Manual of Egyptian Archaeology and Guide to the Study of Antiquities in Egypt, Gaston Maspero [best classic literature TXT] 📗

Up to the beginning of the present century, one of the chambers in the step pyramid at Sakkarah yet retained its mural decoration of glazed ware (fig. 235). For three-fourths of the wall-surface it was covered with green tiles, oblong in shape, flat at the back, and slightly convex on the face (fig. 236). A square tenon, pierced through with a hole large enough to receive a wooden rod, served to fix them together in horizontal pyramid of rows.[67] The three rows which frame in the doorway are inscribed with the titles of an unclassed Pharaoh belonging to one of the first Memphite dynasties. Fig 237.--Tile inlay, Tell el Yahûdeh. Fig 237.--Tile inlay, Tell el Yahûdeh.
The hieroglyphs are relieved in blue, red, green, and yellow, upon a tawny ground. Twenty centuries later, Rameses III. originated a new style at Tell el Yahûdeh. This time the question of ornamentation concerned, not a single chamber, but a whole temple. The mass of the building was of limestone and alabaster; but the pictorial subjects, instead of being sculptured according to custom, were of a kind of mosaic made with almost equal parts of stone tesserae and glazed ware.

The most frequent item in the scheme of decoration was a roundel moulded of a sandy frit coated with blue or grey slip, upon which is a cream-coloured rosette (fig. 237). Some of these rosettes are framed in geometrical designs (fig. 238) or spider-web patterns; some represent open flowers. The central boss is in relief; the petals and tracery are encrusted in the mass. Fig 238.--Tile inlay, Tell el Yahûdeh. Fig 238.--Tile inlay, Tell el Yahûdeh.
These roundels, which are of various diameters ranging from three-eighths of an inch to four inches, were fixed to the walls by means of a very fine cement. They were used to form many different designs, as scrolls, foliage, and parallel fillets, such as may be seen on the foot of an altar and the base of a column preserved in the Gizeh Museum. The royal ovals were mostly in one piece; so also were the figures. The details, either incised or modelled upon the clay before firing, were afterwards painted with such colours as might be suitable. Fig 239.--Inlaid tiles, Tell el Yahûdeh. Fig 239.--Inlaid tiles, Tell el Yahûdeh.
The lotus flowers and leaves which were carried along the bottom of the walls or the length of the cornices, were, on the contrary, made up of independent pieces; each colour being a separate morsel cut to fit exactly into the pieces by which it was surrounded (fig. 239). This temple was rifled at the beginning of the present century, and some figures of prisoners brought thence have been in the Louvre collection ever since the time of Champollion. All that remained of the building and its decoration was demolished a few years ago by certain dealers in antiquities, and the débris are now dispersed in all directions. Fig 240.--Relief tile, Tell el Yahûdeh. Fig 240.--Relief tile, Tell el Yahûdeh.
Mariette, though with great difficulty, recovered some of the more important fragments, such as the name of Rameses III., which dates the building; some borderings of lotus flowers and birds with human hands (fig. 240); and some heads of Asiatics and negro prisoners (fig. 241).[68] Fig 241.--Relief tile, Tell el Yahûdeh. Fig 241.--Relief tile, Tell el Yahûdeh.
The destruction of this monument is the more grievous because the Egyptians cannot have constructed many after the same type. Glazed bricks, painted tiles, and enamelled mosaics are readily injured; and in the judgment of a people enamoured of stability and eternity, that would be the gravest of radical defects.

2.--WOOD, IVORY, LEATHER, AND TEXTILE FABRICS.

Objects in ivory, bone, and horn are among the rarities of our museums; but we must not for this reason conclude that the Egyptians did not make ample use of those substances. Horn is perishable, and is eagerly devoured by certain insects, which rapidly destroy it. Bone and ivory soon deteriorate and become friable. The elephant was known to the Egyptians from the remotest period. They may, perhaps, have found it inhabiting the Thebaid when first they established themselves in that part of the Nile Valley, for as early as the Fifth Dynasty we find the pictured form of the elephant in use as the hieroglyphic name of the island of Elephantine. Fig 242.--Spoon. Fig 242.--Spoon.
Ivory in tusks and half tusks was imported into Egypt from the regions of the Upper Nile. It was sometimes dyed green or red, but was more generally left of its natural colour. It was largely employed by cabinet makers for inlaying furniture, as chairs, bedsteads, and coffers. Combs, dice, hair- pins, toilette ornaments, delicately wrought spoons (fig. 242), Kohl bottles hollowed out of a miniature column surmounted by a capital, incense-burners in the shape of a hand supporting a bronze cup in which the perfumes were burned, and boomerangs engraved with figures of gods and fantastic animals, were also made of ivory. Some of these objects are works of fine art; as for instance at Gizeh, a poignard-handle in the form of a lion; the plaques in bas-relief which adorn the draught-box of one Tûaï, who lived towards the end of the Seventeenth Dynasty; a Fifth Dynasty figure, unfortunately mutilated, which yet retains traces of rose colour; and a miniature statue of Abi, who died at the time of the Thirteenth Dynasty. This little personage, perched on the top of a lotus-flower column, looks straight before him with a majestic air which contrasts somewhat comically with the size and prominence of his ears. The modelling of the figure is broad and spirited, and will bear comparison with good Italian ivories of the Renaissance period.

