Chapter VII: Part 7

The study of these three little monuments brings out very happily one of the qualities of Egyptian art: the skill with which the least of artists, in reproducing in a sometimes realistic manner the portrait of individuals, understood how to seize the physiognomy and bearing characteristic of their craft or of their social rank. Compare the submissive and sheepish face of the crouching scribe with the bold carriage and imperious head of the Pharaoh: the contrast is striking. With the scribe, all the muscles are relaxed; the whole body is bent, as with a man accustomed to obey and resigned to endure everything from his superiors. With the Pharaoh, the modelling is firm, the figure upright, the mien haughty; we feel that here is a person accustomed from childhood to walk upright in the midst of bowed backs. It is unfortunate that the legend has disappeared with the lower part of the second statuette; comparing it with several other monuments in the Louvre, it reminds me of several priests of the Saïte Period. The hardness in the eye and the corners of the lips is the same, the same furrow surrounds the nostril and the mouth, the outer walls of the nose are compressed in a similar fashion; in spite of the loss of the name and titles, I am tempted to think that the individual who bears on his face in so high a degree the peculiarities of the Egyptian priest belonged to the sacerdotal caste.

XXIII

A FIND OF SAÏTE JEWELS AT SAQQARAH[89]

As soon as I returned to my old post, I resumed the excavations of the pyramids at the point where I had left them in 1886. I had then made a systematic search of the entrance into the funerary vaults: it was now necessary to seek out the exterior chapels, the caves, the secondary pyramids or the mastabas, which, shut in by a walled enclosure, completed the burial-place. At the end of November, 1899, I placed workmen round Ounas, and as I found it impossible to direct the operations myself with the requisite care, I entrusted the surveillance of them to M. Alexandre Barsanti, the curator-restorer of the Museum, with detailed instructions. The campaign then begun was only ended in the last days of May, 1900, and the account of it will be published elsewhere. I now wish to draw the attention of amateurs and scholars to the discovery of a mass of Saïte jewels.

The progress of the clearing away revealed the existence of a series of intact tombs at the south of the pyramid. The last of those that had been opened belonged to a very high personage named Zannehibou, in his lifetime commandant of the king’s boats. The mummy, a block of shining bitumen, was at once recognised as a very rich one. At the height of the face it had a large gold mask which fitted on the front part of the head like the _cartonnage_ case usual with mummies of the second Saïte Period. It had a broad necklace round its neck of beads of gold and of green felspar or of lapis lazuli mounted with gold thread, and fastened to it were numerous amulets, also of gold. Below the necklace, on the chest, an image of the goddess Nouît, in gold, spread its wings. A network of gold and felspar hung down to the hip, and from the image of the Nouît to the ankles might be read, on a long band of gold-leaf, the usual inscriptions in relief: the name of the dead man, his filiation, with short formulas of prayer. Two gold figures of Isis and Nephthys were sewn on the chest, two leaves of gold cut as sandals were fitted to the soles of the feet; a silver plaque with a line engraving of a mystic eye for the incision whence the entrails had been extracted, gold cases for the twenty fingers and toes, completed this magnificent decoration. Everything that with the lower classes of the same period would have been in cardboard, or gilded paste, or enamelled clay, was pure gold and fine stones with Zannehibou. The find, estimated by weight alone, would be valuable, but what gave it inestimable worth was the delicate and artistic workmanship of the greater number of the objects. A few of them, like the sandals and the finger-cases, are only worth the raw metal; the rest are the work of veritable artists. The inscriptions of the legs, the winged Nouît, the Isis and the Nephthys, the mask, are stamped, and although the mask and the two goddesses were miserably crushed by the lid when the sarcophagus was closed, the mould of hard stone which was used to fix them was so delicately cut that the best-preserved pieces, the winged Nouît, for instance, may be quoted as the highest degree of perfection that could be attained by that process. The amulet in shape of a necklace is only a leaf cut with the chisel, on which a chapter of the “Book of the Dead” is engraved with the graving needle. The vulture amulet is a small, thin plaque, on one side of which the stamped figure of a vulture with spread wings has been stuck, while on the other the chapter of the “Book of the Dead” has been engraved, as with the necklace. It is all of good workmanship, but in the amulets hanging on the real necklace of the mummy the goldsmith has surpassed himself.

They are extraordinarily small, and in order to show the detail I have had the illustrations made twice the actual size, a proceeding that weakens the contours and the modelling. To realize their beauty it is necessary to have held them in the hand. The palm-tree, which has lost some leaves, is a unique object, more curious than elegant, but the mystic boat which is beside it, unique also so far, is a prodigy of delicate chiselling. It is the boat of the god Sokaris, a boat of most archaic construction, and which was already used for the accomplishment of the sacred rites under the Thinite Dynasty. The belly is broad and round, the stern rather heavy, but the bows very light and much decorated. It rests on a sort of side-ladder of beams and ropes, which is itself built on to a sledge: it was pulled along in the public ceremonies by means of a rope put through a hole made in the curved front of the sledge. The decoration and the equipage are most curious. On the bow is a gazelle’s head with straight horns turned to the interior, and along the prow a row of divergent plates of thin metal, the use of which is not very clear: it is as if the carcase of the gazelle was opened and showed the ribs fixed on the spine. At the back, to terminate the poop, there is a ram’s head with curved horns. In the middle, on an oblong rectangular pedestal, a hawk proudly perches; behind him are the four oar-rudders, two on each side; in front of him six little hawks ascend in procession, two by two, towards the gazelle’s head, led by a Nile fish placed edgeways on its ventral fin. For the moment I will not attempt to explain the meaning of these emblems, but what we can never grow tired of admiring is the cleverness with which the craftsman has grouped these widely differing elements into an harmonious whole, and especially the extraordinary skill with which he worked his metal. His gazelle’s head, a mere fraction of an inch in size, is of as proud a bearing as if it were of natural size: everything is exact, intelligent; the curve of the forehead, the flattening of the snout, the expression of the face, even to the natural pout of the creature. Each of the six hawks preserves its individual physiognomy, and the fish itself, reduced in size as it is, has the exact shape of the big Nile perch, and not that of any sort of fish.

