Produced by David Widger
[Illustration: Spines]
[Illustration: Cover]
HISTORY OF EGYPT CHALDEA, SYRIA, BABYLONIA, AND ASSYRIA
By G. MASPERO, Honorable Doctor of Civil Laws, and Fellow of Queens
College, Oxford; Member of the Institute and Professor at the College of
France
Edited by A. H. SAYCE, Professor of Assyriology, Oxford
Translated by M. L. McCLURE, Member of the Committee of the Egypt
Exploration Fund
CONTAINING OVER TWELVE HUNDRED COLORED PLATES AND ILLUSTRATIONS
Volume VI.
LONDON
THE GROLIER SOCIETY
PUBLISHERS
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[Illustration: Titlepage]
[Illustration: 001.jpg Page Image]
_THE CLOSE OF THE THEBAN EMPIRE--(continued)_
_RAMSES III.: MANNERS AND CUSTOMS--POPULATION--THE PREDOMINANCE OF AMON
AND HIS HIGH PRIESTS._
_The Theban necropolis: mummies--The funeral of a rich Theban: the
procession of the offerings and the funerary furniture, the crossing
of the Nile, the tomb, the farewell to the dead, the sacrifice, the
coffins, the repast of the dead, the song of the Harper--The common
ditch--The living inhabitants of the necropolis: draughtsmen, sculptors,
painters--The bas-reliefs of the temples and the tombs, wooden
statuettes, the smelting of metals, bronze--The religions of the
necropolis: the immorality and want of discipline among the people:
workmen s strikes._
_Amon and the beliefs concerning him: his kingdom over the living and
the dead, the souls destiny according to the teaching of Amon--Khonsû
and his temple; the temple of Amon at Karnak, its revenue, its
priesthood--The growing influence of the high priests of Amon under
the sons of Ramses III.: Hamsesnaklûti, Amenôthes; the violation of the
royal burying-places--Hrihor and the last of the Ramses, Smendês and the
accession to power of the XXIst dynasty: the division of Egypt into two
States--The priest-kings of Amon masters of Thebes under the suzerainty
of the Tanite Pharaohs--The close of the Theban empire._
[Illustration: 003.jpg Page Image]
CHAPTER I--THE CLOSE OF THE THEBAN EMPIRE--(continued)
_Ramses III.: Manners and Customs--Population--The predominance of Amon
and his high priests._
Opposite the Thebes of the living, Khafîtnîbûs, the Thebes of the dead,
had gone on increasing in a remarkably rapid manner. It continued to
extend in the south-western direction from the heroic period of
the XVIIIth dynasty onwards, and all the eminence and valleys were
gradually appropriated one after the other for burying-places. At the
time of which I am speaking, this region formed an actual town, or
rather a chain of villages, each of which was grouped round some
building constructed by one or other of the Pharaohs as a funerary
chapel. Towards the north, opposite Karnak, they clustered at
Drah-abul-Neggah around pyramids of the first Theban monarchs, at
Qurneh around the mausolæ of Ramses I. and Seti I., and at Sheikh
Abd el-Qurneh they lay near the Amenopheum and the Pamonkaniqîmît,
or Ramesseum built by Ramses II. Towards the south they diminished
in number, tombs and monuments becoming fewer and appearing at wider
intervals; the Migdol of Ramses III. formed an isolated suburb, that of
Azamît, at Medinet-Habu; the chapel of Isis, constructed by Amenôthes,
son of Hapû, formed a rallying-point for the huts of the hamlet of
Karka;* and in the far distance, in a wild gorge at the extreme limit
of human habitations, the queens of the Ramesside line slept their last
sleep.
* The village of Karka or Kaka was identified by Brugsch
with the hamlet of Deîr el-Medineh: the founder of the
temple was none other than Amenôthes, who was minister under
Amenôthes III.
[Illustration: 004.jpg THE THEBAN CEMETERIES]
Each of these temples had around it its enclosing wall of dried brick,
and the collection of buildings within this boundary formed the Khîrû,
or retreat of some one of the Theban Pharaohs, which, in the official
language of the time, was designated the august Khîrû of millions of
years.
[Illustration: 005.jpg THE NECROPOLIS OF SHEÎKH AND EL-QURNEH]
Drawn by Boudier, from a photograph by Beato.
A sort of fortified structure, which was built into one of the corners,
served as a place of deposit for the treasure and archives, and could be
used as a prison if occasion required.*
* This was the hliatmû, the dungeon, frequently mentioned in
the documents bearing upon the necropolis.
The remaining buildings consisted of storehouses, stables, and houses
for the priests and other officials. In some cases the storehouses were
constructed on a regular plan which the architect had fitted in with
that of the temple. Their ruins at the back and sides of the Ramesseum
form a double row of vaults, extending from the foot of the hills to
the border of the cultivated lands. Stone recesses on the roof furnished
shelter for the watchmen.* The outermost of the village huts stood among
the nearest tombs. The population which had been gathered together there
was of a peculiar character, and we can gather but a feeble idea of its
nature from the surroundings of the cemeteries in our own great cities.
Death required, in fact, far more attendants among the ancient Egyptians
than with us. The first service was that of mummification, which
necessitated numbers of workers for its accomplishment. Some of the
workshops of the embalmers have been discovered from time to time at
Sheikh Abd el-Qurneh and Deîr el-Baharî, but we are still in ignorance
as to their arrangements, and as to the exact nature of the materials
which they employed. A considerable superficial space was required, for
the manipulations of the embalmers occupied usually from sixty to eighty
days, and if we suppose that the average deaths at Thebes amounted to
fifteen or twenty in the twenty-four hours, they would have to provide
at the same time for the various degrees of saturation of some twelve to
fifteen hundred bodies at the least.**
* The discovery of quantities of ostraca in the ruins of
these chambers shows that they served partly for cellars.
** I have formed my estimate of fifteen to twenty deaths per
day from the mortality of Cairo during the French
occupation. This is given by R. Desgenettes, in the
_Description de lEgypte_, but only approximately, as many
deaths, especially of females, must have been concealed from
the authorities; I have, however, made an average from the
totals, and applied the rate of mortality thus obtained to
ancient Thebes. The same result follows from calculations
based on more recent figures, obtained before the great
hygienic changes introduced into Cairo by Ismail Pacha, i.e.
from August 1, 1858, to July 31, 1859, and from May 24,
1865, to May 16, 1866, and for the two years from April 2,
1869, to March 21, 1870, and from April 2, 1870, to March
21, 1871.
