_SYMBOLICAL DECORATION_
The Egyptian who expressed all his thoughts by a symbolical writing,
full of determinatives, was naturally much given to symbolism in his
decoration. Not, however, that all his decoration was symbolic in a
recondite sense; the ever-present lotus ornament was merely a thing of
beauty; the lotus was not a sacred plant, it is not associated with any
divinity in particular, and only in one unusual instance does it ever
occur in the hieroglyphs. The fanciful habit of Europe, in seeing a
hidden sense in every flower, was not akin to the simple and elementary
mind of the Egyptian. But certain striking emblems he used continually;
and one of the earliest of these is the uraeus snake, or cobra in his
wrath, reared up with expanded body ready to strike. The dignity and
power of the animal made it to be an emblem of the king, or rather
perhaps of the royal power of death. That capital punishment was used in
Egypt is seen in the Westcar Tales, which probably date from the Old
Kingdom, where a condemned malefactor is ordered to be brought forth for
a magician to try his power in bringing him to life when slain. The
king, as having the power of death, bore the uraeus always on his
head-dress; and from the earliest days (at Medum) the royal court of
justice was adorned with a cornice of uraei, implying that there resided
the royal right of judgment and of condemnation. This cornice seems,
however, to have been regarded as merely royal in later times, and was
freely used to adorn any royal structure, even a wooden summer-house
(Amenhotep II.); or the uraei formed a band around columns (Akhenaten),
or appear as supporters of the royal cartouche (P. 72), either plain
(Ramessu II.) or winged (Horemheb L.D. III. 122).
[Illustration: Fig. 197.]
[Illustration: 198.—P. 72.]
[Illustration: Fig. 199.]
[Illustration: 200.—Khufu.]
[Illustration: 201.—Unas.]
[Illustration: 202.—L.D. III. 122a.]
A symbolism closely connected with this is that of the globe and wings.
This certainly dates to the beginning of the monumental age, as it is
seen above the figure of Khufu seated on an amulet. In that instance it
is on too small a scale to show the details; but in the next dynasty it
appears above Unas at Elephantine, with the globe flanked by two uraei
and two wings. What the symbolism of it was we have no direct
information. But when we consider that the wings are those of the
vulture spread out, as it appears on the roofs of the passages as a
protecting and preserving maternal emblem, and the uraeus is associated
with it, we can hardly view it as other than the same idea of the power
of life and death, of preservation and destruction. But in this emblem
it is not the king who wields these powers, but Ra the Sun, whose disc
appears in the midst. That the wings have thus the meaning of protection
is shown by the globe with drooping wings embracing the royal name,
expressing the protection given by Ra to the king, without associating
the deadly or punitive power of the uraeus. A curious form of this
emblem which was common in the early part of the XVIIIth dynasty is with
only one wing.
[Illustration: 203.—L.D. III. 8.]
[Illustration: 204.—P. 72.]
One of the most perfect and beautiful examples of the winged disc is on
the temple of Tahutmes III., but it continued to be used down to the
latest times of Egyptian architecture as a lintel decoration.
In the XIXth dynasty an addition to the symbolism appears; the horns of
a ram are added to the wings; sometimes without the uraei (Ramessu I.,
L.D. III. 131), sometimes with the uraei (Ramessu II., L.D. III. 204).
These rams’ horns can hardly be other than those of the ram-headed god
Khnum, “the maker” or “modeller” of men. The idea then of the wings and
horns is that Ra makes as well as protects; and where the uraeus is
added it implies that Ra is creator, preserver, and destroyer.
The vulture alone as the emblem of protection is frequently figured with
outstretched wings across the ceilings of the passages, particularly
those of the royal tombs of the XIXth dynasty. There is perhaps no sight
in the animal world more imposing than one of these birds, stretched out
with a span of some nine or ten feet, hanging in the air close overhead;
it is natural that it should have excited the admiration of man, and not
being hurtful it readily came to be honoured as a type of maternal care.
[Illustration: 205.—P. 81.]
[Illustration: 206.—L.D. III. 235.]
