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901 | the statues in wood and limestone which have come down to our
day, we can tell exactly what they were like. However the material might
vary, the style was always the same. Nothing is more perishable than works
of this description. They are foredoomed to destruction by the mere value
of the materials in which they are made. What civil war and foreign
invasion had spared, and what had chanced to escape the rapacity of Roman
princes and governors, fell a prey to Christian iconoclasm. A f |
902 | ew tiny
statuettes buried as amulets upon the bodies of mummies, a few domestic
divinities buried in the ruins of private houses, a few ex-votos forgotten,
perchance, in some dark corner of a fallen sanctuary, have escaped till the
present day. The Ptah and Amen of Queen Aahhotep, another golden Amen also
at Gizeh, and the silver vulture found in 1885 at Medinet Habû, are the
only pieces of this kind which can be attributed with certainty to the
great period of Egyptian art. The remai |
903 | nder are of Saïte or Ptolemaic work,
and are remarkable only for the perfection with which they are wrought. The
gold and silver vessels used in the service of the temples, and in the
houses of private persons, shared the fate of the statues. At the beginning
of the present century, the Louvre acquired some flat-bottomed cups which
Thothmes III. presented as the reward of valour to one of his generals
named Tahûti. The silver cup is much mutilated, but the golden cup is
intact and ele |
904 | gantly designed (fig. 284). The upright sides are adorned
with a hieroglyphic legend. A central rosette is engraved at the bottom.
Six fish are represented in the act of swimming round the rosette; and
these again are surrounded by a border of lotus-bells united by a curved
line. The five vases of Thmûis, in the Gizeh Museum, are of silver. They
formed part of the treasure of the temple, and had been buried in a hiding-
place, where they remained till our own day. We have no indication |
905 | of their
probable age; but whether they belong to the Greek or the Theban period,
the workmanship is purely Egyptian. Of one vessel, only the cover is left,
the handle being formed of two flowers upon one stem. The others are
perfect, and are decorated in _repoussé_ work with lotus-lilies in bud and
blossom (fig. 285).
[Illustration: Fig. 284.--Golden cup of General Tahûti, Eighteenth
Dynasty.]
[Illustration: Fig. 285.--Silver vase of Thmûis.]
The form is simple and elegant, |
906 | the ornamentation sober and delicate; the
relief low. One is, however, surrounded by a row of ovoid bosses (fig.
286), which project in high relief, and somewhat alter the shape of the
body of the vase. These are interesting specimens; but they are so few in
number that, were it not for the wall-paintings, we should have but a very
imperfect idea of the skill of the Egyptian goldsmiths.
[Illustration: Fig. 286.--Silver vase of Thmûis.]
[Illustration: Fig. 287.--Ornamental basket i |
907 | n precious metal. From wall-
painting, Twentieth Dynasty.]
[Illustration: Fig. 288.--Crater of precious metal, borne by slaves. Wall-
painting, Eighteenth Dynasty.]
[Illustration: Fig. 289.--Hydria of precious metal. Wall-painting,
Eighteenth Dynasty.]
[Illustration: Fig. 290.--Enamelled cruet. Wall-painting, Eighteenth
Dynasty.]
[Illustration: Fig. 291.--Enamelled cruet. Wall-painting, Eighteenth
Dynasty.]
[Illustration: Fig. 292.--Gold centre-piece of Amenhotep III. Wal |
908 | l-
painting, Eighteenth Dynasty.]
The Pharaohs had not our commercial resources, and could not circulate the
gold and silver tribute-offerings of conquered nations in the form of coin.
When the gods had received their share of the booty, there was no
alternative but to melt the rest down into ingots, fashion it into personal
ornaments, or convert it into gold and silver plate. What was true of the
kings held good also for their subjects. For the space of at least six or
eight centu |
909 | ries, dating from the time of Ahmes I., the taste for plate was
carried to excess. Every good house was not only stocked with all that was
needful for the service of the table, such as cups, goblets, plates, ewers,
and ornamental baskets chased with figures of fantastic animals (fig. 287);
but also with large ornamental vases which were dressed with flowers, and
displayed to visitors on gala days. Some of these vases were of
extraordinary richness. Here, for instance, is a crater, the |
910 | handles
modelled as two papyrus buds, and the foot as a full-blown papyrus. Two
Asiatic slaves in sumptuous garments are represented in the act of
upheaving it with all their strength (fig. 288). Here, again, is a kind of
hydria with a lid in the form of an inverted lotus flanked by the heads of
two gazelles (fig. 289). The heads and necks of two horses, bridled and
fully caparisoned, stand back to back on either side of the foot of the
vase. The body is divided into a series of horiz |
911 | ontal zones, the middle
zone being in the likeness of a marshland, with an antelope coursing at
full speed among the reeds. Two enamelled cruets (fig. 290) have
elaborately wrought lids, one fashioned as the head of a plumed eagle, and
the other as the head of the god Bes flanked by two vipers (fig. 291). But
foremost among them all is a golden centrepiece offered by a viceroy of
Ethiopia to Amenhotep III. The design reproduces one of the most popular
subjects connected with the forei |
912 | gn conquests of Egypt (fig. 292). Men and
apes are seen gathering fruits in a forest of dôm palms. Two natives, each
with a single feather on his head and a striped kilt about his loins, lead
tame giraffes with halters. Others, apparently of the same nationality,
kneel with upraised hands, as if begging for quarter. Two negro prisoners
lying face downwards upon the ground, lift their heads with difficulty. A
large vase with a short foot and a lofty cone-shaped cover stands amid the
tr |
913 | ees.[78] The craftsmen who made this piece evidently valued elegance and
beauty less than richness. They cared little for the heavy effect and bad
taste of the whole, provided only that they were praised for their skill,
and for the quantity of metal which they had succeeded in using. Other
vases of the same type, pictured in a scene of presentations to Rameses II.
in the great temple of Abû Simbel, vary the subject by showing buffaloes
running in and out among the trees, in place of l |
914 | ed giraffes. These were
costly playthings wrought in gold, such as the Byzantine emperors of the
ninth century accumulated in their palace of Magnaura, and which they
exhibited on state occasions in order to impress foreigners with a profound
sense of their riches and power. When a victorious Pharaoh returned from a
distant campaign, the vessels of gold and silver which formed part of his
booty figured in the triumphal procession, together with his train of
foreign captives. Vases in |
915 | daily use were of slighter make and less
encumbered with inconvenient ornaments. The two leopards which serve as
handles to a crater of the time of Thothmes III. (fig. 293) are not well
proportioned, neither do they combine agreeably with the curves of the
vase; but the accompanying cup (fig. 294), and a cruet belonging to the
same service (fig. 295), are very happily conceived, and have much purity
of form. These vessels of engraved and _repoussé_ gold and silver, some
representing h |
916 | unting scenes and incidents of battle, were imitated by
Phoenician craftsmen, and, being exported to Asia Minor, Greece, and Italy,
carried Egyptian patterns and subjects into distant lands. The passion for
precious metals was pushed to such extremes under the reigns of the
Ramessides that it was no longer enough to use them only at table.