Each of the corpses,moreover, necessitated the employment of at least
half a dozen workmen to wash it, cut it open, soak it, dry it, and
apply the usual bandages before placing the amulets upon the canonically
prescribed places, and using the conventional prayers.
[Illustration: 007.jpg HEAD OF A THEBAN MUMMY]
Drawn by Boudier, from a photograph by Emil Brugsch-Bey.
There was fastened to the breast, immediately below the neck, a stone
or green porcelain scarab, containing an inscription which was to be
efficacious in preventing the heart, his heart which came to him from
his mother, his heart from the time he was upon the earth, from rising
up and witnessing against the dead man before the tribunal of Osiris.*
There were placed on his fingers gold or enamelled rings, as talismans
to secure for him the true voice.**
* The manipulations and prayers were prescribed in the Book
of Embalming.
** The prescribed gold ring was often replaced by one of
blue or green enamel.
The body becomes at last little more than a skeleton, with a covering of
yellow skin which accentuates the anatomical, details, but the head, on
the other hand, still preserves, where the operations have been properly
conducted, its natural form. The cheeks have fallen in slightly, the
lips and the fleshy parts of the nose have become thinner and more
drawn than during life, but the general expression of the face remains
unaltered.
[Illustration: 008.jpg THE MANUFACTURE AND PAINTING OF THE CARTONNAGE]
Drawn by Faucher-Gudin, after Rosellini.
A mask of pitch was placed over the visage to preserve it, above
which was adjusted first a piece of linen and then a series of bands
impregnated with resin, which increased the size of the head to twofold
its ordinary bulk. The trunk and limbs were bound round with a first
covering of some pliable soft stuff, warm to the touch. Coarsely
powdered natron was scattered here and there over the body as an
additional preservative. Packets placed between the legs, the arms and
the hips, and in the eviscerated abdomen, contained the heart, spleen,
the dried brain, the hair, and the cuttings of the beard and nails. In
those days the hair had a special magical virtue: by burning it while
uttering certain incantations, one might acquire an almost limitless
power over the person to whom it had belonged. The ernbalmers,
therefore, took care to place with the mummy such portions of the hair
as they had been obliged to cut off, so as to remove them out of the way
of the perverse ingenuity of the sorcerers.
[Illustration: 009.jpg WRAPPING OF THE MUMMY, UNDER THE DIRECTION OF THE
MAN OF THE ROLL]
Drawn by Faucher-Gudin, from Rosellini.
Over the first covering of the mummy already alluded to, there was
sometimes placed a strip of papyrus or a long piece of linen, upon which
the scribe had transcribed selections--both text and pictures--from The
Book of the going forth by Day: in such cases the roll containing the
whole work was placed between the legs. The body was further wrapped in
several bandages, then in a second piece of stuff, then in more bands,
the whole being finally covered with a shroud of coarse canvas and a
red linen winding-sheet, sewn together at the back, and kept in place by
transverse bands disposed at intervals from head to foot. The son of the
deceased and a man of the roll were present at this lugubrious toilet,
and recited at the application of each piece a prayer, in which its
object was defined and its duration secured. Every Egyptian was supposed
to be acquainted with the formulas, from having learned them during his
lifetime, by which he was to have restored to him the use of his limbs,
and be protected from the dangers of the world beyond. These were
repeated to the dead person, however, for greater security, during the
process of embalming, and the son of the deceased, or the master of the
ceremonies, took care to whisper to the mummy the most mysterious parts,
which no living ear might hear with impunity. The wrappings having
been completed, the deceased person became aware of his equipment, and
enjoyed all the privileges of the instructed and fortified Manes. He
felt himself, both mummy and double, now ready for the tomb.
Egyptian funerals were not like those to which we are accustomed--mute
ceremonies, in which sorrow is barely expressed by a furtive tear:
noise, sobbings, and wild gestures were their necessary concomitants.
Not only was it customary to hire weeping women, who tore their hair,
filled the air with their lamentations, and simulated by skilful actions
the depths of despair, but the relatives and friends themselves did not
shrink from making an outward show of their grief, nor from disturbing
the equanimity of the passers-by by the immoderate expressions of their
sorrow. One after another they raised their voices, and uttered some
expression appropriate to the occasion: To the West, the dwelling of
Osiris, to the West, thou who wast the best of men, and who always hated
guile. And the hired weepers answered in chorus: O chief,* as thou
goest to the West, the gods themselves lament. The funeral _cortege_
started in the morning from the house of mourning, and proceeded at a
slow pace to the Nile, amid the clamours of the mourners.
* The chief is one of the names of Osiris, and is applied
naturally to the dead person, who has become an Osiris by
virtue of the embalming.
The route was cleared by a number of slaves and retainers. First came
those who carried cakes and flowers in their hands, followed by others
bearing jars full of water, bottles of liqueurs, and phials of perfumes;
then came those who carried painted boxes intended for the provisions
of the dead man, and for containing the Ushabtiu, or Respondents. The
succeeding group bore the usual furniture required by the deceased
to set up house again, coffers for linen, folding and arm chairs,
state-beds, and sometimes even a caparisoned chariot with its quivers.
Then came a groom conducting two of his late masters favourite horses,
who, having accompanied the funeral to the tomb, were brought back
to their stable. Another detachment, more numerous than the others
combined, now filed past, bearing the effects of the mummy; first the
vessels for the libations, then the cases for the Canopic jars, then the
Canopic jars themselves, the mask of the deceased, coloured half in gold
and half in blue, arms, sceptres, military batons, necklaces, scarabs,
vultures with encircling wings worn on the breast at festival-times,
chains, Respondents, and the human-headed sparrow-hawk, the emblem of
the soul. Many of these objects were of wood plated with gold, others
of the same material simply gilt, and others of solid gold, and thus
calculated to excite the cupidity of the crowd. Offerings came next,
then a noisy company of female weepers; then a slave, who sprinkled at
every instant some milk upon the ground as if to lay the dust; then
a master of the ceremonies, who, the panther skin upon his shoulder,
asperged the crowd with perfumed water; and behind him comes the hearse.
[Illustration: 012.jpg THE FUNERAL OF HARMHABI]
Drawn by Faucher-Gudin, after a coloured print in Wilkinson.
The cut on the following page joins this on the right.
