file which includes the #ajg original   
illustrations4       ,see #fdchg-;h4htm 
or #fdchg-;h4zip3                       
7https3_/_/www4gutenberg4org_/cache_/epu
b_/#fdchg_/pg#fdchg-;images4html7       
or                                      
7https3_/_/www4gutenberg4org_/files_/#fd
chg_/fdchg-;h4zip7         ,images of   
the original pages are available through
       ,internet ,archive4 ,see         
https3_/_/archive4org_/details_/egyptian
artstudi#jjmaspuoft   ,transcriber's    
note3        ,text enclosed by          
underscores is in italics 7italics74    
,text enclosed by equal signs is in bold
 face 7bold74      ,,egyptian ,,art     
99      99      99      99      99      
99  ,,by ,,the ,,same ,,author    ,new  
,light on ,ancient ,egypt4              
,translated by ,,elizabeth ,,lee4       
,illustrated4 ,demy #hvo1 cloth4 #ab_/f 
net4 ,cheap ,edition   #f_/- net4       
,egypt3 ,ancient ,sites and ,modern     
,scenes4    ,translated by ,,elizabeth  
,,lee4    ,with ,coloured ,frontispiece 

and #af other ,illustrations4   ,demy   
#hvo1 cloth4 #ab_/f net4     ,,london3  
,t4 ,,fisher ,,unwin        99      99  
99      99      99      99   ,,egyptian 
,,art  ,studies  ,,by  ,,sir ,,gaston   
,,maspero  ,hon4 ,k4,c4,m4,g41 ,hon4    
,d4,c4,l41 and ,fellow of ,queen',s     
,college1 ,oxford  ,member of the       
,institute of ,france1 ,professor at the
 ,collge de ,france1 ,director-,general 
of the ,service des ,antiquits1 ,cairo  
,translated by ,elizabeth ,lee  ,with   
#ajg ,illustrations       ,t4 ,fisher   
,unwin ,london3 ,adelphi ,terrace       
,leipsic3 ,inselstrasse #bj  ,first     
published in #aiac  7,all rights        
reserved7     ,,prefatory ,,note   ,the 
following essays were written during a  
period of more than thirty years1 and   
published at intervals of varying       
lengths4 ,the oldest of them appeared in
 ,les ,monuments de l',art ,antique of  
my friend ,olivier ,rayet1 and the      
others in ,la ,nature at the request of 
,gaston ,tissandier1 in the ,gazette des

 ,beaux-,arts1 in the ,monuments ,piot1 
and chiefly in the ,revue de l',art     
,ancien et ,moderne1 where my friend    
,jules ,comte gave them hospitality4 ,as
 most of these periodicals do not       
circulate in purely scientific circles1 
the essays are almost unknown to        
experts1 and will for the greater part  
be new to them4 ,indeed1 they were not  
intended for them4 ,in writing them1 ,i 
desired to familiarize the general      
public1 who were scarcely aware of their
 existence1 with some of the fine pieces
 of ,egyptian sculpture and goldsmiths' 
work1 and to point out how to approach  
them in order to appreciate their worth4
 ,some1 after various vicissitudes1 had 
found a home in the ,museums of ,paris  
or of ,cairo1 and ,i wrote the notices  
in my study1 deducing at leisure the    
reasons for my criticisms4 ,others ,i   
caught as they emerged from the ground1 
the very day of or the day after their  
discovery1 and ,i described them on the 
spot1 as it were1 under the influence of

 my first encounter with them3 they     
themselves dictated to me what ,i said  
of them4  ,some persons will perhaps be 
surprised to find the same ideas        
developed at length in several parts of 
the book4 ,if they will carry their     
thoughts back to the date at which ,i   
wrote1 they will recognize the necessity
 of such repetitions4 ,egyptologists1   
absorbed in the task of deciphering1 had
 eyes for scarcely anything except the  
historical or religious literary texts2 
and so amateurs or inquirers1 finding   
nothing in the works of experts to help 
them to any sound interpretation of the 
characteristic manifestations of        
,egyptian art1 were reduced to register 
them without always understanding them1 
for lack of knowledge of the concepts   
that had imposed their forms on them4   
,it is now admitted that such objects of
 art are above all utilitarian1 and that
 they were originally commissioned with 
the fixed purpose of assuring the       
well-being of human survival in an      

existence beyond the grave4 ,thirty     
years ago1 few were aware of this1 and  
to convince the rest1 it was necessary  
to insist continually on the proofs and 
to multiply examples4 ,i might of course
 have suppressed a portion of them here1
 but had ,i done so1 should ,i not have 
been reproached1 and quite rightly1 with
 misrepresenting and almost falsifying a
 passage in the history of the ,egyptian
 arts8 ,the ideas which govern our      
present conception did not at once reach
 the point where they now are4 ,they    
came into being one after the other1 and
 spread themselves by successive waves  
of unequal intensity1 welcomed with     
favour by some1 rejected by others4 ,i  
had to begin over again a dozen times   
and in a dozen different ways before ,i 
obtained their almost universal         
acceptation4 ,i was at first laughed at 
when ,i put forward the opinion that    
there was not one unique art in ,egypt1 
identical from one extremity of the     
valley to the other except for almost   

imperceptible nuances of execution1 but 
that there were at least half a dozen   
local schools1 each with its own        
traditions and its own principles1 often
 divided into several studios1 the      
technique of which ,i tried to          
determine4 ,in the end the incredulous  
rallied to my side1 and it would have   
been bad grace on my part to leave out  
of the articles which helped to convert 
them1 at least ,i hope so1 the          
repetitions which led to their being    
convinced4  ,besides1 ,i am sure that   
they will render my readers of to-day   
the same service that they rendered     
formerly to my colleagues in            
,egyptology4 ,when they have thoroughly 
entered into the spirit of the ,egyptian
 ideas concerning existence in this     
world and the next1 they will understand
 what ,egyptian art is1 and why it is   
above everything realistic4 ,the        
question for ,egyptian art was not to   
create a type of independent beauty in  
the person of the individuals who       

furnish the principal elements of it1   
but to express truthfully the features  
which constituted that person and which 
must be preserved identical as long as  
anything of him persisted among the     
living and the dead4 ,but why should ,i 
epitomize here in a necessarily         
incomplete way ideas which are amply set
 forth in the book itself8 ,i shall do  
better in using the small space left me 
in thanking the publishers who have     
kindly authorized me to reproduce the   
illustrations which accompanied my      
articles1 ,jules ,comte1 the directors  
of ,la ,nature1 and my old friends of   
the firm of ,hachette4 ,they have thus  
collaborated in this book1 and it will  
owe a large part of its success to their
 kindness4     ,,contents               
,,page   ,,prefatory ,,note             
#e     ,i    ,,egyptian ,,statuary ,,and
 ,,its ,,schools                        
#ag     ,,ii    ,,some ,,portraits ,,of 
,,mycerinus                             
#cf     ,,iii    ,a ,,scribe',s ,,head  

,,of ,,the ,,ivth ,,or ,,vth ,,dynasty  
#di     ,,iv    ,,skhemka1 ,,his ,,wife 
,,and ,,son3 ,a ,,group ,,found ,,at    
,,memphis                 #ee     ,v    
,,the ,,crouching ,,scribe3 ,,vth       
,,dynasty                               
#fj     ,,vi    ,,the ,,new ,,scribe    
,,of ,,the ,,gizeh ,,museum             
#ff     ,,vii    ,,the ,,kneeling       
,,scribe3 ,,vth ,,dynasty               
#gd     ,,viii    ,,pehournowri3        
,,statuette ,,in ,,painted ,,limestone  
,,found ,,at ,,memphis        #gi       
,,ix    ,,the ,,dwarf ,,khnoumhotpou3   
,,vth ,,or ,,vith ,,dynasty             
#he     ,x    ,,the 8,,favissa0 ,,of    
,,karnak1 ,,and ,,the ,,theban ,,school 
,,of ,,sculpture         #ij     ,,xi   
,,the ,,cow ,,of ,,de,r-,,el-,,bahar    
#ajf     ,,xii    ,,the ,,statuette ,,of
 ,,amen,,phis ,,iv                      
#abj     ,,xiii    ,,four ,,canopic     
,,heads ,,found ,,in ,,the ,,valley ,,of
 ,,the ,,kings ,,at ,,thebes      #abf  
,,xiv    ,a ,,head ,,of ,,the ,,pharaoh 

,,harmhabi                              
#ace     ,,xv    ,,the ,,colossus ,,of  
,,ramses ,,ii ,,at ,,bedreche,n         
#adj     ,,xvi    ,,egyptian ,,jewellery
 ,,in ,,the ,,louvre                    
#ade     ,,xvii    ,,the ,,treasure ,,of
 ,,zagazig                              
#aed     ,,xviii    ,,three ,,statuettes
 ,,in ,,wood                            
#agb     ,,xix    ,a ,,fragment ,,of ,a 
,,theban ,,statuette                    
#agh     ,,xx    ,,the ,,lady ,,tou ,,of
 ,,the ,,louvre ,,and ,,egyptian        
,,industrial ,,sculpture     ,,in ,,wood
                                        
#ahc     ,,xxi    ,,some ,,perfume      
,,ladles ,,of ,,the ,,xviiith ,,dynasty 
#aij     ,,xxii    ,,some ,,green       
,,basalt ,,statuettes ,,of ,,the        
,,sa,,te ,,period                   #aie
     ,,xxiii    ,a ,,find ,,of ,,sa,,te 
,,jewels ,,at ,,saqqarah                
#bja     ,,xxiv    ,a ,,bronze          
,,egyptian ,,cat ,,belonging ,,to ,m4   
,,barr,,re                      #bjh    

,,xxv    ,a ,,find ,,of ,,cats ,,in     
,,egypt                                 
#bad     ,,index                        
#bag     ,,illustrations                
,,facing ,,page   ,,the ,,mycerinus ,,of
 ,m,t-,,rahineh                         
#ch    ,,mycerinus 7,,reisner ,,head7   
#ch    ,,alabaster ,,statue ,,of        
,,mycerinus                             
#dj    ,,mycerinus1 ,,hathor1 ,,and     
,,the ,,nome ,,oxyrrhinchus             
#db    ,,mycerinus1 ,,hathor1 ,,and     
,,the ,,nome ,,cynopolite               
#db    ,,mycerinus ,,and ,,his ,,wife   
#dd    ,,mycerinus1 ,,hathor1 ,,and     
,,the ,,nome ,,of ,,the ,,sistrum       
#df    ,,mycerinus ,,and ,,his ,,wife   
7,,detail7                              
#df    ,,mycerinus ,,and ,,his ,,wife   
7,,detail7                              
#dh    ,,scribe',s ,,head               
#ej    ,,skhemka ,,with ,,his ,,wife    
,,and ,,son                             
#ef    ,,crouching ,,scribe             
#fj    ,,the ,,new ,,scribe ,,of ,,the  

,,gizeh ,,museum                        
#ff    ,,statue ,,of ,r,,nofir          
#gb    ,,kneeling ,,scribe              
#gd    ,,pehournowri                    
#hj    ,,the ,,dwarf ,,khnoumhotpou     
#hf    ,,the ,,works ,,at ,,karnak ,,in 
,,january1 #aijf                        
#ib    ,,montouhotpou ,v                
#id    ,,head ,,of ,a ,,colossus ,,of   
,,sanouosr,t                            
#id    ,,sanouosr,t ,,and ,,the ,,god   
,,phtah                                 
#id    ,,bust ,,of ,,thoutm,,sis ,,iii  
#if    ,,isis1 ,,mother ,,of            
,,thoutm,,sis ,,iii                     
#if    ,,sanmaout ,,and ,,the ,,princess
 ,,naf,,rouriya                         
#ih    ,,statuette ,,in ,,petrified     
,,wood                                  
#ajj    ,,theban ,,khonsou              
#ajj    ,,statue ,,of                   
,,tout,,noukhamanou                     
#ajj    ,,the ,,so-,,called ,,taia      
#ajj    ,,ramses ,,ii                   
#ajj    ,,ramses ,,iv ,,leading ,a      

,,libyan ,,captive                      
#ajj    ,,the ,,priest ,,with ,,the     
,,monkey                                
#ajb    ,,osorkon ,,ii ,,offering ,a    
,,boat ,,to ,,the ,,god ,,amon          
#ajd    ,,queen ,,ankhnasnofiriabr      
#ajd    ,,mantimeh                      
#ajd    ,,nsiphtah1 ,,son ,,of          
,,mantimeh                              
#ajd    ,,head 7,,sa,,te ,,period7      
#ajd    ,,the ,,cow ,,of                
,,de,r-,,el-,,bahar ,,in ,,her ,,chapel 
#ajd    ,,amen,,thes ,,ii ,,and ,,the   
,,cow ,,hathor                          
#ajf    ,,amen,,thes ,,ii ,,and ,,the   
,,cow ,,hathor                          
#ajf    ,,the ,,cow ,,hathor            
#ajh    ,,an ,,unknown ,,figure ,,and   
,,the ,,cow ,,hathor                    
#aab    ,,petesomtous ,,and ,,the ,,cow 
,,hathor                                
#aad    ,,psammetichus ,,and ,,the ,,cow
 ,,hathor                               
#aaf    ,,psammetichus ,,and ,,the ,,cow
 ,,hathor                               

#aah    ,,amen,,phis ,,iv               
#abj    ,,king ,,khouniatonou           
#abf    ,,king ,,khouniatonou           
#abf    ,,king ,,khouniatonou           
#abh    ,,king ,,khouniatonou           
#acj    ,,king ,,khouniatonou           
#acj    ,,queen ,t,,yi 7,,full ,,face7  
#acj    ,,queen ,t,,yi 7,,profile7      
#acj    ,,princess ,,of ,,the ,,family  
,,of ,t,,yi 7,,profile7                 
#acb    ,,princess ,,of ,,the ,,family  
,,of ,t,,yi 7,,full ,,face7             
#acb    ,,king ,,khouniatonou           
#acb    ,,king ,,khouniatonou           
#acd    ,,head ,,of ,,the ,,pharaoh     
,,harmhabi                              
#acf    ,,the ,,half-,,buried ,,colossus
 ,,of ,,ramses ,,ii                     
#adj    ,,the ,,colossus ,,of ,,ramses  
,,ii ,,emerging ,,from ,,the ,,earth    
#adj    ,,egyptian ,,jewellery ,,of     
,,the ,,xixth ,,dynasty                 
#adf    ,,gold ,,pectoral ,,inlaid      
,,with ,,enamel                         
#adf    ,,pectoral ,,of ,,ramses ,,ii   

#adh    ,,pectoral ,,in ,,shape ,,of ,a 
,,hawk ,,with ,a ,,ram',s ,,head        
#adh    ,,silver ,,bracelets ,,and      
,,earrings                              
#aef    ,,gold ,,earring ,,from ,,the   
,,treasure ,,of ,,zagazig               
#aef    ,,one ,,of ,,ramses ,,ii',s     
,,bracelets 7,,open7                    
#aeh    ,,one ,,of ,,ramses ,,ii's      
,,bracelets 7,,closed7                  
#aeh    ,,gold ,,cup ,,of ,,queen       
,,taouasr,t                             
#afj    ,,smaller ,,of ,,the ,,two      
,,gold ,,vases 7,,front ,,view7         
#afj    ,,smaller ,,of ,,the ,,two      
,,gold ,,vases 7,,back ,,view7          
#afb    ,,mass ,,of ,,silver ,,vases    
,,soldered ,,together ,,by ,,oxide      
#afb    ,,larger ,,of ,,the ,,two ,,gold
 ,,vases 7,,front ,,view7               
#afd    ,,larger ,,of ,,the ,,two ,,gold
 ,,vases 7,,back ,,view7                
#afd    ,,the ,,vase ,,with ,,the ,,kid 
#afd    ,,one ,,of ,,the ,,silver       
,,pater ,,of ,,zagazig 7,,side ,,view7  

#aff    ,,silver ,,strainer             
#aff    ,,the ,,bottom ,,of ,,one ,,of  
,,the ,,zagazig ,,silver ,,pater        
#afh    ,,statuettes ,,in ,,wood        
#agb    ,,the ,,mond ,,statuette        
7,,front ,,view7                        
#agh    ,,the ,,mond ,,statuette        
7,,profile7                             
#ahj    ,,the ,,lady ,,tou1 ,,statuette 
,,in ,,wood                             
#ahd    ,,statuette ,,in ,,wood         
#ahf    ,,statuette ,,in ,,wood         
#ahf    ,,perfume ,,ladle               
#aij    ,,perfume ,,ladle               
#aij    ,,perfume ,,ladle               
#aib    ,,perfume ,,ladle               
#aib    ,,perfume ,,ladle               
#aid    ,,green ,,basalt ,,statuettes   
,,of ,,the ,,sa,,te ,,period            
#aif    ,,necklace ,,amulet             
#bjb    ,,vulture ,,amulet              
#bjb    ,,gold ,,palm-,,tree            
#bjb    ,,boat ,,of ,,sokaris           
#bjb    ,,ram',s ,,head                 
#bjb    ,,gold ,,hawk                   

#bjb    ,,hawk ,,with ,,human ,,head    
#bjb    ,,hawk ,,with ,,ram',s ,,head   
#bjb    ,,vulture                       
#bjb    ,,isis ,,with ,,the ,,child     
#bjb    ,,crouching ,,ne,,th            
#bjb    ,,monkeys ,,worshipping ,,the   
,,emblem ,,of ,,osiris                  
#bjd    ,,vulture ,,with ,,extended     
,,wings                                 
#bjd    ,,hawk ,,with ,,extended ,,wings
                                        
#bjd    ,,the ,,soul 7,,front ,,view7   
#bjd    ,,the ,,soul 7,,back ,,view7    
#bjd    ,,bronze ,,cat ,,of ,,the       
,,sa,,te ,,period                       
#bjh    ,,bronze ,,cat                  
#bad     ,,egyptian ,,art     ,i        
,,egyptian ,,statuary ,,and ,,its       
,,schools#a   ,i opened ,f4,w4 von      
,bissing's work#b with a certain feeling
 of melancholy1 for it was a thing that 
,i had hoped to do myself4 ,ebers had   
suggested to ,bruckmann1 the publisher1 
that he should entrust the task to me1  
and ,i was on the point of arranging    

with him when the preparations for an   
,orientalist ,congress to meet at ,paris
 in #ahig deprived me of the leisure    
left me by my lectures and the printing 
of my 8,history10 and ,i was forced to  
give up the project4 ,herr von ,bissing1
 who was less occupied then than ,i was1
 consented to hazard the adventure1 and 
no one could have been better equipped  
than he was to carry it through4 ,the   
seeking of materials1 the execution of  
typographical clichs1 the composition of
 the text and its careful setting forth 
exacted eight years of travelling and   
continuous labour4 ,bissing issued the  
first part at the end of #aije1 and five
 other parts have quickly followed1     
forming almost the half of the work1    
seventy-two plates folio1 and the       
portions of the explanatory text        
belonging to the plates4   ,i  ,the     
title is not1 at least as yet1 exactly  
accurate4 ,egyptian sculpture includes1 
in fact1 besides statues and groups in  
alto-relievo1 bas-reliefs often of very 

large dimensions which adorn the tombs  
or the walls of temples4 ,now ,bissing  
has only admitted statues and groups to 
the honours of publication3 the few     
specimens of the bas-reliefs that he    
gives are not taken from the ruins      
themselves1 but have been selected from 
pieces in the museums1 stel1 or         
fragments of ruined buildings4 ,it is   
then the monuments of ,egyptian statuary
 that he presents to us rather than     
those of ,egyptian sculpture as a whole4
  ,having made that statement and thus  
defined the extent of the field of      
action1 it must be frankly admitted that
 he has always made a happy selection of
 pieces to be reproduced4 ,doubtless we 
may regret the absence of some famous   
pieces1 such as the ,crouching ,scribe  
of the ,louvre or the ,cow of ,der      
el-,bahar4 ,the fault is not his1 and   
perhaps he will succeed in overcoming   
the obstacles which forced him to       
deprive us of them4 ,the omissions1 at  
any rate1 are not numerous4 ,when the   

list printed on the covers of the first 
part is exhausted1 amateurs and experts 
will have at their disposal nearly      
everything required to follow the       
evolution of ,egyptian statuary from its
 earliest beginnings to the advent of   
,christianity4 ,the schools of the      
,greek and ,roman epochs1 unjustly      
contemned by archologists who have      
written on these subjects1 are not      
wanting1 and for the first time the     
ordinary reader can decide for himself  
if all the artists of the decadence     
equally deserve contempt or oblivion4   
,bissing has attempted a complete       
picture1 not a sketch restricted to the 
principal events in art between the     
,i,vth ,dynasty and the ,x,x,xth4 ,no   
serious attempt of the kind had before  
been made1 and on many points he had to 
open out the roads he traversed4 ,for   
the moment he has stopped at the        
beginning of the ,sate period2 thus we  
have as yet no means of judging if the  
plan he has imposed on himself is       

carried out to the end with a rigour and
 firmness everywhere equal3 but a rapid 
examination of the parts that have      
appeared will show that it has been     
executed with fullness and fidelity4    
,four plates are devoted to ,archaic    
,egypt3 the two first are facsimiles of 
the bas-reliefs that decorate the stele 
of the ,horus ,qa-ou1 and the so-called 
palette of the king we designate        
,nr-mer1 since we have not deciphered   
his name4 ,it is in truth very little1  
but the excavations have rendered such  
poor accounts of those distant ages that
 it is almost all that could be given of
 them2 it might1 however1 have been     
worth while to add the statuettes of the
 ,pharaoh ,khsakhmou4 ,notwithstanding  
the omission1 the objects that appear   
give a sufficient idea of the degree of 
skill attained by the sculptors of those
 days4 ,the stele of ,qa-ou does not1 of
 course1 equal that of the              
,king-,serpent#c which is in the        
,louvre2 it is1 however1 of a fairly    

good style1 and the hawk of ,horus is   
nearer to the real animal than those of 
the protocol were later4 ,similarly the 
scenes engraved on the palette of       
,nr-mer testify to an indisputable      
virtuosity in the manner of attacking   
the stone4 ,the drawing of the persons  
is less schematic and their bearing     
freer than in the compositions of       
classical art1 but it is evident that   
the craftsman had as yet no very clear  
idea of the way in which to compose a   
picture and group its elements4 ,let us 
confess1 nevertheless1 that the         
bas-reliefs are far superior to the     
statues yet known4 ,we possess about    
half a dozen of them scattered over the 
world4 ,bissing studied one to the      
exclusion of the others1 the one in the 
,naples ,museum1 and it may be thought  
to be sufficient if only sthetic        
impressions are desired1 for nothing    
could be rougher or more awkward4 ,the  
head and face might perhaps pass1 but   
the rest is ill-proportioned1 the neck  

is too short1 the shoulders and chest   
are massive1 the legs lack slenderness  
under a heavy petticoat1 the feet and   
hands are enormous4 ,the defects cannot 
be ascribed to the hardness of the      
material1 for the ,scribe of the ,cairo 
,museum1 which is in limestone1 displays
 them as flagrantly as the good people  
in granite at ,naples1 ,munich1 or      
,leyden4 ,i must not therefore conclude1
 however1 that they are constant faults 
with the ,thinites3 the statuettes of   
,khsakhmou are of a less heavy          
workmanship and more nearly approach    
that of later studios4 ,that the ruins  
have rendered only a few that possess   
worth does not prove that there may not 
have been excellent ones3 we must have  
patience and wait till some happy chance
 belies the mediocrity4  ,the ,memphian 
,empire has furnished thirteen plates1  
and ,i doubt if they are enough4 ,the   
number of masterpieces1 and especially  
of pieces which1 without possessing     
claims to perfection1 offer interest on 

some count1 is so large that ,bissing   
could easily have found1 in the ,cairo  
,museum alone1 material enough to double
 the number4 ,very probably it was due  
to the publisher and a question of      
economy3 but all the same ,i regret the 
absence of half a dozen statues that    
would have made a good appearance by the
 side of the ,scribe of the ,berlin     
,museum4 ,the chief species of the      
period are at least represented by very 
good examples3 statues of the ,pharaoh  
seated1 receiving homage1 are           
represented by two of the ,chephrn of   
the ,cairo ,museum2 of the ,pharaoh     
standing1 by the ,pioupi in bronze2     
those of private individuals standing   
and isolated1 or in groups1 by the      
,chekh el-,beled of the ,gizeh ,museum1 
by the ,sapou and the ,nasi of the      
,louvre1 or by the pair at ,munich2     
those of individuals seated by the      
,scribe of ,berlin and by one of the    
,readers of ,cairo4 ,one of the ,cairo  
statues1 of mediocre workmanship1 is1   

however1 curious1 because it shows us a 
priest completely nude1 by no means     
usual1 and circumcized1 a fact still    
less usual4 ,three fragments preserved  
at ,munich1 portions of three stel1 a   
complete stele from the ,cairo ,museum1 
an episode borrowed from the tomb of    
,apou1 of which ,cairo possesses almost 
an entire wall1 provide specimens of    
bas-reliefs for the student to study1   
without1 however1 permitting him to     
suspect the variety of motives and      
abundance of detail usually met with in 
the necropolises of ,saqqarah or of     
,gizeh4 ,reduced to these elements1     
,bissing's book will make the impression
 on its readers of a noble art exalted  
by inspiration1 minute and skilful in   
the material execution1 but monotonous1 
and confined in a rather narrow circle  
of concepts and forms of expression4 ,it
 is only fair to add that the book is   
not finished and that1 thanks to the    
system employed of double and triple    
plates1 it is quite easy to insert new  

documents among those of the parts that 
have already appeared4 ,some of the     
lacun will assuredly be filled up1 and  
the additions will place us in a better 
position to judge the worth of the      
ancient ,memphian school4  ,the notices 
of the first ,theban ,empire are more   
numerous1 and they render it possible to
 study the history of statuary during   
the long interval that separates the    
,heracleopolitan period from the        
domination of the ,shepherd ,kings4 ,for
 the ,x,ith ,dynasty1 besides the       
wonderful statue of ,montouhotpou ,,iii1
 there are bas-reliefs or paintings     
found at ,gebelen in the ruins of a     
temple of ,montouhotpou ,i4 ,afterwards1
 we have1 in the ,x,i,ith ,dynasty      
itself1 the seated statues of ,sanouosrt
 ,i1 of ,nofrt and of ,amenemhat ,,iii1 
the sphinx of ,amenemhat ,,iii that     
,mariette declared to be the portrait of
 a ,hykss king1 an admirable king's head
 preserved in the ,vienna ,museum1 and  
pieces of lesser interest1 among which a

 curious bas-relief of ,sanouosrt ,i    
dancing before the god ,mnou at ,coptos 
should be mentioned4 ,for the ,x,i,i,ith
 and following ,dynasties1 ,i only see  
as yet the ,sovkhotpou of the ,louvre1  
the barbarous head of ,mt-,fares1 and   
the ,sovkemsaouf of ,vienna1 but we must
 wait for the next parts before deciding
 to what point ,bissing has made use of 
the rich store of documents available   
for that period4 ,the second ,theban    
,empire1 so rich in souvenirs of all    
kinds1 offered an embarrassing choice3  
the ,cairo ,museum alone possesses      
material enough for two or three        
volumes1 especially since the fortunate 
excavations conducted by ,legrain at the
 favissa of ,karnak4 ,the subjects in   
favour of which ,bissing decided have   
their special importance3 they are each 
the actual head of a pillar1 the type of
 a series that he could1 in many cases1 
have reproduced almost entire1 so well  
has chance served us in the course of   
these last years4 ,the statues of       

,amenthes1 of ,thoutmsis1 of the        
,ramses1 of the ,harmais are celebrated1
 and it is unnecessary to enumerate them
 one after the other3 the reader will   
see them again with pleasure as he goes 
along1 and will admire the marvellous   
skill with which the photographer has   
reproduced them1 and the printer has    
responded to the photographer's skill4  
,the pictures of the volume are often   
perfect1 and plates like those of the   
head of one of the sphinxes of          
,amenemhat ,,iii are so successful that 
in looking at them we have almost the   
sensation of the original4 ,in a few1   
however1 the printing is too heavy and  
the thickness of the ink has distorted  
and coarsened the modelling4 ,as a      
general rule the larger number of the   
defects ,i have noted are due to this   
tiresome question of inks4 ,i know too  
well from my own experience the         
difficulties caused by the obstinacy of 
the workmen on that point1 so ,i am able
 to make excuses for both ,bruckmann and

 ,bissing4   ,,ii  ,so much for the     
illustrations3 the portion of the text  
as yet published greatly increases their
 interest1 and assures the work         
permanent value4 ,it contains           
information as to the origin of the     
object1 its migrations1 its actual home 
to-day1 its state of preservation and1  
at need1 the restorations it has        
undergone3 descriptions showing careful 
research1 and extended bibliographies   
complete the suggestions made by the    
picture1 and inform us of previous      
criticisms4 ,the shortest of the notices
 fills two compact quarto columns1 and  
are reinforced by numerous footnotes2   
many of them are veritable essays in    
which the subject is examined on every  
side and as exhaustively as is possible4
 ,vignettes are inserted which exhibit  
the object in a different light from    
that of the plate1 or show the reader   
some of the analogous motives referred  
to in the discussion4  ,repetition of   
similar types has sometimes prevented   

