CHAPTER VI.

THE GENERAL CHARACTERISTICS OF EGYPTIAN ART, AND THE PLACE OF EGYPT IN

ART HISTORY.

In the study which we have now almost completed, we have made no

attempt to reconstitute the history of Egypt. We are without the

qualifications necessary for such a task. We do not read the

hieroglyphs, and are therefore without the key to that great library

in stone and wood, in canvas and papyrus--a library which could afford

material for thousands of volumes--which has been left to the world by

the ancient Egyptians.

Our one object has been to make Egyptian art better known; to place

its incomparable age and its originality in a clear light, and to show

the value of the example set by the first-born of civilization to the

peoples who came after them and began to experience the wants and

tastes which had long been completely satisfied in the Valley of the

Nile. The importance and absolute originality of the national forms of

art were hardly suspected before the days of Champollion; he was

something more than a philologist of genius; his intellect was too

penetrating and his taste too active, to leave him blind to any of the

forms taken by the thoughts and sentiments of that Egypt which was so

dear to him. "I shall write to our friend Dubois from Thebes," he says

in one of his letters, "after having thoroughly explored Egypt and

Nubia. I can say beforehand, that our Egyptians will cut a more

important figure in the future, in the history of art, than in the

past. I shall bring back with me a series of drawings from things fine

enough to convert the most obstinate."[401]

[401] CHAMPOLLION, _Lettres d'Égypte et de Nubie_, p. 113.

The forecasts of Champollion and Nestor L'Hôte have been confirmed by

the excavations of Lepsius and Mariette. The conclusions deduced by

the former from their examination of the remains in the Nile Valley

have been indirectly corroborated by the discoveries which have

successively revealed to us ancient Chaldæa, Syria, Phœnicia, Asia

Minor, primitive Greece and Etruria. No one contests the priority of

Egypt. It is recognized that its origin dates from a period long

antecedent to that of any other race which, in its turn, played the

leading _rôle_ upon the stage of the ancient world. Justice has been

rendered to the richness of its architecture, to the skill of its

painters and sculptors, to the inventive fertility of its

handicraftsmen and the refinement of their taste. And yet no one had

attempted to do for Egypt what such men as Winckelmann and Ottfried

Müller did for Greece, Etruria, and Rome. The methods of analysis and

critical description which have long been employed with success upon

another field, had never been applied to her art as a whole; no one

had attempted to trace the steps of Egyptian genius during its long

and slow evolution. The difficulties were great, especially when

architecture was concerned. The ruins of the Pharaonic buildings had

never been studied at first hand with such care as had been lavished

upon the classic monuments of Italy and the Eastern Mediterranean. The

works to which we have had to turn for information have many plates

which make a fine show, which are accompanied with a luxury of detail

which is very reassuring, but when we examine them closely we are

amazed to find the most unforeseen omissions in their materials both

for restorations, and for the reproduction of buildings in their

actual condition.

When we attempt to make use of two separate works for the restoration

of a temple, we are met with an embarrassment of another kind.

Differences, and even actual contradictions, between one author and

another are frequent, and that without any new excavations having

taken place between-times to account for the inconsistency. Both

observers had the same facts under their eyes, and it is often

difficult to decide which of the two has observed badly. For one who

does not wish to admit pure fancy into his work, all this causes

doubts and hesitations which add greatly to the difficulty of his

task.

The deeper we penetrate into such studies, the more we regret the

insufficiency of the materials, and yet we have thought it imperative

that we should fill in the framework of our history. It has one

peculiar aspect which distinguishes it from all others: the Egyptians

gave much to their neighbours and received nothing from them, at

least, during that period during which the character of their art as a

whole was established. The features which are distinctive of Egyptian

sculpture and architecture were determined at a time when there were

no races in her neighbourhood sufficiently advanced to have influence

upon them. This was not the case with Chaldæa and Assyria, at least,

to anything like the same extent. Their work, moreover, has come down

to us in a very fragmentary condition. Egypt is, then, the only

country in which a complete development, begun and carried on solely

by the energy and aptitude of one gifted race, can be followed through

all its stages. Everywhere else the examples of predecessors or of

neighbours have had an influence upon the march of art. They may have

accelerated its progress, but at the same time they diverted it in

some degree from its natural channel; they may have helped men to do

better, it is certain that they led them to do what they would not

otherwise have done. The goal may have been reached more quickly by

those who had a guide, but it was reached by a path different from

that they would have taken had they been left to their own devices. In

the Valley of the Nile there was no guide, no precedent to follow.

There, and there alone, did the evolution of the plastic faculty

preserve a normal organic character from the commencement of its

activity almost to its final decease.

From all this it follows that the art history of Egypt may be reviewed

in terms more definite, and that the conclusions drawn from it are

more certain or, at least, more probable, than that of any other

nation. It is, if we may be allowed such a phrase, more transparent.

Elsewhere, when we find a new decorative form introduced, or a new

style become prevalent, it is always open to us to ask whether they

may not have been foreign importations. When such borrowing is

suspected we have to trace it to its original source, and often the

search is both slow and painful. In the case of the Egyptians such

problems have to be solved differently. There is no need to extend

one's inquiries beyond the happy valley where, as in an inaccessible

island surrounded by a vast ocean of barbarians, they lived for ages

whose number can never be guessed. Other civilizations are to be

partly explained by those of their predecessors and their neighbours;

that of Egypt is only to be explained by itself, by the inherent

aptitudes of its people and their physical surroundings. Every

element of which the national genius made use was indigenous; nowhere

else can the fruit be so easily traced to the seed, and the natural

forces observed which developed the one from the other.

Another point of attraction in the study of Egyptian art is that

extreme antiquity which carries us back, without losing the thread of

the story, to a period when other races are still in the impenetrable

darkness of prehistoric times. A glance into so remote a past affords

us a pleasure not unmingled with fright and bewilderment. Our feelings

are like those of the Alpine traveller, who, standing upon some lofty

summit, leans over the abyss at his feet and lets his eye wander for a

moment over the immeasurable depths, in which forests and mountain

streams can be dimly made out through mist and shadow.

Long before the earliest centuries of which other nations have

preserved any tradition, Egypt, as she appears to us in her first

creations, already possesses an art so advanced that it seems the end

rather than the beginning of a long development. The bas-reliefs and

statues which have been found in the tombs and pyramids of Meidoum, of

Sakkarah and of Gizeh, are perhaps the masterpieces of Egyptian

sculpture, and, as Ampère says, "the pyramid of Cheops is of all human

monuments the oldest, the simplest, and the greatest."

The work of the First Theban Empire is no less astonishing.

"Twenty-five centuries before our era, the kings of Egypt carried out

works of public utility, which can only be compared, for scale and

ability, to the Suez Canal and the Mont Cenis Tunnel. In the

thirteenth century B.C., towards the presumed epoch of the Exodus and

the Trojan war, while Greece was still in a condition similar to that

of modern Albania, namely, divided up into many small hostile clans,

five centuries before Rome existed even in name, Egypt had arrived at

the point reached by the Romans under Cæsar and the Antonines; she

carried on a continual struggle against the barbarians who, after

being beaten and driven back for centuries, were at last endeavouring

to cross all her frontiers at once."[402]

[402] RHONÉ, _L'Égypte Antique_, extract from _L'Art Ancien à

l'Exposition de 1878_.

The princes, whose achievements were sung by Pentaour, the Egyptian

Homer, had artists in their service as great as those of the early

dynasties, artists who raised and decorated the Great Hall of Karnak,

one of the wonders of architecture.

It is not only by its originality and age that the art of Egypt

deserves the attention of the historian and the artist; it is

conspicuous for power, and, we may say, for beauty. In studying each

of the great branches of art separately we have endeavoured to make

clear the various qualities displayed by the Egyptian artist, either

in the decoration of the national monuments or in the interpretation

of living form by sculpture and painting. We have also endeavoured to

show how closely allied the handicrafts of Egypt were to its arts.

Our aim has been to embrace Egyptian art as a whole and to form a

judgment upon it, but, by force of circumstances, architecture has

received the lion's share of our attention. Some of our readers may

ask why an equilibrium was not better kept between that art whose

secrets are the most difficult to penetrate and whose beauties are

least attractive, not only to the crowd but even to cultivated

intellects, and its rivals.

The apparent disproportion is justified by the place held by

architecture in the Egyptian social system. We have proved that the

architect was socially superior to the painter and even to the

sculptor. His uncontested pre-eminence is to be explained by the

secondary _rôle_ which sculpture and painting had to fill. Those arts

were cultivated in Egypt with sustained persistence; rare abilities

were lavished upon them, and we may even say that masterpieces were

produced. But plastic images were less admired in themselves, their

intrinsic beauty was less keenly appreciated, in consequence of the

practical religious or funerary office which they had to fulfil.

Statues and pictures were always means to an end; neither of them ever

became ends in themselves, as they were in Greece,--works whose final

object was to elevate the mind and to afford to the intellectual side

of man that peculiar enjoyment which we call æsthetic pleasure.

Such conditions being given, it is easy to understand how painters and

sculptors were subordinated to architects. It was to the latter that

the most pious and, at the same time, the most magnificent of kings,

confided all his resources, and his example was followed by his

wealthy subjects; it was to him that every one employed had to look as

the final disposer; the other artists were no more than agents and

translators of a thought which was grasped in its entirety by the

architect alone. His work, embellished with all the graces of a

decoration which reckoned neither time nor materials, formed a

homogeneous and well-balanced whole. It was in inventing, in bringing

to perfection, and in contemplating such a work that the Egyptian mind

gave itself up most completely to love for beauty. If we take an

Egyptian building in its unity, as the product of a combined effort on

the part of a crowd of artists labouring under the directing will of

the architect, we shall no longer feel surprise at the space demanded

by our study of his art.

The Egyptian temple of the Theban period, as we know it by our

examination of Karnak and Luxor, the Ramesseum and Medinet-Abou, gives

us the best and highest idea of the national genius. We have had

nothing more at heart than the restoration of these edifices by the

comparison of all available materials; we have endeavoured to

re-establish their general arrangements, to describe their distinctive

features, and to grasp their original physiognomies as a whole. But

while making this effort we could never succeed in banishing the Greek

temple from our minds. In vain we may try to judge the art of each

people entirely on its own merits; such comparisons are inevitable,

and without dwelling upon the question we shall devote a few words to

it.

The differences are considerable and are all to the advantage of the

Greek creation. Its nobility is more intimate and smiling; the genius

of man has there succeeded better in giving to his work that unity

which nature imprints on its highest productions, an unity which

results from the complete alliance between different organs, and

allows neither the subtraction of any part nor the addition of any

novel element.

These contrasts may be explained to a certain extent by the religion

of Greece and its social system. At present it is enough to point out

their existence.

This superiority of the Greek temple will hardly be contested, but

after it that of Egypt is certainly the most imposing and majestic

product of ancient art. The religious buildings of Chaldæa, Assyria,

Persia, Phœnicia, and Judæa, have left but slight remains behind them,

and the information which we possess as to their proportions and

general arrangements is obscure and incomplete. But we at least know

enough to sketch out a parallel which is all to the honour of Egypt.

Some of these eastern temples, being entirely composed of inferior

materials, never had the richness and variety presented by the

monuments of Memphis and Thebes. Others were but more or less free

imitations of Egyptian types. Suppose that temple of Bel, which was

one of the wonders of Babylon, still standing upon the great plains of

Mesopotamia; it would, in spite of its height and its enormous mass,

in spite of the various colours in which it was clothed, appear cold

and heavy beside Karnak in its first glory, beside the imposing

splendours of the Hypostyle Hall.