Egypt produces few trees, and of these few the greater number are useless to the sculptor. The two which most abound--namely, the date palm and the dôm palm--are of too coarse a fibre for carving, and are too unequal in texture. Some varieties of the sycamore and acacia are the only trees of which the grain is sufficiently fine and manageable to be wrought with the chisel. Wood was, nevertheless, a favourite material for cheap and rapid work. It was even employed at times for subjects of importance, such as Ka statues; and the Wooden Man of Gizeh shows with what boldness and amplitude of style it could be treated. But the blocks and beams which the Egyptians had at command were seldom large enough for a statue. The Wooden Man himself, though but half life-size, consists of a number of pieces held together by square pegs. Hence, wood-carvers were wont to treat their subjects upon such a scale as admitted of their being cut in one block, and the statues of olden time became statuettes under the Theban dynasties. Art lost nothing by the reduction, and more than one of these little figures is comparable to the finest works of the ancient empire. The best, perhaps, is at the Turin Museum, and dates from the Twentieth Dynasty. It represents a young girl whose only garment is a slender girdle. She is of that indefinite age when the undeveloped form is almost as much like that of a boy as of a girl. The expression of the head is gentle, yet saucy. Fig 244.--Wooden statuette of priest, Eighteenth Dynasty. Fig 244.--Wooden statuette of priest, Eighteenth Dynasty.
It is, in fact, across thirty centuries of time, a portrait of one of those graceful little maidens of Elephantine, who, without immodesty or embarrassment, walk unclothed in sight of strangers. Fig 243.--Wooden statuette of officer, Eighteenth Dynasty. Fig 243.--Wooden statuette of officer, Eighteenth Dynasty.
Three little wooden men in the Gizeh Museum are probably contemporaries of the Turin figure. They wear full dress, as, indeed, they should, for one was a king's favourite named Hori, and surnamed Ra. They are walking with calm and measured tread, the bust thrown forward, and the head high. The expression upon their faces is knowing, and somewhat sly. An officer who has retired on half-pay at the Louvre (fig. 243) wears an undress uniform of the time of Amenhotep III.; that is to say, a small wig, a close-fitting vest with short sleeves, and a kilt drawn tightly over the hips, reaching scarcely half-way down the thigh, and trimmed in front with a piece of puffing plaited longwise. His companion is a priest (fig. 244), who wears his hair in rows of little curls one above the other, and is clad in a long petticoat falling below the calf of the leg and spreading out in front in a kind of plaited apron. He holds a sacred standard consisting of a stout staff surmounted by a ram's head crowned with the solar disc. Fig 245.--Wooden statuette of priest, Eighteenth Dynasty. Fig 245.--Wooden statuette of priest, Eighteenth Dynasty.
Both officer and priest are painted red brown, with the exception of the hair, which is black; the cornea of the eyes, which is white; and the standard, which is yellow. Curiously enough, the little lady Naï, who inhabits the same glass case, is also painted reddish brown, instead of buff, which was the canonical colour for women (fig. 245). She is taken in a close-fitting garment trimmed down the front with a band of white embroidery. Round her neck she wears a necklace consisting of a triple row of gold pendants. Two golden bracelets adorn her wrists, and on her head she carries a wig with long curls. The right arm hangs by her side, the hand holding some object now lost, which was probably a mirror. The left arm is raised, and with the left hand she presses a lotus lily to her breast. The body is easy and well formed, the figure indicates youth, the face is open, smiling, pleasant, and somewhat plebeian. To modify the unwieldy mass of the headdress was beyond the skill of the artist, but the bust is delicately and elegantly modelled, the clinging garment gives discreet emphasis to the shape, and the action of the hand which holds the flower is rendered with grace and naturalness. All these are portraits, and as the sitters were not persons of august rank, we may conclude that they did not employ the most fashionable artists. They, doubtless, had recourse to more unpretending craftsmen; but that such craftsmen were thus highly trained in knowledge of form and accuracy of execution, shows how strongly even the artisan was influenced by the great school of sculpture which then flourished at Thebes.

This influence becomes even more apparent when we study the knick-knacks of the toilet table, and such small objects as, properly speaking, come under the head of furniture. To pass in review the hundred and one little articles of female ornament or luxury