,bissing from developing his views as a 
whole1 and we are compelled to look     
under several rubrics before learning   
his full opinion4 ,this is a serious    
drawback unless it is remedied in the   
introduction3 we shall perhaps find all 
the observations brought together there 
into one system1 with justificatory     
references to each of the notices in    
particular4  ,bissing's criticisms are  
always well justified3 they testify to a
 mature taste or a sure tact1 and there 
are very few with which experts would   
not willingly agree4 ,here and there1   
however1 ,i must make some reservations1
 for example1 with regard to the        
,chephrn of ,gizeh4 ,after discussing at
 length ,borchardt's reasons for        
attributing it to a ,sate school1 and   
refuting them1 ,bissing declares that it
 is perhaps a late copy of a work       
contemporary with the ,pharaoh4 ,i      
recently had occasion to study it       
closely in order to determine the       
position in the ,museum best suited to  

it1 and to decide the height of the     
plinth on which it should be placed4 ,i 
went over ,borchardt's arguments and    
,bissing's hypotheses one after the     
other and came to the conclusion that   
the date assigned by ,mariette at the   
moment of its discovery is the only     
admissible one4 ,the archological       
details belong to the ,memphian age1 and
 the peculiarities of style which       
,bissing points out1 and which actually 
exist1 are not sufficiently strongly    
marked to justify its attribution to a  
later epoch4 ,i only see in them the    
divergences which1 in every age1 mark   
works coming from different and perhaps 
rival studios4 ,the artists who cut the 
doubles in diorite destined for the     
pyramid of the ,pharaoh1 did not        
certainly have the same masters as those
 to whom we owe the ,chephrn in         
alabaster and the royal statuettes of   
,mitrahineh3 the difference of origin   
sufficiently explains why they do not   
resemble each other4 ,i fear that in    

criticizing certain sculptures          
,borchardt and others were governed in  
spite of themselves by the ideas that   
long prevailed on the uniformity and    
monotony of ,egyptian art4 ,it seemed to
 them that at one and the same period   
the composition and inspiration must    
always remain identical1 and wherever   
they did not harmonize1 the fact was    
attributed solely to an interval in     
time4 ,but we must accustom ourselves to
 think that things did not go           
differently with the ,egyptians than    
with the moderns4 ,in a city like       
,memphis there was more than one studio1
 and they all possessed their           
traditions1 their affectations1 their   
style1 which distinguished them from    
each other1 and which are found in their
 work like a trade-mark4 ,some errors of
 classification will be avoided in the  
future if we can be persuaded to        
recognize that many of the peculiarities
 that we begin to note on statues and   
bas-reliefs may be the mannerisms of the

 school to which they belong1 and are   
not always indications of relative age4 
,the care that ,bissing has taken to    
render what is due to each of the       
experts who discovered a piece or spoke 
of it1 deserves the more praise since   
many ,egyptologists of the present      
generation have adopted the attitude of 
ignoring what has been said or written  
before them4 ,they seem to insinuate to 
their readers that archology1 religion1 
grammar1 history1 nothing indeed that   
they touch on1 has ever been studied    
before1 and that the bibliography of a  
subject begins with the first essay they
 have devoted to it4 ,although the past 
of ,egyptology is so short1 it is a     
difficult subject to know1 and it is not
 surprising if ,bissing has             
misrepresented some features or ignored 
others4 ,for example1 he attributes the 
merit of recognizing in the animal's    
tail that the kings attach to their     
back1 not a lion's tail but a jackal's#d
 to ,wiedemann2 ,i do not know if ,i was

 the first1 but ,i think that ,i        
certainly stated this before            
,wiedemann4#e ,a little farther on1 ,i  
regret that ,bissing was not acquainted 
with my notice of the statue of         
,montouhotpou in the ,muse ,egyptien3#f 
,i am curious to know if he accepts my  
explanation of the disproportion between
 the feet1 legs1 and bust4 ,it seems to 
me that it was not intended to be on the
 same level as the spectator1 but that  
it ought to be placed in a naos1 on a   
fairly high platform which could be     
reached by a staircase in front3 seen   
from below1 foreshortened1 the effect of
 the perspective would redeem the       
exaggeration of form and re-establish   
the balance between the parts4 ,it seems
 also that ,bissing was not acquainted  
with the part of the ,muse in which this
 ,montouhotpou is discussed1 for he does
 not refer to it again with regard to   
the ,amenemhat ,,iii discovered by      
,flinders ,petrie at ,fayoum4#g ,farther
 on again1 it would have been in keeping

 to note that ,legrain found the debris 
of a statuette in black granite in the  
mud of the favissa at ,karnak1 which so 
closely resembles the admirable ,ramses 
,,ii of ,turin that it might almost be  
the replica or a sort of original rough 
model4#h ,unfortunately the head is     
wanting1 but we have been almost        
entirely successful in restoring the    
body3 if it is not by the same sculptor 
who took such pleasure in modelling the 
,turin statue1 it comes from the same   
royal studio4 ,the few differences to be
 noted between them arise solely from   
the inequality of the stature3 it was   
necessary to simplify certain details or
 to suppress them in the smallest of the
 statues4  ,these examples show that    
there is nothing very serious in the    
omissions and negligences3 we are       
surprised not that there should be some1
 but that among such a mass of          
references there are not more4 ,i might 
perhaps disagree with some of the       
theories or points of doctrine ,bissing 

constantly advances1 but ,i will wait to
 do so until he has elaborated into a   
system the elements so abundantly spread
 through the notices4 ,but there is one 
criticism ,i will make now3 he scarcely 
mentions the schools into which ,egypt  
was divided1 so that we are tempted to  
conclude that1 like so many contemporary
 archologists1 he believes in the       
existence of one sole school1 which     
worked in an almost uniform manner over 
the whole of ,egypt at one time4 ,it is1
 however1 certain that there were always
 several schools on the banks of the    
,nile1 each of which possessed its      
traditions1 its designs1 its method of  
interpreting the costume or the pose of 
individuals1 the works of which have a  
sufficiently special physiognomy to     
admit of their being easily separated   
into their different groups4 ,here1     
again1 it seems to me that sometimes    
varieties of execution which are the    
result of the teaching are taken to be  
signs of age1 and that pieces which are 

contemporary within a few years1 but    
which proceed from distinct schools1 are
 spread over centuries4 ,i have not     
discovered ,bissing in such errors3 his 
natural insight and his knowledge of the
 monuments preserved him from making    
them4 ,i wish1 however1 that he had     
touched on the matter more definitely   
than he has1 and1 after letting it be   
seen in several places that he admits   
the existence of those schools1 he      
should have defined their               
characteristics in accordance as the    
progress of his book brought their work 
before the reader4 ,he has briefly      
touched on the matter in regard to the  
sphinxes of ,tanis and the statue of    
,amenemhat ,,iii1 but he might1 for     
example1 have seized the opportunity of 
the ,montouhotpou in order to           
demonstrate the tendencies of ,theban   
art at its birth2 he could have followed
 them in their evolution1 and the       
,amenthes ,i of ,turin might perhaps    
have served to teach us how those       

tendencies were developed or modified   
between the beginning of the first      
,theban ,empire and that of the second4 
,a passage in the notice of the         
so-called ,hykss sphinxes leads me to   
hope that he will do this for the       
,tanite school in regard to the         
celebrated ,bearers of offerings3 ,i    
greatly wish that ,i may not be         
disappointed in my hope4   ,,iii  ,as   
far as ,i can judge there were at least 
four large schools of sculpture in the  
valley of the ,nile3 at ,memphis1       
,thebes1 ,hermopolis1 and in the eastern
 part of the delta4 ,i have attempted   
farther on to sketch the history and    
define the principal characteristics of 
the ,theban school2#i ,i shall only     
refer to it as far as it is necessary to
 make clear in what it is distinguished 
from the three others4  ,and to begin   
with1 it is probable that the first of  
those in date1 the ,memphian1 is merely 
the prolongation and continuation of a  
previous ,thinite school4 ,if ,i compare

 the few objects of real art that have  
come to us from the ,thinites with      
parallel works of which the necropolises
 of ,gizeh1 ,saqqarah and the ,fayoum   
have restored to us so many examples1 ,i
 am struck by the resemblances in       
inspiration and technique that exist    
between the two4 ,we have no statues    
originating from ,thinis itself1 but the
 stel1 the amulets in alto-relievo1 the 
fragments of minute furniture discovered
 in the tombs of ,omm-el-,gab find their
 exact counterpart in similar pieces    
that come from the excavations of       
,abousr-el-,malak or of ,medoum and from
 the sub-structure of ,memphian         
residences4 ,i think ,i see that at the 
beginning there were mediocre workmen in
 the plain of the ,pyramids capable1    
however1 of sculpturing1 ill or well1 a 
statue of a man seated or standing3 to  
those men ,i attribute the statue ,no4  
#a in the ,cairo ,museum1 the ,matonou  
7,amten7 of ,berlin1 the ,sapou 7,sepa7 
of the ,louvre1 and a few other lesser  

ones4 ,the same defects are to be seen  
in all3 the head out of proportion to   
the body1 the neck ungraceful1 the      
shoulders high1 the bust summarily      
rough-hewn and without regard to the    
dimensions of each part1 the arms and   
legs heavy1 thick1 angular4 ,their      
roughness and awkwardness compared with 
the beautiful appearance of the two     
statues of ,medoum1 which are almost    
contemporary with them1 would astonish  
us if we did not think that the latter1 
commissioned for relatives of           
,sanofraou1 proceed from the royal      
workshops4 ,the transference of the     
capital to ,memphis1 or rather to the   
district stretching from the entrance   
into the ,fayoum to the fork of the     
delta1 necessarily resulted in          
impoverishing ,thinis-,abydos2 the      
stone-cutters1 architects1 statuaries1  
and masons accompanied the court1 and   
planted the traditions and teaching of  
their respective fatherlands in their   
new homes4 ,according to what is seen in

 the tombs of ,medoum1 the latest       
,thinite style1 or rather the transition
 style of the ,i,i,ird ,dynasty1        
presents exactly the same               
characteristics as the perfect style of 
the ,i,vth1 ,vth1 and ,v,ith ,dynasties1
 but with a less stiff manner4 ,the pose
 of the persons and the silhouettes of  
the animals are already schematized and 
encircled in the lines which will       
enclose them almost to the end of       
,egyptian civilization1 but the detail  
is freer1 and keeps very close to       
reality4 ,the tendency is perceived only
 in the roundness and suppleness that   
prevails from the time of ,cheops and   
,chephrn4 ,the ,memphites sought to     
idealize their models rather than to    
make a faithful copy of them1 and while 
respecting the general resemblance1     
desired to give the spectator an        
impression of calm majesty or of        
gentleness4 ,their manner was adopted at
 ,thinis by a counter-shock1 and it may 
be said that from the ,i,vth to the     

,x,x,v,ith ,dynasty ,abydos remained    
almost a branch of the ,memphian school1
 which1 however1 grew out of it4 ,the   
productions only differ from those of   
the ,memphites in subordinate points1   
except during the ,x,i,xth ,dynasty1    
when ,setou ,i and ,ramses ,,ii summoned
 ,theban sculptors there1 and for some  
years it became1 artistically1 a fief of
 ,thebes4  ,if we would indicate in one 
word the character of this              
,thinito-,memphian art1 we should say   
that it resides in an idealism of       
convention as opposed to the realism of 
,theban art4 ,thanks to the fluctuations
 of political life which alternately    
made ,memphis and ,thebes the capitals  
of the whole kingdom1 the sthetics of   
the two cities spread to the            
neighbouring towns1 and did not allow   
them to form an independent art3        
,heracleopolis1 ,beni-,hassan1 ,assiout1
 ,abydos took after ,memphis1 while the 
,sad and ,nubia1 from ,denderah to      
,napata1 remained under the jurisdiction

 of ,thebes4 ,an original school arose1 
however1 in one place1 and persisted for
 a fairly long time1 in ,hermopolis     
,magna1 the city of ,thot4 ,we observe  
there1 from the end of the ,ancient     
,empire1 sculptors who devoted          
themselves to expressing with a         
scrupulous naturalism1 and often with an
 intentional seeking after ugliness1 the
 bearing of individuals and the movement
 of groups4 ,we should observe with what
 humour they interpreted the extremes of
 obesity and emaciation in man and      
beast1 in the two tombs called the fat  
and the lean4 ,the region where they    
flourished is so little explored that it
 is still unknown how long their        
activity practised a continuous style3  
it was at its best under the first      
,theban ,empire1 at ,bercheh1 at        
,beni-,hassan1 at ,chekh-,sad1 but the  
period at which it seems to me to be    
most in evidence was at the end of the  
,x,v,i,i,ith ,dynasty1 under the heretic
 ,pharaohs4 ,when ,amenthes ,,iv founded

 his capital of ,khoutatonou1 if1 as is 
probable1 he settled some ,theban       
masters there1 he would certainly have  
utilized the studios of ,hermopolis4    
,the scenes engraved on the tombs of    
,el-,tell and ,el-,amarna are due to the
 same spirit and the same teaching as   
those of the fat and lean tombs2 there  
are similar deformations of the human   
figure bordering on caricature1 the same
 suppleness and sometimes the same      
violence in the gestures and attitudes4 
,in a number of portraits the ,theban   
importation prevails1 but the           
cavalcades1 processions1 royal          
audiences1 popular scenes1 must be      
attributed to the ,hermopolitans1 for   
their inspiration and execution present 
so striking a contrast to those of      
analogous pictures that adorn the walls 
of ,louxor or ,karnak4 ,the fall of the 
little ,atonian ,dynasty stopped their  
activity2 deprived of the vast          
commissions which opened a new field for
 their enterprise1 they fell back into  

their provincial routine1 and we have   
not yet enough documents to tell us what
 their successors became in the course  
of the centuries4  ,in the delta two    
fairly different styles may be seen from
 the beginning4 ,in the east1 at ,tanis 
and in its neighbourhood1 there is1 at  
the beginning of the first ,theban      
,empire1 a veritable school1 the        
productions of which possess such an    
individual physiognomy that ,mariette   
did not hesitate to attribute them to   
the ,shepherd ,kings3 since the works of
 ,golenischeff it is known that the     
so-called ,hykss sphinxes are of        
,amenemhat ,,iii1 and that they belong  
to the second half of the ,x,i,ith      
,dynasty4 ,this ,tanite school is       
perpetuated through the ages2 it was    
still flourishing under the ,x,x,ist and
 ,x,x,i,ind ,dynasties1 as is proved by 
the fine group of bearers of offerings  
in the ,cairo ,museum4 ,the predominant 
features are the energy and harshness of
 the modelling1 especially of the human 

face3 its masters have copied a type1   
and modes of coiffure belonging1 as     
,mariette formerly pointed out1 to the  
half-savage populations of ,lake        
,menzaleh1 the ,egyptians in the marshes
 of ,herodotus4 ,it seems to me that    
their manner is still to be noted in the
 ,grco-,roman period in the statues of  
princes and priests that we have in the 
,cairo ,museum3 the technical skill1    
however1 is less than in the sphinxes   
and the bearers of offerings4 ,the      
centre and west of the delta1 on the    
other hand1 came under the influence of 
,memphis1 as far as we can judge from   
the rare existing fragments belonging to
 the ,ancient ,empire4 ,under the       
,thebans the dependence is clear1 and   
all that comes from those regions       
differs in nothing from what we have    
from the ,memphian necropolises4 ,only  
in the ,ethiopian period1 and under the 
influence of the successors of          
,bocchoris1 is a ,sate school revealed  
to us1 which1 borrowing its general     

composition from the ,memphian school1  
comes closer to nature and impresses an 
individual stamp on certain elements of 
the human figure that until then had    
been handled in a loose1 so to say1 an  
abstract fashion4 ,the modelling of the 
face is as full of expression as in the 
fine works of the ,theban school1 but   
with greater finish and less harsh      
effects2 the ravages of old age1        
wrinkles1 crows'-feet1 flabbiness of    
flesh1 thinness1 are all reproduced with
 a care unusual in preceding            
generations2 the skull1 indeed1 is so   
minute in detail that it might almost be
 called an anatomical study4 ,this      
impulse towards skilled realism1 begun  
by instinct in the heart of the school1 
became accentuated and accelerated by   
contact with the ,hellenes1 who from the
 time of ,psammetichus ,i swarmed in the
 provinces of the delta4 ,certain       
bas-reliefs of ,alexandria and ,cairo1  
the date of which is assigned to the    
reign of ,nectanebo ,,ii1 which ,i      

should like to place in that of one of  
the first ,ptolemies1#aj may be regarded
 as extant witnesses of a kind of       
composite art analogous to that which   
was developed two centuries later at    
,alexandria or at ,memphis1 and of which
 the ,cairo ,museum possesses some rare 
examples4  ,it should be clearly        
understood that ,i do not claim to put  
the complete result of my study of the  
schools1 the presence of which in       
,ancient ,egypt is now confirmed1 in    
these few lines4 ,i am only anxious to  
point out the part played by them in    
historic times1 and the errors into     
which those who have written the history
 of ,egyptian art without suspecting    
their existence1 or without taking into 
consideration what we do know of them1  
have fallen4 ,bissing does not ignore   
them1 and is doubtless waiting to       
criticize them in his ,introduction4 ,he
 has so much material that it will be   
easy for him to rectify my hypotheses1  
and to confirm them where necessary2 in 

that way his book will gain by being no 
longer a mere collection of monuments   
each described as an isolated piece1 but
 a veritable treatise on sculpture1 or  
at least on ,egyptian statuary4  ,i     
shall be sincerely sorry if he fails in 
that particular1 but even so1 ,i should 
feel it right to declare that he has    
come honourably out of an enterprise in 
which he had no predecessors4 ,the few  
plates that ,i inserted a quarter of a  
century ago in the ,monuments de l',art 
,antique1 and the notices contained in  
the parts of the ,muse ,egyptien that   
have already appeared1 afforded both    
experts and amateurs a foretaste of the 
surprises that ,egypt has in store in   
the matter of art2 they have been too   
few1 and have related to subjects too   
scattered in point of time1 to produce a
 body of doctrine4 ,but here1 on the    
contrary1 nearly two hundred pieces are 
available1 classified according to the  
order of the ,dynasties1 and for the    
most part unpublished1 or better        

reproduced than in the past4 ,each will 
be accompanied by an analysis in which  
the researches previously connected with
 it will be set forth and discussed2 for
 the first time ,egyptologists and the  
general public will have the artistic   
and critical apparatus required for     
judging the value of the principal      
pieces of ,egyptian statuary before     
their eyes and in their hands4 ,those   
who know the amount of the literature   
existing on ,egyptology1 and how        
scattered it is1 can easily imagine the 
patience and bibliographical flair that 
,bissing must have needed for gathering 
from libraries the information so       
generously scattered on every page of   
his notices4 ,but that was only the     
least part of his task2 the appreciation
 of the objects themselves demanded of  
him an ever alert attention and a       
continuous tension of mind which would  
promptly have exhausted a man less      
devoted to the minuti of artistic       
observation4 ,in other branches of the  

science1 the materials have for the most
 part been so often and so repeatedly   
kneaded that nearly always half of the  
work has been already done2 here1       
nothing of that sort exists1 and in many
 cases ,bissing has dealt with objects  
that he was the first to know1 and of   
which no previous study had been        
attempted4 ,that he is sometimes weary1 
and that here and there his opinions may
 be controverted1 he willingly          
confesses4 ,but what surprises me is how
 very rarely it is necessary to upset   
them1 even partially4  ,i hope then that
 we shall not have to wait too long for 
the completion of this admirable work4  
,may ,i venture to add that after the   
present edition1 which is an dition de  
luxe1 a popular edition would be        
welcome8 ,egyptologists like myself are 
condemned to pay such large sums for our
 books that the price of these          
8,denkmler0 does not alarm us1 but the  
fact has greater importance for others4 
,a reproduction in a smaller format1 and

 less expensive1 would greatly help to  
spread the knowledge of ,egyptian art   
among classes of readers whom the book  
in its present form will not reach4     
,,ii  ,,some ,,portraits ,,of           
,,mycerinus#aa   ,it has long been a    
debatable question if the ,egyptian     
statues of kings and private individuals
 can be regarded as faithful portraits  
or as merely approximate to their       
originals4 ,no one has ever denied that 
their authors desired to make them as   
like as possible1 but we hesitate to    
believe that they succeeded in doing so4
 ,the air of uniformity lent them by the
 repeated employment of the same        
expressions and the same postures       
encouraged the notion that1 judging     
themselves incapable of exactly         
transcribing the details of bodily form 
or physiognomy proper to each           
individual1 the sculptors decided that  
such details were not necessary for the 
kind of service to which the statues    
were destined3 they considered that the 

task entrusted to them was sufficiently 
fulfilled if the soul or the double for 
which these statues provided an         
imperishable body recognized in them    
enough of the perishable body to enable 
them to attach themselves to it without 
hurt in the course of their posthumous  
existence4 ,the study of the monuments  
has dissipated those doubts4 ,any one   
who has carefully handled one of the    
,sate heads1 the skull and face of which
 present such clearly individual        
characteristics1 must acknowledge that  
so many details noted with such         
felicitous care indicate an absolute    
intention of transmitting the exact     
appearance of the model to posterity4   
,and if1 proceeding forward1 we reach   
the second ,theban period1 we shall     
soon1 thanks to the chances which have  
delivered to us the well-preserved      
corpses of about fifty princes and      
princesses1 recognize the success with  
which the royal studios perpetuated in  
stone the effigies of their             

contemporaries4 ,the profile of ,setou  
,i photographed in his coffin would     
coincide line for line with that of his 
bas-reliefs of ,karnak or ,abydos were  
it not for the thinness resulting from  
embalmment4 ,let us go back eight or ten
 centuries and see how the master       
sculptors of the first ,theban period   
treated their ,pharaohs4 ,the statues of
 ,amenemhat ,,iii and of ,sanouosrt have
 so personal a note that we should be   
wrong to imagine they could be anything 
but a sincere1 almost a brutal likeness4
 ,the two ,chephrn of the ,cairo ,museum
 were not long ago alone in suggesting  
to us the conviction that the ,memphian 
times yielded nothing in this matter of 
resemblance to ages farther removed from
 us2 the recent discovery of ten statues
 of ,mycerinus prevents any further     
doubt4  ,most of them have not left     
,egypt4 ,the first that came to us was  
acquired by purchase in #ahhh1 with four
 statuettes of ,naousirrya1 of          
,mankahorou1 of ,chephrn1 and perhaps of

 ,cheops4 ,according to the information 
collected at the time by ,grbaut1 they  
were found together1 two or three weeks 
before1 by fellahs of ,mt-,rahineh under
 the ruins of a little brick building   
situated at the east of what was        
formerly the sacred lake of the temple  
of ,phtah at ,memphis4 ,that was        
certainly not their original place2 they
 had probably each adorned first the    
funerary chapel annexed to the pyramid  
of its sovereign3 their transference to 
the town and their reunion in the place 
where they were discovered are not      
earlier than the reign of the last      
,sates or the first ,ptolemies4 ,it was 
then1 in fact1 that hatred of foreign   
domination having exalted the love of   
all that was peculiarly ,egyptian in the
 eyes of the people1 reverence for the  
glorious ,pharaohs of former ages       
revived3 their priesthoods were         
reorganized1 and they again received the
 worship to which centuries of neglect  
had disaccustomed them4 ,none of our    

figures are life-size1 and the          
,mycerinus in diorite1 which is not one 
of the smallest1 is scarcely #ba inches 
in height4 ,it is enthroned on a cubical
 block with the impassibility that the  
,chephrn has made familiar to us2 the   
bust is stiff1 the arms rest on the     
thighs1 he looks straight before him1   
his face expressionless1 as was imposed 
on ,pharaoh by etiquette1 while the     
crowd of courtiers and vassals filed    
past at his feet3 if his name1 engraved 
on the sides of his seat to the right   
and left of his legs1 had not told who  
he was1 we should have guessed it from  
his bearing4 ,the composition1 although 
not the best imaginable1 is good3 but   
the head makes a poor effect in relation
 to the torso1 a defect always at first 
ascribed to the heedlessness of the     
sculptor4 ,but it is to be noted that   
the face somewhat recalled that of two  
of the other ,pharaohs1 a fact to be    
explained by the relationship1 the      
second1 ,chephrn1 being the father of   

,mycerinus1 and the third1 probably     
,cheops1 his grandfather4 ,that is a    
reason for presuming that they are      
portraits1 but are they authentic       
portraits8 ,several ,berlin             
,egyptologists whose natural ingenuity  
encouraged them to revise ,mariette's   
criticisms on art1 thought to discern in
 certain details of the costume and     
ornamentation a proof that if they were 
not figures of pure imagination1 they   
were at least copies of ancient         
originals freely executed under one of  
the ,sate ,dynasties1 and their theory1 
although opposed by experts who had a   
longer experience1 disconcerted the     
majority4 ,it was soon upset by facts1  
but1 as often happens1 the consequences 
deduced from it survived by force of    
habit4 ,many of us feared for some years
 after to be asserting too much1 to     
declare openly that our ,mycerinus was  
what we had entitled him on the faith of
 his inscription1 the real ,mycerinus4  
,illustration3 ,,the ,,mycerinus ,,of   

,m,t-,,rahineh4  ,diorite4 ,cairo       
,museum4  ,illustration3 ,,mycerinus    
7,,reisner ,,head7  ,alabaster4 ,cairo  
,museum4  ,we did not do so until #aijh1
 when ,reisner and his ,americans1      
excavating at ,gizeh round about the    
third pyramid1 brought to light         
monuments that with the best will in the
 world no one could assign to any other 
epoch than that of ,mycerinus4 ,it seems
 that the fame of piety which popular   
story ascribed to him was not wholly    
unmerited1 at least as far as his own   
divinity is concerned1 for with the     
elements of a voluminous funerary       
equipment in all kinds of stones1 the   
workmen brought out of the ruins of the 
chapel1 fragments of a multitude of     
statues in alabaster1 schist1 limestone1
 and rare breccia4 ,among them were some
 unfinished or scarcely shaped out1 for 
the sovereign having died while they    
were being fashioned1 the works1        
according to ,oriental custom1 had been 
immediately interrupted and the         

workshops abandoned in confusion4  ,the 
statues which were already finished and 
set up in their places were overturned  
at some unknown period1 perhaps when    
,saladin dismantled the pyramids to     
build the new ramparts and citadel of   
,cairo1 and the fragments were so       
ill-treated that an enormous number of  
them have disappeared4 ,out of a hundred
 baskets of debris collected by the     
,americans1 they found at most1 besides 
five or six intact heads1 enough to put 
together1 almost completely1 two        
alabaster statues4 ,the best of the     
heads is in the ,cairo ,museum1 and it  
has sufficient resemblance to our       
statuette for us to have no hesitation  
in recognizing ,mycerinus1 even if the  
place whence it comes did not help us to
 guess it4 ,the statue that the find    
brought us is seated1 but the block on  
which it is sculptured is not           
perpendicular to its base1 so that it   
leans slightly backward4 ,on the other  
hand1 the two arms being cut between the

 armpit and the hip1 the accident makes 
it appear at first glance as if the bust
 is too narrow for its height4 ,but1 and
 this is the important point1 the head  
is small1 so small that the head-dress1 
in spite of its size1 is not sufficient 
to correct the bad effect of this       
disproportion between its smallness and 
the amplitude of the shoulders4 ,the    
fault is not to be ascribed to the      
artist's ignorance and lack of skill1 as
 is probably done4 ,he was not1 it must 
be admitted1 a man of talent1 but he    
knew his business1 and proved it by the 
general quality of his work4 ,the       
harmony between the trunk and the leg1  
the muscles of the chest1 the texture of
 the costume1 the modelling of the knee 
and calf1 conform to the sthetics of the
 time2 the foot and ankle are           
particularized with the virtuosity of a 
craftsman skilled in all the subtleties 
of his calling4 ,so1 now1 returning to  
the statuette of ,mt-,rahineh1 the      
technique of which shows it to proceed  

not from a different school but from a  
different studio1 we shall find a       
difficulty in imagining that two        
sculptors would each have fallen into so
 great an error1 if they had not seen it
 themselves in their model4 ,since their
 statues are microcephalous1 ,mycerinus 
must have been microcephalous almost to 
deformity4  ,illustration3 ,,alabaster  
,,statue ,,of ,,mycerinus4  ,cairo      
,museum4  ,the search among the beds of 
fragments of stone was continued4 ,a few
 weeks before it was finished1 at the   
end of ,may1 #aijh1 it produced four    
groups in schist1 the testimony of which
 fully confirmed that of the alabaster  
statues4 ,the disposition is the same1  
with very slight divergences1 which do  
not sensibly modify the aspect of the   
pieces4 ,three persons stand side by    
side against a slab #ag to #bc inches   
high4 ,mycerinus is in the middle1 his  
left foot advanced1 the waist-cloth     
fluted on the loins1 and on his forehead
 the white cap of the kingdom of ,upper 

,egypt4 ,he always has a goddess on his 
right1 a ,hathor moulded in the         
sleeveless smock open on the chest1 and 
on her hair the short wig and the       
coufieh4 ,on the top of this head-dress 
she wears her two cow's horns and the   
solar disk4 ,in one of the groups she is
 walking1 her arms hanging down and her 
hands laid flat on her thighs2 in the   
second1 she embraces him with her left  
arm and presses against him2 in the     
third she holds his right hand in her   
left4 ,the last of the figures is       
sometimes a woman1 sometimes a man3 the 
man1 who is shorter by a third than his 
companions1 walks forward swinging his  
arms2 the two women are at rest1 and one
 of them puts her right arm round the   
king's waist1 in symmetry with the      
,hathor on the left4 ,they are          
geographical entities1 nomes1 and the   
standards on their heads tell us their  
names3 the two women personify the nomes
 of ,sistrum and the ,dog1 the man that 
of ,oxyrrhinchus4 ,the fragments of     

schist under which they were buried     
assuredly belong to other groups now    
destroyed1 but how many of them were    
there in the beginning8 ,the decorative 
theme of which they formed part is one  
of which the intention is grasped at the
 first glance1 but if we needed a       
commentary to explain it1 the brief     
legends at the base would provide the   
material4 ,they inform us1 in fact1 that
 our ,hathor is the lady of the ,canton 
of the ,sycomore1 and that the nome of  
the ,dog1 that of the ,sistrum1 that of 
,oxyrrhinchus1 bring the sovereign all  
the good things of their territory4     
,mycerinus1 in his quality of king of   
the ,sad and of the delta1 had a right  
to tribute during his life1 and to      
offerings after his death from the whole
 country1 and on the other hand1        
,hathor1 lady of the ,sycomore1 is the  
patron of dead ,osirians in the         
,memphian province where the palaces and
 tombs of the ,pharaohs are4 ,it was    
natural then that she should serve as   

the introducer of the delegates of the  
nomes when they came to pay their       
tribute to the common master4 ,with rich
 private individuals1 the operation was 
symbolized on the walls of the funerary 
chapels by long processions of men or   
women in bas-relief1 each of whom       
incarnated one of the domains charged   
with the upkeep of the tomb4 ,here it   
was expressed in even a more concrete   
fashion by two series of groups in      
rondo-bosso1 which were probably        
developed on the walls in one of the    
court-yards of the temple of the        
pyramid4 ,the four which have escaped   
destruction belonged to the series of   
the ,sad1 as is proved by their names   
and the head-dress of the sovereign1 but
 those of the delta could not have been 
omitted without causing regrettable     
privations to the double in his life    
beyond the tomb2 there were then about  
forty in all1 as many as there were     
nomes in the whole of ,egypt4           
,illustration3 ,,mycerinus1 ,,hathor1   

,,and ,,the ,,nome ,,oxyrrhinchus       
,schist4 ,cairo ,museum4  ,illustration3
 ,,mycerinus1 ,,hathor1 ,,and ,,the     
,,nome ,,cynopolite  ,schist4 ,cairo    
,museum4  ,the excellence of those that 
have survived fills us with regret for  
those that are lost4 ,at the instant    
they emerged from the earth1 they       
preserved something of their primitive  
colouring1 but contact with the air and 
light speedily deprived them of it1 and 
only traces remain on the chest1 at the 
neck1 wrists1 waist1 places protected by
 the customary ornaments of people of   
high rank4 ,the gold-leaf with which the
 necklaces and bracelets were decorated 
was stolen in times of antiquity1 but   
the thicker layers of paint on which    
they were placed preserve their contours
 fairly exactly4 ,it would be easy for  
us to restore to the whole the aspect it
 had when fresh and new--a light yellow 
complexion for the women1 and red-brown 
for the men1 black hair1 blue or white  
head-dresses1 white crowns1 and garments

 relieved by the tawny brilliance of the
 jewels4 ,in pieces where everything is 
so minutely calculated for reality1 it  
is scarcely probable that anything is   
the effect of chance or of lack of      
skill2 if then the sovereign's head is  
too small it is because it was so in    
reality4 ,in fact1 the lack of          
proportion with the rest of the body is 
less perceptible here than in the       
isolated statues1 and it is not         
perceptible at the first glance3 but it 
is soon recognized when the sovereign is
 compared with his two companions4 ,not 
only are their heads larger and more    
massive than his1 but it would seem that
 the sculptor desired to accentuate the 
inequality between them by a trick of   
his craft3 he has perceptibly narrowed  
their shoulders1 and the contrast       
between the small head that surmounts   
the vast shoulders of ,mycerinus with   
the two large heads that weight the     
narrow shoulders of the acolytes1       
emphasizes the deformity that the       

placing together of three figures on the
 same level had almost concealed4 ,study
 of the schists leads to the same       
conclusion as that formed of the        
alabasters4 ,it is the real ,mycerinus  
that contemporaries have bound          
themselves to transmit to posterity1 and
 they have spared no details which were 
naturally calculated to make us better  
acquainted with him4 ,we have only to   
analyse their works to see him stand    
before us in his habit as he lived4 ,he 
was tall1 robust1 slender1 with long    
legs1 powerful shoulders surmounted by a
 small face1 an athlete with the head   
almost of a child4 ,in addition1        
projecting eyes1 big ears1 a short nose1
 the tip turned up1 a sensual mouth with
 full lips1 a chin receding under the   
artificial beard2 the expression of the 
face is benevolent1 even weak4 ,in vain 
has the sculptor stiffened the backbone 
and the neck1 thrown out the chest1     
stretched the biceps1 clenched the fist1
 and immobilized the features into a    

hieratic gravity3 he has not succeeded  
in inculcating the sovereign majesty    
that makes our ,chephrn the ideal       
,pharaoh1 the equal of the gods4 ,he has
 the sanctimonious appearance of a      
private individual of good family1 but  
his general bearing is below his        
condition4 ,we could easily point to a  
dozen statues1 his neighbours in the    
,cairo ,museum1 that of ,rnafir1 for    
instance1 which have a more exalted     
appearance and a prouder mien4          
,illustration3 ,,mycerinus ,,and ,,his  
,,wife4  ,schist4 ,boston ,museum4  ,and
 the new schist group that ,reisner     
discovered during the winter of #aiji   
has not made any change in our opinion  
necessary4 ,this time ,mycerinus is     
represented with his wife2 the lower    
portions of the two figures had not     
received the final polish when death    
intervened1 but those of the upper part 
were finished and are admirable4        
,mycerinus wears the head-dress of the  
ordinary claft1 which squarely frames   

the face1 and his features are those    
with which we have become familiar in   
the statues described above2 eyes       
starting from his head1 a fixed         
expression1 turned up nose1 a large1    
loose mouth1 the lower lip protruding1  
the physiognomy of a man of the middle  
class straining to appear dignified4    
,the queen does not appear much more    
noble1 but in looking at her we are     
disposed to think that she had more     
intelligence and vivacity4 ,we should   
not say that she was exactly smiling1   
but a smile has just passed over her    
face1 and traces of it remain on her    
lips and in her eyes4 ,she has beautiful
 round cheeks1 a little turned-up nose1 
a full chin1 full lips cleft from top to
 bottom by a strongly marked furrow3 a  
determined expression shows itself      
between her narrow1 heavy eyelids4 ,she 
resembles her husband1 a fact that is   
not surprising1 since unions between    
brothers and sisters were not only      
tolerated but commanded by custom2 there

 is thus every chance that the couple   
were born of the same father and mother2
 she has only a greater appearance of   
strength than he has4 ,custom exacted   
that1 when a husband and wife were      
associated in a group1 they should not  
be placed side by side on a level of    
absolute equality1 but that the woman   
should be given a posture or merely a   
gesture implying a state of more or less
 affectionate dependence on the husband2
 she crouched at his feet1 her chest    
against his knees1 or her arm was round 
his waist or his neck1 as if she had no 
trust except in his protection4 ,here   
the queen's gesture is in conformity    
with convention1 but the manner of its  
execution contradicts the intention of  
submission3 she leans less against the  
,pharaoh than she draws him close to    
her1 and looks as if she is protecting  
him at least as much as he is protecting
 her4 ,she is his equal in height1 and  
even if she is more slender than he is1 
as is proper to her sex1 her shoulders  

are as robust4 ,does it mean that the   
sculptor has attributed to her the      
massive shoulders of a man8 ,not at all3
 but following the example of his       
colleagues in the triads1 he has cheated
 a little in order to dissimulate the   
defect of his model4 ,as doubtless he   
would not have liked to show a deformed 
,pharaoh1 and as he might not alter     
features which1 after all1 were those of
 a god1 he has made the deformity less  
visible by taking away from the         
shoulders what was wanted in order to   
establish a sort of apparent equilibrium
 between the parts1 and so we are       
brought back by a fresh detour to the   
point to which the examination of the   
alabasters and triads had led us4 ,let  
us once more conclude that the effigies 
of the ,memphian ,pharaohs and their    
subjects were real portraits of the     
personages they claimed to reproduce4   
,illustration3 ,,mycerinus1 ,,hathor1   
,,and ,,the ,,nome ,,of ,,the ,,sistrum4
  ,schist4 ,cairo ,museum4              