Similar qualities are to be seen in the neighbouring pieces, in the ram’s head, the ordinary hawk, the hawk with a human head, and that with a ram’s head, and in the vulture. The seated Isis who nurses her child on her lap and the crouching Neîth have their usual characteristics of resignation and gentleness, and at the same time the simplicity of line that lends so dignified an air to the smallest Egyptian figures. It has all been chiselled out of the ingot itself, and the detail cut with so minute a point that we ask where the artisan could have obtained it.

Tiny lions addorsed or couchant, tiny mystic eyes, tiny monkeys worshipping the emblem of Osiris, tiny vultures, and tiny hawks extending their wings, each piece claims careful examination, and would by itself alone bring joy to the heart of a collector. The masterpiece of the series is, however, the _soul_, the hawk with a human head, enamelled body and wings, of which both back and front views are here reproduced. The back follows the usual manner, small rods of bent gold, curved, soldered on to a gold plaque and encrusted with thin plates of felspar to simulate feathers; but on the other side, the body, wings, and claws are modelled with the new purpose of reproducing the natural form of the bird. The little human head is a marvel of somewhat weak gracefulness: the eyes are well open, the mouth is smiling, the nostrils actually palpitate, the ear is cut out and is hollowed broad and high as is customary, and there is nothing, even to the wrinkles of the neck and the roundness of a double chin, that does not clearly stand out under the reflection of the gold. Here again, it is all chiselled by a master-hand, with a sureness I have only found in the hawk with a ram’s head in the Louvre,[90] with which this _soul of Gizeh_ may be compared.

The circumstances of the discovery would not have informed us of the date, if the style of the jewels had not done so. It is Saïte art with its lightness, suppleness, somewhat arch charm, its almost too high relief. A tendency is felt in the direction of the exaggerated roundness of the Ptolemies, and, in fact, a note furnished by M. Chassinat permits us to fix the time at which Zannehibou lived. He belonged to the family of a certain Psammetichus, whose tomb is near his, which an inscription in the Louvre found by Mariette in the Serapeum places at the beginning of the fifth century, during the last years of the reign of Darius I. If, as is likely, he was the grandson of that Psammetichus, he died at the end of the fourth century, just when the Saïte kings were resuming their superiority over the Persians, at most, a hundred years before the Macedonian conquest. The goldsmiths who fashioned his ornaments had probably seen Greek jewels, and had perhaps already felt Hellenic influence: in that way the almost Ptolemaic characteristics of the collection are explained. We know that Saïte jewels are very rare; the Louvre alone possesses any that are out of the ordinary run: the two necklace fastenings in form of a ship bought by M. G. Bénédite a few years ago. The mummy of Zannehibou has filled up the lacuna in the Gizeh series, and thanks to it, we now know that the goldsmith’s art yielded in nothing to the other arts at the time of the last Egyptian renaissance. Let us add that these jewels, although found on a mummy and made for it, are not, as is too often the case, jewels of the dead, pleasing in colour and design, but too weakly mounted to stand the wear and tear if worn by a living person. Like the jewels of Ramses II in the Louvre,[91] like those of Queen Ahhotpou at Gizeh, they are real jewels, identical at all points, except perhaps in the choice of subjects, with the jewels worn every day.

Such is the find that made a happy termination to our Saqqarah campaign. All the pieces were covered with bitumen, and it is no slight merit to M. Barsanti that he should have discovered them and separated them one after the other. Several pits, equally untouched, await us at the same spot under fifteen or eighteen yards of sand, and I have a good hope that next year’s excavations may have as glad surprises for us as those of this year.

XXIV

A BRONZE EGYPTIAN CAT BELONGING TO M. BARRÈRE[92]

This fine bronze cat was purchased at Cairo in 1884 by M. Barrère, then agent and consul-general of France in Egypt. It belongs to the innumerable family of cats which suddenly came forth from the ruins of Tell Bastah in 1878, and were, in a few years, scattered over the whole world. It measures 1 foot 4⅛ inches in height, and if not the largest found at that time, it is at least bigger than the average. But its size is not its chief merit: the Egyptians, who were the first to tame the cat, studied it so closely that they expressed its characteristics with extraordinary excellence. M. Barrère’s cat is firmly seated on her hind-quarters, looking straight in front of her, in the satisfied attitude of an animal which has done its duty and has nothing to reproach itself with. The wooden pedestal to which it was attached is wanting, but the metal tenon which fastened it is still in its place, and the body is in a perfect state of preservation. It was moulded in one piece round a core of sand that has disappeared, then touched up with the burin and the file, and then polished; it has not suffered from its long sojourn in the earth, and we can judge its qualities or its defects as clearly as if it had been made yesterday. It is a fine piece, of very sure design and careful execution. The artist was not afraid to multiply the details, and he has simplified the surfaces; but the force of the line, the robust and vigorous character of the execution, make his work a piece of the first rank. It is wonderful to note the intelligent skill with which he has expressed the characteristics and physiognomy of the race. The haunch is broad and round, the back supple, the neck slender, the head delicate, the ear straight; it is the Egyptian cat in all its elegance, as we can still see it among the fellahs, for crossing with foreign species has not altered it.

Barrère Collection.]

She is Bastît, a goddess of good family, the worship of whom flourished especially in the east of the delta, and she is very often drawn or named on the monuments, although they do not tell us enough of her myths or her origin. She was allied or related to the Sun, and was now said to be his sister or wife, now his daughter. She sometimes filled a beneficent and gracious rôle, protecting men against contagious diseases or evil spirits, keeping them off by the music of her sistrum: she had also her hours of treacherous perversity, during which she played with her victim as with a mouse, before finishing him off with a blow of her claws. She dwelt by preference in the city that bore her name, Poubastît, the Bubastis of classical writers. Her temple, at which Cheops and Chephrên had worked while they were building their pyramids, was rebuilt by the Pharaohs of the XXIInd Dynasty, enlarged by those of the XXVIth; when Herodotus visited it in the middle of the fifth century B.C., he considered it one of the most remarkable he had seen in the parts of Egypt through which he had travelled. It stood in the centre of the city, at the end of the market-place. It was bordered by two canals, each 100 feet wide and shaded by trees; they flowed without joining, one on the right, the other on the left of the building, almost making it an artificial island. Travellers before entering it looked over the enclosure, even into the exterior court-yards, for Bubastis had undergone the fate of many of the large cities of Egypt; in the course of ages the ground became raised in such a way that the foundations of recent houses were on a higher level than those of the temple. A big wall, decorated with pictures like the outer wall of the temple of Edfou, enclosed the temenos. The fêtes of Bastît attracted pilgrims from all parts of Egypt, as at the present day those of Sidi Ahmed el-Bedaouî draw people to the modern fair of Tantah. The people of each village crowded into large boats to get there, men and women pell-mell, with the fixed intention of enjoying themselves on the journey, a thing they never failed to do. They accompanied the slow progress of navigation with endless songs, love songs rather than sacred hymns, and there were always to be found among them flute players and castanet players to support or keep time to the voices. Whenever they passed by a town, they approached the bank as near as they could without landing, and then, while the orchestra redoubled its noise, the passengers threw volleys of insults and coarse remarks at the women standing on the bank; they retorted, and when they had exhausted words, they pulled up their petticoats and behaved indecently by way of reply. Herodotus was told that 700,000 persons, equal numbers of men and women, not reckoning little children, went thus every year to Bubastis. Entry into the temple did not calm them, far from it. They sacrificed a great number of victims with a sincere and joyous piety; then they drank deeply from morning to evening, and from evening to morning, as long as the festival lasted: more wine was consumed in a few days than in all the rest of the year put together.