The scarab was another such typical animal, rolling the pellet
containing an egg to a safe place where it buries it. Though very common
as an amulet for the living and the dead, yet it is not often seen in
symbolical or decorative use otherwise. With what idea the amulet was
used we do not know for certain. The scarab itself is often figured as
holding the disc of the sun between its claws: and it is at least
possible that the symbolic idea of the scarab as the maker or creator
arose from the burial of its ball being an emblem of the setting of the
sun, from which new life will arise in due course. It occurs with the
wings extended and the disc between the claws as a centre figure in the
space of a ceiling pattern (Neferhotep, XVIIIth dynasty), and on the
border of the covering of a shrine under Ramessu X., and is occasionally
met with later in decoration.
[Illustration: 207.—R.C. cxxx.]
[Illustration: 208.—P. 78.]
[Illustration: 209.—L.D. III. 100.]
The lion as a noble and royal animal frequently figures in the XVIIIth
dynasty. The Egyptians, with their marvellous instinct for taming every
animal they could find, actually trained lions or leopards to live as
domesticated animals, with the same sort of allowed wildness as modern
hunting dogs. The lion accompanied the king in battle; but in camp it
lay down as peaceably as an ox. It was frequently carved on the sides of
the thrones of the XVIIIth-XXth dynasties, and also seated in pairs,
facing or backing, on the temple walls, a usage reminding us of the lion
gate of Mykenae of the same age.
[Illustration: 210.—L.D. III. 114]
[Illustration: Fig. 211.]
Some of the Egyptian divinities also appear as symbolic ornaments. The
figures of the goddess Maat with spread wings adorned the ark of Amen-ra
under Tahutimes II.; and in earlier times similar cherubic figures stand
guarding the name of Antef V. on a scarab.
Hathor also appears on various objects. A mirror handle carved in wood
during the XIIth dynasty has the head of Hathor (P. 1. xiii.); columns
with heads of Hathor, crowned with a shrine occupied by a uraeus, are
found introduced by Amenhotep III. in his temples at El Kab and
Sedeinga, and were copied by Ramessu II. at Abu Simbel. The similar head
of Hathor was frequently made in glazed pottery as a pendant in the time
of Akhenaten. And in later times these Hathor headed capitals became
usual under the Ptolemies, as in the well-known case of the portico of
the great temple at Dendera.
[Illustration: 212.—L.D. I. 100.]
Bes was one of the favourite popular deities of the Egyptians;
restricted to no place in particular, every votary of music and the
dance patronised Bes. The little statuette of a dancing girl with a Bes
mask on, besides an actual mask in cartonnage, found at Kahun, show the
popularity of the god in the XIIth dynasty. In later times his figure is
frequently seen. At Tell el Amarna ornaments for necklaces made in
glazed pottery followed two types of Bes, the god dancing with the
tambourine seen in side view, and the earlier grotesque front view, with
arms akimbo. These familiar little figures continued to be made till
late times; and in the Roman age Bes was elevated to architectural
dignity on the dies above the columns at Dendereh in the small temple of
the Mammeisi.
Another and more artificial mode of symbolical decoration was by means
of the hieroglyphic signs. Having a mode of writing in which a single
mark could express an abstract idea, it was possible to adapt writing to
a purely decorative design. Even with alphabetic characters this has
been done, as in the elaborate crossing patterns of the earlier Arab
period in Egypt, in which no untrained eye would see anything but a
complex ornament.
[Illustration: 213.—_Ankh._]
[Illustration: 214.—_Thet._]
[Illustration: 215.—_Uas._]
[Illustration: 216.—_Dad._]
Four of the hieroglyphs most usually worked into ornamental designs are
the _ankh_, a girdle, or symbol of life; the _thet_, another form of
girdle, with longer bow-tie in front, which, as always identified with
Isis, may have been a primitive feminine girdle, the ankh being
masculine; the _uas_, a stick of authority, or symbol of power; and the
_dad_, a row of columns, or symbol of stability.
As early as the Old Kingdom we find wooden framings, or lattices,
ornamented with _dad_ signs; and this continued at least as late as
Amenhotep II. The _dad_ also appears in what is probably copied from
pierced woodwork, in a relief at Qurneh of Ramessu I.