,illustration3 ,,mycerinus ,,and ,,his  
,,wife 7,,detail74  ,schist4 ,boston    
,museum4  ,they were real1 but not      
realistic unless there was special      
necessity4 ,i have repeatedly attempted 
to define the two chief schools of      
,egyptian sculpture1 the ,theban and the
 ,memphian4 ,from the beginning the     
,theban school tends to copy the model  
brutally1 as it was at the moment when  
it was portrayed4 ,take the statues of  
,sanouosrt ,i or of ,sanouosrt ,,iii1   
which lately came to the ,cairo ,museum4
 ,the family likeness between all of    
them is indubitable1 but1 according as  
they come from a ,theban or ,memphian   
studio1 the features which constitute   
the complete resemblance are noted in   
such divergent ways that at the first   
glance we are inclined to think that it 
scarcely exists4 ,the ,thebans          
scrupulously marked the thinness of the 
cheeks1 the hardness of the eye1 the    
harshness of the mouth1 the heaviness of
 the jaw1 and have exaggerated rather   

than diminished those points4 ,the      
,memphians do not neglect them1 but have
 treated them in a more merciful manner1
 and1 from the haggard faces in which   
the rival school took pleasure1 have    
brought out the happy smiling expression
 that its own traditions ascribed       
without exception to all the ,pharaohs4 
,we cannot institute comparisons of that
 kind for the epoch of ,mycerinus3 the  
,theban school1 if1 as is probable1 it  
was then in existence1 still sleeps     
buried beneath the ruins1 and we know   
nothing belonging to it to place by the 
side of the ,memphian4 ,it is           
sufficient1 however1 to walk through the
 rooms of the ,cairo ,museum reserved   
for it to be convinced that if the      
,chekh-el-,beled1 the ,chephrn statues1 
the royal couple of ,medoum1 the ,rnafir
 statues are portraits and likenesses1  
they are at the same time idealized     
portraits according to the formula1 the 
influence of which we have seen in the  
monuments of the ,x,i,ith ,dynasty4     

,whatever the models presented that was 
too pronounced1 was softened in order to
 give them the serene bearing fitting   
the imperishable bodies of such noble   
and respectable persons4 ,they only     
departed from this routine when there   
were monstrosities1 the entire          
suppression of which would have been    
fraught with danger for the immortality 
of the subject1 as in the case of the   
two dwarfs in the ,cairo ,museum2 but it
 is not quite certain if even in those  
cases some modification of the ugliness 
has not been contrived4 ,what has       
happened to ,mycerinus renders it       
probable3 have we not seen1 in fact1    
that the artist exerted his ingenuity to
 dissimulate the disturbing exiguity of 
the head by an artifice8 ,and he must   
often have taken similar liberties1     
although we have no actual means of     
proving it4 ,i will venture to assert it
 of ,chephrn1 although almost the half  
of one of his two statues1 that in green
 serpentine1 is a restoration by        

,vassalli4 ,for if we compare their     
profiles1 we notice that that of the    
serpentine statue is weaker than that of
 the diorite statue3 the eye is smaller 
and the chin less authoritative1 the tip
 of the nose recedes a little1 and there
 is a slight resemblance with           
,mycerinus4 ,the lofty dignity which ,i 
noted just now as appearing in the      
father in contrast to the son may be the
 result of the ,memphians' determination
 to idealize their subjects so as to    
make each of them an almost abstract    
type of the class to which they         
belonged4  ,as might be expected1 the   
alabasters of ,mycerinus are a long way 
from equalling the schists4 ,indeed1    
whenever we find statues of a person in 
different materials1 it is seldom that  
those most difficult to work in are not 
also the best4 ,petrie concluded that in
 all periods ,egypt had a school of     
sculpture in limestone and soft stones1 
and one in granite and hard stones4 ,but
 who would think of classifying modern  

sculptors in different schools according
 as they used bronze or marble8 ,in     
,egypt1 as in later times1 the          
instruction given to learners prepared  
them to practise the complete calling1  
whatever the special branch to which    
they later confined themselves might be1
 but as the handling of certain stones  
required a more extended practice1 care 
was taken in the workshops to entrust   
them to the most expert4 ,that is       
evidently what happened in the case of  
,mycerinus4 ,his alabasters are         
certainly very estimable2 but those to  
whom we owe them were not skilled       
virtuosi1 and if they acquitted         
themselves of their task honourably1    
they only produced ordinary work4 ,those
 who executed the schists were much more
 skilled4 ,i will not venture to assert 
that they entirely triumphed over their 
material3 the bodies of princes and gods
 sculptured in matter so unyielding and 
of so gloomy a tone present a rigidity  
of contour which we feel as keenly as we

 do the lack of colour which would      
enliven them4 ,they almost repel any one
 who sees them for the first time1 but  
the repulsion once overcome1 they reveal
 themselves as perfect of their kind4   
,the artist has done what he wished with
 the ungrateful material1 and has       
handled it with the same suppleness as  
if he had been kneading the most ductile
 clay4 ,the women are especially        
remarkable with their full round        
shoulders1 their small breasts placed   
low1 the belly strong and well designed1
 the thighs full and graceful1 the legs 
vigorous1 one of the most elegant types 
created by ,memphian ,egypt4 ,it does   
not equal the diorite ,chephrn1 nor the 
,chekh-el-,beled1 nor the ,crouching    
,scribe1 nor the lady of ,medoum1 but it
 is not so far removed from them1 and   
few pieces take so high a rank in the   
work of the old ,memphian school4       
,illustration3 ,,mycerinus ,,and ,,his  
,,wife 7,,detail74  ,schist4 ,boston    
,museum4     ,,iii  ,a ,,scribe',s      

,,head  ,,of ,,the ,,ivth ,,or ,,vth    
,,dynasty  7,the ,louvre7   ,the        
inventories give no indication of the   
origin of this head4 ,so little was its 
source suspected that for a long time it
 was believed to be of ,peruvian work3  
,m4 de ,longprier with his usual tact   
restored it to its rightful place in the
 ,egyptian series4#ab ,at the first     
glance the style is seen to be that of  
the ancient ,memphian ,empire3 it has   
evidently been detached from a statue   
found in one of the necropolises of     
,saqqarah4 ,the absence of the plinth   
and the parts which usually bear the    
inscription prevents us from knowing the
 name of the individual it represents1 a
 scribe contemporary1 or very nearly1   
with the celebrated ,crouching ,scribe4 
,a narrow and somewhat receding         
forehead1 a long prominent eye slightly 
drawn up towards the temples1 snub-nose1
 thin nostrils1 accentuated cheekbones1 
thin cheeks1 large mouth with full lips1
 a firm rounded chin1 do not make a     

flattering portrait but certainly an    
exact one4 ,the material is the         
excellent limestone of ,tourah painted  
bright red3 the technique shows delicacy
 and skill rare even at that period of  
admirable artists4  ,almost all the     
statues of mere private individuals come
 from temples or tombs4 ,the right of   
setting up a statue in the temples      
belonged exclusively to the king2 so the
 greater number of those we have offer a
 special formula3 8,granted as a favour 
on the part of the king to a son of so  
and so10#ac sometimes too the favour is 
qualified as great or very great4 ,it   
was then by some exceptional title1 in  
reward of services rendered1 or by a    
caprice of royalty1 that an ,egyptian   
was authorized to place his portrait in 
a temple1 whether of his native city or 
of some other town1 to the god for whom 
he professed a special devotion4 ,the   
great feudal lords1 who all more or less
 aspired to possess royal rights1       
sometimes took the liberty of setting up

 a statue of themselves without the     
preliminary permission of ,pharaoh2 but 
in spite of these usurpations of the    
royal prerogative1 the number is        
relatively small4 ,civil wars1 foreign  
invasions1 the ruin of towns1 the       
destruction of idols by the ,christians1
 contributed to make private statues    
coming from temples rare in our         
museums4#ad  ,illustration3 ,,scribe',s 
,,head4  ,the ,louvre4  ,but1 on the    
other hand1 those that come from        
cemeteries are very numerous4 ,every    
tomb that was somewhat cared for in the 
ancient or new empire contained several 
which represented the defunct alone1 or 
accompanied by the principal members of 
his family4 ,they were not always placed
 in the same spot3 in the ,i,vth        
,dynasty they were sometimes placed in  
the outer court1 in the open air1       
sometimes also in the chapel1 where on  
certain days the family celebrated the  
worship of the ancestor4 ,most often    
they were imprisoned in a narrow        

chamber1 with a lofty ceiling1 something
 like a corridor1 and for that reason   
called ,serdb by the ,arabs4 ,sometimes 
the ,serdb is lost in the masonry and   
does not communicate with any of the    
other chambers4 ,sometimes it is        
connected with the funerary chapel by a 
sort of quadrangular pipe1 so small that
 a hand can scarcely be inserted4#ae    
,the priests would burn incense near the
 orifice1 pour libations1 present       
offerings1 murmur prayers1 and          
everything was supposed to penetrate to 
the little apartment4 ,some of these    
,serdb contained one or two statues at  
most1 others would contain twenty4 ,some
 are in wood or hard stone1 but the     
greater number are in painted limestone4
 ,seated or standing1 crouching or in   
the attitude of walking1 they all claim 
to be portraits--portraits of the dead  
man1 of his wife1 of his children1 of   
his servants4 ,if they were more often  
found in places where they would have   
been visible1 their presence would be   

explained by the pleasure members of a  
family would feel in seeing the features
 of those they had loved4 ,but they are 
generally walled up for all eternity in 
hidden corners where no one would ever  
penetrate3 we must seek other reasons4  
,the ,egyptians formed a somewhat coarse
 idea of the human soul4 ,they regarded 
it as an exact reproduction of the body 
of each individual1 formed of a         
substance less dense than flesh and     
bones1 but susceptible to the sight1    
feeling1 and touch4 ,the double1 or to  
call it by the name they gave it1 the   
ka1 was subject1 though in a lesser     
degree than its terrestrial type1 to all
 the infirmities of our life3 it drank1 
ate1 clothed itself1 anointed itself    
with perfumes1 came and went in its     
tomb1 required furniture1 a house1      
servants1 an income4 ,a man must be     
assured beyond the tomb of the          
possession of all the wealth he had     
enjoyed in the world1 under penalty of  
being condemned to an eternity of       

unspeakable misery4 ,his family's first 
obligation towards him was to provide   
him with a durable body2 they therefore 
mummified his mortal remains to the best
 of their ability1 and buried the mummy 
at the bottom of a pit where it could   
only be reached with the greatest       
difficulty4 ,the body1 however1 in spite
 of the care taken in preparing it1 only
 very remotely recalled the form of the 
living person4 ,it was1 besides1 unique 
and easily destroyed3 it could be       
broken1 methodically dismembered1 and   
the pieces scattered or burnt4 ,if it   
disappeared1 what would become of the   
double8 ,for its support statues were   
provided1 representing the exact form of
 the individual4 ,effigies in wood1     
limestone1 hard stone1 bronze1 were more
 solid than the mummy1 and there was    
nothing to prevent the manufacture of   
any number of them desired4 ,one body   
was a single chance of durability for   
the double3 twenty gave it twenty       
chances4 ,and that is the explanation of

 the astonishing number of statues      
sometimes found in one tomb4 ,the piety 
of the relatives multiplied the images1 
and consequently the supports1 the      
imperishable bodies1 of the double      
would1 by themselves alone1 almost      
assure him immortality4#af  ,both in the
 temples and hypogeums1 the statues of  
private persons were intended to serve  
as a support to the soul4 ,the          
consecration they received animated     
them1 so to speak1 and made them        
substitutes for the defunct3 the        
offerings destined for the other world  
were served to them4 ,the tomb of a rich
 man possessed a veritable chapel to    
which a special body of priests was     
attached1 formed of hon-ka or priests of
 the double4 ,at the sacramental        
festivals the priests of the double     
performed the necessary rites1 they     
looked after the upkeep of the edifice  
and administered its revenues4 ,the     
statues of the towns themselves demanded
 particular care4 ,indeed1 the clergy of

 the temple in which they were placed   
claimed their part in the advantages    
derived from ancestor worship3 veritable
 acts of donation were drawn up in their
 favour1 in which were specified the    
part they were to play in the           
ceremonies1 the quantity of the         
offerings that fell to their share for  
the service rendered1 the number of days
 in the year consecrated to each statue4
 8,agreement between ,prince            
,hapi-,t'aufi and the hour-priests of   
the temple of ,anubis1 master of ,siout1
 in regard to one white loaf that each  
must give to the statue of the prince1  
under the hand of the ka-priest1 the    
#ahth ,thot1 the day of the festival of 
,ouaga1#ag and also the gifts which     
every tomb owes to its lord2 afterwards 
in regard to the ceremony of kindling   
the flame1 and the procession that they 
ought to make with the ka-priest while  
he celebrates the service in honour of  
the defunct1 and that they march to the 
north corner of the temple on the day of

 kindling the flame4 ,for that          
,hapi-,t'aufi gives the hour-priests a  
bushel of corn from each of the fields  
belonging to the tomb1 the firstfruits  
of the harvest of the prince's domain1  
as each commoner in ,siout is accustomed
 to do from the firstfruits of his      
harvest1 for every peasant always makes 
a gift from the firstfruits of his      
harvest to the temple40#ah ,the         
ceremonial is set out in detail1 and the
 monument tells us how1 and under what  
conditions1 a dead person is fed in     
,egypt4 ,the loaves1 meat and corn were 
placed in front of the statue by the    
priests3 thence they reached the gods1  
who1 after taking their part1           
transmitted the rest to the double4  ,we
 now understand why the statues that do 
not represent gods are always and       
uniquely portraits as exact as the      
artists could render them4 ,each was a  
stone body2 not an ideal body in which  
only beauty of form or expression was   
sought1 but a real body in which care   

should be taken neither to add nor take 
away anything4 ,if the body of flesh had
 been ugly1 the body of stone must be   
ugly in the same way1 otherwise the     
double would not find the support it    
needed4 ,the statue from which the head 
preserved in the ,louvre was broken off 
was1 undoubtedly1 the faithful portrait 
of the individual whose name was        
engraved on it3 if the realism of the   
expression is somewhat brutal1 it is the
 fault of the model1 who had not taken  
care to be handsome1 and not that of the
 sculptor1 who would have been guilty of
 a sort of impiety if he had altered the
 physiognomy of his model in the least  
detail4     ,,iv  ,,skhemka1 ,,his      
,,wife ,,and ,,son  ,a ,,group ,,found  
,,at ,,memphis  7,the ,louvre7          
,skhemka lived at ,memphis at the end of
 the ,vth ,dynasty4 ,he was attached to 
the administration of the domains1 and  
was buried in the necropolis of         
,saqqarah4 ,his tomb1 discovered by     
,mariette during the excavations of the 

,serapeum1 furnished three pretty       
statues to the ,louvre4#ai ,i knew the  
group reproduced here at a time when the
 coating that covered it had suffered   
very little2 the galleries of ,europe   
possess nothing to be compared with it  
for finish of execution4  ,i shall not  
say much of the principal personage3 he 
possesses all the qualities and all the 
defects to which we are accustomed in   
the work of the sculptors of the        
,ancient ,empire4 ,the modelling of the 
torso1 arms1 and legs is excellent1 of  
the foot mediocre1 of the hands         
execrable2 the head lives1 alive and    
intelligent under the large wig1 with   
its rows of braids one above the other1 
which frames it4 ,the two accessory     
statues are charming in design and      
composition4 ,on the left ,ati1 the dead
 man's wife1 stands leaning against the 
back of the seat embracing her husband's
 leg4 ,the face and limbs are painted   
yellow in accordance with a convention  
almost always respected in ,egypt4#bj ,a

 layer of bright red denotes the tan    
that the sun lays on the men's skin2 the
 light yellow reproduces the more       
delicate shade induced by the indoor    
life of the women4 ,the hair1 parted    
over the forehead1 falls in two masses  
alongside the cheeks4 ,the sleeveless   
dress is open in front1 and the opening 
extends in a point to between the two   
breasts3 the stuff exactly follows the  
lines of the body1 and the skirt ends a 
little above the ankle4 ,the position of
 the breasts is indicated by a special  
design2 all the rest from the waist to  
the feet is embroidered with ornaments  
in colour1 imitating the network of     
glass beads to be seen in the           
museums4#ba ,a necklace with two rows   
and bracelets complete the costume4 ,on 
the right1 ,knom1 son of ,skhemka and   
,ati1 serves as a pendant to his mother3
 he is naked except for a necklace round
 the bottom of his neck and a little    
square amulet that falls on his chest4  
,the grace and charm of the figures     

cannot be too much admired4 ,although of
 small dimensions1 the artist has       
endowed them with the physiognomy and   
features suited to their age with as    
much exactness as if he had been dealing
 with a colossus4 ,the firm flesh and   
rounded but muscular limbs of the woman 
in her prime1 and the chubby flesh and  
soft limbs of the child1 are treated    
equally happily4 ,the mother's face has 
a smiling charm1 the son's a nave and   
wondering grace3 the ,egyptian chisel   
did not often work with so much         
intelligence and lightness4             
,illustration3 ,,skhemka ,,with ,,his   
,,wife ,,and ,,son4  ,limestone4 ,the   
,louvre4  ,the gesture with which each  
of the two small people embraces the leg
 of the big one is not an artifice of   
composition1 a simple way of attaching  
the subordinate elements of the group to
 the principal one4 ,it is often to be  
found in turning over the plates of     
,lepsius's fine work4#bb ,the           
inscriptions repeatedly state of the    

wife that 8she loved her husband10 and  
the artists reveal it in action4 ,seated
 or standing by his side1 she puts her  
hand on his shoulder or her arm round   
his neck2 crouching or kneeling1 she    
leans against him1 her breast pressed   
against his leg1 her cheek leaning      
against his knee4 ,and it is not only in
 the privacy of the home that she treats
 him with this affectionate abandon1 but
 in public1 before the servants or the  
assembled vassals1 while he is          
inspecting his lands and reviewing his  
possessions4#bc  ,in the same way it is 
rare to find a personage without his    
children1 8who love him10 at his feet or
 by his side1 from the little1 naked    
long-haired boy1 like ,knom1 to the     
grown-up sons and married daughters4 ,to
 sum up1 the sculptor to whom we owe the
 ,louvre monument has carved in stone a 
scene of contemporary life4 ,he shows us
 ,skhemka1 ,ati1 and ,knom grouped as   
they were every day3 and what is        
conventional in his work is not the     

grouping of the three people1 but the   
disproportion in stature between the    
husband and wife1 and between the mother
 and son4  ,but here1 again1 he is only 
conforming to a prevailing tradition of 
his art4 ,in all the tombs of every     
period1 the master of the hypogeum is   
generally of the height of the wall1    
while servants1 friends1 sons1 and wives
 are only of the height of one of the   
rows4 ,the king1 in the warlike         
paintings of the temples1 is of colossal
 size1 while the others1 friends or     
enemies1 beside him1 look like a crowd  
of pigmies4 ,in that case we might      
imagine that the difference in size     
showed only the difference of rank1 but 
the explanation does not suffice        
elsewhere4 ,a slave married for her     
beauty preserved something of the       
inferiority of her former condition2 a  
princess of the blood royal1 united in  
marriage to a private individual1 did   
not therefore renounce her royal rank4  
,if inequality of stature corresponded  

to inequality of rank1 the sculptor     
would have made the first smaller and   
the second bigger than her husband4     
,they did not1 however1 do that3 slave  
or princess1 they gave the wife a       
stature sometimes equal but more often  
lower than that of the husband4#bd ,thus
 the treatment does not show social     
distinction2 the woman was legally on   
the same level as the man4 ,if the      
master of the tomb is alone in his      
height1 it is merely because he alone is
 at home in the tomb1 and it was desired
 to show in him the one master1 the     
personage who must be protected against 
the dangers of the other world3 so he   
was designed of large size1 as we       
underline a word in a sentence in order 
to emphasize it4  ,in fact1 the         
sculptor1 in modelling his work1 thought
 of the necessities of the life beyond  
the tomb4 ,skhemka's wife living might  
be superior to ,skhemka by fortune or   
birth1 and so take precedence of him2   
before the dead ,skhemka she was only a 

subordinate personage4 ,egyptian        
theology supposed1 it would seem1 that  
the wife was as indispensable to the man
 after as during life1 and that is why  
she is represented by his side on the   
walls of his tomb2 but1 as she is only  
an accessory there1 the sculptor and the
 painter are free to treat her as they  
understand the matter4 ,if the husband  
demanded it1 they gave both the same    
stature1 seated them on the same seat1  
made no sort of difference between them4
 ,but if he expressed no wish1 they     
could either suppress her altogether or 
relegate her to the background and give 
her the dimensions of her son1 as they  
did with ,ati1 in order that she may    
lean against the seat on which her      
husband is enthroned4     ,v  ,,the     
,,crouching ,,scribe  ,,vth ,,dynasty   
7,the ,louvre7   ,he was found by       
,mariette in the tomb of ,skhemka in    
#ahea1 during the soundings which       
preceded the discovery of the ,serapeum4
 ,he is now in the ,louvre1 in the      

centre of the 8,salle civile0 of the    
,egyptian ,gallery1 surrounded by       
show-case tables4 ,his attitude1 in     
conjunction with the unfortunate place  
assigned him1 makes him look like a     
fellah dealer in antiquities seated in  
the midst of his goods1 patiently       
waiting for customers4 ,the red paint1  
which was perfect when he was brought to
 the ,louvre1 has worn off in places    
with the coating on which it was        
applied1 and so the whity colour of the 
limestone shows through here and there2 
the cross light from the two windows    
falls on him in such a way as almost to 
efface the modelling of the shoulders   
and chest3 ordinary visitors1 for whom  
there is nothing to mark it1 scarcely   
look at it1 and pass it by in complete  
indifference to the fact that one of the
 masterpieces of ,egyptian sculpture is 
before them4  ,illustration3 ,,crouching
 ,,scribe4  ,the ,louvre4  ,does he     
represent the great lord in whose tomb  
he was found8 ,other statues that       

entered the ,louvre with his bear the   
name of ,skhemka and pass for the       
faithful portrait of that personage4#be 
,if1 as their careful composition leads 
us to believe1 that claim is justified1 
the ,crouching ,scribe was only one of  
the numerous relatives or servants named
 in the inscriptions of the chapel4 ,the
 people of the ,ancient ,empire had the 
custom of shutting up in the ,serdb1#bf 
by the side of the statue of the dead   
person1 those of other individuals      
belonging to his family or his          
household4 ,they are mourners1 both men 
and women crouching down1 one hand      
hanging or cast on the ground about to  
pick up the dust in sign of mourning1   
the other held in front of the face and 
plunged into the hair2#bg women who     
crush the grain on the stone2 servants  
who thrust their arm into an amphora1   
probably to coat it with pitch before   
pouring in the beer or wine4 ,ours is a 
scribe3 his legs bent under him and     
placed flat on the ground in one of     

those positions familiar to ,orientals1 
but almost impossible for ,europeans1   
the bust upright and well-balanced on   
the hips1 the head raised2 reed in hand1
 and the sheet of papyrus spread over   
his knees1 he still waits1 at an        
interval of #f1jjj years1 for his master
 to resume the interrupted dictation4   
,the paintings in the contemporary tombs
 tell us a hundred times rather than    
once what he is preparing to write4 ,in 
order to sustain himself in the other   
world1 the great ,egyptian lord received
 on appointed days the offerings due to 
him from the domains attached to his    
tomb3 one was to bring bread1 one meat1 
others wine1 cakes1 fruit4 ,it was quite
 a big piece of bookkeeping1 identical  
with that usual in his lifetime4 ,the   
scribes of flesh and blood entered the  
real revenues as they came in2 the      
scribe of stone rendered the same       
service to the master of stone whom he  
attended for ever4  ,we cannot say that 
our scribe was handsome in his lifetime1

 but the truth and vigour of his        
portrait compensates largely for what he
 lacks in beauty4 ,the face is almost   
square1 and the strongly accentuated    
features indicate a man in his prime2   
the large mouth with thin lips is       
slightly raised at the corners and      
almost disappears in the prominent      
muscles that frame it2 the cheeks are   
rather hard and bony2 the ears are thick
 and heavy1 and stand out awkwardly from
 the head2 and the low brow is crowned  
with coarse1 short hair4 ,the eye is    
well opened1 and owes its special       
vivacity to an artifice of the ancient  
sculptor4 ,the stone in which it is set 
has been cut away and the hollow filled 
with black and white enamel2 a bronze   
mounting marks the edges of the eyelids1
 while a little silver nail#bh fastened 
under the crystal at the bottom of the  
eyeball receives the light1 and         
reflecting it1 simulates the pupil of a 
real eye4 ,it is difficult to imagine   
the striking effect that this           

combination may produce in certain      
circumstances4 ,when ,mariette cleared  
out the tomb of ,rhotpou at ,medoum1 the
 first ray of light which entered the   
tomb1 that had been closed for #f1jjj   
years1 fell on the forehead of two      
statues leaning against the wall of the 
,serdb1 and made the eyes sparkle so    
brilliantly that the fellahs threw down 
their tools and fled in terror4         
,recovered from their fear1 they wanted 
to destroy the statues1 persuaded that  
they contained an evil genius1 and were 
only prevented from doing so at the     
point of the pistol4 ,more than one     
statue of the ,ancient ,empire1 intact  
at the moment of its discovery1 was     
mutilated for the same reason that      
nearly proved fatal to those of ,medoum4
 ,in the bad light in which the         
,crouching ,scribe is placed1 the       
eyeball does not shine with a           
sufficiently strong sparkle1 but it     
really does seem to have life in it and 
to follow the visitor with its look4    

,the rest of the body is equally full of
 expression4 ,the flesh hangs a little1 
as is fitting with a man of a certain   
age whose occupations prevent exercise4 
,the arms and back are good in detail2  
the lean bony hands have fingers of a   
greater length than is usual2 the       
rendering of the knee is minute and     
exact in a way rarely found elsewhere in
 ,egyptian art4 ,the whole body is1 so  
to speak1 governed by the animation of  
the physiognomy1 and under the influence
 of the same feeling of expectation that
 dominates it3 the muscles of the arm1  
bust1 and shoulder are only partly at   
rest1 ready at the first signal to      
resume the task that has been begun4 ,no
 work better refutes the reproach of    
stiffness usually made in regard to     
,egyptian art4 ,let us add that it is   
unique in ,europe1 and that we must go  
to ,boulaq for pieces fine enough to    
sustain comparison without disadvantage4
 ,but it is not enough to possess a     
masterpiece1 it is still more important 

to preserve it4 ,in its present position
 the ,crouching ,scribe runs more risks 
than formerly in ,egypt4 ,the thousands 
of years spent buried beneath the sand  
in a hypogeum on the tableland of       
,saqqarah thoroughly dried up the       
limestone of which it is made4          
,transported to our damp climate1 and   
submitted to its sudden changes of      
temperature1 it is only too much exposed
 to deterioration4 ,it should not have  
been installed without protection and   
naked1 so to say1 in the centre of a    
room1 between two large doors always    
open1 round about which there are       
perpetual draughts4 ,the curators at    
,turin have placed the fine limestone   
statue of ,amenphis ,i possessed by the 
,museum in a tightly closed glass cage1 
and to that protection is due the fact  
that the ,pharaoh has preserved its     
epidermis and colour intact2 the expense
 is not so great that the ,louvre would 
be impoverished by authorizing a similar
 proceeding4 ,the demotic inscriptions  

of the ,serapeum are carefully placed   
under glass1 and the precaution is      
praiseworthy1 although it makes the     
study of them impossible2 it is then    
high time to take similar precautions   
with the ,scribe4 ,the damp has already 
acted on it a little2 the red coating   
has been loosened and has fallen away in
 some places4 ,if the mechanical work of
 destruction is allowed to proceed it   
will soon be in the same condition as   
the three statues of ,sapou and his     
wife1 and the ,louvre will have lost one
 of the finest pieces of sculpture      
,egypt has given us4  ,in comparing it  
with the statues of ,skhemka that we    
have already described1#bi we are led to
 ask why the statue of a subordinate    
person should be so superior to that of 
his master4 ,the ,egyptians knew nothing
 of what we term art and the artist's   
profession3 their sculptors were persons
 who cut stone with more or less skill1 
but whose work1 always subordinated to  
the plan of a building1 or to           

theological considerations1 did not     
possess the absolute value belonging to 
the least important statue of classical 
antiquity or of modern times4 ,the      
effigy of an individual was placed in   
his tomb1 not because it was beautiful1 
but because it represented him and      
served as a support to his double4 ,the 
question of skill or artistic feeling   
was a subordinate one1 and we find      
twenty statues of the same person1 some 
of which are of finished workmanship and
 others coarse sketches3 whether a      
masterpiece or not1 the stone body      
equally served its purpose4 ,skhemka    
fell into the hands of a merely         
conscientious workman1 his scribe into  
those of a highly skilled craftsman4 ,i 
imagine that they cared little enough if
 the sculptor brought more or less      
talent to his task3 so long as the      
resemblance was there1 they asked for   
nothing more4     ,,vi  ,,the ,,new     
,,scribe ,,of ,,the ,,gizeh ,,museum#cj 
,the excavations undertaken by ,m4 de   

,morgan in the northern part of the     
necropolis of ,saqqarah have recently   
brought to light a mastaba in fine white
 stone1 near the tomb of ,sabou1 a      
little to the east of ,mariette's old   
house4 ,no architectural faade or       
chapels accessible to the living were   
found1 only a narrow corridor that      
plunges into the masonry from north to  
south with #e deviation to the east4    
,the walls had been prepared and made   
smooth to receive the usual decoration1 
but when the mason had completed his    
task1 the sculptor1 it would seem1 had  
no time to begin his4 ,none of the      
sketches with the chisel or brush       
customarily found in the unfinished     
tombs of all periods are to be seen4    
,two large stel1 or1 if it is preferred1
 two niches in the form of doors1 had   
been prepared in the right-hand wall1   
and a statue stood in front of each in  
the same spot where the ,egyptian       
workmen had placed them on the day of   
the funeral4 ,the first represents a man

 seated squarely on a stool1 wearing the
 loin-cloth1 and on his head a wig with 
rows of small curls one above the other4
  ,illustration3 ,,the ,,new ,,scribe   
,,of ,,the ,,gizeh ,,museum4  ,painted  
limestone4  ,the bust and legs are bare2
 the fore-arms and hands rest on the    
knees1 the right hand closed with the   
thumb sticking out1 the left flat with  
the tips of the fingers reaching beyond 
the hem of the loin-cloth4 ,so far as   
may be judged from a photograph1 the    
general style is somewhat weak2 but the 
detail of the knee1 the structure of the
 leg and foot1 are carefully rendered1  
the chest and back stand out by the     
excellent modelling1 the head1 weighted 
as it is by the coiffure1 is attached to
 the shoulder with an easy and not      
ungraceful vivacity4 ,the face is not in
 good relief1 and has a sheepish        
expression1 but the mouth is smiling1   
and the eyes of quartz and crystal have 
an extraordinarily gentle expression4   
,taken altogether it is a very good     

piece of ,egyptian portraiture1 and     
would be a valuable addition to any     
museum4#ca  ,the new scribe was         
crouching in front of the second        
stele4#cb ,he measures in height almost 
the same as his colleague in the        
,louvre1 and sufficiently resembles him 
to permit both being described in almost
 similar terms4 ,the legs are bent under
 and are flat on the ground1 the bust   
upright and well balanced on the hips1  
the head raised1 the hand armed with the
 reed1 and in its place on the open     
papyrus sheet2 they are both waiting at 
an interval of #f1jjj years for the     
master to resume the interrupted        
dictation4#cc ,the professional gesture 
and attitude are reproduced with a truth
 that leaves nothing to be desired3 it  
is not only a scribe whom we have before
 us1 it is the scribe as the ,egyptians 
knew him from the beginning of their    
history4 ,the skill with which the      
sculptors have brought out and          
co-ordinated the general features       

belonging to each class of society is   
largely responsible for the impression  
of monotony produced by their works on  
modern spectators4 ,that impression is  
lessened and nearly effaced1 if we look 
a little more closely and see how       
carefully the sculptors have noted and  
reproduced the details of form and      
bearing that make up the physiognomy    
proper to each of the individuals who   
live in the same social surroundings or 
practise the same profession4 ,our two  
scribes do not cross their legs in      
identical fashion2 he of the ,louvre    
puts the right leg in front1 he of      
,gizeh the left4 ,there is no fixed     
choice1 and children at first tuck their
 legs under without thought of          
preference for one or the other2 soon   
they acquire a habit which makes them   
keep to the position once adopted1 and  
in the ,east to-day you find people who 
put either the left or right leg in     
front1 and just a few who put either one
 or the other indifferently4 ,the       