[Illustration: Fig. 293.--Crater of precious metal. Wall-painting,
Eighteenth Dynasty.]
[Illustration: Fig. 294.--Cup of precious metal. Wall-p |
917 | ainting, Eighteenth
Dynasty.]
[Illustration: Fig. 295.--Cruet of precious metal. Wall-painting,
Eighteenth Dynasty.]
Rameses II. and Rameses III. had thrones of gold--not merely of wood
plated with gold, but made of the solid metal and set with precious stones.
These things were too valuable to escape destruction, and were the first to
disappear. Their artistic value, however, by no means equalled their
intrinsic value, and the loss is not one for which we need be inconsolable.
|
918 |
[Illustration: Fig. 296.--Bezel signet-ring.]
[Illustration: Fig. 297.--Gold _cloisonné_ pectoral bearing cartouche of
Ûsertesen III. From Dahshûr, found 1894, and now in the Gizeh Museum.]
Orientals, men and women alike, are great lovers of jewellery. The
Egyptians were no exception to this rule. Not satisfied to adorn themselves
when living with a profusion of trinkets, they loaded the arms, the
fingers, the neck, the ears, the brow, and the ankles of their dead with
more or l |
919 | ess costly ornaments. The quantity thus buried in tombs was so
considerable that even now, after thirty centuries of active search, we
find from time to time mummies which are, so to say, cuirassed in gold.
Much of this funerary jewellery was made merely for show on the day of the
funeral, and betrays its purpose by the slightness of the workmanship. The
favourite jewels of the deceased person were, nevertheless, frequently
buried with him, and the style and finish of these leave nothi |
920 | ng to be
desired. Chains and rings have come down to us in large numbers, as indeed
might be expected. The ring, in fact, was not a simple ornament, but an
actual necessary. Official documents were not signed, but sealed; and the
seal was good in law. Every Egyptian, therefore, had his seal, which he
kept about his person, ready for use if required. The poor man's seal was a
simple copper or silver ring; the ring of the rich man was a more or less
elaborate jewel covered with chasing |
921 | and relief work. The bezel was
movable, and turned upon a pivot. It was frequently set with some kind of
stone engraved with the owner's emblem or device; as, for example, a
scorpion (fig. 296), a lion, a hawk, or a cynocephalous ape. As in the eyes
of her husband his ring was the one essential ornament, so was her necklace
in the estimation of the Egyptian lady. I have seen a chain in silver which
measured sixty-three inches in length. Others, on the contrary, do not
exceed two, or t |
922 | wo and a half inches. They are of all sizes and patterns,
some consisting of two or three twists, some of large links, some of small
links, some massive and heavy, others as light and flexible as the finest
Venetian filigree. The humblest peasant girl, as well as the lady of
highest rank, might have her necklet; and the woman must be poor indeed
whose little store comprised no other ornament. No mere catalogue of
bracelets, diadems, collarettes, or insignia of nobility could give an id |
923 | ea
of the number and variety of jewels known to us by pictured representations
or existing specimens. Pectorals of gold _cloisonné_ work inlaid with
vitreous paste or precious stones, and which bear the cartouches of
Amenemhat II., Ûsertesen II., and Ûsertesen III. (fig. 297), exhibit a
marvellous precision of taste, lightness of touch, and dexterity of fine
workmanship. So fresh and delicate are they we forget that the royal ladies
to whom they belonged have been dead, and their bodi |
924 | es stiffened and
disfigured into mummies, for nearly five thousand years. At Berlin may be
seen the _parure_ of an Ethiopian Candace; at the Louvre we have the jewels
of Prince Psar; at Gizeh are preserved the ornaments of Queen Aahhotep.
Aahhotep was the wife of Kames, a king of the Seventeenth Dynasty, and she
was probably the mother of Ahmes I., first king of the Eighteenth Dynasty.
Her mummy had been stolen by one of the robber bands which infested the
Theban necropolis towards th |
925 | e close of the Twentieth Dynasty. They buried
the royal corpse till such time as they might have leisure to despoil it in
safety; and they were most likely seized and executed before they could
carry that pretty little project into effect. The secret of their hiding-
place perished with them, till discovered in 1860 by some Arab diggers.
Most of the objects which this queen took with her into the next world were
exclusively women's gear; as a fan-handle plated with gold, a bronze-gilt
|
926 |
mirror mounted upon an ebony handle enriched with a lotus in chased gold
(fig. 298). Her bracelets are of various types. Some are anklets and
armlets, and consist merely of plain gold rings, both solid and hollow,
bordered with plaited chainwork in imitation of filigree. Others are for
wearing on the wrist, like the bracelets of modern ladies, and are made of
small beads in gold, lapis lazuli, carnelian, and green felspar. These are
strung on gold wire in a chequer pattern, each squar |
927 | e divided diagonally in
halves of different colours. Two gold plates, very lightly engraved with
the cartouches of Ahmes I., are connected by means of a gold pin, and form
the fastening. A fine bracelet in the form of two semicircles joined by a
hinge (fig. 299), also bears the name of Ahmes I. The make of this jewel
reminds us of _cloisonné_ enamels. Ahmes kneels in the presence of the god
Seb and his acolytes, the genii of Sop and Khonû.
[Illustration: Fig. 298.--Mirror of Queen A |
928 | ahhotep.]
[Illustration: Fig. 299.--Bracelet of Queen Aahhotep, bearing cartouche of
King Ahmes I.]
[Illustration: Fig. 300.--Bracelet of Queen Aahhotep.]
[Illustration: Fig. 301.--Diadem of Queen Aahhotep.]
[Illustration: Fig. 302.--Gold "Ûsekh" of Queen Aahhotep.]
[Illustration: Fig. 303.--Pectoral of Queen Aahhotep, bearing cartouche of
King Ahmes I.]
[Illustration: Fig. 304.--Poignard of Queen Aahhotep, bearing cartouche of
King Ahmes.]
[Illustration: Fig. 305.--P |
929 | oignard of Queen Aahhotep, bearing cartouche of
King Ahmes.]
[Illustration: Fig. 306.--Funerary battle-axe of Queen Aahhotep, bearing
cartouche of King Ahmes I.]
[Illustration: Fig. 307.--Funerary bark of Queen Aahhotep.]
[Illustration: Fig. 308.--Ring of Rameses II.]
[Illustration: Fig. 309.--Bracelet of Prince Psar.]