The latter, according to custom, was made in the form of a
boat--representing the bark of Osiris, with his ark, and two guardians,
Isis and Nephthys--and was placed upon a sledge, which was drawn by a
team of oxen and a relay of fellahîn. The sides of the ark were, as
a rule, formed of movable wooden panels, decorated with pictures and
inscriptions; sometimes, however, but more rarely, the panels were
replaced by a covering of embroidered stuff or of soft leather. In
the latter case the decoration was singularly rich, the figures and
hieroglyphs being cut out with a knife, and the spaces thus left filled
in with pieces of coloured leather, which gave the whole an appearance
of brilliant mosaic-work.*
* One of these coverings was found in the hiding-place at
Deîr el-Baharî; it had belonged to the Princess Isîmkhobiû,
whose mummy is now at Gîzeh.
[Illustration: 013.jpg THE FUNERAL OF HABMHABÎ]
Drawn by Faucher-Gudin, from the coloured print in
Wilkinson. The left side of this design fits on to the right
of the preceding cut.
In place of a boat, a shrine of painted wood, also mounted upon a
sledge, was frequently used. When the ceremony was over, this was left,
together with the coffin, in the tomb.*
* I found in the tomb of Sonnozmû two of these sledges with
the superstructure in the form of a temple. They are now in
the Gîzeh Museum.
The wife and children walked as close to the bier as possible, and
were followed by the friends of the deceased, dressed in long linen
garments,* each of them bearing a wand. The ox-driver, while goading his
beasts, cried out to them: To the West, ye oxen who draw the hearse,
to the West! Your master comes behind you! To the West, the friends
repeated; the excellent man lives no longer who loved truth so dearly
and hated lying!**
** The whole of this description is taken from the pictures
representing the interment of a certain Harmhabî, who died
at Thebes in the time of Thfitmosis IV.
* These expressions are taken from the inscriptions on the
tomb of Rai
[Illustration: 014.jpg THE BOAT CARRYING THE MUMMY]
Drawn by Faucher-Gudin, from pictures in the tomb of
Nofirhotpû at Thebes.
This lamentation is neither remarkable for its originality nor for its
depth of feeling. Sorrow was expressed on such occasions in prescribed
formulas of always the same import, custom soon enabling each individual
to compose for himself a repertory of monotonous exclamations of
condolence, of which the prayer, To the West! formed the basis,
relieved at intervals by some fresh epithet. The nearest relatives
of the deceased, however, would find some more sincere expressions of
grief, and some more touching appeals with which to break in upon the
commonplaces of the conventional theme. On reaching the bank of the Nile
the funeral cortege proceeded to embark.*
* The description of this second part of the funeral
arrangements is taken from the tomb of Harmhabî, and
especially from that of Nofirhotpû.
[Illustration: 015.jpg THE BOATS CONTAINING THE FEMALE WEEPERS AND THE
PEOPLE OF THE HOUSEHOLD]
Drawn by Faucher-Gudin, from paintings on the tomb of
Nofirhotpû at Thebes.
They blended with their inarticulate cries, and the usual protestations
and formulas, an eulogy upon the deceased and his virtues, allusions
to his disposition and deeds, mention of the offices and honours he had
obtained, and reflections on the uncertainty of human life--the whole
forming the melancholy dirge which each generation intoned over its
predecessor, while waiting itself for the same office to be said over it
in its turn.
The bearers of offerings, friends, and slaves passed over on hired
barges, whose cabins, covered externally with embroidered stuffs of
several colours, or with _applique_ leather, looked like the pedestals
of a monument: crammed together on the boats, they stood upright with
their faces turned towards the funeral bark. The latter was supposed to
represent the Noshemît, the mysterious skiff of Abydos, which had been
used in the obsequies of Osiris of yore.
[Illustration: 016.jpg THE BOATS CONTAINING THE FRIENDS AND THE FUNERARY
FURNITURE]
Drawn by Faucher-Gudin, from paintings on the tomb of
Nofirhotpû at Thebes.
It was elegant, light, and slender in shape, and ornamented at bow and
stern with a lotus-flower of metal, which bent back its head gracefully,
as if bowed down by its own weight. A temple-shaped shrine stood in
the middle of the boat, adorned with bouquets of flowers and with
green palm-branches. The female members of the family of the deceased,
crouched beside the shrine, poured forth lamentations, while two
priestesses, representing respectively Isis and Nephthys, took up
positions behind to protect the body. The boat containing the female
mourners having taken the funeral barge in tow, the entire flotilla
pushed out into the stream. This was the solemn moment of the
ceremony--the moment in which the deceased, torn away from his earthly
city, was about to set out upon that voyage from which there is no
return. The crowds assembled on the banks of the river hailed the dead
with their parting prayers: Mayest thou reach in peace the West from
Thebes! In peace, in peace towards Abydos, mayest thou descend in peace
towards Abydos, towards the sea of the West!
[Illustration: 017.jpg A CORNER OF THE THEBAN NECROPOLIS]
Drawn by Faucher-Gudin, from a stele in the Gîzeh Museum.
This crossing of the Nile was of special significance in regard to
the future of the soul of the deceased: it represented his pilgrimage
towards Abydos, to the Mouth of the Cleft which gave him access to
the other world, and it was for this reason that the name of Abydos is
associated with that of Thebes in the exclamations of the crowd. The
voices of the friends replied frequently and mournfully: To the West,
to the West, the land of the justified! The place which thou lovedst
weeps and is desolate! Then the female mourners took up the refrain,
saying: In peace, in peace, to the West! O honourable one, go in peace!
If it please God, when the day of Eternity shall shine, we shall see
thee, for behold thou goest to the land which mingles all men together!
The widow then adds her note to the concert of lamentations: O my
brother, O my husband, O my beloved, rest, remain in thy place, do not
depart from the terrestrial spot where thou art! Alas, thou goest away
to the ferry-boat in order to cross the stream! O sailors, do not hurry,
leave him; you, you will return to your homes, but he, he is going away
to the land of Eternity! O Osirian bark, why hast thou come to take away
from me him who has left me! The sailors were, of course, deaf to her
appeals, and the mummy pursued its undisturbed course towards the last
stage of its mysterious voyage.
The majority of the tombs--those which were distributed over the plain
or on the nearest spurs of the hill--were constructed on the lines of
those brick-built pyramids erected on mastabas which were very common
during the early Theban dynasties. The relative proportions of the parts
alone were modified: the mastaba, which had gradually been reduced to
an insignificant base, had now recovered its original height, while the
pyramid had correspondingly decreased, and was much reduced in size. The
chapel was constructed within the building, and the mummy-pit was sunk
to a varying depth below. The tombs ranged along the mountain-side were,
on the other hand, rock-cut, and similar to those at el-Bersheh and
Beni-Hasan.
