagus chambers is quite as remarkable +as anything to be seen at Gizeh. Part of the +reason for the difference is a change, not so much +in the ideal for which the pyramid was constructed +(for that remained constant throughout +the history of Egypt), but in the conception of +the best means towards the realising of the +ideal. “It seems,” says Petrie, describing the +change which Senusert II introduced in his +pyramid at Lahun, “that the pyramids of the +earlier kings had fallen a prey to violence already, +the signs of personal spite in the destructions are +evident. Therefore Senusert II determined to +abandon the old system of a north entrance in +the face, and to conceal the access to the interior +by a new method.” His method was to excavate +his sarcophagus chamber entirely out of the +solid rock on which the pyramid was founded, +and to place the entrance to the passage which +led to the chamber outside of the pyramid +altogether. The shaft which gives access to the<span class="pagenum" id="Page_74">74</span> +passage actually opens out on the plain, beneath +the floor of the tomb of one of the princesses +of the dynasty. Inside the rock-hewn chamber +which was protected with such care, and which +was splendidly lined with red granite, stood the +red granite sarcophagus, “exquisitely wrought,” +says Petrie, “the errors of flatness and straightness +being matters of thousandths of an inch.”</p> + +<p>Yet the cunning and the skill of the XIIth +Dynasty architects and masons proved as helpless +as the massive power of the IVth Dynasty to +protect the dead monarchs from the ravages of +hatred or greed. Nor were the elaborate precautions +of Amenemhat III any more successful +than those of his grandfather had been. Petrie’s +description of the construction of the inner +passages of Amenemhat’s pyramid at Hawara +reads like something planned to be a nightmare +to explorers. “The explorer,” he says, “who +had found the entrance in the unusual place on +the south side, descended a long staircase, which +ended in a dumb chamber. The roof of this, +if slid aside, showed another passage, which was +filled with blocks. This was a mere blind, to +divert attention from the real passage, which +stood ostentatiously open. A plunderer has, +however, fruitlessly mined his way through all +these blocks. On going down the real passage, +another dumb chamber was reached; another +sliding trap-door was passed; another passage +led to a third dumb chamber; a third trap-door +was passed; and now a passage led along past +one side of the real sepulchre; and to amuse +explorers, two false wells open in the passage<span class="pagenum" id="Page_75">75</span> +floor, and the wrong side of the passage is filled +with masonry blocks fitted in. Yet by some +means the plunderers found a cross trench in +the passage floor which led to the chamber. +Here another device was met. The chamber +had no door, but was entered solely by one of +the immense roof-blocks, weighing 45 tons, +being left raised, and afterwards dropped into +place on closing the pyramid.” One would have +imagined that with such precautions the sleep of +Amenemhat would surely be undisturbed; but +when Petrie in 1889 tunnelled his way through +the roofing-beams of the sepulchral chamber +he found that an early plunderer had anticipated +him by mining right through the great 45-ton +block. “The royal interments had been entirely +burnt; and only fired grains of diorite and +pieces of lazuli inlaying showed the splendour of +the decorations of the coffins.”</p> + +<p>Here, as in all the other cases of the pyramids, +the very elaboration of the means adopted for +the preservation of the dead body of the king +had only whetted the appetite of the spoiler and +destroyer, and little has survived from the XIIth +Dynasty pyramids to reward the modern explorer. +The great finds in the XIIth Dynasty pyramid +fields were all from outside the pyramids. Of +these one of the most valuable, though by no +means the most spectacular, was Petrie’s discovery, +near the pyramid of Senusert II at +Lahun, of the town, created specially for the +occasion, in which the workmen of Senusert had +lived with their staff of architects, overseers, and +scribes, while the pyramid was under construction.</p> + +<p><span class="pagenum" id="Page_76">76</span></p> + +<p>The little town of Ha-hetep-Senusert, Kahun +as it is now called, gives us the most complete +instance extant of the character of an Egyptian +town of the Middle Kingdom. It occupied an +area of about 18 acres, and the plans of the narrow +streets and of the houses, mostly small and closely +crowded together, though there are exceptions +to this rule, have been completely wrought out. +Much that is interesting in the way of pottery, +tools, and papyri came from the ruins of the +deserted houses of the little pyramid-town, +whose existence seems to have been a very brief +one, probably not much longer than was necessary +for the erection of the pyramid.</p> + +<p>Again it was not in Amenemhat’s elaborately +devised pyramid at Hawara, but in the Roman +cemetery to the north of it, that the great find was +made which has made Hawara famous in the +history of ancient Egyptian art, and has given us +one of the most valuable contributions ever +made to our knowledge of the processes and +technique of ancient painting. A cemetery which +dates mostly from <span class="allsmcap">A.D.</span> instead of from <span class="allsmcap">B.C.</span> has +in general comparatively little attraction to the +explorer in ancient Egypt, unless he be a specialist +in the Greco-Roman Period. Accordingly, when +Petrie in 1888 found that the cemetery in question +was of the first and second centuries <span class="allsmcap">A.D.</span>, he was +on the point of giving it up as not worth working, +when one day a mummy was found with a painted +portrait on a wooden panel inserted above +its face. The picture was a beautifully drawn +head of a girl, painted in soft tones, and quite +un-Egyptian in its style. It proved to be only<span class="pagenum" id="Page_77">77</span> +the forerunner of a whole series of similar +portraits, of which about sixty were found before +the excavations closed. The work was resumed +in 1911 with further success. The portraits +are of varying merit, and of even the best of them +it has to be remembered that we are not dealing +with the product of the studio of a skilled artist, +but only with that of the workshop of a firm of +local undertakers, who supplied funerary portraits +just as they supplied coffins. All things considered +the quality of the work is wonderfully +good, and the information given by these panel +pictures as to the methods of the ancient painters +is of the highest importance. Before the Hawara +discoveries, we were left very much in the dark +as to how Apelles, Zeuxis, Polygnotus and their +companions and rivals produced the masterpieces +which have only survived in the literary +descriptions of their contemporaries. The +Hawara pictures may be very far, even the best +of them, from being masterpieces; but at least +they tell us what were the methods by which +the great painters of ancient Greece produced +the pictures which were considered the equals +in artistic merit of the statues which are now +the wonder of the world. The manner in +which they were painted is often described as +“encaustic,” but this is an incorrect description +of portraits which, so far as can be judged, were +simply painted with melted coloured wax, laid +on with a free brush, each tint being laid on as +a solid body, and not subjected to subsequent +glazings.</p> + +<p>The XIIth Dynasty pyramid fields at Dahshur<span class="pagenum" id="Page_78">78</span> +and Illahun have yielded two of the most remarkable +finds of Egyptian jewellery which have ever +been made, and the results of the work of +de Morgan and Petrie in this respect are such +as to increase our admiration for the marvellous +skill of the craftsmen of the Middle Kingdom. +It was in 1894 and 1895 that de Morgan’s workmen, +clearing up the area round the XIIth +Dynasty pyramids at Dahshur, found in the +tombs of the princesses of the royal house one +of the most wonderful stores of jewellery which +have ever rewarded excavation. The two most +notable pieces of the treasure were the diadems +of the princess Khnumit, the most exquisite +examples of the skill of the goldsmith ever +worn. “The floret crown,” says Petrie, “is +perhaps the most charmingly graceful head-dress +ever seen; the fine wavy threads of gold +harmonised with the hair, and the delicate little +flowers and berries seem scattered with the wild +grace of Nature. Each floret is held by two wires +crossing in an eye behind it, and each pair of +berries has likewise an eye in which the wires +cross. The florets are not stamped, but each +gold socket is made by hand for the four inserted +stones. The berries are of lazuli. In no instance, +however small, was the polishing of the +stone done in its cloison; it was always finished +before setting.” The other diadem is more +conventional, but scarcely less beautiful. Eight +rosettes of gold and precious stones are surmounted +with motives of lyre shape terminating +in golden flowers, and the rosettes are united +by long links also bearing jewelled rosettes.<span class="pagenum" id="Page_79">79</span> +The stones of the two crowns are lapis-lazuli, +carnelian, red jasper, and green felspar. Along +with the diadems were found gold pectorals of +fine design and execution, bearing the cartouches +of Senusert II, Senusert III, and +Amenemhat III, and various other articles of +jewellery, and even the famous jewellery of +Queen Aah-hotep, so long the typical specimen +of Egyptian craftsmanship, must yield the palm +to the earlier work in beauty of design and +daintiness of execution.</p> + +<p>The second discovery came in February, +1914, when Professor Petrie’s workmen were +clearing a rifled tomb belonging to the “Royal +daughter Sat-Hathor-ant” at Lahun near the +pyramid of Senusert II. How the treasure of +Lahun had ever escaped the plunderers who had +rifled the tomb is a mystery. “The tomb had +been attacked,” says Petrie; “the long and +heavy work of shifting the massive granite lid +of the sarcophagus, and breaking it away, had +been achieved; yet all this gold was left in the +recess of the passage untouched.... The whole +treasure seems to have been stacked in the recess +at the time of the burial, and to have gradually +dropped apart as the wooden caskets decayed +in course of years, with repeated flooding of +storm water and mud slowly washed into the +pit.... The whole treasure was standing in +an open recess, within arm’s reach of the gold-seekers, +while they worked at breaking open +the granite sarcophagus.” We can only be +thankful that all the luck did not go to the ancient +robber, and that, like his earlier companion who<span class="pagenum" id="Page_80">80</span> +left the arm of the Ist Dynasty queen, with its +jewelled bracelets, at Abydos, he overlooked +something to tell a later age of the skill and taste +of ancient Egypt.</p> + +<figure id="il_8" class="figcenter" style="max-width: 27em;"> + <img src="images/i_080.jpg" width="1287" height="1955" alt=""> + <figcaption class="caption"><p>8. <i>Above</i>, <span class="allsmcap">CROWNS OF GOLD INLAID WITH STONES OF +KHNUMIT</span>. <i>Below</i>, <span class="allsmcap">GRANULATED GOLD WORK. ALL XII</span>th +<span class="allsmcap">DYNASTY</span>.</p> + +<p>(<cite>From “Arts and Crafts of Ancient Egypt.”</cite>)</p> + </figcaption> +</figure> + +<p>The chief feature of the Lahun find was a +perfect specimen of a royal diadem, bearing the +uræus on its front. No actual specimen of the +famous double crown of Egypt has ever come +to light, familiar though its appearance may be, +probably because its materials were of a perishable +nature; but the diadem of Lahun gives us a +unique specimen of such a crown as Egyptian +royalty may often have worn in preference to +the cumbrous mitre so frequently figured. “It +is formed by a broad band of highly burnished +gold over an inch wide, and large enough to +pass round the bushy wig worn in the XIIth +Dynasty. The uræus is of open work, inlaid +with lazuli and carnelian; the head is of lazuli, +which was found loose in the mud. Around +the polished band were affixed fifteen rosettes, +each composed of four flowers with intermediate +buds. At the back a tube of gold was riveted +on to the band, and into that fitted a double +plume of sheet gold, the stem of which slipped +through a flower of solid gold. The thickness +of the plumes was such that they would wave +slightly with every movement of the head. At +the back and sides of the crown were streamers +of gold, which hung from hinges attached to +the rosettes. The whole construction was over +a foot and a half high.” Such was an Egyptian +diadem in the great days of the Middle Kingdom, +and surely never did a royal head wear a more<span class="pagenum" id="Page_81">81</span> +graceful emblem of sovereignty than that which +came so strangely to light in 1914.</p> + +<p>Along with the crown were found two +pectorals, one of Senusert II, the other of +Amenemhat III, of even finer design than the +famous pectorals of Dahshur. “The earlier +pectoral is inlaid with minute feathering of +lazuli and turquoise; the later with a different +feathering of lazuli and white paste, which has +probably been green.... They were probably +suspended by necklaces of the very rich deep +amethyst beads which were found here.” With +the pectorals went several gold and jewelled +collars and necklets, and broad armlets of golden +bars with beads of carnelian and turquoise, and +inlaid clasps bearing the royal cartouche, and +a number of other articles, amulets and toilet +utensils, including a silver mirror with a handle +of obsidian, inlaid with bands of plaited gold, +and bearing a cast gold head of Hathor. Another +item came to light from Lahun in 1920 in the +shape of the royal uræus of Senusert II, “a +massive gold casting, with inlay of carnelian and +lazuli, a head of lazuli, and eyes of garnet in gold +setting,” which was found near the sepulchral +chamber in the heart of the pyramid, amidst a +heap of dust and chips of stone. Doubtless +this is the royal emblem which adorned the brow +of Senusert when he was laid to rest in his +pyramid, though how it escaped the notice of +the robbers who plundered his tomb is as great +a mystery as the escape of the treasure of +Sat-Hathor-ant.</p> + +<p>Thus the pyramids of the XIIth Dynasty<span class="pagenum" id="Page_82">82</span> +monarchs, insignificant as they may seem in +comparison with the gigantic piles of Gizeh, +have proved in their way no less interesting than +the colossal work of Khufu, Khafra, and Menkaura. +Indeed each of the pyramid groups has +its own characteristics, and has given its own +contribution to our knowledge of the successive +periods of early Egyptian history. To the mighty +structures of the IVth Dynasty we owe the +revelation of the marvellous organisation of the +Egyptian kingdom, and the skill with which its +resources could be concentrated on a single +gigantic task. To the less imposing buildings +of the Vth and VIth Dynasties we owe something +perhaps even more precious—the revelation of +the thoughts which were shaping themselves in +the mind of man in these most ancient days +with regard to the soul and its life beyond the +grave. To those of the XIIth Dynasty we owe +the evidence of the skill which shaped the marvellous +red-granite sarcophagus of Senusert II, +or the great quartzite funeral chamber of +Amenemhat III, and the union of luxury with +the finest taste which created the jewellery of +Dahshur and Lahun. It may be questioned if +even the tomb of Tutankhamen, with all its +mass of splendour, will have anything to show +us which can surpass in grace and dignity the +diadems of Khnumit and Sat-Hathor-ant, or +in exquisiteness of finish their pectorals and +armlets.</p> + +<p>With the decline of the royal power at the +close of the XIIth Dynasty, the age of the +pyramid-builders closes. Already the taste for<span class="pagenum" id="Page_83">83</span> +these huge structures was being modified, as +it was continually found how powerless they +were to accomplish the great end for which they +were designed—the protection of the dead body +of the king from the hatred of his enemies or the +greed of the professional tomb-robber. The +decay of the royal power which is so marked +even in the beginnings of the dark period which +now ensues no doubt completed a process which +disillusionment had already begun; and when +Egypt once more found herself under a strong +and stable government, the Theban kings who +delivered her from the Hyksos tyranny had +recourse to another device for securing the +continuity of existence after death, and instead +of piling mountains of stone or brick above +their sepulchral chambers, were hewing in the +Valley of the Kings the galleries and halls which +have been yielding up their secrets in our time +for the wonder and instruction of the world.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_84">84</span></p> + +<h2 class="nobreak" id="CHAPTER_V"><span id="toclink_84"></span>CHAPTER V<br> + +<span class="subhead">WORK AMONG THE TEMPLES</span></h2> +</div> + +<p class="drop-cap b"><span class="smcap1">Scarcely</span> less famous than the pyramids, +and of far greater beauty, are the +splendid temples whose ruins extend +from Heliopolis, close to the Delta, to Philæ, +where the beautiful shrines of Isis, exquisite in +their setting, even if of late date for Egypt, are +now becoming only memories of a beauty which +has had to yield to the claims of present-day life. +Egypt, almost equally with Greece, may claim to +be the Land of Temples; and certainly no other +land of the ancient East can rival her in the +number, the scale, and the magnificence of the +shrines which she reared to her innumerable +gods. The claim of the Greek to be the supreme +temple-builder of the ancient world is, of course, +unquestioned, and nothing in Egypt can bear +comparison with the serene beauty of the +Parthenon; but, though the Egyptian architect +knew nothing of that exquisite balance and +harmony of proportion which has made Greek +architecture the crown of human effort in sacred +building, the temples of Egypt have a grandeur +and impressiveness of their own which make a profound +appeal to the mind; and the contribution<span class="pagenum" id="Page_85">85</span> +of the Egyptian to the sum of human achievement +in this respect is coming to be more and +more appreciated every day.</p> + +<p>The pyramids show him to have been one of +the great master-builders of the world in respect +of the vastness of his creations; the temples, +often scarcely less impressive in this respect, +show him to have been also a master in the art +of constructing stately and nobly proportioned +examples of that art of the column and architrave +of which the temples of Hellas gave the supreme +demonstration. The question of how much the +Greek owed to the earlier builder may still be +the subject of debate; but there can be no +question of the originality of the architects who +gave to the world such noble specimens of the +builder’s art as the great colonnades of Karnak +and Luxor, the beautiful terraces of Der el-Bahri, +and the later glories of Edfu and Philæ.</p> + +<p>In one sense there can be comparatively little +to tell in the way of a story of excavation with +regard to the Egyptian temples. In Mesopotamia +and Babylonia the remains of the great temples +of Anu and Adad, of Enlil, and of Marduk, owe +their restoration to the light of day entirely to +the spade of the excavator, for they were +completely buried beneath the dust of ages in +the great mounds of Ashur, Nippur, and Babylon, +and almost nothing was visible to tell of their +former splendours till the modern excavator +patiently stripped away the mantle in which time +had wrapped them.</p> + +<p>But the temples of Egypt had never +experienced the oblivion which had covered their<span class="pagenum" id="Page_86">86</span> +northern rivals. They had suffered, indeed, +many things at the hands of Time and of human +vandalism. Sometimes they were half-buried in +the sand which had risen higher and higher, +century after century, around their columns; +sometimes the shrines of a rival faith had been +thrust incongruously into their ruined courts, or +an Arab village had grown up like an ugly +parasite on their roofs; but there always remained +enough to tell that the work of one of the great +master-building races of the world was there, +waiting the time when it should be stripped of +these paltry accretions, and revealed in its full +beauty. Karnak, Luxor, Edfu, Dendera, and +their companion shrines were never quite forgotten, +and even Hatshepsut’s exquisite terraces +at Der el-Bahri, half-smothered beneath the sand, +and wrecked by Coptic fanaticism though they +were, still showed enough to enable the +first European explorers who described them +(MM. Jollois and Devilliers of Napoleon’s +Expedition of 1798) to be sure of the general +character of the building which lay beneath the +rubbish-heaps.</p> + +<p>Accordingly the work of the excavator in +connection with the temples of Egypt has not +been so much the discovery of the unknown as +the recovery of the complete form of what was +already partially known, the clearing away of the +excrescences which had attached themselves in +the course of centuries to the original structures; +the preservation of the more delicate work, such +as relief-sculpture and painting, from further +injury; the re-establishment in a state of security<span class="pagenum" id="Page_87">87</span> +of tottering walls and columns; and, not least, +the tracing out of the history of the building of +temples which were in general the work of +centuries, and of many kings. It has all been +work which, from its very nature, can have but +little of the nature of romance about it, which has +but seldom led to any startling finds, which has +involved a colossal amount of sheer hard labour, +without any very conspicuous rewards; but +which has resulted in the temples becoming +intelligible to the ordinary traveller, and safe for +his interest for generations to come, and has +enabled us to trace, in the case of a great structure +like Karnak, the successive stages by which the +vast building grew to a finished whole.</p> + +<p>It is, of course, obviously impossible to +attempt to tell, even in the scantiest outline, +the story of a work which has extended over the +whole length of the land from the Delta to the +furthest bounds of Egyptian influence in Nubia, +and has been carried on by scores of workers +of all nationalities. Perhaps our end will best +be served by taking a typical instance of the +recovery of a temple, and telling in more or less +detail the story of the work which gave it back +to present-day knowledge. We take as our +example Queen Hatshepsut’s terraced temple at +Der el-Bahri, one of the most beautiful, as it is +now also one of the most famous, of Egyptian +buildings.</p> + +<p>In all Egypt there is probably no more +beautiful or imposing site than that of the +“Paradise of Amen,” which the great queen +reared to the glory of the Theban god and of<span class="pagenum" id="Page_88">88</span> +her own name. On the western side of the Nile, +almost exactly opposite Karnak, the limestone +cliffs of the Libyan Range sweep backwards in a +great semicircle, forming a bay across whose +mouth is drawn the long line of the funerary +temples of the Theban kings of the XVIIIth +and XIXth Dynasties. Behind them, and behind +the innumerable tombs of Sheikh Abd el-Qurneh +and the Northern Assassif, there lies, close against +the salmon-red cliffs, the building which, of all +Egyptian temples, makes the strongest appeal +of pure beauty, as distinguished from the +impressiveness which comes from sheer scale +and mass.</p> + +<figure id="il_9" class="figcenter" style="max-width: 41em;"> + <img src="images/i_088.jpg" width="1946" height="1341" alt=""> + <figcaption class="caption">9. HATSHEPSUT’S TEMPLE, DER EL-BAHRI, GENERAL VIEW. + </figcaption> +</figure> + +<p>The site is one which offers peculiar +advantages, but is also encompassed with peculiar +risks. No more magnificent background for a +building could be desired; but the background +is precisely of such magnificence as to form a +dangerous pitfall in which a merely mediocre +architect would have been lost. To attempt to +compete with Nature, when the work of man has +to be placed in such close proximity with her +towering architecture, would be to ensure hopeless +defeat and to invite ridicule. Khufu’s mountain +of stone gets its full value from contrast with the +long lines of the desert plateau on whose edge it +stands. The columns and obelisks of Karnak +and Luxor are far enough from the hills on either +bank of the Nile to make the human handiwork +the central and impressive feature of the picture; +but the site at Der el-Bahri would have made +what was possible elsewhere a mere derision. +To have placed the huge columns which seem so<span class="pagenum" id="Page_89">89</span> +great on the Theban plain in competition with +the soaring vertical lines of the Libyan cliffs +would have been to place a fool’s cap on the most +grandiose work of human hands. What was +needed at Der el-Bahri was a building which +should avoid the very idea of rivalry with Nature’s +handiwork, and which should conquer by subjection, +a building where all the emphasis should +be laid on the horizontal lines of structure, so as +to disclaim at once the thought of competition +with the towering buttresses and bastions behind.</p> + +<p>It may be questioned if ever an architect more +thoroughly appreciated the conditions of his +problem, or more satisfactorily fulfilled them, +than did Senmut, when he designed for Queen +Hatshepsut the three rising courts of the Paradise +of Amen, with the long slopes leading from the +one to the other, and the stately colonnades, +where the shadows are so cunningly pressed into +the decorative scheme, and the vertical lines of +the columns give emphasis to the horizontality +of the whole conception, and never for one +moment suggest rivalry with the cliffs above.</p> + +<p>Excavation, which has done so much for our +knowledge of Der el-Bahri, has taught us that the +originality of the XVIIIth Dynasty architect was +not quite so absolute as was once imagined, and +that he owed at least the idea of colonnaded +terraces to the great man of the XIth Dynasty, +Mertisen or another, who designed the pyramid-temple, +“Glorious are the seats of King +Mentuhotep Neb-hepet-Ra,” for his royal master. +But Senmut was one of those great men who, +though they take their blessings where they find<span class="pagenum" id="Page_90">90</span> +them, can never be accused of plagiarism, because +they give back to the world the original idea +transfigured and glorified. He has made the idea +of the terraced courts and colonnades his own, +while avoiding the heavy central block, which, +with its somewhat paltry pyramid (if this was +ever completed), must have been a contradiction +to the whole conception of the rest of the building; +and his spacious courts, with their almost Greek +grace of surrounding colonnade, seem touched +with a spirit which is lacking in the older work.</p> + +<p>Mr. Robert Hichens has told us how “after +the terrific masculinity of Medinet-Abu, after +the great freedom of the Ramesseum, and the +grandeur of its colossus, the temple at Deir-el-Bahari +came upon him like a delicate woman, +perfumed and arranged, clothed in a creation of +white and blue and orange, standing—ever so +knowingly—against a background of orange and +pink, of red and of brown-red, a smiling coquette +of the mountain”; and though his idea is quite +too fantastically elaborated (for the idea of +conscious striving after prettiness is the last +thing one could think of in connection with +Der el-Bahri), yet the idea of femininity does occur +to the mind when the temple is compared with +other Egyptian work. Hatshepsut had not much +of the weak woman about her, to all appearance, +and Senmut, if his statues are any clue to the man, +was as rough-hewn and masculine a piece of +granite as one might encounter; but between +them they managed to rear a temple which +stands alone in Egypt for the feminine quality +of grace.</p> + +<p><span class="pagenum" id="Page_91">91</span></p> + +<p>So now we may turn to the story of how this +most graceful of Egyptian temples, unique in +its grace if not in its main idea, and unique also +in that it is the only temple in Egypt which came +into being wholly at the bidding of a woman, was +rescued from the accumulations of two and a +half millenniums of neglect and the ravages of +religious fanaticism.</p> + +<p>Hatshepsut’s temple was first made known +to the modern world, as we have seen, by +MM. Jollois and Devilliers, two of the savants +attached to Napoleon’s Expedition of 1798. The +English traveller Pococke had indeed visited the +site in 1737; but the thing which chiefly interested +him was the abundance of mummies, and all +that can be learned about the temple from his +mention of it is that in his day the sanctuary was +apparently accessible. “Here it seemed,” he +says, “as though the mountain had been vertically +hewn out by the hand of man, and the people of +the place said that there had once been a passage +through it into the next valley”—the Valley of +the Kings.</p> + +<p>What the French explorers saw sixty years +later was not a great deal more. They traced +what they believed to be the bases of a series of +sphinxes which had formerly formed an avenue, +42 feet wide and 437 yards long, leading up to +the enclosure-wall of the temple, the remains of +a wall which must have formed part of one of the +terraces, what they took for the evidence of two +flights of steps, leading to the higher levels of +the building, the central part of the highest +platform, and the rock-cut sanctuary which<span class="pagenum" id="Page_92">92</span> +Pococke had seen. The rest of the temple was +completely covered with heaps of sand and +rubbish.</p> + +<p>The next visitor of importance was the famous +Champollion, who, as was natural in the first +decipherer of the hieroglyphics, was chiefly +interested in the inscriptions which were visible, +especially on the granite trilithon portal of the +upper platform; and the great scholar at once +recognised the existence in these of a puzzle +which was only to be solved later. He read the +cartouche of Hatshepsut as that of a king +Amenenthe; but was surprised to see that all +the nouns and verbs referring to this unknown +king were in the feminine, and that the royal +builder was addressed by Amen-Ra as “His +daughter whom he loves.” He imagined the +existence of a female ruler Amense, who must +have been connected by marriage with an +unknown Thothmes, and also with the unknown +Amenenthe, and his solution of the mystery, +though his names were incorrect, was, after all, +not so far from the truth.</p> + +<p>Champollion found evidence in the work of +the temple of one of his favourite theories—that +Greek art found its origin in imitation of Egyptian +work; and here, again, he was only anticipating +the recognition of the fact that the colonnades +of Der el-Bahri approach nearer to the style of +Greek work than almost any other work in Egypt.</p> + +<figure id="il_10" class="figcenter" style="max-width: 43em;"> + <img src="images/i_092.jpg" width="2057" height="1344" alt=""> + <figcaption class="caption">10. NORTH COLONNADE, DER EL-BAHRI; “PROTO-DORIC” COLUMNS. + </figcaption> +</figure> + +<p>Nearly thirty years after the first French +explorers, and shortly after the visit of +Champollion, Wilkinson surveyed the ruins, and +apparently saw, not only the ramps of approach<span class="pagenum" id="Page_93">93</span> +to the courts, but also one of the pillared corridors +whose walls were covered with sculptures of +soldiers carrying boughs and weapons, and with a +scene representing the dedication of two obelisks +to Amen. His reading of the name of the builder +of the temple, Amunneitgori, or Amun-noohet, +was no nearer to the truth than that of +Champollion, though he saw that the French +scholar’s unknown Thothmes was no other than +Thothmes II.</p> + +<p>Lepsius, who evidently saw more of the temple +than any of his predecessors, was the first to make +a real approach to the true reading of its builder’s +name. His version of the name, “Numt Amen,” +was indeed an almost correct reading of part of +Hatshepsut’s title, Khnum Amen; and he conjectured +that she was the eldest sister of +Thothmes III, who occupied the throne during +the minority of her brother, but was not permitted +to rank in the regular lists of the kings of Egypt.</p> + +<p>In 1858 the indefatigable Mariette visited the +temple, and added it to the thirty-six other sites +at which he carried on excavations during his +thirty years of ceaseless toil. He was too busy +with other work at Qurneh to give to Der el-Bahri +the attention which it deserved, and his work +there was carried on only with a small staff, and +for a short time, though he worked again at the +place in 1862 and 1866. Nor were his methods +here such as to be helpful to his successors. +Working, as he did all his lifetime, under the +lash, as it were, and with the need of getting +the largest possible results with the smallest +expenditure of money and time, it was impossible<span class="pagenum" id="Page_94">94</span> +for him to make his clearances thorough and +methodical. Indeed, he seriously added to the +difficulties of subsequent excavators by the fact +that instead of removing the rubbish of his +excavations completely outside the probable +limits of the temple, he was forced by stress of +time and want of money simply to dump his +waste on the nearest convenient spot within the +temple area. The consequence was that when +Naville came to make the systematic clearance +of the whole building, he found several of the +most important chambers completely buried, +not only beneath the debris of the centuries, but +beneath that also which Mariette had heaped on +the top of everything.</p> + +<p>All the same, it was Mariette who, as in so +many other instances, first revealed to the world +the real wonder of Der el-Bahri and the surpassing +interest of its sculptured halls. His was +the first plan to give us anything like a true +conception of the form of the temple, then held +to be unique in Egyptian architecture; and +though his restoration of the details, or rather +the restoration of M. Brune, working on his +material, was incorrect in several points, it was a +good deal less so than some more pretentious +attempts which succeeded it, and at least gave an +impression intelligible, and in the main not very +far from the actuality.</p> + +<p>It was to this first excavation of Mariette +also that we owe what has ever since been the +most picturesque, and not the least informing, +of the treasures of Der el-Bahri—the wonderful +series of reliefs representing the voyage of<span class="pagenum" id="Page_95">95</span> +Hatshepsut’s squadron to Punt, which decorates +the retaining wall terminating the middle platform +of the temple. This series of sculptures, one of +the priceless treasures of New Empire Egyptian +art, would of itself be the justification of Mariette’s +work.</p> + +<p>In 1893 the Egypt Exploration Fund took +up the great task of completely excavating Queen +Hatshepsut’s temple, and their work, conducted +by M. Edouard Naville and a number of +assistants, only closed with the publication, in +1908, of the sixth folio volume of plates and +plans, completing, with the introductory memoir, +a present-day memorial which even the great +queen need not have disdained, and which is +worthy of her fine achievement. By the patient +efforts of M. Naville and his fellow-workers the +long ramps and spacious courts of the temple +were completely cleared of the rubbish of +centuries, their graceful colonnades put in a +condition of safety, and the priceless coloured +reliefs roofed over so as to protect them from the +ruinous effects of the weather, which, even in +the period between the work of Mariette and that +of the Egypt Exploration Fund, had wrought +more damage to the wonderful series of scenes +of the Expedition to Punt than had been done +by all the centuries of neglect.</p> + +<p>Wisely the explorers made no attempt at +restoration. Their aim was solely one of preservation, +and we owe to them the fact that the most +interesting temple of the XVIIIth Dynasty is +now in a condition which permits some realisation +of its former beauty, and which promises its<span class="pagenum" id="Page_96">96</span> +endurance for centuries to come. Thanks to +the explorers’ labours, and to the complete view +of the building which we owe to Mr. Somers +Clarke, the memorial temple of Egypt’s greatest +queen is now as well known in all its essential +features as almost any structure in the world.</p> + +<p>The work at Der el-Bahri, however, only +ended in one aspect to begin in another. Already +in 1879 Mariette, to whose instinct for the +possibilities of the various Egyptian sites full +justice has never been done, had declared his +belief, founded on his discovery of a block of +stone bearing the name of King Mentuhotep +Neb-hepet-Ra of the XIth Dynasty, and of +several fragments of columns, that a small temple +of the XIth Dynasty had once existed not far +from Hatshepsut’s great temple. In 1903, after +the completion of the actual work of excavation +at the great temple, M. Naville began the excavation +of the large mounds to the south of the site +of his former labours, and with the assistance of +Dr. H. R. Hall and others, the work was carried +on till 1907, the final volume of results being +published in 1913.</p> + +<figure id="il_11" class="figcenter" style="max-width: 42em;"> + <img src="images/i_096.jpg" width="1996" height="1334" alt=""> + <figcaption class="caption">11. RELIEFS, DER EL-BAHRI. + </figcaption> +</figure> + +<p>The work began, as M. Naville tells us, +chiefly with the view of clearing the XIth Dynasty +cemetery which the explorer was convinced lay +beneath the great mounds of rubbish; but the +cemetery soon proved to be less, and other +objects more, important than had been anticipated. +Ere long the diggers made out the line +of a ramp, running parallel to the outer wall of +Hatshepsut’s temple, and, following up the +traces of building which successively revealed<span class="pagenum" id="Page_97">97</span> +themselves, as the mounds, often from 15 to +20 feet in height, were cleared away, they at last +completely unearthed the remains of a building +which is as unique in the history of Egyptian +architecture as Hatshepsut’s temple was formerly +thought to be. The temple was at an early stage +found to belong, as Mariette had suggested, to +the XIth Dynasty, and to be the work of one of +the greatest kings of this little-known line of +rulers, the Mentuhotep Neb-hepet-Ra who has +already been mentioned.</p> + +<p>It is by no means in such good preservation +as its great companion, for about the end of the +XIXth Dynasty it appears to have been definitely +abandoned as a temple, and handed over to the +tender mercies of the masons who used it as a +convenient quarry for material. Nothing is now +standing above 10 feet from the pavement level, +and none of the pillars are above 7 feet in +height. Yet the remains are sufficiently complete +to allow of the understanding of the appearance +which the whole must have presented in the days +when Hatshepsut’s architect took its platform +and colonnades as the inspiration of the great +work on which he was engaged at its side.