The figures and hieroglyphs are cut out in solid gold, delicately engraved
with the burin, and stand in relief upon a ground-surface filled in with
pieces o |
930 | f blue paste and lapis lazuli artistically cut. A bracelet of more
complicated workmanship, though of inferior execution, was found on the
wrist of the queen (fig. 300). It is of massive gold, and consists of three
parallel bands set with turquoises. On the front a vulture is represented
with outspread wings, the feathers composed of green enamel, lapis lazuli,
and carnelian, set in "cloisons" of gold. The hair of the mummy was drawn
through a massive gold diadem, scarcely as large as |
931 | a bracelet. The name of
Ahmes is incrusted in blue paste upon an oblong plaque in the centre,
flanked at each side by two little sphinxes which seem as if in the act of
keeping watch over the inscription (fig. 301). Round her neck was a large
flexible gold chain, finished at each end by a goose's head reversed. These
heads could be linked one in the other, when the chain needed to be
fastened. The scarabaeus pendant to this chain is incrusted upon the
shoulder and wing-sheaths with bl |
932 | ue glass paste rayed with gold, the legs
and body being in massive gold. The royal _parure_ was completed by a large
collar of the kind known as the _Ûsekh_ (fig. 302). It is finished at each
end with a golden hawk's head inlaid with blue enamel, and consists of rows
of scrolls, four-petalled fleurettes, hawks, vultures, winged uraei,
crouching jackals, and figures of antelopes pursued by tigers. The whole of
these ornaments are of gold _repoussé_ work, and they were sewn upon the
roy |
933 | al winding sheet by means of a small ring soldered to the back of each.
Upon the breast, below this collar, hung a square jewel of the kind known
as "pectoral ornaments" (fig. 303). The general form is that of a naos, or
shrine. Ahmes stands upright in a papyrus-bark, between Amen and Ra, who
pour the water of purification upon his head and body. Two hawks hover to
right and left of the king, above the heads of the gods. The figures are
outlined in _cloisons_ of gold, and these were fi |
934 | lled in with little
plaques of precious stones and enamel, many of which have fallen out. The
effect of this piece is somewhat heavy, and if considered apart from the
rest of the _parure_, its purpose might seem somewhat obscure. In order to
form a correct judgment, we have, however, to remember in what fashion the
women of ancient Egypt were clad. They wore a kind of smock of semi-
transparent material, which came very little higher than the waist. The
chest and bosom, neck and shoul |
935 | ders, were bare; and the one garment was
kept in place by only a slender pair of braces. The rich clothed these
uncovered parts with jewellery. The Ûsekh collar half hid the shoulders and
chest. The pectoral masked the hollow between the breasts. Sometimes even
the breasts were covered with two golden cups, either painted or enamelled.
Besides the jewels found upon the mummy of Queen Aahhotep, a number of arms
and amulets were heaped inside her coffin; namely, three massive gold flies
|
936 |
hanging from a slender chain; nine small hatchets, three of gold and six of
silver; a golden lion's head of very minute workmanship; a wooden sceptre
set in gold spirals; two anklets; and two poignards. One of these poignards
(fig. 304) has a golden sheath and a wooden hilt inlaid with triangular
mosaics of carnelian, lapis lazuli, felspar, and gold. Four female heads in
gold _repoussé_ form the pommel; and a bull's head reversed covers the
junction of blade and hilt. The edges of the |
937 | blade are of massive gold; the
centre of black bronze damascened with gold. On one side is the solar
cartouche of Ahmes, below which a lion pursues a bull, the remaining space
being filled in with four grasshoppers in a row. On the other side we have
the family name of Ahmes and a series of full-blown flowers issuing one
from another and diminishing towards the point. A poignard found at Mycenae
by Dr. Schliemann is similarly decorated; the Phoenicians, who were
industrious copyists |
938 | of Egyptian models, probably introduced this pattern
into Greece. The second poignard is of a make not uncommon to this day in
Persia and India (fig. 305). The blade is of yellowish bronze fixed into a
disk-shaped hilt of silver. When wielded, this lenticular[79] disk fits to
the hollow of the hand, the blade coming between the first and second
fingers. Of what use, it may be asked, were all these weapons to a woman--
and a dead woman? To this we may reply that the other world was peop |
939 | led
with foes--Typhonian genii, serpents, gigantic scorpions, tortoises,
monsters of every description--against which it was incessantly needful to
do battle. The poignards placed inside the coffin for the self-defence of
the soul were useful only for fighting at close quarters; certain weapons
of a projectile kind were therefore added, such as bows and arrows,
boomerangs made in hard wood, and a battle-axe. The handle of this axe is
fashioned of cedar-wood covered with sheet gold (fi |
940 | g. 306). The legend of
Ahmes is inlaid thereon in characters of lapis lazuli, carnelian,
turquoise, and green felspar. The blade is fixed in a cleft of the wood,
and held in place by a plait-work of gold wire. It is of black bronze,
formerly gilt. On one side, it is ornamented with lotus flowers upon a gold
ground; on the other, Ahmes is represented in the act of slaying a
barbarian, whom he grasps by the hair of the head. Beneath this group,
Mentû, the Egyptian war-god, is symbolised |
941 | by a griffin with the head of an
eagle. In addition to all these objects, there were two small boats, one in
gold and one in silver, emblematic of the bark in which the mummy must
cross the river to her last home, and of that other bark in which she
would ultimately navigate the waters of the West, in company with the
immortal gods. When found, the silver boat rested upon a wooden truck with
four bronze wheels; but as it was in a very dilapidated state, it has been
dismounted and rep |
942 | laced by the golden boat (fig. 307). The hull is long and
slight, the prow and stem are elevated, and terminate in gracefully-curved
papyrus blossoms. Two little platforms surrounded by balustrades on a
panelled ground are at the prow and on the poop, like quarter-decks. The
pilot stands upon the one, and the steersman before the other, with a large
oar in his hand. This oar takes the place of the modern helm. Twelve
boatmen in solid silver are rowing under the orders of these two offi |
943 | cers;
Kames himself being seated in the centre, hatchet and sceptre in hand. Such
were some of the objects buried with one single mummy; and I have even now
enumerated only the most remarkable among them. The technical processes
throughout are irreproachable, and the correct taste of the craftsman is in
no wise inferior to his dexterity of hand. Having arrived at the perfection
displayed in the _parure_ of Aahhotep, the goldsmith's art did not long
maintain so high a level. The fashio |
944 | ns changed, and jewellery became
heavier in design. The ring of Rameses II., with his horses standing upon
the bezel (fig. 308), and the bracelet of Prince Psar, with his griffins
and lotus flowers in _cloisonné_ enamel (fig. 309), both in the Louvre, are
less happily conceived than the bracelets of Ahmes. The craftsmen who made
these ornaments were doubtless as skilful as the craftsmen of the time of
Queen Aahhotep, but they had less taste and less invention. Rameses II. was
condemne |
945 | d either to forego the pleasure of wearing his ring, or to see his
little horses damaged and broken off by the least accident. Already
noticeable in the time of the Nineteenth Dynasty, this decadence becomes
more marked as we approach the Christian era. The earrings of Rameses IX.