Until the rise of Greek art, the artists of Egypt remained, then, the

great masters of antiquity. Her architecture, by the beauty of its

materials, by its proportions, by its richness and variety, was

without a rival until the birth of the Doric temple. Her sculptors

betrayed a singular aptitude in grasping and interpreting the features

of individuals or of races, and they succeeded in creating types which

reached general truth without becoming strangers to individuality.

Their royal statues were great, not so much by their dimensions as by

the nobility of their style, and their expression of calm and pensive

gravity. The existence of a few child-like conventions, from which

they never shook themselves free, cannot prevent us from feeling deep

admiration for the insight into life, the purity of contour, the

freedom and truth of design which distinguish their bas-reliefs and

paintings. Egyptian decoration is everywhere informed by a fertile

invention and a happy choice of motives, by a harmony of tints which

charms the eye even now, when the endless tapestry with which tombs

and houses, palaces and sanctuaries, were hung, is rent and faded. The

smallest works of the humblest craftsman are distinguished by a desire

for grace which spreads over them like a reflection from art and

beauty, and they helped to carry some knowledge of the brilliant

civilization of Egypt to the most distant coasts of the ancient world.

During the earlier ages of antiquity, this civilization exercised upon

the nascent art of neighbouring, and even of some distant people, an

influence analogous to that which Greece was in later days to wield

over the whole basin of the Mediterranean. For many a long century

the style of Egypt enjoyed an unchallenged supremacy and offered a

forecast of that universal acceptance which was to be the lot of

Grecian art, when after two or three thousand years of fertility, of

power, and of prestige, the work of Egypt would be done, and the time

would arrive for her to fall asleep upon her laurels.

[Illustration]

APPENDIX.

The discovery of some thirty-eight royal mummies with their sepulchral

furniture, which signalized the accession of Professor Maspero to the

Directorship of Egyptian Explorations, was the result, in some degree,

of one of those inductive processes of which M. Perrot speaks as

characteristic of modern research. For several years previously those

who kept account of the additions to public and private collections of

Egyptian antiquities had suspected that some inviolate royal tomb had

been discovered by the Arabs of Thebes, and that they were gradually

dissipating its contents. Early in 1876 General Campbell bought the

hieratic ritual of Pinotem I.,--or Her Hor, a priest king, and founder

of the twenty-first dynasty--from them; and in 1877 M. de Saulcy

showed M. Maspero photographs of a long papyrus which had belonged to

Queen Notemit, the mother of Pinotem. About the same time the funerary

statuettes of that king appeared in the market, "some of them very

fine in workmanship, others rough and coarse."[403] The certainty of a

find and of its nature became so great that, in 1879, Maspero was

enabled to assert of a tablet belonging to Rogers-Bey, that it came

from some sepulchre "belonging to the, as yet, undiscovered tomb of

the Her Hor family."[404] The mummy for which this tablet was made has

been discovered in the pit at Deir-el-Bahari.

[403] MASPERO, _La trouvaille de Deir-el-Bahari_, Cairo, 1882,

4to.

[404] _Ibid._

The evidence which gradually accumulated in the hands of M. Maspero,

all pointed to two brothers Abd-er-Rasoul, as the possessors of the

secret. These men had established their homes in some deserted tombs

in the western cliff, at the back of the Ramesseum, and had long

combined the overt occupation of guiding European travellers and

providing them with donkeys, with the covert and more profitable

profession of tomb-breakers and mummy-snatchers.[405] M. Maspero

caused the younger of these brothers, Ahmed Abd-er-Rasoul, to be

arrested and taken before the Mudir at Keneh. Here every expedient

known to Egyptian justice was employed to open his lips, but all in

vain. His reiterated examinations only served to prove, if proof had

been needed, how thoroughly the Arabs of Thebes sympathized with the

conduct of which he was accused. Testimony to his complete honesty and

many other virtues poured in from all sides; his dismal dwelling-place

was searched without result, and finally he was released on bail. No

sooner had Ahmed returned home, however, than quarrels and

recriminations arose between him and his elder brother Mohammed. These

quarrels and the offer of a considerable reward by the Egyptian

authorities at last induced Mohammed to betray the family secret, in

this instance, a material skeleton in the cupboard. He went quietly to

Keneh and told how Ahmed and himself had found a tomb in one of the

wildest bays of the western chain in which some forty coffined

mummies, mostly with the golden asp of royalty upon their brows, were

heaped one upon another amid the remains of their funerary equipments.

This story was taken for what it seemed to be worth, but on being

telegraphed to Cairo, it brought Herr Emil Brugsch and another member

of the Boulak staff to Thebes in hot haste. They were conducted by

Mohammed Abd-er-Rasoul up the narrow valley which lies between the

Sheikh-abd-el-Gournah, on the south, and the spur forming the southern

boundary of the valley of Dayr-el-Bahari, on the north, to a point

some seventy yards above the outer limits of the cultivated land.

There, in a corner, bare and desolate even in that desolate region,

they were led behind a heap of boulders to the edge of a square hole

in the rocky soil, and told that down there was the treasure for which

they sought. Ropes were at hand, and Emil Brugsch was lowered into the

pit with his companion. The depth was not great, some thirty-six feet,

and as soon as their eyes became accustomed to the feeble light of

their tapers, they saw that a corridor led away from it to the west.

This they followed, and after a few yards found it turn sharply to the

right, or north. The funeral canopy of Queen Isi-em-Kheb, which we

shall presently describe, was found in the angle thus made. The

explorers advanced along this corridor for more than seventy yards,

stumbling at every step over the _débris_ of mummy cases and funerary

furniture, and passing on their right and left, first up piled boxes

of statuettes, bronze and terra-cotta jars, alabaster canopic vases,

and other small articles, and then some twenty mummies, a few in nests

of two or three outer cases, others in but a single coffin, and at

least three without other covering than their bandages and shrouds.

Finally they arrived at a mortuary chamber about twenty-four feet long

and fourteen broad, in which some eighteen more huge mummy cases were

piled one upon another, reaching almost to the roof. The distance of

this chamber from the outer air was rather more than 280 feet, and its

walls, like those of the corridor which led to it, were without

decoration of any kind.

[405] See Miss A. B. EDWARD'S account of these gentlemen in

_Harper's Magazine_ for July, 1882. Her paper is illustrated

with woodcuts after some of the more interesting objects found,

and a plan of the _locale_.

The European explorers felt like men in a dream. They had come

expecting to find the coffins and mummies of one or two obscure

kinglets of the Her-Hor family, and here was the great Sesostris

himself, and his father Seti, the conquering Thothmes III., "who drew

his frontiers where he pleased," and, like other great soldiers since

his day, seems to have been little more than a dwarf in stature,

together with several more Pharaohs of the two great Theban dynasties.

The coffins of these famous monarchs were in the corridor, some

standing upright, others lying down, while the chamber was occupied by

the mummies of the twenty-first dynasty, such as those of Queen

Notemit, Pinotem I., Pinotem II., Queens Makara and Isi-em-Kheb, and

Princess Nasikhonsou. Isi-em-Kheb seemed to have been the last comer

to the tomb, as her mummy was accompanied by a complete sepulchral

outfit of wigs, toilet bottles and other things of the kind, besides

the canopy already mentioned and a complete funerary repast in a

hamper.

Preparations were immediately commenced for the removal of the whole

"find" to Boulak. Steamers were sent for from Cairo, and several

hundred Arabs were employed in clearing the tomb and transporting its

contents to Luxor for embarkation. Working with extreme energy, they

accomplished their task in five days, and in four days more the

steamers had arrived, had taken their remarkable cargo on board, and

had started for the capital. And then apparently the native population

became alive to the fact that these mummied Pharaohs were their own

ancestors, that they had given to their country the only glory it had

ever enjoyed, and that they were being carried away from the tombs in

which they had rested peacefully, while so many Empires had come and

gone, while the world had grown from youth to old age. For many miles

down the river the people of the villages turned out and paid the last

honours to Thothmes, Seti, Rameses, and the rest of the company. Long

lines of men fired their guns upwards as the convoy passed, while

dishevelled women ran along the banks and filled the vibrating air

with their cries. Thus after more than three thousand years of repose

in the bosom of their native earth, the Theban Pharaohs were again

brought into the light, to go through a third act in the drama of

their existence. This act may perhaps be no longer than the first, as

their new home at Boulak has already been in danger of destruction; it

is sure to be far shorter than the second, for long before another

thirty centuries have passed over their mummied heads, time will have

done its work both with them and with the civilization which has

degraded them into museum curiosities.

The appearance of this burial place, or _cachette_ as Maspero calls

it, the nature of the things found in it and of those which should

have been found there but were not, prove that its existence had been

known to the Arabs and fellaheen of the neighbourhood for many years.

Miss Edwards believes that the mummy of Queen Aah-hotep, which was

found in the sand behind the temple of Dayr-el-Bahari in 1859, came

out of the Her-Hor vault. The contrast between the magnificence of

that mummy, the beauty of its jewels, and the care which had

evidently been expended upon it on the one hand, and the rough and

ready hiding-place in which it was found, on the other,[406] was so

great that it was difficult to believe that it had never had a more

elaborate tomb; and now the discovery of the outer coffin of the same

queen in the pit at Dayr-el-Bahari, goes far to complete the proof

that Aah-hotep was disposed of after death like other members of her

race, and that the exquisite jewels which were found upon her, were

but a part of treasures which had been dispersed over the world by the

modern spoilers.[407] The tomb contained about six thousand objects in

all, of which but a few have as yet been completely described. Among

those few, however, there are one or two which add to our knowledge of

Egyptian decoration.

[406] See page 29, Vol. I.

[407] For a description of these jewels by Dr. BIRCH, and

reproductions of them in their actual colours, see _Facsimile of

the Egyptian Relics Discovered in the Tomb of Queen Aah-hotep_.

London: 1863, 4to. See also above, page 380, footnote 387, of the

present volume.

Not the least important are the mummy cases of the Queens Aah-hotep

and Nefert-ari. Originally these were identical in design, but one is

now considerably more damaged than the other. The general form is

similar to that of an Osiride pier, the lower part being terminal and

the upper shaped like the bust, arms, and head of a woman. The mask is

encircled with a plaited wig, above which appear two tall plumes,

indicating that their wearer has been justified before Osiris, while

the shoulders and arms are enveloped in a kind of net. The whole case

is of _cartonnage_, and the net-like appearance is given by glueing

down several layers of linen, which have been so entirely covered with

hexagonal perforations as to be reduced to the condition of a net,

over the smooth surface beneath. The interior of each hexagon has then

been painted blue, so that in the end we have a yellow network over a

blue ground. Both colours are of extreme brilliancy. The plaiting of

the wig and the separate filaments of the plumes are indicated in the

same way as the network. These mummy cases are, so far as we can

discover, different from any previously found.

The funerary canopy of Queen Isi-em-Kheb is also a thing by itself.

Its purpose was to cover the pavilion or deck-house under which the

Queen's body rested in its passage across the Nile. It is a piece of

leather patchwork. When laid flat upon the ground it forms a Greek

cross, 22 feet 6 inches in one direction, and 19 feet 6 inches in the

other. The central panel, which is 9 feet long by 6 wide,[408] covered

the roof of the pavilion, while the flaps forming the arms of the

cross hung down perpendicularly upon the sides.[409] Many thousand

pieces of gazelle hide have been used in the work.

[408] These measurements are taken from _The Funeral Canopy of

an Egyptian Queen_, by the Hon. H. VILLIERS STUART: Murray,

1882. 8vo.

[409] Mr. VILLIERS STUART gives a facsimile in colour of the

canopy, and a fanciful illustration of it in place, upon a boat

copied from one in the _Tombs of the Queens_.