</p> + +<p>At the end of a spacious enclosure, bounded +by a double temenos wall of which the outer +member was of brick and the inner of limestone, +a broad ramp, sloping somewhat steeply, rose to +the level of a rectangular platform. The retaining +wall of the platform was faced, as in the later +temple, with a colonnade consisting of a double +row of pillars square on plan. The platform +itself was surrounded by a double range of<span class="pagenum" id="Page_98">98</span> +similar square pillars, which was roofed over, +and made a kind of veranda completely enclosing +the central mass of the temple. In the centre of +this colonnade, a door, curiously narrow and +paltry for so fine a building (it is only 3 feet wide), +gave access to an almost square hypostyle hall, +whose roof was supported by a perfect forest of +octagonal columns ranged on three sides in three +rows, and on the fourth, at the back of the hall, +in two. In the centre of this hall, and probably +with a narrow open space between it and the +innermost row of columns, rose the unique +feature of the temple—a rectangular mass of +rubble faced with hewn stone, and surmounted +by a pyramid of similar materials. Behind the +pyramid, and against the wall which separated +the pyramid-court from the rear portion of the +temple, were several shrines, corresponding to +certain tombs in the court beyond.</p> + +<p>Passing through another granite doorway, of +the same meagre proportions as the one in the +front of the hall, the visitor entered an open +court surrounded by a colonnade of octagonal +columns, two deep on the southern side, but +single on the east and west. In the midst of +this court the mouth of a sloping passage, which +descended for 150 metres to the rock-hewn +sanctuary, lined with granite and furnished with +an alabaster shrine, where the <em>Ka</em> of King +Mentuhotep was worshipped, formed a strange +and impressive feature. Beyond the open court +stood another hypostyle hall, with eight rows of +octagonal columns, ten deep, and, last of all, a +passage, bounded by two walls which reached<span class="pagenum" id="Page_99">99</span> +from the seventh of the two central rows of +columns in the hall, led to a tiny sanctuary hewn +out of the cliff behind the temple.</p> + +<p>Such was the temple of Mentuhotep as +excavation has revealed it to us—undoubtedly a +most interesting memorial of Middle Kingdom +architecture, and most important as being by far +the most complete example which has survived +of the work of that period. Probably we should +have thought the dominant feature of the building, +the central pyramid, rather an incongruity than +otherwise, and evidently Senmut, when he came +to his great task six hundred years later, thought +so too, for he adopted the ideas of his predecessor +in other respects, but discarded what +seems to us the clumsy pyramid block altogether. +One thing, however, Senmut could not do. He +could not secure for his splendid design anything +like the fineness of masonry which Mentuhotep’s +architect had been able to compass in the older +temple. The XVIIIth Dynasty builders, clever +though they were in many respects, left poor +work behind them compared with the magnificent +masonry of the XIth Dynasty men.</p> + +<p>One of the most interesting features of the +older building was found in the six shrines which +have been already mentioned. They belonged +to certain princesses, Aashait, Sadhe, Kauit, +Kemsit, and Henhenit, with one unnamed, who +were also priestesses. These shrines were in +connection with the tombs of the ladies in +question, who were buried within the temple.</p> + +<p>The building had been completed before +either the tombs or the shrines were inserted;<span class="pagenum" id="Page_100">100</span> +and the inference has been drawn that these were +the ladies of the harem who were chosen for the +honour of accompanying King Mentuhotep on +his voyage through the Underworld to the regions +of the blessed—in other words, who were killed +at his funeral so that he should not lack company +in the world of the dead. The survival to so late +a period of this barbarous custom is not proved, +though it has been suggested that it continued +even as late as the middle of the XVIIIth Dynasty; +but at all events the shrines of the princesses +have furnished us with some fine examples of the +work of the little-known XIth Dynasty.</p> + +<p>In the extreme north corner of the temple, +Thothmes III intruded another shrine to the +goddess Hathor, which was discovered during +the progress of the excavations in February, 1906, +and has provided us with one of the most admirable +examples extant of Egyptian sculpture. The +shrine is a small chamber, 10 feet long and 8 feet +high, hewn in the rock and lined with sandstone. +The slabs are sculptured with religious scenes +in which Thothmes III makes offerings to Hathor. +The goddess herself stood in the centre of the +shrine in the shape of a life-sized figure of a +cow, suckling a kneeling figure of a king, while +another royal figure stands in front under her +head. The name of Amenhotep II is attached to +these figures; but the probability is that they +were meant to represent Thothmes III, who +dedicated the chapel, and that all that +Amenhotep II had to do with the act of piety +was the engraving of his cartouche on his father’s +work. The Hathor cow of Der el-Bahri is<span class="pagenum" id="Page_101">101</span> +quite one of the masterpieces of New Empire +art, quite eclipsing the famous example of the +same figure which has come from the Saite +period and has hitherto been esteemed one of the +finest specimens of Egyptian animal sculpture. +“Neither Greece nor Rome,” says Maspero of +the Der el-Bahri cow, “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.” Indeed the +Hathor cow and the two lions of Amenhotep III +and Tutankhamen, now in the British Museum, +might be safely taken as the pieces on which +Egyptian sculpture might elect to stand as an +interpreter of animal figure.</p> + +<p>Such, then, have been the main results of +excavation on a single Egyptian site; surely +enough to afford ample justification of the +expenditure of time and money and labour which +has been involved. Two great temples have +been given back to the knowledge of the world—one +of them, it is true, from a period otherwise +fairly well known, the other from a period which +was hitherto almost a blank. Even in the case +of the later temple, where the results contained +no surprises, and only extended our already +existing knowledge, the contribution of this site +to our estimate of Egyptian art was of surpassing +value; while Mentuhotep’s temple has filled a +gap at one of the points where further knowledge +of Egyptian history and art was most to be +desired.</p> + +<p>There have been no marvels of buried treasure +to gild the pages of the story of excavation at<span class="pagenum" id="Page_102">102</span> +Der el-Bahri; but there has been a solid addition +to the sum of human knowledge of the past. +At a score of other sites, work similar to that which +has just been described has been continually +going on during the last thirty years. Mariette’s +beginnings of clearance at sites such as Edfu, +Esneh, Denderah, and Abydos have been followed +by work whose thoroughness has been such as +Mariette, from the nature of the case, could never +have accomplished. To tell the story of excavation, +even in the most meagre outline, would take +a volume instead of a chapter, and Der el-Bahri +must suffice as a typical example of the kind of +work which has been done all up and down the +land of Egypt.</p> + +<p>Reference must be made, however, to one +piece of work, associated, curiously enough, also +with the name of the explorer of Der el-Bahri, +which has a unique interest of its own. This is +the discovery of the Pool of Osiris, which, as +Strabo told us, lay beneath the great temple, +or, as he called it, the Memnonium, at Abydos. +In 1914 M. Naville, following up the work of +Miss M. A. Murray and Professor Petrie in +1902–3, found a great underground chamber, +100 feet by 60 feet, constructed of huge blocks +of limestone, cased inside with hard red sandstone. +The pillars, the architraves, and the +roofing-blocks of the aisles of this chamber were +all of fine granite, without adornment or inscription, +and in fact resembled almost exactly the +similar work in the so-called “Temple of the +Sphinx” at Gizeh, with this difference, that +whereas the granite pillars of the Temple of the<span class="pagenum" id="Page_103">103</span> +Sphinx are 3 feet square, those of the chamber +at Abydos are 8½ feet square. The wonder of +the building, however, was its arrangement. In +the centre of the chamber stood two rows of +these great granite monoliths, each row consisting +of five pillars. Around the central block of +masonry on which these pillars rested, ran a deep +channel, which had manifestly once been filled +with water, so as to render the central block an +island.</p> + +<p>Around this channel runs a ledge of stonework +about 3 feet wide, and from this ledge access +is given to a set of seventeen cells each about +6 feet square and 6 feet high.</p> + +<p>Manifestly this extraordinary building is +Strabo’s “well,” which, as he tells us, was below +the temple, and was built like the Labyrinth, +only on a smaller scale, with passages covered +by a single stone. What may have been its use +it is as yet impossible to say. The water channel +and the ledge round it suggest that the boat of +Osiris may have been towed around the pool +by his priests on the great feast-days, or when +the Passion Play of Abydos, representing the +death and resurrection of Osiris, was being +celebrated. Two things alone seem certain, the +first, the identity of the chamber with the pool +described by the old geographer, and the second, +that we have here one of the most ancient sacred +buildings in Egypt.</p> + +<p>Other parts of the structure are the work of +the XIXth Dynasty, which did so much at +Abydos, and bear the cartouche of Merenptah +and representations of this king worshipping the<span class="pagenum" id="Page_104">104</span> +gods; but the chamber of the pool is another +matter. Its construction is of such a character +as to refer it at once to a very much earlier date; +and there can be little doubt that the resemblance +to the Temple of the Sphinx is only the evidence +of the fact that the two buildings are of the same +period, and that the Pool of Osiris is the earliest +Egyptian building of any size known, apart from +the pyramids.</p> + +<p>The magnificence of its masonry shows how +far the Egyptians of this early period had already +carried the system of construction which they +were to use to such splendid purpose in the great +temples of the land. Never again, however, +even in the great days of New Empire building, +did they put together such a piece of sumptuous +massiveness as the underground chamber of +Osiris at Abydos.</p> + +<p>Another aspect of work among the temples +must be referred to, as being, in its own way, not +less important than the rescuing of the actual +structures from obscurity and neglect; and that +is the interpretation of the work thus rescued, +the tracing of its history, and the disentangling +of the various periods of building which are +represented, and the different hands which have +been at work in the completion of a building +whose history as a growing organism may stretch +through centuries, and involve the activities of +half a dozen dynasties.</p> + +<figure id="il_12" class="figcenter" style="max-width: 41em;"> + <img src="images/i_104.jpg" width="1983" height="1350" alt=""> + <figcaption class="caption">12. KARNAK, AVENUE OF SPHINXES. + </figcaption> +</figure> + +<p>To make the temples intelligible is a matter +scarcely less important than to make them +visible, and it has involved scarcely less effort. +Even after all that has been accomplished in<span class="pagenum" id="Page_105">105</span> +this direction, a great Egyptian temple such as +Karnak remains a sufficiently complicated +business to bewilder the ordinary sight-seer and +make him turn with relief to the clarity of +Greek architecture; but at least it is now +possible to arrive at something like an understanding +of how the vast bulk of Karnak grew, +century after century, to what we now see, and +to realise a little of the romance of history which +is involved in the succession of Pharaohs who +have laboured to make great and splendid the +holy and beautiful house of Amen in Thebes.</p> + +<p>Let us turn, then, to Karnak, and try to see +a little of what modern work has done in the +direction of making this vastest of extant Egyptian +temples intelligible. A century ago, Belzoni +wandered round the ruins of the great temple, +his mind filled with vague dreams of Memnon, +Osymandias, and Psammethes, perhaps as +appreciative of the wonder of what he saw as +the most enlightened of his successors, but +absolutely in the dark as to the significance of +what he saw, or the history of how the great +building had been reared; to-day the story +of Karnak is practically as well understood as +that of one of our European cathedrals, and +anyone who likes to take the trouble may trace +out the evidence of its age-long growth. Indeed +it is difficult for the modern to realise how +lengthy is the story which unfolds itself in the +sculptured stones of the great temple. We think +with something like awe of the long process +which reared some of our cathedrals, and which +may, perhaps, have lasted for a century, or<span class="pagenum" id="Page_106">106</span> +perhaps, in an extreme case, for two; but Karnak +was a growing organism for a period of time more +than twice as long, not only as any of our cathedrals +took in the building, but twice as long as +any of them have been standing. Towards the +eastern end of the vast complex of Karnak there +are still to be seen the scanty relics of the earliest +builders of the temple of whom we have any +knowledge—the Middle Kingdom Pharaohs, who +began their work at Karnak certainly not much +later than 2000 <span class="allsmcap">B.C.</span> On the western face of the +great temple is the Pylon of the Ptolemies, whose +dynasty only closed with the subjection of Egypt +to Roman rule in 30 <span class="allsmcap">B.C.</span> Karnak, in other words, +was building for a period which was certainly +not less than seventeen hundred years, and which +may have been almost two thousand! Such a +consideration makes our ideas as to duration +seem very small indeed.</p> + +<p>Nor has the work been less complicated than +it has been lengthy. Practically every Pharaoh +worth naming has left his mark on the great +building in some form or another, and often +the work of the reigning king was done without +the slightest regard to that of his forerunners; +sometimes, indeed, with the deliberate design +of obscuring it and blotting out its memory. +Consequently the task of disentangling the story +of Karnak has been no easy one. It has been +like the reading of a manuscript where interpolations +of different writers, dealing with different +matters, continually break the thread of the main +narrative, and where, to add to the confusion, +part of the writing is a palimpsest, written over<span class="pagenum" id="Page_107">107</span> +the faded script of an earlier author. Along with +the difficulty of interpreting the story of the +various buildings has gone that of preserving +them from destruction.</p> + +<p>One of the curious facts about Egyptian +building is that, for a race of master-builders +such as they showed themselves to be, they were +strangely, even culpably careless about their +foundations. If the mighty halls which they +reared had been built on such foundations as +modern builders would insist on for even much +less important structures, there seems no reason +why, short of deliberate destruction by the hand +of man, the Egyptian temples should not stand +practically for ever. But the Egyptian architect +was content to pile walls and colonnades which are +the wonder of the world on the most flimsy +foundations, and his work is in most cases literally +a house built on the sand.</p> + +<p>The wonder is, not that there have been +occasional collapses, but that the buildings have +stood so long as they have; indeed nothing but +their sheer mass and weight has enabled them to +endure. Even so, earth-tremors, and the constant +and insidious work of infiltration, have worked +havoc on the badly founded buildings, and were +it not for the constant care devoted to them, +and the work of practically refounding them +which has been carried out, the great halls of +Karnak would ere long be only masses of tumbled +ruin. There is nothing dramatic about the work +of either the interpreter or the preserver; neither +can point, in general, to any treasure-trove which +has resulted from his efforts, though occasionally,<span class="pagenum" id="Page_108">108</span> +as notably in connection with the work of +M. Legrain at Karnak, the work of preservation +has resulted in the unearthing of a mass of the +most wonderful ancient statuary. But we owe +the double fact that Karnak stands to-day and +is likely to stand for centuries to come, and that +its vast complex of building is intelligible, to +many years of quiet and unobtrusive work on +the part of scholars and architects.</p> + +<p>In the great days of Egypt’s glory under the +New Empire, Thebes must have been one of +the wonder-cities of the world, and one of the +fairest sights on which the sun ever shone. It +may be that Babylon, in the short-lived glory of +the Neo-Babylonian Empire of Nebuchadnezzar, +was vaster in extent, and the German excavations +have taught us how gorgeous were some of the +great buildings of the city, with their facings of +enamelled brick and their wealth of colour; +but it may be questioned if even Babylon could +show anything to match the solemn splendour +of Karnak or Luxor, and beside the ordered +sumptuousness of the huge Egyptian temples, +with their wonders of megalithic construction, one +imagines that Babylon’s glories would have seemed +rather cheap and tawdry. And of all the glories +of Thebes, Karnak was the centre and crown.</p> + +<p>Petrie tells us that the pitiful remains of the +Labyrinth, the great temple of Amenemhat III +of the XIIth Dynasty, show that it was big +enough to hold all the temples of Karnak and +Luxor put together; but the imagination is +scarcely capable of trying to comprehend the +extent of such a building, and Karnak is quite<span class="pagenum" id="Page_109">109</span> +big enough for most people. The actual area +of its buildings is about equal to that of St. Peter’s +(Rome), Milan, and Nôtre Dame (Paris); while +the sacred enclosure, the Cathedral Close, so to +speak, would hold another half-dozen of the +biggest cathedrals of Europe, without crowding +them unduly.</p> + +<p>Let us try to imagine ourselves visiting the +great temple in the days when it had reached its +greatest extent, though, by that time, the glory +of Thebes had in great measure departed. Still +the building, as we now see it, was practically +completed only in the days of the Ptolemies, and +no survey of it would be adequate without +including their work. Unfortunately in taking +the temple in the natural order of approach, by +its west front, so to speak, we reverse almost +exactly the order of its building, which was, +generally speaking, from east to west. Yet the +history of the building is sufficiently intelligible +even when thus taken in reverse order, and +though there are other approaches to Karnak, +and the approach by either the Eastern or the +Western Avenue of Sphinxes must have been very +impressive, yet the main front of the temple must +always have been that which faced the Nile, in +the termination of the axis of the whole structure. +No doubt also the Egyptian Kings, with their +fondness for using their great river as the scene +of ceremonial processions, used the western front +of the temple for their visits to the shrine of +Amen.</p> + +<p>We land, then, at a quay of hewn stone, +adorned with two small obelisks of Sety II of the<span class="pagenum" id="Page_110">110</span> +XIXth Dynasty, and with two statues of couchant +lions. Passing down a short and gentle slope, +we move along a broad paved way between rows +of couchant ram-headed sphinxes, which were +placed here by Ramses II. The path extends +for 200 feet, and leads up to the vastest portal to +be found even in this land of vast portals. This is +the First Pylon of Karnak—first in point of +approach, but last in point of erection, for it is +the work of the Ptolemaic Pharaohs who grasped +the sceptre of Egypt after the death of Alexander +the Great; and indeed, as you can see, the work +is not yet complete. Building is still going on, +and the ramps of crude brick by which the great +stones are dragged up to their positions are still +heaped against the walls, where they will continue +to stand for more than two thousand years.</p> + +<p>The pylon itself is gigantic. The breadth +of the west front of St. Paul’s, the greatest +building familiar to English minds, is 179 feet, +and its height, to the top of the statue of St. Paul +on the pediment, is 135 feet. The Pylon of the +Ptolemies measures 370 feet in breadth, or rather +more than double St. Paul’s, while its height is +142½ feet, so that it overtops St. Paul’s head by +7½ feet. In addition its walls are 49 feet thick. +No mightier approach to a temple was ever +devised.</p> + +<p>Passing through this great gateway we find +ourselves in an open court whose dimensions +are worthy of the portal which gave access to it. +From the gateway where you stand to the +scarcely less imposing pylon of Ramses I, which +faces you across the open space, this court<span class="pagenum" id="Page_111">111</span> +measures 275 feet, while its breadth is 338 feet. +The area of St. Paul’s is 84,000 square feet, so +that this single court of Karnak exceeds our great +cathedral in area by 8000 square feet. Around +its walls runs a colonnade of single columns. +In the north corner of the court there stands a +little grey sandstone temple, divided into three +chapels, which are dedicated to Amen, Mut, and +Khonsu, the members of the Theban Triad. +The southern colonnade is broken by the intruding +front of a larger temple. This is the temple of +Ramses III, the last of the great warrior kings of +Egypt, who saved the land, in the degenerate +days of the XXth Dynasty, from being overrun +and ravaged by the raid of the Sea-Peoples. His +temple, though very modest in size (it measures +only 170 feet in length), is important as giving +one of the most perfect examples extant of a +complete Egyptian temple, built from start to +finish by one monarch, and on a straightforward +and homogeneous plan.</p> + +<p>The great court which has taken these two +lesser buildings into its sweep was the work of +the Libyan Pharaohs of the XXIInd Dynasty, +who held their court at Bubastis, and is therefore +often called the Court of the Bubastites. The +temple of Ramses III was cleared of rubbish in +1896–7 by M. Legrain, in the course of his +great work at Karnak. Down the central avenue +of the Bubastite court the Ethiopian Pharaohs +of the XXVth Dynasty began the erection of +a colonnade whose purpose has not been quite +determined. As they left it, it consisted of a +double range of huge columns, five in each row.<span class="pagenum" id="Page_112">112</span> +Of the ten, only one solitary survivor now stands, +and is known as the Column of Taharqa, after +the Ethiopian king who was responsible for its +erection, and for some of the sorest disasters of +Egypt in her declining days. It was Taharqa +and his successor Tanutamen who brought down +upon Egypt the wrath of the Assyrian conqueror, +Ashurbanipal, whose ruthless soldiery by the +sack of Thebes dealt the imperial city a blow from +which she never recovered. Taharqa’s column +stands as the memorial of a man who “began to +build, and was not able to finish” in more senses +than one.</p> + +<p>Leaving the court for a moment by the portal +in the south-east corner, we find on the wall of +the second pylon one of the most interesting +records of the temple. This is the inscription +in which Sheshanq, one of the Libyan Pharaohs, +records the triumph of that campaign in Syria +in the course of which he humbled the pride of +Rehoboam of Judah, and robbed Solomon’s +temple of all the riches which the wise king had +accumulated. In Sheshanq’s relief a gigantic +figure of Amen leads up before the now vanished +figure of the king five rows of captive towns of +Palestine, each represented by a circular wall +enclosing its name, from which emerges the upper +part of a bound prisoner.</p> + +<figure id="il_13" class="figcenter" style="max-width: 28em;"> + <img src="images/i_112.jpg" width="1338" height="1902" alt=""> + <figcaption class="caption">13. KARNAK, NAVE OF HYPOSTYLE HALL. + </figcaption> +</figure> + +<p>Before us, as we return to the great court, +rises the second pylon, the work of Ramses I, +the founder of the XIXth Dynasty. Scarcely +any part of the temple is more eloquent of the +jumble of times, and kings, and even faiths, +which goes to make up Karnak, than the<span class="pagenum" id="Page_113">113</span> +neighbourhood of this pylon. The great gateway +itself is of Ramses I; but its materials had their +own story before he built them into his new +approach to the temple of Amen, and had served +another god; for some of the blocks of the pylon +once belonged to one of the heretical temples of +Akhenaten, and bear his name and those of his +successors, Tutankhamen and Ay. The little +vestibule before the pylon is flanked by statues +of Ramses II; but within the doorway are found +the cartouches of Ramses I and Sety II, as well +as that of Ramses II, while part of the vestibule +is the work of two of the Ptolemies. Thus in +this little space the work of no fewer than eight +Pharaohs, covering a period of more than a +thousand years, is represented.</p> + +<p>The gateway of Ramses I gives access to what +is perhaps the most remarkable, though by no +means the most beautiful, of the halls of Karnak. +The Hypostyle Hall, one of the hugest of human +creations, was, like so much else at Karnak, the +work of several sovereigns, though in this case the +completion of the building was not so very long +protracted as in some other instances. The hall +was begun by Ramses I, whose short reign of +two years only enabled him to see the work +started. The greater part of the hall as we now +see it is the work of Sety I, one of the finest of +Egyptian Pharaohs, whose work everywhere is +in accordance with the nobility of his face as it +can be seen at Cairo.</p> + +<p>Sety carried out the erection of what is by +far the most imposing feature of the hall, the +nave, with its double row of gigantic open-flower<span class="pagenum" id="Page_114">114</span> +columns, the largest in existence. Each of the +twelve tremendous columns is 69 feet in height +and 33 feet in circumference, while the spreading +capitals, 11 feet in height, have an area large +enough for one hundred men to stand upon. +Imagine twelve versions of the Trajan Column +at Rome, or the Vendôme Column at Paris, facing +one another in two rows and supporting gigantic +architraves of sixty to a hundred tons in weight, +which in their turn support the great roofing-slabs. +These form the central avenue of the great hall. +On either side of them the papyrus-bud columns +of the two side aisles rise to a height of 42½ feet. +The rows nearest to the central avenue on either +side bear above their architraves rectangular +pillars which make up the difference between the +height of the side columns and those of the +centre, and which bear the extremities of the roof +of the nave with its cornice. On the lower level +of the side pillars, the roof of the hall continues +over the rest of the area, supported by a forest +of one hundred and twenty-two columns.</p> + +<p>Sety I is responsible for the whole of the +northern half of the hall, as well as for the central +avenue, so that the southern portion of the +building is all that Ramses II can claim as his +work, if indeed even this part was not erected +by his father, and only sculptured by him. +Ramses II, however, had the knack of securing +to himself the glory of work which was done by +other men, and to most people the great Hypostyle +Hall of Karnak is his work, though he had really +very little to do with it.</p> + +<p>The architectural merits of the huge building<span class="pagenum" id="Page_115">115</span> +are undoubted, up to a certain point; but its +faults are equally unquestionable. Mere size +tells here, as indeed it almost always does, unless +its impression is spoilt by sheer incapacity. +There can be no question of the impressiveness +of the great building. The central avenue, with +its soaring columns, and its grated clerestory +rising above the roofs of the side-aisles, is the +prototype of all subsequent cathedral architecture. +But the side-aisles do not add to the +dignity of the great chamber. Their forest of +squat, shapeless columns, instead of being impressive, +is only bewildering. Here, very certainly, +you cannot see the wood for the trees, and the +spaciousness of the hall is quite destroyed by the +multitude of the supports of its roof. “The size +that strikes us,” says Professor Petrie, “is not +the grandeur of strength, but the bulkiness of +disease.”</p> + +<p>The outer walls of the great hall are sculptured +with reliefs representing the wars of its two +creators. The north wall bears a fine series of +scenes, covering over 200 feet of surface, in which +the wars of Sety I are depicted with great spirit. +In some later instances such war-reliefs are +merely wearisome; but these of Sety are both +vivacious and well-executed, and such scenes as +that of the king smiting the Libyans are among the +best examples of work in this kind, and infinitely +superior to the pretentious work of his son. +The southern wall has reliefs of Ramses II, his +eternal Battle of Kadesh, which he could never +forget, or allow anyone else to forget, a copy of +the treaty of peace with the Hittites, and the<span class="pagenum" id="Page_116">116</span> +so-called Poem of Pentaur, in which the king’s +valour at Kadesh is celebrated.</p> + +<p>Behind the Hypostyle Hall comes the +IIIrd Pylon, which was reared by the most +magnificent, if not the greatest, of Egyptian +Pharaohs, the gorgeous Amenhotep III, in whose +glittering reign the glories of the New Empire +seemed to culminate, before the shadows of his +son’s ill-starred attempt at religious reform +dimmed their splendour. When Thebes was +at the height of its fame, and when all the kings +of the ancient east were sending their ambassadors +to the great city to fall “seven times and +seven times” in the dust before the golden sandals +of the man who was God visible on earth to a +great part of the ancient world, this third pylon +was the main front of the great Theban temple, +which then occupied not much more than half +the space which it now covers. Its western face +was used by Sety as the back wall of the Hypostyle +Hall; but on the northern tower on the eastern +side can still be seen the faint remains of a great +scene in which a royal procession on the Nile in +honour of Amen is depicted. One great ship +over 40 feet long has the king standing on the +poop, and cabins with cornices amidships. +Thirty or forty rowers urge it along, and it +tows behind it the sacred barge of Amen, which +bears in a shrine a small processional bark of the +god, and at the bow a sphinx and an altar.</p> + +<figure id="il_14" class="figcenter" style="max-width: 28em;"> + <img src="images/i_116.jpg" width="1354" height="2001" alt=""> + <figcaption class="caption">14. KARNAK, COLUMNS OF THE SIDE-AISLE, HYPOSTYLE HALL. + </figcaption> +</figure> + +<p>Besides his pylon, Amenhotep wrought a vast +amount of work at Karnak; but it was not, like +that of Sety and Ramses, concentrated in a single +great structure, but dispersed in various parts<span class="pagenum" id="Page_117">117</span> +of the sacred enclosure, and so does not produce +the same effect. To see the work of Amenhotep +on a scale worthy of his importance in the line +of Egyptian Pharaohs, you have to go to Luxor +with its fine papyrus-bud forecourt, and its +noble nave, which, had it been finished, would +have almost rivalled the Hypostyle Hall of the +later kings in size and exceeded it in beauty; +or to try to think back the vanished glories of +what was probably the most gorgeous and +beautiful of all the Theban temples—the Funerary +temple of Amenhotep, which was destroyed, not +by the Assyrian conqueror, but by the royal +vandals of the XIXth Dynasty, Ramses II and his +son Merenptah.</p> + +<p>All the same, Amenhotep accomplished no +small amount of work, in one way and another, +within the enclosure of Karnak. Just beyond +the girdle-wall of the great temple on the north +side, he built a temple to Mentu, the Theban +War-God, with a pylon, and obelisks of red +granite. This temple once contained statues in +black granite of the king, and of the goddess +Sekhmet, towards whom he evidently cherished +a feeling of deep devotion, if we may judge by +the number of statues to her which he dedicated +in the temple of Mut.</p> + +<p>The temple of Mentu shared the usual fate of +Amenhotep’s work, and was meddled with by +Merenptah, Ramses V, and at least four of the +Ptolemies, a fair specimen of the fashion in which +the history of Karnak is complicated by the +multitude of superimposed strata, or rather of +interwoven strands, with which you have to do.</p> + +<p><span class="pagenum" id="Page_118">118</span></p> + +<p>On the south side, and just at the girdle-wall, +stands the beautiful temple of Khonsu (the son +of the Theban Triad), one of the finest examples +of a complete Egyptian temple of normal form. +This is not the work of Amenhotep, but of +Ramses III; but apparently an earlier temple of +Amenhotep must have once occupied the site, +for the king set up before the gateway a noble +avenue of one hundred and twenty-two sandstone +sphinxes bearing his name. Beyond the wall, +and approached by the eastern avenue of sphinxes, +lies another of Amenhotep’s contributions to +the glories of Karnak—the temple of Mut, the +mother-goddess of the Theban Triad, which +was excavated in 1895–7 by two English ladies, +Miss Margaret Benson and Miss Janet Gourlay. +It is full of Sekhmet statues, and behind it lies +a sacred lake, shaped like a horse-shoe.</p> + +<p>But the following out of the work of +Amenhotep has drawn us away from our main +quest, the tracing of the story of Karnak proper. +Returning to the great temple by the eastern +avenue of sphinxes, we pass the girdle-wall by a +pylon built by Horemheb out of the material of +a temple which the unfortunate Akhenaten had +reared in Thebes to his new deity the Aten. +Beside the pylon stands a stele inscribed with a +manifesto of Horemheb, which was designed +to promote peace in the state after the religious +troubles of Akhenaten’s times. The square +court behind the pylon has on its east side the +ruins of a small temple of Amenhotep II, and the +walls of the court have reliefs of Horemheb. +Another pylon of Horemheb, in a very ruinous<span class="pagenum" id="Page_119">119</span> +condition, closes the court on the north side, and +passing through it we are faced by one of the +most ancient parts of the whole building, the +pylon of Queen Hatshepsut. The pylon bears +witness both to what Professor Breasted calls +“the Feud of the Thutmosids,” and to the +religious strifes of the XVIIIth Dynasty, for +Hatshepsut’s name was erased from her reliefs +by Thothmes II, and all allusions to Amen were +scrupulously removed by Akhenaten, and restored +by Sety I. Behind Hatshepsut’s pylon we pass +a pylon of Thothmes III, her successor and +enemy, and traversing a court whose walls bear +inscriptions of Merenptah, the son and successor +of Ramses II, in which he describes his victories +over the Libyans and the Peoples of the Mediterranean, +we find ourselves back at the point from +which our digression started, in the central court +behind the great pylon of Amenhotep III. Here +was the western front of the temple in the days of +Thothmes I, and here still stands the solitary +remaining member of the quartette of obelisks +with which this king and Thothmes III adorned +the front of the pylon which now lies in ruins +behind them. The obelisks of the later king are +both gone—the survivor of the pair of Thothmes I +is a fine shaft, 75½ feet high.</p> + +<p>Behind his pylon, and between it and a smaller +one which he erected to the east, Thothmes +reared a fine ceremonial hall with roof and columns +of cedar wood; but his work was not permitted +to endure for long. It was within this hall that +the priests of Amen arranged a little piece of +play-acting in which the god Amen declared his<span class="pagenum" id="Page_120">120</span> +preference for Thothmes III as king, and it was +perhaps this unpalatable fact which determined +Queen Hatshepsut to make it the scene of a piece +of vandalism which was to redound to her own +glory. Anyhow, as the time for the celebration +of her jubilee drew near, she sent her architect, +Senmut, up to Aswan to bring down two great +shafts of granite for her jubilee obelisks, and when +the tremendous blocks, 97½ feet high, arrived, +she stripped off the roof from part of her father’s +hall and set them up there. Apart from the +filial piety of such an act, the obelisks were things +of which she might justly be proud.</p> + +<p>With the single exception of the stone, the +work of her deadly enemy Thothmes III, which +now stands before St. John Lateran in Rome, +and which is 8 feet higher than its rival, the shaft +of Hatshepsut, which still remains erect at Karnak, +is the largest obelisk existing, and is more than +20 feet higher than the so-called “Cleopatra’s +Needle,” which represents to Londoners, as its +twin does to the folk of New York, the skill of +ancient Egypt.</p> + +<figure id="il_15" class="figcenter" style="max-width: 41em;"> + <img src="images/i_120.jpg" width="1987" height="1345" alt=""> + <figcaption class="caption">15. KARNAK, VIEW FROM THE NORTH, OBELISKS OF HATSHEPSUT, AND THOTHMES I. + </figcaption> +</figure> + +<p>Hatshepsut was so proud of her achievement +that she caused the shafts to be engraved with an +inscription in which she swears, “As Ra loves +me, as my father Amen favours me ... as I +shall be unto eternity like an Imperishable, as +I shall go down in the west like Atum, so surely +these two great obelisks which My Majesty +hath wrought with electrum for my father, Amen, +in order that my name may abide in his temple, +enduring for ever and ever, they are of one block +of enduring granite, without seam or joining.”<span class="pagenum" id="Page_121">121</span> +She goes on to say, what is still more surprising, +that the time occupied in the extraction and +transportation of the mighty shafts was seven +months!</p> + +<p>When Thothmes III came to the throne, he +showed his love for his distinguished relative by +casing her obelisks to a height of 82 feet with +sandstone, so that her inscriptions might not be +read. As rulers, the Pharaohs of the XVIIIth +Dynasty, male or female, stand in the very front +rank; they cannot be said to have shone as +exponents of family affection.</p> + +<p>To the east of his second pylon, Thothmes I +had another court, which was altered and added +to by Thothmes III, who built also a small +pylon in front of his Halls of Records, which +come next in the great complex of building, +jostling the apartments of Hatshepsut, which +stand beside them. In the First Hall of Records +stand the two pillars which strike everyone who +sees them as one of the beauties of Karnak, and +examples of a type not common in Egyptian work. +They are of granite, the southern one carved with +the Lotus of Upper Egypt, the northern with the +Papyrus of Lower Egypt. The Second Hall was +turned into the chapel of the temple, in which +the sacred bark was kept, by Philip Arrhidæus, at +the beginning of the Ptolemaic dominion, so that +one of the oldest and one of the newest parts of +the building are here united.</p> + +<p>In the open space behind the chapel lie the +scanty remains of the earliest Karnak known to +us—that of the XIIth Dynasty. A few broken +polygonal columns suggest a kinship in style,<span class="pagenum" id="Page_122">122</span> +for the earliest parts of the great temple, with the +work of the XIth Dynasty at Der el-Bahri; but +it is impossible to say with the least approach to +certainty what the first temple may have looked +like. East again of these remnants comes the +last important part of the vast building—the +great Festal Temple of Thothmes III, with its +fine Hall, 144 feet by 52 feet, and its eastern +sanctuary and complex of store-chambers.