The theocratic system of the Egyptians, although its origin extends
beyond the horizon of history and even of tradition, is not the less
based on the ruins of a social state more ancient still, and much more
natural. The founders of this system, have altered the primitive style
of architectural decoration in petrifying it; that is to say, in making
it a style eminently adapted for stone constructions and monuments.
But amidst the hieroglyphical symbols may still be recognised the traces
of its origin, obscure it is true, but unmistakeable. It has been
observed by travellers in Egypt, that Egyptian art bears quite a
different character in the sepulchral tombs, to that which is observed
on the great temples and palace temples of the kings. It is that in
these sepulchral chambers, art could move somewhat more freely than it
was permitted to do in those grand monumental edifices, which were
raised under the immediate influence of the priesthood.
Now it has been proved that in all the tombs, the ancient method of
draping the walls, or rather of decorating them in the style of
tapestry, was apparent in its greatest simplicity. It is observable,
first in the character of the ornaments themselves, which consist of
interlacings and gracefully varied knots, whilst these decorations
borrowed from the weaver’s art, are almost banished from the temples and
are replaced by symbolic figures and ornament. It may be recognised, in
the second place, by the fact, that the paintings in the sepulchral
tombs are generally enclosed with borders, as if to indicate that they
represent suspended tapestry.
Although this primitive type shows itself less positively in the
temples, indications are nevertheless not wanting which remind us of it.
The contemporary artists of the French expedition have already
observed—and their discovery has been since then verified—that the
monuments of Egypt, including even those executed in granite, have been
covered with a complete coating of colour and varnish, over the _entire
surface_. That indeed might be expected, for the hewn stonework of the
Egyptian constructions, in spite of the neatness of its workmanship, is
not laid in regular courses, which tends to prove that this
irregularity, which contrasts with the symmetrical system of the
decoration on it, was hidden beneath a coating which covered the whole
mass.
These monuments exhibit then the third transition step towards regular
construction in hewn stone.
The construction, though massive and real, is always hidden, and does
not enter yet as an ornamental motive in the compositions of the
architect.
It is worthy of observation, that one of the mouldings of Egyptian
architecture seems to be explained by the same ancient custom of
encrusting brick buildings with stone slabs, which we have remarked on
the Assyrian monuments. I allude to the torus moulding which encloses
the external walls of edifices. It served to hide the joints of the
slabs which covered the internal work.
It is certain that the most ancient monuments in Egypt were constructed
in unbaked bricks, which must have been covered with stone slabs in the
manner above indicated. The Pyramids afford us very remarkable examples
of this system of panelling, which is found still perfect in the
sepulchral chambers contained in them, and the traces of which are still
visible on the exterior. The same observation applies to the Palace of
Osirtesen at Karnak, the walls of which are panelled with slabs of
polished red granite, bearing the traces of a transparent coating with
which they were covered.