The central panel has an ultramarine ground. It is divided

longitudinally into two equal parts, one half being sprinkled with red

and yellow stars, and the other covered with alternate bands of

vultures, hieroglyphs, and stars. The "fore and aft" flaps of the

canopy are entirely covered with a chess-board pattern of alternate

red and green squares, while the lateral flaps have each, in addition,

six bands of ornament above the squares, the most important band

consisting of ovals of Pinotem, supported by uræi and alternating with

winged scarabs, papyrus heads, and crouching gazelles. The colours

employed are a red or pink, like a pale shade of what is now called

Indian red, a golden yellow, a pale yellow not greatly differing from

ivory, green, and pale ultramarine. The latter colour is used only for

the ground of the central panel, where it may fitly suggest the vault

of heaven; the rest are distributed skilfully and harmoniously, but

without the observance of any particular rule, over the rest of the

decoration. The immediate contrasts are red (or pink) with dark

grass-green, bright yellow with buff or ivory colour, and green with

yellow. The bad effect of the juxtaposition of buff with red was

understood, and that contrast only occurs in the hieroglyphs within

the ovals.

The arrangement of the ornamental motives is characterized by that

Egyptian hatred for symmetry which is so often noticed by M. Perrot,

but the general result is well calculated to have a proper effect

under an Egyptian sun. The leather, where uninjured, still retains the

softness and lustre of kid.

The Osiride mummy case of Rameses II. is of unpainted wood, and in the

style of the twenty-first dynasty. It has been thought that the

features resemble those of Her Hor himself,[410] and therefore that it

was carved in his reign; they certainly are not those of Rameses, and

yet the iconic nature of the head is very strongly marked.

[410] Miss A. B. EDWARDS, _Lying in State in Cairo_, in

_Harper's Magazine_ for July, 1882.

Besides these important objects, the vault contained, as we have said,

an immense number of small articles, no description of which has yet

been published.

An explanation of the presence of all these mummies and their

belongings in a single unpretentious vault, is not far to seek. In the

reign of Rameses IX., of the twentieth dynasty, it was discovered that

many tombs, including those of the Pharaoh Sevek-em-Saf and his queen

Noubkhas had been forced and rifled by robbers, while others had been

more or less damaged. An inquiry was held and some at least of the

delinquents brought to justice. The "Abbott" and the "Amherst" papyri

give accounts of the proceedings in full, together with the confession

of one of the criminals.[411] These occurrences and the generally

lawless condition of Thebes at the time seem to have led to the

institution of periodical inspections of the royal tombs, and of the

mummies which they contained. Minutes of these inspections, signed by

the officer appointed to carry them out and two witnesses besides, are

inscribed upon the shrouds and cases of the mummies. At first the

inspectors shifted the deceased kings from tomb to tomb, the "house"

of Seti I. being the favourite, apparently from its supposed security,

but as the power of the monarchy declined, as disorders became more

frequent and discipline more difficult to preserve, it appears to have

been at last determined to substitute, as the burial-place of the

royal line, a single, unornamented, easily concealed and guarded hole

for the series of subterranean palaces which had shown themselves so

unable to shield their occupants from insult and destruction.

[411] See MASPERO, _Une Enquète Judiciare à Thèbes_, Paris,

1871, 4to.

The Her-Hor family therefore were buried in one vault, and such of

their great predecessors as had escaped the ghouls of the Western,

Valley were gathered to their sides.

INDEX.

A

Aah Hotep, i. 291.

Aa-kheper-ra, _see_ Thothmes II.

Abbeville, i. Prehistoric remains near, xxxix.

Abd-al-latif, i. 223, 225;

monolithic tabernacle at Memphis called _the green chamber_, 353;

obelisk of Ousourtesen, ii. 172.

Abd-el-Gournah, ii. 53.

Abouna, i. 34.

Abou-Roash, i. 165;

pyramid of, 204.

Abousir, i. 212;

construction of pyramid at, _id._

Abydos, i. 6, 16;

foundation of the great temple at, 28;

the early capital in the nome of A., 68;

origin there of the worship of Osiris, _id._;

Sculpture more refined than that of Thebes, 76;

portrait of Seti at A., 123;

entrance to the Egyptian _Hades_ near A., 128, 134;

situation of the necropolis, 136;

_do._ 156;

situation of doors and steles in the tombs at A., 157, 241;

description of the tombs at A., 243;

temple has two hypostyle halls, 385;

descriptions of Mariette, 434;

fortress at A., ii. 41;

necropolis, 241;

tomb of Osiris at A., 242;

other tombs, 295.

Acacia, _Nilotica_, ii. 54;

_Lebhak_, _id._

Acacia doors, i. 252.

Achæans, i. 162.

Achoris, ii. 266.

Addeh, speos at, i. 406.

Ægina, i. VII, XI.

Ægis, ii. 382.

Agra, ii. 13.

Ahmes, i. 34, 168.

Alabaster, i. 105, 325.

Alberti, L. B., ii. 82.

Alcamenes, i. VI, XII.

Alexander the Great, i. L, 21, 430.

Alexandria, i. 55.

_Almees_, ii. 249.

Amasis;

his elevation to the throne, i. 33;

his deliverance of Egypt, 78, 292;

body insulted by Cambyses, 309;

his monolithic chapel, 353;

dimensions of the monolithic chapel, ii. 75, 97;

stele discovered in the Serapeum, 285.

Amada, temple of, ii. 168.

Ambulatory of Thothmes, ii. 135.

Amenemhat III., i. 347;

Amenemhats, the, ii. 227, 333.

Amenemheb, i. 279.

Ameneritis, statue of, at Boulak, ii. 263.

Ameni, tomb of, i. 34.

Amenophis III. i. 166;

his colossi at Thebes, 267;

_do._ 289;

builder of Luxor, 371;

builder of the great temple at Napata, 385;

temple at El-Kab, 400, ii. 66;

the colossi at Thebes, 240;

portrait head in the British Museum, 242;

painted portrait in the Bab-el-Molouk, 332, 337, 347.

Amenophis IV.;

his attempt to inaugurate the worship of Aten, the solar disc,

i. 69;

ruins of his capital, ii. 5;

his statues, 244;

curious characteristics of his person, _id._, 289.

Amenophium, i. 268, 289, 376.

Amenoth, i. 159.

Amen-Ra, may be identified with Indra, i. 50, 63;

hardly mentioned earlier than the eleventh dynasty, 68, 113;

offerings to him as master of Karnak, 155, 268;

the chief person of the Theban triad, 333;

chapel at Abydos, 389;

possibly symbolized in the obelisks, ii. 170;

his statues not colossal, 277.

Ament, the Egyptian Hades, i. 157.

Amoni-Amenemhaït, i. 156.

Amoni, his inscription at Beni-Hassan, i. 39.

Amosis, (see Amasis).

Amulets, i. 159, ii. 371.

Anahit (Anaitis), ii. 262.

Ancyra, expedition to, i. 41.

Animals, sacred, i. 54.

Animals, worship of, i. 54-64;

mummified, 314;

figures of, ii. 281.

"Answerers," or "respondents," i. 146.

Anta, use of, ii. 141.

Antinoë, ii. 66, 72.

Antiquity, conventional meaning of the word, i. XLV.

Antony, tomb of, i. 161.

Anubis, i. 143, 287.

Apelles, i. XIV, XVI, LI.

Apis, i. 54, 67;

the oldest tombs of A. contemporary with 18th dynasty, 295;

new rites inaugurated by a son of Rameses II. 305;

Serapeum, 306;

dwelling for A. constructed by Psemethek, 429.

Aplou, i. 159.

Ap-Môtennou, i. 144.

Apollo Epicurius, i. XII.

Apries, helped to deliver Egypt, i. 78;

description given by Herodotus of his tomb, 306;

supposed head of, ii. 266.

Arch, the;

extreme antiquity of the A. in Egypt, ii. 77;

true A. in the necropolis of Abydos, 78;

semicircular A. the most frequent, 79;

elliptic A. 80;

A. in the Ramesseum, 81;

inverted A. in foundations, 82;

offset A. at Dayr-el-Bahari, 83;

_do._ at Abydos, 84.

Architecture;

general principle of form, i. 97;

_do._ of construction, 103;

materials, 103;

masonry, 107;

vaults, 111;

concrete and pisé, 113;

assembled construction, 115;

restoration of a wooden building, 117;

sepulchral A. 126;

conditions imposed by the national religion, 134;

civil A. ii. 1;

must be judged almost entirely from representations on papyri

and bas-reliefs, _id._;

the palace, 8;

the house, 26;

military A. 38;

construction examined in detail, 55;

motives taken from early work in wood, _id._;

arch, 77;

the Egyptian orders, 85;

their arrangement, 133;

doors and windows, 156;

the profession of architect, 176;

the supremacy of A. over the other arts in Egypt, 405.

_Archæological Survey of India_, i. LIII.

Aristophanes, i. XVIII.

Armachis, i. 326.

Aromati, the, i. 434.

Arsaphes, statue in the British Museum, ii. 265.

Artemis, i. 406.

_Aryballus_, ii. 368.

Ass, the, ii. 217.

Assassif, El, ii. 79.

Assouan, i. 105;

Turkish governor of A., his vandalism, 396.

Asychis, i. 347.

Ata, i. 207.

Aten, attempt to inaugurate the supremacy of, i. 69.

Athené Polias, temple of, i. XIII.

Atta, i. 145.

Avaris, reconquest of, i. 33, ii. 228.

B

_Ba_, i. 285.

Bab-el-Molouk, i. 255.

Babylon, ii. 13.

Bædeker;

guide to Egypt, construction of the Pyramids, i. 201;

theory as to the pyramid of Meidoum, 214;

edited partly by Dr. Ebers, _id._;

casing of the second pyramid, 233;

traces of a door in the tomb of Ti, 290.

Baehr, i., III.

Bahr-Yussef, i. 165.

Bakenkhonsou, ii. 177-8.

Ballu, i. XIII.

_Bari_, i. 352.

Basalt, statues of, ii. 221, 235.

Bassæ, i. XII.

Battlements, ii. 153.

Beds, ii. 393.

Beggig, obelisk of, ii. 175.

Beit-el-din, ii. 20.

Beit-el-Wali, speos at, i. 407, 418, 421;

bas-reliefs at, ii. 246.

Bellefonds, Linant de, site of Lake Mœris, ii. 25.

Belzoni;

his discovery of the tomb of Seti I. i. 278, 280;

crowded tombs for the lower classes, 314;

mummified animals, 315;

portico in the temple of the second pyramid, 330.

Benfey, i. 10.

Beni-Hassan, i. 136;

great inscription, 143, 160, 156-7, 249-252;

so-called proto-doric columns, ii. 95, 101;

paintings, 333-344;

the potter's wheel represented at B. H. 367;

glass making, _do._ 375;

the manufacture of gold ornaments, _do._ 380.

Berbers, the, i. 13.

Bercheh, El, ii. 72, 238.

Bernhardy, i. III.

Bernier, i. XIII.

Bes, i. 434, ii. 354.

Beschir, ii. 20.

Beulé, i. 305.

Birch, S.;

his translation of the great inscription at Beni-Hassan, i. 143;

_do._ 159;

his translation of the inscription upon the London obelisk, ii.

171;

the _Arsaphes_ of the British Museum, 265, 291;

cylinders in the British Museum, 291;

_figurines rustiques_ of Palissy compared to some works of

Egyptian potters, 373;

thinks iron was known at the commencement of Theban period, 379.

Birds, worship of, i. 65.