</p> + +<p>The Festal Hall presents a feature unique +in Egyptian Architecture. Its colonnade consists +of thirty-two rectangular piers ranged round the +sides, while down the centre of the hall run two +rows of ten round columns, not spaced with the +piers, and of extraordinary shape. Instead of +tapering from the base to the top, their taper runs +the opposite way, and their capitals are inverted, +and present the appearance of a bell standing +on its mouth. The downwards tapering column +is, of course, a familiar feature in Minoan architectural +practice, and it is within the bounds +of possibility that Thothmes’ columns are an +Egyptian adaptation of a Minoan motive, for, +as the tombs of Senmut and Rekhmara show, +Minoan influence was at its height in the middle +of the XVIIIth Dynasty, and intercourse between +Crete and Egypt was frequent. Whether +Thothmes owed the idea to some Minoan +suggestion or not, it never established itself in +Egypt. In Crete, with its regular use of wooden +pillars resting on stone bases, the downward +taper was quite natural; in Egypt, with a +prevalent stone construction, it was an exotic, +and could show no reason for its existence, and it<span class="pagenum" id="Page_123">123</span> +was never repeated. One cannot say that its +disappearance was any great loss to Egyptian +architecture, for the effect of the inversion is +singularly clumsy.</p> + +<p>We have thus traced the story of Karnak as +one traverses the great temple from front to +rear, and the bewildering complexity of the +building is reflected in the variegated fabric of +the narrative. To call Karnak, as is often done, +“the typical temple of the Egyptian Empire,” +is to create an entire misapprehension in the +mind of anyone who hears such a phrase used. +Karnak is anything but a typical temple; indeed +it is not a temple, but rather an aggregate of many +temples, and above everything else an epitome of +Egyptian history for at least a millennium and a +half. One would not even seek it for typical +representatives of Egyptian architecture. Karnak, +in this respect, possesses its beauties—and its +monstrosities; but one would look rather to +smaller specimens of the builder’s art for an +adequate representation of Egyptian achievement +in this respect.</p> + +<p>The great temple claims, and will always claim, +our attention and wonder, by its sheer vastness, +to begin with, for undoubtedly vastness has its +own effect, though it is not the highest, in the +elements of architectural impressiveness; then +by the extraordinary way in which it presents a +summary in stone of the vicissitudes of Egyptian +history; last, and perhaps least, by the surprising +quality, and in some instances the beauty, of some +of its detail. The main element in its appeal +will always be wonder; admiration, and even<span class="pagenum" id="Page_124">124</span> +that qualified by many reservations, is a bad +second to the impression of simple amazement, +that human hands and brains should have ever +wrought so vast a thing.</p> + +<p>The preservation of the temple is, and will +continue to be, a work almost as great, and as +difficult, as its erection. It lies in the hands of +the Egyptian Service of Antiquities, and is a +task as unending as the web of Penelope. +Generally speaking, such work is of the kind +which has to be its own reward, for it makes +no appeal to the average visitor, who only sees +that his enjoyment of this court or that is more +or less hindered by the progress of work +whose one merit is that it will keep safe for +future generations priceless treasures which otherwise +would ere long pass away. Sometimes, +however, the work does bring other prizes in its +train.</p> + +<figure id="il_16" class="figcenter" style="max-width: 41em;"> + <img src="images/i_124.jpg" width="1971" height="1336" alt=""> + <figcaption class="caption">16. LUXOR, FORECOURT OF AMENHOTEP III. + </figcaption> +</figure> + +<p>Such was the case when, in November, 1903, +M. Legrain, in the course of his work near the +pylon of Thothmes III by which we returned +to the central court after our digression to the +south, found what has since been known as “the +Karnak Cachette,” a great pit full of pieces of +sculpture of all types and periods. “For a year +and eight months,” wrote Maspero in February, +1905, “we have been fishing for statues in the +Temple of Karnak.... Seven hundred stone +monuments have already come out of the water, +and we are not yet at the end.... Statues whole +and in fragments, busts, mutilated trunks, headless +bodies, bodiless heads, vases on which there were +only broken feet, Pharaohs enthroned, queens<span class="pagenum" id="Page_125">125</span> +standing upright, priests of Amon and individuals +holding naos, or images of gods, in front of them, +crouching, kneeling, sitting, found in all the +attitudes of their profession or rank, in limestone, +in black or pink granite, in yellow or red sandstone, +in green breccia, in schist, in alabaster—indeed, +a whole population returns to the upper +air and demands shelter in the galleries of the +Museum.”</p> + +<p>The reason for the existence of this extraordinary +dump of discarded sculpture, whose +richness Maspero’s vivacious sentences do not +in the least exaggerate, and which gave us, to +mention only two examples, the masterly pink +granite head of Senusert III, one of the most +brilliant examples of XIIth Dynasty sculpture, +and the schist Thothmes III, equally one of +the finest examples of the art of the New Empire, +seems to have been this. The Ptolemies, the +presence of whose coins in the pit sufficiently +dates it, did a great deal of building at Karnak, +and in the course of their cleaning up of the +places where they worked, they, no doubt, came +on an infinity of out-of-date <i lang="la">ex voto</i> statues, some +of them broken, some of them whole, but all +rather a nuisance and obstruction, as the persons +with whom they were associated had long since +ceased to be of importance. What was to be +done with them? They could not simply be +thrown out as rubbish, for they had been dedicated +to the god, and were therefore sacred; +and they could not be allowed to stand littering +up the courts which the Ptolemies were busily +tidying. Accordingly the great pit was dug<span class="pagenum" id="Page_126">126</span> +within the sacred enclosure, and Senusert, +Thothmes, Senmut, and hundreds of other old +Egyptian notables were consigned to its muddy +depths, thence to be resurrected, more than two +thousand years later, by their degenerate descendants, +who baled out the water from the pit with +old petroleum cans, and hoisted Pharaoh, High-priest +or Statesman, unceremoniously out of his +dark resting-place with lever and tackle. It has +been a fortunate chance for us, for Egyptian +portrait-sculpture might stake its reputation on +the two pieces which I have mentioned, and the +pit has yielded scores almost as good.</p> + +<p>The work of preserving the building, and +putting it in a condition of safety for the future, +has had a curious interest from the fact that in +its progress Karnak has been to some extent +rebuilt, and by exactly the same methods by +means of which it was built in the beginning. +For there can be little doubt, in spite of all talk +about the wonderful mechanical knowledge of +the ancient Egyptians, and their possession of +secrets which have been lost to our time, that +Karnak, like all the great Egyptian buildings, +was built, not by means of any of these remarkable +secrets which never existed save in the imagination +of those who have talked about them, but by the +disciplined and ordered use of the very simplest +means known to man, the inclined plane, the +lever, and any amount of obedient human +muscle. These were the mechanical secrets +which M. Legrain found most useful and most +economical in the end of the nineteenth century +<span class="allsmcap">A.D.</span>, as those who had gone before him had done<span class="pagenum" id="Page_127">127</span> +in the nineteenth, the fifteenth, the fourth +century <span class="allsmcap">B.C.</span> Senusert, Thothmes, Hatshepsut, +Sety, Ramses, Sheshanq, Taharqa, Ptolemy, they +all built Karnak by sheer force of human labour, +disciplined and guided by a race of builders who +for thousands of years had specialised in the +training of men for such tasks, and with no more +marvellous secrets to aid them than those oldest +of man’s mechanical triumphs, the ramp and the +lever. M. Legrain has repeated their miracles +with the same equipment; and in an age of +machinery has shown that the human machine +may still be the most adequate, the most adaptable, +and the most economical.</p> + +<p>Thus, then, we have seen, at two of the most +interesting sites in Egypt, something of the +work which has been going on with the double +object of extending our knowledge of the past +and of preserving its treasures for the future. +Realising something of the importance of such +buildings as Der el-Bahri and Karnak, and their +scores of companions throughout the land, +buildings which are, in effect, ancient Egypt to +us, one can feel that work such as that which has +been meagrely described in these pages, unspectacular +though it may be compared with the +work of Pharaoh-hunting, is yet of great and +enduring importance, the indispensable fabric +on which the glittering embroidery of the +treasure-troves from the Valley of the Kings and +elsewhere is wrought, and without whose rich +and durable substance to form a background the +golden glory of the royal tombs would lose half +its meaning and beauty.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_128">128</span></p> + +<h2 class="nobreak" id="CHAPTER_VI"><span id="toclink_128"></span>CHAPTER VI<br> + +<span class="subhead">BURIED ROYALTIES</span></h2> +</div> + +<p class="drop-cap al"><span class="smcap1">Among</span> the most curious of ancient Egyptian +documents are the two papyri, the Abbott +and the Amherst, which tell the story of +the robberies of the royal tombs at Thebes, which +came to light in the reign of Ramses IX, about +1100 <span class="allsmcap">B.C.</span> At that time the capital city was ruled, +under the Governor, by a certain noble named +Paser, who was called “The Prince of the Town.” +Western Thebes, however, the City of the Dead, +was not under the care of Paser, but was supervised +by another official named Pewero, who +rejoiced in the title of “Prince of the West.” +Between the Prince of the Town and the Prince +of the West there was no love lost, as is not +uncommon with the heads of two adjacent jurisdictions; +and Paser, on the eastern bank of the +river, kept his ears open to all the tittle-tattle of +discontented workmen from the Necropolis which +drifted across the river. It so fell out in the +sixteenth year of Ramses IX, that certain thefts +from the Necropolis were reported by the Prince +of the West to the Governor; and Paser seized +the opportunity of making the most to the Council +of the laxity of administration which allowed<span class="pagenum" id="Page_129">129</span> +such things, and of suggesting that infinitely +worse robberies, involving the Royal Tombs, +were occurring under his enemy’s jurisdiction.</p> + +<figure id="il_17" class="figcenter" style="max-width: 41em;"> + <img src="images/i_128.jpg" width="1963" height="1335" alt=""> + <figcaption class="caption">17. LUXOR, PAPYRUS-BUD COLUMNS AND COLOSSI OF RAMSES II. + </figcaption> +</figure> + +<p>A special commission was appointed to +investigate the charges, and the importance of the +case is shown by the rank of the members of +the court. These were Khaemuas, the Governor, +“The Royal Vassal Nesamen, Scribe of Pharaoh,” +<i>i.e.</i> the King’s private Secretary, and “The Royal +Vassal Neferkara-em-per-Amen, the Speaker of +Pharaoh,” doubtless the King’s Public Orator. +This august court went at great length into the +charges, and it is impossible to read the account +of the case without feeling that Paser had right +on his side, though he rather made a bungle of +his case. Obviously his information was mainly +derived from ill-natured gossip, for it was so +inaccurate in detail that the very royal tomb +which he positively declared to have been robbed +was found on examination to be untouched; +but equally obviously there was a great deal +going on in the Necropolis which should not +have gone on, and Pewero either connived at the +thefts or was culpably careless.</p> + +<p>On the whole Paser failed to establish his +charges, though in one case, to be mentioned +directly, there was plain evidence of the violation +of a royal tomb. The Prince of the Town took +his failure rather badly, and spoke wild whirling +words before a riotous deputation of Necropolis +workmen, which got him into trouble; but bit +by bit the actual truth leaked out, though not in +the Commission.</p> + +<p>Three years later, in the reign of Ramses X,<span class="pagenum" id="Page_130">130</span> +sixty persons, mainly priests and officials of the +Necropolis, were arrested on the charge of +complicity in the thefts; and even this big bag +of robbers did not bring security to the royal +dead. Ere long the priests of the dead kings were +frantically hustling the mummies of their dead +masters from one tomb to another in the vain +attempt to put them beyond the reach of the +spoilers, until at last the bulk of the great Theban +Pharaohs were gathered, or rather huddled, +together, in the obscure shaft of the unfinished +tomb of Queen Astemkheb at Der el-Bahri, or +in the tomb of Amenhotep II in the Valley of +the Kings.</p> + +<p>The kind of treatment which was meted out +to the mighty dead by the sacrilegious rascals +in the Theban Necropolis is detailed for us in +the confession of one of them, a confession +extracted, for the rest, by the time-honoured +Eastern questionary of the bastinado. “We +found the august mummy of this god,” says the +thief, describing his work at the tomb of King +Sebek-em-saf and his wife Queen Nub-khas, +“with a long chain of golden amulets and +ornaments round the neck; the head was covered +with gold. The august mummy of this god +was entirely overlaid with gold, and his coffin +was covered both within and without with gold, +and adorned with every splendid costly stone. +We stripped off the gold which we found on the +august mummy of this god, as well as the amulets +and ornaments from around the neck, and the +bandages in which the mummy was wrapped. +We found the royal wife equipped in like manner,<span class="pagenum" id="Page_131">131</span> +and we stripped off all that we found upon +her. We burnt her bandages, and we also stole +the household goods which we found with +them, and the gold and silver vessels. We +divided all between us; we divided into eight +parts the gold which we found with this god, +the mummies, the amulets, the ornaments and +the bandages.”</p> + +<p>Such was the treatment accorded to a Pharaoh +of Egypt by one of his subjects three thousand +years ago; a curious commentary on the present-day +Egyptian protests against the opening of +the royal tombs in the interests of science! +But the story of the Ramesside tomb-robberies +is only an illustration of two contradictory cravings +which are seen working all down the long +record of the Egyptian monarchy. On the one +hand there is the constant attempt of royalty +to secure for itself by the most elaborate precautions +that age-long endurance of the physical +frame which was deemed a necessary condition +for the welfare of the dead king in the Underworld, +an attempt which expresses itself in +different ways, some of them most wonderful, +in the successive periods of Egyptian history; +on the other, there is the equally constant and +resolute determination of the Egyptian tomb-robber +that not all the divinity which doth hedge +a king, and especially a Pharaoh, shall keep him +from his prey. The Ramesside thief has any +amount of lip-reverence for the dead king whose +rest he so rudely disturbs; but all the time that +he is talking about “the august mummy of this +god,” he is stripping the gold and jewels from it,<span class="pagenum" id="Page_132">132</span> +and his accomplices are kindling the fire which +will shortly destroy, from an Egyptian point of +view, King Sebek-em-saf’s hope of immortality; +and the contradiction is an epitome of a good +deal in the story of Egyptian royalty.</p> + +<p>The most enduring religious feeling in the +Egyptian was the craving for immortality; and +the most permanent, as it was one of the earliest +religious convictions, was that immortality was +linked with faith in the god Osiris, who, as the +legend ran, had been treacherously slain by his +brother Set, had risen from the dead, had been +judged and pronounced just by the tribunal of +the gods, and thenceforth reigned as the god of +the Underworld and the judge of the dead.</p> + +<p>The devout Egyptian believed that after +death, if the necessary conditions had been +fulfilled on his behalf, he was identified with +his god, and like him rose again, was justified, +and admitted to the Egyptian Elysian Fields. +These conditions, briefly stated, were, first, the +continuance for as long a period as possible, of +the body, in a state as closely as possible resembling +that of life. Whether this need, which, of +course, was responsible for the characteristically +Egyptian practice of mummification, sprang from +the belief that the spiritual essence of the dead +man might find a resting-place after death in +the mummified shell of its living abode, or +whether the creation of the mummy was merely, +as Professor Peet asserts, a counsel of despair, +an attempt to deny death for as long as possible, +is not certain; but the attempt to preserve the +body, first by the provision of a secure tomb, and<span class="pagenum" id="Page_133">133</span> +later by mummification as well, endures through +the whole of Egyptian history. The second +condition was the provision of food and drink, +and all the comforts of life, for the dead man in +his tomb. The third was the equipping of him +with all the words of power which would enable +him to escape the dangers which haunted the +ways of the Underworld, and to pass the ordeal +of the judgment, and with amulets which would +prove efficacious in warding off the assaults of +the demons of the Underworld. Last of all, +as in the Elysian Fields there was work to be +done, and it was not fitting that a king or a great +noble should stoop to manual labour, the dead +man had to be provided with simulacra of servants +who should answer for him when he was called +upon for service, and take upon themselves his +burden of labour.</p> + +<p>Out of all these conditions there arose +gradually the whole wealth of Egyptian funerary +equipment, as it is found in the tombs of the +great men of the land, and above all in those of +the Pharaohs, an equipment whose splendour +has dazzled the whole world in the revelations +of the tomb of Tutankhamen. From the very +earliest times the kings of Egypt were laid to +rest with elaborate provision for the wants of +the dead monarch, and the provision grew in +completeness and complexity with each successive +generation, till it reached its culmination in the +gorgeous tombs of the Theban Pharaohs of +the New Empire, with their hundreds of feet of +rock-hewn chamber and corridor, their glittering +canopies, their nests of gilded coffins, their<span class="pagenum" id="Page_134">134</span> +wealth of costly amulets and illuminated papyri, +their stores of ushabtis, and, at the heart of all, +the wonderfully preserved mummy of the man +for whom all this magnificence had been prepared.</p> + +<p>It may be questioned, however, whether all +these precautions did not rather tend to defeat +their own end, and whether Pharaoh might not +have slumbered in greater security had his tomb +been less gorgeous and less richly equipped than +he could hope to do when his tomb was a wonder +of the world, and when all men knew that +wealth untold was stored within its dark depths. +At all events we know that from the earliest days +of the Egyptian kingdom to the latest the kings +were few indeed whose rest was not rudely broken +by the sacrilegious hands of robbers. The fate +of King Sebek-em-saf, already described, is +typical of that of the royal tombs in general. +For five thousand years human greed has proved +more powerful than human piety or even than +human superstition. To-day, the professional +tomb-robber of native birth, though his activities +are as skilfully conducted as ever, finds a rival +in the scientific explorer, whose disturbance of +the rest of the royal dead, though there are still +many who object to the work as a profanation +of what all men should regard as sacred, is at +least conducted with as much reverence as +possible, and in the interests not of individual +greed of gain, but of the general sum of knowledge +of the human race.</p> + +<p>In this respect the situation should be clearly +understood. It is not a question of whether the +dead kings of ancient Egypt shall or shall not<span class="pagenum" id="Page_135">135</span> +be allowed to rest in peace in their tombs. That +question has been settled, and settled in the +negative, for many centuries by the persistent +habit of the Egyptians themselves. Robbed the +tombs of the Pharaohs (such of them as still +remain undisturbed) will inevitably be. That +is as sure as death itself. The only question +is whether the robbery shall be conducted by +ignorant fellahin for the sake of private gain, +and in such a fashion that the whole of the results +shall be scattered among a score of private collections, +and all their historic value forever lost, +or whether it shall be conducted in orderly and +scientific fashion, the finds duly catalogued in +their true order, and gathered together in one +great assemblage in a place where they can be +studied in their true relation to one another, and +to other finds of similar character.</p> + +<p>There can be no doubt as to which of these +methods is preferable. To deny to the man of +science the opportunity of investigating the +history, the art, and the life of the past as revealed +in the treasures of the royal tombs is simply to +make it certain that, without securing in the least +the sanctity of the tombs, all the knowledge +which might have been drawn from them shall +be lost forever to the world. This is the sufficient +justification of those excavations which, in spite +of all the interest created by their revelations, +have so often created also a feeling of repugnance +and protest.</p> + +<p>The story of the royal tombs of Egypt begins +with the excavation of the Sacred City of Osiris, +Abydos. The work there is by no means the<span class="pagenum" id="Page_136">136</span> +earliest in point of time of the series of discoveries +which have been made in connection +with the burial of royalty, though Abydos was +one of the sites excavated by Mariette, who +revealed to the world the wonderful XIXth +Dynasty work of the temple of Sety I there. +Much had been discovered at Thebes and at +Memphis before Amélineau and Petrie began +at Abydos those researches which have revolutionised +our knowledge of early Egyptian history +and civilisation, and have given back to us several +centuries of the story of human effort which had +previously been shrouded in darkness; but it +seems best to follow the subject down the line +of history rather than to follow the order of +discovery with its consequent mixing up of all +the dynasties and periods.</p> + +<p>Up to the nineties of last century, it may be +said that practically nothing was known of those +earliest Kings of Egypt who reigned before the +time of the IVth Dynasty. The history of +Egypt began with the Pyramid-builders, Khufu, +Khafra, and Menkaura; and so far as any real +knowledge went, Egyptian civilisation sprang, +like Athene, full-armed and full grown into +being, and offered to the world as its firstfruits +the most gigantic structures ever reared by the +hand of man.</p> + +<figure id="il_18" class="figcenter" style="max-width: 41em;"> + <img src="images/i_136.jpg" width="1988" height="1336" alt=""> + <figcaption class="caption">18. COLONNADE IN TEMPLE OF SETY I, ABYDOS. + </figcaption> +</figure> + +<p>Obviously this was an impossibility, for +things do not happen thus in real life, and the +advance of civilisation is a business, not of leaps +and bounds, but of slow and ordered progress; +but before the Pyramid-builders there was +nothing in Egyptian history but a gulf of misty<span class="pagenum" id="Page_137">137</span> +darkness, in which a few dim and mighty shapes +could be faintly discerned through the clouds. +Manetho, the Egyptian historian of Sebennytos, +preserved in the few fragments of his story which +have survived the names, and a few more or +less incredible legends, of the great men who +had lived and reigned before the Pyramid-period; +but they were only shadows, and the +bulk of what little he told us of them was too +fantastic to command any respect. The chief +figure of his story was the king Menes, or Mena, +who was said to have founded Memphis, and who +seemed to have some semblance of reality among +the pale shades of the others; but even he came +to us in Manetho’s pages in such a questionable +shape as to seem more a figure of romance than +of fact.</p> + +<p>The discoveries of the closing years of the +nineteenth century, however, have put an end +to all that vagueness, and while our knowledge +about the earliest dynastic kings of Egypt is +still scanty enough, it is quite solid and real as +far as it goes. Not only so, but excavation has +resulted in the extension of knowledge to the +period before the rise of the earliest dynastic +rulers, and such a mass of material has been +accumulated bearing on the life of the pre-dynastic +Egyptians as to justify Professor Peet’s +statement, “it may reasonably be said that we +are as well acquainted with the material civilisation +of this era as with that of any other in +Egyptian history, though at the same time it +has to be admitted that our knowledge of its +actual history amounts to practically nothing.”</p> + +<p><span class="pagenum" id="Page_138">138</span></p> + +<p>With the pre-dynastic tombs, however, and +with their comparatively meagre provision for +the dead, we have not to do at present. All +that need be said is that the pre-dynastic Egyptian +buried his dead in a shallow pit cut in the sand +or the soft rock, the body being laid on its side +in a crouching posture, the knees drawn up +towards the chin, and the hands placed in a +supplicating attitude before the face. Around +the dead man, who was often covered with a +reed mat, were placed the vases for food and +drink, the various utensils, flint knives, ivory +tablets, and suchlike things which were held +to be necessary or useful for him in the life +beyond, and above all the carved slate palette +which was used for grinding the green face-paint +in which the early Egyptian delighted, and +the material for making the paint itself.</p> + +<p>From these early tombs we have learned +that the pre-dynastic Egyptian was far from being +an uncultured savage. His funerary equipment, +primitive as it is in some respects, shows us that +he had already acquired the rudiments of that +art of representing human and animal form which +was to be carried to such remarkable heights in +the dynastic period; he was an accomplished +potter, whose vessels, though he was as yet +ignorant of the potter’s wheel, are so perfectly +moulded by hand that the absence of the wheel +is no loss, and who “belonged to one of those +rare and happy periods when the craftsman +seems incapable of an error of taste, and in +consequence almost every form that leaves his +hands is a thing of beauty”; and he had an<span class="pagenum" id="Page_139">139</span> +inexhaustible patience and an amazing skill in +the working of vessels of the hardest stone which +make the pre-dynastic hard stoneware the +standard of quality by which all succeeding +periods are judged.</p> + +<p>The disclosure of the tombs of the true early +dynastic period, as distinguished from the earlier +tombs which we have been describing, was to +come from the Holy City of ancient Egypt—Abydos. +The reason for the fact that the royal +tombs of this period are to be found in the +neighbourhood of a town which was never the +capital of the land, and not at such important +cities as Memphis or Thebes, is, of course, that +Abydos had a sanctity to which no other place +in Egypt could lay claim, as the burial-place of +the head of the God of the Resurrection, Osiris, +after his slaughter and dismemberment by Set. +Osiris was not the original god of the dead at +Abydos, for there existed, long before his supremacy, +the worship of a local god Khenti—“The +First of the Westerners,” whose place Osiris +usurped, or rather with whom he was identified. +But from a very early date Osiris was supreme +at Abydos. Every devout Egyptian desired to +be buried, if possible, at Abydos, and as close as +might be to the burial-place of the God of the +Resurrection; if actual burial was impossible, as +in the vast majority of cases, the next best thing +was to be allowed to set up a memorial slab in +the neighbourhood, or to make a pilgrimage, +even after death, to the Holy City, before being +laid in the less holy ground elsewhere; while +if none of these expedients was feasible, at least<span class="pagenum" id="Page_140">140</span> +one could send a little votive vase of common +pottery, and have it laid near to the sacred site. +Accordingly the Necropolis at Abydos is full of +memorials of all periods of Egyptian history, +and in particular the ground is so crowded with +broken pottery of all ages and types that the +Arabs call the place “Umm el-Ga’ab,” “The +Mother of Pots.”</p> + +<p>It was on this site that M. Amélineau began +his excavations in 1895, continuing them till +the spring of 1898. He discovered several large +chamber tombs, which contained many articles +of exquisite workmanship, vases, and plaques in +fine stone and in pottery, ebony and ivory tablets, +bearing inscriptions in archaic hieroglyphics, and +evidence that the tombs had belonged to kings +of Egypt earlier in date than the period of the +Pyramid-builders. In particular he found the +tomb of a king whose name he read as Khent, +and whom he identified with Osiris himself, +as one of the titles of the god is “Khent-Amenti.” +In January, 1898, he found in this tomb part of +a skull which he conjectured to be the skull of +the god, and on the same day his workmen +unearthed a granite bier of familiar Egyptian +shape to which he gave the name of “The Bed +of Osiris.”</p> + +<p>Had these attributions been established M. +Amélineau’s discoveries, important enough in +themselves, would have been absolutely unique +in character. But the somewhat acrimonious +discussion which followed the announcement of +the finds, established the fact that though he had +discovered the tomb of one of the earliest kings<span class="pagenum" id="Page_141">141</span> +of Egypt it was the tomb of a man, and not of +a god. The Bed of Osiris proved to be a New +Empire copy of some more ancient bier placed +there by Egyptians who had made the same +mistake as the modern explorer, and imagined +that they were restoring the actual tomb of the +god of the Underworld. The great discovery +thus failed to produce the effect which its importance +deserved, and rather cast ridicule upon the +possibility of retrieving for serious history the +period of the earliest dynasties. M. Amélineau +shortly afterwards abandoned his uncompleted +task, believing that the site was completely worked +out, and for a time Abydos remained without +any further attempts to unravel its mysteries.</p> + +<p>In the winter of 1899–1900, however, Professor +Flinders Petrie began work on the abandoned +site, and the results of his patient and skilful +study have been of supreme importance for +the reconstruction of this earliest period of the +history of the ancient Egyptian kingdom. He +not only found in the tombs already discovered +a great quantity of valuable material, but added +considerably to the number of known tombs, +and planned with the utmost care all those which +came to light. In the main, these royal tombs +of the earliest dynasties proved to conform to a +single type, though the variations in size and in +the number of apartments are considerable. +Generally speaking, there is a large central +chamber, dug in the soil, and sometimes +approached by a stairway. This chamber, which +we may believe to have been the actual royal +sepulchre, is lined, and sometimes floored, with<span class="pagenum" id="Page_142">142</span> +wood, though in some instances the flooring is +of stone, in one case of granite, the earliest known +examples of stonework. Around the central +chamber are grouped smaller cells, in which +were stored the provision for the use of the dead +king in the Underworld, or where the bodies of +his favourites who were doomed to accompany +him in his dark journey were laid after they had +been slain during his funeral rites.</p> + +<p>The great tomb of King Kha-sekhem of the +IInd Dynasty, 223 feet by 54 feet, is unique in +the fact that its central chamber, 10 feet by 17 feet, +and nearly 6 feet deep, is entirely built of stone, +and is the earliest known example of a piece of +mason-work. Each tomb, when it was completed +and occupied, was roofed with wooden beams, +and above it the sand was piled in a low mound, +the precursor of the great stone burial mounds +which were to appear ere long when the pride of +the IVth Dynasty monarchs was no longer +content with anything less than a pyramid for +its memorial. Above the tomb a pair of grave-steles +bearing the king’s name were placed, so +that the royal cemetery of Abydos must have +presented an appearance not unlike that of a +modern churchyard with its mounds and its +headstones.</p> + +<p>No royal bodies, of course, were found in +these earliest tombs. Time and the tomb-robber +had done their work too well for that, +and the art of mummification was as yet unknown. +At a very early date the tombs had been rifled, +and some of them burned, no doubt in the +process of disposing of the bodies after they had<span class="pagenum" id="Page_143">143</span> +been plundered, as the Ramesside robber disposed +of the mummy of Sebek-em-saf. The most +unquestionably personal relic discovered was the +shrivelled arm of the queen of King Zer, which +had been stolen by some robber who had not +time to carry off his plunder, and had thrust it +into a hole in the tomb wall, where it was found, +with its four beautiful bracelets still intact, by +one of Petrie’s workmen. What was left in the +tombs is simply what previous robbers had not +deemed worth the trouble of carrying away. +Yet these pieces of pottery, these broken bits +of ivory furniture, these ebony and ivory plaques, +with their archaic inscriptions, have proved of +inestimable importance; for they have enabled +us to fashion in our minds a picture, rude enough, +no doubt, and sadly lacking in detail, but unquestionably +true in its main outline of the earliest +ordered civilisation in the history of the world.</p> + +<p>We can see that by 3500 <span class="allsmcap">B.C.</span>, the very latest +date to which the Ist Dynasty can be brought +down (Petrie dates it from 5500 <span class="allsmcap">B.C.</span>), the Egyptian +state, under “The Scorpion,” Narmer, or +Aha-men, the group of kings who probably +stand for the Menes of Manetho’s story, +had long and completely emerged from the +barbarism which swathed the rest of the world +save Babylonia, and possibly Crete, and was +already thoroughly organised and master of +all its own resources. War, which had produced +the union of the two sections of the land, the +Delta and the Upper Valley, was carried on, not +as a matter of chance razzias, but with the movement +of great armies which could sweep a whole<span class="pagenum" id="Page_144">144</span> +populace into their net. The great mace-head +of King Narmer records the capture of 120,000 +men, 400,000 oxen, and 1,422,000 goats. The +same king has in his train a Leader of the Ceremonies, +a title which shows that the etiquette +of the court was already thoroughly organised, +and at an early date the Commander of the +Inundation shows by his presence that the +Egyptian already realised the importance of this +great annual event, which, indeed, was no doubt +the compelling cause which resulted in the +extraordinarily early growth of organisation in +Egypt as compared with other lands.</p> + +<figure id="il_19" class="figcenter" style="max-width: 27em;"> + <img src="images/i_144.jpg" width="1275" height="1914" alt=""> + <figcaption class="caption"><p>19. <span class="allsmcap">BRACELETS</span> (<span class="allsmcap">I</span>st <span class="allsmcap">DYNASTY</span>); <span class="allsmcap">CHAIN</span> (<span class="allsmcap">VI</span>th + <span class="allsmcap">DYNASTY</span>); <span class="allsmcap">GOLD +SEAL</span> (<span class="allsmcap">VI</span>th <span class="allsmcap">DYNASTY</span>); <span class="allsmcap">GOLD URÆUS</span> (<span class="allsmcap">XII</span>th + <span class="allsmcap">DYNASTY</span>).</p> + +<p>(<cite>From “Arts and Crafts of Ancient Egypt.”</cite>)</p> + </figcaption> +</figure> + +<p>That the equipment of the royal household +was sumptuous and tasteful, and that the personal +adornments of the glittering figures who occupied +its stage were of the richest material and of the +highest artistic quality, even the pitiful relics +which have survived are sufficient to assure +us. Pharaoh’s palace was adorned with vases +and bowls of diorite, breccia, rock-crystal, and +alabaster, wrought with matchless skill, and +ground to translucent thinness; his furniture +was of ebony and ivory exquisitely carved and +adorned with hammered gold. Nor was the +glow of beautiful colour wanting to the picture; +for the Egyptian craftsman had already mastered +that art of glazing objects with brilliant colour +which his successors practised with such satisfying +results. The ladies of the court found that +the goldsmith was capable of meeting their +desire for costly and tasteful jewellery in a +fashion that has never been surpassed, and the +bracelets of the Queen of Zer, of amethyst,<span class="pagenum" id="Page_145">145</span> +turquoise, lazuli, and gold, are of fine design +and astonishingly good workmanship; while +the existence of a Court barber is attested by +the plait of false hair which was found in the +tomb of Zer, and was perhaps worn by the lady +of the bracelets.</p> + +<p>The art of hieroglyphic writing was already +fully established, and though the hieroglyphics +are archaic in form, they are quite intelligible. +In many of the tombs are found small ivory +plaques, “made by the king’s carpenter.” These +are inscribed, each with the records of the events +of a single year; so that we have evidence of +a regular system of chronicling. The British +Museum possesses the lid of the ivory box in +which King Semti kept his Great Seal—“The +Golden Seal of Judgment of King Den”—so +that manifestly official documents were in existence, +and had to be authenticated by the royal +seal. Of art, nothing on a large scale has +survived; but the artist who carved the little +ivory statuette of a king (perhaps Semti) wearing +the White Crown, and clothed in a long parti-coloured +robe, was already, within his limits, a +master; and Professor Petrie says of the statuette +of Kha-sekhem of the IInd Dynasty, found at +Hierakonpolis, “the art of these figures shows +a complete mastery of sculpture, the face being +more delicately modelled than almost any later +work.” Altogether we must conceive of the +Court of the earliest Dynastic Kings of Egypt +as being organised on a high plane of luxury, +and indeed of comparative refinement. There +is little that can be called barbaric, save the<span class="pagenum" id="Page_146">146</span> +possible survival of the custom of slaying the +king’s favourites to accompany him in his +journey through the Underworld.