in the Gizeh Museum are an ungraceful assemblage of filigree disks, short
chains, and pendent uraei, such as no human ear could have carried without
being torn, or pulled out of shape. They were attached to e |
946 | ach side of the
wig upon the head of the mummy. The bracelets of the High Priest Pinotem
III., found upon his mummy, are mere round rings of gold incrusted with
pieces of coloured glass and carnelian, like those still made by the
Soudanese blacks. The Greek invasion began by modifying the style of
Egyptian gold-work, and ended by gradually substituting Greek types for
native types. The jewels of an Ethiopian queen, purchased from Ferlini by
the Berlin Museum, contained not only some o |
947 | rnaments which might readily
have been attributed to Pharaonic times, but others of a mixed style in
which Hellenic influences are distinctly traceable. The treasure discovered
at Zagazig in 1878, at Keneh in 1881, and at Damanhûr in 1882, consisted of
objects having nothing whatever in common with Egyptian traditions. They
comprise hairpins supporting statuettes of Venus, zone-buckles, agraffes
for fastening the peplum, rings and bracelets set with cameos, and caskets
ornamented at t |
948 | he four corners with little Ionic columns. The old patterns,
however, were still in request in remote provincial places, and village
goldsmiths adhered "indifferent well" to the antique traditions of their
craft. Their city brethren had meanwhile no skill to do aught but make
clumsy copies of Greek and Roman originals.
In this rapid sketch of the industrial arts there are many lacunae. When
referring to examples, I have perforce limited myself to such as are
contained in the best-kn |
949 | own collections. How many more might not be
discovered if one had leisure to visit provincial museums, and trace what
the hazard of sales may have dispersed through private collections! The
variety of small monuments due to the industry of ancient Egypt is
infinite, and a methodical study of those monuments has yet to be made. It
is a task which promises many surprises to whomsoever shall undertake it.
[77] From the inscription upon the obelisk of Hatshepsût which is still
ere |
950 | ct at Karnak. For a translation in full see _Records of the
Past_, vol. xii., p. 131, _et seqq._--A.B.E.
[78] Mr. Petrie suggests that this curious central object may be a royal
umbrella with flaps of ox-hide and tiger-skin.--A.B.E.
[79] That is, lentil-shaped, or a double convex.--A.B.E.
NOTES TO FIRST ENGLISH EDITION.
_For the following notes, to which reference numbers will be found in the
text, I am indebted to the kindness of Mr. W.M. Flinders Petrie, au |
951 | thor of_
"The Pyramids and Temples of Gizeh" (Field & Tuer), "Tanis" (_Egypt
Exploration Fund_), "Naukratis" (_Egypt Exploration Fund), etc., etc._
A.B.E.
(1) More striking than these are the towns of Tell Atrib, Kom Baglieh, Kom
Abû Billû, and Tell Nebesheh, the houses of which may be traced without any
special excavations.
(2) There is much skill needed in mixing the mud and sand in such
proportions as to dry properly; when rightly adjusted there is no cracking
in drying, an |
952 | d the grains of sand prevent the mud from being washed away in
the rains.
(3) In the Delta, at least, the sizes of bricks from the Twenty-first
Dynasty down to Arab times decrease very regularly; under the Twenty-first
Dynasty they are about 18 x 9 x 5 inches; early in the Twenty-sixth, 16-1/2
x 8-1/4 x 5; later 15 x 7-1/2; in early Ptolemaic times, 14 x 7; in Roman
times, 12 x 6, in Byzantine times, 10 x 5; and Arab bricks are 8 x 4, and
continue so very generally to our times. The |
953 | thickness is always least
certain, as it depends on the amount placed in the mould, but the length
and breadth may in most cases be accepted as a very useful chronological
scale.
(4) They are found of Ramesside age at Nebesheh and Defenneh; even there
they are rare, and these are the only cases I have yet seen in Egypt
earlier than about the third century A.D.
(5) This system was sometimes used to raise a fort above the plain, as at
Defenneh; or the chambers formed store-rooms, |
954 | as at the fort at Naukratis.
(6) In the fine early work at Gizeh they sawed the paving blocks of basalt,
and then ground only just the edges flat, while all the inside of the joint
was picked rough to hold the mortar.
(7) A usual plan in early times was to dress the joint faces of the block
in the quarry, leaving its outer face with a rough excess of a few inches;
the excess still remains on the granite casing of the pyramid of Menkara,
and the result of dressing it away may be se |
955 | en in the corners of the
granite temple at Gizeh.
(8) Otherwise called the Granite Temple of Gizeh, or Temple of Khafra, as
its connection with the Sphinx is much disputed, while it is in direct
communication with the temple of the pyramid of Khafra, by a causeway in
line with the entrance passage.
(9) The casing of the open air court on the top of it was of fine
limestone; only a few blocks of this remain. For full plan and measurements
see _Pyramids and Temples of Gizeh_.
(1 |
956 | 0) One of the air slits, or ventilators, remains complete, opening to the
upper court, from the top of the niche chamber.
(11) Below these lines, there is often a scene of offering at the bottom of
the Obelisk.
(12) _Mastaba_ is the Arabic name for a bench or platform, and was applied
by the natives to such tombs on account of the resemblance in shape.
(13) In the few cases where the top remains perfect at Gizeh, the side ends
in a parabolic curve which turns over into the top s |
957 | urface without any
cornice or moulding; the tops of walls in the courts of mastabas are
similar.
(14) Another view is that they are derived from the cumulative mastabas,
such as the so-called step pyramid of Sakkarah.
(15) In the later pyramids; but the Gizeh pyramids are entirely built of
Tûrah limestone.
(16) Still more conclusive is the fact that in the greatest of the pyramids
the passages are such that it would have been impossible to build it by
successive coats of enlar |
958 | gement.
(17) In only one case (that of Menkara) has a pyramid been clearly
enlarged, and that was done at one step and not by many stages.
(18) The earliest--at Gizeh--are very accurate.
(19) These slabs of pavement do not extend beneath the pyramid, but only
around it.
(20) Only fragments of the finest limestone casing have been found; the
variety of colour was probably due to weathering.
(21) This would be impossible with the exquisitely fine joints of the
masonry; a tem |
959 | porary staging of stone built up over part of the finished
face would easily allow of raising the stones.
(22) There is no evidence that the facing block which covered the granite
plugs was of granite; it was more probably of limestone.