Blanc, Charles, i. XIV.;

characteristics of Egyptian landscape and architecture, 98;

modification of colour under a southern sun, 121; ii. 174;

description of bas-relief of Seti I. at Abydos, 247;

decadence of art between Seti I. and Rameses IV. 258;

Sabaco's restorations at Karnak, 263, 294;

his ideas upon the Egyptian _canon_, 319.

Blant, M. E. Le, i. 159.

Blemmyes, i. 55.

Blouet, i. XIII.

Blow-pipe, the, ii. 378.

Boats found in the tombs, i. 184.

Boeck, i. XXI.

Bœotia, i. XLI, 162.

Boissier, i. XV.

Bonomi, i. 9.

Bossuet, i. 1.

Botta, i. VIII., XXVI.

Brackets in Royal Pavilion at Medinet-Abou, ii. 23.

Bramante, i. 105.

Bricks, manufacture of, ii. 53.

Brongniart, ii. 372.

Bronzes;

technical skill shown in casting bronze, ii. 202;

_Pastophorus_ of the Vatican, 265;

_Arsaphes_ in the British Museum, 265;

bronzes from the Serapeum, 266;

figures from the Saite epoch, 271.

Brosses, the President de, i. 57.

Brugsch, Bey, i. 21;

the Egyptian character, 41;

translation of the great inscription at Beni-Hassan, 143;

origin of the word _pyramid_, 190;

topographical sketch of ancient Thebes, ii. 29;

epitaph of Una, 75;

metal on the capitals of columns, 116, 176;

social position of Egyptian architects, 177, 178, 197.

Brune;

plans of Karnak, i. 363, 367;

of Medinet-Abou, 383;

of Dayr-el-Bahari, 419;

his restoration of Dayr-el-Bahari, 422, 425;

slight differences from that here given, 425.

Bubastis, i. 18;

house in, ii. 33.

Bunsen, i. XXIII. 10, 18.

Burnouf, Eugène, i. IX.

Busiris, ii. 30.

C

Caillaud, i. 341, 384, 385.

Cairo, i. 105, 163, ii. 66.

Cambyses, i. 309, 430.

Camp, Maxime du, ii. 76, 147.

Campania, i. XIII, 162.

Campbell's tomb, i. 311.

_Canephorus_, ii. 202.

Canon;

had the Egyptians a C. of proportion, ii. 315.

Canopic vases, i. 305.

Capitals, lotiform, ii. 86;

campaniform, 101;

hathoric, 106;

secondary forms of the bell-shaped capital, 112;

C. plated with copper, 116.

Caricature, confined to small objects, ii. 351;

battle of cats and rats, 352;

Turin papyrus, _id._;

papyrus in the British Museum, 353;

the God Bes, 354.

_Cartonnage_, ii. 397.

Caste, i. 31.

Cat, the, ii. 219.

Caviglia, the clearing of the Great Sphinx, i. 321.

Caylus, Comte de, i. XVI.

Cesnola, Palma di, i. V., X.

Chairs, ii. 393.

Chaldæa, i. IV., XXVI., XLIX.

Chamhati, bas-relief on his tomb, ii. 253.

Chamitic race, i. 13.

Champollion, i. VI, VIII, 4, 89;

first to appreciate the importance of Beni-Hassan, 249;

the valley of the kings, 263;

Saite cemeteries discovered by him, 301;

his impressions of Karnak, 365;

gave its proper name to the Ramesseum, 376;

carelessness of Egyptian masonry, ii. 65;

his supposed discovery of the origin of the Doric order, 96;

distinction made in texts between pylon and propylon, 156;

mainly impressed by the grandeur of the Theban remains, 225;

his forecast of the important position now held by Egyptian

art, 401.

_Chardanes_, ii. 257.

Charmes, Gabriel, i. 235, ii. 212, 219;

his opinion on the bust of Taia, 242.

Cheops, i. 201;

his pyramid, 201;

_do._ 227;

stele commemorating his restoration of a temple, 319;

doubts as to its date, _id._

Chephren, i. 24, 86;

his statues at Boulak, 89;

_do._ 139;

discovery of statues in the temple of the sphinx, 193, 227, 221;

detailed account of the basalt and diorite statues at Boulak, ii.

221-223.

China, i. IV., XLVIII., LIX.

Chinbab, i. 165.

Chisel, ii. 303-328, _passim_.

Chnoumhotep, i. 143.

Choephorœ, i. 130.

Choubra, ii. 20.

Choufou (Cheops), inscribed upon the stones of the Great Pyramid,

i. 222.

Chounet-es-Zezib, fortress at Abydos, ii. 41.

Christy, i. XXXVIII.

Cicero, i. 129.

Clemens Alexandrinus, i. 56.

Cloisonné Enamels, unknown to the Egyptians in the proper sense,

ii. 384.

Clusium, i. XXXVII.

Cockerell, Prof., i. XI.

Colossi, upon pyramids, i. 226;

transport of C., ii. 72;

multiplication of C. under the New Empire, 239, 241.

Colours, used by the Egyptian painters, ii. 334, 336, 340.

Columns, ii. 85; metal C., 88;

"proto-doric" _do._ 96;

polygonal _do._ 99;

faggot-shaped _do._ 99;

at Medinet-Abou, 102;

in the Hall at Karnak, _id._;

at Philæ, 104;

comparison between Egyptian and Greek C., 121;

ordonnance of C., 133;

spacing, 137;

no rule governing intercolumniation, 143.

Constantinople, ii. 13.

Construction, architectural, ii. 55;

imitation in stone of wooden C., 59;

huge stones only used where necessary, 65;

want of foresight in Egyptian C., 70;

carelessness, _id._;

machines used, 72.

Conventions in Egyptian art, ii. 291.

Copper, ii. 378.

Coptic, study of, i. VII.

Copts, i. 13.

Corinth, i. XV.

_Corvée_, the, i. 25;

its influence upon Egyptian architecture, 27, 30.

Coulanges, M. Fustel de, _La cité antique_, i. 130.

Crane, the, in the bas-relief, ii. 219.

Crimæa, i. XV.

Crocodile, the, in the bas-reliefs, ii. 218.

Crocodilopolis, ii. 234.

Crown, the red crown, i. 16;

the white _do._, 16;

the pschent, 16.

Cunningham;

his descriptions of the remains of Græco Buddhic art, i. LIII.

Curtius, Dr.;

history of Greece, i. III.

Græco Buddhic art, LIII.

Curtius, Quintus, ii. 33.

"Cutting, the," i. 435.

Cyclopean walls, ii. 64.

Cylinders, earthenware and soft stone, ii. 291.

_Cyma_, ii. 153;

_do._ _reversa_, ii. 153.

Cyprus, i. X., XXVI.;

painted vases, 78, 161.

Cyrus, i. 79.

D

Darius, i. IX.

Darmesteter, James, i. 69.

Dashour, i. 165, 206.

Dayr, i. 407.

Dayr-el-Bahari, i. 265, 268;

temple or cenotaph of Hatasu, 421-434.

Dayr-el-Medinet, i. 264.

Delbet, Jules, i. 42.

Delhi, ii. 13.

Denderah, i. 326, 351, 434, ii. 67, 69;

pluteus at, 149.

Derri, i. 408.

Desjardins, M. E., i. 302.

Deus Rediculus, temple of the, i. 104.

Deveria, his belief that he had found a portrait of a shepherd king,

ii. 177.

Diocletian, i. 55.

Diodorus Siculus;

his assertion that the first man was born in Egypt, i. 4;

Pyramids, 191;

height of Great Pyramid, 225;

plateau on its summit, 226;

Pyramid of the Labyrinth, 227;

_Tomb of Osymandias_ (Ramesseum), 266, 375;

tombs in the Bab-el-Molouk, 279;

πυλών, 341;

Mœris (Amenemhat III.), 347;

labyrinth, ii. 25;

population of Egypt, 26;

extent of Thebes, 30;

the epithet ἑκατόμπυλος, 40.

Diorite, statue of Chephren in, ii. 221;

the influence of such a material upon style, 303-305.

Djezzar Pacha, ii. 20.

Dog, the, in the bas-reliefs, ii. 219.

Doors, ii. 156.

Dordogne, i. XLII., ii. 78.

"Double," the, i. 128, 135.

Doum (palm), ii, 50.

Drah-abou-l'Neggah, i. 217, 253, 291, 315.

_Dromos_, i. 336.

Duck, the, in the bas-reliefs, ii. 219.

E

Ebers, Georg.;

extent of the Memphite necropolis, i. 165;

cenotaph in the temple of Abydos, 264;

his opinion upon that temple, _id._;

his discovery of a tomb at Thebes, 279;

his opinion upon the Ramesseum, 381;

the funerary character of the temple at Abydos, 391;

his conjectures upon Dayr-el-Bahari, 426;

pavilion of Rameses III. not a palace, ii. 16;

pyramid of the labyrinth, 25;

origin of the quadrangular pier, 90;

uses of papyrus, 126;

his opinion upon the columns in the Bubastite court, Karnak, 146;

propylons of Karnak and Denderah, 157;

his belief in the persistence of the Hyksos type, 237.

Edfou, i. 351, 353;

peripteral temple, 396;

foundations of temple at, ii. 69.

Egger, ii. 126.

Eilithyia, i. 157; ii. 400;

temple of Amenophis III. at, _id._

Elephantiné;

peripteral temple at, i. 396;

quarries at, ii. 75, 149.

Empires, classification of the Egyptian, i. 17.

Enamels, ii. 375.

Encaustic painting known to the Egyptians, ii. 336.

Entef, i. 38, 156, 217.

Epochs of Egyptian history, i. 18.

Era, Egypt without one, i. 20.

Erectheum, i. LVII.

Erment, ii. 66.

Esneh, i. 351.

Ethiopia;

its civilization an offshoot from that of Egypt, i. 20;

its pyramids, 217;

its temples, 404;

Ethiopian supremacy in Egypt, ii. 265;

Ethiopians in pictures, 348.

Etruria, i. XLII., 131, 162.

Euripides quoted, i. 130.

"Evandale, Lord," i. 136.

F

Faience, i. 146, ii. 369.

Fayoum, the pyramids in the, i. 226;

statues discovered in the, ii. 233.

Fellowes, Sir Charles, i. X., XXVII.

Feraïg, speos of, i. 406.

Fergusson, James, ii. 8.

Festus, i. XXII.

Fetishism, i. 47-9, 56-8.

_Ficus Sycomorus_, ii. 54.

Figure, the, ii. 341;

coloured reliefs in the mastabas, 341;

Beni-Hassan, 341;

Thebes, 344;

mandore player at Abd-el-Gournah, 347;

harpers in Bruce's tomb, 348;

Prisoners, 348;

winged figure, 349;

different races distinguished, 350.

Flamingo, the, in the bas-reliefs, ii. 219.

Flandrin, i. IX.

"Foundations," for the service of tomb, i. 144-6.

Fox, the, in the bas-reliefs, ii. 218.

Friedrichs, Carl, i. IV.

Funeral feasts, i. 143.

Funerary figures, i. 145-147.

G

Gailhabaud, M., ii. 36.

Gartasse, i. 433.

Gau, i. 353, 421.

Gautier, Théophile, i. 136, ii. 174.

_Gawasi_, ii. 249.

Gazelle, in the bas-reliefs, ii. 218.

Gebel-Ahmar, i. 104.

Gebel-Barkal, i. 218, 407.

Gebel-Silsilis, i. 105, 403;

bas-relief at, ii. 246.

Gerhard, i. XV., XVIII.

Gherf-Hossein, hemispeos, i. 407, ii. 138.

Gircheh, i. 421.

Glass, its manufacture represented at Beni-Hassan, ii. 375;

glass-enamelled statuettes, 376.

Globe, winged, ii. 151, 152.

Goat, in the bas-reliefs, ii. 219.