</p> + +<p>The results of this exploration of the resting-places +of the first buried royalties of Egypt may +not in themselves be imposing, when compared +with the bewildering wealth of some of the later +royal interments; but their importance is not +to be measured by mere quantity or richness in +the precious metals, but by the fact that they have +given to us a revelation of a whole period of +human activity which was previously hidden +beneath the mists of antiquity. Viewed in this +light it becomes apparent that these poor fragments +from the tombs of Abydos have a value +far exceeding that of many much more gorgeous +finds, and scarcely surpassed by the discoveries +of any period. They stand, in this respect, on +the same level with the revelation of the Minoan +civilisation at Knossos, or that of the city-states +of Sumer at Lagash.</p> + +<p>The search for the buried royalties of Egypt +next brings us into touch with the great age of +the Pyramid-builders, beginning with Zeser +and Seneferu, and extending, with gradually +diminishing splendour, down to the last relics +of the XIIth Dynasty—a period which has +already been dealt with in detail. It is followed +by the dark period which witnessed the incursion +and supremacy of the Hyksos kings, and the +War of Independence—a troubled period from +which few relics have survived, though the +account of the robbery of the tomb of King +Sebek-em-saf of the XIIIth Dynasty, with which<span class="pagenum" id="Page_147">147</span> +our chapter began, shows that the kings of even +these dark days were laid to rest with at least +something of the ancient splendour of Egyptian +royalty.</p> + +<p>When we resume our story, we find that two +great changes have taken place, one in the course +of the national history, the other in the burial +customs with which we have to deal. The +centre of gravity of the Empire has shifted from +the area south of the Delta, embracing Saqqara, +Memphis, and the Fayum, to the great city +from which the Theban princes had been directing +the struggle against the Hyksos; and henceforward, +throughout all the most brilliant period +of Egyptian history, Thebes remains almost +exclusively the royal abode, and, particularly +for our purpose, the place where the great +monarchs of the New Empire were buried in +the midst of all their magnificence.</p> + +<p>Along with this political change has gone +another, which has completely revolutionised +the funerary customs consecrated by so long +usage. The resting-place of a Pharaoh is no +longer marked by a “star-y-pointing Pyramid,” +with its temple and causeway. The tombs of +the great nobles of the Middle Kingdom at +Beni Hasan and elsewhere had already been +indicating a change in the funerary ideal, and +the temple of Mentuhotep at Der el-Bahri, with +its combination of pyramid and rock-hewn +shrine, may perhaps be looked upon as the compromise +between the old ideal and the new. +Henceforward the actual tomb and the funerary +temple were to be separated by the necessities<span class="pagenum" id="Page_148">148</span> +of the locality in which the first was situated. +The Temple was to stand by itself, free in the +open plain on the western bank of the Nile; +the Tomb was to be hidden from human knowledge, +so far as possible, in a wild and desolate +valley of the Libyan hills behind the plain and +its girdling cliffs.</p> + +<figure id="il_20" class="figcenter" style="max-width: 42em;"> + <img src="images/i_148.jpg" width="2034" height="1340" alt=""> + <figcaption class="caption">20. ENTRANCE TO THE VALLEY OF THE KINGS, THEBES. + </figcaption> +</figure> + +<p>On the western bank of the Nile, opposite +Thebes, there lies a great bay of the Libyan +cliffs, extending for more than two miles from +the ruined palace of Amenhotep III and the +temple of Ramses III at Medinet Habu on the +south, to Drah Abu’l Neggah and the temple +of Sety I at Qurneh on the north. From cape +to cape of the bay there stretches, like the string +of a bow, a row of ruined funerary temples, +built by most of the notable Theban Pharaohs. +Beyond the line of the string towards the Nile, +the two Memnon colossi still keep watch and +ward—all that remains of the most gorgeous of +all the western temples, reared by the most +gorgeous of Theban Pharaohs—Amenhotep III; +while between the string and the bow, and +clinging close to the curving cliffs, lie the temples +of Der el-Medinet and Der el-Bahri. Beyond +the northern nock of the bow at Drah Abu’l +Neggah, a rugged winding path leads north-westwards +into the heart of the hills for about +a mile, then turning sharply westwards, it reveals +a forked valley, one branch of which is known +as the West Valley, and the other and more +important as the East Valley. Together these +two ravines make up the Biban el-Moluk, or +Valley of the Kings, the most famous place of<span class="pagenum" id="Page_149">149</span> +royal sepulture in the world, where for a thousand +years the kings of the earliest of world-empires +were laid “all of them in glory, everyone in his +own house.”</p> + +<p>They chose for their resting-place one of +the wildest and most barren scenes which it +is possible to imagine, a sun-scorched wilderness +of rock and tumbled stone, where the heat, +reverberated from rock to rock under a sky of +brass, is like that of Nebuchadnezzar’s furnace. +But it was not beauty or richness that they were +seeking when they came to the Valley of the +Kings; it was the security which not even the +Great Pyramid had been able to give to the mighty +dead. The loneliness and desolation of the +place were the very things which prompted its +selection; for they sought—how vainly the +future was to show—a place where human foot +had never trod, and where they might expect +that their long sleep would be unbroken by any +intruder. The sacrilegious attempts of the type +of robber who had scattered to the winds the +dust of Khufu they foresaw, and tried, though +with only imperfect success, to guard against; +what they could not foresee was the advent of +the scientific excavator, with a patience which +rivals and a skill which far surpasses that of +the native plunderer, whose work has put the +crown on the lengthy demonstration of the futility +of all their pathetic efforts at security.</p> + +<p>The type of tomb which is characteristic of +the Valley of the Kings is simple enough in its +general idea, though its development is sometimes +complex enough. An entrance gallery is<span class="pagenum" id="Page_150">150</span> +driven into the rock sloping downwards, the +passage-way being sometimes an inclined plane, +sometimes a stairway. This corridor is sometimes +interrupted by a deep pit, possibly meant +to catch any water which might flow in through +the doorway, but more probably to render the +task of the robber more difficult. Beyond the +pit, the passage is continued, and gives access +to chambers and halls varying in number and +size, until at last the sarcophagus chamber is +reached. Of this general type there are all +varieties, from the simplicity of such a tomb as +that of Tutankhamen, with its short entrance +passage, and its scanty provision of poorly +decorated rooms, to the complexity of the tombs +of Ramses III or Sety I, with their hundreds of +feet of corridor and chamber, brilliantly decorated +with the finest art which their time could produce.</p> + +<p>The decoration of the royal tombs, though +often of high quality artistically, is generally +of a sombre and gloomy character, differing in +this from the brilliant pictures of life which are +characteristic of the Old Kingdom tombs of the +nobles at Saqqara, or even from some of the +private tombs, such as those of Nekht and +Rekhmara at Thebes. Generally speaking, +the leading conception is that the dead king, +accompanied by the sun-god or identified with +him, sails in the bark of Ra through the Underworld, +bringing light as he passes. On his +voyage he is accompanied by all manner of +spirits and genii, which ward off the enemies of +the soul from the divine boat. The subjects +of the illustrations are largely derived from two<span class="pagenum" id="Page_151">151</span> +books of funerary ritual, <cite>The Book of Him +Who is in the Duat</cite> (Underworld), and <cite>The +Book of the Gates</cite>, while portions of the <cite>Book +of the Dead</cite> are also illustrated.</p> + +<p>These wonderful tombs have always been +more or less known in historic times. Strabo +mentions that there were in his time forty tombs +worthy of a visit, and we may be sure that the +bulk of these had already been long rifled, or at +least cleared of their contents to avoid the danger +of desecration, before the Egyptian Empire ended +its long course. The centuries between the +visit of the old geographer and that of the scholars +of the French Expedition had brought oblivion +to the majority of the tombs, for the French +explorers mention only eleven, the others having +meanwhile got covered up and forgotten.</p> + +<p>It is with the coming of Belzoni on his second +journey in 1817 that the modern search for +buried Pharaohs may be said to begin, and since +his discovery of the tomb of Sety I, the work of +finding Pharaohs has gone on for more than a +century with more or less success, until at the +present time something like sixty tombs have +been found, including a few which are not royal, +and some which are merely pits. The probability +is that few tombs remain to be discovered +in the Valley, for most of the great royalties of +the Empire have now been accounted for in one +way or another.</p> + +<p>One chance of some importance, however, +remains. The last king whom we know to +have been buried in the Valley of the Kings is +Ramses XII of the XXth Dynasty. In the great<span class="pagenum" id="Page_152">152</span> +<em>cache</em> at Der el-Bahri, which will fall to be spoken +of shortly, several of the mummies of kings of the +XXIst Dynasty were found, along with those of +the earlier and more famous lines; but the actual +tombs of the XXIst Dynasty have never yet +come to light, and it is possible that some +fortunate explorer may yet fall, in one of the +desolate valleys among the Libyan hills, on the +necropolis of a line of kings who, if they do +not fill so great a place in the history of Egypt +as their predecessors of the XVIIIth and XIXth +Dynasties, were yet sufficiently important to +make the discovery of their resting-place a matter +of great moment.</p> + +<figure id="il_21" class="figcenter" style="max-width: 28em;"> + <img src="images/i_152.jpg" width="1342" height="2042" alt=""> + <figcaption class="caption">21. TOMB OF RAMSES IX, VALLEY OF THE KINGS. + </figcaption> +</figure> + +<p>It was on October 6 that Belzoni began those +excavations in the Valley which resulted in the +discovery of what is still the finest example of +a royal tomb of the Empire. On the 9th he was +fortunate enough to discover two tombs of +considerable importance, one of them beautifully +painted, the other undecorated, but containing +some funerary furniture and two female +mummies. “Their hair,” says Belzoni, whose +summary method of dealing with mummies we +have already noticed, “was pretty long, and well-preserved, +though it was easily separated from +the head by pulling it a little”! On the 11th, +this amazingly fortunate man, who knew so +little the greatness of his good fortune, entered +another tomb, evidently one of still greater +importance, which, with its contents, is dismissed +in half a page of his story. “We found a +sarcophagus of granite, with two mummies in +it, and in a corner a statue standing erect,<span class="pagenum" id="Page_153">153</span> +6 feet 6 inches high, and beautifully cut out of +sycamore wood; it is nearly perfect except the +nose. We found also a number of little images +of wood, well carved, representing symbolical +figures. Some had a lion’s head, others a fox’s, +others a monkey’s.... In the chamber on our +right hand we found another statue like the first, +but not perfect.” Thus summarily Belzoni +dismisses a discovery which would make most +present-day explorers green with envy. What +became of the two mummies, the two funerary +statues, and the ushabtis, we are not told, but +can easily imagine.</p> + +<p>These, however, were only the preliminaries +of the great find which was awaiting the lucky +excavator. On October 16 he started operations +at a point about 15 yards from the tomb already +mentioned (which would seem, therefore, to +have been that of Ramses I), and in a spot which +seemed to his workmen most unlikely to yield +anything. On the 17th they struck the first +indications of a cutting, and on the next day +the entrance of a tomb was laid bare. Before +the close of the day Belzoni had penetrated +into the tomb as far as the antechamber to the +first of its pillared halls, where his progress +was interrupted for the time by a pit 30 feet +deep, which had to be bridged before he could +advance further. Crossing it on the next day, +he gained access to the rest of the tomb, and the +next three weeks he spent as a man in a dream +wandering through the chambers of the great +tomb, and recording to the best of his ability +the wonders which he had been the first to see<span class="pagenum" id="Page_154">154</span> +for nearly three thousand years. His attempts +at representation of what he saw were imperfect +enough, and his nomenclature of the various +chambers is merely paltry. Titles like “The +Drawing-room,” “The Room of Beauties,” +“The Side-board Room,” seem ludicrously out +of place amidst the sombre dignity of Sety’s +sepulchre. Still Belzoni cannot be denied the +merits of patience and perseverance, and it was +no careless worker who spent a whole twelve-month +in the stifling atmosphere of a tomb in +the Valley of the Kings taking impressions in +wax of all the figures on a tomb which measures +328 feet from end to end.</p> + +<p>Belzoni attributed the tomb to Necho and +Psamtek II of the XXVIth Dynasty, finding +evidence to his satisfaction of the attribution in +a procession on the walls, in which he saw +Persians, Jews, and Ethiopians, all of whom, +according to him, “Nichao and Psammethis” +had conquered. He was thus a matter of seven +hundred years out in his dating of his discovery, +for the tomb is that of Sety I of the XIXth +Dynasty, and a monument of the art of the New +Empire just at that point when it had passed its +zenith, and was trembling on the verge of the +decadence, though still capable of the wonders +of Abydos, which are rivalled by some of the +work here. Sety himself, of course, he did not +find in the magnificent alabaster sarcophagus +which stood in one of the pillared halls of the +tomb. Luckily, when we think of how the +explorer would probably have treated him, that +honourable king and valiant soldier had long<span class="pagenum" id="Page_155">155</span> +centuries before been removed from his splendid +underground palace to the obscurer but safer +hiding-place where he was discovered in our +own time, and treated with a little more reverence +than he would have received from Belzoni; but +his sarcophagus was in itself a prize more than +sufficient to reward the excavator for all the +labour he had spent.</p> + +<p>“It is a sarcophagus,” says the lucky discoverer, +“of the finest Oriental alabaster, +9 feet 5 inches long, and 3 feet 7 inches wide. +Its thickness is only 2 inches; and it is transparent, +when a light is placed in the inside of it. +It is minutely sculptured within and without with +several hundred figures, which do not exceed +2 inches in height.... I cannot give an idea of +this beautiful and invaluable piece of antiquity, +and can only say that nothing has been brought +into Europe from Egypt that can be compared +with it.” He was not far wrong in his enthusiastic +estimate of the artistic value of his find, +as anyone who has seen the exquisite piece of +carving in the Soane Museum will admit.</p> + +<p>The fame of Belzoni’s discovery was not +long in reaching the ears of the Turkish officials, +and ere long the chief local authority, Hamed +Aga of Keneh, appeared upon the scene with +a troop of cavalry, having been so eager over +the find that he had made the journey in thirty-six +hours instead of forty-eight. It was no love +for antiquity, however, which had brought him. +All the artistic wonders of the tomb were lost +on him and his following; but they ransacked +every corner of the tomb with great eagerness.<span class="pagenum" id="Page_156">156</span> +After a long search the Aga dismissed his +soldiers, and turning to Belzoni, he revealed the +true object of his anxiety. “Pray, where have +you put the treasure?” he said. Belzoni’s +denial of the existence of any such thing was +met with an incredulous smile. “I have been +told,” said this characteristic specimen of Turkish +officialdom, “by a person to whom I can give +credit, that you have found in this place a large +golden cock filled with diamonds and pearls. +I must see it. Where is it?” The explorer at +length succeeded in convincing the Aga that +there was nothing to lay hands on, and with +supreme disgust he rose to leave the tomb. +Belzoni asked him what he thought of the beautiful +figures which surrounded him. “He just +gave a glance at them, quite unconcerned, and +said, ‘This would be a good place for a harem, +as the women would have something to look +at.’” Thirty years later, Layard’s experience +of the Turkish official was almost identical with +that of Belzoni.</p> + +<p>Forty-two years elapsed before anything of +importance was added to our knowledge of the +buried royalties of Egypt. It was in 1859 +the beautiful jewellery of Queen Aah-hotep was +rescued by Mariette from the hands of the worthy +successor of Hamed Aga, as has already been +told. But it was not till 1881 that there occurred +the first of those amazing resurrections of the +Theban Pharaohs which since then have been +repeated on several occasions, culminating with +the discovery of the most splendid of all royal +burials in the tomb of Tutankhamen.</p> + +<p><span class="pagenum" id="Page_157">157</span></p> + +<p>The story of the 1881 find is one of the +romances of excavation, though the credit of it, +if there is any, goes, not to the scientific explorer, +but to the native practitioner of the gentle art +of tomb-robbery. It was in 1876 that evidence +began to accumulate, in the shape of various +papyri and other articles of XXIst Dynasty +date which appeared mysteriously on the market, +that the fellahs of Sheikh Abd el-Qurneh had +somehow or other gained access to some royal +tomb of that period. The Service of Antiquities +took the matter up, and suspicion fell on the +members of a family named Abd-er-Rassoul. +In April, 1881, Maspero arrested with his own +hand Ahmed, one of the members of the family, +and committed him to the tender mercies of +Daoud Pasha, the third Mudir of Keneh who +has appeared in this chapter, but who, unlike +his predecessors, comes in on this occasion on +the side of the angels, so to speak. Justice, in +the Egypt of the eighties, had ways and means +of arriving at its ends which seem strange to +mere Occidentals, and Maspero covers a good +deal in his simple statement that Daoud Pasha +carried on the investigation “with his habitual +severity.” The Ramesside inspectors, in 1100 +<span class="allsmcap">B.C.</span>, put things more bluntly—“They were +beaten with sticks both on their hands and feet”—but +probably the facts were not very different +in the modern trial. The only result was to +produce a flood of testimony that Ahmed Abd-er-Rassoul +“never had excavated, and never +would excavate, that he was incapable of misappropriating +the tiniest antiquity, to say nothing<span class="pagenum" id="Page_158">158</span> +of violating a royal tomb,” and the spotless +victim of oppression had to be liberated “provisionally.” +“The vigour with which the inquiry +had been conducted by Daoud Pasha” had, +however, impressed the mind of one of the +Abd-er-Rassoul family with the conviction that +there are cases where honesty, or the best possible +imitation of it, is the best policy. Mohammed +Ahmed Abd-er-Rassoul came secretly to the +Mudir, made a clean breast, or at least a breast +as clean as was convenient, to that Rhadamanthus, +and on July 5, 1881, Emile Brugsch Bey, representing +the Service of Antiquities, at last found +the truth about the business, as usual, at the +bottom of a well.</p> + +<p>He was led by the penitent sinner Mohammed +to a lonely spot at the foot of the Libyan cliffs, +not far from Hatshepsut’s famous temple at +Der el-Bahri. There, after a long climb up the +hillside, and the scaling of a high cliff, he found +behind a great rock the mouth of a black shaft +about 6 feet square, the well of the unfinished +tomb of Queen Astemkheb of the XXIst Dynasty; +and the story of his experiences may best be +told by himself.</p> + +<p>“Finding Pharaoh was an exciting experience +for me. It is true I was armed to the teeth, +and my faithful rifle, full of shells, hung over +my shoulder; but my assistant from Cairo, +Ahmed Effendi Kemal, was the only person with +me whom I could trust. Any one of the natives +would have killed me willingly, had we been +alone, for everyone of them knew better than I +did that I was about to deprive them of a great<span class="pagenum" id="Page_159">159</span> +source of revenue. But I exposed no sign of +fear, and proceeded with the work. The well +cleared out, I descended, and began the exploration +of the underground passage.”</p> + +<p>There are many types of courage; but surely +not the least remarkable is that of the man of +science who allows himself to be lowered on an +Arab rope, down a 40-feet shaft, to explore a +dark gallery of the dead, while the rope which is +his only link with life and light is held above +by a man who would cheerfully have left him +to keep unending vigil beside the Pharaohs whom +he was seeking.</p> + +<p>Mohammed’s penitence, however, or perhaps +we had better say, his respect for Daoud Pasha’s +“habitual severity,” kept him true, and Brugsch +had no other terrors to face than those of his +strange task. “Soon,” he says, “we came upon +cases of porcelain funeral offerings, metal and +alabaster vessels, draperies and trinkets, until, +reaching the turn in the passage, a cluster of +mummy-cases came to view in such number as +to stagger me. Collecting my senses, I made +the best examination of them I could by the light +of my torch, and at once saw that they contained +the mummies of royal personages of both sexes; +and yet that was not all. Plunging on ahead of +my guide, I came to the chamber, and there, +standing against the walls, or lying on the floor, +I found even a greater number of mummy-cases +of stupendous size and weight. Their gold +coverings and their polished surfaces so plainly +reflected my own excited visage that it seemed +as though I was looking into the faces of my<span class="pagenum" id="Page_160">160</span> +own ancestors. The gilt face on the coffin of +the amiable Queen Nefertari seemed to smile +upon me like an old acquaintance.” “The +fellahs,” says Maspero, “had unearthed a +catacomb crammed with Pharaohs.” Among +the mummies were those of several of the most +famous Pharaohs of the New Empire, Seqenen-Ra, +the hero of the War of Independence, +Amenhotep I, and Queen Aahmes Nefertari, +Thothmes II, and Thothmes III, the greatest +soldier of Egyptian history, Sety I, Ramses II, +and Ramses III, the most famous kings of the +XIXth and XXth Dynasties, Pinezem I and +Pinezem II of the XXIst Dynasty, Queen +Hent-taui, Queen Nezem-Mut, and others.</p> + +<p>The question of the removal to a place of +security of this astonishing mass of dead royalty +presented its own difficulties. The removal had +to be as speedy as possible, for now that +the secret was out every hour would add to the +danger of a violent attack on the shaft, and the +dispersal for ever of its previous treasures. Yet +the problem of removal was no easy one. The +spot where the shaft lies is lonely and difficult +of access; and the coffins of some of the kings +and queens were of huge size and corresponding +weight. That of Queen Aahmes Nefertari, for +instance, is 10 feet long, and required sixteen +men to lift it.</p> + +<p>“Early the next morning,” says Brugsch, +“three hundred Arabs were employed under my +direction—each one a thief. One by one the +coffins were hoisted to the surface, were securely +sewed up in sailcloth and matting, and then were<span class="pagenum" id="Page_161">161</span> +carried across the plain of Thebes to the steamers +awaiting them at Luxor.”</p> + +<p>It took six days of hard labour, under the +blazing sun of an Egyptian July, before the +tomb was cleared; and then three days more +were spent in waiting for the Museum steamboat +to arrive. Brugsch must have been an anxious +man as he watched the efforts of the three +hundred professional tomb-robbers from whose +hands he was snatching what they regarded +as their legitimate prey; and no doubt he +heaved a sigh of genuine relief when, on July 20, +he handed over his precious freight to the +Museum at Boulak, and was delivered from the +burden of royalty. Sir Gaston Maspero has +told us how all along the Nile, from Luxor to +Quft, both banks of the river were covered with +frantic crowds of fellahs, the women tearing their +hair and wailing, the men firing rifles, as they +followed the downstream progress of the steamer +bearing the mummies. So, no doubt, only without +the rifles and the steam, their ancestors had +followed the funeral barks which bore across +the river the dead bodies of these mighty kings +three thousand years before!</p> + +<p>The very richness of the find proved somewhat +of an embarrassment to the authorities at +the Cairo Museum, and it was several years +before the results of Brugsch’s great haul of +Pharaohs were properly sorted out and classified. +It was not till May, 1886, that the unwrapping of +the mummies began, and the task was only +completed in the end of June. The figure of +supreme interest was that of Ramses II, who<span class="pagenum" id="Page_162">162</span> +was then believed to be the Pharaoh of the +Oppression of the Israelites, and who was then +taken more at the estimate of his own overweening +vanity than he is at present. The mummy of +the great king was solemnly unwrapped in the +presence of an illustrious gathering, the Khedive +of Egypt himself verifying the existence of the +later inscription of the priests of the XXIst +Dynasty on the wrappings around the body, +before the process of unwrapping began. The +state of the mummy agreed with the historical +evidence as to the length of the reign of Ramses. +The king must have been nearly one hundred +years old when he died, and his body bears the +marks of extreme old age.</p> + +<p>“The mummy,” says Maspero, “is thin, +much shrunken, and light; the bones are brittle, +and the muscles atrophied, as one would expect +in the case of a man who had attained the age +of a hundred; but the figure is still tall and of +perfect proportions. The mask of the mummy +gives a fair idea of that of the living king; +the somewhat unintelligent expression, slightly +brutish perhaps, but haughty and firm of purpose, +displays itself with an air of royal majesty beneath +the sombre materials used by the embalmer.”</p> + +<p>The hero of the battle of Kadesh must in +his prime have been a man of large and powerful +frame. “Even after the coalescence of the +vertebræ and the shrinkage produced by mummification, +his mummy still measures over 5 feet +8 inches”; so that we may picture him as a +formidable figure over 6 feet in height, perhaps +nearer 7 feet with the high war helmet of the<span class="pagenum" id="Page_163">163</span> +Pharaohs crowning his head, as he charged with +arrow drawn to the head, in his rattling war-chariot +upon the Hittite ranks. His conduct at +Kadesh suggests a good trooper, but a dull +general, and his mummy does nothing to cause +a revision of the judgment.</p> + +<p>An infinitely nobler figure was that of the +father of Ramses, Sety I, whose mummy was +also found in the <em>cache</em>. “The fine kingly head +was exposed to view,” says Maspero. “It was +a masterpiece of the art of the embalmer, and the +expression of the face was that of one who had +only a few hours previously breathed his last. +Death had slightly drawn the nostrils and +contracted the lips, the pressure of the bandages +had flattened the nose a little, and the skin was +darkened by the pitch; but a calm and gentle +smile still played over the mouth, and the half-open +eyelids allowed a glimpse to be seen from +under their lashes of an apparently moist and +glistening line, the reflection from the white +porcelain eyes let in to the orbit at the time of +burial.” The somewhat gruesome art of the +Egyptian embalmer reached its culmination in +this extraordinary piece of work, and while to +our minds the whole practice verges upon, if +it does not overstep, the limits of the decent +into the realm of the horrible, we may admit +that it comes as near as possible to the attainment +of what Professor Elliot Smith tells us was the +aim of the embalmer—“to make the representation +of the dead man so life-like that he should, +in fact, remain alive.” We should never have +known how noble and dignified a type the<span class="pagenum" id="Page_164">164</span> +aristocratic Egyptian of 1300 <span class="allsmcap">B.C.</span> had attained +had it not been for the preservation of the grand +head of Sety, which teaches us that the sculptor +of the exquisite reliefs of Abydos was doing no +more than bare justice to his king when he carved +the delicate beauty which charms us to-day.</p> + +<p>If the beauty of Sety’s face almost justified +both the morbid skill which sought to deny the +reality of death and the curiosity which unveiled +the secrets of the grave, the same cannot be said +of the mummy of Seqenen-Ra, not the least +interesting of the grim assemblage. There are +few things more ghastly than the head of the +old hero of the Expulsion of the Hyksos, with +three gaping wounds on skull and face, and the +teeth clenched, in the death-agony, upon the +mangled tongue. Yet even this grim evidence +of a violent death on the field of battle seems to +bring the reality of that ancient struggle in which +the Pharaoh died more forcibly home to the +imagination.</p> + +<p>A still more horrible figure of nightmare was +that of the unnamed person whose contorted +limbs and writhen countenance suggested to +Maspero the most ghastly of all suspicions as +to how he met his end. “It makes one’s flesh +creep to look at it,” says Maspero, speaking of +this mummy; “the hands and feet are tied by +strong bands, and are curled up as if under an +intolerable pain; the abdomen is drawn up, the +stomach projects like a ball, the chest is contracted, +the head is thrown back, the face is +contorted in a hideous grimace, the retracted +lips expose the teeth, and the mouth is open as if<span class="pagenum" id="Page_165">165</span> +to give utterance to a last despairing cry. The +conviction is borne in upon us that the man was +invested while still alive with the wrappings of +the dead.” Others have suggested a less horrible +interpretation of the condition of the figure. In +the report of the trial which took place in the +reign of Ramses III of individuals accused of +a conspiracy against the life of the king it is +significantly said of some of those whose guilt +was established, “They died of themselves,” +and the suggestion has been made that this +figure, whose contortions might well be due to +the action of an irritant poison, is that of one +of these involuntary suicides. In either case, +the thing is sufficiently horrible, and hints, not +obscurely, at that darker aspect of Oriental +Court life which lay beneath all the glitter and +splendour of the Theban palace.</p> + +<p>The find of Der el-Bahri was followed, in +1894–5, by the discoveries of M. de Morgan +at Dahshur, which have given us the exquisite +jewellery of the XIIth and XIIIth Dynasty +already alluded to in our chapter on the Pyramids. +And then, in 1898, M. Loret discovered in the +Valley of the Kings the tomb of Amenhotep II, +son of the great conqueror Thothmes III.</p> + +<p>Until the great discovery of last year threw +all others into the shade, this discovery of M. +Loret was unique, for the mummy of Amenhotep +was found still resting in its coffin under the +gold-starred and blue-painted roof of the funerary +chamber—the first Pharaoh who had ever been +found sleeping in the tomb where he was laid. +His own records tell us of his prowess. “He<span class="pagenum" id="Page_166">166</span> +is a king very weighty of arm,” so the inscription +of the Amada and Elephantine steles runs; +“there is not one who can draw his bow among +his army, among the hill-country sheikhs, or +among the princes of Retenu, because his strength +is so much greater than that of any king who has +ever existed.” In later days this boast of the +old Pharaoh got twisted into the curious legend +which Herodotus records of the king of Ethiopia +who challenged Cambyses to draw his bow. +The redoubtable weapon itself, strange to say, +was found in the tomb along with its owner. +It bore the inscription: “Smiter of the Cave-dwellers, +overthrower of Kush, hacking up their +cities ... the great wall of Egypt, protector of +his soldiers.” Amenhotep was still wrapped in +his shroud and adorned with garlands; but the +tomb had been ruthlessly plundered in ancient +days, and little of artistic value was found. One +of the side-chambers of the tomb, however, +yielded a store of Pharaohs, only second in importance +to the great find of Der el-Bahri. Here +were gathered nine royal mummies, among +them those of Thothmes IV, Amenhotep III, +Siptah, Ramses IV, Ramses V, and Ramses VI. +Most interesting of all, in view of the idea then +prevalent of the date of the Exodus, was the +discovery, along with these, of the mummy of +Merenptah, who was held to be the Pharaoh of +the Exodus. The absence of Merenptah from +the royal gathering at Der el-Bahri was explained +by interested but casual readers of Scripture by +the fact that of course he was drowned in the +Red Sea. The narrative of Exodus, of course,<span class="pagenum" id="Page_167">167</span> +makes no such statement, and Merenptah duly +appeared, though the interest attaching to him +has somewhat waned with the progress of the +view that the Exodus took place two hundred +years before his reign.</p> + +<p>The fate of the tomb of Amenhotep is suggestive +of the difficulties which meet the explorer +in his attempt to preserve for science and to treat +with proper reverence the relics of the past which +he unearths. The great king was left in his +coffin, with a few articles of his funerary furniture +beside him. The result was that in spite of the +armed guard which is maintained in the Valley +of the Kings, or perhaps with the complicity +of the guard, the tomb was rifled in 1901, the +mummy of the Pharaoh tumbled out on the +floor, and the model boat which had been left +beside the king stolen.</p> + +<p>With the suggestion that Tutankhamen should +be allowed to rest in the midst of the splendours +which accompanied him to the grave, everyone +must sympathise; the question is, will he be +allowed to rest in peace, no matter what the +precautions which may be taken, in the midst +of a people with whom tomb-robbery is a +profession of six thousand years standing, and +who know the matchless value of the treasure +which lies within their reach? Whatever the +decision, it may be hoped that if the mummy of +the last king in the direct line of the great XVIIIth +Dynasty be found beneath his gorgeous canopy +it will not be made the subject of a vulgar show, +as is done with that of Amenhotep II.</p> + +<p>In 1902 the work of excavation in the Valley<span class="pagenum" id="Page_168">168</span> +of the Kings was undertaken by an American, +Mr. Theodore M. Davis, or rather the funds for +the work were provided by Mr. Davis, while +the actual work of excavation was carried on +by officials of the Service of Antiquities, first +Mr. Howard Carter, then Mr. Weigall, and Mr. +Ayrton. In 1903 Mr. Carter found the tomb of +Thothmes IV, son of Amenhotep II, and father +of Amenhotep III. His mummy had already +been found in the tomb of his father, but many +articles of funerary furniture, mostly broken, +were found, including the embossed leather +front of a state chariot, with decoration in gesso. +Between 1902 and 1912, the work financed by +Mr. Davis was crowned with the most astonishing +success. In these years were found the tombs of +Queen Hatshepsut, King Siptah, Akhenaten (or +rather the tomb of Queen Tiy, with the mummy +of Akhenaten), Horemheb, Prince Mentuherkhepshef, +and, above all, the tomb which, though +its occupants were not of royal rank, proved yet +the richest and the most interesting which was +ever discovered, till it was outclassed by that of +Tutankhamen—the tomb of Yuaa and Tuau.</p> + +<p>It was in February, 1905, that the workmen +of Mr. Davis struck the first indication of the +tomb in the shape of a well-cut stone step, which +promised to prove the first of a flight descending +to a tomb-passage. By February 12 the door +was cleared, and the next day Mr. Davis, with +the late Sir Gaston Maspero and Mr. Weigall, +penetrated with some difficulty into the tomb-chamber, +and the little party found themselves +in the presence, not only of two of the most<span class="pagenum" id="Page_169">169</span> +interesting personalities of Egyptian history, but +also of the most wonderful collection of funerary +furniture which, up to that time, had ever +rewarded the explorer. Their delight was very +nearly turned to tragedy before they had begun +to realise the importance of their find. In his +eagerness to inspect the funeral sledge, on which +Maspero had just read the famous name of Yuaa, +Mr. Davis stooped with his candle close to the +bitumen-covered woodwork, and was pulled back +just in time. One touch of the flame on the +pitch, and the corridors of the tomb would have +been a roaring tunnel of flame, in which Yuaa, +his funerary equipment, and his discoverers would +probably all have perished together.</p> + +<p>The danger once realised, candles were +discarded, and electric light led into the tomb. +And then the explorers began to realise the full +wonder of their discovery. The tomb was full +of furniture of the finest and most careful workmanship. +Armchairs carved and inlaid, coffers +of wood inlaid and enamelled with that wonderful +blue of which the Egyptians had the secret, +boxes of painted wood, with figures in gilt gesso, +designed to hold the canopic jars which contain +the viscera of the dead, ushabti figures, some of +them plated with gold or silver, wicker-work +baskets for holding perfume bottles, couches of +elegant design, a perfectly preserved specimen +of the type of light chariot in which the Theban +noble of the Empire took his airing, cushions +stuffed with down, still soft and resilient after +three millenniums, costly alabaster vases, toilet +articles of all sorts, and a plentiful supply of the<span class="pagenum" id="Page_170">170</span> +mummified meats which the dead might require +for their journey through the Underworld; the +chamber was a storehouse of all that the Egyptian +deemed desirable for his use in this life or the +next. Nor were the needs of the spirit neglected. +There stood the magical figures by whose help +the occupants of the tomb were to make their +way through the dark paths of the Duat, inscribed +with the “Chapter of the Flame,” or the +“Chapter of the Magical Figure of the North +Wall”; while a great roll of papyrus 22 yards +long contained other prayers which would assist +the sleepers to conquer all the dangers of their +long road. Never had such an assemblage of +beautiful and curious things rewarded the seeker +even in this land of beautiful and curious things.