(23) The entrance to the upper passages was never forced from the entrance
passage, but was accidentally found by the Arabs, after they had forced a
long tunnel in the masonry, being in ignorance of the real entrance, which
was probably concealed b |
960 | y a hinging block of stone.
(24) Or rather it rose at an angle of 23-1/2°, like the descent of the
entrance passage, thus making angles of 47° and 133° with it.
(25) This gallery has obtained a great reputation for the fineness of its
joints, perhaps because they are coarse enough to be easily seen; but some
joints of the entrance passage, and the joints in the queen's chamber, are
hardly visible with the closest inspection.
(26) The only signs of portcullises are those in the v |
961 | estibule or
antechamber.
(27) No traces of three of the portcullises remain, if they ever existed,
and the other never could reach the floor or interrupt the passage, so its
use is enigmatical.
(28) There is some evidence that the pyramid was opened in the early days,
perhaps before the middle kingdom.
(29) Two rows of beams which rest on the side wall as corbels or
cantilevers, only touching at the top, without necessarily any thrust. Such
at least is the case in the queen's |
962 | chamber, and in the pyramid of Pepi,
where such a roof is used.
(30) The end walls have sunk throughout a considerable amount, and the side
walls have separated; thus all the beams of the upper chambers have been
dragged, and every beam of the roof of the chamber is broken through. This
is probably the result of earthquakes.
(31) This only covered the lower sixteen courses; the larger part above it
was of limestone.
(32) Similar finished faces may be seen as far in as near the |
963 | middle of the
mass. This is not a true pyramid in form, but a cumulative mastaba, the
faces of which are at the mastaba angle (75°), and the successive
enlargements of which are shown by numerous finished facings now within the
masonry. The step form is the result of carrying upwards the mastaba form,
at the same time that it was enlarged outwards.
(33) Not in all cases apparently, for the hieroglyphs on the passage of
Pepi's pyramid are not injured, as they would be if plugs had be |
964 | en
withdrawn.
(34) Pepi's roof is formed by a row of large beams which rested
independently on the side walls as corbels or cantilevers (see Note 29).
(35) The mastaba angle is 75°, and the pyramid angle 50° to 55°.
(36) Its present appearance is an accident of its demolition; it was
originally, like the "step-pyramid" of Sakkarah, a cumulative mastaba, as
is shown by the remains of the lower steps still in the mounds at its base,
and by the mediaeval description of it.
|
965 |
INDEX
Aahhotep, 157, 323-30.
Aahhotep II., 288-9.
Aalû, fields of, 163-4, 167.
Abacus, 52-4, 58, 61, 116.
Abi, 273.
Abû Roash, 113, 134.
Abû Simbel
(see TEMPLES, etc.).
Abûsîr, 114, 131, 134, 138, 140.
Abydos
(see FORTRESSES, TEMPLES, TOMBS, etc.).
Acacia, 203, 274.
Adze, of iron, 283, 304.
Affi
(see TOMB).
Agate, 247.
Ahmes I., 267, 307, 317, 323, 324, 325, 326, 327, 328, 329.
Ahmes II., 269 and note.
(see AMASIS).
Ahmesnefertari, 288-9.
Ahnas el M |
966 | edineh, 259.
Aï, 15, 155, 158.
Aimadûa
(see TOMB).
Akhonûti, 16.
Alabaster, 6, 42, 47, 65, 128, 141, 166, 169, 180, 252, 253-4.
Albumen, 203.
Alexander, his tomb, 242.
Alexander II., colossus of, 241.
Alexandria, 52, 241, 243, 303.
Alumina, 260.
Amasis, 269 and note, 302
(see AHMES II.).
Amber, 247.
Ambras Collection, in Vienna, 272 (note).
Amen
(see GODS).
Amen Ra
(see GODS).
Amenemhat II., 76, 322.
Amenemhat III., 76, 143, 228
(see MOERIS).
Amenhot |
967 | ep I., 157, 229, 287.
Amenhotep II., 53.
Amenhotep III., 67, 69, 76, 77, 80, 103, 147, 158, 179, 226, 229, 230, 266,
275, 312, 318.
(see MEMNON).
Ameni
(see TOMB).
Ameni Entef Amenemhat, 107.
Ameniritis, 235 and note.
Amethyst, 246, 250.
Amphorae 35, 36, 127, 264.
Ampullae, 269.
Amset, genius, 258 (note).
Amulets, materials and forms of, 100, 167, 246-50, 259, 265, 286.
Ancient Empire,--
art of
(see BAS-RELIEF, SCULPTURE, and STATUE).
domestic archite |
968 | cture of, 19.
fortress of, 27.
tombs of
(see MASTABAS and PYRAMIDS).
Andro-sphinx, 89, 228-9.
Angareb, or Nubian bed, 281, 292.
Anhûr
(see GODS).
Ankh, 286, 288.
Ankhnesraneferab, sarcophagus of, 165 (note).
Anklets, 321.
Anna
(see TOMB).
Antelopes, 176, 299, 326.
Antimony, 254, 267
(see KOHL).
Antonines, 244, 245.
Antoninus Pius, his chapel at Philae, 100.
Anubis
(see GODS).
Anvil, 313.
Apapi, the serpent, 164.
Ape, 171, 176, 199, 254, 269, 322. |
969 |
Apepi, King of Avaris, 228.
Apet
(see GODDESSES, TAÛRT, THÛERIS).
Apis
(see GODS).
Apries, 269 and note, 311
(see HOPHRA and UAHABRA).
Aquamarine, the, 246.
Arabs,--
their destructive conquest, 134.
their name for table of offerings, 107.
Archers, 29, 184.
Architecture,--
military, 24-34.
of private dwellings, 1-20.
of public works, 34-45.
temples, 46-110.
tombs, 111-168.
(see MASTABAS, PYRAMIDS, etc.).
Architraves, 46, 52, 53, 54, 63, 65, 9 |
970 | 3.
Argo, colossi of, 227.
Arms, 157, 166.
battle-axe, 329.
boomerangs, 273, 329.
bows and arrows, 184, 329.
bronze, 305.
lance, 232.
poignards, 273, 327-8.
Arsenic, sulphuret of, orpiment, 203.
Ascalon, 31.
Asia, 91, 312.
Asia Minor, 248, 280, 320.
Asimû
(see ELECTRUM).
Ass, in drawings, 171, 175.
Assyria, invasion of Egypt by, 314.
Astronomical tables, 92-4, 164.
Asûan, 45, 53, 67, 148-50, 209 and note, 226, 228, 256 (note),
259, 265.
(see SYE |
971 | NE and TOMBS).
Athena, 302.
Athens, bronze of the Lady Takûshet at, 308.
Ati, pyramid of, 142.
Avaris, 228.
Avenue of Sphinxes, 67.
at Karnak, 87, 88-9, 230.