,louvre scribe flattens out the hand    
that holds the reed1 the man of ,gizeh  
sinks down1 and his back is slightly    
bent4 ,this shows the habit of the      
individual1 and is not a question of    
age1 for a glance at the two statues    
shows that the ,gizeh scribe is younger 
than his colleague of the ,louvre3 he is
 not out of the thirties1 while the     
other is certainly over forty4  ,indeed1
 the age of the two men is an important 
point of which we must not lose sight1  
if we desire to judge soberly the real  
value of the two works4 ,i have heard   
archologists1 when comparing them1      
regret that the scribe of ,gizeh does   
not show the same abundance of carefully
 studied anatomical detail as the scribe
 of the ,louvre2 that therein lies the  
real inferiority of the first1 whether  
it was that the sculptor was less       
conversant with the anatomy of the human
 body than with that of the face1 or    
that time had pressed1 and he had       
contented himself with giving his       

subject the conventional body that for  
the most part sufficed in funerary      
statues4 ,the care1 as ,i have pointed  
out1 with which the small details of the
 attitude are expressed shows that the  
reproach is undeserved1 and that the    
artist has worked to give a portrait    
complete from top to toe1 and not only  
to reproduce a head on a conventional   
body4 ,the roundness of the form        
preserves the appearance of the         
original1 and shows1 realistically1 the 
age the subject was at the time of his  
death1 or at least at the period of life
 at which his relatives desired to have 
a portrait of him4 ,in the best         
facsimile something of the delicacy of  
the monument itself must be lost1 and in
 spite of the great care taken in       
engraving it1 its original aspect is not
 entirely preserved4 ,i think1 however1 
that in looking closely at it there can 
still be seen in many places the        
artistic1 supple workmanship by which   
the chisel expressed the delicacy and   

vigour of the model4 ,the most vigorous 
fellah of our day1 when young and in    
good health1 has apparently slender     
muscles that do not stand out3 like     
those of the porters of ,boulaq1 one of 
whom without aid moved a stone statue of
 nearly the same height as himself1 and 
yet had hands and calves like those of a
 woman1 that looked of slight strength  
and incapable of continuous effort4 ,the
 knotty and twisted excrescences to be  
seen on the arms1 back1 or chest of our 
athletes were rarely found in ,egyptians
 of ancient race1 at least in youth4    
,the ancient sculptor rightly noted that
 physiological trait of his people4 ,he 
had a young man before him3 so he       
evolved from the limestone a young      
,egyptian body in which the play of the 
muscles is hidden beneath the skin1 and 
is only betrayed by a number of touches 
manipulated with knowledge and          
discretion4 ,if1 like his colleague who 
sculptured the ,louvre scribe1 he had   
had to portray a person of ripe age1 he 

would not have exerted himself to bring 
out the flabbiness of the flesh and the 
heaviness of its folds1 to execute all  
the pleasant work of the chisel which so
 well reproduces the depredations of age
 in a rich sedentary man of fifty4 ,in  
short1 he worked differently because he 
had a different subject4  ,there is no  
sort of inscription on either statue to 
inform us of the name and               
characteristics of its original1 who    
must have been a person of some         
importance3 a large tomb invariably     
meant a considerable fortune1 or a high 
post in the administrative hierarchy    
which compensated for mediocrity of     
fortune4 ,it might also be that         
,pharaoh1 desiring to reward services   
rendered him by some one in his         
entourage1 granted him a statue1 a      
stele1 an entire tomb built by the royal
 architects at the expense of the       
,treasury4#cd ,it is certain that our   
anonymous scribe held high rank in his  
lifetime1 but to what ,dynasty did he   

belong8 ,he so closely resembles the    
scribe of the ,louvre that he was       
evidently his contemporary3 he must then
 have lived at the end of the ,vth      
,dynasty1 and we reach a similar result 
if we compare him with the other statues
 preserved at ,gizeh4 ,it is of the     
style of the statues of ,ti and of      
,rnofir1 especially of the last two4    
,one of them1 which formerly was ,no4   
#ige in the ,boulaq ,museum1 is full of 
dignified feeling4#ce ,rnofir is        
standing1 his two arms pressed against  
his body1 one leg in advance1 in the    
attitude of a prince who is looking at  
his vassals march past him4 ,whoever has
 seen him cannot fail to observe how    
much he resembles our new scribe4       
,firstly1 the head-dress is the same2   
they both have the head framed1 so to   
speak1 in a bell-mouthed wig4 ,the hairs
 or fibres of which it is made were     
gummed1 as is the case to-day with the  
hair of certain ,african tribes4 ,the   
hair is carefully smoothed on the       

forehead and the top of the head1 and   
being parted on the cranium1 hangs down 
and forms a kind of dark case round the 
face which accentuates the ruddy tint of
 the flesh4 ,the modelling of the torso1
 the muscling of the arms1 are treated  
in the same way in both statues1 and the
 dignified expression which             
characterizes the physiognomy of ,rnofir
 relieves the somewhat commonplace      
features of the new scribe4 ,those are  
all facts that are not to be noted in   
other portraits of our personages4 ,the 
seated statue that ,i first described   
possesses the general aspect of the     
individual1 and undoubtedly represents  
him2 but the technique and feeling      
differ1 since it is necessarily that of 
a different sculptor4 ,it is the same   
with ,rnofir4 ,the statue of him        
numbered #ajdi in the ,boulaq ,museum   
lacks the high dignity we admire in ,no4
 #ige4 ,it is so heavy1 so              
expressionless1 that it almost seems to 
be another ,egyptian4 ,the difference in

 the workmanship proves that two artists
 were commissioned to execute statues of
 the same man4 ,the identity of         
workmanship1 on the other hand1 compels 
us to recognize the same hand in the    
statue ,no4 #ige of ,rnofir and in that 
of our new scribe3 the two works        
proceeded almost at the same time from  
one studio4  ,illustration3 ,,statue    
,,of ,r,,nofir4  ,cairo ,museum4  ,it   
would be interesting to find out if1    
among the statues in the museums1 there 
are others that may be related to these 
and have a common origin4 ,i do not so  
far know any1 but ,i ought to add to    
what ,i have said the indication of a   
special sign by which they can be       
distinguished4 ,the ,egyptians were     
accustomed to paint their statues and   
bas-reliefs1 and the colours in which   
they clothed them were more varied1 and 
more subject to change1 than is         
generally recognized4 ,we are used to   
see only a red-brown tone for the flesh1
 and they certainly employed it very    

often2 they did not1 however1 employ    
that tone only1 and men's faces are     
occasionally coloured in a very         
different way4 ,the colouring of statue 
,no4 #ige and of the new scribe differs 
from the usual manner4 ,that of statue  
,no4 #ige has grown paler since ,rnofir 
left his tomb and became exposed to the 
light1 but that of the ,gizeh scribe is 
still fresh1 and resembles as faithfully
 as possible the yellow complexion      
bordering on red of the modern fellah4  
,the greater number of archologists who 
occupy themselves with ,egyptian art    
neglect facts of this kind4 ,during my  
stay in ,egypt ,i have endeavoured to   
bring them out1 and it is in            
co-ordinating them systematically that  
,i have been able to verify the         
existence1 either at ,memphis itself or 
in the ancient village of ,saqqarah1 of 
two principal studios of sculptors and  
painters to which customers of the later
 periods of the ,vth ,dynasty entrusted 
the task of decorating the tombs and    

carving the funerary statues4  ,each had
 its special style1 its traditions1 its 
models1 from which it did not willingly 
depart4 ,commissions were divided       
between them in unequal proportions1    
according to whether it was a question  
of isolated statues or of bas-reliefs4  
,i do not remember observing sensible   
differences of style in the pictures    
that cover the walls of the same        
mastaba3 for that kind of work          
application was made to one or the other
 studio1 and it alone undertook the     
commission4 ,for the statues1 on the    
contrary1 recourse was had to both at   
the same time3 the task1 thus divided1  
was more quickly accomplished1 and there
 was more chance that it would be       
finished by the day of the funeral4 ,i  
do not mean to state that there were    
then only the two studios of which ,i   
speak3 ,i think ,i have found traces of 
several others1 but they perhaps enjoyed
 less vogue1 or the chances of          
excavation have not so far been         

favourable to them4  ,to sum up1 we may 
say1 without the risk of being taxed    
with exaggeration1 that the art of the  
,ancient ,empire counts another         
masterpiece4 ,it was a gift of happy    
chance to ,m4 de ,morgan in his first   
serious excavations as earnest of good  
fortune3 it is of good augury for the   
future1 and1 as he is not a man to let a
 chance slip once he holds it1 and since
 he has the material means and the money
 required for methodical exploration1 we
 may hope for further finds without long
 delay4     ,,vii  ,,the ,,kneeling     
,,scribe  ,,vth ,,dynasty  7,boulaq     
,museum7   ,if he had not been dead for 
#f1jjj years1 ,i should swear that ,i   
met him six months ago in a little town 
of ,upper ,egypt4 ,it was the same      
commonplace round face1 the same        
flattened nose1 the same full mouth1    
slightly contracted on the left by a    
foolish smile1 the same banal           
expressionless physiognomy3 the costume 
alone was different and prevented the   

illusion from being complete4 ,the      
loin-cloth is no longer in fashion1 and 
neither is the large wig2 except the    
fellahs when at work1 no one now goes   
about with bare legs and torso4 ,some   
follow fairly closely the custom of     
,cairo1 and wear the too small          
tarbouche1 the stiff stambouline1 the   
,european starched shirt1 but without a 
cravat1 black or crude blue trousers1   
shoes with cloth gaiters4 ,others keep  
to the turban1 long gown1 wide trousers1
 and red or yellow morocco leather      
babouches4 ,but if his clothes have     
changed since the ,vth ,dynasty1 his    
deportment has remained perceivably     
identical4 ,the modern secretary1 after 
delivering his papers to his master1    
crosses his hands over his chest or his 
stomach in the fashion of the ancient   
scribe2 he no longer kneels while       
waiting1 but assumes the humblest       
attitude imaginable1 and if his costume 
did not hide it1 we should recognize the
 suppleness that characterizes the      

,boulaq statue in the movement of his   
shoulders and spine4 ,his chief finishes
 reading the papers1 affixes his seal to
 this one or that1 writes a few lines   
across another1 and throws the sheets on
 the ground3 the secretary picks them   
up1 and returns to his office without   
offence at the cavalier manner in which 
his work is given back to him4 ,indeed1 
is it to be expected that a moudir1 a   
man receiving a large salary1 would take
 the trouble to stretch out his arm to  
meet the hand of a mere ill-paid        
employee8 ,in fact1 he treats his       
subordinates as his superiors treat him2
 his subordinates1 in their turn1 act in
 a similar way towards theirs1 and so   
things go on right down the ladder1 and 
no one dreams of objecting4             
,illustration3 ,,kneeling ,,scribe4     
,cairo ,museum4  ,our scribe was one of 
those to whom the papers were thrown    
more often than to others4 ,he occupied 
a somewhat low place in the hierarchy1  
and no bond attached him to the great   

families of his period4 ,if he is       
kneeling1 it is that the sculptor has   
represented him in one of his ordinary  
attitudes during the hours of work2 he  
has also drawn his portrait with the    
fidelity and jovial good humour adopted 
by artists in portraying scenes of      
everyday life4 ,the man has just brought
 a roll of papyrus or a tray laden with 
papers2 kneeling in the approved manner1
 the bust well-balanced on the hips1 the
 hands crossed1 the back bowed1 the head
 slightly bent1 he waits until his      
master has finished reading4 ,does he   
think8 ,scribes felt some secret        
apprehension when appearing before their
 masters4 ,the rod played a large part  
in the discipline of the offices4 ,an   
error in the addition of an account1 a  
word omitted in copying a letter1 an    
instruction misunderstood1 an order     
awkwardly executed1 and the blows fell4 
,few employees escaped flogging4 ,if    
they did not deserve it1 it would be    
inflicted on principle3 8,that young    

fellow requires a beating4 ,he obeys    
when he is flogged60#cf ,the sculptor   
has admirably transferred to the stone  
the expression of resigned uncertainty  
and sheepish gentleness with which the  
routine of an entire life spent in      
service had endowed the model4 ,the     
mouth is smiling1 for such is the demand
 of etiquette1 but there is no joy in   
the smile4 ,the nose and cheeks grimace 
in unison with the mouth4 ,the two big  
enamel eyes1 surrounded with bronze1    
have the fixed expression of a man who  
is vaguely waiting1 without looking     
attentively at anything or concentrating
 his thought on a definite object4 ,the 
face lacks intelligence and vivacity4   
,after all1 the profession did not exact
 great alertness of mind4 ,the formulas 
of administration were simple and of    
little variety1 the arithmetic was not  
complicated2 it was possible to get on  
easily with memory and industry1 and so1
 without much trouble1 to earn          
sufficient to purchase a good funerary  

statue4  ,our statue was found at       
,saqqarah#cg in a tomb of somewhat      
mediocre appearance4 ,neither the name  
nor filiation of the man informs us     
under what king or ,dynasty he          
vegetated2 but in comparing him with the
 statue of ,rnofir#ch we are able to    
assign him his place in the series4     
,first1 both our scribe and ,rnofir wear
 a wig of a form somewhat rare at that  
period2 the hair1 parted from the centre
 of the brow1 is drawn back in a mass   
behind the ears and hangs down straight 
round the neck4 ,our scribe1 instead of 
the red complexion usually attributed to
 men's faces1 is painted light yellow1  
very like those of women4 ,rnofir shows 
the same peculiarity1 an unusual one    
under the ,ancient ,empire4 ,i do not   
think it could have been mere caprice on
 the part of the artist4 ,a scribe1     
forced to live always in his office as  
women do in their homes1 would have a   
less sunburnt skin than his colleagues  
who worked in the open air3 the yellow  

colour of the limestone would thus be a 
sort of professional sign1 and would    
correspond with a lighter complexion in 
the original4 ,the titles of ,rnofir    
prove that he lived under the last      
reigns of the ,vth ,dynasty1#ci and in  
placing the kneeling scribe at the same 
period1 we are sure of not being much in
 error4 ,i have preferred to base my    
opinions on purely archological grounds1
 but ,i think an examination of the     
style of the two statues would carry the
 connection still farther3 the way in   
which the neck is attached to the       
shoulders1 and particularly the way in  
which the hands are treated1 is almost  
identical in the two cases4 ,i do not   
know if ,i am mistaken1 but ,i have     
almost persuaded myself that the statue 
of ,rnofir and that of the kneeling     
scribe come from the same studio1 and   
are perhaps the fruit of the same       
chisel4 ,i do not despair of finding    
other monuments of a similar origin1 and
 of reconstituting in part the work of  

one of the masters of which the tombs of
 ,memphis have preserved the various    
productions1 but without preserving     
their names4  ,the execution is very    
careful3 unfortunately the limestone in 
which the scribe is cut was too soft1   
and it is worn away in places4 ,the     
knees have suffered most1 and it is a   
great pity1 for we can see by what is   
left of them how careful the artist has 
been with the modelling4 ,the arms are  
not divided from the bust1 the hands are
 heavy1 the feet long1 but the play of  
the muscles of the chest and neck is    
well noted4 ,in short1 it is an         
estimable work of a conscientious       
sculptor who thoroughly understood his  
vocation4     ,,viii  ,,pehournowri     
,,statuette ,,in ,,painted ,,limestone  
,,found ,,at ,,memphis  7,the ,louvre7  
,mariette found the statuette by chance 
when searching the ,serapeum4 ,it had   
formerly been taken from the pit in     
which it was shut up and thrown amid the
 rubbish of the great sphinx avenue that

 leads to the tomb of ,apis4 ,the       
individual was named ,pehournowri2 he   
was cousin royal1 and fulfilled         
functions that ,i do not know how to    
define4 ,nothing in the inscription     
helps us to conjecture with what king he
 claimed relationship1 but its style    
proves that he lived under the ,vth     
,dynasty4 ,that he was of mature age is 
indicated by the plenitude of form1 by  
the fine proportions and the benevolent 
and benign aspect4 ,a short wig1 a      
necklace1 a loin-cloth scarcely reaching
 the knees1 completes his costume4 ,his 
statue is not one in front of which we  
naturally pause when walking through a  
museum4 ,i do not think that during the 
thirty years it has been in the ,louvre 
it has attracted the attention of any   
one except experts in ,egyptology4 ,not 
that it lacks merit3 the modelling is   
exact1 the execution skillful and       
delicate1 the expression frank and      
successful1 but the pose differs very   
slightly from that which hundreds of    

other artists have given to hundreds of 
other statues4 ,the careless visitor who
 passes from one seated man to a second1
 and then to many others1 does not think
 of looking for the details of execution
 that distinguish them4 ,he thinks that 
when he has seen one or two he has seen 
all1 and departs with the idea that the 
chief attribute of ,egyptian art is     
monotony4  ,egyptian sculptors did not  
greatly vary the pose of their sitters4 
,sometimes they represented them        
standing and walking1 one leg in advance
 of the other1 sometimes standing1 but  
motionless1 with the feet together1     
sometimes sitting on a seat or a stone  
pedestal1 sometimes kneeling1 more often
 crouching1 the chin against the knees  
like the fellahs of to-day1 or the legs 
flat on the ground like the scribe of   
the ,louvre4#dj ,the details of         
arrangement and costume may be modified 
ad infinitum1 but the attitude is nearly
 always regulated by the six types ,i   
have enumerated4 ,some modern critics   

attribute this fact to the inexperience 
of the sculptors1 others to the         
inflexibility of certain hieratical     
rules4 ,but having seen not only the few
 incomplete pieces to be found in       
,europe1 but also the monuments still   
existing in ,egypt1 ,i cannot admit     
those reasons4 ,everywhere in the       
bas-reliefs of the temples and tombs a  
multiplicity of gestures or attitudes   
are to be seen which show to what point 
the artists could1 when they pleased1   
diversify the human figure3 the peasant 
bends over the hoe1 the joiner leans    
over his bench1 the scribe stoops over  
his paper1 the dancers1 girls and men1  
twist and balance their bodies1 the     
soldiers brandish their lances or march 
in time1 as naturally as possible4 ,and 
the sculptors even reproduced positions 
in their statues very different from    
those we are accustomed to see at the   
,louvre3 the kneeling woman who is      
grinding her corn1 the baker who is     
kneading the dough1 the slave who coats 

the amphora with pitch before pouring in
 the wine1 the crouching mourner of     
,boulaq1#da are all composed and        
modelled with a lightness of action and 
a perfection of expression that leaves  
no doubt as to the skill of the artist4 
,it is true that hieratical rules       
existed1 and no one will dispute that   
fact1 but they were reserved for matters
 of religion and for those alone4 ,they 
exacted1 for instance1 that ,amon must  
always1 in every case1 have the         
attributes1 costume1 and attitude proper
 to the god1 but they in no wise ordered
 that all men were to be confined to one
 of the five attitudes ,i have just     
described4 ,the freedom of composition  
to which the large historical pictures  
of the temples or the domestic scenes of
 the tombs testify1 does not agree with 
what we are told concerning the         
inflexibility of the hieratical rules4  
,illustration3 ,,pehournowri4  ,the     
,louvre4  ,i shall not now touch on the 
statues of kings or divinities3 ,i shall

 have an opportunity later of treating  
them at leisure4 ,those of private      
individuals represent for the most part 
persons of rank1 great nobles1 people of
 the court1 officers1 magistrates1      
priests1 employees of birth or fortune2 
they come from nearly all the           
cemeteries1 and are portraits of the man
 for whom the tomb was hollowed out or  
of people of his house4 ,the master     
stands in an attitude of command1 or    
sits like ,pehournowri1 and he could    
only have one or the other of those     
attitudes4 ,the tomb is1 in fact1 his   
private house1 where he rests from the  
fatigues of life1 as he used to do in   
his terrestrial home4 ,a soldier when at
 home does not carry his arms1 a        
magistrate does not wear his robe3      
soldier or magistrate1 the insignia of  
the profession are laid aside when he   
returns home4 ,thus the master of the   
tomb always wears his civil costume1 and
 leaves the marks of his profession at  
the door4  ,then1 also1 the accessible  

part of his dwelling has a special      
destination which regulates the pose of 
the statues3 it is1 in fact1 his        
reception-room1 where on certain days   
the family assembled to present the     
offerings to him1 in more prosaic words1
 to dine with him4 ,whether his statue  
was visible in one of the open chambers 
or invisible in the ,serdb1#db it was   
his substitute4 ,it is sufficient to    
look at the neighbouring bas-reliefs to 
discover what were the official         
attitudes of the dead man in the tomb4  
,he was present at the preliminaries of 
the sacrifice1 the sowing and the       
harvest1 the rearing of the cattle1     
fishing1 hunting1 the execution of      
crafts1 and he saw all the works carried
 out for the eternal dwelling3 he was   
then standing1 one foot in advance1 head
 erect1 hands hanging down1 or armed    
with the staff of command4 ,elsewhere1  
one after the other1 the different      
courses of the meal are served him1     
cakes1 wines1 canonical meats1 fruits   

which he needs in the world of the dead3
 then he is seated in an armchair alone 
or with his wife4 ,the sculptor employed
 for his statues the two positions he   
has in the paintings3 standing1 he      
receives the homage of his vassals2     
seated1 he takes part in the meal4 ,and 
in the same way the statues which embody
 the members of the family and of the   
household have likewise the attitude    
suited to their rank and occupation4    
,the wife is sometimes standing1        
sometimes sitting on the same seat as   
her husband1 or on a separate one2      
sometimes1 as in life1 crouching at his 
feet4 ,the son wears the costume of     
childhood1 if the statue was carved     
while he was still a child1 or the      
costume and attitude of his office if he
 was an adult4 ,the acting scribe       
crouches1 the roll spread on his knees1 
as if he was writing from dictation or  
reading from an account-book4#dc ,the   
slave grinds the corn1 the bakers knead 
the dough1 the cellarers pitch their    

amphoras1 the mourners lament and tear  
their hair as it was their duty to do in
 the world above2 each individual is    
occupied according to his condition4    
,the social hierarchy followed the      
,egyptian after death1 and it regulated 
the pose of the statue after1 as it had 
regulated that of the model before1     
death4 ,up to a certain point it is the 
same to-day1 and he who carves the      
statue of a printer is careful not to   
attribute to him the action and costume 
of a miner or a sailor4 ,these statues1 
shut up in the tomb1 formed a sort of   
tableau in which each person held for   
ever the pose characteristic of his rank
 or his profession4 ,the artist was free
 to vary the detail and regulate the    
accessories according to his fancy1 but 
he could not change the general         
disposition without injuring the utility
 of his work4  ,at bottom1 it is with   
the statues of ,ancient ,egypt as with  
the pictures of saints of the ,italian  
schools4 ,the painters had to treat     

their subject on lines from which they  
could not depart without falsifying or  
disfiguring it4 ,bring sixty or eighty  
,st4 ,sebastians together in a room3 how
 many of those who saw them would escape
 the boredom that infallibly results    
from constant repetition8 ,when the     
tenth ,st4 ,sebastian was reached only a
 few professional artists would not have
 already gone away4 ,i am supposing1    
too1 that only choice pictures had been 
collected in which the qualities of a   
master are easily recognized4 ,if1 on   
the contrary1 there had been collected  
at random all the available ,st4        
,sebastians without first eliminating   
the bad pictures1 the finest ,st4       
,sebastians in the world1 lost in the   
crowd1 would be likely to attract no    
more attention from the public than the 
,crouching ,scribe or the other         
masterpieces of ,egyptian sculpture in  
the ,louvre4 ,the hypothesis appears    
absurd1 because no one will easily admit
 that any one could have the idea of    

making such a collection4 ,i agree so   
far as modern or ancient works1 the     
value of which is known1 are concerned2 
but ,egyptian ,museums have so far      
always been classified as depts of      
archological objects1 not as art        
galleries4 ,each statue is a scribe1 a  
god1 a king2 it is the scribe ,hor of   
the ,x,i,xth ,dynasty1 or the scribe    
,skhemka of the ,vth1 or the king       
,sovkhotpou1 wearing the head-dress of  
the pschent1 and that is all4 ,the      
trumpery scribes and the scribes that   
emanate from the hands of a master are  
confused under the same rubric1 and no  
mark is placed to distinguish the good  
from the bad4 ,pehournowri is a scribe1 
,ramke a second scribe1 ,rahotpou a     
third scribe1 just as the ,st4          
,sebastian of such or such a great      
,italian master and the ,st4 ,sebastians
 of the ,epinal pictures are two ,st4   
,sebastians3 the public which is not    
warned1 and which has no more interest  
in one scribe than in another1 passes on

 without looking4  ,the impression of   
monotony is produced by the perpetual   
repetition of the same types and by the 
method of classification adopted in the 
museums4 ,if it was decided to do for   
,egypt what has been done for ,greece   
and ,rome1 to separate the productions  
of art and the objects of archology1    
people's opinion would be promptly      
modified4 ,the impression of monotony   
would not wholly disappear1 because the 
number of types studied by the ,egyptian
 sculptors was not sufficiently         
numerous3 it would be lessened and would
 no longer blind the crowd to the real  
beauty and perfection that reside in    
,egyptian sculpture4     ,,ix  ,,the    
,,dwarf ,,khnoumhotpou  7,,vth ,,or     
,,vith ,,dynasty7  7,boulaq ,museum7    
,the charming person who left us this   
statue is known1 since the ,exhibition  
of #ahgh1 by the name of the            
,superintendent of the ,cooks2 his title
 in the inscription on the pedestal     
indicates a keeper of the wardrobe4 ,in 

his lifetime he doubtless enjoyed some  
notoriety1 since he had one of the fine 
tombs of ,saqqarah for himself alone1   
but we know nothing of his history4 ,his
 name was ,khnoumhotpou1 a name later   
made illustrious by a prince of ,minieh 
under the ,x,i,ith ,dynasty3 his place  
of burial proves that he was born at the
 end of the ,vth or beginning of the    
,v,ith ,dynasty4  ,he was a dwarf1 and a
 very small dwarf4 ,the statue is       
scarcely a foot in height1 and the      
dimensions of the head show that it was 
probably half the natural size4 ,it     
reproduces the characteristics proper to
 dwarfs without exaggerating them4 ,the 
head1 of a suitable size1 is long-shaped
 and flanked by two large ears4 ,the    
expression of the face is heavy and     
stupid1 the eyes narrow and raised at   
the temples1 and the mouth wide and     
ill-formed4 ,the chest is strong and    
well developed1 but the artist has      
employed his ingenuity in vain in order 
to dissimulate the hind-quarters by     

covering them with a vast white         
petticoat2 notwithstanding1 we feel that
 the torso is not in proportion to the  
arms and legs4 ,the stomach forms a     
round projection1 and the hips recede in
 order to counterbalance the stomach4   
,the thighs only exist in a rudimentary 
state1 and the whole individual1 mounted
 as he is on little deformed feet1 seems
 about to fall face downwards on the    
ground4 ,the flesh was painted red1 the 
hair black1 but the colour has peeled   
off or been effaced in places4 ,the two 
legs were broken formerly at the ankle1 
then stuck on again when the statue was 
transported to the ,museum4 ,it is very 
possible that the accident happened     
during the execution of the statue1 for 
the limestone used by the ,egyptians is 
so fragile that the sculptor did not    
venture to detach the arms from the     
body3 too hard a blow of the mallet     
while freeing the legs may have caused  
the unfortunate fracture that spoils the
 bottom of the monument4  ,khnoumhotpou 

is1 so far1 the only dwarf that has come
 to light who is a nobleman4 ,similar   
dwarfs were not lacking in ,egypt1 but  
they nearly all belonged to the class of
 jugglers and buffoons4 ,the ,pharaohs  
and the princes of their court bestowed 
the same affection on these deformed    
creatures as did ,christian or          
,mussulman kings in medival times2 their
 household would not have been complete 
without two or three of them of an      
aspect more or less grotesque4 ,ti      
possessed one that figures by her in her
 tomb3 the poor wretch holds in his     
right hand a kind of large wooden       
sceptre terminated by a model of a human
 hand1 and leads a greyhound almost as  
tall as himself in a leash4 ,elsewhere  
dwarfs are represented crouching on a   
stool at the feet of their masters1 by  
the side of the favourite monkey or dog4
 ,we know from the pictures of          
,beni-,hassan that two of them belonged 
to the prince of ,minieh's suite2 one1  
despite his small size1 does not lack   

elegance1 but the other enjoys with the 
exiguity of his stature the pleasure of 
being club-footed4 ,the ,egyptian heaven
 did not escape the prevailing mania any
 more than the court of the ,pharaohs1  
and it included several dwarfs1 of whom 
two at least had an important rle3 ,bsa1
 who presided over arms and the toilet1 
and the ,phtah1 who for a long while    
has1 without reason1 been called        
embryonic ,phtah4#dd ,perhaps           
,knoumhotpou joined to his functions of 
keeper of the wardrobe the office of    
court buffoon2 perhaps he was of noble  
birth1 and preserved by his origin from 
the disagreeables to which his brethren 
of low extraction were exposed4         
,illustration3 ,,the ,,dwarf            
,,khnoumhotpou4  ,cairo ,museum4  ,but  
we have no need to know what he was3    
merely in leaving us his portrait1 he   
has rendered signal service to science4 
,let us recall the part played by the   
statues of the tombs in the theological 
conceptions of the ,egyptians3 they were

 the indispensable support of the       
double1 the body without which the soul 
of the dead person could not exist in   
the other world4 ,it might be thought   
that in passing from life in this world 
to that beyond the tomb1 the people to  
whom beauty had been chary might not    
have been sorry to assume a new         
appearance2 if we are to be re-born1 it 
is better to be re-born less ugly4 ,the 
care that poor ,khnoumhotpou has taken  
to reach us deformed shows that the old 
,egyptians did not hold our views on the
 subject3 they desired to remain always 
as nature created them at the moment of 
conception4 ,it was not absence of      
coquetry on their part1 but necessity3  
their idea of the soul compelled them so
 to act4 ,from the moment that their    
personality was indissolubly bound up   
with the existence of the body1 the     
first condition imposed on them for     
remaining identical with themselves     
after death1 as before1 was to preserve 
their earthly form intact4 ,in order    

that the ,khnoumhotpou who dwelt in the 
hypogeum of ,saqqarah might not be a    
different being from the ,khnoumhotpou  
who walked through the streets of       
,memphis1 it was necessary that his     
disincarnated double should find there  
the support of a statue of a dwarf4     
,give him the fine proportions of ,ti or
 ,rnofir1 the proud bearing and haughty 
mien of the ,chekh-el-,beled1 even the  
more common type of the ,crouching      
,scribe1 he would not have known what to
 do4 ,his substance1 poured1 so to      
speak1 into the exiguous and deformed   
mould of the dwarf1 could never have    
adapted itself to the new mould into    
which the artist would have tried to    
cast it4 ,khnoumhotpou beautified would 
no longer have been ,khnoumhotpou2 his  
tomb1 without the statue of a dwarf1    
would only have sheltered a double and a
 support strangers to each other4  ,it  
was then the likeness1 and the absolute 
likeness1 that the artist had to seek to
 reproduce1 and the seriousness and     

scrupulousness with which he rendered   
the deformity of his model is thus      
explained4 ,the ,egyptians were scoffers
 by nature1 and liked to mingle the     
comic with the serious1 not only in     
literature but in the arts4 ,to take    
only one example3 the painter who1 at   
,thebes1 pictured the interment of      
,nofrihotpou1 has drawn1 by the side of 
the large boats laden with mourners and 
all the apparatus of grief1 the         
contortions of two sailors whose shallop
 was brutally struck by the oars of the 
funerary barque4 ,if the sculptor who   
chiselled ,khnoumhotpou had been free to
 follow his natural inclination1 he     
would probably have exaggerated certain 
features and given the unfortunate      
creature a slightly absurd physiognomy4 
,his religious conscience would not     
permit him to risk anything of the kind3
 a statue uglier than nature would have 
been as inconvenient to the soul of the 
original as a statue more beautiful than
 nature4 ,a body of stone identical at  

all points with the body of flesh was   
what the ,egyptian demanded1 and that is
 exactly what the sculptor fashioned for
 the little ,khnoumhotpou4 ,we see here 
that what we call the question of art is
 subsidiary3 a stone-cutter who         
understood his business sufficed for all
 that was required4  ,it must not1      
however1 be concluded from what precedes
 that ,i regard the portrait of         
,khnoumhotpou as the work of a mere     
artisan4 ,it has been too often repeated
 that statuary in ,egypt was a          
mechanical craft2 sculptors were taught 
to fashion arms1 legs1 heads1 and       
torsos1 and to join them1 according to  
the formula1 in imitation of two or     
three models always the same4 ,that     
opinion1 repeated by the ,greeks1 is    
fairly difficult to uphold in the       
presence of the statue of ,knoumhotpou2 
it might be possible to set up patterns 
for bodies of ordinary formation1 but   
all varieties of deformed bodies could  
not possibly be foreseen4 ,the unknown  

master whose work we have at ,boulaq    
proceeded in exactly the same manner as 
a modern sculptor1 the necessities of   
whose work confronted him with a        
deformed model3 he produced a work of   
art1 not the task of a mechanic4     ,x 
,,the ,,favissa ,,of ,,karnak ,,and     
,,the ,,theban ,,school ,,of            
,,sculpture#de   ,i  ,a large pool among
 the ruins1 and at the southern end two 
batteries of chadoufs1 one on top of the
 other1 working to exhaust the water    
continually renewed by the              
infiltrations4 ,on the banks are blocks 
and muddy statues1 round which          
half-naked workmen are busily occupied1 
beams1 levers1 coils of rope1 and the   
beginnings of a ,decauville line2       
remains of storied walls dominate the   
workshops1 and the modern village of    
,karnak stands out clearly on the       
horizon beyond their irregular tops4    
,when the first ,ptolemies decided at   
the beginning of the third century      
,b4,c4 to restore the ,theban temple of 