Gods, age of the Egyptian, i. 321.

Goethe, i. 121, 153.

Goose, in the bas-reliefs, ii. 219.

Gorge, the Egyptian, ii. 149.

Gournah, temple of, i. 267, 268, 391, ii. 140.

Gournet-el-Mourraï, ii. 21.

Græco-Buddhic art, i. LIII.

Græco-Scythians, i. XV.

Granaries, ii. 37.

Granite-chambers, Karnak, ii. 52.

Graphic processes, ii. 1.

Grébaut, M., i. 52.

Group, unknown in its proper sense in Egyptian art, ii. 278.

_Guglie_, ii. 169.

Guillaume, Edouard, i. 42.

H

Hamilton, W. J., i. X., XXVII.

Hamy, M., ii. 377.

Hapi-Toufi, i. 144.

_Haram-el-Kabbab_ ("the false pyramid"), i. 215.

Hare, the, in the bas-reliefs, ii. 218.

Harmachis, i. 237, 389.

Harm-Habi, i. 178.

Ha-ro-bes, ii. 289.

Hatasu, Queen, i. 105;

her obelisks at Karnak, 122, 265, 268;

height of her obelisk, 343;

Dayr-el-Bahari, the cenotaph of H., 425;

height of her obelisk from more recent measurement, ii. 171;

her favourite architect, 178;

her bas-reliefs at Dayr-el-Bahari, 245.

Hathor, i. 58, 69.

_Hecuba_ (Euripides), quoted, i. 130.

Hegel, i. XXXIII.

Height of principal buildings in the world, i. 225.

Helbíg, M. W., i. XV.

Heliopolis;

its walls, ii. 41;

its obelisk, 171.

Hemispeos, i. 253.

Heracleopolis, i. 17.

Hermopolis, i. 15.

Herodotus;

Egypt a present from the Nile, i. 2;

Amasis, 33;

religious observances, 44;

Isis and Osiris the only gods whom all the Egyptians worshipped,

68;

temples in Delta, 93;

Scythians, 145;

Pyramids, 191, 202, 219;

P. in Lake Mœris, 226, 229;

_do._ of the Labyrinth, 227;

construction of the Great Pyramid, 233;

tomb of Apries, 306;

Cambyses' treatment of the body of Amasis, 309;

obelisks of Sesostris, 347;

Rhampsinite and Asychis, _id._;

propylons and Apis pavilion of Psemethek I., _ib._;

monolithic chapel of Amasis, 428;

αὐλὴ built by Psemethek for Apis, 429;

Labyrinth, ii. 25;

level of towns raised artificially, 27;

flat roofs, 36;

λευκὸν τεῖχος of Thebes, 40;

monolithic chapels in the Delta, 75;

_Egyptian beans_, 125.

Hesiod, i. 133.

Heuzey, i. XVII., 130.

Hippopotamus, the, in the bas-reliefs, ii. 218.

Hittorf, i. XIV. 121.

Hobs (a god), ii. 281.

Homer;

quoted, i. 129, 130;

"Hundred-gated Thebes," ii. 40.

Horeau, his plan of the hemispeos of Gherf-Hossein, i. 408.

Hor-em-khou, i. 321.

Hor-Khom, inscription, i. 157.

Hor-Schesou, i. 196.

Horse, introduced into Egypt about the time of the shepherd

invasion, ii. 250;

his characteristic features in Egyptian art, _id._

Horus, i. 63, 69, ii. 273, 383;

_do._ a private individual, 270.

Hosi, panels from the tomb of, ii. 189.

Hoskins, his plans of the temple of Soleb, i. 384-5.

House, the Egyptian, ii. 26;

its situation, 27;

foundation, _id._;

restoration based upon a plan found by Rosellini, 33;

models of houses, 34;

materials and arrangement, _id._

Howara, El, i. 217, ii. 25.

Huber, M., i. LVI.

Hyena, the, in the bas-reliefs, ii. 218.

Hyksos, i. 68, 404, ii. 228-38.

"Hypæthra, the Great," at Philæ, i. 33.

Hypogea, general character of, i. 188.

Hypostyle Hall, i. 357, ii. 145-7;

of Karnak, i. 365-9, ii. 163;

of Luxor, i. 371;

of the Ramesseum, 376-7;

of Medinet-Abou, 382-3;

of Soleb, 385;

at Napata, 385;

at Abydos, 389;

at Gournah, 391;

of temple of Khons, ii. 166.

I

Ibex, in the bas-reliefs, ii. 218.

Ibis, in the bas-reliefs, ii. 219.

Ictinus, i. 444.

Illahoun, pyramid of, i. 204.

Illumination;

methods of lighting the temples, ii. 162-7;

methods of lighting the palaces and private houses, 168.

Incas, the, i. 22.

Indra, i. 50.

Ipsamboul, i. 22;

little temple at, 405;

great temple at, 407-8.

Isæus, i. 130.

Isis, i. 68, 69, 301, 389, 430.

Ismandes, i. 376.

Ivory, ii. 384.

J

Japan, i. IV.

Jewelry, ii. 377;

pectorals, 380;

ægis, 382;

true cloisonné enamels unknown, 384;

necklaces, _id._;

materials used, _ib._;

amber unknown, 387.

Jollois, i. 123.

Jomard, i. 152;

description of the necropolis of Gizeh, 152, 168, 223;

his analysis of the impression produced by the Pyramids, 237;

his description of the temple of the third pyramid, 330-4, 397,

400;

Egyptian cement, ii. 71.

Josephus, quoted, ii. 26.

Joubert, Leo, i. XXI.

_Jour des morts_, an Egyptian, i. 239.

Judging the Dead, i. 237.

Justinian, i. 55.

K

_Ka_, the, i. 128.

Kadesh (or Qadech), goddess, ii. 262.

Kalabcheh, i. 407, ii. 107.

Kalaçoka, i. L.

Karnak, i. 25, 28, 105, 155, 263-70, 362-69;

the granite chambers, ii. 52;

_stele piers_, 94, 97;

columns, 102;

decoration, 104, 130, 132.

Ker-Porter, Sir R., i. IX.

Kha-em-uas, jewelry of, ii. 380.

_Khemi_, i. 14.

Khetas, i. 266; ii. 327.

Khnumhotep, i. 160.

Khons, i. 54;

temple of, 123, 268, 348, ii. 136.

Khoo-foo-ankh, i. 182;

sarcophagus of, ii. 59.

_Klaft_, ii. 222.

Kuyler, i., V.

Kummeh, i. 4, ii. 45.

L

Labyrinth, the, i. 226, ii. 25.

Lakes, sacred, in the temples, i. 344, ii. 6.

Language, the Egyptian, i. 10-11.

Larcher, his notes to Herodotus, i. 307.

Lartet, i. XXXVIII.

Layard, H. A., i. VIII.

Lenormant, Fr., i. 25, 377.

Leopard, the, in the bas-reliefs, ii. 218.

Lepsius;

the Egyptians a proto-semitic race, i. 10;

inferiority of Ethiopian to Egyptian art well shown in his

_Denkmæler_, 21;

Berlin Museum enriched by him, 89;

tombs to the number of 130 examined by him in Middle and Lower

Egypt, 164;

arrangement of the mastabas, 167;

portraits of defunct in public hall of tomb, 178;

sixty-seven pyramids examined by the Prussian commission, 198;

theory of pyramid construction, 201;

pyramids at Drah-abou'l-neggah, 217;

paintings at Beni-Hassan figured by L., 249;

Ramesseum, 376;

great temple at Medinet Abou, 382;

temple of Soleb, 384;

temple of Thothmes III. at Semneh, 400;

Ethiopian temples in _Denkmæler_, 401;

speos of Silsilis, and hemispeos of Redesieh, 406;

Gebel-Barkal, 407;

fortress of Semneh, ii. 45;

Egyptian methods of preparing for a siege suggested by a plate

in _Denkmæler_, 49;

building operations figured in _Denkmæler_, 53;

supposed discovery of the labyrinth, 66;

origin of quadrangular piers, 90;

campaniform capitals in a hypogeum at Gizeh, 101;

capitals in the ambulatory of Thothmes at Karnak, 115;

old form of winged disc at Beni-Hassan, 152;

monuments in Wadimaghara figured in _Denkmæler_, 184;

thick-set forms discovered in a tomb dating from the fourth

dynasty, 190;

poverty of invention in Theban art seen by glancing through

_Denkmæler_, 250;

works in high-relief from the mastabas figured in _Denkmæler_,

284.

Leroux, Hector;

his sketch of Philæ, i. 433;

his opinions on Egyptian painting, ii. 335.

Letronne;

his researches, i. 224, 232.

Lion, the, in Egyptian art, ii. 281, 323.

Longperier, de, his opinion on the age of Egyptian bronzes, ii. 197.

Loret, M. Victor, ii. 135.

Lotus, the, ii. 125.

Lycian remains, i. XXVII.

Lucian (pseudo), i. 323.

Lutzow, Carl von, i. IV.

Luxor, temple of, i. 270, 370, ii. 132;

obelisk of, 171.

M

_Mad_, i. 354.

Maghara (Wadi), ii. 95, 184.

Mahsarah, i. 105.

Mammisi, i. 433.

Mandore, ii. 344.

Manetho, i. 18;

his account of the shepherd invasion not to be relied on, ii. 239.

Marchandon-de-la-Faye, M., i. 95.

Mariette, Auguste;

formation of Egypt, i. 2;

accession of Menes, 18;

Egyptian chronology, 20;

bad workmanship of Egyptian temples, foundations of great temples

at Abydos, 28;

house in the desert, 41;

protest against M. Renan's conception of ancient Egypt, 71;

excavations, 86;

ancient art chiefly known through his exertions and his

contributions to the Louvre and the French Exhibition, 89;

M. on the arch, 113;

obelisk of Hatasu gilded, 122;

sepulchral formula, 135;

θυμιατήρια in the tomb of Ti, 143;

objects for the support of the _Ka_ sometimes modelled "in the

round," 145;

position of the stele, 157;

tombs constructed during lifetime, 160;

his "theory of the mastaba," 164;

derivation of the word Sakkarah, 166;

boats found in mummy pits, 184;

pyramids always in a necropolis, 191;

Mastabat-el-Faraoun, 215;

pyramids upon Drah-abou'l-neggah, 217;

opening of three unexplored pyramids at Sakkarah, 234;

tomb of Osiris, supposed site, 243;

tombs at Abydos, 244;

steles from Abydos, 249;

temples of the left bank, Thebes, 264;

method of closing tombs in the Bab-el-Molouk, 278;

mummy of Queen Aah-hotep, 291;

tombs of Apis, 295;

the little Serapeum, 302;

temple of the Sphinx, 326;

Sphinxes at the Serapeum of Memphis, 336;

Sphinx avenues ornamental rather than religious, 337;

walls of Karnak, 338;

extent of the temples at Karnak, 362;

sanctuary in the great temple, 384;

temple of Dayr-el-Bahari, 425;

excavations at Sais, 433;

characteristics of the Egyptian temple, 434;

contrast between it and the Greek temple, the Christian church,

and the Mahommedan mosque, 435;

explanation of its elaborate decoration, _id._;

Royal Pavilion of Medinet-Abou not a palace, ii. 16;

building materials, 53;

brick-making, _id._;

carelessness of the Egyptian builders, 70;

true vaults in the necropolis of Abydos, 77;

inverted arches, 81;

lotiform capitals in the tomb of Ti, 86;

origin of the faggot-shaped column, 99;

origin of the campaniform capital, 128;

proposal that it should be called _papyriform_, _id._;

discards the notion that the columns in the Babastite court, at

Karnak, bore architraves, 145;

his assumption that they once enclosed a hypæthral temple, _ib._;

first appearance of the winged disc, 152;

obelisks in the Theban necropolis, 170;

obelisks of Hatasu gilded, 174;

statues in the tomb of Ti, 181;

statues of Rahotep and Nefert, from Meidoum, 187;

panels from the tomb of Hosi, 188;

the Scribe of the Louvre, 192;

brought figures from Ancient Empire to Paris in 1878, 211;

Nemhotep, 212;

picture of geese, 220;

statues of Chephren discovered in the temple of the Sphinx, 213;

early Theban works rude and awkward, 226;

Menthouthotep, _id._;

groups from Tanis, 228;

figure discovered in the Fayoum, 233;

definition of the type of these Tanite remains, 237;

head of Taia discovered, 242;

Amenophis IV. perhaps a eunuch, 243;

expedition to Punt, illustrated at Dayr-el-Bahari, 245;

belief that Punt was in Africa, 246;

detestable style of the remains from the last years of Rameses

II., 258;

Menephtah, son of Rameses II., statue at Boulak, 260;

head of Tahraka at Boulak, 263;

opinion as to the character of the statues in Egyptian temples,

276;

origin of the Sphinx, 281;

tomb of Sabou, sculptures, 285;

models for sculptors at Boulak, their probable date, 324.