The greater number of the pilgrims, before returning home, left a souvenir of their visit at the feet of Bastît. It was a votive stele with a fine inscription, and a picture showing the donor worshipping his goddess; or a statuette in blue or green pottery, or if they were wealthy, in bronze, silver, or sometimes gold: the goddess would be standing, seated, crouching with a woman’s body and a cat’s head, a sistrum or an ægis in her hand. During the Greek period the figures were in bronze or in painted and gilded wood surmounted by a cat’s head in bronze. Many were life-size and modelled with elaborate art; they had eyes of enamel, a gilded necklace round the neck, earrings, and amulets on the forehead. It sometimes happened that when a cat he particularly venerated died in his house, the pilgrim embalmed it according to the rites: he took the mummy with him, and, arrived at Bubastis, shut it up in one of the figures he offered. These various objects, at first placed anywhere in the temple, would quickly have filled it, if some remedy had not been found. They were piled up provisionally at the end of one of the secondary chambers, then thrown outside, and there encountered diverse fortunes. I do not think I am calumniating the Egyptian priests in saying that it must have been a great grief to them to part with so many precious gifts without trying to derive some honest profit from them. The gold and silver figures did not endure; they quickly went into the melting-pot, and few emerge from the ruins, but the bronze and copper were so abundant that there would have been little to gain in melting down the cats. So they sorted out the heap of bronzes, and while they kept some, the finest, doubtless, or those that bore inscriptions, they sold the rest to new generations of pilgrims, who, in their turn, offered them in due form. However frequently this was done, the influx was considerable, and they were forced to rid themselves quickly of the pieces that had at first been kept in reserve. They shut them up in cellars, or in pits dug expressly for them, veritable _favissæ_ similar to those of classical times;[93] they accumulated by thousands, large and small, in wood and in bronze, some intact and fresh as when just made, others already out of shape, rotten, oxidized and of no value. The places of concealment were soon forgotten, and the stuff in them reposed there beyond the reach of men until the day when the chances of excavation brought it to light.

One of them restored M. Barrère’s cat. It is not possible to determine the period at which it was buried: the persons who found it were seekers of nitreous manure, or dealers in antiquities who took good care not to divulge the circumstances and the site of their discovery. But judging from the roundness of certain forms and the aspect of the bronze, we recognize the style of the second Saïte Period, and the piece is to be attributed either to the Nectanebos, or the first Ptolemies, in a general way to the fourth century B.C. or the beginning of the third century B.C. It was the time when the worship of Bastît and her subordinate forms, Pakhît, Maît, was most popular, the period when, near Speos-Artemidos, the most extensive cemetery of cats in Egypt was established. The execution is pure Egyptian, and in no way betrays any Greek influence.

XXV

A FIND OF CATS IN EGYPT[94]

It was announced in the English newspapers, and the French followed suit, that a ship had recently reached London and disembarked 180,000 mummies of Egyptian cats. For a long time manufacturers of different nationalities have been accustomed to seek out the burying grounds of animals throughout Egypt, and to export the bones to Europe, where they are used as manure. A few years ago a necropolis full of monkeys was sent to Germany to manure beet-root fields. It seems that the cats of this year were discovered near Beni-Hassan; they were piled up at hazard in a sort of cavern, into which a fellah in search of antiquities was the first to penetrate. In fact, at some distance to the south of the hypogeums of Beni-Hassan, in the place called by geographers Speos-Artemidos, is a chapel hollowed out in the rock, and consecrated by the kings of the XVIIIth and XIXth Dynasties to a local goddess, a woman’s body with a cat’s or lion’s head, called Pakhît. The depôt recently exploited was found there, and the cats which reposed in it must have lived in the vicinity, under the protection of their cousin, the goddess. Cemeteries of the same kind existed wherever a divinity of a feline type was worshipped, lion, tiger, or cat. The most celebrated was at Bubastis, in the delta, where the seekers of antiquities cleared away the rubbish about thirty-seven years ago.[95] The mummies of cats were buried there in _favissæ_, deep pits, some merely wrapped in swathings, others enclosed in little coffins reproducing the image of the animal. Some of these coffins are entirely of wood covered with white stucco, gilded, painted in bright colours; some are in bronze, others have the body in wood and the head in bronze, with gold rings in their ears and encrustations of gold on the forehead and in the eyes. Statuettes of cats of different sizes, portraits of the goddess Bastît with a cat’s head, or of the god Nofirtoumou, are mingled with the mummies. Thence come the thousands of bronze cats, big and little, with which all the antiquaries of Europe and Cairo were so abundantly provided from 1876 to 1888. The important cat illustrated here, and who lives now in one of the glass cases in the “Salle divine” of the Louvre, is a perfect type of the species, long, slender in the back, broad in the hind-quarters, with a delicate, well-set head, rings in the ears, a necklace round the neck, and a little scarab on the top of the head; the artist who modelled it has rendered excellently and truthfully the supple bearing and the bold physiognomy of his original.

The Louvre.]