</p> + +<p>Fascinating as the treasures of the tomb +were, however, the main interest was not in them, +but in the two gilded coffins in which the owners +of all this wealth lay quietly sleeping their long +sleep. “First above Yuaa and then above his +wife the electric lamps were held, and as one +looked down into their quiet faces there was +almost the feeling that they would presently +open their eyes and blink at the light. The +stern features of the old man commanded one’s +attention, and again and again our gaze was +turned from this mass of wealth to this sleeping +figure in whose honour it had been placed there.” +For these two silent tenants of the tomb were +the man and woman to whose influence, in all +probability, was due not a little of that great +religious revolution which in a few years altered +the whole course of Egyptian history, and swayed<span class="pagenum" id="Page_171">171</span> +the balance of the destinies of the Ancient East. +Prince Yuaa and his wife Tuau were the father +and mother of that famous Queen Tiy, whose sway +over the mind of her husband Amenhotep III +prepared the way for the supremacy of that +new spiritual faith of which her son, the ill-fated +Akhenaten, was in the fulness of time to be the +exponent and champion, and whose failure +broke his heart in the midst of the downfall of +the empire to which he had vainly attempted +to teach the creed of the Brotherhood of Man. +To few people has it been given to exercise so +great an influence upon the course of history as +to these two quiet figures whose rest was broken +after 3300 years by the representatives of three +nations whose ancestors were outer barbarians +when Prince Yuaa and his wife were foremost +figures in the most glittering court of the Ancient +East.</p> + +<p>Two years later, the work of Mr. Davis +resulted in another discovery, less important +from the point of view of the wealth of funerary +furniture involved, for in this case there was +little found, but even more interesting in view +of the personality whose mummy occupied the +tomb. The site of the new find was at the +corner of the ravine leading to the well-known +tomb of Sety I, and was covered with gravel and +loose stones. “After some days of hard work, +the regular rectangle of a pit appeared upon the +soil, then two or three steps appeared, followed +by a staircase open to the sky, a door, a narrow +passage, and a wall of rock-work and beaten +earth. The seals affixed by the guardians, more<span class="pagenum" id="Page_172">172</span> +than thirty centuries before, were still intact on +the lime-wash.” Breaking them on January 6, +1907, Mr. Davis and Mr. Weigall penetrated +into a narrow passage, which was almost blocked +by two panels of gilded wood, which had once +formed part of a funeral canopy, like that of +Tutankhamen. Wriggling past these with +difficulty, they entered a roughly hewn and +quite undecorated chamber, on the floor of which +lay a few earthen pots, some alabaster ornaments, +and a number of amulets. But the sight which +arrested the eye was that of the coffin, which, +at the first glance, seemed in the glare of the +electric light to be made of massy gold. “It +seemed,” says Maspero, “as if all the gold of +ancient Egypt glittered and gleamed in that +narrow space.” The news of a wonderful discovery +of treasure spread far and wide through +the neighbourhood, growing as it spread, till +the report had reached such fabulous proportions +that it was necessary to place a guard over the +tomb to prevent an assault. Of course it was +more seeming than reality, for the gold turned +out to be mere gold-foil, and the tomb was in +reality singularly poor in objects of value. The +coffin had originally been placed upon a bier of +the usual form; but this had decayed, and the +heavy coffin had fallen, and its lid had come off +in the fall, exposing the head and feet of its +tenant, from which the bandages had decayed. +The body was wrapped in sheets of gold-foil, +and the inscription on the coffin, worked in semi-precious +stones, gave the title of Akhenaten, +“the beautiful child of the Sun.”</p> + +<p><span class="pagenum" id="Page_173">173</span></p> + +<p>Such a discovery was, of course, most +unexpected; for Akhenaten had made his capital, +not at Thebes, which he hated, but at Tell +el-Amarna, where he had declared his intention +to be buried, and where his tomb was known. +Besides, the inscription on the funeral canopy +stated that Akhenaten had made it for his mother +Queen Tiy. The explorers therefore concluded +that they had indeed discovered the tomb, part +of the funeral furniture, and the skeleton (it +cannot be called a mummy) of Queen Tiy, and +in this belief they sent the broken fragments of +the skeleton to Professor Elliot Smith for examination, +only to be informed by him that what +they had sent was not the body of an old woman, +but of a young man, who, if normal, which was +doubtful, could not have been much older than +twenty-six when he died. There seems in fact +to be little doubt that the skeleton which was +discovered in the tomb of Tiy was that of the +man whose action in one direction and inaction +in another changed the destiny of the ancient +world in one of the most critical periods of its +history. Mr. Davis, strange to say, could never +bear the idea that he had found the bones of +Akhenaten, though one would have thought +that the discovery of the most pathetic and +interesting figure of Egyptian history would have +put the crown on the satisfaction with which he +could justly regard his work. He had set his +heart on discovering Queen Tiy, and to have +even her far more famous son substituted for +her was a bitter disappointment to him.</p> + +<p>But how came Akhenaten, the heretic king,<span class="pagenum" id="Page_174">174</span> +“that criminal of Akhetaten,”<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">1</a> as the priests of +Amen always called him, to be buried, not in +his own heretic capital at Tell el-Amarna, but +in orthodox Thebes, and in his mother’s tomb? +There is, of course, no certain explanation of +the facts; but from what is known of the history +of the period an explanation may at least be +suggested with a reasonable amount of confidence +that it is not very far from the truth. When +Akhenaten died, his body was no doubt buried +at Tell el-Amarna, as he had decreed. When +his son-in-law, Tutankhaten, and his daughter, +Ankh. s. en. pa Aten, found the pressure of +circumstances too strong for them, and were +obliged to return to Thebes, to restore the old +religion, and to change their names to Tutankhamen +and Ankh. s. en. Amen, they carried with +them, doubtless, the body of the reformer, still +revered and beloved, and gave it honourable +burial in the tomb of Tiy—the most fitting place, +since no royal tomb could have been prepared +in Thebes. But as time went on, the reactionary +priests of Amen became more and more the +dominant element in the kingdom, and they had +none of the chivalrous spirit which prompted +Charles V’s “I war not with the dead,” at the +tomb of Luther. The only way in which they +could strike at the dead heretic was also, to an +Egyptian mind, the most certain and the most +deadly; they could destroy his hopes of immortality +by desecrating his tomb, and blotting out +his name from it. So the body of Queen Tiy +was removed from the tomb which had been<span class="pagenum" id="Page_175">175</span> +polluted by the presence of her son, his name +was erased from the inscriptions, and the +entrance of the tomb was blocked with stones +and sealed with the seal of Tutankhamen. Then +the body of “the world’s first great idealist and +the world’s first <em>individual</em>” was left in solitude, +and, as his enemies fondly believed, in eternal +oblivion and shame, to await its resurrection, +thirty centuries later, at the hands of a generation +which has at least learned to appreciate and to +honour the ideals for which he sacrificed so much.</p> + +<div class="footnote"> + +<p><a id="Footnote_1" href="#FNanchor_1" class="label">1</a> Akhetaten, the town created by Akhenaten, the man.</p> + +</div> + +<p>The remarkable success of Mr. Davis in the +search for buried royalties was fittingly crowned +a year later by the discovery of the tomb of +Horemheb, the usurping reactionary who had +formerly been a general in the service of Tutankhamen, +and who seized the throne after the +brief reigns of Tutankhamen and Ay. The tomb +had been plundered and wrecked, but the +beautiful red granite sarcophagus, 8 feet 11 inches +in length by 3 feet 9½ inches in width and 4 feet +in depth, was intact. In it were found the bones +of one person, but in such a condition that it was +impossible to determine the sex of the person +to whom they had belonged. In 1906 Mr. +Davis made another discovery, this time of an +uninscribed chamber nearly filled with mud. +The presence in the chamber and in the neighbourhood +of a number of articles bearing the +names of Tutankhamen and Ankh. s. en. Amen +led him to believe that this was the tomb of +Tutankhamen, and the sumptuous volume in +which he published the results of these last two +discoveries was therefore entitled “The Tombs<span class="pagenum" id="Page_176">176</span> +of Harmhabi and Touatankhamanou.” Time +and further investigation have proved that in +this respect he was wrong, as also in the conviction +which he expressed in the book that +“the Valley of the Kings is now exhausted.” +Another discovery was due sixteen years after +his last find, which was to prove that the Valley +yet held treasures whose beauty and richness +could dazzle the world, and make even those of +the tomb of Yuaa seem almost paltry by comparison. +Yet the work of Mr. Davis remains +as one of the most remarkable series of successes +which has ever rewarded excavation in Egypt—a +fitting prelude to the great find of November, +1922.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_177">177</span></p> + +<h2 class="nobreak" id="CHAPTER_VII"><span id="toclink_177"></span>CHAPTER VII<br> + +<span class="subhead">TUTANKHAMEN AND HIS SPLENDOURS</span></h2> +</div> + +<p class="drop-cap"><span class="smcap1">Wonderful</span> as the results of the work +of Mr. Davis and his assistants had +been, they were destined to be +completely eclipsed by the most remarkable +discovery which has ever been made in all the long +story of Egyptological research. It may very +well prove in the long run that the importance +of the find historically is less than that of many +less striking discoveries; but as a revelation of +the sheer wealth and artistic quality of the provision +which was made three thousand years ago +for the journey through the Underworld of even a +comparatively obscure and unimportant Pharaoh, +there has never been anything to compare with +the discovery the news of which was flashed +across the world on November 30, 1922. “This +afternoon,” the message ran, “Lord Carnarvon +and Mr. Howard Carter revealed to a large +company what promises to be the most sensational +Egyptological discovery of the century. +The find consists of, among other objects, the +funeral paraphernalia of the Egyptian King +Tutankhamen, one of the famous heretic kings +of the XVIIIth Dynasty, who reverted to Amen<span class="pagenum" id="Page_178">178</span> +worship.” It is not often that newspaper reports +err on the side of making too little of their subject; +but as the days and weeks passed on, and what +seemed to be an unending procession of marvels +defiled from the dark cave in the Valley of the +Kings before the astonished eyes of numberless +tourists, it became manifest that the half had not +been told, and that Egyptology was faced with a +wealth of material such as had never before been +dealt with, and such as will take many years to +appreciate and measure the full significance of. +All that can be attempted here is to give a +summary account of the find itself, and a brief +provisional account of some of the more important +of the treasures which have so far been disclosed; +for there can be no doubt that what has been +handled is but a fraction of the treasure which +still remains to be dealt with when the tomb is +reopened and the actual sarcophagus-chamber +and its annexe are cleared as the outer chambers +have been.</p> + +<figure id="il_22" class="figcenter" style="max-width: 28em;"> + <img src="images/i_178.jpg" width="1349" height="1854" alt=""> + <figcaption class="caption">22. GRANITE HEAD OF TUTANKHAMEN, CAIRO MUSEUM. + </figcaption> +</figure> + +<p>Some great Egyptological discoveries have +been the result of a mere happy chance, as was +the case in 1887, when a fellah woman, grubbing +for phosphates among the rubbish heaps of +Akhenaten’s ruined capital, found that store of +cuneiform tablets which have since become +world-famous as “The Tell el-Amarna Tablets,” +and disposed of her interest in the find to a friend +for the sum of two shillings. Some, as in the +case of the Der el-Bahri <em>cache</em>, have resulted +from the watch kept on the illegitimate practitioners +of research; and some, as in the case of +Belzoni’s discovery of the tomb of Sety I, have<span class="pagenum" id="Page_179">179</span> +been made with so little trouble that the wonder +is that they were not made long before. But +the discovery made by Lord Carnarvon and +Mr. Howard Carter fell into none of these +categories. It was the result of long and persistent +and systematic work, carried on under +very disappointing conditions, but with a clear +appreciation of the object in view. For sixteen +years the two explorers had been working together +at Thebes, and already in 1912, they had published +the results of their work in <cite>Five Years’ Exploration +at Thebes</cite>. Their work had not been +particularly fruitful, and when seven years ago +they took over the abandoned right to work in +the Valley of the Kings, their first efforts yielded +no very brilliant success. “Mostly disappointments,” +was Lord Carnarvon’s summary of his +previous finds. The explorers, however, were +proceeding on a plan which was bound to lead +to success in the end, if there was anything left +to be found, and if their patience, or their +resources, held out long enough in the face +of a continued monotony of failure. Previous +explorers, like Mr. Davis, had proceeded on the +method of <i lang="fr">sondages</i>, or trial pits, sinking a pit +here and another there in spots which they +judged likely. Such a method, obviously, may +lead to success very simply and easily; or, on +the other hand, it may result in your missing the +very spot where the treasure lies. The method +adopted by Lord Carnarvon and Mr. Carter +was much more thorough, though also much more +laborious and monotonous. They systematically +cleared the ground over a selected area down to<span class="pagenum" id="Page_180">180</span> +the virgin rock. The labour involved in such a +method of work is, of course, enormous; it is +said that the two explorers moved 200,000 tons +of rubbish in their researches; but it is plain +that there is no chance of missing your object +by a foot or two, as is quite possible with the other +plan. There may, of course, be nothing in your +area at all; but if there is anything, you are +bound to get it.</p> + +<p>So it proved at last in this case. On the fifth +of November, Mr. Carter, who was working on a +spot which so far had been untouched because +it lay in front of the tomb of Ramses VI, which +is one of the regular electrically lighted show-tombs +of the Valley, came upon a rock-cut step, +which seemed like the beginning of a flight +leading to a tomb. He cleared a few more steps, +and then came to a door, or rather to a cement-covered +wall, blocking a doorway. On the +cement of the wall was visible the seal of the +royal portion of the Theban necropolis, consisting +of a jackal couchant above nine captives in rows +of three. When the excavation had reached +this stage, Mr. Carter cabled to Lord Carnarvon +to come out to Egypt at once, as a fine discovery +had been made, and the spot was covered up +till his arrival.</p> + +<p>The resumption of the excavation showed +that in ancient days a thief had broken into the +tomb, which had been inspected and sealed by +the inspectors of Ramses IX subsequent to his +entrance. On the undamaged portion of the +wall there could be seen the cartouche of the +Pharaoh Tutankhamen, son-in-law and successor<span class="pagenum" id="Page_181">181</span> +to the famous Akhenaten. After arrangements +had been made for protecting the tomb and +whatever it might contain from the efforts of +the modern successors of the Ramesside thief, +the entrance passage, about 8 metres long, was +cleared, and another sealed door was reached. +It was uncertain whether the explorers would +find another staircase or passage behind this new +obstacle, or whether it would give access to one +of the chambers of the tomb. What followed +may best be told in the words of Lord Carnarvon +himself:</p> + +<p>“I asked Mr. Carter to take out a few stones +and have a look in. After a few minutes this +was done. He pushed his head partly into the +aperture. With the help of a candle he could +dimly discern what was inside. A long silence +followed, till I said, I fear in somewhat trembling +tones, ‘Well, what is it?’ ‘There are some +wonderful objects here,’ was the welcome reply. +Having given up my place to my daughter, I +myself went to the hole, and I could with difficulty +restrain my excitement. At the first sight, +with the inadequate light, all that one could +see was what appeared to be gold bars. On +getting a little more accustomed to the light it +became apparent that there were colossal gilt +couches with extraordinary heads, boxes here +and boxes there. We enlarged the hole, and +Mr. Carter managed to scramble in—the chamber +is sunk 2 feet below the bottom of the passage—and +then, as he moved around with a candle, we +knew that we had found something absolutely +unique and unprecedented. Even with the poor<span class="pagenum" id="Page_182">182</span> +light of the candle one could see a marvellous +collection of furniture and other objects in the +chamber. There were two life-sized statues of +the king, beds, chariots, boxes of all sizes and +shapes—some with every sort of inlay, while +others were painted—walking sticks, marvellous +alabaster vases, and so on. After slightly +enlarging the hole we went in, and this time we +realised in a fuller degree the extent of the +discovery, for we had managed to tap the electric +light from the tomb above, which gave us far +better illumination for our examination.”</p> + +<p>Inspection quickly proved that the first +revelation was only the beginning of marvels. +Beneath one of the state couches a small opening +in the wall of the chamber showed where a +second chamber opened off the first. This room +it was impossible even to enter, for it was crammed +to a height of 5 feet with articles of furniture +of all descriptions, packed close together in +seemingly inextricable confusion. At the one +end of the first chamber stood two life-sized +statues of the king in bituminised wood with gold +adornments, and between them was the evidence +that other chambers lay beyond; for this +part of the room had been closed with a wall +on which the seals of the Ramesside inspectors +could still be seen, and in the centre of this wall, +on the floor level, there were traces of the fact +that a break had once been made in the wall, +sufficiently large to admit a small man. This had +subsequently been sealed up again, probably +by the inspectors of Ramses IX.</p> + +<p>Manifestly there was more to follow behind<span class="pagenum" id="Page_183">183</span> +that sealed wall. In the two chambers which +had been seen there was no trace of any sarcophagus, +or any evidence whatever of any +interment. It was obvious, therefore, that, unless +this wonderful mass of artistic craftsmanship was +only a <em>cache</em> where robbers’ loot was gathered, +or a gathering of costly material drawn together +for safety from robbers, both of which alternatives +seemed somewhat unlikely, the real tomb-chamber, +with what was in all probability the +unimaginable wealth of the great nest of coffins +under its canopy, the coffers for the canopic +vases, and all the other funerary regalia of a +Pharaoh of the Empire, lay beyond the wall which +closed the end of the first chamber. In that case, +the revelations which awaited the explorers might +well be of a kind which would make even the +glories which had so far been disclosed look dim +and paltry. The explorers must have been sorely +tempted to pierce the wall at once, and so arrive +at least at some conception of the magnitude of +their find; but prudence forbade this. The +amount of material already under their hands in +the outer chambers was sufficient to occupy all +the time of the experts who had gathered to the +scene for many weeks. The fabrics concerned +were all of them priceless, and some of them were +of almost inconceivable delicacy. All of them +were at least three thousand years old, and had +during all that time been shut up in the still air +of a subterranean vault. Until they had been +carefully treated with preservatives, and insured, +so far as possible, from the risks of exposure to +the air and the heat of the upper world, it was<span class="pagenum" id="Page_184">184</span> +impossible to do anything that would add to the +task, already one of great labour and difficulty, +which lay upon the explorers and their assistants. +Accordingly curiosity was kept in check until the +results of the first discovery should be secured, +and the opening of what was hoped would prove +the first intact royal tomb-chamber ever found +in Egypt was deferred for awhile. Meanwhile +for weeks the Valley of the Kings was beset, day +after day, by throngs of tourists before whose +astonished eyes there passed a seemingly endless +procession of the marvels of ancient Egyptian +craftsmanship of thirty centuries ago, and who +seemed to take it as a personal grievance when +the articles removed on any particular day were +not sufficiently numerous or gorgeous to satisfy +their craving for sensation. Tutankhamen +became the fashion, and leaped at once into +greater prominence than he ever enjoyed during +his short and not particularly glorious reign.</p> + +<figure id="il_23" class="figcenter" style="max-width: 28em;"> + <img src="images/i_184.jpg" width="1347" height="2035" alt=""> + <figcaption class="caption">23. DECORATION FROM A THEBAN TOMB. + </figcaption> +</figure> + +<p>When the contents of the outer chamber had +been placed in safety, the time came for the +breaking of the sealed wall which barred the sarcophagus-chamber +from view; and on February 16 +this was at last accomplished in the presence +of a distinguished company of Egyptologists, +though the formal opening, at which the Queen +of the Belgians was present, did not take place +till two days later. When it was possible to +see through the growing aperture into the inner +chamber, the sight revealed was one to take +the breath away from the most hardened +treasure-hunter. Practically the whole chamber +was filled, from end to end, and side to side, by<span class="pagenum" id="Page_185">185</span> +an object which no man has seen intact for more +than three millenniums—the funerary canopy +or shrine of an Egyptian Pharaoh of the New +Empire, beneath which, it might be hoped, lay +the successive coffins, with all their wealth of +amulets and ushabtis, which guarded the mummy +of the dead king. The canopy itself was of the +most extraordinary beauty and splendour. It +was of wood heavily gilded, carved with representations +of the Buckle of Isis and the Pillar of +Osiris, and inlaid with panels of that exquisite +blue glaze of which the Egyptians were so justly +fond. Its upper edge was formed by the familiar +Egyptian gorge-cornice, and its roof was of the +usual coved type, common in shrines of all sorts. +So completely did it fill the chamber, that there +was scarcely room to pass between it and the +rock walls, which were rather poorly decorated +with painted figures. On the east side of the +canopy were bronze-hinged doors, and when +these were opened, there appeared within a +second canopy, entirely gilt, and closed with doors +on which the seals, with their strings, were +perfectly intact, a fact of great importance, since +it signifies that in all probability the inner shrine +remains absolutely as it was left on the day when +the Pharaoh was laid to rest amidst all his +splendours. Between the two canopies there +lay alabaster vessels, amulets, scarabs of rare +colour and fine material, and precious stones. +Between the outer canopy and the wall of the +chamber lay the paddles for the king’s barge on +the waters of the Underworld.</p> + +<p>On the same side of the sarcophagus-chamber<span class="pagenum" id="Page_186">186</span> +as the doors of the shrine, a large opening in +the wall, which had never been closed, led into +an annexe. On guard near the entrance of this +room was an ebony and gold figure of the god +Anubis as a jackal couchant on the top of his +shrine. Perhaps the most conspicuous thing in +the room was a great gilt coffer, standing over +5 feet high, and adorned along the top with +golden uræi, which in all likelihood is the shrine +containing the Canopic Jars in which the viscera +of the royal mummy were deposited. On its +four sides were figures of guardian goddesses, +enfolding the shrine with their arms, and wrought +with the most wonderful delicacy of modelling +and realism of expression. They seemed, said +one observer, to be turning reproachful faces +towards the intruders who were disturbing the +long peace of the tomb. The whole room was +crowded with objects of all sorts, coffers and +boxes of splendid material and workmanship, +model boats for the king’s use in the Elysian +Fields, ushabti figures in gold and silver, and one +exquisite and unique specimen, absolutely complete, +of the ostrich-feather fans which are so +often depicted on the reliefs of royal processions. +The handle of this beautiful piece of craftsmanship +was of ivory, delicately carved and adorned +with the royal cartouche inlaid in coloured stones.</p> + +<p>Such was something of the general impression +which was left on the minds of the fortunate few +who were privileged to be present at the most +marvellous disclosure of the wealth and artistry +of ancient Egypt which has ever been given to +the world. The impression was of the briefest,<span class="pagenum" id="Page_187">187</span> +for the explorers had reluctantly to come to +the conclusion that it was impossible to carry +the work further this season. The heat of the +Egyptian spring in the sun-scorched valley was +already growing almost unbearable; the amount +of precious material already collected was such +as would require months for its proper preservation +and arrangement, and it was impossible to +add to it a far greater quantity of still more priceless +treasure without risking loss and damage. +Accordingly, after the tomb had been kept open +for a few days longer, it was decided to close it +again until the autumn, when the conditions for +work would be more favourable. The gang of +workmen was set to work again, and by the end +of February the tomb of Tutankhamen was once +more piled with many hundred tons of rubbish, +and the king was left beneath his gorgeous +canopy to enjoy for a few months longer the sleep +which had been unbroken for 3300 years.</p> + +<p>Strangely enough, the incident did not close +without an event which seemed to cast a dark +shadow across all the splendour of the discovery. +Almost immediately after the triumph of the +opening, and before the freshness of its interest +had faded from men’s minds, Lord Carnarvon +was stricken down with fever, and in the beginning +of April he died in Cairo, leaving his great +work still incomplete. There is no need to talk +of the flood of superstitious drivel which was let +loose over the world by what seemed so tragic +an ending to so great a success. It is hard to +say whether stupidity or cruelty were more +conspicuous in it, and it remains self-condemned<span class="pagenum" id="Page_188">188</span> +in the eyes of all reasonable people. There is, +no doubt, an element of sadness in the thought +that he without whom these treasures of the past +might never have been disclosed did not live to +see the completion of his work; but there is +surely also an element of satisfaction in the +thought that he knew that his long toil had not +been in vain, and that he had accomplished +something unique in the story of the exploration +of that ancient world to which we owe so much. +To leave the scene of triumph while the splendour +of accomplishment is still undimmed has ever +been esteemed the happiest of destinies. If it be +so, then Lord Carnarvon was <i lang="la">felix opportunitate +mortis</i>.</p> + +<p>Before we turn to the consideration of some +of the chief treasures which have so far been +gathered from the outer chambers of the tomb, +let us devote a moment to the question of who +the Pharaoh is whose splendours have thus +dazzled the world, and what is known of his +reign and his times. Not the least remarkable +feature of the whole find is that the man around +whom all this magnificence was gathered is just +about one of the last of the Pharaohs whom one +would have suspected of creating a sensation in +the world of Egyptology. His reign is one of the +shortest and least fully recorded in the roll of +the XVIIIth Dynasty; indeed the only kings +of the Dynasty who seem yet more insignificant +than himself are his immediate predecessor +Smenkhara, and his immediate successor Ay. +The circumstances of his reign, so far as they are +known, are briefly these. Tutankhamen began<span class="pagenum" id="Page_189">189</span> +his career as one of the courtiers of Amenhotep +IV (Akhenaten), and one of his supporters +in the great revolution which he attempted to +carry out on the religion of Egypt; though, from +his apparent youth at the time of his death, he +can scarcely have had any real share in the +movement. Whether he was of the blood royal +or not is uncertain. On the lion from Gebel +Barkal, now in the British Museum, he calls +Amenhotep III his father. If this means direct +relationship, then he must have been the son of +Amenhotep III by a secondary wife, and in that +case he was a half-brother of Akhenaten, whose +son-in-law he afterwards became. On the other +hand, the title may be only one of respect applied +to an indirect ancestor—really his grandfather-in-law. +In any case he must have been of such +noble rank, and of a family of such influence, +that it was worth Akhenaten’s while to secure his +adhesion to the new cause, even when he was no +more than a boy, by marrying him to one of the +young princesses. Accordingly he was married +to the third of Akhenaten’s daughters, the +princess Ankh. s. en. pa. aten, the first daughter, +Meryt-aten, being married to another noble of +the court, Smenkhara, and the second, Makt-aten, +having died probably between her ninth and +eleventh year; and at this time, and till after his +accession to the throne, he bears the name +Tutankhaten, the name of Amen being of course +proscribed by the new faith.</p> + +<p>On the death of Akhenaten without male +issue, Smenkhara, the husband of the eldest +princess, naturally, according to Egyptian custom,<span class="pagenum" id="Page_190">190</span> +succeeded to the throne, and reigned for a short +and uncertain period; then on his death or +deposition, the succession fell to Tutankhaten. +For a time, apparently, he maintained himself +in the new capital of Akhetaten (Tell el-Amarna), +but the reaction in favour of the old faith of +Amen proved too strong for him, and he was +obliged to remove the court to Thebes, and to +conform to the worship of Amen. His name was +changed to Tutankhamen (Living Image of +Amen), and that of his wife to Ankh. s. en. Amen +(Her Life is from Amen), and every trace of the +religious revolution was obliterated so far as +possible. The duration of his reign is uncertain, +and probably it cannot have been longer than +nine years. It has been suggested, from the +evidence of some of the articles in his tomb, +that he died before attaining maturity—at all +events he must have been still a young man at the +time of his death.</p> + +<p>As to the events of his reign, we are much in +the dark. The brilliance of his funerary equipment +has led to the rather hasty conclusion that +the reign was marked by a great renaissance of +Egyptian art and power, and an attempt to regain +the Empire which had been largely lost during +the pacifist reign of Akhenaten; but this theory +rests on very slight foundations, and, as we shall +see, there is another and much more likely +explanation of the splendour of the tomb. The +only evidences of foreign enterprise during the +reign are found in the inscriptions in the tombs +of two of the great nobles of the period, Huy +and Horemheb, the latter of whom usurped the<span class="pagenum" id="Page_191">191</span> +throne after the death or deposition of Tutankhamen’s +successor, Ay. In the tomb of Huy +there are records of tribute from Syria and +the Soudan, so that it is evident that Egyptian +influence was not altogether gone in these two +quarters; and one of the statements in the tomb +of Horemheb seems to point to military operations +in Syria under Tutankhamen. In this +inscription, from a fragment in the Cairo +Museum, Horemheb describes himself as “King’s +follower on his expeditions in the south and north +country,” and “Companion of the feet of his +lord upon the battlefield on that day of slaying +the Asiatics.”</p> + +<p>Beyond this, there is really no evidence as to +any events of importance during the reign, +whose significance is not in itself, but in the fact +that it marks the triumph of the forces of reaction +and the reversion to the ancient customs and faith +of the land. The early death of Tutankhamen +left his wife, Ankh. s. en. Amen, in a very difficult +position. She was the only representative in +the direct line of the great XVIIIth Dynasty; +but in all probability her own tenure of the throne +was very uncertain, and almost impossible.</p> + +<p>For a woman to rule the land was a thing not +unheard of, for Hatshepsut had ruled with +vigour and success; but it was an unusual thing, +though a woman could give to her husband a +legitimate title to the royal dignity. Further, +there was a point which rendered the reign of +Ankh. s. en. Amen virtually an impossibility. She +was deeply stained, in the eyes of the dominant +priesthood of Amen, by the fact that she was the<span class="pagenum" id="Page_192">192</span> +daughter of “that criminal of Akhetaten,” as +her father was now called. Her husband had +saved his throne, and probably his life, by his +conformity to the old faith, and her conversion +had accompanied his; but the daughter of +Akhenaten can never have been <i lang="la">persona grata</i> to +the priests of Amen, and when her husband was +gone she must have felt that her tenure of the +crown, and her very life, hung by a very frail +thread. Accordingly she took steps to place +herself in a position of greater security. +Curiously enough, there has come to light from +Boghaz-Kyoi, the Hittite capital, a letter from one +of the Hittite kings, probably Mursil II, telling +of some of the events of the reign of his father +Shubbiluliuma, which gives us our last glimpse +of the poor widowed queen struggling in desperation +to escape from the net of deadly danger which +was drawing closer and closer around her.</p> + +<figure id="il_24" class="figcenter" style="max-width: 28em;"> + <img src="images/i_192.jpg" width="1348" height="1961" alt=""> + <figcaption class="caption">24. DECORATION FROM A THEBAN TOMB—SOWING, REAPING, +THE VINTAGE. + </figcaption> +</figure> + +<p>“Then their ruler,” says the Hittite king, +“namely Bib-khuru-riyas [the Hittite version of +Neb. kheperu-Ra, the Solar name of Tutankhamen], +just at that moment died; now the Queen +of Egypt was Dakhamun [the Hittite version of +Ankh. s. en. Amen]. She sent an ambassador to +my father; she said thus to him: ‘My husband +is dead; I have no children; your sons are said +to be grown up; if to me one of your sons you +will give, and if he will be my husband, he will +be a help; send him accordingly, and thereafter +I will make him my husband. I send bridal +gifts.’” The negotiations thus frankly opened +by the queen apparently proceeded, not without +some hitches, to the point when the bridegroom<span class="pagenum" id="Page_193">193</span> +was selected from among the Hittite princes; +for Mursil’s statement closes thus: “And then +the lady soon fulfilled her words and selected one +of the sons.” Something, however, must have +hindered the completion of the marriage. What +it was we may guess, but with no assurance that +we are right. The Hittites were old enemies of +Egypt, and while Ramses II, a century later, +might safely wed a Hittite princess, it was quite +another thing for a woman, very insecurely +established on the throne, to propose to give +Egypt a Hittite king. In itself the plan was +likely to be most unpopular with poor Ankh. s. en. +Amen’s subjects. Even more fatal to it would +be the opposition of the priesthood. They, no +doubt, had no desire to see the line of their +great enemy established on the throne with a new +lease of power, and backed by the might of the +formidable Hittite Confederacy. It would be +an easy thing for them to play on the native +prejudice against the attempt to bring in a Hittite +consort for their queen. The probability is +that the very step which Ankh. s. en. Amen took +to secure herself actually hastened, or at least +made inevitable, her downfall. At all events +the unlucky young widow disappears, with this +letter, from the page of history; nor is it difficult +to imagine the manner of her disappearance. +The journey from the palace to the tomb has +never been a long one for an unpopular sovereign +in the East, whether in ancient or modern days.</p> + +<p>Such, then, is the story of Tutankhamen’s +reign, so far as we know it. It may be that when +all the secrets of his tomb are disclosed we may<span class="pagenum" id="Page_194">194</span> +learn a little more of the man and his times, +though that is rather more than unlikely, for the +papyri which may be found in the great shrine of +the sarcophagus-chamber will probably be, not +historical, but purely religious. Meantime, at all +events, we know no more, and the little that is +known only seems to underline the contrast +between the insignificance of the king and the +splendour of the tomb which has dazzled all the +world. The pathos of the whole thing can +scarcely fail to appeal to the imagination. Here +you have a dead monarch laid to rest with such +pomp and magnificence that a mere glimpse of +the glitter of his equipment has left the world +bewildered and gaping; and when you try to +conceive the actual facts of the lives behind all +this gorgeousness, what you dimly discern, so +far as you can see anything, is a poor young +couple of children, for Tutankhamen and his +wife were scarcely more than that, striving for +a little to keep their heads above the dark flood +of poisonous priestly hatred and intrigue which +surged around them on every side, and sinking +one after the other beneath their doom.</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“The glories of our blood and state</div> + <div class="verse indent0">Are shadows, not substantial things.”</div> + </div> +</div> +</div> + +<p>Obviously the time has not yet come for the +discussion of the results of the discovery as these +affect our ideas of Egyptian art and craftsmanship. +It will be many months, perhaps years, before +all the material is before the world in the shape of +colour reproductions of the various articles, and +until this work is completed comparisons with<span class="pagenum" id="Page_195">195</span> +already known work cannot be made. Much +that has been said with regard to the revolution +in our ideas of Egyptian art which is to be +brought about by the revelations of Tutankhamen’s +tomb may have to be qualified or withdrawn +in the light of fuller and more leisurely +study, and certain things which were for the +moment acclaimed as masterpieces will beyond +doubt be deposed from an eminence which they +would never have attained save under the +influence of the enthusiasm of the moment. +Still, even when all deductions have been made, +there will remain an amount of material of the +very highest quality, such as has never before +been gathered together for the study of one of +the most interesting periods of Egyptian history +and art.