Axe,--
battle, 327, 329.
iron, 304.
stone, 201.
Axûm, obelisk at, 106.
Ba, or Bi, the soul, 111, 112.
abode of the, 128.
abode of the, its decoration, 142, 156-7, 162-5.
following the sun at night, 159.
statuettes to serve as body for, 167.
transmigration of, 164.
Bab el Mandeb, 109 (note).
Ba-en-p |
972 | et, 196 and note.
(see IRON).
Bakenrenf
(see TOMB).
Bakhtan, stela of, 109 and note.
Bari, or boat of the Sun, 108.
Barks, sacred and funerary, 66, 77, 95, 108, 159, 164, 166, 249, 301,
329-30.
Basalt, 42, 127, 169, 196, 236, 237, 252.
Basilisk, 201
(see URAEUS.)
Bas-relief,--
Abû Simbel, 229.
Egyptian forms of, 197-9.
gems, 249.
gilded, 313.
ivory, 273.
models for study of, 197.
New Empire, 228-9.
painting of, 205-6.
preparation of w |
973 | alls for, 192-3.
Roman period, 245.
sketches for, 193-5.
speos of Horemheb, 232.
Tell el Amarna, 231.
Temple of Abydos, 232.
Tomb of Seti I., 232.
(See PAINTING, SCULPTURE, and WALL-SCENES.)
Bast
(see GODDESSES).
Bastions, 28, 29, 32.
Battlements, 14, 24, 25, 32, 50.
Beads, 168, 247, 261, 324.
Beams, 6, 30.
of stone, 140.
Beard,--
false, of statue of Horemheb, 233.
of sphinx, 208.
Bedawîn, 20, 42, 101.
Beds, 281, 292.
funerary, 292-4.
Beer, at |
974 | funerary feast, 180.
Beetles
(see SCARABAEI).
Begig, obelisk of, 105.
Beit el Wally
(see TEMPLES and HEMI-SPEOS).
Beni Hasan
(see TOMBS).
Beni Sûef, 38.
Berlin Museum, parure of jewels at, 322.
Bersheh
(see TOMBS).
Bes
(see GODS).
Bezel, of rings, 321-2, 331.
Bi
(see BA).
Bird, human-handed, 91.
Birket el Kûrûn, lake of, 38, 39.
Blocks, building,--
dressing, 47, Notes 6 and 7.
in pyramids, 132, Note 15, 139, Note 33.
raising, 49.
sizes, |
975 | 49.
working, 49, Note 7.
Boats, toy, 282.
transport by, 45, 132.
(See BARKS.)
Bonding, 48-9.
Bone, work in, 272-3.
Book of Knowing that which is in Hades, 172.
Book of Ritual of Burial, 157.
Book of Ritual of Embalmment, 157.
Book of the Dead, 129, 157, 165, 172-5, 205, 284-5.
Book of the Opening of the Mouth, 165.
Bowls, of blue glazed pottery, 268.
Bracelets, 249, 276, 308, 324-5, 331, 332.
Braces, 298, 327.
Bread,--
making of, depicted in tombs, etc., 124, 127, |
976 | 224.
offerings of, 166.
Breccia, 42, 236, 254.
Bricks,--
baked, 4.
for pyramids, 132.
glazed, 4, 270, Note 4.
in civil and military architecture, 46.
making of, 3-4, Notes 2 and 3.
of mud and straw, 3, 114.
sun-dried, 3, 21, 113-14, 145.
without straw, 113, 145.
Brickwork,--
civil and military architecture, 46.
dikes, 38.
domestic architecture, 3,5-6.
enclosure walls of temples, 67, 87.
foundations, 48.
mastabas, 113, 114.
panels, 22.
pyr |
977 | amid-mastabas, 145-6.
undulating courses, 22, 27.
Bridge of Zarû, 35.
Bridges, rarity of, 35.
British Museum, 171, 270 (note), 272 (note), 295, 303.
Brocade (polymita), 303.
Bronze, 105, 195, 196, 248, 260, 261, 304 _et seq._, 328.
Bronzes, 307-12.
Brush, hair, 203.
reed, 170, 171.
Bubastis, 1, 52, 58, 88, 266, 308, 310
(see TELL BASTA).
Bubastites
(see DYNASTY XXII.).
"Bûlak, Wooden Man of," 214 (note).
(see RAEMKA and SHEIKH EL BELED).
Bull, 199.
(see G |
978 | ODS, APIS).
Burin, 305, 325.
Cabinet-making, 124. 273. 282 _et seq._
Caesars
(see ROMAN PERIOD).
Calaite, 247.
Caligula, 245.
Cameos, 332.
Canaanites, 31.
Canal of Zarû, 35.
Canals, 37, 45.
Canopic vases, 167, 252-3, 258-9, 292.
Canopy, funerary, 293-5, 299-301.
Capitals
(see COLUMNS and PILLARS).
Caricatures, 171-2.
Carnelian, 247, 250, 324, 325, 328.
Cartonnage, 167.
Cartouches, 4, 48, 61, 250, 262, 271, 278, 299, 302, 322, 323, 324, 326,
328, 329.
Car |
979 | yatid statues, 288.
Casing stones, 47, 65, Notes 7 and 9, 132, Note 15, 134, Note 20, 138,
Note 32.
Cat, 171, 172, 311.
Cattle, 13, 25, 155.
Cedar wood, 329.
Ceiling decoration, 18-9, 92, 94, 141, 163-4.
Cella, 58.
Cellars, 35, 36.
Cement, 52, 192, 194.
Census, 155.
Ceremonies, religious, performed by king, 95-7, 101-3.
Chains, 155, 325-6.
measuring, 155.
Chairs, 179, 281, 295-6.
Champollion, 26, 55, 271.
Chapel,--
furniture of, 166.
of mastabas, 116 _et pas._ |
980 |
of pyramids, 131 _et pas._, 144.
painting and sculpture in, 121 _et seq._, 141-2.
reception room of Ka, 118 _et seq._
(See ABÛSÎR, ABYDOS, AMENHOTEP, AMENI, APIS, DAHSHÛR, GIZEH, GÛRNEH,
KHNÛMHOTEP, MEDINET HABÛ, MEROË, RAMESSEUM, THÛERIS.)
Chariots, 183, 292.
Chenoboscion, 45 (note).
(see KASR ES SAÎD).
Cheops
(see KHÛFÛ).
Chephren
(see KHAFRA).
Chester, the Rev. G.J., 303 (note).
Chests, 281, 283.
Chisels, 45, 195, 214, 304.
Chlamys, 242.
Chrys |
981 | oprase, 246.
Cinnabar, 203.
Cisterns, 41.
Claudius, 245.
Clay, potter's, of Nile valley, 254-5.
(see BRICKS, POTTERY).
Clerestory, 71.