The cats represented on the monuments, or the mummies of which are found in Egypt, were not of the same race as our domestic cat. Scholars have studied them and are unanimous--Virchow, too, recently--in recognizing them as the _Felis maniculata_ and the _Felis chaus_. Egypt had tamed a few individual ones, but had not domesticated the whole species. They are sometimes to be seen on the bas-reliefs solemnly seated near their masters. It is commonly asserted that they were used for hunting birds in the marshes, and Wilkinson quotes in support a fairly large number of mural paintings where they stalk through the reeds, routing out little birds. I confess that this interpretation does not seem to me to be correct. Where others claim to recognize animals ready for the chase and acting on behalf of man, I only see animals, tame or not, on marauding bent and scouring the bushes for their own purposes; just as our domesticated cat chases the sparrows in our gardens and destroys the nests in our parks without any advantage to his master. Egyptian artists, very acute observers of what was going on around them, reproduced their cats’ expeditions, as they noted other picturesque details of the life of nature.

If we examined the 180,000 cats--neither more nor less--we should probably come upon a fairly large proportion of ichneumons. In Egypt the ichneumon and the cat were always associated; wherever there are mummies of cats it may be safely assumed that mummies of ichneumons are not far off. Cats or ichneumons, I hope the whole of them will not be used to manure the ground, but that some fine specimens may be chosen for the museums of antiquities and of natural history: in sparing a few hundreds, agriculture will not lose much, and science will gain considerably. The origin of our tom-cat has long been under discussion; some refer it to Egypt, others to Europe. It would be a pity not to profit by such an invasion of Egyptian cats, and to try to obtain a definite solution of the question.

FOOTNOTES

[1] From the _Journal des Savants_, 1908, pp. 1–17.

[2] F.W. von Bissing, “Denkmäler Ægyptischer Skulptur.” Text, 4to; portfolio of plates, fol.; Bruckmann, Munich, 1906–8.

[3] It may also be asked if the stele of the King-Serpent is an original or a restoration of the time of Setouî I.

[4] Bissing, II. _Plate with the name of King Athotis_, note 6.

[5] I even noted the existence of one of these tails in wood in the Marseilles Museum (_Catalogue_, p. 92, No. 279).

[6] _Musée Egyptien_, vol. ii., Pl. IX-X and pp. 25–30.

[7] Ibid., vol. ii., Pl. XV, pp. 41–45.

[8] Maspero, _Guide to the Cairo Museum_, 1906, pp. 156–7, No. 550.

[9] _Revue de l’Art Ancien et Moderne_, 1906, vol. x., pp. 241–52, 337–48; cf. Chap. X. of the present volume.

[10] _Musée Egyptien_, vol. ii., pp. 90–2.

[11] From the _Revue de l’Art ancien et moderne_, 1912, vol. xxxi., pp. 241–54.

[12] It is mentioned for the first time in Emmanuel de Rougé’s _Catalogue_, 1855, under No. 6; it is placed on the mantelpiece in the “Salle civile.”

[13] See good examples in Mariette, “Karnak,” Pl. VIII.

[14] This is no longer true since the discovery of the _favissa_ at Karnak. The Cairo Museum possesses some hundreds of statues of private individuals from the Theban temple of Amon (1912).

[15] Mariette, “Sur les tombes de l’Ancien Empire qu’on trouve à Saqqarah,” 1912, pp. 8–9.

[16] On this theory see Lepage-Renouf, “On the True Sense of an important Egyptian Word,” in the _Transactions of the Society of Biblical Archæology_, vol. iv., pp. 494–508, and Maspero, “Mémoires du Congrès des Orientalistes de Lyon,” vol. i., and _Bulletin de l’Association scientifique de France_ (1878), No. 594, pp. 373–84.

[17] One of the Egyptian festivals of the dead.

[18] For complete translation of the contract see the _Transactions of the Society of Biblical Archæology_, vol. vii., pp. 1–9.

[19] The Skhemka group was catalogued for the first time by E. de Rougé, “Notice sommaire des Monuments égyptiens,” 1855, pp. 50–51, under the number S. 102. The other two statues of the same person possessed by the Museum are both entered under the number S.103. One is in granite, the other in painted limestone.

[20] There are exceptions only in the middle of the XVIIIth Dynasty, when men and women, and especially women, are painted light pink or flesh colour.

[21] The pretty painted bas-relief of the tomb of Seti I in the Louvre (E. de Rougé, “Notice des principaux monuments,” p. 35, B. 7) shows in large the arrangement of the glass beads on the stuff.

[22] Cf., _e.g._, Lepsius, “Denkmäler,” ii., 47_b_, 74_e_, where the woman crouching in front of her husband puts her arm round his leg.

[23] Here are some references to plates in Lepsius where the husband and wife are represented side by side in different positions. The woman of low stature crouches behind her seated husband (“Denkmäler,” ii., 71_b_); the wife and husband, both of heroic stature, are seated on the same armchair, and the wife puts her right arm round her husband’s neck (“Denkmäler,” ii., 10_b_, 24, 25_b_, 41_b_, 42_a_-_b_, 75_a_, etc.); the wife of low stature stands in front of her husband, who is of heroic stature (“Denkmäler,” ii., 38_b_); she stands behind him and puts her arm round his left arm (“Denkmäler,” ii., 27, 33_a_), or she puts her arm round his waist (“Denkmäler,” ii., 38_a_); and lastly, the husband and wife, of the same stature, are standing, the wife behind her husband and putting her arm round his neck (“Denkmäler,” ii., 13, 20–1, 29_b_, 32, 34_b_, 40_b_, 43_b_, 46, 58_a_, 59_b_), or separated from him (“Denkmäler,” ii., 73, etc.).

[24] Thus in Lepsius (“Denkmäler,” ii., 74_e_), where the noble Senotmhît, surnamed Mihi, is seated, of heroic stature, while his wife, Khontkaous, is represented crouching and of low stature, although she is a legitimate daughter of the king. In another part of the tomb (Lepsius, “Denkmäler,” ii., 73) the same persons are represented standing side by side and of heroic stature, while their children are of ordinary stature.

[25] See the preceding chapter, pp. 55–59.

[26] See Chapter III, p. 51.

[27] We know now (1912) that the figures described by Mariette as mourners are cooks, who held the spit in one hand and with the other protected their faces from the heat of the brazier where the chickens were roasting.

[28] In examining the eye of the Cheîkh-el-Beled closely, I found that there was no silver nail in it, but that the luminous spangle was produced by a scrap of polished ebony placed under the crystal; it should be the same with the eyes of the Crouching Scribe.