</p> + +<p>Already it is manifest that some of the articles +are quite without parallel in any existing collection +of Egyptian antiquities. Parallels to most +of them, probably to all, doubtless existed, and +we can well imagine that even the finest things +may have been far surpassed by the magnificence +of a really great Pharaoh, such as Amenhotep III; +but these splendours of the culminating period of +the Empire no longer exist, or at least have not +yet come to light, and we were obliged to form +our conception of them from reliefs and paintings, +and to fill in the details of their magnificence from +our knowledge of the grandeur of the monarch +for whose use they were made. Now for the +first time we can see the actual creations themselves, +and even if they belong, not to one of the +greatest of the Pharaohs, but to a comparatively<span class="pagenum" id="Page_196">196</span> +undistinguished monarch, still they represent +the art of a period not far removed from the +historic culmination of Egypt’s greatness, and +it is quite within the bounds of possibility, as +we shall see, that some of the most striking +of them do indeed belong to the greater age +of Tutankhamen’s ancestors, rather than to +his own.</p> + +<p>Of all the articles so far removed from the +tomb, the one which has attracted the most +attention, and excited the most admiration, has +been the Royal Throne, or Chair of State, which +was found in the outer chamber. “It is one of +the wonders of the world,” was the comment of +Professor Breasted on his first view of it, and +there seems to be little doubt that this enthusiastic +praise is well deserved. Within the last quarter +of a century, two of the royal thrones of two of +the greatest empires of the ancient world have +been brought to light, and the simple dignity of +the Throne of Minos, discovered by Sir Arthur +Evans in the Palace of Knossos, forms a most +effective contrast and foil to the gorgeousness of +the Throne of Tutankhamen of Thebes, from +which it may be separated in date by not much +more than a century, the Cretan throne being the +earlier, and indeed the earliest royal throne known +to exist.</p> + +<p>The Throne of Tutankhamen is of wood, +covered with a thin plating of gold and adorned +with finely carved lions’ heads. The arms of the +chair are of modelled wood also overlaid with +gold, and beneath them, on either side, is a +sacred uræus, partly wrought in glaze, with the<span class="pagenum" id="Page_197">197</span> +crown of Egypt in silver. On the back of the +throne is a panel of beautiful workmanship, on +which the king is represented seated, with his +legs crossed, and giving his hand to the Queen, +who is standing—a motive which in its unconventionality +speaks distinctly of the realistic +art of Tell el-Amarna, and suggests comparisons +with the famous Berlin relief in which Akhenaten +leans on his staff, while his Queen Nefertiti +holds out a lotus bloom for him to sniff. The +exposed flesh of the faces and other parts of the +body is beautifully modelled in semi-opaque +reddish glaze, while the King’s costume is +rendered in painting overlaid with crystal. The +queen’s dress is wrought in silver, and beside her, +on a table, there stands a charming bouquet +formed of semi-precious stones inlaid. The seat +of the throne is patterned with blue, white, and +gold mosaic squares, set in diagonal lines. The +whole effect is gorgeous in the extreme, and the +description of the workmanship takes one’s mind +back at once to the King’s Gaming Board of the +Palace of Knossos, with its blaze of blue and gold +and crystal on ivory. Whether we are to infer +Cretan influence in the Egyptian splendour, or +whether Crete derived from earlier Egyptian +work, is a question which may prove of interest +in the future. At any rate, we know that the +two great cultures were for many centuries in +the closest touch, and that each borrowed from +the other, adapting the foreign ideas to its own +tastes.</p> + +<p>One of the features of the throne is highly +suggestive of the conditions of Tutankhamen’s<span class="pagenum" id="Page_198">198</span> +reign. On the gold plating of the chair, the royal +cartouche has been altered, and shows the name +which the king adopted after his conversion to +orthodoxy. At the side of the arms, however, +the cartouche, wrought in inlay of semi-precious +stones and glass, remains unaltered, and still +shows the old heretical form Tutankhaten. The +manifest reason for the difference is that while +it was comparatively easy to alter a cartouche +wrought in gold plate, it was very much the +opposite with one wrought in inlay. Tutankhamen, +spite of his royal dignity, had, like +Mrs. Gilpin, a frugal mind, and could see no +sense in discarding his old Tell el-Amarna +throne, even though it could not be perfectly +adapted to his change of circumstances and of +faith.</p> + +<p>So the throne survives to tell us, not only of +the wonderful artistic skill of the Egyptian craftsman +of 3300 years ago, but also of the difficulties +and inconsistencies of such a period of transition +as that in which Tutankhamen’s lot was cast. +On the stele which he set up at Karnak, and which +is now in the Cairo Museum, the king has +described the miserable state of the kingdom on +his accession. “When His Majesty became +King of the South, the whole country was in a +state of chaos, similar to that in which it had been +in primeval times. From Elephantine to the +Swamps of the Delta the properties of the +temples of the gods and goddesses had been +destroyed, their shrines were in a state of ruin, +and their estates had become a desert. Weeds +grew in the courts of the temples.” He tells<span class="pagenum" id="Page_199">199</span> +us of the wonders of restoration which he +accomplished when “Egypt and the Red Land +came under his supervision, and every land +greeted his will with bowings of submission.”</p> + +<p>But Horemheb’s Coronation Inscription suggests +a somewhat different state of affairs from +the picture of restored prosperity which Tutankhamen +presents, and the hatred with which the +later monarch pursued the memory of his +predecessor hints that the reign of the half-heretic +king was but reluctantly accepted, as a +stage on the way to the full restoration of the +ancient state of affairs—a stage whose fitting +emblem is the throne with its symbols of the old +faith and the new intermingled.</p> + +<p>One of the most interesting among the finds +of the outer chamber is that of the boxes containing +royal robes, both of the King and the +Queen. Whether it may be found possible +to preserve permanently these exquisitely dainty +fabrics remains to be seen; meanwhile it may +be said that what has been seen of them enhances +our respect for the skill of the weavers of the +XVIIIth Dynasty who wrought such superlatively +fine stuffs. Incidentally, the Queen’s +robes give us a curious link with the Egypt of a +day far earlier than even that of Tutankhamen.</p> + +<p>In the Westcar Papyrus we are told how King +Seneferu, the last king of the IIIrd Dynasty, +about seventeen hundred years before the time of +Tutankhamen, feeling bored one day, called to +him the wizard Zazamankh, and demanded a +cure for his ennui, and how the wizard prescribed +a sail in the royal barge manned by twenty of the<span class="pagenum" id="Page_200">200</span> +most beautiful maidens of the royal harem. +“Bring me twenty oars of ebony inlaid with +gold, with blades of light wood, inlaid with +electrum; and bring me twenty maidens, fair +in their limbs, their bosoms and their hair, all +virgins; and bring me twenty fishing-nets, and +give these nets unto the maidens for their +garments.” Now the Queen’s robes, found in +the tomb, “are made of the daintiest diaphanous +bead net material.” Evidently the taste which +inspired the novel prescription of the IIIrd +Dynasty wizard persisted in the Egyptian Court. +We should have inferred as much from the reliefs +and paintings which have come down to us, but +the robes from the Tutankhamen tomb are the +solitary specimens of the royal dress of ancient +Egypt which have survived to the present day.</p> + +<figure id="il_25" class="figcenter" style="max-width: 28em;"> + <img src="images/i_200.jpg" width="1340" height="1965" alt=""> + <figcaption class="caption">25. HEAD OF THE HATHOR-COW, DER EL-BAHRI. + </figcaption> +</figure> + +<p>Along with these robes may be grouped the +so-called coat of mail, which is one of the wonders +of the ceremonial art of the time. The general +type of this wonderful garment is familiar from +Wilkinson’s representation of the corselet pictured +in the tomb of Ramses III, with its overlapping +scales of metal. In the case of Tutankhamen’s +corselet, however, the scales, instead of being +of bronze on leather, are pear-shaped links of +faience laid on gold and backed with linen, +which, of course, has almost entirely perished, +rendering the reconstitution of the coat a +matter of great difficulty. The collar shows a +rich pattern of concentric rings and rectangular +plaques of faience in deep turquoise blue, and +red and yellow. Below the collar, and wrought +into the breast of this superb piece of mail, is a<span class="pagenum" id="Page_201">201</span> +brilliant design stretching right across the chest, +representing the hawk-headed Horus introducing +Tutankhamen to Amen. Should it be possible +to complete the restoration of this beautiful +piece of design, we shall be in possession of a +unique specimen of the Egyptian armourer’s +art, though, of course, it is such a piece of +armour as was never destined to be worn on +active service, but only on ceremonial occasions. +Indeed, it is probable that the ceremonial +occasion for which it was designed was that of +the King’s funeral; for we know from the +Rainer Papyrus that such corselets formed, at +least in later days, an essential portion of the +royal funerary furnishing—so much so that the +funeral could not be completed without them.</p> + +<p>Between six and seven hundred years after +the time of Tutankhamen, the funeral of Eiorhoreru, +prince of Heliopolis, could not be +completed because Ka. amenhotep, prince of +Mendes, had stolen his funerary breastplate. +Pimay, the son of the dead prince, has to win the +corselet back in a tournament before he can get +his father buried with the proper ceremonies. A +matter of seven hundred years is nothing in the +life of an Egyptian custom; and there can be +little doubt that the corselet of Tutankhamen is +just such a ceremonial breastplate as that for whose +possession Pimay and his allies fought in tourney +against Ka. amenhotep and his friends, with +Pedubast of Tanis, overlord of the Delta, as +judge of the passage of arms.</p> + +<p>Among the other articles of royal wearing +apparel were the magnificent sandals with their<span class="pagenum" id="Page_202">202</span> +decoration of golden ducks’ heads and gold +roundels. The leather of the sandals had almost +entirely perished with the lapse of time, being +turned into a substance more like glue; but it +retained sufficient tenacity to hold the decorative +work together, and to let us see how magnificently +a Pharaoh of the Empire was shod and how +gorgeous were the feet before which the vassal +kings of Syria and the Soudan bowed down, +“seven times and seven times.” Interesting +too, in their own way, were the child’s linen +glove, and the child’s tippet, of linen with sequin +decoration. Speculation has framed, on the +basis of the small size of these and other articles, +the theory that the king died in early youth, in +fact when he had scarcely emerged from childhood. +We know nothing, however, of the reason +for the presence of these articles in the tomb; +and the foundation for such speculations is +far too slight to bear the weight of inference +which it is sought to rear upon it. From other +and more satisfactory reasons it has been inferred +that Tutankhamen died in early maturity; but +that is a different matter.</p> + +<p>Nothing is more fitted to reconcile us to the +destiny which has decreed that we should live +in the drab and unpicturesque twentieth century +than the contemplation of the inconveniences +with which the kings and great folk of the bygone +ages had to put up in the midst of the glittering +splendours which dazzle our imagination. One +of these is hinted at by the presence in the tomb +of the candlesticks which bore the light of +Tutankhamen’s days. They are small bronze<span class="pagenum" id="Page_203">203</span> +articles, shaped in the form of the Ankh, and +carrying fastened to them linen wicks, which were, +no doubt, soaked in oil. As small pieces of +decorative workmanship, they are pretty enough; +but it is impossible to imagine anything much +less satisfactory in the way of lighting than they +would seem to be. No doubt there were other +and bigger candlesticks than these, and we cannot +imagine that a luxurious court like that of Thebes +would not have something corresponding to the +great stone standard lamps which flared and +sputtered in the halls and corridors of the +contemporary palace of Minos at Knossos; but +even so, the lighting of an Egyptian palace must +have been what we should think miserably +inefficient, and Pharaoh must have been sorely +put to it to find occupation for his evenings, when +all the glitter of his gorgeousness grew dim and +shabby in the light of the miserable smoking and +flickering lamps which at best can have done +little more than to make darkness visible.</p> + +<p>A prominent feature among the heaps of +wonderful things in the tomb was the group +of elaborately carved alabaster vases which has +been so often figured and so much be-praised +since the discovery was made. Of the interest +attaching to these extraordinary vases there +can be no question; but when we are told that +they are “the most beautiful alabaster vases in +the world,” it is time to enter a protest. They +are nothing of the sort.</p> + +<p>As specimens of workmanship they are +wonderful enough; as specimens of art they are +flagrantly bad,—characteristic types of an art<span class="pagenum" id="Page_204">204</span> +which has passed its maturity and is on the +downgrade. The over-elaboration and the far +too complicated character of their decoration +are sufficient to condemn them, and they are not +to be compared for one moment, from the point +of artistic value, with the simple and graceful +forms of earlier work. Indeed, even in Tutankhamen’s +tomb, and in the same chamber with +these over-praised and overdone pieces of pretentiousness, +there were vases far more worthy +of praise for their artistic quality than the ones +whose noisy ornamentation has singled them +out for a notice which they do not deserve.</p> + +<p>Of all the objects so far removed from the +tomb, none has attracted more attention, and +none seems likely to create more controversy, +than the group of extraordinary gilt state couches, +the Lion, Hathor, and Typhon couches, as they +came to be called. The thing which drew attention +to them was not their beauty, for anything +more hideous it is impossible to imagine; it was +their strangeness. With Egyptian couches and +biers the world was pretty familiar before; but +these were widely different, with their quiet and +shapely lines, from the barbaric monstrosities +of Tutankhamen’s tomb. The heads of the +couches present, indeed, some resemblances to +familiar Egyptian types; but even so, the suggestion +which rises to the mind on viewing them is +that these are Egyptian types interpreted by an +alien temperament and executed by alien craftsmen. +It seems almost impossible to believe +that an Egyptian craftsman, with his tradition of +taste and restraint, would ever have produced<span class="pagenum" id="Page_205">205</span> +such abortions, calculated to produce nightmares +instead of slumber in those who tried to rest +upon them.</p> + +<p>Accordingly Professor Petrie has asserted that +these couches are not of Egyptian workmanship +at all. No Egyptian workman, he says, ever +produced work assembled with bronze joints as +these couches are; they must have been produced +in a distant country, and jointed in this fashion +for convenience of transport, being reassembled +on their arrival. Further, the decoration (trefoil) +on one of them is characteristically Babylonian. +Therefore it seems probable that we must look +to Babylon for their origin; and Professor +Petrie suggests that these are the identical couches +to which the Babylonian king Kadashman-Enlil +refers in one of the Tell el-Amarna letters, where +he says, writing to Amenhotep III, that he is +sending to the Egyptian king “a couch of <em>ushu</em> +wood, ivory and gold, three couches and six +thrones of <em>ushu</em> and gold,” and other furniture.</p> + +<p>There is nothing unlikely in the idea that +couches of such international importance, coming +from one great monarch to another, should have +been preserved for the matter of forty years +or so, and buried as heirlooms in the tomb of +the last of the line; and the suggestion lends +an added interest to the ugly things. Sir +E. A. W. Budge, however, rejects the idea, and +asserts that the beast represented on the most +hideous of the couches is simply the composite +monster Ammit, “the Eater of the Dead,” so +often represented in the Judgment Scene in the +vignettes of the <cite>Book of the Dead</cite>. “The<span class="pagenum" id="Page_206">206</span> +Mesopotamians knew of no such beast, and the +couch or bier could only have been made in +Egypt, where the existence of Ammit was +believed in and the fear of her was great.” In +support of his opinion he quotes from the +Papyrus of Hunefer—“Her forepart is crocodile,” +and anyone familiar with the Judgment Scene +will remember that this certainly is so. The +trouble is that whatever the hideous monster +of Tutankhamen’s tomb may represent, “her +forepart” certainly is <em>not</em> crocodile. It is ugly +and sinister enough for anything; but no +Egyptian craftsman would have dreamed of +trying to pass this clumsy monster off as a representation +of a crocodile—one of the most +familiar of objects.</p> + +<p>Especially in view of the methods of construction +involved—a point on which no man is better +qualified than Petrie to pronounce an opinion—Budge +seems to have done nothing to invalidate +the Babylonian suggestion, which, for the rest, +takes its place very naturally, as we shall see, in +the explanation of the extraordinary wealth of +furniture found in the tomb of one of the least +famous Pharaohs of the XVIIIth Dynasty. The +couches seem, to an unprejudiced mind, just such +work as would be produced by a clever workman +working on motives which were quite foreign to +his usual practice, and therefore producing +results which, while they have a distinct +resemblance to the types which he was imitating, +yet show these as seen and interpreted by an +outsider, and not by one to whom they were parts +of his normal training.</p> + +<p><span class="pagenum" id="Page_207">207</span></p> + +<p>Of the statues found in the tomb, two, the +life-sized ones of bituminised wood adorned with +gold, were fine specimens of the normal type +of tomb portrait; the third, the so-called +“Mannikin,” was of a different class. It was +only a half-length, and lacked the arms; but in +other respects it was a careful and artistic piece +of work and obviously a faithfully studied +portrait. The idea that its imperfect condition +is due to the fact that it was a sort of glorified +tailor’s dummy, on which the royal robes were +fitted before being worn by the Pharaoh, may +probably be dismissed without ceremony. It +is not obvious why, in a period when court dress +was of the most elaborate type, with long robes +of fine linen falling to the feet, and wide sleeves +coming almost to the elbow, the mannikin should +have neither legs nor arms, which one would +have judged essential for the purpose of trying +the fall of the robe. Another view was that it +was a portrait, not of Tutankhamen, but of his +wife, Ankh. s. en. Amen. There can be no doubt +about the quality of the portrait, though to talk +of “the strange pensive smile playing about the +lips, recalling the baffling smile of Da Vinci’s +Mona Lisa,” is to invite comparisons which are +scarcely fair to the older work of art; but it +certainly is not the portrait of a woman. It may +be a head-portrait of the type not uncommon in +Old Kingdom tombs; or it may be part of the +foundation of a copper statue, like that of Pepy +of the Old Kingdom, though in that case it is +difficult to see why it should have been so +carefully coloured.</p> + +<p><span class="pagenum" id="Page_208">208</span></p> + +<p>In the meantime it is impossible to say much +about the treasures of the sarcophagus-chamber +and its annexe. Scarcely more than a glimpse +has been vouchsafed of these, no more than +enough to whet curiosity and expectation. But +there can be little doubt that the splendour of +the two inner chambers will be in accordance +with the preface to it which the outer chambers +have yielded. No one can doubt the magnificence +of the great canopy, which in itself would be a +treasure beyond price; and all observers are +at one as to the marvellous beauty of the shrine +with the four goddesses. The motive of its +decoration is, of course, one perfectly familiar +in Egyptian art, and is found in all ages. The +beautiful pink granite sarcophagus of Tutankhamen’s +successor and enemy Horemheb, for +instance, has as part of its adornment another +version of the same idea of the protecting goddess. +But the detail of the Canopic Shrine, if it prove +to be such, appears to be of a quality and inspiration +rare even in the finest Egyptian work. For +the rest, we can only wait and hope.</p> + +<figure id="il_26" class="figcenter" style="max-width: 28em;"> + <img src="images/i_208.jpg" width="1351" height="1913" alt=""> + <figcaption class="caption">26. COLOSSUS OF RAMSES II, LUXOR. + </figcaption> +</figure> + +<p>A good deal has been said about the need of +recasting our ideas of Egyptian history in the +light of the new information which has been +gained from the tomb of Tutankhamen, and some +writers have hinted that our whole conception +of the close of the XVIIIth Dynasty is wrong, +and must be recast to square with the new facts. +We are asked to discard the idea of an Egypt +beginning to decline from the lofty position which +she had held under Thothmes III and Amenhotep +III, and to substitute for this the picture<span class="pagenum" id="Page_209">209</span> +of an Egypt waking with renewed strength from +the uneasy religious dreams of the reign of +Akhenaten, and asserting once more, and with +greater vigour than ever, her dominion in the +realms of both politics and art.</p> + +<p>All this is merely a vain imagination. Historically, +no new facts have emerged from the +tomb of Tutankhamen. It is scarcely true to +say, with Budge, that “we know no more now +about the reign of this king than we did before +Lord Carnarvon made his phenomenal discovery.” +That would only be the case on the narrow +reading of the meaning of history which would +confine it to the mere recording of dates, conquests, +and legislation. The art of any period +constitutes no small part of its history, and +for the history of far-past times it is one of +our most valuable sources of information; and +we may surely look for a large extension of our +knowledge of the art of ancient Egypt in the +reign of Tutankhamen from the treasures of his +tomb.</p> + +<p>But so far as concerns the facts of what the +king, and Egypt under his leadership, accomplished +in the matter of raising again the declining +prestige and power of the Empire, we know no +more than we did before the tomb was opened; +nor is it likely that when the work is completed +we shall have gained much more information, if +any, on this point. For the likelihood is that if +there are any papyri beneath the great golden +canopy, they will be of a purely religious type, +versions of one or other of the different forms of +spiritual guide-book which the devout Egyptian<span class="pagenum" id="Page_210">210</span> +carried with him on his long journey through the +dark Underworld.</p> + +<p>The artistic value of the find is another matter. +There can be no question but that this splendid +collection of the finest work of the craftsmen of +the XVIIIth Dynasty, by far the greatest assemblage +of such work known to exist, will prove of +the utmost importance in shaping and correcting +our ideas of Egyptian art at one of the most +interesting points of its long development. +Never before has such a mass of material of the +highest class been available for study. Yet even +here it would be rash to assume that the result +will be any considerable modification of our +views as to the period of culmination of the art +of the New Empire. At the most, and assuming +that all the art of the tomb is strictly of the time +of the king with whose burial it is associated, and +that its quality is all of the supreme standard +which has been attributed to it, the net result +would be the shifting of the apex of the curve +a matter of thirty or thirty-five years, a small +thing when we are dealing with an art whose +history is written in millenniums. But it seems +likely that even this is more than we need +necessarily assume.</p> + +<p>There is always the possibility that in the +tomb of Tutankhamen we are dealing, not only +with the splendours of one king, but perhaps +also with many of the heirlooms of the royal +house to which he belonged, in which case we +should be faced with specimens of the art, not +of one period of a few years’ duration, but with +those of perhaps a whole century, perhaps of a<span class="pagenum" id="Page_211">211</span> +longer period still. The work of sifting out the +various sources and periods of the materials +found in the tomb will prove a most fascinating, +if also a most difficult, task; when it is accomplished—the +work of years—we may be in a +position to speak more definitely about the change +or the confirmation which the tomb of Tutankhamen +has brought to our previous theories of +the growth and decline of Egyptian art; meanwhile +we must wait, with the assurance that even +in the extremest case, the discovery can scarcely +commit us to anything revolutionary of our +previous conceptions.</p> + +<p>The mention of the possibility of some of the +articles found in the tomb being family heirlooms +of the XVIIIth Dynasty brings up the last +question with which it is necessary to deal in +this short survey. How does it come about that +a Pharaoh of no great standing in the long line +of Egyptian monarchs—a mere stopgap king, +a pigmy between giants—was buried with surroundings +whose splendour exceeds anything +known in all the story of royal magnificence? +The discoveries of Tutankhamen’s wonderful +funerary equipment make us wonder what we +may have lost in the fact that his is the only royal +tomb which has been found practically unrifled. +Had we found, for instance, the tomb of a really +great Pharaoh, such as Amenhotep III, as intact +as that of his descendant, we should have been in +a better position to form a judgment on the +matter; but that unfortunately has been denied +us. One suggestion may be made, with the +proviso that it is no more than a suggestion,<span class="pagenum" id="Page_212">212</span> +which may be confirmed or disproved by subsequent +investigation. It has already been suggested +that some of the most curious, if not the +most beautiful, of the finds are relics, not of the +time of Tutankhamen, but of Amenhotep III, +dating therefore from forty years before the time +when they were stored away in the Valley of +the Kings; and it has also been suggested that +another very interesting article, the footstool +with figures of Asiatic captives inlaid upon it, +dates from an even earlier period, that of +Amenhotep II, and is therefore a century older +than the time to which the burial belongs.</p> + +<p>Tutankhamen, we know, was the last king of +the direct line of the XVIIIth Dynasty. His +widow, Ankh. s. en. Amen, was left in a most +insecure position from which she made, as we +know, a desperate and unavailing effort to +extricate herself. May it not be that, with the +consciousness that all the glories of her house +were in danger of passing to mere usurpers of +undistinguished origin, such as the obscure +priest Ay, who succeeded Tutankhamen, or the +commonplace soldier Horemheb, who drove Ay +from the throne, she secured at least some of the +most treasured heirlooms of the royal house +from desecration by hiding them in the tomb of +her dead husband?</p> + +<p>It is, of course, only an idea, which must stand +or fall by the results of future study; but it +seems, at least in the meantime, to offer a reasonable +explanation of a point on which no other +explanation is for the present forthcoming.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_213">213</span></p> + +<h2 class="nobreak" id="CHAPTER_VIII"><span id="toclink_213"></span>CHAPTER VIII<br> + +<span class="subhead">LIFE, ARTS, AND CRAFTS IN THE LAND OF THE NILE</span></h2> +</div> + +<p class="drop-cap"><span class="smcap1">Practically</span> the whole of our knowledge +of the conditions under which life +was lived in Egypt, of the organisation +of society, of the arts and crafts by which the +needs and tastes of the people were met, is due to +the results of excavation during the last century. +We owe, of course, a great deal to the statements +of Herodotus and Diodorus as to the conditions +which they found existing in their time; but +the great source of information must always be +the mass of first-hand material which has +been gathered, mainly from the tombs with their +wealth of funerary furnishings, by the work of +the excavator. Therefore it would seem that +the fitting conclusion to our brief survey of the +various aspects of excavation should be a sketch +of the life of ancient Egypt, with the arts and +crafts which ministered to its necessities and its +luxuries. Such a sketch must, of course, be of +the slightest and least elaborated type, for the +amount of material is so enormous that only the +most salient points can be touched; but it may +still be true so far as it goes, and may perhaps<span class="pagenum" id="Page_214">214</span> +serve as an outline within which further details +may be inserted by the student of ancient +Egyptian life.</p> + +<p>First of all, we may take the framework of +society. Through the whole of Egyptian history +the outline of this is very much the same, though +there are many variations in the relative +importance of the various parts. The head of +the state is always the Pharaoh, placed on a level +immensely above even the most powerful of his +subjects, but, as we shall see, by no means an +irresponsible tyrant, but rather a limited monarch, +governing in accordance with strictly defined +customs.</p> + +<p>Beneath him are the great nobles and the +great official class—two sections of society which +were not in ancient Egypt, as in so many other +ancient realms, virtually different names for the +same thing.</p> + +<p>Then came the priestly class, at all times one +of the most important in the land, and tending +at certain periods, with the weakening of the royal +power, to overshadow all the other interests.</p> + +<p>It appears that there was a definitely military +class, with definite lands assigned to it for its +support, though in the earlier days of the kingdom +the wars were not the business of a separate class +of professional soldiers, but were carried on by +a general levy of the people. The other great +land-holding class of the nation was that of the +husbandmen, who apparently were much of +our own old yeoman type, holding their land by +the payment of taxes.</p> + +<p>Behind these classes, which, so to speak,<span class="pagenum" id="Page_215">215</span> +formed the backbone of the nation, came the +shepherds, hunters, artificers, traders, and workers +at other subsidiary occupations. These held no +land, and their occupations appear to have been +mainly hereditary, no artisan being allowed to +pass from one trade to another, or to have his +children reckoned in any other class than his own. +The various trades must have been organised +more or less after the plan of the mediæval trade-guilds, +though in the case of Egypt the organisation +was apparently a national, and not a local +affair. Beneath the tradesmen came the slave +class, whose number varied pretty much according +to the wars on which the nation was engaged, +and their fruitfulness, or the opposite, in yielding +captives.</p> + +<p>Slave labour was never a prominent feature +of Egyptian life, and Petrie estimates the slave +population of the land at its maximum at no +more than a quarter of a million out of a possible +population of twelve millions.</p> + +<p>To the imagination of most folk probably +the mention of “Pharaoh, King of Egypt,” +suggests a typical Oriental tyrant, responsible +to nothing but his own passions, and governing +according to the whim of the moment. Such a +picture may have been true of an Assyrian or +Babylonian king, like Ashurbanipal or Nebuchadnezzar, +and perhaps the frequency of assassination +in the records of the Assyrian kings hints that it +was; but it certainly was not true of ancient +Egypt. Pharaoh’s own grandiose inscriptions, +and the fiction which regarded him as a god +incarnate, may suggest unbridled power; but as<span class="pagenum" id="Page_216">216</span> +a matter of fact, Pharaoh was anything but the +rampant and romantic despot whom we imagine +distributing life and death at his own capricious +will, but rather a somewhat humdrum constitutional +monarch, whose every action was regulated +for him centuries before he was born, by an +unchanging custom, and who could no more +step beyond the limits which immemorial laws +had assigned to him than he could jump out of +his skin, or off his own shadow.</p> + +<p>The thing which amazed the Greeks, with +their experience of irresponsible tyrants, was the +fact that so great a king as Pharaoh was not the +master, but the servant of the laws. “He could +not do any public business, condemn or punish +any man to gratify his own humour or revenge, +or for any other unjust cause; but was bound +to do according as the laws had ordered in every +particular case.... The kings, therefore, carrying +this even hand towards all their subjects, +were more beloved by them than by their own +kindred.”</p> + +<p>Petrie has suggested that it is this limitation +of the power of the Pharaoh which is accountable +for the unusual stability of the Egyptian throne. +“The absence of republican interludes, so +frequent in other parts of the Mediterranean, was +apparently due to the monarchy being strictly +limited by law. However bad an Egyptian might +be personally, he could not earn the hatred of his +subjects like the irresponsible Greek tyrants or +Roman emperors.”</p> + +<figure id="il_27" class="figcenter" style="max-width: 28em;"> + <img src="images/i_216.jpg" width="1340" height="1951" alt=""> + <figcaption class="caption">27. PORTRAIT-STATUE OF MENTUEMHAT, CAIRO MUSEUM. + </figcaption> +</figure> + +<p>Indeed Pharaoh according to fact is a very +different figure from Pharaoh according to<span class="pagenum" id="Page_217">217</span> +imagination. We must try to substitute for the +gorgeous tiger of our fancies the figure, gorgeous +enough indeed, so far as concerns his apparel, +of a laborious servant of the State whose life, +instead of being spent in wild orgies of licence +and wild explosions of ferocity, was mainly +occupied, from the time when he rose in the +morning to the time when he crawled to bed at +night, in a manner quite familiar to royalty in +our own country, in signing dull reports, and +reading dull dispatches, presiding over long and +wearisome temple services, and travelling about +the country to see that everything was working +smoothly.</p> + +<p>The new picture is by no means so picturesque +as the old one; but it is the real Pharaoh, and +no doubt it was for the good, both of his subjects +and himself, that “Pharaoh had to act every hour +according to fixed routine, without room for +the licence of a Dionysius or a Caligula.” The +brilliant tiger looks romantic in a story, but when +his despotism becomes unbearable it has generally +to be tempered by assassination, as with Sargon, +Sennacherib, and many another; but as a matter +of fact the Egyptian Pharaoh generally managed +to die quietly in his own bed when his time +came.</p> + +<p>Not that he had not his own power, and his +own initiative. His headship of the State involved +headship of the army in war, and this was no +polite fiction, where Pharaoh reaped the glory +while his soldiers had the danger. Seqenen-Ra’s +mummy, with its ghastly wounds on head +and face, tells us how real was the duty<span class="pagenum" id="Page_218">218</span> +of Egyptian royalty in the day of battle. +Thothmes III led the van of his army through +the defile of Aaruna, when his chosen captains +shirked the task, and though we need not believe +all that Ramses II tells us about his share in the +battle of Kadesh, there is no doubt that he fought +hand to hand with the Hittites in the forefront +of the battle, and at least proved himself a good +trooper, whatever may be thought of his generalship. +Much power also lay in his hands in +respect of the selection and advancement of +able men from the lower to the higher ranks +of the public service, and of rewarding their +work with grants of land, of initiating the great +public works which were often of such untold +benefit to the land, and of conducting the +Foreign-Office business of the country, and the +negotiation of treaties. In short, Pharaoh had +no lack of work to do, and was probably like his +modern successors in Kingship, one of the +hardest-worked men in the land; but from +start to finish, the Egyptian monarchy was a +limited one.</p> + +<p>Two instances of the limitation of the royal +power, and its strict subjection to law, may be +given. When Queen Amtes was tried, in the +reign of Pepy I of the VIth Dynasty, for some +unspecified offence, the trial was conducted +without even the presence of the king. “His +Majesty,” says Una in his famous inscription, +“caused me to enter in order to hear the case +alone. No chief judge and vizier at all, no prince +at all was there, but only I alone, because I was +excellent, because I was pleasant to the heart<span class="pagenum" id="Page_219">219</span> +of His Majesty.” Again, in the time of King +Ramses III of the XXth Dynasty, there was a +great palace conspiracy arising out of an intrigue +in the harem to dethrone Ramses, and put the +son of one of the harem ladies on the throne. +In most other Oriental palaces the discovery of +such a thing would have been the signal for a +general massacre. Instead of executing summary +justice, Ramses appointed a commission, +giving them these remarkable instructions: +“What the people have spoken, I do not know. +Hasten to investigate it. You will go and +question them, and those who must die, you will +cause to die by their own hand, without my +knowing anything of it. You will also cause the +punishment awarded to the others to be carried +out without my knowing anything of it.”</p> + +<p>Pharaoh may not always have been a model +of propriety or of rectitude; but he was far +too strictly hedged about by precedent to allow +of the brutal tyranny and licence which have so +often marked other Eastern monarchies, and, +besides, one fails to see how, with his time so +completely filled as we know it to have been, +with all sorts of necessary routine, he can have +had much opportunity for mischief, even if he +had the desire.