Coffins, 157, 259
(see MUMMY-CASES and SARCOPHAGI).
Coins and medals, no Egyptian, 313.
Collar, Order of the Golden, 155.
Colonnade, 17, 48, 67-8, 75, 79.
Colossi, 83, 103, 106, 202, 226-30, 232, 241.
Columns, monolithic, and built in courses, 52.
campaniform, 56-9.
Hathor-headed, 61-2.
lotus-bud, 59-61.
types of, 55.
Concret |
982 | e, 128.
Cones, funerary, 166, 257.
Contra Esneh, 57.
Contra Latopolis, 61.
(see EL KAB).
Copper, 35, 105, 203, 304, 305, 321.
Coptic embroidery, 303 and note.
Coptos (Koft), 1, 243, 245, 303.
Coral, 247.
"Corbelling," 51, 52.
Corn, 36-7, 97.
Cornice, 9, 15, 24, 50, 53, 61, 148.
Cos, 302.
Courtyard,--
of houses, 9, 16.
of temples, 67, 144.
Covering walls, 25, 29, 30, 32.
Cramps, metal, 48.
Crane, machine, 49,
Crio-sphinx, 88, 89.
Crocodile, 171, 189.
Cruets, 318, |
983 | 320.
Crypts, of temples, 75, 84.
Crystals, 250.
Cups,--
of glazed pottery, 268.
of gold and silver, 316-17.
Curtain wall, 30.
Curve, favourite ancient Egyptian, 283.
Cylinders, of enamelled stone, 265.
Cynocephali, 164, 167, 199, 322.
Cyprus, supposed glass of, 263.
Dahshûr, 113, 114, 131, 134, 142, 323.
Dakkeh, 2.
Damanhûr, 332.
Dams,--
embanked, 38.
of stone, 40-1.
Dancers, 177, 178.
Daphnae, 36 and note
(see TAHPANHES and TELL DEFENNEH).
Dapûr, 30, 31.
D |
984 | ate palms, 15, 274.
Decani, 93.
Decoration, subjects of, 11, 12, 18-20, 21-2.
geometrical, 19, 256, 258, 295, 298.
(See COLUMNS, PAINTING, SCULPTURE.)
Deir el Baharî, 51, 53, 61, 83, 85 and note, 109 (note), 180, 229, 264,
266, 287, 299, 302.
Deir el Gebrawî
(see TOMBS).
Deirel Medineh
(see TEMPLES).
Delta, the, 4, 31, 37, 209, 235, 241, 243, 310, 311.
Denderah
(see TEMPLES).
Derr, 84.
Deveria, T., 196 (note).
Dice, of ivory, 273.
Die, of co |
985 | lumn, 57.
Dike,--
of Kosheish, 38.
Wady Garraweh, 40.
Wady Genneh, 41.
Diorite, 42, 169, 196, 224, 254.
Disc, winged, 294.
Dolls, 282.
Dôm palms, 15, 274, 318.
Door, 9, 25, 68, 104, 135, 150, 151, 160, 285.
false, for KA, 115, 119-21, 125, 130, 141.
Door-jambs, 26, 46, 47, 116, 119, 151.
Double, the
(see KA).
Dovetails, 48.
Drah Abû'l Neggeh, 147, 158, 266.
Draught-box, 273.
Drawing, 169-70.
conventional system of, 175-9.
teaching of, 169-70.
want of per |
986 | spective in, 182-91.
(See PAINTING AND SCULPTURE.)
Dress, 219, 274-6, 327.
articles of,--
braces, 298, 327.
girdle, 178, 274, 278.
head-dress, 241, 276, 286.
kilt, 201, 275.
klaft, 227, 267.
petticoat, 276, 286.
robe, embroidered, 308.
sandals, 168, 286, 298.
surcoat, 302.
tunic, 225, 279.
vest, 275, 286.
wig, 236, 275, 286, 308, 310.
Drill, 195, 247, 250, 282.
Duality, 96-7.
Ducks, 15, 20, 306.
Dümichen, 109 (note).
D |
987 | warf, statue of, 224-6.
Dynasty III. (Memphite),--
possible wood panels of, 210.
Dynasty IV. (Memphite),--
decoration, 89-90.
funerary temples, 64 and note, 66.
mastabas of, 117, 118, 124, 125, 126, 128.
obelisks, 104.
pigments, 202 (note).
pyramids, 134-7, 140.
sarcophagus, 19, 20, 21.
scarabaei, 250.
statuary, 214.
Dynasty V. (Memphite),--
Abydos, 22.
elephants, 273.
flesh tints, 204.
ivory statuette, 273.
mastabas, 117, 119, 120, 122.
mod |
988 | els of offerings, 252.
monuments, 208-9.
painters' palettes, 202.
panels, carved wood, 210.
pyramids, 139-40.
tables of offerings, 107.
Dynasty VI. (Elephantine),--
in Abydos, Asûan, the Delta, Hermopolis, Thebes, 209 and note.
bricks, 113.
flesh tints, 204.
fortress, 2.
mastabas, 157.
pyramids, 140, 142.
scarabaei, 250.
tomb-paintings, 21.
tombs, 128, 129, 130, 149 (note), 155, 204, 209 (note).
Dynasty XI. (Theban),--
blue glaze, 265-6.
cano |
989 | pic vases, 167.
chairs, 295.
fortress, 23.
funerary statuettes, 253.
mummy-cases, 286.
statuary, 226.
tombs, 147.
Dynasty XII. (Theban),--
blue glaze, 266.
fortress, 23, 28.
houses, 7, 8, 12, 281-2.
jewellery 322, 323
(see KAHÛN).
Karnak, 76.
models of offerings, 252.
pyramids 132, 142, 143.
statuary, 228, 229.
temples, 66.
tombs 149 (note), 156
(see BENI HASAN).
Dynasty XIII. (Theban),--
funerary couch, 293-4.
Karnak, 76.
|
990 | statuary, 226-7, 229, 273-4.
statuettes, 233, 273.
Dynasty XIV. (Xoïte),--
Karnak, 76.
statuary, 226-7.
Dynasty XVII. (Theban),--
draught-box, 273.
jewellery, 323 _et seq_.
sarcophagi, 287.
Dynasty XVIII. (Theban),--
in Abydos, 22.
blue glaze, 268.
Book of the Dead, 173.
bronzes, 307.
canopic vases, 258.
chair, 296-7 (note).
colossi, 229-30.
domestic architecture, 14 _et seq_.
gold and silver plate, 316, 318, 319, 320.
gold and silver stat |
991 | ues, 314-15.
jewellery, 323 _et seq_.
Karnak, 76-7.
in Memphis, 88.
mummy-cases, 288-9.
painters' palettes, 202.
scarabaei, 250.
sculpture, 229-31.