[Illustration: 018.jpg PAINTING IN THE FIFTH TOMB OF THE KINGS TO THE
RIGHT]
The heads of wealthy families or the nobility naturally did not leave to
the last moment the construction of a sepulchre worthy of their rank and
fortune. They prided themselves on having finished their house which is
in the funeral valley when the morning for the hiding away of their body
should come. Access to these tombs was by too steep and difficult a
path to allow of oxen being employed for the transport of the mummy: the
friends or slaves of the deceased were, therefore, obliged to raise the
sarcophagus on their shoulders and bear it as best they could to the
door of the tomb.
[Illustration: 019.jpg THE FAREWELL TO THE MUMMY, AND THE DOUBLE
RECEIVED BY THE GODDESS]
Drawn by Faucher-Gudin, from the paintings in the Theban
tombs.
The mummy was then placed in an upright position on a heap of sand, with
its back to the wall and facing the assistants, like the master of some
new villa who, having been accompanied by his friends to see him take
possession, turns for a moment on the threshold to take leave of
them before entering. A sacrifice, an offering, a prayer, and a fresh
outburst of grief ensued; the mourners redoubled their cries and threw
themselves upon the ground, the relatives decked the mummy with flowers
and pressed it to their bared bosoms, kissing it upon the breast and
knees. I am thy sister, O great one! forsake me not! Is it indeed thy
will that I should leave thee? If I go away, thou shalt be here alone,
and is there any one who will be with thee to follow thee? O thou
who lovedst to jest with me, thou art now silent, thou speakest
not! Whereupon the mourners again broke out in chorus: Lamentation,
lamentation! Make, make, make, make lamentation without ceasing as loud
as can be made. O good traveller, who takest thy way towards the land of
Eternity, thou hast been torn from us! O thou who hadst so many around
thee, thou art now in the land which bringest isolation! Thou who
lovedst to stretch thy limbs in walking, art now fettered, bound,
swathed! Thou who hadst fine stuffs in abundance, art laid in the linen
of yesterday! Calm in the midst of the tumult, the priest stood and
offered the incense and libation with the accustomed words: To thy
double, Osiris Nofirhotpû, whose voice before the great god is true!
This was the signal of departure, and the mummy, carried by two men,
disappeared within the tomb: the darkness of the other world had laid
hold of it, never to let it go again.
The chapel was usually divided into two chambers: one, which was of
greater width than length, ran parallel to the façade; the other, which
was longer than it was wide, stood at right angles with the former,
exactly opposite to the entrance. The decoration of these chambers
took its inspiration from the scheme which prevailed in the time of the
Memphite dynasties, but besides the usual scenes of agricultural labour,
hunting, and sacrifice, there were introduced episodes from the public
life of the deceased, and particularly the minute portrayal of the
ceremonies connected with his burial.
[Illustration: 021.jpg NICHE IN THE TOMB OF MENNA]
Drawn by Faucher-Gudin, from a photograph by Insinger.
These pictorial biographies are always accompanied by detailed
explanatory inscriptions; every individual endeavoured thus to show
to the Osirian judges the rank he had enjoyed here upon earth, and to
obtain in the fields of lalû the place which he claimed to be his due.
The stele was to be found at the far end of the second chamber; it was
often let in to a niche in the form of a round-headed doorway, or else
it was replaced by a group of statues, either detached or sculptured in
the rock itself, representing the occupant, his wives and children, who
took the place of the supporters of the double, formerly always hidden
within the serdab. The ceremony of the Opening of the Mouth took
place in front of the niche on the day of burial, at the moment when the
deceased, having completed his terrestrial course, entered his new home
and took possession of it for all eternity. The object of this ceremony
was, as we know, to counteract the effects of the embalming, and to
restore activity to the organs of the body whose functions had been
suspended by death. The man of the roll and his assistants, aided by
the priests, who represented the children of Horus, once more raised
the mummy into an upright position upon a heap of sand in the middle of
the chapel, and celebrated in his behalf the divine mystery instituted
by Horus for Osiris. They purified it both by ordinary and by red water,
by the incense of the south and by the alum of the north, in the same
manner as that in which the statues of the gods were purified at the
beginning of the temple sacrifices; they then set to work to awake the
deceased from his sleep: they loosened his shroud and called back the
double who had escaped from the body at the moment of the death-agony,
and restored to him the use of his arms and legs. As soon as the
sacrificial slaughterers had despatched the bull of the south, and cut
it in pieces, the priest seized the bleeding haunch, and raised it
to the lips of the mask as if to invite it to eat; but the lips still
remained closed, and refused to perform their office. The priest then
touched them with several iron instruments hafted on wooden handles,
which were supposed to possess the power of unsealing them.
[Illustration: 023a.jpg COFFIN-LID]
Drawn by Faucher-Gudin, from a photograph by M. de Mertens.
[Illustration: 023b.jpg COFFIN-LID]
The opening once effected, the double became free, and the
tomb-paintings from thenceforward ceasing to depict the mummy,
represented the double only. They portrayed it under the form which he
had on this earth, wearing the civil garb, and fulfilling his ordinary
functions. The corpse was regarded as merely the larva, to be maintained
in its integrity in order to ensure survival; but it could be relegated
without fear to the depths of the bare and naked tomb, there to remain
until the end of time, if it pleased the gods to preserve it from
robbers or archaeologists. At the period of the first Theban empire
the coffins were rectangular wooden chests, made on the models of the
limestone and granite sarcophagi, and covered with prayers taken from
the various sacred writings, especially from the Book of the Dead;
during the second Theban empire, they were modified into an actual
sheath for the body, following more or less the contour of the human
figure. This external model of the deceased covered his remains, and
his figure in relief served as a lid to the coffin. The head was covered
with the full-dress wig, a tippet of white cambrio half veiled the
bosom, the petticoat fell in folds about the limbs, the feet were shod
with sandals, the arms were outstretched or were folded over the breast,
and the hands clasped various objects--either the _crux ansata_, the
buckle of the belt, the _tat_, or a garland of flowers. Sometimes, on
the contrary, the coffin was merely a conventional reproduction of
the human form. The two feet and legs were joined together, and the
modelling of the knee, calf, thigh, and stomach was only slightly
indicated in the wood. Towards the close of the XVIIIth dynasty it was
the fashion for wealthy persons to have two coffins, one fitting inside
the other, painted black or white. From the XXth dynasty onwards they
were coated with a yellowish varnish, and so covered with inscriptions
and mystic signs that each coffin was a tomb in miniature, and could
well have done duty as such, and thus meet all the needs of the soul.*
* The first to summarise the characteristics of the coffins
and sarcophagi of the second Theban period was Mariette, but
he places the use of the yellow-varnished coffins too late,
viz. during the XXIInd dynasty. Examples of them have since
been found which incontestably belong to the XXth.