</p> + +<p>The king’s chief functionary and right-hand +man was the Vizier, who must have been just +about as hard-worked a man as his master. The +inscription in the tomb of Rekhmara, who was +vizier under Thothmes III, enumerates thirty +separate functions which had to be discharged +by the fortunate holder of this great office. “The<span class="pagenum" id="Page_220">220</span> +vizier is Grand Steward of all Egypt, and all the +activities of the State are under his control. +He has general oversight of the treasury, and the +chief treasurer reports to him; he is chief justice, +or head of the judiciary; he is chief of police, +both for the residence-city and the kingdom; +he is minister of war, both for army and navy; +he is secretary of the interior and of agriculture, +while all general executive functions of State, +with many that may not be classified, are +incumbent upon him. There is indeed no +prime function of the State which does not +operate through his office. He is a veritable +Joseph, and it must be this office which the +Hebrew writer has in mind in the story of +Joseph.” Altogether we may conclude that, +whatever the salary of the vizier may have been, +he probably earned it.</p> + +<p>A quaint picture of the way in which a high +Egyptian official was hedged about with routine +is given by Rekhmara in his description of the +procedure of the court of justice. “As for every +act of this official, the vizier while hearing in +the hall of the vizier, he shall sit upon a chair, +with a rug upon the floor, and a dais upon it, a +cushion under his back, a cushion under his feet, +and a baton at his hand; the forty skins [parchments +of the codified law] shall be open before +him. Then the magnates of the South shall +stand in the two aisles before him, while the +master of the privy chamber is on his right, +the receiver of income on his left, the scribes of +the vizier at his either hand; one corresponding +to another, with each man at his proper place.<span class="pagenum" id="Page_221">221</span> +One shall be heard after another, without +allowing one who is behind to be heard before +one who is in front.”</p> + +<p>The great offices of State, of course, often fell +to men of high rank, and of hereditary influence. +Rekhmara himself came of noble family, and +succeeded his uncle in the vizierate. But this +was by no means necessarily the case. Egypt +always presented the career open to talent which +Napoleon desired. “All through the history +there was a free rising of ability from the lower +levels, as we see in England—Wolsey, the +butcher’s son, and many others.... This was +a chief cause of the durability of Egyptian society; +great as the differences were, there was a gradation +interlocking all through, as in England.”</p> + +<p>A notable instance of the rise of a talented man +is given by the tomb-inscription of that same +Una whom we have already seen presiding over +the trial of Queen Amtes. Beginning his official +career as an “inferior custodian of the domain of +Pharaoh,” Una during three reigns steadily +climbed up the official ladder, until at last he +became governor of the South under Merenra, +and was the favoured official chosen to fetch +the granite for the royal sarcophagus and pyramid +from the quarries at Aswan. Senmut again, the +famous architect and minister of Queen +Hatshepsut, tells us in the inscription on his +statue at Karnak that he was “the greatest +of the great in the whole land,” and seems to have +held power not inferior to that of the vizier, +though there is no evidence that he held that +office; yet he tells us in his Berlin inscription<span class="pagenum" id="Page_222">222</span> +that “his ancestors were not found in writing,” +or in other words, that he was a self-made man.</p> + +<p>The elaborately organised court held many +offices both ornamental and useful, which gave +openings for talent or ambition. Perhaps one +of the most influential positions was one which +involved no very important duties, but brought +the holder of it into close and constant touch +with Pharaoh. This was the position of the +“fan-bearer at the king’s right hand.” His +function was purely ornamental, and he can be +seen in paintings and reliefs carrying a tiny fan +beside the king’s litter as the symbol of his office, +while the real work of fanning is done by the +ordinary fan-bearers with their big business-like +fans; but he was the highest court-official, a +sort of Lord Chamberlain, with powers of giving +or denying entry to the presence, and no doubt +his favour was all-important to a petitioner, as that +of one who had the ear of Pharaoh. As to the +rest of the court, there was a multitude of officials +quite comparable to the tail of useless boot-lickers +who adorned the court of Louis XIV; +but one imagines that, in earlier days at least, +the courtier of Pharaoh had to do more for his +position than the hanger-on of the Grand +Monarque.</p> + +<p>The priesthood formed a very large and very +influential class. In theory, the King was always +the Supreme Priest, the Pontifex Maximus of +the kingdom, and very often several of the high-priesthoods +of the different gods were held by +members of the royal family, thus securing that +the Pharaoh should be represented in the priestly<span class="pagenum" id="Page_223">223</span> +councils whose loyalty or disloyalty might mean +so much to the stability of his throne. Thus in +the reign of Ramses II, his favourite son +Khaemuast, the Wizard-Prince of the Setna +papyrus, was high-priest of Ptah at Memphis. +No doubt the fact that there was such a multitude +of gods, whose priesthoods were all jealous of +one another, was some security against the +overwhelming influence of the priestly caste, +especially in the earlier days; but the fate of +Akhenaten’s movement showed that in spite of +local jealousies the priestly caste was really one +in face of any attempt to diminish its power and +privileges; and in the end the unquestioned +supremacy of Amen led to the Amen priesthood +gaining a position and influence which was +superior to that of the weak Ramesside Pharaohs, +and which resulted in the supersession of the +true royal line, and the substitution for it of the +XXIst Dynasty of priest-kings. Even before +things had reached such a pitch, the immense +wealth which the piety of successive kings had +accumulated in the coffers of the priesthoods, +and especially of that of Amen, must have +constituted a real danger to the state, while the +amount of land held by the priests, and so +exempt from taxation, went with the other +accumulation to constitute a steady drain on the +national resources which in the end they were not +able to bear.</p> + +<p>The class of the great nobles was held in +strict subordination to the royal power in the +days of the strong early monarchs of the Old +Kingdom; but, with the weakening of the royal<span class="pagenum" id="Page_224">224</span> +authority which followed the Vth Dynasty, the +honours and powers which Pharaoh had heaped +on his faithful courtiers, and which had been a +convenient relief to the central authority as +shifting part of the burden of local administration +to the shoulders of the local great men, proved +a danger to the State. A kind of feudal system +grew up in which the local chieftains assumed the +powers and as much as they could afford of the +splendours of Pharaoh himself, claiming to hold +their offices by hereditary right, maintaining +their own armies, holding their own courts of +justice, and even daring to place after their own +names in their proclamations the formula, +“Living for ever and ever,” which had hitherto +been the sacred attribute of the crown alone.</p> + +<p>The revival of the monarchy, first under the +Antefs and Mentuhoteps of the XIth Dynasty, +and then under the Senuserts and Amenemhats +of the XIIth Dynasty, however, soon curbed +the pretensions of these petty princelets, and the +changes of the Hyksos invasion and the War of +Independence wiped out the last relics of the +Egyptian feudal system, which never revived +under the New Empire. Even under strong +kings like the Pharaohs of the Middle Kingdom, +the courts of the local nomarchs were no small +things, as they might employ anything from +fifty to a hundred officials, from the steward down +to the “mat-spreader.”</p> + +<figure id="il_28" class="figcenter" style="max-width: 43em;"> + <img src="images/i_224.jpg" width="2058" height="1205" alt=""> + <figcaption class="caption">28. <span class="allsmcap">V</span>th <span class="allsmcap">DYNASTY RELIEF-WORK, TOMB OF PTAH-HETEP.</span> + </figcaption> +</figure> + +<p>Tomb-inscriptions are not perhaps the most +trustworthy sources as to the personal character +of a class of men, nor are we to expect that Ameny +or Khnemhotep will tell us anything of the shady<span class="pagenum" id="Page_225">225</span> +side of their administration. Yet it must be +confessed that Ameny’s story of his administration +of the Oryx Nome gives a pleasant picture of the +relations of a great local noble and official to the +people of his province; and we may say that +if Egypt in the time of the Middle Kingdom had +many nomarchs of his stamp, she was a fortunate +land.</p> + +<p>“There was no citizen’s daughter whom I +misused,” says the great man, “there was no +widow whom I oppressed, there was no peasant +whom I repulsed, there was no shepherd whom I +repelled, there was not a foreman of five from +whom I took his men for forced work. There +was not a pauper around me; there was not a +hungry man of my time. When there came years +of famine, I arose, I ploughed all the fields of +the Oryx Nome to its southern and its northern +boundary, I kept its inhabitants alive, making +provision so that there was not a hungry man +in it. I gave to the widow as to her that possessed +a husband; nor did I exalt the great above the +small in all that I gave. Thereafter great rises +of the Nile took place, producing wheat and +barley and all things; but I did not exact the +arrears of the farm.” “I gave bread to the +hungry,” says another noble, “and clothes to +the naked, and gave a passage in my own boat +to those who could not cross. I was a father to +the orphan, a husband to the widow, a protection +from the wind to the shivering; I am one who +spake what was good, and related what was good. +I acquired my possessions in a just manner.”</p> + +<p>All this may savour a little of Pharisaic<span class="pagenum" id="Page_226">226</span> +self-righteousness to us; but at least it shows +that there was a recognised idea, among the +governing class, of the duties which a great man +owed to those under him, and the possession of +such an ideal must have made bad government +more difficult.</p> + +<p>The same praise can scarcely be given to the +ideals of the other important, though minor, +official class, the scribes. The Egyptian scribe +belonged to a type with which we are perfectly +familiar still, the type of the petty official who +thinks that there is nothing in all the world so +fine as petty officialdom, unless it be superior +officialdom, and who looks down on all other +professions with a scorn which is only equalled +by his ignorance. In a land where writing was +so complicated a matter, and where it so early +assumed supreme importance, where also the +annual inundation with its obliterating of landmarks +made the possession of written records a +matter of great importance, the scribe obviously +had a splendid field for his work, and for the +development of all his peculiar vices. It was +possible for a careful scribe to climb from the +humblest position to one of great dignity and +power, and the Egyptian scribe never forgot that +every scribe carried in his writing-case the wand +of office of a potential vizier.</p> + +<p>The scribes have left us many examples of +what they thought of themselves and of all other +people and professions, and it may be safely +said that of no other class of Egyptian do we +carry away so unpleasant an impression as of +that one which no doubt imagined that it was<span class="pagenum" id="Page_227">227</span> +impressing its own immense superiority on the +minds of all posterity. The Egyptian cherished +a profound admiration for learning; but his +devotion to letters was not because of the beauty +of learning in itself, but simply because it was +the avenue to preferment and the way of escape +from the miseries of toil or the dangers of war. +Both the admiration and the mercenary reason +for it are expressed in the words of an ancient +sage recorded for us in the Sallier Papyrus:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“Give thy heart to learning and love her like a mother,</div> + <div class="verse indent0">For there is nothing that is so precious as learning ...</div> + <div class="verse indent0">Behold there is no profession which is not governed,</div> + <div class="verse indent0">It is only the learned man who rules himself.”</div> + </div> +</div> +</div> + +<p>The scribe saw himself, because of his +possession of letters, immeasurably above all the +poor creatures who had to earn their bread by +the sweat of their brow. He was exempt from +all the pains and anxieties of the workman, and +loved maliciously to contemplate them while +he issued the orders which imposed further +burdens on backs already heavily burdened. +“The poor ignorant man, ‘whose name is +unknown, is like a heavily-laden donkey, he is +driven by the scribe,’ while the fortunate man +‘who has set his heart upon learning’ is above +work, and becomes a wise prince.” “The +learned man has enough to eat because of his +learning.” Therefore, “set to work and become +a scribe, for then thou shalt become a leader of +men.”</p> + +<p>No matter what the trade was, or how +wonderful its results, it seemed to the smug<span class="pagenum" id="Page_228">228</span> +scribe a contemptible thing in comparison with +his own precious profession of letters. Here +is his opinion of the craftsmen who created the +miracles of metal- and wood-work of the Middle +Kingdom:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“I have never seen the smith as an ambassador,</div> + <div class="verse indent0">Or the goldsmith carry tidings;</div> + <div class="verse indent0">But I have seen the smith at his work</div> + <div class="verse indent0">At the mouth of his furnace,</div> + <div class="verse indent0">His fingers were like crocodile skin,</div> + <div class="verse indent0">He stank more than the roe of fish ...</div> + <div class="verse indent0">Each artist who works with the chisel</div> + <div class="verse indent0">Tires himself more than he who hoes a field.</div> + <div class="verse indent0">The wood is his field, of metal are his tools.</div> + <div class="verse indent0">In the night—is he free?</div> + <div class="verse indent0">He works more than his arms are able,</div> + <div class="verse indent0">In the night—he lights a light.”</div> + </div> +</div> +</div> + +<p>No doubt this seemed very fine and humorous +to our scribe; but we who have the chance of +comparing his literary achievement with the +works of the craftsmen whom he satirised may +be pardoned for preferring the diadems of +Khnumit and Sat-Hathor, or the statues of +Senusert and Amenemhat to all the paltry drivel +he ever wrote.</p> + +<figure id="il_29" class="figcenter" style="max-width: 40em;"> + <img src="images/i_228.jpg" width="1911" height="1335" alt=""> + <figcaption class="caption">29. <span class="allsmcap">XIX</span>th <span class="allsmcap">DYNASTY RELIEF-WORK, TEMPLE OF SETY I, ABYDOS.</span> + </figcaption> +</figure> + +<p>Nor was his opinion of the soldier’s calling +any higher. Indeed the ancient Egyptian was +no more of a warlike person than his successor +the modern fellah, who makes a good enough +soldier under British officers, but is about the +most unmilitary person on earth when left to +the freedom of his own will. There is no more +curious inversion of fact than the common idea +which pictures the Egyptian as one of the great<span class="pagenum" id="Page_229">229</span> +warrior races of the world, and classes him along +with that bloodthirsty tiger the Assyrian. Only at +one period of his history did the Egyptian ever +show the least sign of developing a craving for +world-dominion and the warfare which goes +along with it; and when the brief imperial fever +of his early XVIIIth Dynasty had wrought itself +out, he reverted for the rest of his history to his +natural rôle of the finest craftsman on earth, +only bestirring himself when there was need +to defend his frontiers, a business which he did +fairly, but only fairly, well. On the whole, he +would have thoroughly agreed with Alan Breck +Stewart that war “is generally rather a bauchle +of a business.”</p> + +<p>But it was reserved for the smug and flabby +scribe—you can see him still in the Louvre with +his cunning eyes and his rolls of unhealthy +flesh—to make a mock of the calling which won +for Egypt all the empire she ever possessed, and +which was that of her greatest Pharaohs.</p> + +<p>“Oh, what does it mean,” says this early +pacifist, “Oh, what does it mean that thou +sayest: ‘The officer has a better lot than the +scribe’? Come, let me relate to thee the fate of +the officer, so full of trouble.” Then he goes +on to relate in a fashion which he no doubt +thinks humorous, the life of an officer on active +duty in Syria:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“Come, let me relate to thee how he travels to Syria,</div> + <div class="verse indent0">How he marches in the upland country.</div> + <div class="verse indent0">His food and his water he has to carry on his arm,</div> + <div class="verse indent0">Laden like a donkey;</div> + <div class="verse indent0">This makes his neck stiff like that of a donkey,</div><span class="pagenum" id="Page_230">230</span> + <div class="verse indent0">And the bones of his back break ...</div> + <div class="verse indent0">If he arrives in face of the enemy,</div> + <div class="verse indent0">He is like a bird in a snare ...</div> + <div class="verse indent0">If he arrives at his home in Egypt ...</div> + <div class="verse indent0">He is ill, and must lie down.</div> + <div class="verse indent0">They have to bring him home on the donkey,</div> + <div class="verse indent0">Whilst his clothes are stolen, and his servants run away.</div> + <div class="verse indent0">Therefore, O scribe,</div> + <div class="verse indent0">Reverse thine opinion about the happiness of the scribe and of the officer.”</div> + </div> +</div> +</div> + +<p>As literature this precious effusion is merely +contemptible; but it is very illuminating as to +the character of the class which was responsible +for the production of it. Generally speaking, the +Egyptian leaves you with the pleasant impression +that he is a decent kindly fellow, with a cheery +outlook on life, and a love of pretty things and +laughter; but the scribe is an undoubted fly +in the ointment. He thought himself its finest +perfume; but that is just precisely what makes +him so unquestionably the fly.</p> + +<p>We need not imagine that the condition either +of the soldier or of the artisan was quite so miserable +as the scribe would have us believe. The +misfortune is that it was only the scribe who +was vocal. If the soldier or the craftsman had +been able to leave behind him his opinion of +the scribe, it would probably have been quite +as unflattering, and perhaps more pungently +expressed. It would not have required great +genius to make fun of a profession which lived +by the favour of the great man, and whose typical +figure is the kneeling scribe of the Cairo Museum, +with his twisted deprecating smile, and his<span class="pagenum" id="Page_231">231</span> +submissively crossed hands, waiting, like a dog, +uncertain whether his master will kick him or +fling him a bone.</p> + +<p>Behind all the glitter of the court and official +circle, with its innumerable hangers-on, there +comes the great mass of the people, the farmers, +the skilled workmen, the shepherds, fishers, +toilers of all sorts. Of no race in the world can +it be said that the conditions of its workers have +been so fully depicted as of the Egyptians. On +the sculptured and painted tomb-reliefs we see +the workmen of almost every trade under heaven +busily engaged in the prosecution of their calling. +Whatever the scribe might think of the indignity +of being a smith or a carpenter, his impression +was confined to himself, and the great man had +not the least objection to see these and a score of +other common occupations pictured on the walls +of his “eternal habitation.” But while the outward +aspect of these callings is thus fully represented, +so that it might be possible to produce +a handbook of the Egyptian crafts, we are not so +well informed as to the environment in which +these wonderfully skilled workmen spent their +lives, what were the conditions of their service, +the manner of their housing, and the question of +whether their lot was a happy one or not. +Petrie’s excavations at Kahun have given us the +almost complete plan of an Old Kingdom +workmen’s town, where the skilled masons who +were building the pyramid of Senusert II were +housed. Though this is only a temporary town, +we may probably take its conditions as more or +less typical of those which prevailed for the<span class="pagenum" id="Page_232">232</span> +artisan class in the Old Kingdom. The houses +are of all sizes, ranging from four rooms to sixty, +the larger houses being, no doubt, those of the +overseers and clerks of works. The streets are +narrow, varying from 11 feet to 15 feet wide, +and having a drain down the middle of each. +The simplest type of small house has an open +court opposite the entrance, a common room +on one side, and two storerooms on the other, +with a stair leading up to the roof. The larger +class of artisan’s house has a court, four rooms +opening off it, and five other rooms dependent +on the main rooms. On the whole, one would +imagine that the housing conditions were not so +very bad; though certainly the houses were too +crowded together. The average artisan’s house +of the present day has not the number of rooms +which were possessed by the pyramid mason of +four thousand years ago, though his advantages +in other respects are considerable.</p> + +<figure id="il_30" class="figcenter" style="max-width: 42em;"> + <img src="images/i_232.jpg" width="2014" height="1337" alt=""> + <figcaption class="caption">30. XIXth DYNASTY RELIEF-WORK, TEMPLE OF RAMSES II, LUXOR. + </figcaption> +</figure> + +<p>The workman’s wages were at all events +partly paid in kind. Herodotus tells us of the +amount expended in provision for the workmen +who built the Great Pyramid: “On the pyramid +is shown an inscription, in Egyptian characters, +how much was expended in radishes, onions, and +garlic, for the workmen; which the interpreter, +as I well remember, reading the inscription, +told me amounted to one thousand six hundred +talents of silver.” Payment was still in kind +in the time of the New Empire. One of the +foremen of the craftsmen of the Theban +necropolis in the time of Ramses IX (1142–1123 +<span class="allsmcap">B.C.</span>), fortunately kept with great care a<span class="pagenum" id="Page_233">233</span> +record of all that happened to his gang, noting +whether the men were on full work or were +“idle.” Festival days broke in considerably on +their working time, as we hear of two full months’ +holiday, and again of another month, in the same +year; but the workmen’s rations ran on all the +same whether they were working or not. The +worry was that the rations were often behind +time, and when that happened there was trouble. +One month the rations were only one day late, +but another they did not come at all, and then the +workmen went on strike. This produced the +supplies; but ere long the same thing happened +again, and this time the gang went in a body to +Thebes, and complained to the “great princes,” +and the “chief prophets of Amen.” Again the +result was good, and the journal of the careful +foreman gives us a quaint hint of how it had been +necessary to use a little palm-oil in the case of +the influential “fan-bearer” to secure the desired +end. “We received to-day our corn-rations; +we gave two boxes and a writing-tablet to the +fan-bearer.”</p> + +<p>We cannot be sure whether the condition of +the necropolis workmen, who were mostly skilled +craftsmen, metal workers, carvers, painters, and +so forth, was worse than that of the workmen +in the city of the living; probably the conditions +in both cases were much the same. In any case, +it is the necropolis workmen who supply us with +our instances of insufficient or delayed payment, +and who give us the first historic examples of +strikes. In the twenty-ninth year of Ramses III +(1170 <span class="allsmcap">B.C.</span>) things were pretty bad in the<span class="pagenum" id="Page_234">234</span> +necropolis, and wages had not been paid for half +a year. After giving the officials nine days’ grace, +the workmen naturally went on strike in a body.</p> + +<p>They left the necropolis, with their wives and +children, and though the two overseers tried to +entice them back to work “with great oaths,” +the workmen were not to be caught with chaff, +and stayed outside the necropolis walls. Finally +the affair assumed so threatening an aspect that +two chiefs of police and a number of priests +tried to make them return to duty; but in vain. +Their answer was, “We have been driven here +by hunger and thirst, we have no clothes, we have +no oil, we have no food. Write to our lord the +Pharaoh on the subject, and write to the governor +who is over us that they may give us something +for our sustenance.” This unheard-of request +had its effect—“on that day they received the +provision for the month Tybi.” In another +month, however, they were back again, as +supplies had failed once more. This time the +governor of the town met them, and though he +asked them how he was to pay their wages when +the storehouses were empty, he at least ordered +that they should receive half of the overdue +rations.</p> + +<p>Altogether the evidence goes to show that +life was not all pleasure in ancient Egypt, any +more than in other lands; but it is only fair to +say that the other side of the matter has been +grossly exaggerated, and that life in the Land of +the Pharaohs was not the gloomy, morbid, +perpetually death-contemplating thing which it +has been represented as being. This idea, of<span class="pagenum" id="Page_235">235</span> +course, we owe, partly to the amiable Herodotus +and his picture of the model coffin and mummy +being carried round at all their banquets, with the +words, “Look on this, then drink and enjoy +yourself; for when dead you will be like this,” +and partly to the fact that practically all the +knowledge we have of the Egyptians comes from +their tombs.</p> + +<p>The necessary corrective to this one-sided +view of a great nation is given by their books, and +particularly by the romantic fiction which they +were the first nation to cultivate. Erman has +said that “the romances are not to be relied +upon; the country which they describe is not +Egypt but fairyland.” This may be so as regards +scenery and detail; but the writer of the Tale +of the Doomed Prince, or of Setna and the Magic +Roll, whether he may cast the scene of his story +in Naharina or in Egypt, cannot help revealing +in his tale the habitual outlook on life of the +Egypt of his time; and in this respect the +romances are far more to be relied upon than +either the vainglorious vauntings of a royal +inscription or the carefully dressed-up moralisings +of a scribe. The picture which they give +of the Egyptian nature is that of a simple, kindly +race, singularly free from the savage cruelty which +disgraced their great rivals the Assyrians, loving +pleasure, and all the brightness and beauty of +life, with a straightforward and childlike affection, +not greedy of power, but ready to live and let +live, singularly advanced in their conception of +family life, and especially worthy of our admiration +in the respect which they paid to women, and<span class="pagenum" id="Page_236">236</span> +the position accorded to woman from the very +earliest times.</p> + +<p>It is time to rid our minds of that sinister +conception of the Egyptian as a dark, uncanny, +supernaturally wise and diabolically malignant +being, which is still to be found in second-rate +fiction, and in the vain imaginings of gropers in +the occult and the miraculous, and to see this +great race as it really was—a race of true children +of the Sun, leading in the dawn of the world’s +story a clean, healthy, open-air life, with its +own imperfections and weaknesses, but with its +plain virtues as well, and with a moral standard +not unworthy of comparison with that of any +race in the world. What they have accomplished +is plain for all the world to see; surely it is +common sense to see also that such things were +not the work of gloomy fanatics or of drivelling +dabblers in the black arts, but of men.</p> + +<figure id="il_31" class="figcenter" style="max-width: 29em;"> + <img src="images/i_236.jpg" width="1361" height="1851" alt=""> + <figcaption class="caption">31. XXth DYNASTY RELIEF-WORK, TEMPLE OF RAMSES III, +MEDINET HABU. + </figcaption> +</figure> + +<p>We turn now to consider the art of ancient +Egypt as it has now come to be known by the +accumulation of specimens of it during the last +century. Egyptian art has been somewhat slow +in coming to its own in the judgment of the world, +and that for two reasons. First that opinion, +which had been accustomed to very different +things, had to be gradually trained to appreciate +the merit of work which differed from the +accepted canons in many respects, even in the +type of material which it used for its self-expression; +and next, that the Egyptian work by which +the national art was first introduced to the attention +of the modern world was mostly of a period +which we have now learned to know as decadent.<span class="pagenum" id="Page_237">237</span> +Denderah, Esneh, Edfu, Philæ, these were the +products of Egyptian art which first roused the +wonder of European visitors; and very naturally, +for these great shrines are not only wonderful in +themselves, but are also in a state of preservation +which renders them intelligible and attractive to +everyone who sees them. But all the same they +are very unworthy to be taken as examples of +what Egyptian art could do at its best, and so we +need not wonder that, when the first impulse of +surprise had passed away, the voice of criticism +was heard, pointing out the conspicuous faults +in this claimant for recognition among the great +arts of the world, and refusing to allow the claim. +Similarly with the works of sculpture on which +another part of the Egyptian claim must be based, +in almost all cases the specimens of Egyptian +sculpture which were first brought under the +eyes of the judges were colossal fragments of a +style and a period which had their own merits, +but were far from being representative of the +actual work of the Egyptian sculptor at its best, +as we have now come to know it.</p> + +<p>In these circumstances it is not to be wondered +at that Egyptian art has only found slow and +grudging recognition as one of the great arts of +the world. What is strange, however, is that +even to-day, when the periods of Egyptian +architecture are as clearly defined, perhaps more +clearly defined than the periods of Gothic, and +when Egyptian sculpture is represented all over +the world by either originals or reproductions +of its best work in all respects, the judgment which +was not unaccountable, or inapplicable in the<span class="pagenum" id="Page_238">238</span> +day of the beginnings of knowledge of things +Egyptian should still be repeated, and Egyptian +art be characterised as a thing, interesting indeed, +but essentially crude and barbaric, the product +of a race which has no claim to rank alongside +the other great artistic races of the world.</p> + +<p>Thus we find so learned an art critic as Lord +Balcarres remarking (<cite>Donatello</cite>, p. 21), “The +massive and abiding art of Egypt ignored the +personality of its gods and Pharaohs, distinguishing +the various persons by dress, ornament, +and attribute.” For the gods, this may pass, but +when such a thing is said of the Pharaohs one +can only say that it is simply the opposite of the +truth. Is it possible that the author of such a +statement had never seen, before he made it, +such vivid impressions of personality as the great +diorite Khafra, with its splendid dignity, or, at +the opposite end of the scale, the Reisner +Menkaura, the very embodiment of a bourgeois +“Farmer George” royalty, doing his best to +look as dignified as becomes the wearer of the +double crown, and failing so absolutely? Here +are two successive occupants of the Egyptian +throne, whose personality, according to Lord +Balcarres, should be ignored in Egyptian art, +and yet the sharp discrimination of personality +is just the thing that immediately strikes everyone +who sees the two statues together.</p> + +<p>Lord Balcarres, however, is not the only +sinner in this respect. “The emptiness of the +Sphinx’s face,” says Mr. March Phillipps in +his charming book, <cite>The Works of Man</cite>, “is a +prevailing trait in all Egyptian sculpture. All<span class="pagenum" id="Page_239">239</span> +Egyptian faces stare before them with the same +blank regard which can be made to mean anything +precisely because it means nothing.... +The truth is, Egyptian sculpture is a sculpture +barren of intellectual insight and intellectual +interest.”</p> + +<p>Has the writer of this confident condemnation, +one wonders, ever seen the granite Senusert III, +either of the Cairo or of the British Museum, +with the strong harsh features which express, if +ever any work of the sculptor’s hands expressed, +both the pride and the bitter weariness of power, +or, to take a New Empire instance, the masterful +Thothmes III of the Cairo Museum, the face of +a daring soldier, if there ever was one, or the ugly +capable face of Prince Mentuemhat, also at +Cairo? Mentuemhat has no claims to personal +beauty, and, one imagines, no illusions on that +matter; but strong character has seldom been +more admirably expressed than in this specimen +of the art which, as we are told, is “barren of +intellectual insight and intellectual interest.”</p> + +<p>The fact is, that both these criticisms, and +many others similar to them, rest upon a fundamental +misconception about Egyptian sculpture. +It is quite obvious that both Lord Balcarres and +Mr. March Phillipps, in making them, are +founding upon the colossal pieces of Egyptian +sculpture which are the prominent objects in the +galleries of our Museums, and taking them as +adequately representative of the art which they +are criticising; and to do this is hopelessly to +misconceive the actual position.</p> + +<p>Egyptian sculpture in the round had two<span class="pagenum" id="Page_240">240</span> +entirely different objects, which were reached by +different methods, and are seen in different +examples. The first was purely monumental +and decorative, and its purposes are served by the +production of the colossal statues, monuments +of royal pride and glory, and, not less, pieces +of decoration in a great architectural scheme. +These gigantic works are not to be viewed as +portraiture in the strict sense, and that the +Egyptians themselves did not so view them is +manifest from the fact that a reigning Pharaoh +seldom hesitated to appropriate to himself any +convenient statues of one of his predecessors by +the simple process of cutting his own cartouche +on the figure, and obliterating that of the original +owner.</p> + +<p>The question of likeness or unlikeness was a +very small one; what was required was a figure +which should convey the impression of power and +dignity, linked with the name of a particular +Pharaoh. In this respect, and as elements of an +architectural whole, these statues unquestionably +served their purpose; more was never expected +of them, and to criticise them as lacking in +expression, and in individuality, is to do them an +injustice. They can only be judged as what +they were designed to be, not as something +radically different.</p> + +<figure id="il_32" class="figcenter" style="max-width: 40em;"> + <img src="images/i_240.jpg" width="1920" height="1333" alt=""> + <figcaption class="caption">32. PTOLEMAIC RELIEF-WORK, KOM OMBOS. + </figcaption> +</figure> + +<p>The position is quite different with regard +to the other object of Egyptian sculpture, which +was definitely portraiture. Apart from his monumental +work, which in a limited sense may be +said to have ideal elements in it, the Egyptian +sculptor, unlike his successor, the Greek, produced<span class="pagenum" id="Page_241">241</span> +no ideal work. He was simply and solely, from +first to last, a portrait sculptor, and in this respect +he has seldom been excelled. The whole object +of his work was to produce a tomb-statue, which +should be the refuge of the <em>Ka</em> of the dead man +when his mummy had perished by lapse of time. +Therefore the one condition of his art was that +it should produce likenesses as absolute as the +power of man could compass. The result of +such an aim is manifest, both in the successes +and in the limitations of Egyptian sculpture. In +the one point to which he gave his whole strength, +the sculptor scored, not always, of course, but in +many instances, a most astonishing success. It +is impossible to imagine anything more lifelike +than the heads of some of the Old Kingdom +statues—the Ti or the Ranefer of the Cairo +Museum, or among royal statues, the Menkaura +with the figures of the Nomes, or in later times +the exquisite Berlin head of Queen Nefertiti, +the astonishing ebony head of a royal princess +of the same period, who may be Queen Tiy, or, +to come down to still later days, the other head +of Mentuemhat which Miss Benson and +Miss Gourlay unearthed from the temple of +Mut, or in the very latest days of Egyptian independence, +the head of an unknown man in green +schist which is now in the Berlin Museum. +Until the rise of Roman portrait-sculpture, +no ancient school of art presents anything to be +compared with the realism of the ancient Egyptian +sculptor.</p> + +<p>Unfortunately for the completeness of his +art, the absolute dominance of the need for<span class="pagenum" id="Page_242">242</span> +recognisable likeness in the head limited his +work in other respects. So long as the head was +a success, the rest of the body did not matter so +much; and consequently we have, even in such +fine examples as the Ti and the Ranefer, a noble +head joined to a body which is much less +thoroughly studied, while in examples of poorer +quality the contrast between the care with which +the head is worked out and the rude blocking +out of the torso and the extremities is almost +ludicrous. Still, Egyptian art, like all art, is +entitled to be judged by its best, and not, as has +so often been done, by its worst; and even when +we admit all its limitations the fact remains that +to charge it with incapacity to interpret individuality +is, to anyone who is familiar with its +best work, merely ridiculous.</p> + +<p>The case is the same when we turn to the +criticisms which have been directed against the +other great branch of Egyptian sculpture—its +relief-work. The great reliefs of the temples, +with their battle pictures and scenes of offerings, +are what at once commands the attention and +invites the criticism. We are told, and very +justly so far, that “Kings, gods, prisoners, the +smiting champion, and the transfixed victim +are all equally expressionless. Clearly the idea +that art can be charged with, and visibly body +forth, the emotions and ideas of the human mind +was never grasped by Egyptian sculptors”; +but who in the world ever dreamed of taking +the vast advertisements of the glory and valour +of Pharaoh, for that is what the battle reliefs of +Karnak and Medinet Habu are—contract work,<span class="pagenum" id="Page_243">243</span> +at so much the square yard—as fair representatives +of the delicate and most decorative +work which has given us the tomb-reliefs of the +Old Kingdom?</p> + +<p>In some respects Egyptian relief-work is +decidedly inferior to the remarkable animal +sculpture with which the Assyrian kings decorated +their palaces. The Egyptian sculptor rarely +attempts anything like the difficulty of the +problems of motion which the Assyrian tackled +with such dash and light-heartedness, and when +he does make the attempt his work is apt to seem +stiff beside that of his rival, whose hunting +scenes have rarely been equalled; but in his +portrayal of quiet scenes of home, field, and +farmyard the Egyptian comes to his own again, +and it is difficult to imagine anything more +effective as wall decoration than his quiet and +unstrained work, which, unlike that of the bitter +Assyrian, almost invariably leaves a pleasant +impression on the mind.