,amon1 they found it encumbered with    
ex-votos4 ,everywhere1 in the halls1 the
 corridors1 the court-yards1 there were 
stel1 stone statues1 little wooden or   
bronze figures1 sacred or royal         
insignia1 heaped up one on the other1   
and in such quantities that there was no
 space for new ones4 ,it was a legacy of
 extinct ,dynasties or of noble families
 who had died out1 to whom the ,pharaohs
 had granted the privilege of           
consecrating their image in the house of
 the god1 and to sell or destroy any of 
them would have been to commit          
sacrilege4#df ,they were dealt with     
according to the custom of the          
contemporary peoples3 a vast pit was dug
 between the seventh pylon and the      
hypostyle hall1 and then they were      
buried pell-mell in holy ground4 ,twenty
 centuries later1 in #ahhc1 hastily made
 soundings revealed the richness of the 
site to me1 but1 lacking money1 ,i could
 not venture to undertake anything4 ,it 
was not until #aija1 when the regular   

progress of clearing away brought the   
workmen to the spot1 that ,i advised ,m4
 ,legrain to dig more deeply than usual1
 so that nothing which was hidden       
beneath the earth might escape          
observation4 ,the excavations yielded   
just what ,i had foreseen1 royal colossi
 in granite1 limestone1 sandstone which 
were restored to their ancient places   
along the pylon2 a little below came    
fragments of a fine limestone building  
of ,amenthes ,i that ,thoutmsis ,,iii   
had used for banking up when he enlarged
 the temple2 and at the very bottom1 at 
a depth of over six1 twelve1 fourteen   
yards1 what none of us had thought of1  
an intact favissa in which hundreds of  
statues and small objects awaited in the
 mud the hour of their deliverance4     
,for four years ,m4 ,legrain has been   
exploring the spot foot by foot1 and ,i 
think he has succeeded in entirely      
emptying it4 ,we must now draw up the   
inventory of the treasures it has       
bestowed on us4 ,the greatest benefit   

conferred by them is assuredly on       
political history4 ,all epochs are not  
represented in equal abundance--the     
first ,theban ,empire is1 so to speak1  
merely mentioned1 and the two great     
,dynasties of the second are represented
 only by about a hundred pieces--but    
from the fall of the ,ramessides to the 
,persian conquest the series of the high
 priests of ,amon reappears almost      
complete1 with their wives1 sons1       
brothers1 the children or latest        
descendants of their brothers1 and from 
the day when the male line failed1 the  
princesses who inherited its rights1    
with the noble persons who wielded the  
power in their name4 ,however1 the large
 find all at once of statues and        
inscriptions serves not only to give    
information about the revolution that   
transformed the military kingdom of     
,thebes into a theocracy1 but also      
furnishes documents for the study of the
 progress of art during the twenty      
centuries and more that the revolution  

took4 ,the artistic merit of the objects
 is very unequal1 and many of them are  
only interesting to the archologist2    
some1 however1 stand out distinguished  
above the mass1 and take their rank     
worthily beside the best known          
productions of ,egyptian art4 ,as they  
come from the same temple1 and have been
 erected by different members of the    
same families1 it is natural to see in  
them the work of one school1 established
 at ,thebes in far-off antiquity4       
,indeed1 a unity of character common to 
all is easily discerned1 which1         
perpetuating itself without notable     
change from generation to generation1   
fixes undeniable affinities of          
conception and technique4               
,illustration3 ,,the ,,works ,,at       
,,karnak ,,in ,,january1 #aijf4   ,,ii  
,setting aside a few stel in which the  
arrangement is bad and the composition  
coarse1#dg the most ancient monuments we
 possess of that school are those       
discovered by ,carter and ,naville      

between #aijj and #aijf in the tomb of  
,montouhotpou ,v at ,der-el-,bahar4 ,the
 bas-reliefs of the chapel belonging to 
the pyramid are as correct in design and
 as firm in touch as the fine ,memphian 
bas-reliefs of the ,vth or ,v,ith       
,dynasty2 but the relief is more        
accentuated1 the outline bolder and     
freer1 the man more thick-set1 and more 
firmly placed on the ground1 the woman  
of a more slender figure1 with larger   
hips and a more ample bosom4 ,the statue
 of the king which is in the ,cairo     
,museum#dh was cut in the sandstone with
 a bold1 firm chisel4 ,the feet and     
knees are thick1 the hands massive1 the 
bust indicated in summary fashion1 the  
face boldly modelled4 ,the colour is    
harsh1 the flesh black1 the costume     
white1 the cap red1 according to the    
ritual of the ceremonies for which it   
was destined2 the whole has an aspect of
 barbarism1 but a premeditated          
barbarism1 having regard to the         
religious effect to be produced4 ,if a  

,memphian sculptor had treated a similar
 subject1 he would not have failed to   
harmonize the lines and soften the      
colour3 unconsciously he would have     
fused its type with the softer type of  
human physiognomy that prevailed in his 
school1 at the risk of enfeebling its   
energy4 ,the ,theban sculptor1 on the   
contrary1 exerted himself above all to  
reproduce the truth as it revealed      
itself to him1 and that preoccupation is
 dominant to the end with all of his    
school4 ,they sought the likeness with  
the intention of exaggerating rather    
than of softening the individual        
features of the subject1 and in order to
 attain it1 did not shrink from         
roughness of execution nor violence of  
colour3 they often fell into barbarism1 
but scarcely ever into banality4  ,when1
 under the ,x,i,ith ,dynasty1 ,thebes   
became one of the capitals of ,egypt1   
its kings sometimes employed local      
artists1 sometimes called in sculptors  
imbued with the ,memphian tradition from

 ,heracleopolis or the ,fayoum4 ,chance 
has preserved for us two colossal heads1
 one of ,sanouosrt ,i 7,ousirtasen71#di 
discovered by ,mariette in the ruins of 
,abydos1 the other of ,sanouosrt ,,iii1 
extracted by ,m4 ,legrain from the pit  
at ,karnak4 ,the handicraft is excellent
 in both cases1 and seldom has this     
unpromising stone been worked with      
greater skill1 but the inspiration of   
the whole is different4 ,here are two   
persons of the same race1 and the       
general resemblance is sufficient to set
 aside any doubt3 for if it were not    
there1 we should be tempted to see in   
each a sovereign of a different         
,dynasty4 ,the first belongs to a school
 inspired by the ,memphian tradition3   
the sculptor has idealized or1 if       
preferred1 symbolized his model1 and has
 given it the short full oval1 the      
smiling good-humoured face that the     
school adopted for official statues of  
the ,pharaohs4 ,the second1 on the other
 hand1 copied the features without      

softening a single one2 the face is long
 and thin1 the brow narrow1 the         
cheek-bones prominent1 the jaw bony and 
heavy4 ,he has hollowed the cheeks1     
surrounded the nose with two deep       
furrows1 tightened the lower lip and    
projected it into a contemptuous pout2  
he has realized a strong work1 whereas  
the other1 penetrated by opposite       
principles1 has only evolved from the   
stone an agreeable composition1 but one 
lacking individuality4  ,illustration3  
,,montouhotpou ,v4  ,painted sandstone4 
,illustration3 ,,head ,,of ,a ,,colossus
 ,,of ,,sanouosr,t4  ,pink granite4     
,the contrast between the two methods is
 less striking in the bas-reliefs than  
in the statues4 ,among the fragments    
used by ,thoutmsis ,,iii for filling up 
is a square pillar emanating from a     
limestone building of ,sanouosrt ,i4    
,the ,pharaoh is seen on one of the     
sides accompanied by ,phtah4 ,they are  
there1 the sovereign and the god1 face  
to face1 breathing each other's breath1 

according to the etiquette of greeting  
between persons equal in rank4 ,the     
style greatly resembles that of the     
,memphian school1 but when examined more
 closely1 peculiarities of the ,theban  
school are to be distinguished4 ,the    
contours are firmly fixed1 the relief is
 less flat1 and consequently the shadows
 less thin1 and thus the outline of the 
figures stands out more strongly against
 the background than in the pictures of 
,gizeh or ,saqqarah3 a ,memphian would  
perhaps have displayed more elegance1   
but would have remained true to         
convention4 ,the scenes engraved on the 
other three sides also present the      
characteristics of ,theban art1 and it  
is a pity that the fragment is so far   
unique4 ,if the rest of the temple was  
decorated in the same happy fashion1 the
 ,x,i,vth ,dynasty encouraged at ,thebes
 a work comparable to the finest of the 
,x,v,i,i,ith or ,x,i,xth on the         
porticoes of ,der-el-,bahar1 in the     
sanctuary of ,gournah1 and in the       

,memnonium erected by ,setou ,i at      
,abydos4  ,illustration3 ,,sanouosr,t   
,,and ,,the ,,god ,,phtah4  ,fine       
sandstone4   ,,iii  ,it is with the     
statues of the ,x,v,i,i,ith ,dynasty    
discovered at ,karnak by ,m4 ,legrain as
 with those of the ,x,i,ith3 directly we
 look at them we notice distinctive     
signs of the school1 with modifications 
that are explained when we consider the 
position of ,thebes at that period4 ,the
 favourite residence of the ,pharaohs   
and permanent seat of their government1 
its prosperity was continually increased
 by the booty gained in ,syria or       
,ethiopia1 and as wealth increased1 so  
did the taste for building4 ,not only   
did the kings never tire of embellishing
 the city1 but1 following their example1
 private individuals built sumptuous    
palaces and tombs there4 ,for so much   
activity a large supply of artists was  
needed3 studios multiplied1 sculptors   
came from all parts of the country to   
supplement the few ,theban sculptors4   

,those strangers did not join the local 
school without exercising some influence
 on it3 it was subdivided into several  
branches1 each of which1 while          
preserving a common ground of precepts  
and habits1 soon assumed its personal   
physiognomy4 ,we already know two or    
three of them1 but how many must there  
have been during the three centuries    
that the ,dynasty lasted1 all the work  
of which is lost for us or confused with
 the mass8  ,illustration3 ,,bust ,,of  
,,thoutm,,sis ,,iii4  ,grey ,schist4  ,i
 like to attribute to the same studio1  
besides a certain number of pieces      
recently acquired by the ,cairo ,museum1
 three of the best fragments extricated 
by ,m4 ,legrain from the favissa1 the   
,thoutmsis ,,iii1 the ,isis1 and the    
,sanmaout4 ,the ,thoutmsis ,,iii is in a
 very supple schist that allows the most
 delicate chiselling1 and no engraving  
can do justice to the delicacy of the   
modelling3 the play of the muscles is   
discreetly noted1 but with extraordinary

 sureness1 and1 the imperceptible       
shadows it produces varying in          
proportion as we walk round the figure1 
the aspect of the physiognomy seems to  
change from moment to moment4 ,isis was 
not of royal birth1 and perhaps came    
from one of the lower strata of society3
 five-and-twenty years ago her existence
 was not suspected1 and the ,karnak     
statue in pink granite is the first     
portrait we have of her4 ,it is through 
her1 however1 that ,thoutmsis ,,iii     
possesses the features by which he      
differs from his predecessors1 the large
 aquiline nose1 wide-opened1 almost     
protruding eyes1 full mouth1 rounded    
face4 ,the heavy wig he wears made the  
sculptor's task difficult2 so much the  
greater then is the merit in conceiving 
a work before which we pause1 even by   
the side of the preceding one4 ,it      
contains all the characteristics of the 
,theban school1 the seeking after the   
personal expression1 the sincerity of   
the rendering1 the width of the         

shoulders and1 as a set-off1 the        
intentional smallness of the waist      
between the ample breasts and broad     
hips4 ,study of the composition compels 
us to attribute it to the same studio1  
if not to the same artist to whom we owe
 the statue of ,thoutmsis ,,iii4 ,i     
think the same about the group          
representing ,sanmaout and the little   
princess ,nafrourya whose steward he    
was3 nothing could be less conventional 
than the free1 firm gesture with which  
he holds the child1 or the posture of   
trusting abandon with which she leans   
against his breast4 ,the frankness of   
the movement well harmonizes with the   
spiritual gentleness of the face and the
 smile that animates the eyes and the   
full lips4 ,sanmaout was ,queen         
,hachopsoutou's major-domo1 and his     
sovereign had authorized him to erect   
his statues in the temple of ,amon4     
,after examining those that remain to   
us1 it cannot be doubted that they all  
come from one of the royal studios1 most

 probably the one whence came later the 
statues of ,thoutmsis and his mother    
,isis4  ,illustration3 ,,isis1 ,,mother 
,,of ,,thoutm,,sis ,,iii4  ,and we have 
direct proof that the ,theban sculptors 
of that period tried above everything to
 make sure of the likeness4 ,they drew  
their subject over and over again before
 definitely making the rough sketch1 and
 the dry climate of ,egypt has preserved
 many of their cartoons4 ,cartoon is not
 exactly the term1 since they used      
fragments of limestone for their        
studies1 but the word ostraca by which  
they are designated is not much better1 
and1 further1 is only intelligible to   
expert ,egyptologists4 ,hundreds of them
 have found their way to the ,cairo     
,museum1 and they show the attempts of  
the artist1 his hesitations and         
corrections1 the variations of his      
thought and of his hand1 down to the    
moment when he became absolute master of
 his model4 ,more than once1 too1 the   
chances of excavation have brought the  

model itself to light1 and provided us  
with the means of comparing the portrait
 with the original4 ,that is the case   
with ,thoutmsis ,,iii4 ,his mummy was   
found in #ahha in the favissa of        
,der-el-,bahar and is exhibited with the
 others in the ,gallery of ,sovereigns  
in the ,cairo ,museum4 ,the face has    
certainly greatly changed in course of  
mummification1 and the shrunken flesh1  
the sunken eyes1 the flattened nose1 and
 the discoloured skin make him very     
different from what he was formerly4    
,but if the superficies has changed1    
what is beneath has endured3 if we      
compare the profile of the face with the
 mask of the statue1 we must admit that 
they are identical1 with the addition of
 the life1 the expression of which was  
perpetuated by the sculptor4            
,illustration3 ,,sanmaout ,,and ,,the   
,,princess ,,naf,,rour,,ya4  ,black     
granite4  ,let us skip a century and a  
half1 and transport ourselves to the    
last years of the ,dynasty3 they have   

bequeathed us several pieces that must  
be related to a common origin3 the fine 
woman's head that ,mariette called      
,taia1 the ,khonsou and the ,amon of    
,harmhbi1#ej the ,toutnoukhamanou1 and  
perhaps also the statuette in petrified 
wood extracted from the favissa by      
,legrain in #aije4 ,is not a portrait of
 ,a to be recognized there8 ,it is      
broadly treated despite its restricted  
dimensions1 but the unfortunate material
 employed did not allow the artist to go
 far as regards execution3 the likeness 
remains uncertain4 ,but it preserves the
 mark of the school1 and various details
 in the nose1 mouth1 the cut of the     
eyes1 the inset of the eyebrows1 lead me
 to think that we shall probably be     
right in attributing it to the group of 
artists to whom we owe the ,khonsou and 
the ,toutnoukhamanou4 ,i am certain that
 they come from the same hand1 and an   
instant's examination will prove it4    
,the two figures might almost be        
superimposed3 the eye is hollowed out in

 an identical amount in both1 the       
attachment of the nose is similar1 and  
so is the way of slightly inflating the 
nostrils and of dilating the middle of  
the lips and compressing the corners4   
,the physiognomy has something ailing in
 it1 but the indications of ill-health1 
the obliquity and bruised appearance of 
the eyes1 the thinness of the cheeks and
 neck1 the prominence of the            
shoulder-bones1 are more perceptible in 
the ,khonsou than in the                
,toutnoukhamanou2 we might say that the 
model of the ,khonsou1 if it is not     
,toutnoukhamanou at a more advanced age1
 had a more visible tendency to         
consumption4 ,a doctor should study them
 both3 he alone could decide1 if1 as ,i 
imagine1 they represent a sick man1 and 
possibly he could1 according to the     
external aspect of the subject1         
establish the exact diagnosis of the    
disease4  ,the similarities are less    
marked in the head called ,taia1 and    
they are not at once noticeable in the  

engraving3 but they are clear to those  
who have studied the originals4 ,in a   
slighter degree all the details ,i have 
noted in ,khonsou and ,toutnoukhamanou  
are there3 the queen is not a sick      
woman1 but the different parts of her   
face are treated in the same way1 and   
the hand which sculptured them is that  
which so delicately chiselled the       
portraits of the god and the ,pharaoh1  
its contemporaries4 ,even when only the 
queen was known1 her strange physiognomy
 greatly excited the imagination of     
scholars4 ,mariette1 who discovered her1
 thought her a stranger to ,egypt2 he   
identified her with ,tyi1 the wife of   
,amenthes ,,iii1 and declared her to be 
,syrian1 ,hittite1 ,armenian1 and his   
opinion long prevailed4 ,we know now    
that her date is at least a quarter of a
 century after ,tyi1 and that she       
represents the wife or mother of        
,harmhbi1 one of the ,pharaohs who      
succeeded the heretical sovereigns of   
the ,x,v,i,i,ith ,dynasty4 ,and in fact 

the portraits of ,tyi that have recently
 emerged from the earth have no point of
 likeness with that of ,mariette's      
queen4 ,they present a woman of a thin  
bony type1 with heavy jaw and long      
depressed chin1 a low receding forehead1
 the physiognomy of the ,pharaoh        
,khouniatonou with which the bas-reliefs
 and statues of ,el-,amarna have        
familiarized us4 ,by the form and       
expression of her face our queen is     
allied to the family of ,harmhbi or     
,toutnoukhamanou3 the resemblance of her
 statue to those of ,legrain would      
sufficiently prove it1 if further proof 
were required4  ,and now1 when the two  
groups ,i have just described have been 
compared1 it is easily admitted that the
 inspiration and technique of the second
 proceed directly from the inspiration  
and technique of the first4 ,taste      
fluctuated during the five or six       
generations that divide them1 and the   
caprices of fashion have influenced the 
execution3 but the general              

characteristics remain unchanged1 and   
their persistence allows us once again  
to assert the continuity of the school4 
,illustration3 ,,statuette ,,in         
,,petrified ,,wood4  ,illustration3     
,,theban ,,khonsou4  ,granite4          
,illustration3 ,,statue ,,of            
,,tout,,noukhamanou4  ,red granite4     
,illustration3 ,,the ,,so-,,called      
,,taia4  ,white limestone4              
,illustration3 ,,ramses ,,ii4           
,alabaster4 ,turin ,museum4             
,illustration3 ,,ramses ,,iv ,,leading  
,a ,,libyan ,,captive4  ,grey granite4  
,,iv  ,it maintained its flourishing    
condition during the ,x,i,xth ,dynasty1 
and the favissa has restored to us works
 that yield in nothing to those of the  
preceding age4 ,in my opinion the best  
is a mutilated statue of ,ramses ,,ii1  
so like the big ,turin statue in pose   
and execution that it might be the first
 rough draft of it1 or the exact smaller
 copy4 ,a few pieces of the ,x,xth      
,dynasty are worthy of esteem without   

rising far above mediocrity1 as in a    
little group in granite of ,ramses ,,vi 
bringing a ,libyan prisoner to the god  
,amon3 the bearing of the victorious    
,pharaoh does not lack pride1 the       
constrained posture of the barbarian is 
skillfully noted1 and the movement of   
the miniature lion that glides between  
the two is interpreted with the         
customary naturalness of the ,egyptians 
when they portray animals4#ea ,i prefer 
the priest with the monkey1 or1 to give 
him his name1 ,ramses-,nakhouti1 the    
chief prophet of ,amon4 ,in a crouching 
posture1 with calves and thighs flat on 
the ground1 a roll spread out before him
 across his legs1 bewigged and          
petticoated1 uncomfortable in his robes 
of ceremony1 with an air of abstraction 
he meditates1 or silently recites       
prayers to himself4 ,a little hairy     
cynocephalus perches on his shoulders1  
and looks at him over his head3 it is   
the god ,thot who is revealed in this   
unusual position1 and it was difficult  

to co-ordinate the beast and the man in 
a manner that should be neither absurd  
nor simply ugly4 ,the sculptor has come 
out with honour4 ,the priest slightly   
bends his neck1 but we feel that the    
beast does not weigh on him3 the monkey 
on his part half shrinks behind the     
head-dress1 and the deep frown of his   
face prevents the mischievous effect    
that the countenance of an animal above 
a human face might have produced4 ,like 
the group of ,ramses ,,vi1 it bears the 
imprint of the school1 but with notable 
differences of technique3 if the first  
was sculptured in one of the royal      
studios1 the second comes from another  
studio of which the origin can be       
indicated4  ,we know how1 about a       
century after the death of ,ramses      
,,iii1 the pontiffs of ,amon made       
themselves masters of the whole of the  
,thebad3 while a new ,dynasty           
established itself at ,tanis in the     
eastern delta1 they exercised supreme   
authority over ,southern ,egypt and     

,ethiopia1 sometimes with the title of  
high-priest1 sometimes with that of     
king1 and their sacerdotal house was the
 seat of their government4 ,we do not   
know the exact site1 but we learn from  
an inscription that it was situated near
 the seventh pylon1 not far from the    
spot where the favissa was dug out4 ,it 
is probable that their relatives        
obtained the privilege from them1 at the
 moment they assumed domination1 of     
erecting their statues in the temple4   
,the court-yard between the seventh     
pylon and the hypostyle hall contains   
only a small number of ex-votos3 they   
chose it as the place in which to       
consecrate their monuments1 and filled  
it in the course of generations4 ,what  
has come down to us does not include all
 they erected in their own name or to   
the memory of those they loved4 ,many   
statues were seized or destroyed during 
civil or foreign wars1 but when the     
,macedonians conquered the land enough  
remained for more than five hundred to  

be thrown into the favissa4 ,a large    
number of artists must have been needed 
to execute so many commissions1 and1    
besides its royal studio1 ,thebes long  
possessed one or several pontifical     
studios4 ,to one of those must be       
assigned the man with the monkey1 and   
nearly all the statues after the fall of
 the ,ramessides4 ,for the most part    
they have a real value1 and scarcely    
yield to the old royal works1 such as   
the limestone statuette of ,orsorkon    
,,ii1 who drags himself along the ground
 and offers a boat to his god1 the      
fragments of which have disappeared4 ,we
 are forced to confess1 however1 that   
many are1 if not bad1 of no interest for
 the history of art4  ,illustration3    
,,the ,,priest ,,with ,,the ,,monkey4   
,the usual posture did not lend itself  
to elegance4 ,they are nearly all       
crouching1 the thighs up to the chest1  
the arms crossed on the knees3 what     
advantage was to be obtained from an    
attitude that reduced a man to a mere   

packet surmounted by a head8 ,where the 
model departed from the hieratical      
posture1 the qualities of the school are
 revealed4 ,the ,ankhnasnofiriabr en    
,hathor has a somewhat strained         
gracefulness3 it would almost bear      
comparison with the ,amenertaous so much
 admired by ,mariette1 if it were not   
leaning against a big ugly pillar4      
,perhaps the contrast between the       
slender waist and the inflated bust and 
belly is too marked in the ,ankhnas1 but
 the composition of the head is         
irreproachable4 ,it is nearly always so 
at that epoch3 if the sculptors         
sometimes neglected the bodies or       
interpreted them ill1 they cared        
lovingly for the heads4 ,fine portraits 
may be counted by the score among the   
statues found in the favissa4 ,i shall  
only give two here1 that of ,mantimeh   
and his son1 ,nsiphtah1 who lived under 
,taharkou and ,psammetichus ,i4 ,thebes 
was then under a curious government4    
,when the male descendants of the       

priests failed1 the power1 and those    
sacerdotal functions that could be      
exercised by women1 passed into the     
hands of the princesses3 one of them was
 elected1 who1 wedded to the god in a   
mystic marriage1 henceforth enjoyed the 
right of living free as she pleased4 ,to
 assist them in the government1 these   
pallacides of ,amon had major-domos1 who
 often filled with them a similar rle to
 that of the chief minister with the    
queens of ,madagascar before the        
occupation of the island by the ,french4
 ,mantimeh and his son are the best     
known of these persons1 and the artists 
to whom the care of sculpturing their   
portraits was entrusted would certainly 
be the best among those of the          
sacerdotal studio4 ,it is1 in fact1     
nature itself1 and no master of a former
 age could have expressed better or with
 a bolder chisel the bustling vulgarity 
of the father and the aristocratic      
inanity of the son4 ,the second ,sate   
period and the beginning of the ,greek  

period are almost entirely unrepresented
 in the favissa2 under the ,persians1   
distress was too general for artistic   
matters to be thought of1 and the       
,macedonian rule had only just been     
consolidated when the common pit was    
dug4 ,a granite head1 of hasty          
workmanship but dignified appearance1   
shows1 however1 that the ,theban studio 
followed the movement that prevailed in 
the schools of ,lower ,egypt1 and that1 
doubtless under the influence of ,greek 
models1 it gave attention to details    
hitherto neglected3 the skull is studied
 with a greater care for accuracy1 and  
also the slight accidents of the        
physiognomy1 the furrows of the         
forehead1 the lines between the eyes and
 at the rise of the nose1 the falling in
 or puffing out of the cheeks1 the play 
of the muscles round the nostrils and   
mouth4 ,the sculptor desired to note in 
his work not only the broad lines of the
 face1 but the small details that       
characterize the individual and         

determine his personality4              
,illustration3 ,,osorkon ,,ii ,,offering
 ,a ,,boat ,,to ,,the ,,god ,,amon4     
,illustration3 ,,queen                  
,,ankhnasnofiriabr4  ,illustration3     
,,mantimeh4  ,illustration3 ,,nsiphtah1 
,,son ,,of ,,mantimeh4  ,illustration3  
,,head 7,,sa,,te ,,period74             
,illustration3 ,,the ,,cow ,,of         
,,deir-,,el-,,bahar ,,in ,,her ,,chapel4
   ,v  ,it is a long time since ,i      
undertook to distinguish1 under the     
apparent uniformity with which ,egypt is
 reproached1 the varieties of           
composition and conception that may     
serve for the recognition of schools1   
and1 in the work of the schools1 for    
that of particular studios4 ,i have not 
found it difficult to show how the      
,memphian manner differs from the       
,theban1 nor what distinguishes both    
from that which flourished at           
,hermopolis1 ,tanis1 ,sas2 but for the  
lack of sufficiently numerous documents1
 ,i had not succeeded in marking out the

 development of one same school through 
a long series of centuries4 ,the find at
 ,karnak gave me the materials ,i       
lacked1 and since ,m4 ,legrain has been 
exploiting it1 ,i have not ceased to    
search in it for information on that    
point4 ,i have obtained much there1     
sometimes1 it is true1 of varying value1
 and ,i have still much to learn both   
about the most ancient periods and about
 certain moments of transition in more  
recent periods4 ,i believe1 however1 the
 results already obtained are           
sufficiently important and significant  
to compel us to remodel the history of  
,egyptian art4 ,i have not ventured to  
do that here1 but1 short as the present 
essay is1 it may clearly be seen to what
 results it has led me4 ,i have         
confirmed the fact that the             
characteristics of ,theban art were     
those ,i thought ,i recognized at the   
beginning of my studies3 ,i then rapidly
 noted the stages that the art passed   
through from the moment that ,thebes    

awoke to political life almost to that  
when it ceased to exist as a great city4
     ,,xi  ,,the ,,cow ,,of             
,,deir-,,el-,,bahar#eb   ,at two o'clock
 in the afternoon of ,february #ab1     
#aijf1 while ,naville was finishing his 
lunch1 a workman came running up to tell
 him that the top of a vault was        
beginning to emerge from the earth4 ,for
 several days certain indications had   
led him to think that a discovery was at
 hand3 he went to the spot and at once  
saw in the mound of sand that dominated 
the back porticoes of the temple of     
,montouhotpou a spectacle that filled   
him with joy4 ,the vault was almost half
 dug out2 under it1 in the shade1 an    
admirable cow extended her neck1 and    
seemed to look about her curiously4 ,a  
few hours' work sufficed to set her     
completely free4 ,she was intact1 but a 
little figure leaning against her breast
 had had its face crushed in distant    
ages1 and the violence of the blows had 
caused a crack in the head and shoulders

 that compromised its solidity4 ,the    
chamber that sheltered the cow was built
 in a hollow of the rock with slabs of  
sculptured and painted sandstone4 ,the  
semicircular ceiling did not present the
 usual regular vault with converging    
keystones and surfaces2 it was composed 
of a double row of bent blocks cut in   
quarters of a circle and buttressed one 
against the other at their upper end4   
,it was painted dark blue with yellow   
five-pointed stars scattered over it to 
represent the sky4 ,the three vertical  
partitions were decorated with religious
 scenes3 on the one at the back         
,thoutmsis ,,iii worships ,amonr1 lord  
of ,thebes1 and on the two sides he     
makes an offering to ,hathor1 who is no 
other than the very cow shut into the   
vault4  ,illustration3 ,,amen,,thes ,,ii
 ,,and ,,the ,,cow ,,hathor4  7,from the
 right-hand side of the group47         
,illustration3 ,,amen,,thes ,,ii ,,and  
,,the ,,cow ,,hathor4  ,three-quarters  
view4  ,she was still half buried when  

some ten inquisitive persons turned     
their kodaks on her1 thus despoiling    
,naville1 and disputing among themselves
 the pleasure of being the first to     
photograph her4 ,in the evening nothing 
else was talked of in the ,louxor       
hotels1 and the tourists did not fail to
 make up parties to go and admire her   
the next day4 ,the fellahs1 on their    
side1 related the most marvellous tales4
 ,she had breathed noisily just at the  
moment that the light of day touched    
her1 and had shivered in all her limbs4 
,she had directed such a look on the    
workman who had perceived her that he   
broke his leg with an awkward blow of   
his axe4 ,she was not1 as she seemed to 
be1 of stone1 but of fine gold1         
disguised by ,pharaoh's magicians in    
order to keep off treasure-seekers3 a   
few formulas repeated at a fixed hour   
with the prescribed fumigations and     
rites1 a little dynamite1 and after the 
explosion the fragments would be        
transformed into ingots of metal4 ,and  

as if the sorcerers were not sufficient1
 dealers in antiquities prowled about in
 the vicinity4 ,doubtless she was too   
heavy for them to think of carrying her 
off whole1 but would they have found it 
very difficult to detach the head and   
decamp with it during the night1 in     
spite of the vigilance of our guards or 
with their complicity8 ,unscrupulous    
amateurs are never far to seek1 ready to
 pay heavily for a stolen object1       
provided they believe it to have an     
artistic or archological value1 and the 
certainty of gaining hundreds of pounds 
in case of success largely compensates  
the honest brokers of ,louxor for the   
petty annoyance of disbursing a few     
pence by way of fine or of undergoing a 
week's imprisonment if they are caught  
in the act4 ,i should have preferred to 
leave the monument in its ancient place1
 but it would have been tempting        
fortune1 and the only means of saving it
 was to send it to ,cairo4 ,i entrusted 
the matter to ,m4 ,baraize1 one of our  

engineers1 and he carried it out        
extremely well3 in less than three weeks
 he had dismantled the blocks1 packed up
 the cow1 and transported the cases by  
train across the ,theban plain4 ,the    
chapel is now rebuilt in a good position
 at the end of one of the rooms of the  
,cairo ,museum1 but the goddess is not  
hidden in darkness as at ,der-el-,bahar4
 ,she stands at the entrance1 her body  
in the full light1 the hinder parts a   
little under the vault3 she comes forth 
from her house and shows herself freely 
to visitors1 from the snout to the end  
of the tail4#ec  ,illustration3 ,,the   
,,cow ,,hathor4  ,cairo ,museum4   ,,ii 
,our wonder is at first aroused by the  
mixture she presents of conventional    
mysticism with realism4 ,the front view 
shows only the head surrounded by       
accessories1 the significance of which  
is only appreciated by those who are    
learned in religious matters4 ,at the   
top of the composition1 between the tall
 horns in form of a lyre1 the usual     

head-dress of goddess-mothers1 is the   
solar disk flanked by upstanding        
feathers and stamped with an inflated   
urus4 ,this scaffolding of emblems      
without thickness and almost without    
consistence would run the risk of being 
broken by the slightest blow if it was  
not supported1 and so it rests on two   
tufts of aquatic plants1 the stalks of  
which1 rising from a socket near the    
hoofs1 spring up right and left of the  
legs2 flowers alternating with buds bend
 over the back of the neck and form a   
fan-shaped support behind the disk and  
feathers4 ,under the snout1 and as if   
framed by the vegetation1 is the        
statuette of a man standing1 his back to
 the cow's chest4 ,as ,i said1 the face 
is mutilated1 the flesh black2 he       
stretches out his hands1 palms downward1
 in front of him with a gesture of      
submission1 as if avowing himself the   
humble servant of ,hathor3 by the urus  
of the crown and the stiff petticoat    
spread in a triangle in front of the    

thighs1 we guess him to be a ,pharaoh4  
,he is found again in a less punctilious
 attitude under the right flank of the  
statue4 ,he is kneeling1 naked1 and his 
flesh is red2 he presses the teat       
between his hands1 and drinks greedily  
of the sacred milk4 ,if we may believe  
the cartouche engraved between the      
lotuses1 the two figures1 the black and 
the red1 are one and the same sovereign1
 ,amenthes ,,ii of the ,x,v,i,i,ith     
,dynasty1 and perhaps that is the case4 
,but it was ,thoutmsis ,,iii who built  
the chapel1 and it is he that the       
artists have represented twice over1    
praying in front of the cow and sucking 
the udder4 ,it would be strange if1     
after erecting the sanctuary1 he should 
have omitted to provide it with his     
goddess4 ,it is more probable that the  
cow was commissioned by him1 and shut up
 there by his order1 but without        
dedication or cartouche3 he considered  
doubtless that the neighbouring         
bas-reliefs would constitute sufficient 

title-deeds4 ,later1 ,amenthes ,,ii1    
wishing to associate himself with his   
father's act of piety1 and noticing an  
empty space behind the coiffure1        
inscribed his name there4  ,such a      
complexity of figures and attributes    
does not tend to make the appreciation  
of the work easy for us1 and we have    
also to add the prescriptions of the    
ritual to the conventions of the craft  
from which ,egyptian artists were never 
free1 at least when stone was their     
material3 the belly1 tail1 legs1 all the
 lower parts of the group1 are enclosed 
in a stone partition which spoils the   
effect even while it preserves them from
 the chances of breakage4 ,and yet1     
despite defects that shock a sculptor of
 our time1 one glance suffices to reveal
 the extraordinary beauty of the work4  
,the head differs from that of our      
,european cows1 but it is a question of 
race1 and whoever has seen the          
,soudanese cow of the present day will  
easily distinguish its features in the  

