which I have reserved till this place, merits the most particular
attention, not having its equal in the world, and being such as we had
no idea could exist. It is a sarcophagus of the finest oriental
alabaster[5], nine feet five inches long, and three feet seven inches
wide. Its thickness is only two inches; and it is transparent when a
light is placed in the inside of it. It is minutely sculptured within
and without with several hundred figures, which do not exceed two inches
in height, and represent, as I suppose, the whole of the funeral
procession and ceremonies relating to the deceased, united with several
emblems, &c. I cannot give an adequate idea of this beautiful and
invaluable piece of antiquity, and can only say, that nothing has been
brought into Europe from Egypt that can be compared with it. The cover
was not there: it had been taken out, and broken into several pieces,
which we found in digging before the first entrance. The sarcophagus was
over a staircase in the centre of the saloon, which communicated with a
subterraneous passage, leading downwards, three hundred feet in length.
At the end of this passage we found a great quantity of bats’ dung,
which choked up the way, so that we could go no farther without digging.
It was nearly filled up too by the falling in of the upper part. One
hundred feet from the entrance is a staircase in good preservation; but
the rock below changes its substance, from a beautiful solid calcareous
stone, becoming a kind of black rotten slate, which crumbles into dust
only by touching. This subterraneous passage proceeds in a south-west
direction through the mountain. I measured the distance from the
entrance, and also the rocks above, and found, that the passage reaches
nearly half way through the mountain to the upper part of the valley. I
have reason to suppose, that this passage was used to come into the tomb
by another entrance; but this could not be after the death of the person
who was buried there, for at the bottom of the stairs just under the
sarcophagus a wall was built, which entirely closed the communication
between the tomb and the subterraneous passage. Some large blocks of
stone were placed under the sarcophagus horizontally, level with the
pavement of the saloon, that no one might perceive any stairs or
subterranean passage was there. The doorway of the sideboard room had
been walled up, and forced open, as we found the stones with which it
was shut, and the mortar in the jambs. The staircase of the
entrance-hall had been walled up also at the bottom, and the space
filled with rubbish, and the floor covered with large blocks of stone,
so as to deceive any one who should force the fallen wall near the pit,
and make him suppose, that the tomb ended with the entrance-hall and the
drawing-room. I am inclined to believe, that whoever forced these
passages must have had some spies with them, who were well acquainted
with the tomb throughout. The tomb faces the north-east, and the
direction of the whole runs straight south-west.
Footnote 5:
Doctor Clark, the Professor of Mineralogy at Cambridge, found the
quality of the stone to be aroganitic, much rarer than alabaster.
To give an accurate description of the various representations within
this tomb would be a work above my capacity. I shall therefore only
endeavour to describe the most remarkable that are to be seen in the
various parts of it. From these may be formed some idea of this
magnificent excavation.
I beg my kind reader to observe, that all the figures and hieroglyphics
of every description are sculptured in basso relievo, and painted over,
except in the outlined chamber, which was only prepared for the
sculptor. This room gives the best ideas that have yet been discovered
of the original process of Egyptian sculpture. The wall was previously
made as smooth as possible, and when there were flaws in the rocks, the
vacuum was filled up with cement, which, when hard, was cut along with
the rest of the rock. Where a figure or any thing else was required to
be formed, after the wall was prepared, the sculptor appears to have
made his first sketches of what was intended to be cut out. When the
sketches were finished in red lines by the first artist, another more
skilful corrected the errors, if any, and his lines were made in black,
to be distinguished from those which were imperfect. When the figures
were thus prepared, the sculptor proceeded to cut out the stone all
round the figure, which remained in basso relievo, some to the height of
half an inch, and some much less, according to the size of the figure.
For instance, if a figure were as large as life, its elevation was
generally half an inch; if the figure were not more than six inches in
length, its projection would not exceed the thickness of a dollar, or
perhaps less. The angles of the figures were all smoothly rounded, which
makes them appear less prominent than they really are. The parts of the
stone that were to be taken off all round the figure did not extend much
farther, as the wall is thickly covered with figures and hieroglyphics,
and I believe there is not a space on those walls more than a foot
square without some figure or hieroglyphic. The garments, and various
parts of the limbs, were marked by a narrow line, not deeper than the
thickness of a half-crown, but so exact, that it produced the intended
effect.