[29] Cf. pp. 55–59.

[30] This article was published in two slightly different forms in the _Gazette des Beaux-Arts_, 3rd period, 1893, vol. ix., pp. 265–70, and in the _Monuments Piot_, 1894, vol. i., pp. 1–6: I have combined them for this volume.

[31] The statue is described in the “Visitor’s Guide to the Cairo Museum,” 2nd edition, 1912, p. 58, No. 142.

[32] Maspero, “Visitor’s Guide,” 2nd edition, 1912, pp. 57–8, No. 141.

[33] Cf. p. 61.

[34] Cf. what has already been said regarding statues of private individuals erected by the favour of the Pharaoh, p. 40.

[35] Maspero, “Visitor’s Guide to the Boulaq Museum,” p. 28, and now “Visitor’s Guide to the Cairo Museum,” 2nd edition, 1912, p. 73, No. 227.

[36] The expression is borrowed from a letter of the _Papyrus Anastasis_, No. 3. Its position in the Egyptian context leads me to believe that it was an often-quoted proverb. The idea is repeated in different forms in the scribes’ correspondence: “Work, or you will be beaten.” “When the scribe reaches the age of manhood, his back is broken by the blows he has received.”

[37] Mariette, “Notice des principaux monuments du Musée de Boulaq,” 6th edition, 1876, p. 235, No. 769: “Memphis. Saqqarah--limestone II, 1 foot 2 inches--kneeling figure. His hands crossed on his legs. His eyes are of mosaic work and formed of several stones curiously combined.” The statue of the kneeling scribe figures in a group in Plate XX of Mariette’s work, “Album du Musée de Boulaq,” containing 40 plates, photographed by MM. Délié and Béchard, with explanatory text edited by Auguste Mariette-Bey. Cairo, Mourès et Cie, 1871, fol.

[38] Mariette, “Notice des principaux monuments du Musée de Boulaq,” 6th edition, 1876, p. 216, No. 582. The Boulaq Museum possesses a second statue of the same person (_ibid._, p. 93, No. 28), but of a less fine execution than the statue No. 582. Cf. what is said of the two statues on pp. 70–73 of this volume.

[39] Mariette, “Notice,” p. 217: “The sum of the qualities, and study of the inscriptions on the base of the monument, leave no doubt as to the epoch to which it belongs. Rânofir evidently lived under the Ancient Empire. His titles bring him near the Vth Dynasty.” The study of the inscriptions leads me to be more certain than Mariette was. Rânofir undoubtedly lived at the end of the Vth Dynasty.

[40] See pp. 60–65.

[41] He is a cook, as I mentioned on p. 61, note 27.

[42] See p. 51.

[43] See p. 61.

[44] See the curious study of Dr. Parrot, “Sur l’origine d’une des formes du dieu Phtah,” in the “Recueil de travaux relatifs à la philologie et à l’archéologie égyptiennes et assyriennes,” vol. ii., pp. 129–33.

[45] Published in the _Revue de l’Art ancien et moderne_, 1906, vol. xx., pp. 247–52, 337–48.

[46] See pp. 50–51.

[47] See, _e.g._, the stelæ described or referred to in Maspero, “Guide to the Cairo Museum,” 1903, pp. 73–5, 94–5, 96, etc.

[48] Already published in the _Musée Egyptien_, vol. ii., Pl. IX-X, pp. 25–30.

[49] The head was reproduced by Rougé-Banville, “Album photographique,” Nos. 111–12; cf. Mariette, “Monuments divers,” Pl. XXI, _a_, _b_, _c_, and p. 299; the whole is reproduced in the _Musée Egyptien_, vol. ii., Pl. XIII, and pp. 34–5.

[50] See article on this group by Legrain in the _Musée Egyptien_, vol. ii., pp. 1–14 and Pl. I-IV.

[51] The head of the Pharaoh, which was stolen at the moment of discovery, has been found since this article appeared, and purchased by the Cairo Museum, 1912.

[52] Published in the _Revue de l’Art ancien et moderne_, 1907, vol. xxii., pp. 5–18.

[53] She is noted in the “Livre d’entrée” under No. 38575 and the chapel under No. 38576.

[54] Naville, “Das Thebanische Todtenbuch,” vol. i., Pl. CCXXII.

[55] It comes from Tell Tmai, and is entered in the “Livre d’entrée” under No. 38930, and in the “Guide to the Museum,” 3rd English edition, under No. 461, p. 164.

[56] No. 38932 in the “Livre d’entrée”; cf. “Notice des principaux monuments du Musée de Gizeh,” 1893, p. 86, and No. 683 of Borchardt’s unpublished catalogue. The monument comes from Saqqarah.

[57] “Guide to the Cairo Museum,” 3rd edition, pp. 331–33, No. 1020; “Livre d’entrée,” No. 38927.

[58] “Guide to the Cairo Museum,” 3rd edition, p. 330, Nos. 1018, 1019; “Livre d’entrée,” Nos. 38928, 38929.

[59] See the _Revue_, 1906, vol. xx., pp. 241–52, and pp. 337–46; and pp. 90–105 of the present volume.

[60] It was catalogued by Champollion in his “Notice descriptive des monuments égyptiens du Musée Charles X,” Paris, 1827, p. 55, No. 11.

[61] Published in the _Revue de l’Art ancien et moderne_, 1910, vol. xxviii., pp. 241–52.

[62] See pp. 120–125.

[63] Mariette, “Notice des principaux monuments du Musée de Boulaq,” 6th edition, 1876, p. 300, No. 100 C.

[64] E. de Rougé, “Notice sommaire des monuments égyptiens,” 3rd edition, 1864, p. 34, A. 21. The British Museum possesses a replica of this statue.

[65] Mariette, “Notice,” 1st edition, 1864, p. 184, No. 17; and 6th edition, 1876, p. 92, No. 22.

[66] Mariette, “Notice,” 6th edition, p. 221, Nos. 638–48; Maspero, “Guide du Visiteur au Musée de Boulaq,” 1883, pp. 100–3.

[67] Mariette, “Notice,” 6th edition, p. 221, Nos. 649–51; Maspero, “Guide,” p. 101.

[68] Mariette, “Notice,” 6th edition, p. 221, Nos. 623–37.

[69] Mariette, “Notice,” 6th edition, pp. 212–13, No. 578; Maspero, “Guide,” p. 75, No. 396.