[Illustration: 217.—L.D. III. 131.]
[Illustration: Fig. 218.]
The combination of _thet dad uas_, and of _ankh dad uas_, is found in
the XIIth dynasty at Benihasan, apparently carved in relief, on the
wooden panels of a litter (R.C. xciii.). The same occur similarly carved
on the ebony doors of Hatshepsut at Deir el Bahri. The group begins to
appear as an architectural design early in the XVIIIth dynasty, and
continues down to Roman times, especially on bases of scenes and groups,
thus forming a continuous border of good wishes. The hieroglyphs,
_ankh_, _dad_, and _uas_, are all found on pendants for necklaces, in
the blue glazed pottery of the XVIIIth dynasty, and also combined in one
as a ring bezil. And the _thet_ girdle tie of Isis appears repeated as a
pattern, probably of pierced woodwork, along the sides of a shrine of
Tahutimes III. at Semneh, and on the base of a couch in the birth scene
of Amenhotep III. (R.S. xxxviii.). As funeral amulets the _thet_, _dad_,
and _ankh_ occur commonly, but that branch is outside of the subject of
decoration.
[Illustration: 219.—Khafra.]
[Illustration: 220.—Khafra.]
Another hieroglyph often appearing as an ornament is the _sam_, or
symbol of union. The origin of it is yet unexplained. It certainly is a
column of some kind; it has a well-marked capital and an abacus. The
capital is formed much like the palm-leaf capital; and the stem is
clearly bound round, and must therefore be composite. This suggests that
it might be a column of palm-sticks bound together, with some tops left
projecting for ornament. Such might well be more conventionalised at the
beginning of Egyptian sculpture in the IVth dynasty than the other kinds
of capitals; and the immigrant race came from the region of the palm,
while the lotus and papyrus only were reached by them in Egypt itself.
The base is a main difficulty to explain. It might be conventionalised
clods of earth, with two curled-over side branches of the palm; but it
has been so modified that we must await more evidence. In any case the
stem is formed of several parts bound together, and hence it was very
naturally adopted as a symbol of union. It was further grouped with two
plants, the stalks of which were linked around it. It is always supposed
that these symbolise northern and southern Egypt, and that the group
means the union of all the land. Still it is yet uncertain what plants
are intended to be represented, though on the throne of Tahutimes IV.
they are clearly lotus and papyrus; but the evidence is too late to be
of much value. This group was a favourite decoration from beginning to
end of Egyptian history. At the beginning of the XIIth dynasty an
addition was made by placing a figure of Hapi or the Nile on each side
of the group (Tanis i. I.), each figure holding one of the two plants.
As these figures were crowned, one with the sign of south the other of
north, they point to the plants being emblems of the south and north
also. This group with the figures is found as late as the XXth dynasty
(L.D. III. 237). Another design came into fashion during the great
foreign wars of the XVIIIth dynasty, representing two captives, one
negro, one Syrian, bound back to back against the _sam_; thus it
symbolised not only the union of upper and lower Egypt, but also of the
northern and southern races outside of Egypt. Later on, four or even six
such racial types are figured as bound together.