,hathor of ,der-el-,bahar3 the fullness 
of the brow1 the subtle modelling of the
 temples and cheeks1 the gentle widening
 out of the snout1 the suppleness of the
 nostrils1 and the smallness of the     
mouth4 ,such accuracy of detail will    
delight the naturalist1 but it might be 
feared that it would harm the artistic  
value of the whole4 ,that is not the    
case at all1 and if at a distance the   
physiognomy seems to have only an       
expression of gentleness and meditative 
somnolence1 as soon as we go near it    
assumes an air of intelligent attention4
 ,the eye seems to grow larger and to   
follow the visitor who arrives1 the     
snout to contract and palpitate1 as if  
to scent out4 ,the sculptor1 instead of 
following the tradition and polishing   
the stone as highly as possible1 has    
respected the fine furrows of the       
chisel1 and the light playing on them   
gives at moments the illusion of a      
shudder running over the skin4 ,the body
 is of equally accurate composition1 the

 chest narrow1 shoulders thin1 spine    
long and saddle-backed1 leg long and    
slender1 the thigh sinewy1 the haunches 
prominent1 the udder only slightly      
developed4 ,the hinder part is worked   
with an incredible fidelity4 ,contrary  
to custom1 the coat is red-brown1 darker
 on the back1 lighter1 of a tawny shade 
that becomes white1 on the belly2 it is 
speckled with black spots1 like flowers 
with four petals1 which we should       
consider artificial1 if there were not  
animals of ,soudanese origin in the     
,egyptian herds of to-day that show     
similar markings4 ,by those spots they  
recognize among the heifers of the year 
the one in which ,hathor has deigned to 
become incarnated1 and which must be    
worshipped as long as she remains on    
earth4   ,,iii  ,she was1 above all1 the
 divinity of the dead4 ,the buildings   
scattered about that corner of the      
necropolis were not exclusively         
consecrated to the gods of the living2  
they were the chapels attached to royal 

tombs1 some of which1 like that of      
,montouhotpou1 were contiguous to the   
tomb1 while others1 like that of ,queen 
,hachopsoutou1 for example1 were        
relegated to the other side of the      
mountain1 in the ,bibn-el-,molouk4 ,the 
sovereigns were sometimes praying and   
bringing offerings to the gods1         
sometimes associated with them and      
taking part in their sacrifices4        
,hathor1 ruler of the ,west and lady of 
the heaven1 had become by a concourse of
 ideas1 the reasons of which can be     
understood1 the mistress of souls and   
doubles3 she played thus a part of great
 importance in places where the worship 
of her vassals was celebrated4 ,walk    
through the halls of the large terraced 
temple and you will find her repeatedly 
with the figure and posture assumed by  
her in the oratory discovered by        
,naville3 she is the foster-mother whose
 milk ,thoutmsis and ,hachopsoutou are  
greedily imbibing4 ,the suckling of the 
sovereign was not a mere metaphor of    

language1 realized and transcribed on   
stone1 but a material act borrowed from 
the customs of ,egyptian law1 and the   
final formality of the ceremonies of the
 adoption4 ,the woman who had no son to 
perpetuate her memory1 and desired to   
have one1 after reading the preliminary 
passages1 had to offer one of her       
breasts1 in all probability the right1  
to the youth or man she had chosen2 he  
would press the teat between his lips   
for a few seconds1 and by this pretence 
of feeding would become to her as a son4
 ,among half civilized peoples where    
this custom prevails1 it is not required
 that the woman has been or is still    
married3 only1 the young girl who       
acquires a child by this method covers  
her breast with a thin stuff before     
going through the ceremony4 ,if1 then1  
,thoutmsis ,,iii1 or by usurpation      
,amenthes ,,ii1 was represented kneeling
 under the right teat of the ,hathor1 he
 wished thereby to prove that she was   
his divine mother1 and the complacent   

manner in which she yields him her milk 
sufficiently shows that she admitted the
 legitimacy of his claim4               
,illustration3 ,,an ,,unknown ,,figure  
,,and ,,the ,,cow ,,hathor4  ,but these 
are only half the ideas expressed by the
 group1 and it remains for us to        
determine the meaning of the flowering  
lotuses which stand at the right and    
left4 ,as sovereign of the ,west and of 
the lands in which the dead sojourned1  
she assumed different forms according to
 the provinces4 ,in the ,north the      
people imagined her under the aspect of 
one of those fine sycamores which grow  
in the midst of the sand on the borders 
of the ,libyan ,desert1 rendered green  
and thick by the hidden waters sent them
 by the infiltrations of the ,nile4 ,the
 mysterious path which leads to the     
shores of the ,west brings the doubles  
to her feet2 as soon as they are        
arrived1 the divine soul1 lodged in the 
trunk1 thrust out the half or the whole 
of her body1 and offered them a vase    

full of pure water and a tray filled    
with loaves4 ,if they accepted her      
gifts--and they could scarcely refuse   
them--they confessed at once that they  
were her vassals2 they were no longer   
authorized to return to the living1 but 
the regions of the world beyond the tomb
 would open to them4 ,in the nomes of   
the ,sad where she was imagined to be a 
cow1 she haunted a fertile marsh        
situated on the slopes of the ,libyan   
mountains2 whenever a double came to its
 edge she stretched forth her head from 
among the herbage to meet him1 and      
claimed his homage1 and when he had paid
 it1 she allowed him to enter the realms
 of the funereal gods4 ,the #ahfth      
,chapter#ed of the 8,book of the ,dead10
 a very favourite one with devout       
persons under the second ,theban        
,empire1 initiates us into this myth1   
and the vignette that precedes it shows 
us the scene as the ,egyptians conceived
 it3 the red or yellow slopes of the    
mountain1 the tufts of aquatic plants1  

the cow conferring with the defunct4    
,the ,pharaoh who commissioned our      
group--or rather the sculptor who       
executed it--combined the idea common to
 all with the royal concept of the      
adoption by the goddess1 and he         
expressed the result therefrom as       
completely as the processes of his art  
permitted4 ,he reduced the marsh to two 
slender clusters of lotus1 and marked   
the two chief points of the adoption by 
means of two little royal figures and   
their attributes4 ,the first1 as we have
 seen1 wears the costume of the         
,pharaohs and has black flesh2 standing 
upright under the animal's snout1 it    
faces the spectator4 ,amenthes ,,ii has 
just arrived in front of the cow and    
addressed to her the prayer in which he 
conjures her to aid him in his journey  
in search of the everlasting cities2 his
 colour indicates that he is still the  
slave of death1 but the goddess has     
already enrolled him among her          
adherents1 and presents him to the      

universe as her well-beloved son4 ,that 
formality over1 he slips through the    
verdure1 kneels down1 and crushing the  
teat in his hand1 greedily puts his lips
 to it4 ,that is the final rite of the  
adoption1 and also the pledge of his    
return to normal existence4 ,scarcely   
has he swallowed the first mouthfuls of 
milk than life enters his veins2 the    
artist has represented him naked as a   
new-born infant1 and painted his flesh  
red1 the colour of the living4   ,,iv   
,the two forms of ,hathor welcoming the 
dead are not each confined to the       
province in which it was born4 ,they    
gradually spread over the whole country1
 not without experiencing diverse       
fortunes4 ,hathor in the tree was       
reserved for papyri1 stel1 and          
bas-reliefs4 ,the first idea was        
scarcely suitable for statuary1 and the 
cleverest sculptor would have been      
embarrassed to derive a large tree from 
the stone1 a goddess lost in the        
branches1 a person in prayer before the 

tree and before the goddess4 ,but it    
lent itself to painting1 and some of the
 vignettes in which it is expressed in  
the excellent copies of the 8,book of   
the ,dead0 or on the walls of the       
,theban hypogeums1 show us the admirable
 way in which the designers of the new  
empire used it4 ,nothing could be more  
varied or skilful than the relations    
they establish between the woman and the
 sycamore on the one hand and the dead  
person on the other4 ,he is sometimes   
accompanied by his soul1 a big hawk with
 human head and arms1 which mimics his  
slightest gestures3 while the double    
receives the elixir of youth in his     
clasped hands1 the soul turns a runnel  
aside for his own benefit1 and greedily 
drinks from it4 ,colour adds its charm  
to the composition1 and the replicas of 
the subject to be seen at ,chekh        
,abd-el-,gournah in the hypogeums of the
 ,x,v,i,i,ith and ,x,i,xth ,dynasties   
would obtain a place of honour in our   
museums1 if it was permitted to detach  

them and mount them in separate panels4 
,illustration3 ,,petesomtous ,,and ,,the
 ,,cow ,,hathor4  ,hathor in the marshes
 was entirely suited to the ordinary    
conditions of sculpture1 and if in some 
places serious difficulties were        
presented1 ,i have indicated how the    
,theban masters overcame them4 ,she     
provided a fairly frequent theme for the
 studios1 and the ,cairo ,museum        
possesses three examples4 ,they are     
smaller than the ,der-el-,bahar group1  
and do not unite the two concepts of the
 adoration and the adoption4            
,consequently the lotus is wanting and  
the dedicatory figure at the cow's      
udder4 ,they are the affair of simple   
private persons who had no right to     
proclaim themselves children of the     
goddess4 ,if they had attempted to touch
 the breast of ,hathor they would have  
usurped one of the privileges of        
royalty2 they appear then only once in  
each group1 standing or crouching in    
front of the chest4 ,in one1 which is in

 grey schist and measures nearly four   
and a half feet long1 the donor has lost
 his head and neck1 and he lifts up a   
table of offerings with both hands in   
front of him2 the cow also is           
decapitated4#ee ,no trace of inscription
 is to be seen on the pedestal1 but the 
composition is that of the first ,sate  
period4 ,the piece1 although not the    
most mediocre that could be found1 lacks
 originality2 it is the work of a       
skilful journeyman who had no personal  
inspiration1 and only knew how to apply 
the formulas of the school              
conscientiously4 ,the second group is in
 yellowish limestone4 ,it measures not  
quite three feet in length and has      
suffered more than the preceding one4#ef
 ,not only has the animal's head been   
destroyed1 but its tail and one of its  
hind legs have vanished4 ,the man is    
mutilated to the point that only one of 
his feet remains to prove to us that he 
was kneeling4 ,he bore a table of       
offerings4 ,an inscription engraved on  

the edge of the pedestal informs us that
 he was called ,petesomtous1 and the    
name1 together with the style1 takes us 
back to the ,sate period1 perhaps to the
 period of the ,persian domination4 ,the
 composition is1 besides1 sufficiently  
rough1 and it would not deserve any     
attention if the interest of the subject
 did not compensate for its             
insignificance as a work of art4        
,illustration3 ,,psammetichus ,,and     
,,the ,,cow ,,hathor4  ,three-quarters  
view4  ,the third was celebrated from   
the moment of its discovery4 ,it is in  
green schist1 slightly over three feet  
in length1 and under it in height4 ,it  
was found by ,mariette at ,saqqarah1    
fifty years ago1 in the tomb of a       
certain ,psammetichus1 a contemporary of
 the first ,nectanebo4#eg ,it was       
accompanied by two fine statues of      
,osiris and ,isis1#eh which are the     
glory of the ,cairo ,museum1 and we owe 
them for a certainty to the same artist4
 ,the posture of the cow is the same as 

that of ,der-el-,bahar2 like her1 the   
head-dress is formed of the solar disk  
with the urus surmounted by two long    
feathers1 but a monat fastened round the
 neck by its chain lies flat on the     
spine4 ,psammetichus stands under the   
head1 his back to the chest1 his hands  
hanging down over the apron1 with the   
same gesture of submission as that of   
,amenthes ,,ii4 ,besides his name and   
protocol1 the inscriptions contain a    
prayer for his happiness1 addressed to  
the benevolent ,hathor4 ,the hardness of
 the material has prevented the sculptor
 from completely freeing the fragile    
parts3 the cow's legs and belly are sunk
 in the stone1 as are the back and feet 
of the man2 the head-dress is supported 
by a semi-cone set in the back of the   
neck1 and the ears are reinforced by a  
pad which doubles their thickness4 ,the 
sculptor1 embarrassed by the necessity  
of preserving masses of superfluous     
material1 had the ingenious idea of     
treating the lower limbs as a           

bas-relief4 ,he has designed them on    
each side of the panel that supports the
 belly1 so that ,hathor has two chest   
profiles and a double supply of legs4   
,he has so cleverly arranged this       
superabundance of legs that it is not   
noticeable at a first glance1 and some  
effort of thought is required to make   
sure that it exists4 ,but despite these 
eccentricities the work is of rare      
perfection4 ,never has such hard stone  
been manipulated with greater           
suppleness2 the outlines have a         
harshness that all the virtuosity of the
 execution has not been able to prevent1
 but the modelling of the bodies and the
 faces1 both of the animal and of the   
man1 is of unparalleled delicacy1 and   
the whole breathes serenity mingled with
 melancholy4 ,it is1 as a piece of      
animal sculpture1 the best that has come
 down to us in ,sate art4   ,v          
,nevertheless1 it loses when compared   
with the schist group of the time of    
,amenthes ,,ii4 ,the mythological       

element is less predominant1 and the    
head gains by not being framed by two   
tufts of aquatic plants3 but if the     
religious convention is less            
encumbering1 the artistic convention and
 the conventions of the studio come out 
in a much more apparent fashion4 ,the   
,saqqarah group belongs to the ,memphian
 school1 and1 as with nearly all the    
products of that school1 the form has   
something artificial and impersonal4    
,hathor is a symbolic cow1 the          
half-abstract type of ,egyptian cows1 a 
type that in the eyes of the ,memphians 
realized the ideal of the earthly or    
sacred cow3 she has the elegance1 but   
also the softness and the rather insipid
 meekness1 which distinguishes the human
 figures4 ,the ,hathor of ,naville1 on  
the contrary1 belongs to the ,theban    
school1 and possesses the               
characteristics that ,i have described  
above4#ei ,the royal studio whence it   
came was governed by the theological    
laws1 and was forbidden to modify in any

 way the types that1 in the course of   
ages1 had been determined on for        
revealing the concepts of popular       
tradition or learned dogma1 but it tried
 to keep their expression as near to    
life as the rites authorized4 ,the      
artist who produced the ,memphian       
,hathor chose a pattern from his        
cartoons1 and translated it into stone  
without troubling to correct the banal  
purity by imitating a beast of the      
sacred herd4 ,the sculptor to whom we   
owe the ,theban ,hathor1 on the         
contrary1 while preserving the ritual   
arrangement of the parts and the        
accumulation of the symbols1 has placed 
them on a real cow1 on the cow1 perhaps1
 that for the moment incarnated the     
goddess in the neighbouring temple of   
,queen ,hachopsoutou4 ,imagine her      
without the emblematic surroundings he  
was compelled to give her--the heavy    
head-dress1 the lotus tufts1 the two    
statuettes of the ,pharaoh--and you will
 have the good motherly creature who    

goes peaceably to pasture1 and1 as she  
goes1 observes everything with her eye1 
inquisitive and dreamy at the same time4
 ,neither ,greece nor ,rome has left us 
anything that can be compared with it2  
we must go to the great sculptors of    
animals of our own day to find an       
equally realistic piece of work4        
,illustration3 ,,psammetichus ,,and     
,,the ,,cow ,,hathor4  ,from the        
right-hand side of the group4     ,,xii 
,,the ,,statuette ,,of ,,amen,,phis ,,iv
  7,the ,louvre7   ,the statuette       
originally formed part of a group4 ,the 
lower part has been fairly skilfully    
restored in modern times3 the upper     
comes from the ,salt collection1#fj and1
 like most of the objects of that       
collection1 was found at ,thebes4 ,it   
represents ,amenphis ,,iv of the        
,x,v,i,i,ith ,dynasty1 the first in date
 of the ,pharaohs we are accustomed to  
name the heretic kings4  ,in making only
 a cursory examination we are struck by 
the ways in which it differs from the   

royal statuettes that have come down to 
us4 ,the ,pharaohs are usually seated   
with the head erect1 the bust firm1 in a
 posture of stiff dignity which did not 
lack grandeur4 ,here the royal stiffness
 has almost wholly disappeared4 ,the    
head leans slightly forward1 the bust   
sinks down1 it seems as if the body1    
powerless to hold itself up1 is going to
 slip off the seat2 the abandon of the  
posture is in entire harmony with the   
character of the person4 ,the back is   
slightly rounded1 the hips are larger   
than are suitable for a man1 the belly  
and chest inflated2 the breasts are     
round like those of a woman1 the        
puffed-out torso is wrinkled in folds of
 fat1 the face is weak and good-natured4
 ,in all that1 the artist has set aside 
the sthetic rules usual in ,egypt4 ,if  
it were not for the awkward angle formed
 by the arm that holds the sceptre and  
the whip1 and the bad execution of the  
hand that rests on the left thigh1 his  
work might be quoted as an excellent    

specimen of what a conscientious        
sculptor could do at the best moments of
 ,theban art between ,thoutmsis ,,iii   
and ,setou ,i4  ,illustration3          
,,amen,,phis ,,iv4  ,the ,louvre4  ,i do
 not believe that in the long series of 
,pharaohs there is a prince who has been
 so badly treated by contemporary       
scholars as he has been1 and about whom 
they have allowed greater rein to their 
imagination4 ,at first1 the roundness of
 his body and the exaggeration of his   
breast caused him to be taken for a     
woman3 for a long time ,champollion     
characterized him as a queen1 and was   
only convinced of his error with        
difficulty4 ,later1 ,mariette thought he
 recognized in him the exterior signs of
 a eunuch4 ,contemporary monuments      
assign him a wife and children1 and we  
can find a way of reconciling this      
embarrassing posterity with the new     
theory4 ,it suffices to suppose that1   
after having been married and become the
 father of four daughters1 he went to   

war with one of those ,african tribes   
that have preserved to this day the     
custom of castrating their prisoners3   
having fallen into their hands1 he would
 have left them as we see him4 ,some    
,egyptologists have accused him of being
 an idiot1 the more moderate only regard
 him as a fanatic4 ,born of a foreign   
mother1 the white ,taa1 brought up by   
her to worship ,canaanitish deities1 he 
had scarcely ascended the throne before 
he wished officially to replace the     
worship of ,amon by that of the solar   
disk1 whose ,egyptian name1 ,aton1      
perhaps reminded him of the ,syrian name
 ,adoni or ,adona4 ,this story is well  
imagined1 but to me it seems more than  
doubtful4 ,two proofs have been advanced
 concerning the foreign origin of ,taa3 
the pink colour of her cheeks and the   
curious form of the names used in her   
family4 ,the flesh of ,egyptian women   
was always painted pale yellow3 if ,taa 
is pink1 it is because she was fairer   
than they1 and consequently of exotic   

birth4 ,the argument was specious1 but  
it is not permissible to repeat it      
to-day4 ,for it has been discovered that
 in the time of ,amenphis ,,ii and      
,amenphis ,,iii the artists for some    
years employed pink tones for the flesh 
of their personages1 both men and women1
 and the confirmation of that fact takes
 away any value from the reasoning      
deduced from ,taa's colour4 ,taa has    
pink flesh in the monuments because the 
fashion of the day required that she    
should so have it1 and not because she  
possessed the fair complexion of the    
northerner4 ,as to the names of the     
members of her family1 ,iouaa1 ,touaa1  
they do not seem to me to be ,asiatic4  
,doubtless they are not constructed in  
the ,theban manner1 but they are found1 
and many like them1 in the tombs of the 
,ancient ,empire4 ,far from proving a   
,canaanitish or ,libyan extraction1 they
 take us back to the oldest periods of  
the history of ,egypt and denote a      
,memphian or ,heliopolitan origin4  ,if1

 as everything indicates1 ,taa is not a 
foreigner1 we no longer have any cause  
to seek beyond ,egypt for the motives   
that made ,amenphis ,,iv decide to      
proscribe the worship of ,amon4 ,in     
fact1 the religion of ,aton that he     
professed is indigenous in its formulas 
and ceremonies4 ,aton is the solar disk1
 the shining globe lighted every morning
 in the east in order to be extinguished
 every evening in the west2 for some    
theologians it was the visible body in  
which ,r1 the solar god par excellence1 
was the soul2 for others the actual god1
 and not the shining manifestation of   
the god4 ,the ,theban priesthood had    
adopted the first theory1 which better  
harmonized with its monotheistic        
tendencies1 and it had developed it to  
the utmost3 it had fused together all   
the forms of the divinity1 and only     
recognized in it the aspects1 the       
diverse conditions of one and the same  
being who was the soul of the ,sun1     
,amonr4 ,the schools of ,memphis and    

,heliopolis1 older than those of        
,thebes1 had remained more closely      
attached to the ancient polytheism1 and 
interpreted its doctrines in a more     
material sense4 ,a fact that1 so far1 no
 one has ever brought forward1 proves   
incontestably that the worship rendered 
by ,amenphis ,,iv to ,aton was connected
 with that of the sun as practised at   
,heliopolis3 the high priest of ,aton1  
the supreme head of the royal religion1 
bore the same official name and the same
 titles as that of ,r at ,heliopolis4   
,if1 however1 the monuments tell us that
 the worship of ,aton was a form of the 
most ancient worship of ,r1 they do not 
so far assist us to determine the points
 of detail in which it differed4 ,the   
solar disk of ,amenphis ,,iv1 the       
supreme god ,aton1 is recognized by the 
rays terminating in hands that he darts 
on the earth3 the hands brandish the    
anserated cross1 and bring life to      
everything that exists4 ,i am not sure  
that ,amenphis ,,iv invented this       

imagery3 ,i like to think that in that1 
as in everything1 he was bound to follow
 tradition4 ,the prayers that accompany 
the figure of the god1 the ceremonies   
celebrated in his name1 are all         
,egyptian2 they present that character  
of seriousness and sometimes of licence 
to be observed at ,denderah1 and in all 
the places where the sombre myth of dead
 ,osiris does not rule4 ,the bas-reliefs
 that have preserved its physiognomy for
 us might serve as an illustration for  
the picture drawn by ,herodotus of the  
great festival of ,bubastis4  ,having   
said that1 it may be asked what motives 
impelled ,amenphis ,,iv to deny the gods
 of his fore-fathers and to embrace a   
,heliopolitan religion4 ,it should be   
noted at once that his father1 ,amenphis
 ,,iii1 had already set the example of a
 special affection for solar worships   
other than that of ,amon3 we may then   
believe that ,amenphis ,,iv as a child  
was brought up in particular devotion   
for ,r1 and that later1 a natural result

 of his early education1 he was desirous
 of imposing his favourite deity on his 
subjects4 ,but ,i do not think that     
religious faith was the sole1 or even   
the principal reason of his cruel       
persecution of the priests and partisans
 of ,amon2 politics probably were       
chiefly responsible4 ,amon was1 above   
all1 the patron of ,thebes3 he had made 
the greatness of the ,theban ,dynasties1
 and they1 in their turn1 had exalted   
him above all his compeers4 ,the        
conquests in ,syria and ,ethiopia had   
not been without benefit for ,egypt in  
general1 but they had been specially    
advantageous to ,amon2 the greater part 
of the booty had passed into his        
coffers1 his priests filled the public  
offices1 and his chief prophet was the  
highest personage of the empire after   
the reigning sovereign4 ,had there been 
under ,thoutmsis ,,iv an attempt similar
 to that which delivered the last       
,ramessides to the pontiffs of ,amon and
 which raised ,hrihor to the throne8 ,i 

do not know2 but ,i believe the desire  
to counterbalance their power weighed   
heavily in the favour shown by ,amenphis
 ,,iii to other divinities1 and that a  
definite wish to overturn not only      
,amon1 but especially his clergy1       
induced ,amenphis ,,iv to thrust ,aton  
into the first rank4 ,he did not recoil 
from any means that would lead to       
success4 ,as the destiny of ,amon was   
indissolubly bound up with that of      
,thebes1 so long as ,thebes was the     
capital1 ,amon and his priests would    
keep the supremacy4 ,amenphis ,,iv1     
after changing his name1 which was a    
profession of faith in the excellence of
 ,amon1 for that of ,khounaton1         
8splendour of ,aton10 founded a new     
capital which he called the city of     
,aton2 he installed there a new         
priesthood which he richly endowed1 and 
then erased the name of ,amon from all  
the monuments throughout ,egypt and even
 at ,thebes4 ,but the worship of ,amon  
had its roots too deeply implanted in   

the land1 and his priests were too      
powerful1 for the king to prevail       
against them4 ,when he was dead1 his    
successors gave up the struggle3 ,aton  
returned into obscurity1 his city was   
deserted1 and the name of the king1     
proscribed by sacerdotal hatred1        
vanished with the buildings on which it 
had been engraved4  ,his attempt was not
 without influence on art4 ,the         
necropolis of ,el-,amarna has told us   
the names of two of the sculptors who   
helped to adorn the city during its     
brief existence4 ,their works are       
distinguished from earlier ones by a    
greater freedom of composition1 and     
particularly by greater realism in the  
reproduction of the persons4 ,the       
,amenphis ,,iv of the ,louvre does      
honour to their talent2 it is the more  
valuable since their works1 treated with
 great ferocity by the ,theban reaction1
 have become very rare4 ,we have a      
certain number of bas-reliefs more or   
less mutilated1 but very few statues2   

that of the ,louvre is1 so far1 a unique
 work of its kind4     ,,xiii  ,,four   
,,canopic ,,heads ,,found ,,in ,,the    
,,valley ,,of ,,the ,,kings ,,at        
,,thebes#fa   ,among the principal      
objects discovered by ,theodore ,davis  
in #aijg in the ,valley of the ,kings1  
in the secret chamber where the heretic 
,pharaoh ,khouniatonou was buried with  
an equipment partly consisting of       
objects that had belonged to his mother1
 ,tyi1 there are four alabaster ,canopic
 jars of a rare perfection even for that
 period of perfect execution4 ,the body 
of the jar is a little longer than is   
usual1 slender at the base1 bulging out 
at the top1 with a polish at once       
unobtrusive and pleasing to the eye4 ,an
 inscription had been engraved on it1   
and so far as may be judged by the place
 it occupied1 was the ordinary          
dedication to the deities protecting the
 entrails2 but it has been effaced1 then
 the place smoothed over1 and tinted    
with the colour of the surrounding part4

 ,the touching up is accomplished with  
so much skill that we can only here and 
there1 beneath the transparence of the  
glazing1 guess at a few marks of the old
 writing4 ,the four lids are in the form
 of a human head1 a very refined head   
framed in the short wig with close rows 
of little flat locks of hair3 a golden  
urus1 now vanished1 stood on the        
forehead4 ,as the face is beardless1 and
 the whole of the equipment except the  
coffin bears the name of ,tyi1 the      
,canopic jars have been attributed to   
the queen4 ,i do not share that opinion2
 ,i maintain that they belonged to the  
,pharaoh1 and that we should see his    
authentic portrait in them4             
,illustration3 ,,king ,,khouniatonou4   
,alabaster ,canopic head found at       
,thebes4  ,illustration3 ,,king         
,,khouniatonou4  ,alabaster ,canopic    
head found at ,thebes4  ,no one who has 
seen the four heads side by side will   
doubt that they represent one and the   
same person4 ,the insignificant         

differences to be noticed between them  
are caused by unimportant technical     
details1 or by breakages in the stone1  
or by the action of damp1 or the        
different way in which time has treated 
the materials of which the eyes were    
formed4 ,the eyebrows consist of a      
fillet of blue enamel encrusted on the  
edge of the arch1 and the eye1 properly 
so-called1 is also designated by a blue 
fillet1 which includes a cornea in white
 limestone1 relieved with red at the    
corners1 and an iris of black stone4 ,in
 some1 the eyebrow is gone4 ,in others  
the iris has fallen1 leaving blind one  
or both the eyes1 or1 the whole having  
been displaced1 the eye has been brought
 forward as if the person was suffering 
from the beginning of an exophthalmic   
gotre4 ,very different expressions of   
countenance are the result1 but under   
them all the same face is quickly       
recognized3 a longish oval1 rather thin 
at the bottom1 a somewhat narrow        
forehead1 a straight nose1 thin where it

 joins the face and turned up at the end
 almost like ,roxelana's1 delicate      
wide-opened nostrils1 the sides thin and
 nervous1 a short upper lip1 a small but
 full mouth1 a bony chin1 pointed and   
heavy1 joined to the neck by a rather   
harsh line4 ,none of the heads have been
 entirely respected by time1 and one of 
them has lost its nose1 but by good     
luck1 rare in archology1 the best in    
composition is also that which has      
suffered least3 if the enamel of the    
eyelids is wanting1 the eyes are intact 
and the epidermis without scratches4 ,i 
do not think that there exists in the   
,egyptian sculpture of that period a    
more energetic or living physiognomy3   
the mouth is closed as if to retain the 
words that desire to escape1 the        
nostrils are inflated and palpitate1 the
 eyes look keenly and frankly into those
 of the visitor4 ,with age1 the         
alabaster has taken on the dull         
complexion of the great ,egyptian       
ladies1 always protected by the veil1   

which the sun can never burn4 ,so that  
it is not surprising that many should   
have felt in looking at them that they  
were heads of a woman1 and1 knowing the 
circumstances of the discovery1 imagined
 that they saw the most celebrated woman
 there had then been in the ,egyptian   
,empire1 the queen-dowager ,tyi4        
,illustration3 ,,king ,,khouniatonou4   
,alabaster ,canopic head found at       
,thebes4  ,strictly speaking1 that is   
quite possible1 for on the one hand the 
head-dress and necklace into which the  
neck fits are common to both sexes1 and 
on the other1 the features1 more        
accentuated than is usual with a woman1 
are not so to the point of only fitting 
a man2 directly1 however1 they are      
compared with those of the portraits of 
,tyi1 we are bound to confess that the  
resemblance is slight4 ,two types of    
these have come down to us4 ,in the     
first1 which is by far the most         
frequent1 her face was remodelled and   
symbolized in the studios of ,thebes in 

accordance with the customary formula   
for queens4 ,the colossal group of      
,medinet ,habou1 recently transported to
 the ,cairo ,museum1 offers1 perhaps1   
the best example4 ,there1 following the 
regulations1 ,tyi is furnished with a   
round1 regular face1 almond-shaped eyes1
 good cheeks1 straight nose1 smiling    
mouth1 and normal chin3 there is        
something about her which prevents us   
from confusing her with the other       
princesses of her era1 but she has      
preserved none of the peculiarities that
 compose her actual physiognomy4 ,that  
is no longer the case with the most     
individual of the specimens of the      
second type1 the soapstone head that    
,petrie discovered at ,sina1 which is   
now in the ,cairo ,museum4 ,the right   
wing of the wig is wanting1 and the nose
 has been crushed by an unfortunate blow
 on the left nostril1 without1 however1 
losing anything of its essential form2 a
 cartouche engraved on the front of the 
head-dress tells us the name1 and at the

 first glance the portrait gives the    
impression of a good likeness4 ,it is   
not flattering4 ,if we are to believe   
it1 ,tyi presented the racial           
characteristics of the ,berbers or of   
the women of the ,egyptian desert3 small
 eyes puckered at the temples1 a nose   
with a broad tip and contemptuous       
nostrils1 a heavy1 sulky mouth with     
turned-down corners1 the lower lip      
dragged back by a receding chin like    
that of a semi-negress3 the receding    
chin alone forbids us to identify her   
with the original of our ,canopic jars4 
,they have certainly a family likeness1 
and it could not be otherwise1 for if ,i
 am right it is a question of mother and
 son1 but variations are to be noted in 
the son which remove him from the type  
so clearly revealed in ,petrie's        
statuette4 ,that type1 on the contrary1 
is preserved intact in the admirable    
head in painted wood which has passed   
into the collection of ,herr ,simon of  
,berlin4 ,we might even say that it is  

exaggerated1 and that the eyes are more 
oblique1 the cheek-bones more prominent1
 the nose more aggressive1 the smiling  
muscles more sharply evident1 the mouth 
and chin closer to that of a negress4 ,i
 believe it to be one of ,tyi's         
granddaughters who became queen after   
the fall of the ,heretic ,dynasty3 her  
head-dress1 which was originally that of
 a private person1 was afterwards       
modified to receive the insignia of     
royalty4 ,was she married to ,harmhbi1  
to ,ramses1 or to ,setou ,i8 ,the       
deviation between the group to which she
 belongs and that of the ,canopic jars  
is sufficiently great to force us to    
give up the idea that they represent one
 person4 ,in addition1 our ,canopic     
sculptures possess only one urus on the 
forehead1 as is customary with kings1   
while the others have the double urus   
which then begins to be the etiquette   
with queens4 ,that rule has exceptions1 
and therefore ,i shall not deduce too   
strict conclusions from it3 but the     

absence of the second urus is not less a
 somewhat strong presumption in favour  
of the opinion that our ,canopic heads  
are those of a man and not of a woman4  
,illustration3 ,,king ,,khouniatonou4   
,cairo ,museum4  ,illustration3 ,,king  
,,khouniatonou4  ,alabaster ,canopic    
head found at ,thebes4  ,if1 however1   
they are portraits of a man1 the        
circumstances of their discovery compel 
us to declare that he must be the king  
,khouniatonou2 but how are we to be     
convinced of this when we remember the  
grotesque silhouette that the sculptors 
of ,el-,amarna have given him8 ,to      
believe them1 he would have been        
physically a sort of degenerate1 tall1  
weakly1 with hips and chest like a      
woman's1 a neck without consistency1 an 
absurd head1 a flat1 almost non-existent
 forehead1 an enormous nose1 an ugly    
mouth1 a massive chin4#fb ,he seems to  
have liked these caricatures1 and his   
friends1 imitating him from a desire to 
flatter him1 altered more or less the   

shape of their own bodies in order that 
they might resemble that of his4        
,documents of different origins prove1  
however1 that he was not1 or had not    
always been1 the queer figure that is   
attributed to him4 ,the ,louvre alone   
possesses two such witnesses4 ,the      
first1 which came to the ,museum in its 
early days1 is a charming statuette in  
yellow soapstone4 ,the king is seated1  
but he has lost the bottom of the legs1 
which a modern restorer has skilfully   
replaced4 ,he wears the coufeh with     
hanging ends1 the bust is bare2 in his  
right hand he holds the hooked staff and
 the sacred whip emblems of royalty2 the
 left hand is indolently stretched over 
the thigh4 ,the body is young1 the      
muscling supple and thick1 and although 
he sinks down a little1 he has not the  
squat attitude we know so well4 ,the    
face and neck are somewhat slender1 and 
contain the characteristics that1       
exaggerated later1 lent themselves      
almost naturally to caricature4 ,it is1 

in fact1 the effigy of the young king   
sculptured at ,thebes at the time when  
he was only ,amenphis ,,iv1 but when he 
demanded that he should be represented  
as he was1 or as he saw himself1 without
 reference to the conventional type of  
the ,pharaoh4 ,in the second piece1 a   
statue of which only the head and       
shoulders remain1 he is some years      
older4 ,he is armed for war1 and his    
neck1 too slender1 has bent under the   
weight of the helmet1 as if thenceforth 
incapable of supporting it4 ,it is the  
profile of the bas-reliefs of           
,el-,amarna with the rounded spine and  
the particular curve that projects the  
head forward2 the forehead1 nose and    
mouth only differ from those of the     
statuette in that they are thinner4 ,a  
plaster mask in the ,cairo ,museum which
 ,petrie considers to have been moulded 
on the corpse immediately after the     
sovereign's death1 but which is         
undoubtedly a studio model1 testifies to
 a condition of physiological degeneracy

 that did not before exist4 ,it presents
 the emaciated features of the          
bas-reliefs and their bony texture1 it  
is true1 but without their extreme      
exaggerations4 ,when it was question of 
a statue1 the sculptor forbade himself  
the liberties that his colleagues1      
commissioned to decorate the tombs1     
allowed themselves with the master3 he  
represented him just as he was at the   
moment1 and the physiognomy was         
sufficiently original for him to be     
certain of always deriving from it a    
work that would force the attention of  
the spectators4  ,illustration3 ,,queen 
,t,,yi 7,,full ,,face74  ,cairo ,museum4
  ,illustration3 ,,queen ,t,,yi         
7,,profile74  ,cairo ,museum4           
,illustration3 ,,princess ,,of ,,the    
,,family ,,of ,t,,yi 7,,profile74       
,painted wood4 ,berlin1 collection of   
,m4 ,james ,simon4  ,illustration3      
,,princess ,,of ,,the ,,family ,,of     
,t,,yi 7,,full ,,face74  ,painted wood4 
,berlin1 collection of ,m4 ,james       