</p> + +<p>The comprehension and appreciation of +Egyptian architecture has been hindered by the +same fact which has delayed the appreciation of +the art of the Nile Valley—namely, that the +specimens of it which are to-day the most +complete, and which command for that reason +most attention, belong, not to the days when +Egypt was at the summit of her achievement in +all respects, but to periods when taste and artistic +feeling were decaying along with power. To +take, as is often done, such a temple as Medinet +Habu as fairly representative of Egyptian architecture, +is simply to make adequate appreciation<span class="pagenum" id="Page_244">244</span> +of what Egyptian architecture is a thing +impossible. The Egyptian builders had, no +doubt, great faults, which have already been +touched upon. They were often, indeed almost +always, strangely careless about the very factors +which should ensure the “eternal duration” +which they craved for the works of their hands; +they had, generally speaking, comparatively little +of that exquisite sense of proportion which makes +a fine Greek temple seem a thing inevitable, +though sometimes, as at Der el-Bahri, and the +little temple of Amenhotep III at Elephantine, +now, alas, destroyed, something of this was +revealed to them; they sometimes mistook mere +mass for greatness, and the multiplication of +forms for beauty, as in the Hypostyle Hall at +Karnak, where a magnificent opportunity was +lost because the architect did not know that too +much is too much. But with it all they have +left us a heritage of which it can safely be said +that few of the works of man can surpass it in +impressiveness. “It is a part of my intention,” +says Mr. Lethaby (<cite>Architecture</cite>, pp. 65, 66), “to +try to point out what contributions were made to +universal architecture by the several civilisations +as they arose and passed away, but to do so of +Egypt would be practically to rewrite what has +been said; to a large degree Architecture is an +Egyptian art.”</p> + +<p>The nation of which such a statement can be +made needs no further witness as to its place +among the great master-building nations of the +world’s history.</p> + +<p>Whatever hesitations and doubts there may<span class="pagenum" id="Page_245">245</span> +be as to the right of the ancient Egyptian to rank +high among the artistic nations of the world, +there can be none as to his place as a craftsman. +In prehistoric days he was already the finest +flint-worker that the world has ever known, so +that his flint knives are to this day the standards +by which all other similar work falls to be tested, +and in presence of which it always comes short; +while his vessels of hard stone were shaped, with +a skill and a patience which to us seem little +short of marvellous, into shapes of grace and +beauty which have never been surpassed by +the workers of any land or time. Later he +translated these into fine pottery, and was always +a skilful and satisfying potter, though his work +never perhaps attained the grace and beauty of +that of his brother craftsman over the sea in +Crete. His greatest gift to us in this respect was +his development of the art of covering pottery of +all kinds with the exquisite glazes which still +charm us on scarabs, amulets, ushabti figures, +and all sorts of vessels.</p> + +<p>As a linen worker, of course, he was incomparable, +and the finest specimens of modern +linen look wretchedly coarse when viewed under +a microscope alongside the best products of his +loom. The earliest jewellery of the world was +of his workmanship, and the bracelets of the +Ist Dynasty queen found at Abydos show us +that the Egyptian jeweller of six thousand years +ago needed no lessons from any of the most skilled +modern practitioners of the crafts. Indeed, all +through the history of the land the craftsmanship +of the goldsmith was beyond reproach. In the<span class="pagenum" id="Page_246">246</span> +later periods his design was much inferior to the +happy inspirations of the morning of art, though +his technique was fairly well maintained to the +end; but in the best days of the craft, which +pretty closely correspond to the best days of +the history, design and technique were alike +admirable.</p> + +<p>Anything finer in their own way than the +diadems of Khnumit, the royal crown, or the +pectorals of the Lahun treasure, it is impossible +to imagine, while if the standard of the furniture +in the tomb of Tutankhamen is maintained by +the jewellery, we may look for evidence from this +source that the skill of the craftsman had not +degenerated in the interval between the Middle +Kingdom and the New Empire.</p> + +<p>With regard to woodwork, the evidence of the +furniture which has been found in the tombs is +conclusive both as to the skilful and sound design +of the Egyptian cabinet-maker, and as to his +careful and accurate workmanship. The chairs, +the coffers, and the couches from the tomb of +Yuaa and Tuau are delightful to the eye, with +their simple and sensible lines, and suggest that +they would be equally satisfactory in use. The +wonders which have been disclosed in the tomb +of Tutankhamen have already been discussed +in their own place, so far as that is possible at +present, and while they reveal nothing new, save +the ugly and clumsy state couches, whose +provenance has been also discussed, they show +an amount of richness in detail and material +for which even previous discoveries had scarcely +prepared us.</p> + +<p><span class="pagenum" id="Page_247">247</span></p> + +<p>Professor Petrie tells us that structurally the +work of the Egyptian joiner was as good as it +was satisfying to the eye, and the state in which +his works have come down to us through so many +centuries bears witness to the soundness of the +materials which he used, and of the work which +he put out upon them; and perhaps the carefully +moderate estimate of so great an expert is more +impressive as to the quality of Egyptian craftsmanship +than the multiplication of superlatives +would be. “The powerful technical skill of +Egyptian art, its good sense of limitations, and its +true feeling for harmony and expression, will +always make it of the first importance to the +countries of the West with which it was so early +and so long connected.”</p> + +<p>In sum the debt which the modern world +owes to the culture of ancient Egypt is no small +one. We owe to Egypt the first book, the first +building, the first ship, the first statue, the first +romance, the first relief, and the first picture, in +the modern sense, of which we have any +knowledge; and if some of these anticipations +are crude and primitive, and show but little sign +of the wonderful development of which the +future was to prove them capable, yet it is only +due to this pioneer nation to remember that it +is to her that we owe the seed which has borne +so manifold a harvest.</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_249">249</span></p> + +<h2 class="nobreak" id="INDEX">INDEX</h2> + +<div class="index"> +<ul class="index"> +<li class="ifrst">Aahmes Nefertari, Queen, <a href="#Page_160">160</a></li> + +<li class="indx">Aah-hotep, Queen, <a href="#Page_27">27</a>, <a href="#Page_156">156</a></li> + +<li class="indx">Aashait, Princess, <a href="#Page_99">99</a></li> + +<li class="indx">Abbott Papyrus, <a href="#Page_128">128</a></li> + +<li class="indx">Abd-er-Rassoul, Ahmed, <a href="#Page_157">157</a>;</li> +<li class="isub1">Mohamed, <a href="#Page_158">158</a></li> + +<li class="indx">Abu-Roash, <a href="#Page_49">49</a>, <a href="#Page_52">52</a></li> + +<li class="indx">Abusir, <a href="#Page_50">50</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a></li> + +<li class="indx">Abydos, Temple of Sety I, <a href="#Page_31">31</a>;</li> +<li class="isub1">Royal Tombs, <a href="#Page_135">135</a> <i>et seq.</i></li> + +<li class="indx">Akerblad, <a href="#Page_14">14</a></li> + +<li class="indx">Akhenaten, <a href="#Page_113">113</a>, <a href="#Page_118">118</a>, <a href="#Page_168">168</a>, <a href="#Page_171">171</a>, <a href="#Page_172">172</a> <i>et seq.</i>, + <a href="#Page_189">189</a></li> + +<li class="indx">Akhetaten, <a href="#Page_174">174</a>, <a href="#Page_190">190</a></li> + +<li class="indx">Amélineau, <a href="#Page_136">136</a>, <a href="#Page_140">140</a>, <a href="#Page_141">141</a></li> + +<li class="indx">Amen, <a href="#Page_111">111</a></li> + +<li class="indx">Amenartas, <a href="#Page_26">26</a></li> + +<li class="indx">Amenemhat I, <a href="#Page_72">72</a>;</li> +<li class="isub1">II, <a href="#Page_73">73</a>;</li> +<li class="isub1">III, <a href="#Page_51">51</a>, <a href="#Page_73">73</a>, <a href="#Page_81">81</a>, <a href="#Page_82">82</a></li> + +<li class="indx">Amenhotep I, <a href="#Page_160">160</a>;</li> +<li class="isub1">II, <a href="#Page_100">100</a>, <a href="#Page_130">130</a>,</li> +<li class="isub2">tomb of, <a href="#Page_165">165</a> <i>et seq.</i>;</li> +<li class="isub1">III, <a href="#Page_116">116</a>, <a href="#Page_148">148</a>, <a href="#Page_166">166</a></li> + +<li class="indx">Ameny, <a href="#Page_224">224</a>, <a href="#Page_225">225</a></li> + +<li class="indx">Amherst Papyrus, <a href="#Page_128">128</a></li> + +<li class="indx">Ammit, <a href="#Page_205">205</a>, <a href="#Page_206">206</a></li> + +<li class="indx">Amtes, Queen, <a href="#Page_218">218</a>, <a href="#Page_221">221</a></li> + +<li class="indx">Ankh.s.en.Amen (Ankh.s.en.pa. Aten), <a href="#Page_174">174</a>, <a href="#Page_189">189</a>, <a href="#Page_190">190</a> <i>et seq.</i></li> + +<li class="indx">Antefs, the, <a href="#Page_224">224</a></li> + +<li class="indx">Anubis, <a href="#Page_186">186</a></li> + +<li class="indx">Apis, <a href="#Page_19">19</a></li> + +<li class="indx">Archæology, methods and aims of, <a href="#Page_35">35</a> <i>et seq.</i></li> + +<li class="indx">Architecture, Egyptian, <a href="#Page_243">243</a> <i>et seq.</i></li> + +<li class="indx">Art, Egyptian, <a href="#Page_236">236</a> <i>et seq.</i></li> + +<li class="indx">Artisans, condition of, <a href="#Page_231">231</a> <i>et seq.</i></li> + +<li class="indx">Ashurbanipal, <a href="#Page_112">112</a></li> + +<li class="indx">Astemkheb, Queen, <a href="#Page_130">130</a></li> + +<li class="indx">Ay (Pharaoh), <a href="#Page_113">113</a>, <a href="#Page_188">188</a>, <a href="#Page_191">191</a></li> + +<li class="indx">Ayrton, Mr., <a href="#Page_168">168</a></li> + +<li class="ifrst">Balcarres, Lord, <a href="#Page_238">238</a></li> + +<li class="indx">Begarawiyah, <a href="#Page_50">50</a></li> + +<li class="indx">Belzoni, <a href="#Page_9">9</a>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, + <a href="#Page_105">105</a>, <a href="#Page_151">151–3</a></li> + +<li class="indx">Benson, Miss, <a href="#Page_118">118</a>, <a href="#Page_241">241</a></li> + +<li class="indx">Biban el-Moluk, <a href="#Page_148">148</a> <i>et seq.</i></li> + +<li class="indx">Bib-khuru-Riyas (Tutankhamen), <a href="#Page_192">192</a></li> + +<li class="indx">Boghaz-Kyoi, <a href="#Page_192">192</a></li> + +<li class="indx">Book of the Dead, <a href="#Page_151">151</a></li> + +<li class="indx">Book of the Gates, <a href="#Page_151">151</a></li> + +<li class="indx">Book of Him who is in the Duat, <a href="#Page_151">151</a></li> + +<li class="indx">Breasted, Prof., <a href="#Page_41">41</a>, <a href="#Page_196">196</a></li> + +<li class="indx">Browne, Sir T., <a href="#Page_61">61</a></li> + +<li class="indx">Brugsch, E., <a href="#Page_158">158</a> <i>et seq.</i></li> + +<li class="indx">Brune, <a href="#Page_94">94</a></li> + +<li class="indx">Budge, Sir E. A. W., <a href="#Page_205">205</a>, <a href="#Page_206">206</a>, <a href="#Page_209">209</a></li> + +<li class="ifrst">Canopic Jars, <a href="#Page_186">186</a></li> + +<li class="indx">Carnarvon, Lord, <a href="#Page_177">177</a> <i>et seq.</i></li> + +<li class="indx">Carter, Mr. Howard, <a href="#Page_168">168</a>, <a href="#Page_177">177</a> <i>et seq.</i></li> + +<li class="indx">Caviglia, Capt., <a href="#Page_63">63</a></li> + +<li class="indx">Champollion, J. F., <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_92">92</a></li> + +<li class="indx">Clarke, Somers, <a href="#Page_96">96</a></li> + +<li class="indx">Corselet of Eiorhoreru, <a href="#Page_201">201</a></li> + +<li class="indx">Corselet of Tutankhamen, <a href="#Page_200">200</a></li> + +<li class="indx">Couches, State (Tutankhamen’s), <a href="#Page_204">204</a> <i>et seq.</i></li> + +<li class="indx"><span class="pagenum" id="Page_250">250</span>Craftsmanship, Egyptian, <a href="#Page_245">245</a> <i>et seq.</i></li> + +<li class="ifrst">Dadefra, <a href="#Page_49">49</a></li> + +<li class="indx">Dahshur, <a href="#Page_73">73</a>, <a href="#Page_77">77</a></li> + +<li class="indx">Dakhamun (Ankh.s.en.Amen), <a href="#Page_192">192</a></li> + +<li class="indx">Daoud Pasha, <a href="#Page_157">157–8</a></li> + +<li class="indx">Davis, T. M., <a href="#Page_168">168</a> <i>et seq.</i></li> + +<li class="indx">Denon, V., <a href="#Page_8">8</a>, <a href="#Page_18">18</a></li> + +<li class="indx">Der el-Bahri, <a href="#Page_31">31</a>, <a href="#Page_87">87</a> <i>et seq.</i>;</li> +<li class="isub1"><em>Cache</em> of, <a href="#Page_158">158</a> <i>et seq.</i></li> + +<li class="indx"><cite lang="fr">Description de l’Egypte</cite>, <a href="#Page_8">8</a></li> + +<li class="indx">Devilliers, <a href="#Page_86">86</a>, <a href="#Page_91">91</a></li> + +<li class="indx">Diodorus, <a href="#Page_213">213</a></li> + +<li class="indx">Drovetti, <a href="#Page_9">9</a></li> + +<li class="ifrst">Edfu, <a href="#Page_32">32</a></li> + +<li class="indx">Edwards, Miss A., <a href="#Page_45">45–6</a></li> + +<li class="indx">Elliot Smith, Prof., <a href="#Page_163">163</a>, <a href="#Page_173">173</a></li> + +<li class="indx">Eugenie, Empress, <a href="#Page_29">29</a></li> + +<li class="ifrst">Fan-bearer, the, <a href="#Page_222">222</a>, <a href="#Page_233">233</a></li> + +<li class="indx">Fayum, the, <a href="#Page_49">49</a></li> + +<li class="ifrst">Gebel Barkal (Napata), <a href="#Page_50">50</a></li> + +<li class="indx">Gizeh, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>, <a href="#Page_52">52</a></li> + +<li class="indx">Gourlay, Miss, <a href="#Page_118">118</a>, <a href="#Page_241">241</a></li> + +<li class="ifrst">Hall, H. R., <a href="#Page_96">96</a></li> + +<li class="indx">Hamed Aga, <a href="#Page_155">155–6</a></li> + +<li class="indx">Hasan, Sultan, <a href="#Page_62">62</a></li> + +<li class="indx">Hathor, shrine, Der el-Bahri, <a href="#Page_100">100</a></li> + +<li class="indx">Hatshepsut, Queen, <a href="#Page_31">31</a>, <a href="#Page_78">78</a> <i>et seq.</i>, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>, <a href="#Page_168">168</a></li> + +<li class="indx">Hawara, <a href="#Page_51">51</a>, <a href="#Page_73">73</a>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a></li> + +<li class="indx">Henhenit, Princess, <a href="#Page_99">99</a></li> + +<li class="indx">Hent-taui, Queen, <a href="#Page_160">160</a></li> + +<li class="indx">Herodotus, <a href="#Page_7">7</a>, <a href="#Page_213">213</a>, <a href="#Page_232">232</a>, <a href="#Page_235">235</a></li> + +<li class="indx">Hichens, R., <a href="#Page_90">90</a></li> + +<li class="indx">Hierakonpolis, <a href="#Page_145">145</a></li> + +<li class="indx">Horemheb, <a href="#Page_118">118</a>, <a href="#Page_168">168</a>, <a href="#Page_175">175</a>, <a href="#Page_190">190</a>, <a href="#Page_199">199</a></li> + +<li class="indx">Hunefer, Papyrus of, <a href="#Page_206">206</a></li> + +<li class="indx">Huy, <a href="#Page_190">190</a>, <a href="#Page_191">191</a></li> + +<li class="indx">Hyksos Sphinxes, <a href="#Page_26">26</a></li> + +<li class="indx">Hypostyle Hall, Karnak, <a href="#Page_113">113</a></li> + +<li class="ifrst">Illahun, <a href="#Page_51">51</a>, <a href="#Page_78">78</a></li> + +<li class="indx">Imhotep, <a href="#Page_70">70</a></li> + +<li class="indx">Ismail, Khedive, <a href="#Page_29">29</a></li> + +<li class="ifrst">Jewellery, Egyptian, <a href="#Page_78">78</a>, <a href="#Page_79">79</a>, <a href="#Page_82">82</a>, <a href="#Page_142">142</a>, <a href="#Page_144">144</a></li> + +<li class="indx">Jollois, <a href="#Page_86">86</a>, <a href="#Page_91">91</a></li> + +<li class="ifrst">Ka. amenhotep, <a href="#Page_201">201</a></li> + +<li class="indx">Kadashman-Enlil, <a href="#Page_205">205</a></li> + +<li class="indx">Kagemni, <a href="#Page_71">71</a></li> + +<li class="indx">Kahun, <a href="#Page_75">75</a>, <a href="#Page_231">231</a></li> + +<li class="indx">Karnak, temple of, <a href="#Page_105">105</a> <i>et seq.</i>;</li> +<li class="isub1">Mariette’s work at, <a href="#Page_31">31</a></li> + +<li class="indx">Kauit, Princess, <a href="#Page_99">99</a></li> + +<li class="indx">Kemsit, Princess, <a href="#Page_99">99</a></li> + +<li class="indx">Keneh, Mudir of, <a href="#Page_27">27</a>, <a href="#Page_155">155</a>, <a href="#Page_156">156–8</a></li> + +<li class="indx">Khaemuas, the Governor, <a href="#Page_129">129</a></li> + +<li class="indx">Khafra, pyramid of, <a href="#Page_53">53</a>, <a href="#Page_54">54</a></li> + +<li class="indx">Kha-Sekhem, tomb of, <a href="#Page_142">142</a>, <a href="#Page_145">145</a></li> + +<li class="indx">Khenti, <a href="#Page_139">139</a>, <a href="#Page_140">140</a></li> + +<li class="indx">Khnemhotep, <a href="#Page_224">224</a></li> + +<li class="indx">Khnumit, Princess, <a href="#Page_78">78</a>, <a href="#Page_82">82</a></li> + +<li class="indx">Khonsu, <a href="#Page_111">111</a>;</li> +<li class="isub1">temple of, <a href="#Page_118">118</a></li> + +<li class="indx">Khufu, pyramid of, <a href="#Page_52">52</a> <i>et seq.</i></li> + +<li class="ifrst">Labyrinth, the, <a href="#Page_15">15</a>, <a href="#Page_108">108</a></li> + +<li class="indx">Lahun, <a href="#Page_73">73</a>, <a href="#Page_75">75</a>, <a href="#Page_80">80</a></li> + +<li class="indx">Layard, <a href="#Page_43">43</a>, <a href="#Page_156">156</a></li> + +<li class="indx">Legrain, work of, at Karnak, <a href="#Page_108">108</a>, <a href="#Page_111">111</a>, <a href="#Page_124">124</a> <i>et seq.</i></li> + +<li class="indx">Lepsius, <a href="#Page_14">14–16</a>, <a href="#Page_93">93</a></li> + +<li class="indx">Lesseps, F. de, <a href="#Page_24">24</a></li> + +<li class="indx">Lethaby, W. R., on Egyptian Architecture, <a href="#Page_244">244</a></li> + +<li class="indx">Lisht, <a href="#Page_51">51</a>, <a href="#Page_73">73</a></li> + +<li class="indx">Loret, <a href="#Page_165">165</a></li> + +<li class="indx">Luxor, work of Amenhotep III at, <a href="#Page_117">117</a></li> + +<li class="ifrst">Macalister, R. A. S., <a href="#Page_9">9</a>, <a href="#Page_16">16</a>, <a href="#Page_39">39</a>, <a href="#Page_41">41</a>, <a href="#Page_43">43</a></li> + +<li class="indx">Maghareh, Wady, <a href="#Page_15">15</a></li> + +<li class="indx">Makt-aten, <a href="#Page_189">189</a></li> + +<li class="indx">Mamun, <a href="#Page_62">62</a></li> + +<li class="indx">Manetho, <a href="#Page_137">137</a></li> + +<li class="indx">Mannikin, the, <a href="#Page_8">8</a>, <a href="#Page_207">207</a></li> + +<li class="indx">March Phillipps, on Egyptian Art, <a href="#Page_238">238–9</a></li> + +<li class="indx">Mariette, A., <a href="#Page_10">10</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_34">34</a>, <a href="#Page_93">93</a>, <a href="#Page_156">156</a></li> + +<li class="indx">Maspero, Sir G., <a href="#Page_10">10</a>, <a href="#Page_23">23</a>, <a href="#Page_32">32</a>, <a href="#Page_35">35</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>, + <a href="#Page_68">68</a>, <a href="#Page_101">101</a>, <a href="#Page_124">124</a>, <a href="#Page_157">157</a>, <a href="#Page_161">161</a>, <a href="#Page_164">164</a>, <a href="#Page_165">165</a>, + <a href="#Page_168">168</a></li> + +<li class="indx">Mastabas, <a href="#Page_58">58</a>, <a href="#Page_71">71</a></li> + +<li class="indx">Medinet Habu, Mariette’s work at, <a href="#Page_31">31</a></li> + +<li class="indx">Medum, pyramid of, <a href="#Page_54">54</a></li> + +<li class="indx"><span class="pagenum" id="Page_251">251</span>Memphis, <a href="#Page_19">19</a></li> + +<li class="indx">Mena, <a href="#Page_45">45</a>, <a href="#Page_137">137</a>, <a href="#Page_143">143</a></li> + +<li class="indx">Menkaura, pyramid of, <a href="#Page_54">54–64</a>, <a href="#Page_65">65</a>;</li> +<li class="isub1">statue of, <a href="#Page_238">238</a></li> + +<li class="indx">Mentu, <a href="#Page_117">117</a></li> + +<li class="indx">Mentuemhat, Prince, <a href="#Page_239">239</a>, <a href="#Page_241">241</a></li> + +<li class="indx">Mentuherkhepshef, Prince, <a href="#Page_168">168</a></li> + +<li class="indx">Mentuhotep-neb-Hepet-Ra, <a href="#Page_89">89</a>, <a href="#Page_96">96</a> <i>et seq.</i>, <a href="#Page_147">147</a></li> + +<li class="indx">Merenptah, <a href="#Page_117">117</a>, <a href="#Page_166">166</a></li> + +<li class="indx">Merenra, <a href="#Page_70">70</a>, <a href="#Page_221">221</a></li> + +<li class="indx">Mereruka, <a href="#Page_71">71</a></li> + +<li class="indx">Meroë, <a href="#Page_15">15</a>, <a href="#Page_50">50</a></li> + +<li class="indx">Mertisen, <a href="#Page_89">89</a></li> + +<li class="indx">Meryt-Aten, <a href="#Page_189">189</a></li> + +<li class="indx">Moeris, Lake, <a href="#Page_15">15</a></li> + +<li class="indx">Morgan, J. de, <a href="#Page_78">78</a>, <a href="#Page_165">165</a></li> + +<li class="indx">Murray, Miss M. A., <a href="#Page_102">102</a></li> + +<li class="indx">Mursil II, <a href="#Page_192">192</a></li> + +<li class="indx">Mut, <a href="#Page_111">111</a>, <a href="#Page_117">117</a>, <a href="#Page_118">118</a></li> + +<li class="ifrst">Napata, <a href="#Page_15">15</a>, <a href="#Page_50">50</a></li> + +<li class="indx">Napoleon I, <a href="#Page_7">7</a></li> + +<li class="indx">Napoleon III, <a href="#Page_24">24</a></li> + +<li class="indx">Narmer, <a href="#Page_143">143</a>, <a href="#Page_144">144</a></li> + +<li class="indx">Naville, E. de, <a href="#Page_31">31</a>, <a href="#Page_95">95</a> <i>et seq.</i>;</li> +<li class="isub1"><a href="#Page_102">102</a> <i>et seq.</i></li> + +<li class="indx">Necho, <a href="#Page_154">154</a></li> + +<li class="indx">Nectanebo, <a href="#Page_20">20</a></li> + +<li class="indx">Nefer-ka-Ra, <a href="#Page_68">68</a></li> + +<li class="indx">Nefer-ka-ra-em-per-Amen, <a href="#Page_129">129</a></li> + +<li class="indx">Nekht, tomb of, <a href="#Page_150">150</a></li> + +<li class="indx">Nesamen, Pharaoh’s Scribe, <a href="#Page_129">129</a></li> + +<li class="indx">Ne-user-Ra, temple of, <a href="#Page_69">69</a></li> + +<li class="indx">Nezem-mut, Queen, <a href="#Page_160">160</a></li> + +<li class="ifrst">Osireion, Abydos, <a href="#Page_31">31</a>, <a href="#Page_102">102</a> <i>et seq.</i></li> + +<li class="indx">Osiris, <a href="#Page_139">139</a>;</li> +<li class="isub1">bed of, <a href="#Page_140">140</a>, <a href="#Page_141">141</a></li> + +<li class="indx">Osiris-Apis (Serapis), <a href="#Page_19">19</a></li> + +<li class="ifrst">Paser, Governor of Thebes, <a href="#Page_128">128</a>, <a href="#Page_129">129</a></li> + +<li class="indx">Passalacqua, <a href="#Page_10">10</a></li> + +<li class="indx">Pedubast, <a href="#Page_201">201</a></li> + +<li class="indx">Peet, Prof. T. E., <a href="#Page_132">132</a>, <a href="#Page_137">137</a></li> + +<li class="indx">Pentaur, poem of, <a href="#Page_116">116</a></li> + +<li class="indx">Pepy I, <a href="#Page_70">70</a>, <a href="#Page_218">218</a></li> + +<li class="indx">Pepy II, <a href="#Page_70">70</a></li> + +<li class="indx">Perring, <a href="#Page_14">14</a></li> + +<li class="indx">Petrie, Sir W. M. F., <a href="#Page_47">47</a>, <a href="#Page_53">53</a>, <a href="#Page_61">61</a>, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, + <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, <a href="#Page_78">78</a>, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>, + <a href="#Page_102">102</a>, <a href="#Page_108">108</a>, <a href="#Page_115">115</a>, <a href="#Page_136">136</a>, <a href="#Page_141">141</a>, <a href="#Page_145">145</a>, + <a href="#Page_205">205</a>, <a href="#Page_216">216</a>, <a href="#Page_231">231</a>, <a href="#Page_247">247</a></li> + +<li class="indx">Pewero, <a href="#Page_128">128</a>, <a href="#Page_129">129</a></li> + +<li class="indx">Pharaoh, conditions of rule of, <a href="#Page_215">215</a> <i>et seq.</i></li> + +<li class="indx">Philæ, Obelisk of, <a href="#Page_13">13</a></li> + +<li class="indx">Philip Arrhidæus, chapel of, at Karnak, <a href="#Page_121">121</a></li> + +<li class="indx">Pimay, <a href="#Page_201">201</a></li> + +<li class="indx">Pinezem I and II, <a href="#Page_160">160</a></li> + +<li class="indx">Pococke, <a href="#Page_91">91</a></li> + +<li class="indx">Pool of Osiris, Abydos, <a href="#Page_102">102</a> <i>et seq.</i></li> + +<li class="indx">Predynastic tombs, <a href="#Page_138">138</a></li> + +<li class="indx">Priesthood, the Egyptian, <a href="#Page_223">223</a></li> + +<li class="indx">Proctor, R. A., <a href="#Page_54">54</a></li> + +<li class="indx">Psamtek II, <a href="#Page_154">154</a></li> + +<li class="indx">Ptah, <a href="#Page_19">19</a></li> + +<li class="indx">Ptah-hetep, <a href="#Page_71">71</a></li> + +<li class="indx">Ptolemaic work at Karnak, <a href="#Page_110">110</a>, <a href="#Page_113">113</a>, <a href="#Page_125">125</a></li> + +<li class="indx">Punt, <a href="#Page_32">32</a>, <a href="#Page_95">95</a></li> + +<li class="indx">Pyramids, the, <a href="#Page_48">48</a> <i>et seq.</i></li> + +<li class="indx">Pyramid temples, <a href="#Page_58">58</a> <i>et seq.</i></li> + +<li class="indx">Pyramid texts, <a href="#Page_70">70</a>, <a href="#Page_71">71</a></li> + +<li class="ifrst">Quft, <a href="#Page_161">161</a></li> + +<li class="ifrst">Rainer Papyrus, <a href="#Page_201">201</a></li> + +<li class="indx">Ramses I, <a href="#Page_110">110</a>, <a href="#Page_112">112</a>, <a href="#Page_113">113</a></li> + +<li class="indx">Ramses II, <a href="#Page_26">26</a>, <a href="#Page_40">40</a>, <a href="#Page_113">113</a>, <a href="#Page_114">114</a>, <a href="#Page_117">117</a>, <a href="#Page_160">160</a>, + <a href="#Page_162">162</a>, <a href="#Page_218">218</a></li> + +<li class="indx">Ramses III, <a href="#Page_31">31</a>, <a href="#Page_111">111</a>, <a href="#Page_148">148</a>, <a href="#Page_160">160</a>, <a href="#Page_165">165</a>, <a href="#Page_219">219</a>, + <a href="#Page_233">233</a></li> + +<li class="indx">Ramses IV and V, <a href="#Page_166">166</a></li> + +<li class="indx">Ramses VI, <a href="#Page_166">166</a>, <a href="#Page_180">180</a></li> + +<li class="indx">Ramses IX, <a href="#Page_128">128</a>, <a href="#Page_232">232</a></li> + +<li class="indx">Ramses X, <a href="#Page_129">129</a></li> + +<li class="indx">Ramses XII, <a href="#Page_151">151</a></li> + +<li class="indx">Razedef, <a href="#Page_49">49</a>, <a href="#Page_52">52</a></li> + +<li class="indx">Rehoboam, <a href="#Page_112">112</a></li> + +<li class="indx">Reisner, G. A., <a href="#Page_68">68</a></li> + +<li class="indx">Rekhmara, <a href="#Page_122">122</a>, <a href="#Page_150">150</a>, <a href="#Page_129">129</a></li> + +<li class="indx">Rosellini, <a href="#Page_14">14</a></li> + +<li class="indx">Rosetta Stone, the, <a href="#Page_13">13</a></li> + +<li class="ifrst">Sadhe, Princess, <a href="#Page_99">99</a></li> + +<li class="indx">Said, Khedive, <a href="#Page_24">24–7</a></li> + +<li class="indx">Sallier Papyrus, <a href="#Page_227">227</a></li> + +<li class="indx">Saqqara, Mariette’s work at, <a href="#Page_31">31</a>;</li> +<li class="isub1">stepped pyramid at, <a href="#Page_70">70</a></li> + +<li class="indx"><span class="pagenum" id="Page_252">252</span>Sat-hathor-ant, Princess, <a href="#Page_79">79</a></li> + +<li class="indx">“Scorpion,” the, <a href="#Page_143">143</a></li> + +<li class="indx">Scribes, the Egyptian, <a href="#Page_226">226</a> <i>et seq.</i></li> + +<li class="indx">Sebek-em-saf, <a href="#Page_13">13</a>, <a href="#Page_130">130</a>, <a href="#Page_146">146</a></li> + +<li class="indx">Sekhmet, <a href="#Page_117">117</a></li> + +<li class="indx">Semti, seal of, <a href="#Page_145">145</a></li> + +<li class="indx">Seneferu, pyramid of, <a href="#Page_51">51</a>, <a href="#Page_69">69</a>, <a href="#Page_146">146</a>, <a href="#Page_199">199</a></li> + +<li class="indx">Senmut, <a href="#Page_89">89</a>, <a href="#Page_122">122</a>, <a href="#Page_221">221</a></li> + +<li class="indx">Senusert I, <a href="#Page_72">72</a></li> + +<li class="indx">Senusert II, <a href="#Page_51">51</a>, <a href="#Page_73">73</a>, <a href="#Page_75">75</a>, <a href="#Page_87">87</a>, <a href="#Page_231">231</a></li> + +<li class="indx">Senusert III, <a href="#Page_73">73</a>, <a href="#Page_125">125</a></li> + +<li class="indx">Seqenen Ra, <a href="#Page_160">160</a>, <a href="#Page_164">164</a>, <a href="#Page_217">217</a></li> + +<li class="indx">Serabit el-Khadem, <a href="#Page_15">15</a></li> + +<li class="indx">Serapeum, Serapis, <a href="#Page_19">19</a> <i>et seq.</i></li> + +<li class="indx">Setna-Khaemuast, <a href="#Page_40">40</a>, <a href="#Page_223">223</a></li> + +<li class="indx">Sety I, <a href="#Page_11">11</a>, <a href="#Page_113">113</a>, <a href="#Page_148">148</a>, <a href="#Page_160">160</a>, <a href="#Page_163">163</a>;</li> +<li class="isub1">tomb of, <a href="#Page_153">153</a> <i>et seq.</i></li> + +<li class="indx">Sety II, <a href="#Page_113">113</a></li> + +<li class="indx">Sheshanq, <a href="#Page_112">112</a></li> + +<li class="indx">Shubbiluliuma, <a href="#Page_192">192</a></li> + +<li class="indx">Siptah, <a href="#Page_166">166</a>, <a href="#Page_168">168</a></li> + +<li class="indx">Smenkhara, <a href="#Page_188">188</a>, <a href="#Page_189">189</a></li> + +<li class="indx">Society in Egypt, <a href="#Page_214">214</a> <i>et seq.</i></li> + +<li class="indx">Sphinx, temple of, <a href="#Page_60">60</a></li> + +<li class="indx">Strabo, <a href="#Page_19">19</a>, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>, <a href="#Page_151">151</a></li> + +<li class="indx">Strikes of workmen, <a href="#Page_233">233</a>, <a href="#Page_234">234</a></li> + +<li class="ifrst">Taharqa, <a href="#Page_112">112</a></li> + +<li class="indx">Tanutamen, <a href="#Page_112">112</a></li> + +<li class="indx">Tell el-Amarna, <a href="#Page_174">174</a>;</li> +<li class="isub1">tablets, <a href="#Page_178">178</a>;</li> +<li class="isub1">art of, <a href="#Page_197">197</a></li> + +<li class="indx">Temples, Der el-Bahri, <a href="#Page_86">86</a>, <a href="#Page_87">87</a> <i>et seq.</i>;</li> +<li class="isub1">Karnak, <a href="#Page_105">105</a> <i>et seq.</i></li> + +<li class="indx">Teti, <a href="#Page_70">70</a></li> + +<li class="indx">Thothmes I, <a href="#Page_119">119</a></li> + +<li class="indx">Thothmes II, <a href="#Page_119">119</a>, <a href="#Page_160">160</a></li> + +<li class="indx">Thothmes III, <a href="#Page_26">26</a>, <a href="#Page_100">100</a>, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>, <a href="#Page_121">121</a>, <a href="#Page_122">122</a>, + <a href="#Page_125">125</a>, <a href="#Page_160">160</a>, <a href="#Page_218">218</a></li> + +<li class="indx">Thothmes IV, <a href="#Page_166">166</a>, <a href="#Page_168">168</a></li> + +<li class="indx">Throne of Tutankhamen, <a href="#Page_196">196</a></li> + +<li class="indx">Ti, <a href="#Page_71">71</a></li> + +<li class="indx">Tiy, Queen, <a href="#Page_168">168</a>, <a href="#Page_171">171</a>, <a href="#Page_173">173</a>, <a href="#Page_174">174</a></li> + +<li class="indx">Tuau, <a href="#Page_168">168</a> <i>et seq.</i></li> + +<li class="indx">Tutankhamen, <a href="#Page_36">36</a>, <a href="#Page_113">113</a>, <a href="#Page_175">175</a>, <a href="#Page_177">177</a> <i>et seq.</i>;</li> +<li class="isub1">reign of, <a href="#Page_188">188</a></li> + +<li class="indx">Tutankhaten, <a href="#Page_174">174</a></li> + +<li class="ifrst">Umm el-Ga’ab, <a href="#Page_140">140</a></li> + +<li class="indx">Una, <a href="#Page_218">218</a>, <a href="#Page_221">221</a></li> + +<li class="indx">Unas, <a href="#Page_70">70</a></li> + +<li class="ifrst">Valley of the Kings, <a href="#Page_148">148</a> <i>et seq.</i></li> + +<li class="indx">Vizier, duties of, <a href="#Page_219">219–221</a></li> + +<li class="indx">Vyse, Col. H., <a href="#Page_14">14</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a></li> + +<li class="ifrst">Weigall, <a href="#Page_168">168</a>, <a href="#Page_172">172</a></li> + +<li class="indx">Westcar Papyrus, <a href="#Page_199">199</a></li> + +<li class="indx">Wilkinson, <a href="#Page_92">92</a></li> + +<li class="ifrst">Young, <a href="#Page_14">14</a></li> + +<li class="indx">Yuaa, tomb of, <a href="#Page_168">168</a> <i>et seq.</i></li> + +<li class="ifrst">Zawiyet el-Aryan, <a href="#Page_68">68</a></li> + +<li class="indx">Zazamankh, <a href="#Page_199">199</a></li> + +<li class="indx">Zer, King, <a href="#Page_142">142</a>, <a href="#Page_144">144</a>, <a href="#Page_145">145</a></li> + +<li class="indx">Zeser, pyramid of, <a href="#Page_51">51</a>, <a href="#Page_70">70</a>, <a href="#Page_146">146</a></li> +</ul> +</div></div> + +<p class="p4 center smaller wspace"> +THE END +</p> + +<p class="p4 center small wspace"> +<span class="bt">PRINTED IN GREAT BRITAIN BY WILLIAM CLOWES AND SONS, LIMITED,</span><br> +LONDON AND BECCLES. +</p> + +<div class="chapter transnote"> +<h2 class="nobreak" id="Transcribers_Notes">Transcriber’s Notes</h2> + +<p>Punctuation, hyphenation, and spelling were made +consistent when a predominant preference was found +in the original book; otherwise they were not changed.</p> + +<p>Simple typographical errors were corrected; unbalanced +quotation marks were remedied when the change was +obvious, and otherwise left unbalanced.</p> + +<p>Illustrations in this eBook have been positioned +between paragraphs and outside quotations. In versions +of this eBook that support hyperlinks, the page +references in the List of Illustrations lead to the +corresponding illustrations.</p> + +<p>The index was not checked for proper alphabetization +or correct page references. +</p> +</div> +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 75684 ***</div> +</body> +</html> + diff --git a/75684-h/images/cover.jpg b/75684-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..0d65d52 --- /dev/null +++ b/75684-h/images/cover.jpg diff --git a/75684-h/images/i_000.jpg b/75684-h/images/i_000.jpg Binary files differnew file mode 100644 index 0000000..e602eee --- /dev/null +++ b/75684-h/images/i_000.jpg diff --git a/75684-h/images/i_001.jpg b/75684-h/images/i_001.jpg Binary files differnew file mode 100644 index 0000000..ec023b4 --- /dev/null +++ b/75684-h/images/i_001.jpg diff --git a/75684-h/images/i_010.jpg b/75684-h/images/i_010.jpg Binary files differnew file mode 100644 index 0000000..34a62b8 --- /dev/null +++ b/75684-h/images/i_010.jpg diff --git a/75684-h/images/i_018.jpg b/75684-h/images/i_018.jpg Binary files differnew file mode 100644 index 0000000..d952786 --- /dev/null +++ b/75684-h/images/i_018.jpg diff --git a/75684-h/images/i_030.jpg b/75684-h/images/i_030.jpg Binary files differnew file mode 100644 index 0000000..a3354f8 --- /dev/null +++ b/75684-h/images/i_030.jpg diff --git a/75684-h/images/i_040.jpg b/75684-h/images/i_040.jpg Binary files differnew file mode 100644 index 0000000..ba554ac --- /dev/null +++ b/75684-h/images/i_040.jpg diff --git a/75684-h/images/i_052.jpg b/75684-h/images/i_052.jpg Binary files differnew file mode 100644 index 0000000..7ff11d6 --- /dev/null +++ b/75684-h/images/i_052.jpg diff --git a/75684-h/images/i_072.jpg b/75684-h/images/i_072.jpg Binary files differnew file mode 100644 index 0000000..6a8253c --- /dev/null +++ b/75684-h/images/i_072.jpg diff --git a/75684-h/images/i_080.jpg b/75684-h/images/i_080.jpg Binary files differnew file mode 100644 index 0000000..8ba292d --- /dev/null +++ b/75684-h/images/i_080.jpg diff --git a/75684-h/images/i_088.jpg b/75684-h/images/i_088.jpg Binary files differnew file mode 100644 index 0000000..1dee53f --- /dev/null +++ b/75684-h/images/i_088.jpg diff --git a/75684-h/images/i_092.jpg b/75684-h/images/i_092.jpg Binary files differnew file mode 100644 index 0000000..f717d99 --- /dev/null +++ b/75684-h/images/i_092.jpg diff --git a/75684-h/images/i_096.jpg b/75684-h/images/i_096.jpg Binary files differnew file mode 100644 index 0000000..f64b37d --- /dev/null +++ b/75684-h/images/i_096.jpg diff --git a/75684-h/images/i_104.jpg b/75684-h/images/i_104.jpg Binary files differnew file mode 100644 index 0000000..c31ff19 --- /dev/null +++ b/75684-h/images/i_104.jpg diff --git a/75684-h/images/i_112.jpg b/75684-h/images/i_112.jpg Binary files differnew file mode 100644 index 0000000..22502fe --- /dev/null +++ b/75684-h/images/i_112.jpg diff --git a/75684-h/images/i_116.jpg b/75684-h/images/i_116.jpg Binary files differnew file mode 100644 index 0000000..9cbcd57 --- /dev/null +++ b/75684-h/images/i_116.jpg diff --git a/75684-h/images/i_120.jpg b/75684-h/images/i_120.jpg Binary files differnew file mode 100644 index 0000000..33a43ee --- /dev/null +++ b/75684-h/images/i_120.jpg diff --git a/75684-h/images/i_124.jpg b/75684-h/images/i_124.jpg Binary files differnew file mode 100644 index 0000000..3aa5696 --- /dev/null +++ b/75684-h/images/i_124.jpg diff --git a/75684-h/images/i_128.jpg b/75684-h/images/i_128.jpg Binary files differnew file mode 100644 index 0000000..293bff1 --- /dev/null +++ b/75684-h/images/i_128.jpg diff --git a/75684-h/images/i_136.jpg b/75684-h/images/i_136.jpg Binary files differnew file mode 100644 index 0000000..ff667cb --- /dev/null +++ b/75684-h/images/i_136.jpg diff --git a/75684-h/images/i_144.jpg b/75684-h/images/i_144.jpg Binary files differnew file mode 100644 index 0000000..3b24b56 --- /dev/null +++ b/75684-h/images/i_144.jpg diff --git a/75684-h/images/i_148.jpg b/75684-h/images/i_148.jpg Binary files differnew file mode 100644 index 0000000..5c2f755 --- /dev/null +++ b/75684-h/images/i_148.jpg diff --git a/75684-h/images/i_152.jpg b/75684-h/images/i_152.jpg Binary files differnew file mode 100644 index 0000000..bb3a97d --- /dev/null +++ b/75684-h/images/i_152.jpg diff --git a/75684-h/images/i_178.jpg b/75684-h/images/i_178.jpg Binary files differnew file mode 100644 index 0000000..bfbf6c6 --- /dev/null +++ b/75684-h/images/i_178.jpg diff --git a/75684-h/images/i_184.jpg b/75684-h/images/i_184.jpg Binary files differnew file mode 100644 index 0000000..2986e16 --- /dev/null +++ b/75684-h/images/i_184.jpg diff --git a/75684-h/images/i_192.jpg b/75684-h/images/i_192.jpg Binary files differnew file mode 100644 index 0000000..37fd00f --- /dev/null +++ b/75684-h/images/i_192.jpg diff --git a/75684-h/images/i_200.jpg b/75684-h/images/i_200.jpg Binary files differnew file mode 100644 index 0000000..ebf5d4f --- /dev/null +++ b/75684-h/images/i_200.jpg diff --git a/75684-h/images/i_208.jpg b/75684-h/images/i_208.jpg Binary files differnew file mode 100644 index 0000000..5440570 --- /dev/null +++ b/75684-h/images/i_208.jpg diff --git a/75684-h/images/i_216.jpg b/75684-h/images/i_216.jpg Binary files differnew file mode 100644 index 0000000..08b6ba5 --- /dev/null +++ b/75684-h/images/i_216.jpg diff --git a/75684-h/images/i_224.jpg b/75684-h/images/i_224.jpg Binary files differnew file mode 100644 index 0000000..2a89371 --- /dev/null +++ b/75684-h/images/i_224.jpg diff --git a/75684-h/images/i_228.jpg b/75684-h/images/i_228.jpg Binary files differnew file mode 100644 index 0000000..ca19868 --- /dev/null +++ b/75684-h/images/i_228.jpg diff --git a/75684-h/images/i_232.jpg b/75684-h/images/i_232.jpg Binary files differnew file mode 100644 index 0000000..9ec58ad --- /dev/null +++ b/75684-h/images/i_232.jpg diff --git a/75684-h/images/i_236.jpg b/75684-h/images/i_236.jpg Binary files differnew file mode 100644 index 0000000..b132070 --- /dev/null +++ b/75684-h/images/i_236.jpg diff --git a/75684-h/images/i_240.jpg b/75684-h/images/i_240.jpg Binary files differnew file mode 100644 index 0000000..7be19e3 --- /dev/null +++ b/75684-h/images/i_240.jpg |