[Illustration: 024.jpg THE MUMMY FACTORY]
Later still, during the XXIst and XXIInd dynasties, these two, or even
three coffins, were enclosed in a rectangular sarcophagus of thick wood,
which, surmounted by a semicircular lid, was decorated with pictures and
hallowed by prayers: four sparrow-hawks, perched on the uprights at the
corners, watched at the four cardinal points, and protected the body,
enabling the soul at the same time to move freely within the four houses
of which the world was composed.
[Illustration: 025.jpg THE PARAPHERNALIA OF A MUMMY OF THE XXth TO THE
XXIInd DYNASTIES]
Drawn by Faucher-Gudin, from Mariette.
The workmen, after having deposited the mummy in its resting-place,
piled upon the floor of the tomb the canopio jars, the caskets, the
provisions, the furniture, the bed, and the stools and chairs; the
Usha-btiu occupied compartments in their allotted boxes, and sometimes
there would be laid beside them the mummy of a favourite animal--a
monkey, a dog of some rare breed, or a pet gazelle, whose coffins were
shaped to their respective outlines, the better to place before the
deceased the presentment of the living animal.
[Illustration: 026.jpg THE FUNERAL REPAST--MUSIC AND DANCING]
Drawn by Faucher-Gudin, from a fragment in the British
Museum. The scene representing the funeral repast and its
accompanying dances occurs frequently in the Theban tombs.
A few of the principal objects were broken or damaged, in the belief
that, by thus destroying them, their doubles would go forth and
accompany the human double, and render him their accustomed services
during the whole of his posthumous existence; a charm pronounced over
them bound them indissolubly to his person, and constrained them to obey
his will. This done, the priest muttered a final prayer, and the masons
walled up the doorway.
[Illustration: 027.jpg THE COFFIN OF THE FAVOURITE GAZELLE OF
ISÎMKHOBIU]
Drawn by Faucher-Gudin, from a photograph by Emil Brugsch-
Bey.
The funeral feast now took place with its customary songs and dances.
The _almehs_ addressed the guests and exhorted them to make good use of
the passing hour: Be happy for one day! for when you enter your tombs
you will rest there eternally throughout the length of every day!
Immediately after the repast the friends departed from the tomb, and the
last link which connected the dead with our world was then broken. The
sacred harper was called upon to raise the farewell hymn:*
* The harper is often represented performing this last
office. In the tomb of Nofirhotpû, and in many others, the
daughters or the relatives of the deceased accompany or even
replace the harper; in this case they belonged to a priestly
family, and fulfilled the duties of the Female Singers of
Amon or some other god.
O instructed mummies, ennead of the gods of the coffin, who listen to
the praises of this dead man, and who daily extol the virtues of this
instructed mummy, who is living eternally like a god, ruling in Amentît,
ye also who shall live in the memory of posterity, all ye who shall
come and read these hymns inscribed, according to the rites, within
the tombs, repeat: The greatness of the under-world, what is it? The
annihilation of the tomb, why is it? It is to conform to the image
of the land of Eternity, the true country where there is no strife and
where violence is held in abhorrence, where none attacks his neighbour,
and where none among our generations who rest within it is rebellious,
from the time when your race first existed, to the moment when it shall
become a multitude of multitudes, all going the same way; for instead
of remaining in this land of Egypt, there is not one but shall leave it,
and there is said to all who are here below, from the moment of their
waking to life: Go, prosper safe and sound, to reach the tomb at
length, a chief among the blessed, and ever mindful in thy heart of the
day when thou must lie down on the funeral bed! The ancient song
of Antûf, modified in the course of centuries, was still that which
expressed most forcibly the melancholy thought paramount in the minds of
the friends assembled to perform the last rites. The impassibility of
the chief* is, in truth, the best of fates!
* Osiris is here designated by the word chief, as I have
already pointed out.
[Illustration: 029.jpg ONE OF THE HARPERS OF THE TOMB OF RAMSES III.]
Drawn by Boudier, from a photograph taken Byjnsinger in
1881.
Since the times of the god bodies are created merely to pass away, and
young generations take their place: Râ rises in the morning, Tûmû lies
down to rest in the land of the evening, all males generate, the females
conceive, every nose inhales the air from the morning of their birth
to the day when they go to their place! Be happy then for one day, O
man!--May there ever be perfumes and scents for thy nostrils, garlands
and lotus-flowers for thy shoulders and for the neck of thy beloved
sister* who sits beside thee! Let there be singing and music before
thee, and, forgetting all thy sorrows, think only of pleasure until the
day when thou must enter the country of Marîtsakro, the silent goddess,
though all the same the heart of the son who loves thee will not cease
to beat! Be happy for one day, O man!--I have heard related what befell
our ancestors; their walls are destroyed, their place is no more, they
are as those who have ceased to live from the time of the god! The walls
of thy tomb are strong, thou hast planted trees at the edge of thy pond,
thy soul reposes beneath them and drinks the water; follow that which
seemeth good to thee as long as thou art on earth, and give bread to him
who is without land, that thou mayest be well spoken of for evermore.
Think upon the gods who have lived long ago: their meat offerings
fall in pieces as if they had been torn by a panther, their loaves are
defiled with dust, their statues no longer stand upright within the
temple of Râ, their followers beg for alms! Be happy for one day!
* Marriages between brothers and sisters in Egypt rendered
this word sister the most natural appellation.
Those gone before thee have had their hour of joy, and they have put
off sadness which shortens the moments until the day when hearts are
destroyed!--Be mindful, therefore, of the day when thou shalt be taken
to the country where all men are mingled: none has ever taken thither
his goods with him, and no one can ever return from it! The grave did
not, however, mingle all men as impartially as the poet would have us
believe. The poor and insignificant had merely a place in the common
pit, which was situated in the centre of the Assassîf,* one of the
richest funerary quarters of Thebes.
* There is really only one complete description of a
cemetery of the poor, namely, that given by A. Rhind.
Mariette caused extensive excavations to be made by Gabet
and Vassalli, 1859-1862, in the Assassif, near the spot
worked by Rhind, and the objects found are now in the Gîzeh
Museum, but the accounts of the work are among his
unpublished papers, vassalli assures me that he sometimes
found the mummies piled one on another to the depth of sixty
bodies, and even then he did not reach the lowest of the
pile. The hurried excavations which I made in 1882 and 1884,
appeared to confirm these statements of Rhind and Vassalli.