When the figures were completed and made smooth by the sculptor, they
received a coat of whitewash all over. This white is so beautiful and
clear, that our best and whitest paper appeared yellowish when compared
with it. The painter came next, and finished the figure. It would seem
as if they were unacquainted with any colour to imitate the naked parts,
since red is adopted as a standing colour for all that meant flesh.
There are some exceptions indeed; for in certain instances, when they
intended to represent a fair lady, by way of distinguishing her
complexion from that of the men, they put on a yellow colour to
represent her flesh; yet it cannot be supposed, that they did not know
how to reduce their red paints to a flesh colour, for on some occasions,
where the red flesh is supposed to be seen through a thin veil, the
tints are nearly of the natural colour, if we suppose the Egyptians to
have been of the same hue as their successors, the present Copts, some
of whom are nearly as fair as the Europeans. Their garments were
generally white, and their ornaments formed the most difficult part,
when the artists had to employ red in the distribution of the four
colours, in which they were very successful. When the figures were
finished, they appear to have laid on a coat of varnish; though it may
be questioned, whether the varnish were thus applied, or incorporated
with the colour. The fact is, that nowhere else except in this tomb is
the varnish to be observed, as no place in Egypt can boast of such
preservation, nor can the true customs of the Egyptians be seen any
where else with greater accuracy.
With the assistance of Mr. Ricci, I have made drawings of all the
figures, hieroglyphics, emblems, ornaments, &c. that are to be seen in
this tomb; and by great perseverance I have taken impressions of every
thing in wax: to accomplish the work has been a laborious task, that
occupied me more than twelve months.
The drawings show the respective places of the figures, so that if a
building were erected exactly on the same plan, and of the same size,
the figures might be placed in their situations precisely as in the
original, and thus produce in Europe a tomb, in every point equal to
that in Thebes, which I hope to execute if possible.
Immediately within the entrance into the first passage, on the left
hand, are two figures as large as life, one of which appears to be the
hero entering into the tomb. He is received by a deity with a hawk’s
head, on which are the globe and serpent. Both figures are surrounded by
hieroglyphics; and farther on, near the ground, is a crocodile very
neatly sculptured. The walls on both sides of this passage are covered
with hieroglyphics, which are separated by lines from the top to the
bottom, at the distance of five or six inches from each other. Within
these lines the hieroglyphics form their sentences; and it is plainly to
be seen, that the Egyptians read from the top to the bottom, and then
recommenced at the top. The ceiling of this first passage is painted
with the figure of the eagles, as in Plate 2. Beyond the first passage
is a staircase with a niche on each side, adorned with curious figures
with human bodies and the heads of various animals, &c. At each side of
the door at the bottom of the stairs is a female figure kneeling, with
her hands over a globe. Above each of these figures is the fox, which,
according to the Egyptian custom, is always placed to watch the doors of
sepulchres. On the front space over the door are the names of the hero
and his son, or his father, at each side of which is a figure with its
wings spread over the names to protect them, as is seen in Plate 3. The
names are distinguished by being inclosed in two oval niches. In that of
Nichao is a sitting figure, known to be a male by the beard. He has on
his head the usual corn measure, and the two feathers; on his knees the
sickle and the flail: over his head is a crescent with the horns upward;
above which is what is presumed to be a faggot of various pieces of wood
bound together, and by its side a group twisted in a serpentine form.
Behind the figure are what are thought by some to be two knives, by
others feathers; but as the feathers are of a different form, I for my
part think they are sacrificing knives, which may have served as emblems
of the priesthood, for we know, that the heroes or kings of Egypt were
initiated into the sacred rites of the gods. Below the figure is a frame
of two lines drawn parallel to each other, and connected by similar
lines, beneath which is the emblem of moving water.
In the next oval on the right is a sitting female figure with a band
round the head fastening a feather, and on her knees she holds the keys
of the Nile. Above the head is the globe, and beneath the figure the
form of a tower, as it is supposed to represent strength. The faces of
both figures are painted blue, which is the colour of the face of the
great God of the creation. On each of the oval frames there is the globe
and feathers, and beneath it two hieroglyphics not unlike two
overflowing basins, as they are under the two protecting figures at each
side of the oval frame.
Next is the second passage, on the right hand side of which are some
funeral processions, apparently in the action of taking the sarcophagus
down into the tomb, the usual boat, which carries the male and female
figures upon it, and in the centre of the boat a figure with the head of
a ram, drawn by a party of men.