[70] Mariette, “Notice,” 6th edition, p. 239, No. 792.

[71] Maspero, “Letter to M. Gustave d’Eichtal on the circumstances of the history of Egypt which favoured the exodus of the Hebrew nation,” in the _Comptes Rendus de l’Académie des Inscriptions et Belles-Lettres_, 1873, pp. 37–8.

[72] Published in _La Nature_, 1892, vol. lix., pp. 161–3.

[73] Major Arthur Bagnold published an account of them, with three drawings by Wallis and a few sketches, “An account of the manner in which two Colossal Statues of Rameses II at Memphis were raised,” in the _Proceedings of the Society of Biblical Archæology_, vol. x., p. 452 _et seq._

[74] I have related many examples of this belief in spirits inhabiting the ancient monuments in “Egypt: Ancient Sites and Modern Scenes,” 1910, chap. xv., p. 155. I have collected many more, and hope one day to have an opportunity of publishing them.

[75] Published in _La Nature_, 1894, vol. lxiii., pp. 230–4.

[76] Extract from the _Revue de l’Art ancien et moderne_, 1908, vol. xxiii., pp. 401–12, and vol. xxiv., pp. 29–38.

[77] Champollion, “Notice descriptive des monuments égyptiens du Musée Charles X,” 1827, 8vo, describes the object as follows: “85. _Hard wood_. A woman named Naï, standing, dressed in a long fringed tunic, hair plaited. The statuette was dedicated by her brother, Phtah-Maï, auditor of justice,” pp. 68–9. Now the little figure is numbered 37; it is in case A of the “Salle civile” (first shelf).

[78] Cf. E. de Rougé, “Notice des principaux monuments,” p. 82.

[79] SOKARI (Σώχαρις of the fragment of Cratinus the Younger, “Fragm. Comicor. græcorum,” edition Didot) was the god of the dead at Memphis, as Osiris was at Abydos; so they were soon identified one with the other, Sokar-Osiri, and with Phtah, _Phtah-Sokari_, _Phtah-Sokar_-Osiri. Here the scribe, who first took the three sacred names as belonging to one same god whom he qualified as Prince of Eternity in the singular, later regarded them as belonging to three different gods, and used the plural pronoun, SE, variant of SEN: “to whom THEY give” instead of “to whom HE gives.”

[80] The figure to which it was fastened is reproduced in Leemans, “Egyptian Monuments in the Museum of Antiquities of Holland at Leyden,” Part I, Pl. XXIV; cf. Chabas, “Notice sommaire des papyrus égyptiens,” p. 19.

[81] The facsimile of the text is in Leemans, “Monuments,” Part II, Pl. CLXXXIII-CLXXXIV, and is translated and annotated in Maspero, “Etudes égyptiennes,” vol. i., pp. 145–59.

[82] Extract from the _Revue de l’art ancien et moderne_, 1905, vol. xvii, p. 403.

[83] See the Chapter on the little lady Touî, pp. 183–189.

[84] Published in _La Nature_, 1895, vol. lii., pp. 211–14.

[85] “The Adventure of Satni-Khamois with the Mummies,” in G. Maspero, “Les contes populaires de l’Egypte ancienne,” 4th edition, p. 146.

[86] See pp. 172–174.

[87] See Chapter XVIII, pp. 172–177.

[88] _Revue archéologique_, April, 1861, vol. iii., 2nd series.

[89] Printed in the _Revue de l’Art ancien et moderne_, 1900, vol. viii., p. 353.

[90] See p. 150.

[91] See Chapter XVI., p. 145.

[92] Published in the _Revue de l’Art ancien et moderne_, 1902, vol. xi., p. 377.

[93] See Chapter X.

[94] Published in _La Nature_, 1890, vol. xxxv., pp. 273–4.

[95] See pp. 212–213.

INDEX

A

Abousîr-el-Malak, excavations of, 29

Abydos, 30, 31, 37;
Memnonium of, 95, 134;
ruins of, 94

Adoni (Adonaï), 122

Ahhotpou I, 145, 146, 158

Ahhotpou, Queen, 152, 158, 206

Ahmôsis I, 138

Aî, 138;
portrait of, 98

Aî, son of Hapi, 197, 198

Alexandria, bas-reliefs of, 33

Amenemhaît III, 26, 32;
sphinx of, 22, 23;
statue of, 22, 28, 37

Amenertaîous, 103

Amenhotpou, 138

Amenmeses, 138

Amenôphis II, 122

Amenôphis III, 122, 124, 174

Amenôphis IV, 120, 122, 123, 124, 125, 131

Amenôphis, statue of, 64

Amenôthes I, 91

Amenôthes II, 109, 112, 113, 117, 118, 134

Amenôthes IV, 31

Amenôthes, statue of, 22, 28

Amon, 81, 101, 102, 104, 121, 122, 124, 125, 135, 183, 184, 185;
priests of, 92;
temple of, 90, 97, 137

Amon of Harmhabi, 98

Amonrâ, 107, 123

Amonrâ, ark of, 136

Anderson, 142

_Ankhari_, _the lady_, 175

Ankhasnofiriabrê en Hathor, 103

Ankhnas, 103

Antouf kings, the, 153

Anubis, temple of, 53

Apis, 146, 149;
tomb of, 79, 145

Apouî, tomb of, 21

Apries, 143

Armaïs, 139

Asia Minor, 169, 191

Assiout, 31

Assyria, 169

Ati, 56, 58, 59

Aton (Amon), 121, 122, 123, 124, 125

Atonian Dynasty, fall of the, 31

B

Bagnold, Major Arthur, 142, 143

Baraize, M., 108

Barrère, M., 208, 212

Barsanti, M. Alexandre, 201, 206

Bastît, the goddess, 184, 209, 212, 213, 215;
her festival at Bubastis, 210, 211

Baÿ, Dr., 133

Bedrecheîn, 141

Bénédite, M., 206

Beni-Hassan, 30, 31, 87, 214

Berbers, the, 129

Bercheh, 31

Berlin Museum, 152;
_Scribe_ of the, 20, 21

Bibân-el-Molouk, 111

Bissing, F.W. von, 17, 18, 20, 21, 22, 23, 24, 25, 26, 27, 34, 35

Bocchoris, 33

“Book of the Dead,” 113, 114, 203

Borchardt, 24, 25

Boulaq Museum, 63, 70, 71, 81, 85, 86, 135, 137, 138, 145, 146

British Museum, 153

Bruckmann, 17, 23

Bubastis, 124, 154, 157, 161, 190, 210, 211, 215

C

Cairo, 39, 108, 154, 179, 208, 215

Cairo Museum, the, 21, 22, 29, 32, 33, 39, 44, 46, 47, 93, 96, 98,
108, 114, 115, 116, 128, 129, 131, 134, 157;
_Scribe_ of the, 20