Mariette, Edouard, ii. 28, 55.

Maspero G.;

our guide to the history of Egypt, i. 8-9;

his opinion upon the Egyptian language, 13;

periods of Egyptian history, 17-18;

Ethiopian kingdom, 21;

affiliation of the king to the gods, 22;

mildness of rule in Ancient Egypt, 37;

prince Entef's stele, 38;

Egyptian devotion, 39;

_do._ 43;

the number of their devotional works of art, _id._;

character of sacred animals, such as the Apis, 66;

his theory as to the _ka_, or double, 126, 137-8, 140-6, 148-153,

155-7;

translation from Papyrus IV. at Boulak, 161;

tomb of Harmhabi, 178;

pyramid of Ounas, 194;

commentary on the second book of Herodotus, 227;

opening of pyramid of Ounas, 235;

opinion on the tombs at Abydos, 242;

the staircase of Osiris, 243;

discovery of remains belonging to royal tombs of the eleventh

dynasty at Drah abou'l-neggah, 253;

ascription of power of speech and movement to statues, 289;

proof that the gods existed in the time of the Ancient Empire,

318;

translation of the stele of Piankhi from Gebel-Barkal, 353;

Hatasu's expedition to Punt, 426;

translations of Egyptian tales, ii. 30;

symbolism of papyrus and lotus, 126;

translation of stele C. 14, in the Louvre, 176;

cause of the Iconic character of Egyptian statutes, 181;

materials for wooden statues, 197;

his translation of funerary songs, 249;

formula by which the right of erecting a statue in a temple was

granted to a private individual, 278;

on the Palestrina mosaic, 288.

Mastaba, i. 164;

in the Memphite necropolis, 165, 189;

materials of the, 168;

Mastabat-el-Faraoun, 169;

Mastabas of Sabou, 171;

Haar, _id._;

Ra-en-mar, _id._;

Hapi, 171;

general arrangements, 172.

Mastabat-el-Faraoun, i. 169, 214, 326.

Maury, Alfred, i. 286.

Maut, i. 63, 268.

Medinet-Abou, i. 22, 102;

the great temple, 260, 267-8, 375;

the little temple, 376, ii. 169,

the royal pavilion, i. 375, ii. 16;

the great temple, method of lighting, 384;

brackets in royal pavilion, 23.

Medinet-el-Fayoum, ii. 25.

Medledk, i. 159.

Megasthenes, i. L.

Meh, house of, i. 156.

Meidoum, i. 35, 89, 165;

construction of the pyramid of M., i. 200.

"Memnon," statues of, i. 267, 290, 376.

"Memnonium," i. 267, ii. 30.

Memphis, i. 6;

discovery of the _Sheik-el-Beled_, 9, 16;

political centre of the Ancient Empire, 17, 27;

our knowledge of the early period all derived from the necropolis

of M., 34;

the early Egyptians not oppressed, 37;

worship of Ptah at M., 55;

significance of apis, 67;

situation of necropolis, 136;

doors of the tombs turned eastward, 157;

mastabas, 165;

statue of Rameses II. on the site of M., ii. 240.

Mendes, i. 22.

Menephtah, head of, at Boulak, ii. 258.

Menes, i. X, XLVIII., 15, 17, 22, 38.

Menkaura (Mycerinus), i. 326.

Menthouthotep, a scribe, ii. 226.

Mentou-Ra, ii. 266.

Menzaleh, Lake, fellahs in the neighborhood of their race, ii 237.

Merenzi, i. 234.

Mérimée, M., materials employed by Egyptian painters, ii. 334.

Meroë, i. 20, 217.

Merval, du Barry de, ii. 11.

_Mesem Bryanthemum Copticum_, ii. 375.

Metal-work, ii. 377;

blow-pipe known, 378;

iron, 379;

damascening, 384.

Metopes, ii. 155.

Mexico, i. V.

Michaëlis, i. XIX.

Michelet, i. 64.

Midas, i. XXVII.

Minutoli, i. 213.

Mit-fares, ii. 234.

Mitrahineh, bas-relief at, ii. 271.

Mnevis, i. 54.

Models for sculptors, ii. 322.

Modulus, its absence from Egyptian architecture, i. 102.

Mœris (Pharaoh), i. 347;

Lake M, i. 7, 216, 228, ii. 25.

Mokattam, i. 105, 201, 204.

Monolithic columns rare in Egypt, ii. 66.

Mosel, i. XVII.

Müller, Ottfried, i. III., V., XXI., XXV., XXXI., LIV.

Mummies, i. 135;

m. pits, 181;

method of closing m. pit, 183;

_do._ of sarcophagus, 182;

furniture of m. chambers, 183;

decoration of the m. cases, ii. 335.

Mycenæ, i. XLII., 162.

Mycerinus, pyramid of, i. 205, 227, 329;

the sarcophagus of his daughter as described by Herodotus, 307;

his own sarcophagus, ii. 55-59.

Museums--

Berlin, i. 89;

papyrus narrating the dedication of a chapel by an Ousourtesen,

334;

funerary obelisk, ii. 170;

leg in black granite, 228;

enamelled bricks from stepped pyramid, 372.

Boulak, i. 10, 41;

the art of the pyramid builders only to be fully seen at B., 86,

89, 90, 139;

papyrus IV., 161;

stele with garden about a tomb, 301;

statues of gods, 319;

sphinxes in courtyard, ii. 337;

statue of the architect Nefer, 177;

statues in tomb of Ti, 181;

Rahotep and Nefert, 183-7;

_Sheik-el-beled_, 183, 194;

panels from tomb of Hosi, 189;

statue of Ra-nefer, 203;

_do._ of Ti, 203;

wooden statue of a man with long robe, 204;

kneeling statues, 204;

Nefer-hotep and Tenteta, 207;

domestic and agricultural figures, 209;

Nemhotep, 212;

painting of Nile geese, 219;

great statues of Chephren, 221;

Tanite remains, 230-5;

Thothmes III., 241;

Taia, 242;

dancing girls, 249;

Rameses II., 256;

bronze statuettes, 312;

models for sculptors, 322;

Græco-Roman remains, 274;

glass, 376;

bronze ornaments and weapons, 379;

jewels, 380;

ivory-work, 388;

wood-work, 395-8.

British;

boats found in tombs, i. 185;

mummy case of Mycerinus, 234, 319;

_Ritual of the Dead_, ii. 287;

sceptre of Papi, 198;

head of Thothmes III., 241;

_do._ of Amenophis III., 242;

bronze statuette of _Arsaphes_, 265;

comic papyrus, 353;

pottery, 368;

enamelled faience 371;

_aryballus_, 372;

enamelled bricks from Stepped Pyramid, 372;

enamelled plaques, 374.

Liverpool;

boat from tomb, i. 185.

Louvre, i. 38, 89, 122, 127;

boats from tombs, 185;

tabernacle, 353;

models of houses, ii. 33-4;

the "Scribe," 183-192;

statues from Ancient Empire 181-192;

_Canephorus_, 202;

Sebek-hotep, 226;

red granite sphinx, 228;

Tanite remains, 235;

statues from New Empire, 244-260;

works in bronze, 270-281;

bas-relief of Amasis from Serapeum, 285;

gems, 288;

signs of imperfect tools used, 304-5;

portraits from Roman epoch, 336;

jewelry, 382-387;

woodwork, 395-8.

Turin;

stele, i. 301;

tabernacle, 353;

statues of the Theban Pharaohs, ii. 225;

Rameses II., 257;

satirical papyrus, 351;

priapic scene in _do._, 355;

enamel on wood, 375.

Vatican;

_Pastophorus_, ii. 265.

N

Naos, i. 353.

Napata, i. 21;

pyramids at, 217, 218;

great temple at N. 385;

speos at N. 404-7.

Naville, E., i. 22, ii. 176.

Nectanebo, i. 17, 77, 86, 353, 430.

Nefer (architect), statue of, ii. 177.

Nefer-hotep, ii. 207.

Nefert Ari, i. 410.

Nefert, statue of, from Meidoum, ii. 187.

Neith, i. 69, 301.

Nekau, i. 24, 78.

Nekheb (goddess), i. 63.

Nem-hotep, ii. 202.

Nepheritis, ii. 266.

Nephthys, i. 54, 301, ii. 350, 361.

Niebuhr, i. XXI.

Nesa, ii. 185.

Nestor L'Hôte, i. 4, ii. 15;

his enthusiasm for the art of the early dynasties, 225.

Nile, the creator of Egypt, i. 2, 3;

its inundations, 4, 5;

homage to the N. as a god, 233.

Nowertiouta, ii. 294.

Num-hotep, i. 35, 251.

O

Obelisks, the, method of erection, ii. 75, 169;

ὀβελός, 170;

ὀβελίσκος, _id._;

O. of Hatasu, 170;

_do._ of Luxor, 171;

_do._ of Ousourtesen, _id._;

heights of obelisks, _id._;

O. figured in bas-relief at Sakkarah, 174;

ovals of Ousourtesen I. on O. at Beggig, 175.

Offerings, funerary, i. 139-43, ii. 384;

tables for offerings, 143-4, ii. 362.

Oliphant, Laurence, ii. 175.

_Opisthodomos_, i. 354.

"Orders," the Egyptian, ii. 85;

asserted derivation from the national flora, 128.

Orientation of the tomb, i. 157.

Ornament, importance of the human figure, ii. 355;

vultures, _id._;

origin of ornament, 356;

various motives, 357;

ceiling decorations, 359;

winged globe, 361;

mummy cases, _id._;

colour well preserved, 362;

use of gold, _id._;

graining, 363.

Osarvaris, i. 159.

"Osymandias, tomb of," or Ramesseum, i. 266, 375, 378.

Osorkhon, 362.

Ouaphra, ii. 266.

_Oudja_, ii. 383.

Ouenephes, or Ata, i. 207.

Ouna, i. 151.

Ounas, Pyramid of, i. 194, 215;

mummy chamber of O. 235;

the opening of the pyramid, 235.

_Oushebti_, or _shebti_ (answerers or respondents), i. 146.

Ousourtesens, the, ii. 45, 50, 72.

Overbeck, history of sculpture, i. V.

Ovolo (egg moulding), ii. 154.

Ox, faithful treatment of, in Egyptian art, ii. 253.

P

Paccard, i. XIII.