INDEX
Amu dresses, 15
_Ankh_ girdle, 117
Anthemion, 65, 72
Assyrian lotus, 72
Barks of gods, 83
Basket-work screens, 14, 36, 93
Bell capital, 76
Bes, god of dance, 115
Binding patterns, 103
Birds, 87
Boat covers, 29, 31
Borders, spiral, 40
„ lotus, 64
Borrowed art, 40
Brickwork panelling, 95
„ curved courses, 96
C-spirals, 34
Calf, 87
Captives, 84
„ bound together, 85, 122
„ painted on sandals, 86
Cavetto cornice, 98
Chain of spirals, 20
Chequer patterns, 44
Circles, not usual, 47
„ not divided by six, 49
Classes of ornament, 9
Cobra, 107
Coils, 20
Continuous spirals, 20
Convolvulus decoration, 81
Cornice, palm, 98
_Dad_ columns, 95, 117
Daisy, 58
Decoration, classes of, 9
Decorative instinct of Egyptians, 2
Descent of patterns, 5
Disc with spots, 60
„ and wings, 108
Duck, 87
Endless spirals, 21
Feather patterns, 50
„ types of, 51
„ belts, 52
_Fleur-de-lys_ type, 68
Flower ornament, 55
Framing of wood, 94
Fret patterns, 35
„ Greek, 36, 43
Garlands, 82
Geometrical ornament, 9, 12
Girdles _ankh_ and _thet_, 117
Globe and wings, 108
Graining of wood, 89
Grape pendants, 80
Greek fret, 36, 43
„ lotus, 72
„ architecture, structural, 91
Guilloche, 40
Hathor head, 114
„ capitals, 115
Hawk, 87
Hexagon pattern, 14
Hieroglyphs decorative, 3
„ symbolic, 116
Hooks, 20
Horns, 110
Ibex, 87
Imitation of wood, 89
„ stone, 89
Isiemkheb, tent of, 56, 87
Kahun, guilloche at, 41
Keft dresses, 15
_Khaker_ pattern, 100
Khufu, 108
Lachish, slabs, 100
Leatherwork, 56, 59
„ rosettes, 57
Line decoration, 12
„ zigzag, 13
Links, 20
Lion, 113
Lotus patterns, 61
„ tied, 62
„ capitals, 63
„ border, 64
„ plant, 66
„ friezes, 67
„ flower developed, 70
„ flower with pendants, 73
„ column, 76
Maat goddess, 114
Maeander, 40
Minusinsk art, 7
Mykenaean spirals, 38
„ borrowed art, 40
„ ox head, 59
„ disc and spots, 60
Natural ornament, 10, 50
Network patterns, 46
Nile figures, 121
Orchomenos, 39
Origin of patterns, 5
Ornament, classes of, 9
Palm capital, 78
„ not common, 79
„ cornice, 98
„ column, 120
Palmetto, 65
Panelled pattern, 95
Papyrus, 61, 75
„ cornice, 101
Patterns not re-invented, 8
Pectorals, 83
Perspective, Egyptian, 69
Plaiting patterns, 14, 36, 44
Ra, creator, preserver and destroyer, 111
Roll on buildings, 97, 103
Rope borders, 42
„ pattern, 92
Rosette, 56, 58
Rushwork plaiting, 14, 36, 93
_Sam_ column, 119
Scale pattern really feathers, 52
Scarab spirals, 18
„ symbolical, 112
Scroll pattern, 17
Siloam tomb, 100
Sloping faces of buildings, 96
Spiral or scroll, 17
„ origin of, 18
„ sole patterns, 24
„ earlier on scarabs, 28
„ surface decoration, 29
„ with lotus, 30
„ crossed lines, 31
„ quadruple, 31
„ quintuple, 34
„ developed to fret, 36
„ late, 23
_Subdivisions._
„ coils, 20, 21, 23, 24, 29, 40
„ hooks, 19, 20, 22
„ links, 19, 20, 21, 29, 42
„ chain, 20, 21
„ continuous, 20, 25
„ endless, 21, 23
„ false links, 26
„ lop-sided, 27
Spots, not Egyptian, 15, 60
Star patterns, 57, 58, 88
Stitch patterns, 43, 57
Structural ornament, 10, 91
Styles, characteristic, 8
Symbolic ornament, 11, 106
Tell el Amarna, 29, 54, 55, 58, 71, 75, 80, 87, 116
Terms for spirals, 20
_Thet_ girdle, 117
Thistle decoration, 82
Torus, origin of, 97
_Uas_ sceptre, 117
Uraeus, 107
V pattern, 55
Vine patterns, 79
Vulture, 87, 111
Wave borders, 41
Wavy line, rounded, 16
Weaving patterns, 14
Wings symbol of protection, 109
Wood, imitation of, 89
Wooden framing, 94
Wreaths, 83
Zigzag lines, 13
_Printed in Great Britain by_
UNWIN BROTHERS, LIMITED, THE GRESHAM PRESS, WOKING AND LONDON
------------------------------------------------------------------------
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------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Silently corrected obvious typographical errors and variations in
spelling.
2. Retained archaic, non-standard, and uncertain spellings as printed.
3. Enclosed italics font in _underscores_.