,simon4  ,and now let us compare each of
 these pieces with our ,canopic heads4  
,the profile of ,khouniatonou helmeted  
is not as strong as theirs1 due perhaps 
to the contusions undergone by the      
surface of the stone during a long      
sojourn in a damp soil where saltpetre  
was abundant1 but each of the elements  
may be superposed and adjusted1         
forehead1 nose1 eyes1 mouth1 chin1 in an
 absolutely satisfying manner3 it merely
 seems that the artist of the ,canopic  
heads saw his model in better health    
than that of the statue4 ,the           
resemblance1 although less complete1    
with the statuette of yellow soapstone  
is still apparent4 ,no unprejudiced     
observer with the series in front of him
 can come to any other conclusion than  
that we have in it portraits of one and 
the same man4 ,leaving out the slight   
differences due to the chisel1 there is 
no more deviation between the group of  
statues and the best of our heads than  
there is between that and the three     

found with it4 ,there is divergence in  
one point only3 in the two statues the  
head bends and leans forward more or    
less2 in the ,canopic jars it is erect  
without weakness4 ,a moment's reflection
 will show that it could not be         
otherwise4 ,however greatly we are moved
 by the beauty of the work1 we must not 
forget that our four heads belong1 not  
to art pure and simple1 but to          
industrial art1 and that their purpose  
imposed special rules on the master who 
chiselled them4 ,they were prosaic lids 
for the receptacles in which the        
entrails of the ,pharaoh were placed1   
and it was necessary that the median    
axis of the vase properly so-called     
should coincide exactly with that of the
 lid4 ,there was a question of          
equilibrium to be managed between the   
two constituent elements of the ,canopic
 jar2 the sculptor must straighten the  
neck of his model1 and consequently     
correct the impression of lassitude     
given by the statues1 by an appearance  

of vigour4 ,if we examine the portraits 
of ,khouniatonou and his successors in  
company of a physician1 certain         
anatomical details that at the first    
glance we did not trouble about--the    
depression of the temples1 the obliquity
 of the eyes1 the contraction of the    
sides of the nostrils1 the pinching of  
the mouth1 the attenuation of the       
neck--assume an etiological value that  
the archologist was far from suspecting4
 ,dr4 ,ba1 studying the faces of        
,khouniatonou1 ,touatnkhamnou1 and      
,harmhbi with me1 diagnosed symptoms of 
consumption more or less advanced4 ,if  
,khouniatonou died of the disease when  
thirty years old1 we need not be greatly
 surprised4  ,illustration3 ,,king      
,,khouniatonou4  ,the ,louvre4  ,i do   
not insist upon this kind of research1  
in which ,i am not competent1 and ,i    
leave it to the reader to decide if ,i  
have or have not proved the identity of 
the person represented by our four heads
 to be that of ,khouniatonou1 the       

heresiarch4 ,one of them at least is a  
masterpiece1 and the others possess     
qualities that assure them a high place 
in the estimation of connoisseurs1 but  
to which of the great ,egyptian schools 
ought we to attribute them8 ,we may     
hesitate between two3 the ,theban1 to   
which most of the artists who filled the
 royal laboratories then belonged1 and  
the ,hermopolitan1 in the province of   
which was ,el-,amarna1 the favourite    
residence of the sovereign4 ,it was     
certainly the latter school that worked 
at the hypogeums and sculptured the     
pictures4 ,we find in them its defects3 
harsh1 rough composition1 a tendency to 
caricature the human form and to        
multiply comic episodes2 but also its   
good qualities3 suppleness1 movement1   
life1 freedom of execution4 ,the few    
figures in alto-relievo that have       
escaped destruction1 those1 for         
instance1 that accompany two of the     
large front stel1 are of the same style 
as the bas-reliefs1 but we do not find  

in them any of the characteristics that 
we have noted as proper to the monuments
 of the ,louvre or to our ,canopic jars4
 ,just as the others show an unfinished1
 worn aspect1 these are carefully       
finished in the least details3 it is the
 perfect chiselling and high polish of  
the ,theban masters and their strong1   
dignified way of posing the figure and  
expressing the physiognomy of the model4
 ,whoever has seen the statues of       
,thoutmsis ,,iii1 ,amenthes ,,ii1 the   
so-called ,taa1 and ,touatnkhamnou in   
the ,cairo ,museum will not doubt for a 
moment that our four heads are from the 
hands of persons belonging to the same  
school3 they belong to the ,theban      
school1 and more particularly1 ,i think1
 to that portion of the ,theban school  
which1 a few years later1 decorated the 
temple of ,gournah1 the ,memnonium of   
,abydos1 and the hypogeum of ,setou ,i4 
,illustration3 ,,king ,,khouniatonou4   
,fragment of a stone statue4 ,the       
,louvre4     ,,xiv  ,a ,,head ,,of ,,the

 ,,pharaoh ,,harmhabi  7,boulaq ,museum7
   ,the whole is composed of about ten  
pieces1 collected in #ahfj in one of the
 halls of the temple of ,karnak1 and put
 together with plaster1 for good or ill1
 by one of the workmen belonging to the 
,museum4 ,the cementing was not always  
done with rigorous accuracy1 and one of 
the largest fragments1 that which forms 
the centre of the head-dress1 is        
slightly out of the perpendicular4 ,last
 year ,i tried to remedy the awkwardness
 of the restorer1 but without success2  
if an attempt was made to separate the  
badly joined pieces1 there would be a   
risk of reducing them to powder4 ,but   
the irregularities in the joining are   
sufficiently slight not to injure the   
general aspect4 ,in its present         
condition it is just the mutilated bust 
of a king with the urus and the double  
crown on the brow2 the broken object    
that leans against the left side is the 
end of a staff of office1 terminated    
with a ram's head1 the emblem of ,khnoum

 or ,theban ,amon4 ,if we would form    
some idea of what the body was like1 it 
is sufficient to look at any of the     
statues with the insignia that adorn the
 museums1 that of ,ramses ,,ii at       
,boulaq#fc or of ,setou ,i in the       
,louvre4#fd ,the king was standing1 with
 his back against a sort of pillar      
covered with inscriptions1 and holding  
the staff in his hand3 as he looked in  
certain religious ceremonies when he    
escorted the ark of ,amon-,r through the
 halls and court-yards of the temple4   
,what remain of the hieroglyphic legends
 do not give any name4 ,mariette was    
tempted to recognize it as ,menephtah1  
son of ,ramses ,,ii1#fe but he has not  
anywhere explained the motives that led 
him to that identification4 ,the        
lugubrious tone of the black granite    
spoils the first impression1 but an     
examination1 even if only a superficial 
one1 soon reveals the subtlety of the   
work4 ,the head1 under the enormous     
pschent1 is full of charm and delicacy4 

,the face is young1 with an expression  
of gentle melancholy rare among the     
,pharaohs of the great ,theban period4  
,the nose is straight1 thin1 and well   
attached to the forehead2 the long eye  
turns up at the temples4 ,the wide1 full
 lips1 somewhat tightened at the corners
 as if for smiling1 are boldly cut with 
sharply defined edges4 ,the chin is     
scarcely rendered heavy by the weight of
 the artificial beard4 ,every detail is 
treated with as much skill as if the    
sculptor had been manipulating a soft   
stone like limestone1 and not one of the
 materials that offer all the obstacles 
possible to the chisel4 ,the sureness of
 the execution is carried so far that   
the spectator forgets the difficulty of 
the work in order to think solely of its
 intrinsic value4 ,it is a pity that    
,egyptian artists did not sign their    
works3 the name of the master to whom we
 owe this deserves to have come down to 
us4  ,illustration3 ,,head ,,of ,,the   
,,pharaoh ,,harmhabi4  ,black granite4  

,it remains to see who was the king     
whose portrait he has transmitted to us4
 ,when a ,pharaoh ascended the throne1  
the sculptors of the city where he then 
was1 ,memphis1 ,thebes1 ,tanis1 or      
another1 hastened to make a certain     
number of copies of his portrait1 full  
face or in profile2 these were          
immediately sent into the provinces1 in 
order that his face might be everywhere 
substituted for that of the former      
sovereign on the buildings in course of 
erection4 ,thus in the ,boulaq ,museum  
we have several series of royal heads1  
some discovered at ,tanis1#ff some in   
the ,fayoum1#fg others at ,memphis1#fh  
which show what was the procedure in    
such a case4 ,the type1 once carefully  
fixed1 did not change during the whole  
of the reign4 ,ramses ,,ii1 who was     
nearly a hundred years old when he died1
 after reigning for sixty-seven years1  
kept the features of a young man even to
 his latest monuments4 ,the rule        
contains numerous exceptions1 especially

 when it is a question of statues       
commissioned in one of the capitals of  
the country1 and executed by artists who
 could see their subject at close       
quarters and register the changes time  
produced in his face4 ,of the two       
,chephrn exhibited at ,boulaq1 one is   
young and smiling1#fi the other old and 
saddened by age4#gj ,but if there are   
examples of sovereigns who1 ascending   
the throne early1 were sometimes        
represented as they were at different   
periods of their life1 ,i know of none  
who were rejuvenated by the sculptors   
when they reached the throne at a late  
age4 ,the head of the statue with which 
we are here concerned is that of a young
 man1 almost a youth1 and that is       
sufficient for me to rule out           
,menephtah4 ,menephtah was fifty at     
least when he succeeded his father1#ga  
and his portrait1 as it is to be seen at
 ,karnak1 does not in any way resemble  
the personage whose image is preserved  
in the ,boulaq statue4 ,the other       

princes of the ,x,i,xth and ,x,xth      
,dynasties1 ,setou ,,ii1 ,siphtah       
,menephtah1 ,amenmeses1 ,setinakht1 of  
whom we have only a few poor portraits1 
have no more claim to be commended than 
their great predecessors ,setou ,i or   
,ramses ,,ii3 the disturbed times in    
which they lived scarcely admitted of   
works of careful composition4 ,like     
,menephtah1 ,ramses ,i was too old at   
his accession1 and besides1 we have his 
portrait at ,gournah4 ,and1 moreover1   
the style of the piece recalls at first 
sight that of the ,turin statues        
belonging to the ,x,v,i,i,ith ,dynasty1 
and then we must eliminate a priori a   
certain number of statues of which we   
possess the exact description4 ,neither 
,ahmsis ,i1 nor the ,thouthmsis1 nor the
 ,amenhotpou have anything in common    
with our personage2 and for even a      
stronger reason we cannot recognize in  
him the characteristic physiognomy of   
,khounaton and ,a4 ,proceeding from one 
exclusion to another1 we come to        

restrict the choice to three princes1   
,touatnkhmonou1 ,snakht1 and ,harmhabi4 
,snakht had only an ephemeral reign2    
,touatnkhmonou has only left us         
insignificant monuments2 ,harmhabi1 on  
the contrary1 appears to have been one  
of the most important sovereigns of his 
time4 ,a young man at the accession1 he 
restored the temples of ,amon despoiled 
by his heretic predecessors1 and        
re-established the ,egyptian power that 
had been weakened for a moment in ,syria
 and ,ethiopia4 ,last year and this year
 ,i cleared away the rubbish from two of
 the pylons he had built and decorated  
at ,karnak2 his portrait was sculptured 
on them numerous times1 and the outlines
 are sufficiently well preserved for us 
to see in the king of the bas-reliefs   
the original of the ,boulaq bust4 ,i    
attribute the statue of which ,mariette 
found the remains to ,harmhabi1 the     
,armas of the ,greeks4  ,in conclusion1 
,i may observe that the fragments1 when 
carefully examined1 show no trace of    

having been broken by a hammer2 the     
statue was not destroyed by the hand of 
man1 the case with a certain number of  
the monuments at ,karnak4 ,the great    
earthquake of the year #bg ,b4,c41 which
 put the temple of ,amon almost into the
 condition in which we see it1 brought  
down the ceilings of the halls2 all the 
objects underneath were injured by the  
blocks or architraves then violently    
thrown to the ground and crushed under  
the weight of the ruins4 ,our ,harmhabi 
did not escape the common lot3 it needed
 ,mariette's great patience to restore  
the little we possess of him4     ,,xv  
,,the ,,colossus ,,of ,,ramses ,,ii ,,at
 ,,bedreche,n#gb   ,ramses ,,ii1        
,sesostris1 having restored the portions
 of the great temple of ,phtah at       
,memphis1 which bordered the sacred lake
 on the west and south1 had colossi     
erected in front of the doors1 destined 
to perpetuate his memory and his        
features for all 8who should come after 
him on the earth1 priests1 magicians1   

scribes10 and who should recite a prayer
 to the gods on his behalf4 ,the        
sacristans appointed as guides to the   
profane1 and the dragomans who act as   
showmen of the wonders of ,egypt1 never 
fail to draw the tourist's attention to 
these statues2 it gives them an         
opportunity to relate some amusing story
 like those collected by ,herodotus and 
transmitted to us by him as authentic   
history4 ,one day ,darius ,i wished to  
consecrate his image in the             
neighbourhood1 but the high priest      
opposed his purpose3 8,sesostris10 he   
said1 8has conquered all the nations    
that obey you1 and the ,scythians to    
boot1 on whom you never succeeded in    
inflicting much harm4 ,there is then no 
reason why your monument should be      
placed by the side of that of a ,pharaoh
 whom you have neither surpassed nor    
equalled60 ,when ,memphis fell and      
became ,christian1 the fame of the      
colossi died away4 ,when it perished and
 its temple of ,phtah was dismantled    

stone by stone to serve for the building
 of ,cairo1 they were thrown down1 and  
for the most part cut up into           
grindstones1 whence they passed into the
 lime-kiln4 ,one of them1 however1      
thrown from its pedestal and lying face 
downwards on the ground1 was covered    
with rubbish1 and preserved from        
destruction by that happy chance4       
,brought to light by ,caviglia at the   
beginning of the nineteenth century1 it 
had the good luck to please travellers1 
and owed it to them to have escaped the 
mania for destruction that possesses the
 fellahs4  ,illustration3 ,,the         
,,half-,,buried ,,colossus ,,of ,,ramses
 ,,ii4  ,illustration3 ,,the ,,colossus 
,,of ,,ramses ,,ii ,,emerging ,,from    
,,the ,,earth4  ,all ,europeans in turn 
who have visited ,egypt have admired it4
 ,it lies along the side of the path    
under the palm-trees of ,bedrechen at   
the bottom of a muddy ditch4 ,at the    
period of the inundation1 water fills it
 and covers the statue for some weeks2  

then it gradually reappears1 the        
shoulder and the leg first1 then the    
bust and face1 until it is all high and 
dry again in its hole4 ,its ,pharaoh was
 standing1 walking1 the arms close      
against the sides4 ,the name of ,ramses 
,,ii is to be read on the cartouche     
engraved on the buckle of the waistband 
that fastened his petticoat4 ,nitre has 
destroyed one side of the face and body1
 but what remains suffices to show the  
excellence of the work4 ,the profile is 
that of the young ,ramses1 with low     
forehead1 large aquiline nose1 rather a 
large mouth1 and a haughty expression4  
,the base is at some distance off1 and  
farther away still1 to the south1 a     
smaller colossus in wood1 dbris of      
walls1 and fragments of statues point   
out the position of ancient chambers4   
,the palm forest which flourishes on the
 site harasses excavation and prevents  
us from reconstituting the plan4 ,the   
building or group of buildings that our 
colossus adorned went along the south   

bank of the sacred reservoir on which   
the mysteries of ,phtah and the         
,memphian gods were celebrated on the   
canonical days4 ,in spite of the long   
period of time1 alluvial matter has not 
succeeded in entirely filling the lake4 
,the place is marked by a noticeable    
depression1 and the earth which fills   
it1 instead of being planted with       
date-trees1 is sown with corn2 it is    
like a square basin the edges of which  
are drawn downwards from the surrounding
 ground4 ,the rise of the river partly  
restores the original aspect of the     
spot1 but the setting of porticoes and  
pylons which framed it has vanished2 it 
is replaced by clumps of big trees1     
under which is situated the village of  
,tell-el-,khanzr4  ,it seems that       
,mohammed-,ali formerly gave ,ramses    
,,ii to ,england2 the fact is not       
exactly proven1 and to admit it         
definitely a more serious authority than
 that of one or several of the          
8,travellers' ,guides to ,egypt0 would  

be required4 ,the ,english have not     
availed themselves of the doubtful      
tradition to remove the colossus3 they  
were satisfied to set it up again4 ,they
 did not succeed at the first attempt1  
and two trials made by ,messrs4 ,garwood
 and ,anderson failed ignominiously     
enough4 ,general ,stephenson1 who long  
commanded the army1 was more successful4
 ,he first had the ambitious project of 
setting the statue on its feet again1   
but as the subscription opened for that 
purpose did not produce sufficient      
money1 he contented himself with raising
 it up above the level of the           
inundation4 ,the operations1 conducted  
by ,major ,arthur ,bagnold1 of the      
,engineers1 were begun on ,january #bj1 
#ahhg4gc ,having drawn off the water1 he
 applied eight lifting jacks of         
differing force along the body3 the     
effort was directed alternately to the  
head and the feet3 as soon as the whole 
mass was raised a little more than a    
foot and a half1 huge beams were slipped

 underneath1 and the hollow was filled  
up with broken potsherds collected in   
the ruins of the ancient city1 reduced  
to tiny pieces and beaten so as to form 
a compact bed4 ,the work was finished on
 ,april #afth4 ,the colossus now lies on
 its back1 the face to the sky4 ,a      
pent-house shelters the head2 a thick   
brick wall surrounds it and protects it 
from the gaze of the inquisitive crowd4 
,its guardian dwells beside it in a     
small two-roomed house where ,major     
,bagnold installed him1 and he only     
shows it to visitors on payment of two  
,egyptian piastres3 it costs about      
sixpence to see it at the bottom of the 
new funnel in which it is plunged4 ,the 
8,service des ,antiquits0 employs a     
portion of the tax in keeping it in good
 condition4 ,another ,ramses in granite 
and a stele of ,apries found in the     
neighbourhood were afterwards placed    
there1 and complete the little open air 
museum4  ,the ,arabs call the colossus  
,abou'l-,hol1 the father of the ,terror1

 like the great ,sphinx4 ,i do not know 
what they think now that it is under    
lock and key in its enclosure1 but they 
were really frightened of it when it    
was1 so to speak1 at large4 ,the ancient
 ,egyptians believed that statues1 human
 and divine1 were animated by a spirit1 
a double1 detached from the soul of the 
person they represented4 ,the double    
ate1 drank1 even spoke at need1 and     
pronounced oracles2 it has survived the 
religion and civilization of the ancient
 people1 but the changes that have taken
 place around it seem to have soured its
 character4 ,it plays evil tricks on    
those who approach its hiding-place1    
injures them1 at need even kills them3  
,arab writers have a thousand tales of  
persons who suffered because they       
imprudently attacked a monument and the 
spirit that guards it4 ,the means of    
rendering the ,afrite powerless is to   
destroy1 if not the whole statue1 at    
least its face3 that is why so many     
,pharaohs have their noses broken or    

faces damaged4 ,the spirit of ,ramses   
,,ii walked in the palm forest at night1
 and it was therefore imprudent to      
venture in the vicinity at twilight4    
,every time that ,i was obliged to go   
that way at sunset1 my donkey-boy       
mumbled prayers and urged on his beast4 
,one evening when ,i asked him if he was
 afraid of some ,afrite1 he entreated me
 to keep silence1 assuring me that it   
was ill to speak of such things1 and    
that if ,i persisted some accident would
 happen to me4 ,in fact1 my donkey      
stumbled in the middle of the forest and
 threw me against the trunk of a        
palm-tree3 if the donkey-boy had not    
caught me and averted the blow1 ,i      
should have smashed my head4 ,from that 
time1 whenever there was talk of the    
danger in speaking disrespectfully of   
the spirit that lives in the statue1    
what had happened to me was always      
quoted4 ,the whole of ,egypt is full of 
analogous superstitions1 the greater    
number of which are derived from the    

ancient beliefs1 and have been          
transmitted from generation to          
generation from the time of the         
,pharaohs1 the builders of the          
,pyramids4#gd     ,,xvi  ,,egyptian     
,,jewellery ,,in ,,the ,,louvre#ge   ,so
 much has appeared in the newspapers    
about the treasure unearthed at         
,dahchour last year by ,m4 de ,morgan1  
that every one in ,europe knows the     
number1 form1 and richness of the       
objects it comprises2 but among those   
who have described and justly praised   
them1 how many--,i do not say           
,englishmen or ,germans1 but ,frenchmen 
alone--know that the ,louvre possesses a
 collection of the finest ,egyptian     
jewellery8 ,mariette was fortunate      
enough twice in his life to find a      
number of magnificent ornaments of great
 artistic value on the royal mummies1 at
 the ,serapeum in the tomb of the ,apis 
buried in the reign of ,ramses ,,ii by  
the care of one of the sons of the      
conqueror1 ,khmost1 high-priest of      

,phtah1 and regent of the kingdom for   
his father1 and at ,thebes in the coffin
 of a queen of the ,x,v,i,i,ith         
,dynasty1 ,ahhotpou ,i1 who in her      
lifetime was the daughter1 sister1 wife1
 and mother of ,pharaohs4 ,mariette1    
artist as he was1 very skilfully brought
 out the interest of his discovery1 and 
the admirable idea it gave of the       
goldsmiths of the seventeenth and       
fourteenth centuries ,b4,c41 but he went
 no further4 ,he had brought to light so
 many monuments of importance for the   
study of political history and of       
civilization1 that he never had time to 
dwell much on the secondary result of   
his works4 ,the jewellery of ,ahhotpou  
is preserved in the ,boulaq ,museum1    
where thousands of tourists admire it   
every winter2 that of the ,serapeum is  
placed in the ,louvre1 and usually      
obtains only an absent-minded glance    
from the few visitors who traverse the  
solitudes of the ,charles ,x ,museum4   
,it fills several compartments of a     

glass case that stands in the centre of 
the historic hall4 ,at first we note a  
large gold mask1 unfortunately damaged1 
and grouped near it gold chains with    
five and eight strands of extraordinary 
suppleness and perfection2 amulets of   
various shapes in felspar1 red and green
 jasper1 and cornelian2 scarabs1 a      
buckle1 an olive1 a little column1 in   
the name of ,khmost4 ,a little farther  
on a second series from the same source 
includes pieces1 if not in themselves   
more finished1 more curious and more    
attractive to a modern eye2 the ,lord   
,psarou1 who was present with the prince
 at the funeral of an ,apis1 did honour 
to the mummy of the sacred bull4 ,i     
imagine that the greater number of our  
contemporaries have but vague notions   
regarding the way in which the          
,egyptians wore jewels4 ,men or women1  
their costume at first was summary      
enough3 the men protected their loins   
with a cloth which scarcely reached the 
knee and left the bust entirely bare2   

the women crept inside a clinging smock 
which reached the ankle1 went up to the 
pit of the stomach1 disclosed the       
breast1 and was kept in place by two    
straps over the shoulders4 ,jewellery   
served partly to hide what the stuff    
left uncovered1 at least with the women4
 ,a necklace of several rows encircled  
the neck and came down to the rise of   
the breasts2 large rings were round the 
wrists1 the upper part of the arm1 and  
the lower part of the leg4 ,the hair1 or
 rather the wig1 clothed the back and   
half the shoulder2 a square plaque      
suspended by a chain of beads or a      
leather strap hung down below the       
necklace into the space between the two 
breasts4 ,that is what we call the      
pectoral4 ,it often looks like the faade
 of a temple1 surrounded by a torus1 and
 surmounted by a curved cornice2        
portraits of gods or sacred emblems were
 crowded on the surface1 and            
inscriptions scattered everywhere tell  
us the name of the owner1 accompanied   

generally by pious formulas4            
,illustration3 ,,egyptian ,,jewellery   
,,of ,,the ,,xixth ,,dynasty4  ,the     
,louvre4  ,illustration3 ,,gold         
,,pectoral ,,inlaid ,,with ,,enamel4    
,the buckle of ,psarou must have served 
to fasten the linen waistband which     
confined the loin-cloth1 or the band    
which went round the head and kept the  
head-dress in place4 ,his pectoral is   
one of the richest that has come down to
 us4 ,it is fashioned in a plaque of    
green basalt1 polished and sculptured   
with a precision that is astonishing    
when we remember how imperfect were the 
tools at the disposal of the ,egyptians4
 ,the central scarab is in very high    
relief against the flat background1 and 
the fidelity of the modelling is        
marvellous3 the smallest details of the 
head and corslet are rendered with      
almost scientific truth4 ,the two women 
who seem to worship it on the right and 
left are ,isis and ,nephthys1 the two   
sisters of ,osiris4 ,the contours of    

their bodies are cut in the gold leaf   
that frames the scarab4 ,another        
pectoral of which ,i give a reproduction
 is of less delicate workmanship1 but   
the technique presents interesting      
peculiarities4 ,it has openings cut in  
it1 and the design of the parts is      
obtained by partitions of a very supple 
gold1 in which are set the scarab and   
the coloured glass which relieve the    
uprights and cornice of the naos4 ,the  
scarab is in lapis lazuli1 the dress of 
the goddesses in brilliant gold1        
engine-turned to simulate the stripes of
 the stuff4 ,the mystical meaning of    
this design would not escape any        
educated ,egyptian4 ,the scarab         
represents the heart and life of man1   
where life resides2 it is the amulet    
which ensures to each man1 living or    
dead1 the ownership of his heart4 ,that 
is why it was given to wealthy mummies1 
if not to all mummies3 sometimes it was 
stuck on to the skin of the corpse with 
bitumen at the rise of the neck2        

sometimes it was set in the centre of a 
pectoral1 lost in the thickness of the  
swathings over the chest4 ,as every     
,egyptian1 when he left this world1 was 
assimilated to ,osiris and became       
,osiris himself1 the heart and the      
scarab passed as the heart and scarab of
 ,osiris1 over which ,isis and ,nephthys
 watched1 as they had watched over      
,osiris2 hence the figures of the two   
goddesses4 ,they warmed the heart with  
their hands1 they recited the formulas  
that prevented it from perishing1 they  
kept off evil spirits and the magicians 
who might have seized it for their dark 
purposes4 ,religion provided the artists
 with a subtle motive of decoration2    
while they never went far beyond the    
primary idea1 they varied its detail and
 expression with much skill4 ,the women 
are sometimes standing1 sometimes seated
 or kneeling2 they extend their arms in 
front of them1 or lift them to their    
foreheads like mourners1 or let them    
hang down in token of grief2 the scarab 

rests on a boat or a lotus flower or an 
altar1 instead of floating in air1 as in
 the jewel of the ,serapeum4            
,comparative study of all the scenes    
would prove once again the ,egyptians'  
fertility of imagination and their skill
 in ringing the changes on the most     
hackneyed subjects4  ,illustration3     
,,pectoral ,,of ,,ramses ,,ii4  ,the    
,louvre4  ,illustration3 ,,pectoral ,,in
 ,,shape ,,of ,a ,,hawk ,,with ,a       
,,ram's ,,head4  ,the ,louvre4  ,the    
pectoral in the centre belonged to      
,ramses ,,ii himself1 or1 at least1 was 
executed by his order1 and as a personal
 gift in honour of the ,apis that was   
buried3 the cartouche name ,ousirmr is  
placed just below the frieze1 and       
serves1 so to speak1 as a centre for the
 composition that fills the inside of   
the frame4 ,there is first a hawk with a
 ram's head1 with spread wings which    
curve in order to frame the cartouche3  
in his claws he holds the seal1 the     
emblem of eternity4 ,lower1 a large urus

 and a vulture spread their wings and   
enfold both the hawk and the cartouche  
in mutual protection4 ,two ,tats        
symbolize eternity1 and fill up the     
empty spaces in the decoration in the   
two lower corners4 ,the hawk with the   
ram's head represents the soul of the   
sun1 the urus and the vulture are the   
patron deities of the ,south and the    
,north3 together they defend throughout 
the whole universe the king whose name  
stands between their wings1 and1 by the 
intermediary of the king1 the dead man  
whose mummy wears the jewel4  ,here     
again the figures are designed in panels
 of gold encrusted with coloured pastes 
or small pieces of cut stones4 ,the     
whole is rich1 elegant1 harmonious4 ,the
 three principal motives grow in        
proportion as they descend to the lower 
part of the picture1 according to an    
admirably calculated progression4 ,the  
cartouche with its dull gold occupies   
the centre2 below it the hawk forms a   
first band of iridescent tones1 the     

lines of which1 slightly curved back1   
correct the stiffness of the long sides 
of the cartouche2 the urus and vulture1 
one pair of wings seems to serve for    
both1 envelop the hawk and the cartouche
 in a semicircle of enamels1 the tones  
of which pass from red and green to dark
 blue1 with a boldness and a feeling for
 colour that does honour to the taste of
 the workman4 ,if the general aspect    
makes an impression of heaviness1 it is 
not his fault2 the form of the jewel    
imposed by religious tradition is so    
rigid in itself that no combination can 
correct the effect beyond a certain     
point4 ,the rectangular or square frame1
 the cornice at the top1 the two rams'  
heads which fit in below the cornice1   
form a squat and massive whole4 ,to fill
 the interior suitably1 it is impossible
 to avoid adding to the heaviness2 in   
manipulating the empty spaces a slender 
and narrow appearance is procured1 as in
 one at least of the pectorals of       
,dahchour4 ,the type of the jewels has  

its origin in the same ideas or notions 
whence ,egyptian architecture and       
sculpture are derived3 it is monumental1
 and seems to have been conceived for   
the use of gigantic beings4 ,the usual  
dimensions of the pectoral are too      
enormous for the adornment of ordinary  
men and women4 ,they only come into     
their own on the breasts of the ,theban 
colossi3 the immensity of the stone body
 on which their image is sculptured     
lightens them and seems to bring out    
their exact proportions4  ,sometimes the
 ,egyptians left aside the square form  
bequeathed to them by their ancestors2  
the sacred bird left his cage when he   
could4 ,mariette found two of these     
simplified pectorals at the ,serapeum1  
both of which represent a hawk3 the     
first has its ordinary head and bends   
its wings back1 the other has assumed   
the ram's head and keeps its wings      
straight4 ,it has the same wealth and   
the same elegance of line as in the     
other objects of similar source1 but the