Carter, 92

Caviglia, 141

Chaldæa, 169, 171

Champollion, 121, 172, 186

Chassinat, M., 206

Cheîkh-Abd-el-Gournah, 115, 178, 179

Cheîkh el-Beled, statue of the, 21, 46, 48, 88

Cheîkh-Saîd, 31

Cheops, 30, 209;
statuette of, 37, 38

Chephrên, 30, 44, 46, 47, 48, 137, 209;
statuette of, 37, 38

Chephrên, statues of the, 21, 24, 37

Coptos, 22

Cow, the, of Deîr-el-Baharî, 18, 106, 117

Crete, 169

Crouching Scribe, the, 18, 48, 49, 60, 61, 63, 64, 65, 84, 88

D

Dahchour, 145, 150, 152, 158

Darius, 140, 206

Davis, Theodore, 126

Decauville, 90

Denderah, 31, 123

Deîr-el-Baharî, 92, 108, 110, 115;
_favissa_ of, 98;
porticoes of, 95

Dévéria, 196

Dog, nome of the, 41

_Double_, the, 51, 52, 53, 54, 111, 115, 143, 193, 198

E

Ebers, 17

Edfou, temple of, 210

Edgar, Mr., 154, 155

Egypt, financial system of ancient, 197, 198

Egyptian cats, 208, 209, 214, 215, 216

Egyptian jewellery, 145–153, 201–207

Egyptian Scribes, 61, 62, 63, 67, 68, 69, 74, 75, 76, 77, 199, 200

Egyptian statuary, 17–35

El-Amarna, bas-reliefs of, 131;
necropolis of, 31, 125, 133;
sculptors of, 130;
statues of, 100

El-Tell, tombs of, 31

Es-Sayed Eîd, 155

Ethiopia, 95, 102, 124, 139

Ethiopian pyramids, the, 153

Euphrates, 170

Europe, 215, 216

F

Fayoum, the, 26, 29, 94, 137

Ferlini, 153

G

Garwood, 142

Gebeleîn, 22, 179, 214

Germany, 214

Gizeh, 39, 95

Gizeh Museum, 21, 24, 66, 68, 70, 152, 206

Gizeh, necropolis of, 21, 29

Gold and silver vases and cups, 160–8

Golenischeff, 32

Gournah, 138

Gournah, temple of, 95, 134

Grébaut, 37

Greece, 119

H

Hachopsouîtou, Queen, 97, 111, 112, 119

Hakori, 196

Hapi-T’aufi, Prince, 53

Harmais, statues of the, 22

Harmhâbi, 100, 130, 133, 135, 138, 139

Hathor, the goddess, 41, 42, 109, 110, 111, 112, 114, 115, 117, 118, 187

Heliopolis, 123

Hellenes, the, 33

Heracleopolis, 30, 94

Hermopolis, 28, 31, 105

Herodotus, 32, 124, 140, 210, 211

Hor, the scribe, 84

Horus, 188

Horus Qa-âou, stele of the, 19

Hrihor, 124

Hyksôs king, portrait of a, 22

I

Icelanders and ghosts, 176

Iouaa, 122

Isis, 97, 116, 147, 148, 202, 204

Isis, statue of, 96

K

Karnak, 31, 37, 105, 138, 139;
_favissa_ of, 22, 26, 90, 94, 95, 96;
modern village of, 90;
temple of, 135

Khâbokhni, 188

Khâmoîsît, high priest of Phtah, 145, 146

Khâsakhmouî, the Pharaoh, 19, 20

Khitas, the, 151

Khnoum, 135

Khnoumhotpou, the dwarf, 85, 86, 87, 88, 89

Khonsou, 98, 99

Khounaton, 125, 138

Khouniatonou, 31, 100, 126, 130, 133

Kings, Valley of the, 126

_King-Serpent_, stele of the, 19

Knom, 56, 58

L

Leghorn, 172

Legrain, M., 22, 26, 91, 94, 95, 96, 98, 100, 105

Lepsius, 57

Leyden, 20

Leyden Museum, 153, 175

Leyden papyrus, the, 177

Libyan Desert, the, 112

Libyan Mountains, the, 113

Longpérier, M. de, 49

Louis XIV, peruke of time of, 180

Louvre, the, 18, 21, 22, 49, 54, 55, 58, 60, 64, 67, 68, 70, 79, 80,
84, 125, 130, 134, 136, 145, 146, 152, 153, 172, 178, 183,
185, 186, 195, 200, 205, 206, 215

Louxor, 31, 107

M

Macedonians, the, 102

Madagascar, queens of, 104

Maît, 213

Mankahorou, statuette of, 37

Mantimehê, 103, 104

Mariette, 22, 24, 32, 38, 55, 60, 62, 66, 79, 94, 98, 100, 103, 116,
121, 136, 139, 145, 150, 151, 196, 206