Speos-sanctuaries, 82, 83, 85.
stelae, 45.
in Thebes, 88-9.
tomb-paintings, 12, 14, 15, 16, 17.
tombs, 155 _et seq_.
wars, 31.
Dynasty XIX. (Theban),--
blue glaze of, 268.
bronzes, 307.
colossi, 234.
domestic architecture, 19.
flesh tints, 205.
fortifications, 31, 34.
gold and silver pl |
992 | ate, 317, 321.
gold and silver statues, 314.
jewellery, 331.
Karnak, 78.
mummy-cases, 289.
tombs, 158 _et pas_.
Dynasty XX. (Theban),--
blue glaze, 268.
canopic vases, 258.
domestic architecture, 19.
fortresses 33
(see MEDINET HABÛ).
gold and silver plate, 317.
jewellery, 332.
leather-work, 300, 301.
sketches, 171.
stela of Bakhtan, 109 (note).
temple of Khonsû, 70-2.
tiles (Tell el Yahûdeh), 270-2.
tomb-paintings, 20.
tomb-robberie |
993 | s, 323.
tombs, 158 _et pas_..
varnish, 203-4.
wood-carving, 235, 274.
Dynasty XXI. (Priest-kings),--
papyri, 174.
sculpture, 228.
tomb 158 (tomb of Herhor).
Dynasty XXII. (Bubastite),--
bronzes, 307.
leather-work, 299, 300.
Karnak, 79.
Dynasty XXV. (Ethiopian),--
art, 235.
Karnak, 79.
Dynasty XXVI. (Saïte),--
ampullae, 268, 269.
bronzes, 307, 311-12.
glass, 263.
gold statuettes, 315.
Renaissance, 235 _et seq._
sculpture, 236 _et seq._
|
994 | table of offerings, 252.
tombs, 165.
Dynasty XXXI. (Persian),--
tapestry, 303.
Earrings, 331, 332.
Earthquake,--
building to resist, 22.
of B.C. 27, at Karnak, 79.
of B.C. 22, at Thebes, 244.
Ebony, 295, 323.
Edfû
(see TEMPLES).
Edinburgh Museum, funerary canopy in, 293-4.
Eggs, 259.
Egypt Exploration Fund,--
at Bersheh, 148 (note).
at Bubastis, 52 (note).
at Daphnae, 36 (note).
at Deir el Baharî, 83, 85.
at Pithom, 36 (note).
at Tanis, 104 (n |
995 | ote).
at Tell Gemayemi, 200 (note), 262 (note).
Ekhmîm, 14, 247, 259, 291, 293, 297, 303 and note.
El Agandiyeh, 1.
El Hibeh, 2, 33.
at Beni Hasan, 148 (note).
El Kab, 2, 20, 26, 27, 54, 69, 88, 228, 265
(see CONTRA LATOPOLIS).
El Khozam, 256.
Electrum, 304, 312, 313.
Elephant, 273.
Elephantine, 148, 209 (note), 273, 275.
(see TEMPLES).
Embroidery, 276, 302, 303, 308.
Emerald, 41, 246, 250.
Enamel, 265-72.
in jewellery, 289, 322, 325, 327.
Erman, on Stela of Ba |
996 | khtan, 109 (note).
Erment, 247.
Esneh, 92, 144, 245.
Ethiopia, 106, 318.
Ethiopian Dynasty
(see DYNASTY XXV.).
Etruria, imitated scarabs of, 248.
Eye,--
as amulet, 247-8.
in decoration, 268.
on sarcophagi, 285.
sacred, 168.
(See ÛTA).
Eyes of statues, 261, 310.
Fan, 323.
Fayûm, the, 19, 38, 39, 66, 105, 134, 243, 259, 261, 304.
Feast,--
funerary, 118, 123, 125, 166.
funerary of Horemheb, 179-80.
Feasts, 118.
Felspar, 247, 250, 324, 328, 329.
Ferry, |
997 | 34.
Feshn, 33.
Figs, 267.
Fires, 2, 12.
Fire-sticks, 282.
Fish,--
in decoration, 268, 278, 316.
in enamel, 267.
offerings of, 228.
Florence Museum, Egyptian war-chariot in, 292 (note).
Flowers
(see LOTUS),--
in temples, 67.
offerings of, 180, 228.
Fords, 34.
Fortresses, 20-34.
of Abydos, 20-6.
of El Kab, 20, 27.
of Kom el Ahmar, 25, 26.
of Kûmmeh, 28-9.
of Semneh, 28-30.
Foundations, 47, 48.
Frieze, 97.
Frog, as amulet, 247.
Frontier, 28, 31, 3 |
998 | 6-7.
Furnaces, glass, 259, 260.
Furniture, 281-4.
ancient Egyptian love of beautiful, 246.
funerary, 128, 166-8, 251 _et seq._, 292 _et seq._
funerary, of poor, 167-8, 255.
Galleries,--
in houses, 17.
Garden, of private house, 13, 14, 15.
Garnet, 246.
scarabaei of, 250.
Gazelle, 123, 128, 153, 171, 176, 180, 252.
Gebel Abûfeydeh, 44, 45.
Gebel Barkal
(see TEMPLES).
Gebel Sheikh Herideh, 45.
Gebel Silsileh
(see TEMPLES).
Gebeleyn, 33, 256.
Geese, 15, 19, |
999 | 166, 171, 177, 296, 306.
Genii, 159, 164, 258 (note).
of On, Sop, and Khonû, 96, 324.
Gerf Husein, 85.
Girgeh, 14, 38.
Gizeh
(see PYRAMIDS, TEMPLES, TOMBS).
Gizeh, Museum, 4, 106, 107, 171, 174, 195, 214, 216-26, 227, 229, 232-3,
237, 239, 241, 242, 244, 262, 265, 267, 268, 271, 273, 274, 275,
278, 286, 298, 301, 306, 307, 308, 309, 315, 316, 323-30, 331.
Glass, 259-65.
factories, at El Kab, the Ramesseum, Tell el Amarna, Tell Eshmûneyn, 265.
factory at |
1,000 | Tell Gemayemi, 262 (note).
Glazed stone and ware, 165-72
(see POTTERY).
Goat, 176.
Gods,--
Amen, 33, 97, 101, 104, 105, 109, 171, 231, 232, 249, 268, 289, 307, 315,
327.
Amen Ra, 96.
Anhûr, 311.
Anubis, 168, 304.
Apis, 147, 263.
Bes, 53, 57, 254, 277, 318.
Harpocrates, 307.
Hor (Horus), 96, 105.
Horus (Hor), 64, 96, 105, 207, 259, 267, 309-10, 314.
Khonsû, 60, 64, 70, 72, 74, 75, 97, 109 and note, 235.
Mentû, 97, 329.
Min, 118.
Nefertû |
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