The wall on the left is likewise covered with similar processions. Among
them is the scarabæus, or beetle, elevated in the air, and supported by
two hawks, which hold the cords drawn by various figures; and many other
emblems and symbolical devices. The figures on the wall of the well are
nearly as large as life. They appear to represent several deities; some
receiving offerings from people of various classes.
Next is the first hall, which has four pillars in the centre, at each
side of which are two figures, generally a male and a female deity. On
the right hand side wall there are three tiers of figures one above the
other, which is the general system almost all over the tomb. In the
upper tier are a number of men pulling a chain attached to a standing
mummy, which is apparently unmoved by their efforts. The two beneath
consist of funeral processions, and a row of mummies lying on frames
horizontally on the ground. On the left is a military and mysterious
procession, consisting of a great number of figures all looking toward a
man who is much superior to them in size, and faces them. At the end of
this procession are three different sorts of people, from other nations,
evidently Jews, Ethiopians, and Persians. Behind them are some Egyptians
without their ornaments, as if they were captives rescued and returning
to their country, followed by a hawk-headed figure, I suppose their
protecting deity. For this procession see Plates 6, 7, and 8.
I have the satisfaction of announcing to the reader, that, according to
Dr. Young’s late discovery of a great number of hieroglyphics, he found
the names of Nichao and Psammuthis his son, inserted in the drawings I
have taken of this tomb. It is the first time that hieroglyphics have
been explained with such accuracy, which proves the doctor’s system
beyond doubt to be the right key for reading this unknown language; and
it is to be hoped, that he will succeed in completing his arduous and
difficult undertaking, as it would give to the world the history of one
of the most primitive nations, of which we are now totally ignorant.
Nichao conquered Jerusalem and Babylon, and his son Psammuthis made war
against the Ethiopians. What can be more clear than the above
procession? The people of the three nations are distinctly seen. The
Persians, the Jews, and the Ethiopians, come in, followed by some
captive Egyptians, as if returning into their country, guarded by a
protecting deity. The reason why the Egyptians must be presumed to have
been captives is, their being divested of all the ornaments, which
served to decorate and distinguish them from one another. The Jews are
clearly distinguished by their physiognomy and complexion, the
Ethiopians by their colour and ornaments, and the Persians by their
well-known dress, as they are so often seen in the battles with the
Egyptians.
In the front of this hall, facing the entrance, is one of the finest
compositions that ever was made by the Egyptians, for nothing like it
can be seen in any part of Egypt. It consists of four figures as large
as life. The god Osiris sitting on his throne, receiving the homages of
a hero, who is introduced by a hawk-headed deity. Behind the throne is a
female figure as if in attendance on the great god. The whole group is
surrounded by hieroglyphics, and inclosed in a frame richly adorned with
symbolical figures. The winged globe is above, with the wings spread
over all, and a line of serpents crowns the whole. The figures and
paintings are in such perfect preservation, that they give the most
correct idea of their ornaments and decorations (See Plate 19).
Straight forward is the entrance into another chamber with two pillars.
The wall of this place is outlined, ready for the sculptor to cut out
his figure. It is here that we may plainly see the manner in which the
artist prepared the figure on the wall ready to be cut; and it is almost
impossible to give a description of the various figures, which adorn the
walls and pillars of this chamber. There are great varieties of
symbolical figures of men, women, and animals, apparently intending to
represent the different exploits of the hero, to whom the tomb was
dedicated.
In the first hall is a staircase, which leads into a lower passage, the
entrance into which is decorated with two figures, on each side, a male
and a female, as large as life. The female appears to represent Isis,
having, as usual, the horns and globe on her head. She seems ready to
receive the hero, who is about to enter the regions of immortality. The
garments of this figure are so well preserved, that nothing which has
yet been brought before the public can give a more correct idea of
Egyptian customs. The figure of the hero is covered with a veil, or
transparent linen, folded over his shoulder, and covering his whole
body, which gives him a very graceful appearance. Isis is apparently
covered with a net, every mesh of which contains some hieroglyphic,
serving to embellish the dress of the goddess. The necklace, bracelets,
belt, and other ornaments, are so well arranged, that they produce the
most pleasing effect, particularly by the artificial lights, all being
intended to conduce to this purpose (See Plate 18).