Painting;

Egyptian painting really illumination, ii. 332;

how a picture was begun, _id._;

complete absence of shadow, _id._;

tools employed, 333;

colours known, 334;

their chemical composition, _id._;

good condition of Egyptian painting, 335;

procedures, _id._;

treatments of flesh tints, 336;

distemper the true Egyptian method, _id._;

portrait of Amasis, 336;

easel pictures not unknown, _id._;

colours of the gods, 337;

portraits of Queen Taia, _id._;

decorations of tomb of Ptah-hotep, 341.

Palace, the Egyptian, ii. 8.

Palestrina mosaic, the, ii. 288.

Palettes, painters', ii. 333.

Panels, grooved, i. 115;

carved _do._, ii. 189.

Papi, i. 235.

Papyrus;

the plant, ii. 125;

_Papyrus Anastasi III._, ii. 22;

_Papyrus Casati_, i. 159;

Papyrus IV., i. 161;

Satirical Papyri, ii. 351.

Passalacqua;

his descriptions of mummies, i. 136, 143;

his discovery of a tomb, 293.

_Pastophorus_, of the Vatican, ii. 265.

_Pat_, ii. 185.

_Patera_, ii. 370.

Pausanias, i. 268.

Pectorals, ii. 380.

_Pega_, i. 128.

Peiho, i. 172.

Pekh-hesi, on panels in tomb of Hosi, ii. 189.

Penrose, F. C., i. XIV.

Pentaour, a scribe, i. 5;

the poet, 266.

Peripteral temples, Elephantiné, i. 396-398;

Eilithyia, Medinet-Abou and Semneh, 402.

Persigny, F. de, his notions about the pyramids, i. 191.

Perring, J. L.;

his great work upon the pyramids, i. 195;

his perception of the object of the discharging chambers in

the Great Pyramid, 221;

his drawings of the sarcophagus of Mycerinus, ii. 56.

Perspective, ii. 5.

Petamounoph, tomb of, i. 296, 313.

Petenef-hotep, i. 159.

Petronius, i. 44.

"Phamenoph," i. 268.

_Phiale_, the Greek, ii. 370.

Philip the Arab, i. 55.

Philæ, the great temple at, i. 351;

the island and its ruins, 433;

arches at, ii. 82;

columns at, 104-112.

Philo, i. 224, 232.

Philostratus, i. 268.

Piankhi, i. 22;

married to Ameneritis, ii. 264;

father of Shap-en-ap, _id._

Pier, ii. 85;

origin of the quadrangular P., 90;

the Hathoric, 91;

the Osiride, 92;

the stele, 93;

the octagonal, 94;

the sixteen-sided, 94-8;

the polygonal, 95-8;

with a flat vertical band, 98;

_do._ with mask of Hathor, _id._

Pierret, Paul, i. 47;

his study of the dogma of the resurrection, i. 135, 147, 152, 436,

ii. 63, 76, 107, 126, 170, 227, 235, 278;

jewelry in the Louvre, 289.

Pietschmann, i. 57, 147.

Pig, in the bas-reliefs, i. 219.

"Pipes" (Theban tombs), i. 255.

Piranesi, i. VII.

Piroli, i. VII.

Pisani, ii. 202.

Pisé, i. 105.

Plans, Egyptian ground-, ii. 6.

Plato, quoted, i. 70, 71, 84.

Pliny, quoted, i. 224, 321, ii. 76.

Plutarch, pseudo-, quoted, i. 242, 327.

Pluteus, ii. 149;

at Denderah, _id._

Polishing statues, the methods of, ii. 307-10.

Polychromatic decoration;

of the Greeks, i. XIV.;

of the Egyptians, necessary in their sunlight, 126;

its influence upon their sculpture, ii. 325.

Pompeii, ii. 89.

Population of Egypt under the Roman Empire, ii. 26.

Porcelain, Egyptian, i. 146.

Porcupine, the, ii. 218.

Portcullis stones, i. 220.

Portraiture, the foundation of Egyptian art, ii. 275.

Posno, collection of M. Gustave, bronzes, ii. 200;

enamelled bricks, 374.

Pottery;

potter's wheel in use during the Ancient Empire, ii. 367;

Dr. Birch's illustrations, 367;

_aryballus_, 368;

"Egyptian porcelain," 369;

should be Egyptian faience, _id._;

colour of designs, 370;

doorway in Stepped Pyramid, 372;

tiles, _id._

Priene, i. XIII.

Priests, i. 31.

Prisoners, Figures of, under brackets at Medinet-Abou, ii. 24, 94;

upon friezes, 154;

in the tomb of Seti I., 348;

upon the soles of sandals, 354.

Prisse d'Avennes, his _History_, i. 26;

his Papers, 95, 249, 356, 408, ii. 54, 66, 80, 94, 146, 155;

his ideas upon the so-called canon, ii. 319.

Processions, i. 435.

Profile, its almost exclusive use by painters, and in bas-reliefs,

ii. 293.

Pronaos, i. 351.

Propylon, i. 341-4, ii. 156.

Proto-doric columns, i. 418;

differences between them and doric, ii. 97.

Proto-semitic races, i. 10.

Provincial art in Greece, i. XII.

Psemethek I., i. 19, 38, 77, 92, 347, 389, 430;

group of, with Hathor, ii. 267;

II., ii. 266;

Nefer-sam, 271.

_Pschent_, i. 16.

Psousennes, ii. 233.

Ptah, i. 22, 51, 54, 55, 67, 389, 430.

Ptah-hotep, tomb of, i. 174.

Ptah-Osiris, i. 68;

Ptah-Sokar-Osiris, _id._

Ptolemaic art, ii. 272.

Ptolemy, Philopator, i. 264;

Euergetes, ii. 407.

Punt, the land of, i. 260.

Pylon, i. 341-4, ii. 156.

Pyramids, i. 189;

derivation of the word, 190;

origin of, 195;

comparative sizes, 199;

mode of constructing, 201;

cubic contents of Great Pyramid, 202;

Pyramids of Gizeh, 206;

of Dashour, _id._;

the Stepped P., 207-212;

German theory as to the construction of the Pyramids, 208;

construction of the Blunt Pyramid, Dashour, 210;

Pyramid of Abousir, 212;

of Meidoum, 214;

of Righa, 216;

of Hawara, _id._;

of Illahoun, _id._;

proportions of Nubian pyramids, 218;

methods of preventing intrusion, 219;

discharging chambers in Great Pyramid, 221;

colossi on pyramids, 228;

Pyramid of Mycerinus, 329.

Pyramidion, i. 226, ii. 174.

Q

Qadech--see Kadesh.

Quarries, i. 105.

Quintus Curtius--see Curtius.

R

Ra, i. 25.

Ra-en-ma (Amenemhat III.), ii. 289.

Ra-hesi, ii. 189.

Ra-hotep, ii. 187.

Rameses I., commences the hypostylehall at Karnak, i. 378;

honoured at Gournah, 392.

Rameses II., i. 19, 22, 27, 76;

his tomb, 282;

completes Luxor, 370;

completes the hypostyle hall at Karnak, 378;

builds the Ramesseum, 378-81;

the temple of Abydos completed, 386;

the temple of Gournah _do._, 395;

causes hypogea to be excavated in Nubia, 405;

also in Egypt, 406;

his colossi at Ipsamboul, 410-15;

his family, ii. 13;

his obelisks at Luxor, 171-2;

his portrait-statues, 240, 255-8;

decadence of art towards the close of his reign, 257.

Rameses III., i. 22, 267;

his tomb, 281;

his temple at Medinet-Abou, 381-384;

his pavilion, ii. 16;

bas-reliefs in which he is represented in his gynecæum, 21-22.

Ramesseum, i. 266, 376, 377, ii. 97, 167.

Ra-nefer, ii. 203.

Rannu, i. 64.

Raoul-Rochette, his false idea of Egyptian art, i. 71.

Rayet, ii. 182.

Redesieh, i. 406.

Regnier, Ad, i. 341.

Rekmara, i. 296, ii. 338.

Renan, Ernest, his opinion on the Egyptian language, i. 13;

on Egyptian civilization, 19;

_do._ 71.

Resheb, ii. 262.

Revillout, Eug., i. 309, ii. 29.

Rhæcos, ii. 317.

Rhampsinite, i. 347.

Rhind, Henry, his _Thebes_, &c., infiltration in mummy pits, 136;

a _Burial place of the poor_, 160;

his discovery of a tomb, 166;

substitution of a late tenant for an early one, _id._;

extreme length of some of the _pipes_, 296.

Rhoné, Arthur, i. 205, 291;

his _Égypte à petites journées_, 305;

plans lent, 316, 328.

Righa, Pyramid of, i. 216.

Rings, ii. 289.

_Ritual of the Dead_, i. 39, 146;

cap. cxxv., 286.

Rougé, de, his _Memoire sur l'inscription d'Ahmes_, i. 33, ii. 170;

his opinion upon the statues of Sepa and Nesa, 185, 194, 228, 235.

Rosellini, i. 406.

S

Sabaco, ii. 27;

the great door at Karnak repaired by him, 263.

Sabou, mastaba of, i. 167.

Sais, i. 18, 309;

its walls, ii. 41.

Sakkarah, i. 35, 38, 42, 135, 143, 146,166;

stepped pyramid, 204-15, ii. 372;

pyramids recently opened at S. i. 234.

Salzmann, i. X.

Sardinians, supposed ancestors of the, ii. 257.

Schasou, ii. 200.

_Schenti_, ii. 185, 200.

Schliemann, Dr., his discoveries at Mycenæ, i. 162.

Schnaase, Carl, i. III., IV., V.

Scribes, the, i. 30.

Sculpture, ii. 180;

the origin of statue-making, 180;

S. under the Ancient Empire, 184;

process of making a wooden statue, 197;

groups in the proper sense unknown, 205;

animals in S., 217, 280;

extreme fidelity of royal portraiture, 223;

S. under the Theban Pharaohs, 226;

first appearance of colossi, 239;

the "Apollo Belvedere of Egypt," 248;

over slightness of proportions characteristic of the Middle and

New Empires, 249;

the worst of the Saite statues national in style, 272;

work under the Roman domination, 273;

absence of gods from larger works, 275;

religious statues purely votive, 276;

statues of Amen and Khons not colossal, 277;

the right to erect statues in the temples, 278;

busts not unknown, 279;

technical methods in the bas-reliefs, 284;

tools used in S., 303;

their influence and that of materials upon style, 303, 306-314.

Sebek-hotep, ii. 226.

Sebennytos, i. 18.

_Secos_, the (σηκός, or sanctuary), i. 352, 357, 375, 384, 406.

Sedeinga, i. 402.

Sekhet, i. 54, 58, 354, 406.

Seleucus Nicator, i. L.

Selk, i. 301.

Semneh, ii. 45;

cornice of temple at, 153.

Semper, Gottfried, his theories upon the origin of decoration, ii.

356.

Sepa, ii. 184.

Serapeum, i. 305-8;

the bronzes discovered in the S., ii. 266.

Serdab, origin of the word, i. 177, 187.

Sesebi, ii. 130.

Sesostris, i. 19, 347, ii. 27.

Seti I., i. 29, 123, 278;

his tomb, 280, 389;

carries on the Hypostyle Hall at Karnak, 378;

begins the temple at Abydos, 392;

_do._ _Speos-Artemidos_ and Redesieh, 406;

bas-reliefs at Abydos, ii. 247.

Seti II., ii. 260.

Shap-en-ap, ii. 264.

Sharuten, ii. 257.

_Sheik-el-Beled_, i. 9, ii. 194.

Sheshonk, i. 19,ii. 262.

Silco, i. 55.

Siout, i. 144, 249;

necropolis of, 252.

Siptah, tomb of, i. 281.