Yawning trenches stood ever open there, ready to receive their prey;
the rites were hurriedly performed, and the grave-diggers covered the
mummies of the days burial with a little sand, out of which we receive
them intact, sometimes isolated, sometimes in groups of twos or threes,
showing that they had not even been placed in regular layers. Some
are wrapped only in bandages of coarse linen, and have been consigned
without further covering to the soil, while others have been bound round
with palm-leaves laid side by side, so as to form a sort of primitive
basket. The class above the poorest people were buried in rough-hewn
wooden boxes, smaller at the feet than towards the head, and devoid of
any inscription or painting. Many have been placed in any coffin that
came to hand, with a total indifference as to suitability of size;
others lie in a badly made bier, made up of the fragments of one or more
older biers. None of them possessed any funerary furniture, except the
tools of his trade, a thin pair of leather shoes, sandals of cardboard
or plaited reeds, rings of terra-cotta or bronze, bracelets or necklets
of a single row of blue beads, statuettes of divinities, mystic eyes,
scarabs, and, above all, cords tied round the neck, arms, limbs, or
waist, to keep off, by their mystic knots, all malign influences.
The whole population of the necropolis made their living out of the
dead. This was true of all ranks of society, headed by the sacerdotal
colleges of the royal chapels,* and followed by the priestly bodies, to
whom was entrusted the care of the tombs in the various sections,
but the most influential of whom confined their attentions to the old
burying-ground, Isît-mâît, the True Place.**
* We find on several monuments the names of persons
belonging to these sacerdotal bodies, priests of Ahmosis I.,
priests of Thûtmosis I., of Thût-mosis II., of Amenôthes
II., and of Seti I.
** The persons connected with the True Place were for a
long time considered as magistrates, and the True Place as
a tribunal.
It was their duty to keep up the monuments of the kings, and also of
private individuals, to clean the tombs, to visit the funerary chambers,
to note the condition of their occupants, and, if necessary, repair
the damage done by time, and to provide on certain days the offerings
prescribed by custom, or by clauses in the contract drawn up between
the family of the deceased and the religious authorities. The titles of
these officials indicated how humble was their position in relation to
the deified ancestors in whose service they were employed; they called
themselves the Servants of the True Place, and their chiefs the
Superiors of the Servants, but all the while they were people of
considerable importance, being rich, well educated, and respected in
their own quarter of the town.
[Illustration: 032.jpg PAINTINGS AT THE END OF THE HALL OF THE FIFTH
THE TOMB]
They professed to have a special devotion for Amenôthes I. and his
mother, Nofrîtari, who, after five or six centuries of continuous
homage, had come to be considered as the patrons of Khafîtnîbûs, but
this devotion was not to the depreciation of other sovereigns. It is
true that the officials were not always clear as to the identity of the
royal remains of which they had the care, and they were known to have
changed one of their queens or princesses into a king or some royal
prince.*
* Thus Queen Ahhotpû I., whom the servant Anhûrkhâû knew
to be a woman, is transformed into a King Ahhotpû in the
tomb of Khâbokhnît.
[Illustration: AMENOTHES III. AT LUXOR]
Drawn by Boudier, from a photograph by Gayet.
They were surrounded by a whole host of lesser
functionaries--bricklayers, masons, labourers, exorcists, scribes (who
wrote out pious formulae for poor people, or copied the Books of the
going forth by day for the mummies), weavers, cabinet-makers, and
goldsmiths. The sculptors and the painters were grouped into guilds;*
many of them spent their days in the tombs they were decorating, while
others had their workshops above-ground, probably very like those of our
modern monumental masons.
* We gather this from the inscriptions which give us the
various titles of the sculptors, draughtsmen, or workmen,
but I have been unable to make out the respective positions
held by these different persons.
They kept at the disposal of their needy customers an assortment of
ready-made statues and stelæ, votive tablets to Osiris, Anubis, and
other Theban gods and goddesses, singly or combined. The name of the
deceased and the enumeration of the members of his family were left
blank, and were inserted after purchase in the spaces reserved for the
purpose.*
* I succeeded in collecting at the Boulak Museum a
considerable number of these unfinished statues and stelæ,
coming from the workshops of the necropolis.
These artisans made the greater part of their livelihood by means of
these epitaphs, and the majority thought only of selling as many of them
as they could; some few, however, devoted themselves to work of a higher
kind. Sculpture had reached a high degree of development under the
Thûtmoses and the Ramses, and the art of depicting scenes in bas-relief
had been brought to a perfection hitherto unknown. This will be easily
seen by comparing the pictures in the old mastabas, such as those of Ti
or Phtahhotpû, with the finest parts of the temples of Qurneh, Abydos,
Karnak, Deîr el-Baharî, or with the scenes in the tombs of Seti I. and
Ramses II., or those of private individuals such as Hûi. The modelling
is firm and refined, showing a skill in the use of the chisel and an
elegance of outline which have never been surpassed: the Amenôthes III.
of Luxor and the Khâmhâît of Sheikh Abd el-Qurneh might serve for models
in our own schools of the highest types which Egyptian art could produce
at its best in this particular branch. The drawing is freer than in
earlier examples, the action is more natural, the composition more
studied, and the perspective less wild. We feel that the artist handled
his subject _con amore_. He spared no trouble in sketching out
his designs and in making studies from nature, and, as papyrus was
expensive, he drew rough drafts, or made notes of his impressions on the
flat chips of limestone with which the workshops were strewn.
[Illustration: 035.jpg KHÂMHAÎT]
Drawn by Boudier, from a photograph by M. de Mertens.
Nothing at that date could rival these sketches for boldness of
conception and freedom in execution, whether it were in the portrayal of
the majestic gait of a king or the agility of an acrobat. Of the latter
we have an example in the Turin Museum. The girl is nude, with the
exception of a tightly fitting belt about her hips, and she is throwing
herself backwards with so natural a motion, that we are almost tempted
to expect her to turn a somersault and fall once more into position with
her heels together.
[Illustration: 026.jpg SKETCH OF A FEMALE ACROBAT]
Drawn by Boudier, from a photograph by Petrie.