On the wall to the left, on entering this passage, is a sitting figure
of the size of life: it is the hero himself on his throne, having the
sceptre in his right hand, while the left is stretched over an altar, on
which are twenty divisions, as will be seen in Plate 1. A plate in the
form of an Egyptian temple is hung to his neck by a string. It contains
an obelisk and two deities—one on each side of it. Plates of this kind
have been much sought after, as they appear to have been the decoration
or breastplate of the kings of Egypt. Few have been found, and I have
seen only two,—one is in the British Museum, and the other I was
fortunate enough to procure from an Arab, who discovered it in one of
the tombs of the kings in Beban el Malook. It is of black basalt, much
larger and superior in workmanship to the other, which proves, that they
were of various sizes, and more or less finished. It has the scarabæus
or beetle in alto relievo on a small boat with a deity on each side of
it, and on the reverse is the usual inscription. Over the head of this
figure is the eagle with extended wings, as if protecting the king. On
the upper part of each side of the walls of the passage is the history
of the hero divided into several small compartments nearly two feet
square, containing groups of figures eighteen inches high. The hero is
to be seen every where standing on a heap of corn, receiving offerings
from his soldiers or companions in war. Farther on is a small staircase
leading into a short passage, where the procession still continues, and
the sacrifice of a bull is to be seen, as in Plate 13. The walls of both
passages are covered with hieroglyphics in separate divisions. From this
short passage there is an entrance into another much wider than the
rest. The charming sight of this place made us give it the name of the
Room of Beauties. All the figures are in such perfection, that the
smallest part of their ornaments can be clearly distinguished. The sides
of the doors are most beautifully adorned with female deities,
surrounded with hieroglyphics, and the lotus is to be seen both in bud
and in full bloom, with the serpent on a half globe over it (See Plate
17). Farther on is the great hall with six pillars, containing on each
side of it two figures as large as life. The walls are adorned with the
procession and other symbolical figures. Over the door, in the inside,
is the figure of a female with extended wings, as in Plate 3. At each
side of this hall is a small cell; that on the left containing various
mummies and other figures, and that on the right a cow of half the
natural size, with a number of figures under it, which form a very
curious group. The walls also are covered with hieroglyphics. In the
large hall close to the door are a number of men carrying a long slender
pole, at each end of which is a cow’s head, and on the pole, two bulls,
as in Plate 15. Still farther, the hall opens into the large vaulted
chamber. Here it would be impossible to give any accurate description of
the numerous figures, which adorn the wall of this place. It was here
that the body of the king was deposited, as I found in its centre the
beautiful sarcophagus, which is sculptured within and without with small
figures in intaglio, coloured with a dark blue, and, when a light is put
into the inside of it, it is quite transparent. The ceiling of the vault
itself is painted blue, with a procession of figures and other groups
relating to the zodiac.
The next is a chamber with a projection like a sideboard. It has two
square pillars with two figures on every side, as represented in Plates
4 and 5. The walls in every part of this chamber are also beautifully
adorned with symbolical figures, a specimen of which is given in Plate
2, which represents a compartment over the door within the chamber. It
is useless to proceed any further in the description of this heavenly
place, as I can assure the reader he can form but a very faint idea of
it from the trifling account my pen is able to give; should I be so
fortunate, however, as to succeed in erecting an exact model of this
tomb in Europe, the beholder will acknowledge the impossibility of doing
it justice in a description.
The Arabs made such reports of this discovery, that it came to the ears
of Hamed Aga of Kenneh; and it was reported to him, that great treasure
was found in it. On hearing this, he immediately set off with some of
his soldiers to Thebes, generally a journey of two days, but such was
his speed in travelling, that he arrived in the valley of Beban el
Malook in thirty-six hours by land. Before his arrival some Arabs
brought us intelligence, that they saw from the tops of the mountains a
great many Turks on horseback entering the valley, and coming toward us.