Matonou (Amten), statue of, at Berlin, 29

Medinet Habou, 128

Mediterranean, the, 171, 194

Meîdoum, 46, 48, 62, 63;
excavations of, 29, 30

Memphian Empire, the, 20

Memphis, 25, 28, 29, 30, 31, 32, 37, 55, 72, 78, 79, 88, 123, 137, 140

Menephtah, 136, 138

Menna, 182

Menzaleh, Lake, 32

Minieh, prince of, 85, 87

Mînou, the god, 22

Mît-Fares, 22

Mît-Rahineh, 24, 37, 39

Mohammed-Ali, 142

Mohammed Effendi Chabân, 154

Mond, Mr., 178

Montouhotpou, 111

Montouhotpou, statue of, 26

Montouhotpou I, temple of, 22, 106

Montouhotpou III, statue of, 22

Montouhotpou V, tomb of, 92

_Monuments de l’Art Antique_, 34

Morgan, M. de, 66, 73, 145

Moursi Hassaneîn, 155

Munich, 20, 21

_Musée Egyptien_, the, 26, 34

Mycerinus, statues of, 36, 37, 38, 39, 41, 43, 44, 46, 47, 48

N

Nafêrourîya, 97

Naî, the lady, 173, 174, 177, 186

Naousirrîya, statuette of, 37

Napata, 31

Naples Museum, the, 20

_Nâr_-mer, _palette_ of, 19

Nasi, statue of, 21

Naville, 92, 106, 107, 111, 118

Nectanebo I, 116

Nectanebo II, 33

Neîth, 204;
temple of, 167, 169

Nephthys, 147, 148, 202

Nile, the, 27, 112, 170;
valley of the, 28

Nofirtoumou, the god, 215

Nofrihotpou, funeral of, 88

Nofrît, statue of, 22

Nonît, the goddess, 202

Nsiphtah, 103

Nubia, 31

O

Omm-el-Gaâb, tombs of, 29

Osiris, 116, 123, 147, 148, 205

Osorkon II, statuette of, 103

_Ostraca_, 98

Ounas, 201

Ousimares (Osymandyas), 158

_Ousirmârî_, 149

Oxyrrhinchus, 41

P

Pakhît, 213, 214

Pehournowri, statuette of, 79, 84

Perfume ladles described, 190–3

Persian Conquest, the, 91

Persians, the, 104

Petesomtous, 116

Petrie, Flinders, 26, 47, 129, 131

Phœnicia, 193

Phœnicians, the, 171

Phtah, 87, 95, 141, 145, 173;
temple of, 37, 140

Phtah-Maî, 173, 174

Pioupi, bronze statue of, 21

Poubastît (Bubastis), 209

Psammetichus, 116, 117, 206

Psammetichus I, 33, 103

Psarou, 146, 147

Pyramids, plain of the, 29

Q

Qodshou, battle of, 151

R

Râ, the solar god, 123, 124

Rahotpou, the scribe, 84;
tomb of, 62

Ramessides, the, 91, 103, 124

Ramke, the scribe, 84

Ramses, 130;
statues of the, 22

Ramses I, 138

Ramses II, 30, 136, 137, 138, 140, 141, 142, 144, 145, 148, 151, 158,
159, 160, 170, 206;
statues of, 26, 101, 135

Ramses III, 102

Ramses VI, 101, 102

Ramses-Nakhouîti, 101

Rânofir, 44, 46, 88;
statue of, 70, 71, 72, 77, 78

_Readers_, statue of the, at Cairo, 21

Reisner, 39, 44

Rome, 119

Rougé, M. de, 196

Roxelane, 127

S

Sabou, tomb of, 66

Saîd, the, 31, 113

St. Sebastian, paintings of, 83, 84

Saïs, 105

Saïte jewels, 201

Saladin, 39

Salt Collection, the, 120, 194

Sân, 196

Sânakht, 138

Sanmaout, statue of, 96, 97

Sanouosrît I, statue of, 22, 46;
bas-relief of, 22, 37;
(Ousirtasen), 94, 95

Sanouosrît III, 94;
statue of, 46

Sapouî (Sepa), statue of, in the Louvre, 21, 29, 64

Saqqarah, necropolises of, 21, 29, 49, 55, 63, 66, 76, 85, 88, 95;
village of, 72

Sculpture in wood, 172–4, 183–9

Scythians, the, 140

Serapeum, the, 55, 60, 64, 79, 145, 146, 148, 150, 153, 206

_Serdâb_, the, 51, 60, 62

“Service des Antiquités,” the, 143, 155, 178

Sesostris, 140

Setinakht, 138

Setouî I, 30, 37, 95, 121, 130, 138;
hypogeum of, 134;
statue of, 135

Setouî II, 138, 160

Shepherd Kings, the, 22, 32;
portraits of, 196

Sheshonq, 194

Sidi Ahmed el-Bedaouî, 210

Simon, Herr, of Berlin, 129

Sinai, 129

Siout, 54

Siphtah, 160

Siphtah Menephtah, 138

Sistrum, nome of the, 41

Skhemka, the scribe, 55, 56, 58, 59, 60, 64, 65, 84

Sokaris, boat of the god, 203

Sovkemsaouf, 22

Sovkhotpou, the king, 22, 84

Speos-Artemidos, cemetery of cats at, 213, 214

Sphinxes, the so-called Hyksôs, 28, 32

Stephenson, General, 142

Sycomore, Canton of the, 41

Syria, 95, 124, 139, 164, 171

T

Taharkou, 103

Taharqa, 196

Taîa, 98, 99, 121, 122, 134

Tamaî, singing-girl of Neîth, 167, 169

Tanis, 32, 102, 105, 137;
sphinxes of, 28

Tantah, fair of, 210

Taouasrît, 170

Tboubouî, 184

Tell Bastah, ruins of, 208

Tell-el-Khanzir, 142

Thebaïd, the, 102

Theban Empire, the, 21, 22, 28, 32

Thebes, 28, 30, 31, 88, 92, 93, 95, 105, 120, 123, 124, 125, 128, 131,
137, 145, 181, 183, 187

Thebes, government of, 103, 104

Thinis, 30

Thinis-Abydos, 29

Thinites, the, 20, 29

Thot, city of, 31

Thoutmôsis, 138

Thoutmôsis, statue of, 22

Thoutmôsis III, 91, 94, 96, 97, 98, 107, 109, 112, 121, 134

Thoutmôsis IV, 124

Ti, 88;
statue of, 70

Tîyi, 126, 127, 128, 129

Tîyi, wife of Amenôthes III, 100

Touaa, 122

Touî, the lady, 178, 183, 184, 185, 186, 189

Toumoumtaouneb, the royal cupbearer, 164

Tourah, limestone of, 49, 179

Toutânkhamânou, 133, 134, 138

Toutânoukhamanou, 98, 99, 100

Turin Museum, 64, 183, 186, 189

Turin papyrus, the, 197

U

Upper Egypt, 41

V

Vassalli, 47

Vienna Museum, 22

Virchow, 215

W

Wiedemann, 26

Wilkinson, 216

Z

Zagazig, 154, 155, 156, 165, 171

Zannehibou, 201, 202, 206

The Gresham Press, UNWIN BROTHERS, LIMITED WOKING AND LONDON.

* * * * * *

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