The unfinished figures on the tomb of Seti I. shows with what a steady
hand the clever draughtsman could sketch out his subjects. The head from
the nape of the neck round to the throat is described by a single line,
and the contour of the shoulders is marked by another. The form of the
body is traced by two undulating lines, while the arms and legs are
respectively outlined by two others. The articles of apparel and
ornaments, sketched rapidly at first, had to be gone over again by the
sculptor, who worked out the smallest details. One might almost count
the tresses of the hair, while the folds of the dress and the enamels of
the girdle and bracelets are minutely chiselled.
[Illustration: BAS-RELIEF OF SETI I., SHOWING CORRECTIONS MADE BY THE
SCULPTOR]
Drawn by Faucher-Gudin, from photographs by Insinger and
Daniel Héron.
When the draughtsman had finished his picture from the sketch which he
had made, or when he had enlarged it from a smaller drawing, the master
of the studio would go over it again, marking here and there in red the
defective points, to which the sculptor gave his attention when working
the subject out on the wall. If he happened to make a mistake in
executing it, he corrected it as well as he was able by filling up with
stucco or hard cement the portions to be remodelled, and by starting to
work again upon the fresh surface. This cement has fallen out in some
cases, and reveals to our eyes to-day the marks of the underlying
chiselling. There are, for example, two profiles of Seti I. on one of
the bas-reliefs of the hypostyle hall at Karnak, one faintly outlined,
and the other standing fully out from the surface of the stone. The
sense of the picturesque was making itself felt, and artists were
no longer to be excused for neglecting architectural details, the
configuration of the country, the drawing of rare plants, and, in fact,
all those accessories which had been previously omitted altogether or
merely indicated. The necessity of covering such vast surfaces as the
pylons offered had accustomed them to arrange the various scenes of one
and the same action in a more natural and intimate connexion than their
predecessors could possibly have done. In these scenes the Pharaoh
naturally played the chief part, but in place of choosing for treatment
merely one or other important action of the monarch calculated
to exhibit his courage, the artist endeavoured to portray all the
successive incidents in his campaigns, in the same manner as the early
Italian painters were accustomed to depict, one after the other, and on
the same canvas, all the events of the same legend. The details of these
gigantic compositions may sometimes appear childish to us, and we may
frequently be at a loss in determining the relations of the parts, yet
the whole is full of movement, and, although mutilated, gives us even
yet the impression which would have been made upon us by the turmoil of
a battle in those distant days.
The sculptor of statues for a long time past was not a whit less skilful
than the artist who executed bas-reliefs. The sculptor was doubtless
often obliged to give enormous proportions to the figure of the king, to
prevent his being overshadowed by the mass of buildings among which the
statue was to appear; but this necessity of exaggerating the human form
did not destroy in the artist that sense of proportion and that skilful
handling of the chisel which are so strikingly displayed in the sitting
scribe or in the princess at Meîdûm; it merely trained him to mark out
deftly the principal lines, and to calculate the volume and dimensions
of these gigantic granite figures of some fifty to sixty-five feet high,
with as great confidence and skill as he would have employed upon any
statue of ordinary dimensions which might be entrusted to him.
The colossal statues at Abu-Simbel and Thebes still witness to the
incomparable skill of the Theban sculptors in the difficult art of
imagining and executing superhuman types. The decadence of Egyptian art
did not begin until the time of Ramses III., but its downward progress
was rapid, and the statues of the Ramesside period are of little or no
artistic value. The form of these figures is poor, the technique crude,
and the expression of the faces mean and commonplace. They betray the
hand of a mechanical workman who, while still in the possession of the
instruments of his trade, can infuse no new life into the traditions of
the schools, nor break away from them altogether.
[Illustration: 040.jpg THE KNEELING SCRIBE AT TURIN]
Drawn by Faucher-Gudin, from a photograph by Petrie; the
scribe bears upon his right shoulder, perhaps tattooed, the
human image of the god Amon-Râ, whose animal emblem he
embraces.
We must look, not to the royal studios, but to the workshops connected
with the necropolis, if we want to find statues of half life-size
displaying intelligent workmanship, all of which we might be tempted to
refer to the XVIIIth dynasty if the inscriptions upon them did not fix
their date some two or three centuries later. An example of them may be
seen at Turin in the kneeling scribe embracing a ram-headed altar:
the face is youthful, and has an expression at once so gentle and
intelligent that we are constrained to overlook the imperfections in the
bust and legs of the figure. Specimens of this kind are not numerous,
and their rarity is easily accounted for. The multitude of priests,
soldiers, workmen, and small middle-class people who made up the bulk of
the Theban population had aspirations for a luxury little commensurate
with their means, and the tombs of such people are, therefore, full
of objects which simulate a character they do not possess, and are
deceptive to the eye: such were the statuettes made of wood, substituted
from economical motives instead of the limestone or sandstone statues
usually provided as supporters for the double.
[Illustration: 041a.jpg YOUNG GIRL IN THE TURING MUSEUM]
Drawn by Boudier, from a photograph by Petrie.
[Illustration: 041b.jpg THE LADY NEHAI]
Drawn by Boudier, from a photograph by M. de Mertens.
Enamelled eyes, according to a common custom, were inserted
in the sockets, but have disappeared.
The funerary sculptors had acquired a perfect mastery of the kind of
art needed for people of small means, and we find among the medley of
commonplace objects which encumber the tomb they decorated, examples of
artistic works of undoubted excellence, such as the ladies Naî and Tûî
now in the Louvre, the lady Nehaî now at Berlin, and the naked child at
Turin. The lady Tûî in her lifetime had been one of the singing-women of
Amon. She is clad in a tight-fitting robe, which accentuates the
contour of the breasts and hips without coarseness: her right arm falls
gracefully alongside her body, while her left, bent across her chest,
thrusts into her bosom a kind of magic whip, which was the sign of her
profession. The artist was not able to avoid a certain heaviness in the
treatment of her hair, and the careful execution of the whole work was
not without a degree of harshness, but by dint of scraping and polishing
the wood he succeeded in softening the outline, and removing from the
figure every sharp point. The lady Nehaî is smarter and more graceful,
in her close-fitting garment and her mantle thrown over the left elbow;
and the artist has given her a more alert pose and resolute air than we
find in the stiff carriage of her contemporary Tûî. The little girl in
the Turin Museum is a looser work, but where could one find a better
example of the lithe delicacy of the young Egyptian maiden of eight or
ten years old? We may see her counterpart to-day among the young Nubian
girls of the cataract, before they are obliged to wear clothes; there is
the same thin chest, the same undeveloped hips, the same meagre thighs,
and the same demeanour, at once innocent and audacious. Other statuettes
represent matrons, some in tight garments, and with their hair closely
confined, others without any garment whatever.