I could not conceive who they could be, as no Turks ever came near this
place. Half an hour after they gave us the signal of their approach, by
firing several guns. I thought an armed force was sent to storm the
tombs and rocks, as no other object could bring the Turks there; at
last, when this mighty power reached us, I found it to be the well-known
Hamed Aga of Kenneh, for some time commander of the eastern side of
Thebes, and his followers. Accordingly I was at a loss to conceive what
he wanted there, as we were on the west, and under another ruler; but I
suppose, in case of a treasure being discovered, the first that hears of
it seizes it as a matter of privilege. He smiled, and saluted me very
cordially; indeed more so than usual, I presume for the sake of the
treasure I had discovered, of which he was in great expectation. I
caused as many lights to be brought as we could muster, and we descended
into the tomb. What was on the walls of this extraordinary place did not
attract his attention in the least; all the striking figures and lively
paintings were lost on him; his views were directed to the treasure
alone; and his numerous followers were like hounds, searching in every
hole and corner. Nothing, however, being found to satisfy their master
or themselves, after a long and minute survey, the Aga at last ordered
the soldiers to retire, and said to me, “Pray where have you put the
treasure?” “What treasure?” “The treasure you found in this place.” I
could not help smiling at his question, which confirmed him in his
supposition. I told him that we had found no treasure there. At this he
laughed, and still continued to entreat that I would show it to him. “I
have been told,” he added, “by a person to whom I can give credit, that
you have found in this place a large golden cock, filled with diamonds
and pearls. I must see it. Where is it?” I could scarcely keep myself
from laughing, while I assured him that nothing of the kind had been
found there. Seeming quite disappointed, he seated himself before the
sarcophagus, and I was afraid he would take it into his head, that this
was the treasure, and break it to pieces, to see whether it contained
any gold; for their notions of treasure are confined to gold and jewels.
At last he gave up the idea of the riches to be expected, and rose to go
out of the tomb. I asked him what he thought of the beautiful figures
painted all around. He just gave a glance at them, quite unconcerned,
and said, “This would be a good place for a harem, as the women would
have something to look it.” At length, though only half persuaded there
was no treasure, he set off with an appearance of much vexation.
Every thing must come round, and be told in proper time. I shall now
introduce what happened previous to this period. It will be recollected,
on my first voyage up to Nubia I took possession, in the island of
Philoe, of sixteen large blocks of stone, which formed a fine group of
various figures in basso relievo; that I had them cut thinner, to be
taken more easily down the Nile; and that the boat, which was engaged to
carry them, returned without them, as the Reis did not intend to take
the great head on board his boat. On our arrival at the island, on my
second voyage, we found these stones had been mutilated, and written
upon in the French language, “_operation manquée_.” The hand writing
could not be ascertained, as it was done with charcoal; but we knew
there had been only three French agents at the island, Mr. Caliud, Mr.
Jaques, and the renegado Rosignana, all in the employ of Mr. Drouetti.
Ignorant which of the three to point out as the perpetrator of this
wanton and spiteful mischief, we contented ourselves with writing to the
consul at Cairo, and nothing more was said. But by this time Mr. Jaques,
who had parted from the others and was alone, came to us, and, by way of
exculpating himself, said that Caliud was the man, who mutilated the
figures with his little hammer, which he always carried with him to
break stones. Mr. Caliud was now in Cairo, and Mr. Beechey wrote to the
consul an account of what had passed. Mr. Caliud, afraid of being turned
out of employment, assured the consul, that he would prove his innocence
in the face of Mr. Jaques, when he arrived in Thebes. Sometime after Mr.
Caliud reached Thebes with a letter from the consul, stating the promise
he had made of clearing himself from the imputation of Mr. Jaques
concerning the breaking of the stones; but instead of confronting Mr.
Jaques, who was there, he contented himself with abusing the English
consul for having spoken to him about the business while in Cairo, and
did not choose to meet Mr. Jaques and us, or say whether the charge were
true or false. After abusing the consul, who was now five hundred miles
distant from him, Mr. Caliud meditated more mischief before his
departure. He became the friend again of Mr. Jaques, who wrote again to
the consul, that all that had been written to him by Mr. Beechey
concerning Mr. Caliud was not true, and that he never told us any thing
of the kind. On the arrival of the consul at Thebes, Mr. Jaques was
questioned before us, whether he had not told us, that Caliud mutilated
the stones in the island of Philoe. He again repeated to the consul
before us, that Caliud did break the stones: and being questioned by the
consul, why he afterwards wrote, that such was not the case, said with
the greatest _sang froid_, that he merely contradicted it at the request
of Caliud. One broke the stones; the other first betrayed him, then
retracted, and lastly confirmed it again. These were the sort of
honourable Monsieurs I had to guard against.
Twenty days after the tomb was opened, we heard by the boats which came
up the Nile, that there were three maishes, or large boats, coming up,
with Englishmen on board; and, a few days after, Earl Belmore and
family, Mr. Salt the consul, Captain Cory, Dr. Richardson, and the Rev.
Mr. Holt, arrived at Thebes.