Snefrou, ii. 95, 184, 187.

Socharis, i. 166.

Soldi, Emile, ii. 288;

his explanation of the influence exercised over Egyptian sculpture

by the tools and materials employed, 304.

Soleb, ii. 102, 130, 404.

Solon, observation of a priest of Sais to, i. XXXIII.

Somalis, i. 260.

Soudan, i. 218.

Soutekh or Set, i. 68, ii. 93.

Spencer, Herbert, upon the conception of the _double_, i. 128;

upon "primitive ideas," 132;

upon the hole pierced for the double to pass through, 178.

_Speoi_ and _Hemi-speoi_, i. 402.

Sphinx, types of, i. 58-9;

the great S., 237-8, 323;

the temple of the S., 323-7;

controversy as to its true character, 327-9;

avenues of S., 336-7;

the S. of the Louvre, 61, ii. 228;

S. from Tanis, 230-3.

Squaring, for transference and enlargement of drawings, ii. 320.

Stark, Carl B., i. XXV., LV.

Stele, i. 155-6.

Stepped Pyramid measurements, i. 197, 207, 212.

Stereobate, ii. 149.

Stern, Ludwig, i. 334.

Steuart, i. XXVII.

Stobæus, i. 307.

Stork, the, in the bas-reliefs, ii. 219.

Strabo, pyramids, i. 191;

passages to mummy chamber, 192;

pyramid of the Labyrinth, 227;

_Memnonium_ (Amenophium), 267;

_do._ 279;

Saite worship of Athené, 307;

"Barbarous" temple at Heliopolis, 323;

πρόπυλων, 341;

description of the Egyptian type of temple, 347;

identification of Ismandes and Memnon, 376;

the _Memnonium_ close to the colossi of _Memnon_ (Amenophis),

_id._;

labyrinth, ii. 25;

monolithic supports in labyrinth, 66;

uses of the lotus, 125;

description of _do._ _id._;

height of _do._ _id._

Style, distinguishing features of Egyptian, ii. 329.

Supports, general types of architectural, ii. 91.

Susa, ii. 13.

Suti and Har, architects at Thebes, i. 436.

Syene, i. 7, 105.

T

Tabernacle, i. 352-5.

Tahraka, i. 385;

hypæthral temple of T., ii. 145, 263.

Taia (Queen), bust of, at Boulak, ii. 242;

painted portrait of, in the tomb of Amenophis III., 337.

Tanagra, terra-cotta statuettes from, i. XVII., XVIII., 162.

Tanis, i. 18;

sculptured remains from T., ii. 230-8;

Roman head from T., 274;

sculptors' models from T., 322.

Ta-ti-bast (Queen), ii. 362.

Tegæa, i. XVIII.

Telecles (sculptor), ii. 317.

Tell-el-Amarna, scene of a new cult under Amenophis IV., i. 69;

its cemetery on the right bank of the Nile, 157;

domestic architecture of Egypt may be well studied in the

paintings and bas-reliefs at T., ii. 5;

the Egyptian house, 28;

palace, 33, 155;

painted landscapes at, 287.

Tell-el-Yahoudeh, ii. 373.

Temple, the funerary temples of Thebes, i. 264-275;

the T. under the Ancient Empire, 318-333;

under the Middle _do._, 333-335;

under the New _do._, 335-433;

general characteristics, 434;

distinction between the T. in Egypt and in Greece, 435-7.

Tenteta, statue at Boulak, ii. 208.

_Tet_, the, ii. 383.

Teuffel, i. III.

Texier, i. IX., X., XXVII.

Teynard, Felix, ii. 157.

Thebes, i. 6, 16-18, 27, 65-8, 77, 89, 122, 134-6 151-7;

its necropolis, 255-317;

its temples, 333-84;

the meaning of the epithet ἑκατόμπυλος, ii. 40.

Theodorus (sculptor), ii. 317.

Theophrastus quoted, ii. 125.

Theseum, i. VII.

Thorwaldsen, i. XI.

Thoth, i. 63.

Thothmes II., ii. 381, 400;

Thothmes III., i. 19, 70, 268;

Hall of T. at Karnak, 369, 381, 400, 406;

his statues, 241;

head in the British Museum, _id._;

his portraits conspicuous for fidelity, _id._;

his porphyry sphinx at Boulak, 242.

Thucydides, ii. 40.

Ti, his tomb, i. LX, 89, 143, 148, 177, 180, ii. 86;

his offices of state, 177;

his statue at Boulak, 203.

Tiberias, kiosque, or summer-house of, at Philæ, i. 433.

Tiele, Prof., his manual of the history of religions, i. 57.

Tiryns, ii. 64.

_To-deser_, i. 135.

Tomb, the, under the Ancient Empire, i. 163-241;

under the Middle _do._, 241-254;

under the New _do._, 255-317.

Tomb of Osymandias, i. 375.

_To-merah_, or _To-meh_, i. 15.

_To-res_, i. 15.

Toum, i. 68.

Tourah, i. 204.

Triglyphs, ii. 155.

Tuaregs, the, i. 13.

_Turbehs_, tombs of Saite kings compared to, i. 309.

Typhon, ii. 93;

Typhonia, 407, 434.

U

Uggeri, the Abbé, i. 104.

Una, high official under the sixth dynasty, ii. 75.

Uræus, ii. 151, 227.

V

Vases, found in the mastabas, i. 171, 183, ii. 367;

domestic V., 367-8;

ornamented _do._, 368-372.

Vault, i. 110;

off-set vaults, 111, ii. 83;

centred V., i. 112;

V. in pisé, 113;

theory as to the symbolism of the V. in the hypogea, _id._;

antiquity of the V. in Egypt, ii. 77;

(see also _Arch._)

Vedas, poetry of, i. XLIX., 50.

Verde-antique, i. 224.

Versailles, ii. 11.

Villeroi, Charles, his work upon the columns in Greek temples, i.

96.

Vinet, Ernest, i. XIV., XIX.

Viollet-le-Duc, his theory as to the origin of the Egyptian cornice,

ii. 56;

upon the employment of inverted arches in basements, 80-2.

Visconti, E. Q., i. VII.

Vogüé, Melchior de, i. 73;

his description of the Boulak Museum, 90, ii. 45;

his definition of the Egyptian style, 327.

Volute, ii. 90.

Vyse, Colonel Howard, his great work upon the Pyramids, i. 195;

his discoveries in _do._, 221;

his discovery of the Sarcophagus of Mycerinus, 234;

his discovery and exploration of Campbell's tomb, 311.

W

Wadi, -Siout, i. 105;

-Seboua, 407-8, ii. 65;

-Halfah, ii. 42;

-Maghara, ii. 95, 184.

Walking-sticks, ii. 397.

Wallon, M., i. LX.

Welcker, i. VII., XXV.

Whitehouse, F. Cope, his theory as to the construction of the

pyramids, i. 201;

his theory as to Lake Mœris, ii. 25.

Wigs, ii. 203.

Wilkinson, Sir G.;

his opinion upon the coating Egyptian works with stucco, i. 122,

ii. 33, 38, 72;

his theory of the Egyptian _canon_, 319, 366;

constituents of Egyptian bronze, 379.

Winckelmann, i. II., V., XV., XX., XXV., LVI.

Witte, de, on the weighing of souls, i. 286.

Wolf, the, in the bas-reliefs, ii. 218.

Woodwork, ii. 390;

wooden furniture not scanty, 393;

perfume spoons and other small articles, 394.

Worship of the dead, i. 128.

X

Xoite dynasty, the, i. 17.

Z

Zeus, i. XII, 69, 133.

Zeuxis, i. XIV., XVI.

Zoëga, i. VII.

THE END.

LONDON: R. CLAY, SONS, AND TAYLOR, PRINTERS.

* * * * *

_In a Handsome Imperial 8vo Volume, 36s._

RAPHAEL: _HIS LIFE, WORKS, AND TIMES._

From the French of EUGÈNE MUNTZ.

EDITED BY W. ARMSTRONG.

_Illustrated with 155 Wood Engravings and 41 Full-Page Plates._

"We have already noticed at some length the original French edition of

the important work of 'Raphael, his Life, Works, and Times,' of M.

Muntz, the Librarian of the École des Beaux-Arts, and we are glad now

to welcome an English translation. A translation is never quite the

same thing as the original, but for those--and they are many--who

prefer an English version of a book to a French one, this volume may

be recommended as, on the whole, a sound and adequate rendering of M.

Muntz's work. The type and paper are excellent, and the volume appears

in a substantial Roxburgh binding, suitable to its bulk and in good

taste. M. Muntz is a real authority on the history of Art, and is by

no means to be ranked among the bookmakers, who abound in that

department of literature; and his volume, while intended for popular

reading as well as for students, is an advance on anything that has

been done before in the biography of Raphael."--_Times._

"This splendid work deserves a cordial welcome. Its paper, type, and

engravings leave little to desire. It was a hazardous undertaking to

represent the Madonnas of Raphael by wood engravings; and yet it has

proved successful in no ordinary degree.... With regard to the

literary portion of the work, we can say that it is accurate, catholic

in tone, and written with admirable lucidity."--_Daily News._

"The compendious and profusely illustrated volume forms a valuable

addition to the history of art. Passavant's work on the subject,

though excellent in its way, cannot be considered exhaustive, many

important facts concerning the great master and those who influenced

his career having been brought to light since it was written. The

present work, accordingly, is not superfluous, and no man, probably,

could have accomplished the task more successfully than M. Muntz, who,

it should be mentioned, is the Librarian of the École des Beaux-Arts

at Paris. Having diligently studied the documentary records of Italian

history, and being familiar with the various Italian schools of

painting, he is especially qualified for work of the kind. His book

presents consequently a complete, and apparently trustworthy record of

Raphael's career, from his birth in Urbino in 1483 to his premature

death in Rome, thirty-seven years later, and in it may be clearly

traced the progress and development of his art and the influences

which modified it. The author's remarks moreover, on the works of

Raphael and of the other painters he has occasion to mention are

thoroughly critical and appreciative, and never dogmatically

expressed. The illustrations, of which there are nearly two hundred,

form a very important feature of the work; they include, besides

engravings from nearly all Raphael's existing pictures, and views of

the localities in which he sojourned, a considerable number of

faithful copies of his original studies and drawings. These being

accurate reproductions of the master's own handiwork, will be regarded

with great interest by students of art, the more so that the originals

of many of them are in private collections inaccessible to the

public."--_Globe._

"A work of such vast importance and interest as this cannot be

adequately treated in the short scope of a notice like the present. It

is so perfectly and elaborately carried out that a study of its pages

can alone do it any degree of justice. M. Muntz has been enabled to

correct in many notable particulars the great work of Passavant, and

his biography of Raphael Sanzio is unquestionably the best in

existence. The illustrations comprise nearly every work of importance

by the master."--_Whitehall Review._

"Taken altogether the volume is one of great merit, both literary and

artistic.... Before we pass from it we must pay a tribute to the

general excellence of the translation, which has all the spirit and

vigour of an original work ... the vigorous and eloquent language of

the original has, as a rule, been rendered with like vigour and

eloquence, which make the present beautiful volume as pleasant to read

as it is attractive to look at--thus fitting it alike for the library

and the drawing-room."--_John Bull._

LONDON: CHAPMAN & HALL, LIMITED.

Transcriber's Note:

Archaic and inconsistent spelling and punctuation retained.

The volume named "Voyage dans la Haute-Égypte" is variously attributed

to Auguste Mariette and Charles Blanc.

"Voyage dans la Haute-Égypte" was authored by Auguste Mariette and

"Voyage de la Haute-Égypte" was authored by Charles Blanc.

Some of the figure and plate references appear to be incorrect.