[Illustration: 043a.jpg a soldier]
Drawn by Boudier, from a photograph by M. de Mertens.
[Illustration: 043b.jpg STATUE IN THE TURIN MUSEUM]
Drawn by Boudier, from a photograph by Petrie.
The Turin example is that of a lady who seems proud of her large
ear-rings, and brings one of them into prominence, either to show it
off or to satisfy herself that the jewel becomes her: her head is
square-shaped, the shoulders narrow, the chest puny, the pose of the
arm stiff and awkward, but the eyes have such a joyful openness, and her
smile such a self-satisfied expression, that one readily over looks the
other defects of the statue. In this collection of miniature figures
examples of men are not wanting, and there are instances of old
soldiers, officials, guardians of temples, and priests proudly executing
their office in their distinctive panther skins. Three individuals in
the Gîzeh were contemporaries, or almost so, of the young girl of the
Turin Museum. They are dressed in rich costumes, to which they have,
doubtless, a just claim; for one of them, Hori, surnamed Râ, rejoiced in
the favour of the Pharaoh, and must therefore have exercised some
court function. They seem to step forth with a measured pace and firm
demeanour, the body well thrown back and the head erect, their
faces displaying something of cruelty and cunning. An officer, whose
retirement from service is now spent in the Louvre, is dressed in a
semi-civil costume, with a light wig, a closely fitting smock-frock
with shirt-sleeves, and a loin-cloth tied tightly round the hips and
descending halfway down the thigh, to which is applied a piece of stuff
kilted lengthwise, projecting in front. A colleague of his, now in the
Berlin Museum, still maintains possession of his official baton, and is
arrayed in his striped petticoat, his bracelets and gorget of gold.
A priest in the Louvre holds before him, grasped by both hands, the
insignia of Amon-Ra--a rams head, surmounted by the solar disk, and
inserted on the top of a thick handle; another, who has been relegated
to Turin, appears to be placed between two long staves, each surmounted
by an idol, and, to judge from his attitude, seems to have no small idea
of his own beauty and importance. The Egyptians were an observant
people and inclined to satire, and I have a shrewd suspicion that the
sculptors, in giving to such statuettes this character of childlike
vanity, yielded to the temptation to be merry at the expense of their
model.
The smelters and engravers in metal occupied in relation to the
sculptors a somewhat exalted position. Bronze had for a long time been
employed in funerary furniture, and _ushabtiu_ (respondents),* amulets,
and images of the gods, as well as of mortals, were cast in this metal.
Many of these tiny figures form charming examples of enamel-work, and
are distinguished not only by the gracefulness of the, modelling, but
also by the brilliance of the superimposed glaze; but the majority of
them were purely commercial articles, manufactured by the hundred from
the same models, and possibly cast, for centuries, from the same moulds
for the edification of the devout and of pilgrims.
* Bronze _respondents_ are somewhat rare, and most of those
which are to be found among the dealers are counterfeit. The
Gîzeh Museum possesses two examples at least of indisputable
authenticity; both of these belong to the XXth dynasty.
[Illustration: 045.jpg FUNERARY CASKET IN THE TURING MUSEUM]
Drawn by Faucher-Gudin, from a photograph.
[Illustration: 046.jpg SHRINE IN THE TURIN MUSEUM]
Drawn by Faucher-Gudin, from a photograph by Lanzone.
We ought not, therefore, to be surprised if they are lacking in
originality; they are no more to be distinguished from each other than
the hundreds of coloured statuettes which one may find on the stalls of
modern dealers in religious statuary.
[Illustration: 046b.jpg The Lady Taksûhît]
From a bronze in the Museum at Athens
[Illustration: 046b.jpg-text]
Here and there among the multitude we may light upon examples showing
a marked individuality: the statuette of the lady Takûshit, which now
forms one of the ornaments of the museum at Athens, is an instance. She
stands erect, one foot in advance, her right arm hanging at her side,
her left pressed against her bosom; she is arrayed in a short dress
embroidered over with religious scenes, and wears upon her ankles
and wrists rings of value. A wig with stiff-looking locks, regularly
arranged in rows, covers her head. The details of the drapery and the
ornaments are incised on the surface of the bronze, and heightened
with a thread of silver. The face is evidently a portrait, and is that
apparently of a woman of mature age, but the body, according to the
tradition of the Egyptian schools of art, is that of a young girl,
lithe, firm, and elastic. The alloy contains gold, and the warm and
softened lights reflected from it blend most happily and harmoniously
with the white lines of the designs. The joiners occupied, after the
workers in bronze, an important position in relation to the necropolis,
and the greater part of the furniture which they executed for the
mummies of persons of high rank was remarkable for its painting and
carpentry-work. Some articles of their manufacture were intended for
religious use--such as those shrines, mounted upon sledges, on which the
image of the god was placed, to whom prayers were made for the deceased;
others served for the household needs of the mummy, and, to distinguish
these, there are to be seen upon their sides religious and funereal
pictures, offerings to the two deceased parents, sacrifices to a god or
goddess, and incidents in the Osirian life. The funerary beds consisted,
like those intended for the living, of a rectangular framework, placed
upon four feet of equal height, although there are rare examples in
which the supports are so arranged as to give a gentle slope to the
structure. The fancy which actuated the joiner in making such beds
supposed that two benevolent lions had, of their own free will,
stretched out their bodies to form the two sides of the couch, the
muzzles constituting the pillow, while the tails were curled up under
the feet of the sleeper. Many of the heads given to the lions are so
noble and expressive, that they will well bear comparison with the
granite statues of these animals which Amenôthes III. dedicated in his
temple at Soleb. The other trades depended upon the proportion of their
members to the rest of the community for the estimation in which they
were held. The masons, stone-cutters, and common labourers furnished
the most important contingent; among these ought also to be reckoned
the royal servants--of whose functions we should have been at a loss
to guess the importance, if contemporary documents had not made it
clear--fishermen, hunters, laundresses, wood-cutters, gardeners, and
water-carriers.*
* The Cailliaud ostracon, which contains a receipt given to
some fishermen, was found near Sheikh Abd el-Qurneh, and
consequently belonged to the fishermen of the necropolis.
There is a question as to the water-carriers of the Khirû in
the hieratic registers of Turin, also as to the washers of
clothes, wood-cutters, gardeners and workers in the
vineyard.
[Illustration: 048.jpg THE SWALLOW-GODDESS FROM THE THEBAN NECROPOLIS]
Drawn by Faucher-Gudin, from a photograph by Lanzone.