 motive1 rid of the enamelled frame in  
which it was stifled1 possesses more    
charm and is better suited to humanity4 
,the execution is wonderful1 and the    
ram's head1 in particular1 surpasses in 
suppleness of workmanship all that is so
 far known4 ,it is cut in a little ingot
 of pure gold1 but it is not the        
material that is of most value3 the old 
chaser knew how to model it broadly1 and
 has given it as faithful an expression 
as if he had cut it life-size in a block
 of granite or limestone4 ,it is no     
longer1 as everywhere else1 industrial  
art3 it is art pure and simple4         
,mariette1 and he understood1 considered
 that he had never come across anything 
approaching this among the ,egyptian    
jewellery he had seen4 ,the gold ring   
also belongs to ,ramses ,,ii4 ,the two  
little horses who prance on the bezel   
were celebrated in history4 ,they were  
called ,nourit and ,anatis-contented1   
and were harnessed to the royal chariot 
on the day of the battle of ,qodshou1   

when ,ramses ,,ii charged in person the 
,khitas who had surprised him4 ,the     
,pharaoh remembered the service they    
rendered him on that memorable occasion4
 ,the chiselling1 although not so good  
as that of the hawk with the ram's head1
 is very fine3 it reproduces very boldly
 the particular attributes of ,egyptian 
horses1 their exaggerated mane1 rather  
thin body1 slightly swollen extremities4
 ,it is true that the rings1 as a rule1 
are not adorned with subjects in such   
strong relief3 the bezel is composed of 
a scarab or a metal cartouche turning on
 a pivot1 sometimes engraved with the   
name of the wearer of the jewel1 but    
more often with a pious formula or a    
series of symbols of obscure meaning by 
way of inscription4 ,the larger number  
of the rings we see in the museums      
belonged to mummies1 and are amulets    
that give the dead man some sort of     
power over the inhabitants of the other 
world3 a small number only were used by 
their owners in their lifetime4 ,they   

are seals1 affixed to deeds like our    
stamps1 just as we affix our signature4 
,they are in every material3 gold1      
electron1 silver1 bronze1 copper1       
enamel1 even in wood1 according to the  
wealth of the individual2 some are      
veritable masterpieces of engraving1 but
 many possess no more artistic value    
than the common copper seals bought     
ready prepared at our stationers'4  ,the
 largest of these jewels passed through 
so many hands before reaching the       
,louvre that they have sensibly         
suffered3 the panels are warped or even 
broken1 the enamels or encrusted plaques
 are here and there worn off4 ,the      
,dahchour jewellery1 coming direct from 
the excavation1 has preserved an        
appearance of freshness which has not a 
little contributed to increase the      
admiration of the public3 the objects   
seem scarcely to have left the hands of 
the goldsmith who fashioned them1 and   
the surprise we experience in finding   
them still so fresh after more than four

 thousand years renders us indulgent    
towards the imperfections that a close  
examination soon reveals4 ,their extreme
 antiquity1 and quite rightly1 counts   
for much in the appreciation they       
receive4 ,it is indeed strange to       
confirm that from the twenty-fifth      
century ,b4,c4 the ,egyptians had       
carried the technique of precious metals
 and the art of making jewellery to a   
very high degree of perfection4 ,this   
was1 of course1 already known1 for it is
 not infrequent to find rings1 fragments
 of necklaces1 isolated pectorals1 some 
of which perhaps go back to the ,ancient
 ,empire1 while others belong to the    
,roman period or betray ,byzantine      
influence3 our museums possess them by  
tens1 and there is scarcely a private   
collection that has not a certain number
 of them4 ,but these isolated objects do
 not attract the attention of the       
public2 to rouse its curiosity it is    
necessary that some happy chance should 
bring to light a considerable treasure  

in which specimens of all the types     
usually collected piece by piece are    
placed together4 ,fortunately1 these    
finds are not so rare as might be       
imagined3 if ,gizeh can boast of        
possessing the substance of ,dahchour   
and the queen ,ahhotpou1 the ,berlin    
,museum has the admirable ornaments that
 ,ferlini obtained from one of the      
,ethiopian pyramids2 the ,leyden ,museum
 and the ,british ,museum shared the    
spoils of one of the ,antouf kings of   
the ,x,ith ,dynasty2 and the ,louvre    
carefully preserves the jewels of the   
,serapeum1 the most beautiful of all4   
,,xvii  ,,the ,,treasure ,,of           
,,zagazig#gf   ,i  ,once more chance has
 served us well4 ,workmen who were      
making a railway embankment on the site 
of ancient ,bubastis discovered1 on     
,september #bb1 #aijf1 a real treasure  
of jewellery and ,egyptian goldsmiths'  
work in the ruins of a brick house4     
,they hoped to profit by the find       
themselves1 but one of our watchmen had 

seen them2 he took no action1 however1  
at the moment1 for fear of being        
ill-treated3 the next day he reported   
the matter to the native inspector1     
,mohammed ,effendi ,chabn1 who at once  
put the police on their track and       
informed his chief1 ,mr4 ,edgar1        
inspector-general of the antiquities in 
the provinces of the delta4             
,investigations were made in likely     
places1 while the police searched the   
workmen's houses and recovered some of  
the pieces that had been carried off4   
,several that escaped them fell later   
into the hands of a dealer in ,cairo3 a 
gold strainer1 three undecorated silver 
phials1 a large chased gold ring which  
strengthened the neck of a silver vase1 
fragments of silver cups1 all1 except   
the gold ring1 of no artistic value4    
,the two most valuable1 a silver vase   
with a goat in gold as handle and a gold
 goblet in the form of a half-opened    
lotus1 were seized at the house of the  
fellahs1 ,moursi ,hassanen and          

,es-,sayed ,ed1 before they had sold    
them to a local ,greek bakal4 ,he       
immediately claimed them of us as his   
personal property that1 failing our     
unfortunate interference1 he would have 
acquired for ready money4 ,as no reply  
was vouchsafed to his summons1 he went  
to law with us4 ,the affair dragged on  
for some weeks1 during which ,mr4 ,edgar
 had the railway works carefully        
watched4 ,at last1 on ,october #agth1 a 
workman with a blow of his pick-axe laid
 bare several fragments of silver vases3
 he tried to conceal them1 but our      
ghafirs prevented him1 and the search   
proceeded under the protection of the   
police3 the objects lay in a heap1 gold 
between two layers of silver2 the same  
evening they were in safety4 ,the work  
was carried out so quickly that nothing 
was lost1 and there was no reason for   
any one to contest our right to the     
windfall4 ,to bring this story to an    
end1 ,i may add that on ,november #dth  
the court of ,zagazig found the two     

fellahs guilty of theft1 and condemned  
them to imprisonment and to pay half the
 costs4 ,but the bakal still persisted  
in his claim1 and rumour soon spread    
among the natives that he had gained his
 suit in the ,court of ,appeal3 we had  
been forced to deliver up to him the    
objects of the litigation under penalty 
of a considerable fine for each day of  
delay4 ,the dealers never hesitate to   
spread lies of this sort among the      
people3 they thereby enhance their      
prestige with the fellahs1 and uphold   
them in the notion that they have       
nothing to fear from the 8,service des  
,antiquits40  ,the treasure safe1 we had
 to take note of the condition in which 
it reached us4 ,at the first glance1 two
 very different series were perceived3  
one1 which comprised the jewellery and  
the gold or silver vases of most skilful
 workmanship1 went back to the ,x,i,xth 
,dynasty2 the other was composed        
exclusively of silver plate1 the        
coarseness of which betrayed a much more

 recent period4 ,although it was all    
found at two separate times1 and in two 
places somewhat distant from each other1
 did it originally form one collection8 
,as we have seen1 the whole made a heap 
among the dbris of two or three jars    
which were themselves broken in the     
course of centuries under the continuous
 pressure of the earth2 the objects     
seemed to have been heaped up           
irregularly1 the most valuable in the   
middle1 the others forming a bed above  
and below4 ,we had even still adhering  
to a large fragment of pottery a stem   
partly of hardened mud and partly of    
metal1 in which we recognized on a      
precipitate of less ancient earrings and
 bracelets1 the remains of several      
,pharaonic goblets4 ,how can it be      
explained that relics of such different 
epochs should be found in the same      
place8 ,many of them are intact1 but    
others have purposely been clipped or   
broken1 and the fragments melted down2  
they are also mixed with plates of      

pliant silver and with ingots coming    
from goldsmiths' workshops like those   
that still exist4 ,we know what happens 
not only in ,egypt but in ,european     
countries when peasants dig up treasure 
while ploughing their land3 they take it
 to a jeweller1 who buys it of them by  
weight1 throws it into the melting-pot1 
scarcely ever troubling about the loss  
thus caused to art or science1 and      
transforms it into modern horrors4 ,it  
is to some adventure of the sort that we
 owe the possession of our find4 ,a     
fellah who lived1 ,i imagine1 during the
 time of the ,roman domination1 found in
 the ruins near ,zagazig1 if not at     
,zagazig itself1 silver objects which he
 sold to a native goldsmith who         
destroyed some of them for the needs of 
his craft1 and kept the others either to
 give to a collector or to use himself  
in the same way as the first lot when   
that should be exhausted4 ,did local    
sedition or the sack of the city by a   
hostile army compel him to hide his     

property in two different places8 ,his  
goods1 once hidden under the earth1 were
 not again drawn forth1 and we received 
them from him1 almost without an        
intermediary1 sixteen months ago4       
,illustration3 ,,silver ,,bracelets     
,,and ,,earring4  ,illustration3 ,,gold 
,,earring ,,from ,,the ,,treasure ,,of  
,,zagazig4   ,,ii  ,i will say nothing  
of the rubbish of his own fabrication4  
,the types are already those of         
present-day ,egypt1 and we could easily 
swear that most of them were            
manufactured for sale to the fellahs1 at
 most1 twenty years ago3 earrings in the
 form of pendants or oblong rings1 to   
the lower part of which eight or ten    
metal beads are soldered in bunches2    
rings with flat bezels1 ornamented or   
left plain for a name to be engraved2   
bracelets formed of a simple reed of    
silver foil1 thinned at each end and    
covered with a network of lozenges fixed
 by two or three marks hollowed out by  
the chisel and lacking elegance1 the    

ends1 cut off straight1 nearly meet when
 the piece is finished1 but they do not 
join1 and so facilitate the putting of  
the bracelet on the wrist4 ,it is the   
honest work of a man who did not spare  
his material1 but only knew just enough 
of his craft to please easily satisfied 
customers2 the taste of the good people 
of ,bubastis who bought these things was
 not of a discriminating sort1 or they  
may have found their market only in the 
people's quarters4 ,there are much      
better things of the kind in the ,cairo 
,museum1 and if the new-found treasure  
had only yielded such objects1 it would 
have been at once despatched to the     
salle de vente for the delight of       
tourists4  ,the contrast is striking as 
soon as we pass to what comes down from 
the ,pharaonic age4 ,not that it can be 
placed among the best we know in that   
kind4 ,the age of ,ramses ,,ii is       
already marked by a less sure taste than
 that of the ages that preceded it1 and 
,i cannot compare it with the ,dahchour 

objects nor with those of ,queen        
,ahhotpou4 ,one of the necklaces is the 
common breastplate of five rows of      
little tubes in stone and enamel1       
decorated with a fringe of gold         
egg-shaped ornaments encrusted with     
coloured stone4 ,another necklace1 also 
of gold1 with its eight rows of         
bottle-shaped pendants hanging to little
 chains of tiny beads1 would be somewhat
 out of keeping with the others if that 
was its original form1 but the parts had
 been separated1 and we remounted them  
ourselves in order to preserve them with
 less risk of loss4 ,five lenticular    
earrings are formed of two convex gold  
pellicles closed at the circumference   
and joined by a border of filigree1     
stamped in the centre with a rosette1   
the leaves of which are grouped round a 
gold or enamel button2 a gold tube      
soldered to the inside and grooved in   
the furrow of a screw passed through the
 lobe1 and was fastened to an invisible 
button which1 pressed against the flesh1

 kept the jewel in its place4 ,there was
 also a bracelet in minute particles of 
metal and enamel1 like those of         
,ahhotpou and the princesses of         
,dahchour1 but only the clasp has come  
down to us1 a sliding clasp of a most   
primitive character1 with no value      
except for the gold4 ,the best thing in 
the series was undoubtedly the pair of  
gold and lapis lazuli bracelets on which
 may be read the cartouche name         
,ousimares--,osymandyas--of ,ramses     
,,ii4  ,illustration3 ,,one ,,of        
,,ramses ,,ii',s ,,bracelets 7,,open74  
,illustration3 ,,one ,,of ,,ramses      
,,ii',s ,,bracelets 7,,closed74  ,they  
form two circular portions of nearly    
equal size1 joined by two hinges1 the   
first turning on a fixed axis1 the      
second a movable bolt taken away when   
the bracelet was opened4 ,the back part 
is a mere plate of polished gold about  
#a inches broad1 on which eight twists  
and eight fillets are laid side by side4
 ,the twists and fillets alternate1 and 

the ends are bordered with a thin strip 
parallel to the hinge4 ,on it are placed
 two rows of minute particles of metal  
soldered together1 and kept in place by 
two flat double-twisted little chains4  
,the front portion is expanded to the   
middle1 where it is just over #b inches 
in height4 ,at the hinges it is edged by
 a row of egg-shaped ornaments set      
between two flat chains1 and along the  
curves by a twist flanked by two        
fillets4 ,a second frame1 included in   
the first1 is of a more complicated     
design3 a double motif of little beads  
and chains goes round the curves1 but on
 the side of the fixed hinge the        
cartouche name of ,ramses ,,ii is to be 
seen1 and on the side of the movable    
hinge two bands of beads and filigree   
lozenges on a plain background4 ,in the 
space thus reserved the goldsmith had   
traced the silhouette of a group of     
ducks lying flat1 by means of a line of 
beads and a thin thread4 ,the two       
bodies1 which are packed together so as 

to be combined in one1 are formed of a  
piece of lapis lazuli1 cut and highly   
polished4 ,the ends of the bodies are   
imprisoned in a gold sheath decorated   
with a covering of small knobs and      
lozenges2 the tails are joined together1
 and simulate a fan2 they are of lapis1 
striped with threads of gold to mark the
 separation of the feathers4 ,another   
gold sheath1 of similar workmanship1    
envelops the chest2 the two necks escape
 with a bold movement1 and the two      
heads1 twisting round1 lie symmetrically
 on the back of the creatures4 ,between 
them and the frame is a smooth ribbon in
 sharp zigzags on a seed-plot of        
granules4 ,the whole effect is rather   
heavy1 and it would have been better if 
the artist had shown a more sober taste2
 but having stated so much1 it is       
clearly seen that his work was conceived
 with a perfect understanding of        
decoration and a mastery of all the     
secrets of the art4  ,all the methods   
that he so well manipulated may be found

 in the work of the goldsmiths of       
contemporary ,egypt1 especially in that 
of those who1 living in remote villages1
 have come less under ,european         
influence than their colleagues in the  
cities4 ,the models they copy are never 
of so delicate an imagination or so     
skilled an execution2 but we note for   
the most part the same devices and the  
same decorative parts of which we note  
the employment here2 lozenges1 zigzags1 
simple twisted cords1 double-plaited    
small chains1 rounded mallets1 threads1 
filigrees in lines or in seeds4 ,the    
ingots are beaten1 stretched1 fashioned1
 polished on the same little anvil4 ,the
 granules are blown as formerly in      
charcoal powder1 and the skill with     
which they are put together and soldered
 to obtain the desired designs is as    
great as in the time of the ,pharaohs4  
,in that1 as in many other industries1  
the ,egypt of to-day has inherited from 
the ,egypt of the past1 and we have only
 to look at the artisans in their shops 

to learn how the subjects of ,ramses    
,,ii set about their work4   ,,iii  ,the
 gold and silver vases are some years   
later than the bracelets4 ,on one of    
them1 indeed1 may be read the name of   
,taouasrt1 a great-granddaughter of     
,ramses ,,ii who married successively   
,siphtah and ,setou ,,ii1 and who       
enjoyed her hour of celebrity in the    
last days of the ,x,i,xth ,dynasty4 ,it 
is a half-opened lotus1 mounted on its  
stem4 ,the calyx of the flower is formed
 of thin gold-leaf1 not lined1 sharply  
cut at the outer edge4 ,the stalk is    
smooth except where the cartouche is    
engraved3 it expands and flattens out at
 the bottom to form a foot1 and the     
widening is decorated with folioles1    
kept in place by three circular bands4  
,the lines are sufficiently harmonious1 
but the execution is poor1 and the      
object would scarcely deserve a brief   
mention in our catalogue if the royal   
name did not assign it a definite date3 
here the artistic yields to the         

archological value4  ,illustration3     
,,gold ,,cup ,,of ,,queen ,,taouasr,t4  
,illustration3 ,,smaller ,,of ,,the     
,,two ,,gold ,,vases 7,,front ,,view74  
,it is otherwise with the gold vases    
that accompany it4 ,they are of medium  
size1 and the smallest of them all      
measures only about #c inches from      
bottom to top2 but the harmony of the   
proportions makes them perfect models of
 the kind of plate that appeared at     
banquets on the sideboards or tables of 
the rich4 ,the bowl is rounded1 and     
surmounted by a straight neck almost as 
high as the bowl itself1 the upper edge 
of which curves slightly outwards4 ,the 
front is decorated with a traced        
ornament simulating that of one of the  
large necklaces in lotus petals with    
which the ,egyptians adorned themselves 
on fte-days4 ,the two bands with which  
it was fastened to the neck fall        
undulating on the right and left1 and   
two cats--the two cats of the goddess   
worshipped at ,bubastis--look at them   

inquisitively1 with attentive eye1      
distended back1 quivering tail1 straight
 ears1 as if asking to play with them4  
,a lotus escapes below1 and on the      
slopes of its corolla two geese glide   
flapping their wings4 ,the neck is      
divided into three equal rows1 separated
 by flat cords3 first a wreath of lotus 
buds points downwards1 joined together  
by a band of threads1 one on top of the 
other2 then a row of egg-shaped fruits1 
and lastly a band of round florets      
hollowed in the centre and the hollow   
encircled with points like stamens4     
,there is neither handle nor holder1 but
 a small barrel1 through which a gold   
ring was passed and by which the object 
could be hung up1 was fastened by three 
rivets to the lotus buds on the side    
opposite to that of the necklace4 ,the  
barrel is of bluish faence set in a gold
 mount with a terminal flower4 ,it shows
 signs of wear and is dented in several 
places1 but none of the blows it        
suffered have seriously injured it3 it  

is as perfect as at the moment it issued
 new from the shop4 ,the choice of      
motives is elegant1 the grouping        
irreproachable1 the composition bold and
 a little summary3 the artist seems to  
have worked quickly1 but he possessed   
such mastery of his craft that the      
rapidity of the fabrication in no way   
injured the charm of the work4          
,illustration3 ,,smaller ,,of ,,the     
,,two ,,gold ,,vases 7,,back ,,view74   
,illustration3 ,,mass ,,of ,,silver     
,,vases ,,soldered ,,together ,,by      
,,oxide4  ,the second vase is larger1   
for it measures about #d inches in      
height2 if the shape is similar1 the    
detail of the decoration is very        
different4 ,the bottom is flat1 and the 
outer surface is filled by a lotus1     
drawn so as to cover it entirely4 ,the  
bowl is not smooth1 but three-fourths of
 it are covered with a regular bossage1 
which gives it the appearance of an     
enormous symbolic ear of dourah4 ,the   
method employed to produce it is not    

repouss work properly so-called1        
hammered from the inside to the outside4
 ,the general network was first very    
lightly traced on the metal2 then the   
rounds were outlined with a blunt       
instrument and hammered into a furrow1  
which1 pressing down the metal round    
them1 left them themselves in relief4   
,the neck was finished by an almost     
imperceptible rim1 obtained by turning  
the upper edge of the gold plaque       
outwards4 ,there are four rows instead  
of the three of the small vase3 at the  
top the line of buds1 then lotuses head 
downwards1 with alternate bunches of    
grapes or undefined flowers hanging     
between them1 then centred florets1 and 
then fruits4 ,the suspensory ring is    
fastened to the band of petals by a     
motif in shape of a calf4 ,the beast    
lies on its belly1 the tail folded over 
the back2 the head1 turning to the      
right1 is extended and raised1 as if to 
look over the edge of the neck4 ,it     
seems to have been chiselled in the     

solid metal1 and not engrafted1 and then
 finished with the graver4 ,it is       
treated broadly1 with a sure touch and  
the knowledge of animal form that is    
peculiar to the ,egyptians2 it may be   
placed beside the couchant calves that  
serve as perfume caskets and are        
masterpieces of sculpture in wood3 it   
will lose nothing by the comparison4    
,the whole presents the same            
characteristics as the preceding vase1  
and when closely examined we are soon   
convinced that it comes from the same   
workshop2 indeed1 there is little risk  
of mistake if we attribute both to the  
same artist4  ,illustration3 ,,larger   
,,of ,,the ,,two ,,gold ,,vases 7,,front
 ,,view74  ,illustration3 ,,larger ,,of 
,,the ,,two ,,gold ,,vases 7,,back      
,,view74  ,it is the same with the two  
silver jugs which accompany the two gold
 vases3 they have a common origin1 and  
an equal importance for oriental        
toreumatology4 ,one of them1            
unfortunately1 was broken1 and we do not

 possess all the pieces2 but we have    
enough to be sure that it resembled the 
one that has come to us intact4 ,the    
bowl is covered to two-thirds of its    
height with longitudinal rows of fruits1
 sitting one on the other like the      
scales of a pine cone4 ,here again it is
 not ordinary repouss work1 but the     
outline of each scale has been marked   
round and the metal then pressed down   
from outside to inside4 ,the smooth belt
 which lies between the embossing and   
the rise of the neck carries round the  
whole of the vase a single line of      
hieroglyphics expressing a wish for the 
eternal life and prosperity of the royal
 cupbearer1 ,toumoumtaouneb1 then a     
vignette and the owner in worship before
 a goddess1 who is pacific and ,egyptian
 on the perfect vase1 but bellicose and 
foreign on the broken vase1 armed with  
lance and buckler4 ,toumoumtaouneb was a
 person of importance in his time3 not  
only was he entitled chief cupbearer1   
but he is proclaimed the king's         

messenger in all barbarous lands1 and he
 doubtless brought back his pious regard
 for the bellicose goddess from one of  
his journeys in ,syria4 ,that is the    
only exotic element found in the        
decoration of the two vases4 ,the top of
 the neck is ornamented with a rim of   
light gold4 ,it has two rows of         
subjects1 one on top of the other3      
episodes of hunting or fishing4 ,a      
fragment of the broken vase shows a     
troop of wild horses running towards a  
marsh with lotuses1 where birds are     
flying4 ,the intact vase is             
unfortunately encrusted in places with  
oxide1 which obscures the detail of the 
scenes3 we distinguish outlines of      
boats1 tufts of aquatic plants1 men     
drawing nets or shooting arrows1 beasts 
at full gallop2 in the upper row there  
are imaginary trees with palm-leaves or 
volutes1 among which griffins fight with
 lions4 ,if we do not owe the silver    
vases to the same artist who fashioned  
the gold vases1 he was at least endowed 

with the same admirable skill4 ,he has  
greatly simplified the outline of his   
figures1 but the lines are firm1 even1  
sunk in the metal with the precision of 
a master3 the craft had no secrets from 
him4 ,but that is not the chief merit of
 his work3 twenty others would have been
 capable of so much among the goldsmiths
 who worked for the king and the great  
nobles4 ,what specially distinguishes it
 is the originality of the design he    
chose for the handle1 and the manner in 
which he treated it4 ,a kid1 attracted  
by the fumes of the wine contained in   
the vase1 had climbed the bowl1 and     
boldly standing on its hind feet1 the   
legs strained1 the spine rigid1 the     
knees leaning against two gold calyxes  
which spring horizontally from the      
silver face1 the muzzle pressed against 
the moulding1 he looks greedily over the
 edge3 a ring passing through the       
nostril serves for hanging up the vase4 
,the body is hollow and has been        
fashioned in two pieces stamped out1 and

 the two halves soldered together       
longitudinally and touched up with the  
graver4 ,the horns and ears are         
inserted3 a triangular hole was         
introduced in the middle of the         
forehead4 ,the material technique is    
excellent1 but the conception is even   
superior to the technique3 nothing could
 be truer than the movement that        
inspires the little creature1 nor more  
ingenious than the expression of        
greediness emanating from the whole of  
the body4  ,illustration3 ,,the ,,vase  
,,with ,,the ,,kid4  7,about #f inches  
in height47  ,representations of many   
similar vases may be seen on the        
monuments of the ,theban ,dynasties1    
with foxes1 leopards1 and human beings  
for handles1 and we had asked ourselves 
if they really existed anywhere except  
in the imagination of the painters of   
the hypogeums4 ,there is now no manner  
of doubt that they were faithful        
reproductions of models used by the     
,egyptians1 or by the nations with whom 

the ,egyptians had relations either in  
war or in commerce4 ,shall we ever find 
one of the large table pergnes which    
show scenes of conquest1 with trees1    
animals1 statuettes of negroes or       
,asiatics in gold or in enamel8 ,they   
contained such a large amount of metal  
that they would have been cast into the 
melting-pot at some moment of want1 but 
we await the chance that may give us    
depts similar to that of ,zagazig3 ,i do
 not think1 however1 that we shall find 
pieces of a finer inspiration or of a   
more harmonious composition than that of
 the vase with the kid4   ,,iv  ,the    
silver pater have suffered much4        
,hurriedly piled up in the receptacle   
where they were hidden1 the oxide bound 
them solidly together1 and we have not  
yet succeeded in separating them all4   
,it has besides eaten into them in so   
thorough a fashion that we have only    
ventured to clean two or three3 it is   
doubtful if we shall ever risk touching 
the rest4 ,it is a misfortune common to 

most of the silver objects found in     
,egypt3 under the influence of the      
annual infiltrations1 the organic acids1
 of which the subsoil of the ancient    
cities is composed1 attack them and eat 
them away without truce or mercy4 ,if   
the metal was of suitable thickness we  
might hope that the surface only was    
injured and the core of the metal       
unharmed1 but most often they consist of
 a leaf of metal of extreme thinness1   
which quickly decomposes4 ,thus the     
object only endures at all thanks to the
 oxide crust1 and if that support was   
removed it would be resolved into dust  
and tiny fragments4  ,illustration3     
,,one ,,of ,,the ,,silver ,,pater ,,of  
,,zagazig 7,,side ,,view74              
,illustration3 ,,silver ,,strainer4     
,only one of the pater is almost intact4
 ,it measures just over #f inches in    
diameter and about #e inches in height4 
,it is flat at the bottom and the sides 
are slightly inflated at the base2 they 
are decorated at the top with a gold    

border fastened to the rim by rivets4   
,two small decorated plates in chased   
gold are furnished with rings which hold
 a little gold rod that1 bent in three1 
serves to suspend it4 ,four large gold  
rounds are placed flat on the rim       
opposite the handle4 ,the side is       
smooth1 with a single line of           
hieroglyphics on the outside--a kind    
wish1 on the parvis of the temple of    
,neth1 for the owner1 the singing-girl  
of ,neth1 ,tama1 8the ,cat40 ,it is     
silver leaf1 stamped out in a curve1 the
 two ends of which have been joined     
without any appreciable overlapping and 
then soldered together4 ,the bottom is  
also formed of silver leaf1 which is    
fastened to the lower edge of the sides 
and divided into two concentric rows4   
,in the centre is a sort of umbilicus1  
with a gold flat-rimmed hat decorated by
 a line of rounded beads of metal and   
several lines of little chains4 ,the row
 nearest the centre is slightly lower2  
on it may be seen water full of fish1   

with tufts of lotus here and there4 ,a  
little papyrus boat1 occupied by a naked
 shepherd and a calf1 floats amid the   
patches of green2 birds fly about1 and  
two nude figures of young women--the    
same who1 modelled in wood1 provided the
 sculptors of the period with a charming
 design for perfume ladles--swim side by
 side in order to gather flowers4 ,a    
flat space and a line of tiny rounds    
separate the pool from a hunting-ground 
that four conventional palm-trees       
planted at equal distance divide into   
the same number of distinct             
compartments4 ,two winged sphinxes with 
women's heads stand on either side of   
one palm1 the paw raised and stretched  
out as if to pull down the dates3 two   
symmetrical pairs of goats leap at the  
other palms to browse on them4 ,between 
these groups1 animals run madly about1 a
 wild ox chased by a leopard1 hares and 
gazelles by foxes1 dogs1 or wolves4 ,the
 figures of the middle row are of       
repouss work of so feeble a character   

that we should almost say they are      
engraved on the metal3 those of the     
outer row are of a stronger repouss1 and
 then gone over again and finished with 
the graver4  ,the other pater resemble  
these as far as the technique and       
decoration are concerned3 they evidently
 came from the same workshop and        
belonged to one owner4 ,were they for   
daily use or only for ornament8 ,it     
would seem that they were not fashioned 
for a definite use3 at least they do not
 recall the shapes seen on the monuments
 in the hands of guests at a banquet or 
of priests in the sacrifices4 ,they were
 hung on the walls of halls1 or placed  
on sideboards on fte-days1 and if they  
were given to the guests1 it was not    
simply for them to eat or drink out of4 
,filled with fresh water or clear wine1 
it was a sort of miniature lake1 in the 
centre of which the point of the gold   
hat rose like an islet3 the landscape   
and figures1 seen through the           
transparent medium1 stood out on the    

flat background with peculiar vivacity1 
and were effaced or deformed at pleasure
 when the liquid was disturbed4 ,it is  
not so long since we were pleased with  
similar puerilities1 and ,orientals do  
not disdain them to-day3 the pater were1
 perhaps1 toys rather than objects of   
real utility4 ,i shall not say the same 
of the silver strainers1 the forms of   
which are elegant but not overladen with
 ornament1 and evidently intended for   
use4 ,a wide opened funnel1 a plaque at 
the bottom pierced with tiny little     
holes--the handle alone testifies to any
 artistic attempt--an open papyrus      
flower1 the petals of which1 bent over  
the stem1 lean on the rim of the funnel4
 ,it is a useful implement for kitchen  
or cellar1 well adapted to its end1 easy
 to keep clean1 in a word practical1 a  
thing in truth that the pater are not4  
,v  ,it is clear1 then1 that the        
interest of the find is great in itself 
on account of the number and beauty of  
the objects4 ,until now the greater part

 of the goldsmiths' work we possess was 
of the ,ptolemaic period1 and those that
 could be attributed with certainty to  
the ,pharaonic period possessed no      
characteristics that permitted us to    
judge the skill of the ,egyptians4 ,the 
pictures on the walls of tombs or       
temples authorize our belief that it was
 very skilful1 but the conventions of   
their designs are still so ill-defined  
that there is not always agreement about
 their interpretation4 ,it is even      
necessary to ask if certain motives     
figuring outside a vase ought not to be 
taken as belonging to the decoration of 
the inside4 ,we now have a sufficient   
number of their works to justify our    
conjecture1 and to declare in all       
sincerity that the goldsmiths were in no
 way inferior to the sculptors1 at least
 so long as the second ,theban ,empire  
lasted4  ,illustration3 ,,the ,,bottom  
,,of ,,one ,,of ,,the ,,zagazig ,,silver
 ,,pater4  ,these objects were found on 
the site of ancient ,bubastis1 and the  

presence of the cats of the goddess     
,bastt on several of them1 as well as   
the name of ,tama1 the ,cat1 that is on 
the chief vase1 seem to point that they 
were made in the place that has restored
 them to us4 ,it is true that ,tama was 
a singing-girl of ,neth1 living in the  
enclosed space before the temple of     
,neth1 and that might be a              
counter-indication1 at least so far as  
these objects are concerned4 ,setting   
aside the question of origin1 which is  
too uncertain1 we may ask if they are   
really ,egyptian by inspiration1 or if  
there is not a risk in examining them   
more closely of the discovery of proofs 
of some foreign influence4 ,for about a 
quarter of a century1 now1 ,assyria1    
,chalda1 ,asia ,minor1 ,crete and the   
,egyptian islands have become better    
known to us1 and the scholars who have  
studied those places have not been slow 
to despoil ,egypt in their favour3 it is
 too often sufficient for an object or  
an artistic design frequently occurring 

on ,egyptian monuments to be found in   
those places at once to attribute to    
them the original invention or          
ownership4 ,i cannot help thinking that 
many of these claims are not legitimate1
 and that in a more general way it is   
exceedingly rash in the case of a       
civilization so complex and distant in  
its beginnings as that of ,egypt at the 
time of the second ,theban ,empire1 to  
claim the ability to discern all the    
elements it borrowed from outside4 ,we  
know how rapidly the peoples of the     
,nile assimilate the foreigner3 in      
ancient times1 it was with the arts as  
with men1 and forms of architecture1 of 
drawing1 of industrial production1      
transplanted among them1 either quickly 
disappeared and left no trace1 or       
yielded to the conditions of the        
country1 and became so completely fused 
with the taste of its environment that  
it is now scarcely possible to          
distinguish the foreign from the native4
 ,i believe that ,egypt certainly       

accepted exotic types2 but the lands    
with which she had relations did not    
abstain from imitating her1 and from the
 most distant ages4 ,she gave to others 
at least as much as she received from   
them1 and in many cases where the       
question of filiation has recently been 
determined against her1 it would be well
 to suspend that judgment1 if not to    
upset it4  ,in this case1 ,i imagine    
that it will not enter any one's mind to
 dispute that the bracelets of ,ramses  
,,ii and the chalice of ,taouasrt are   
,egyptian pure and simple4 ,the two gold
 vases and the two silver jugs present  
no foreign characteristic3 the gold kid 
is of the same family as the goats      
sculptured fifteen or twenty centuries  
earlier in the ,memphian bas-reliefs1   
standing on their hind legs and nibbling
 at a bush4 ,the pater1 it is true1     
resemble the ,phnician gold and bronze  
cups so often found in the ,euphrates   
districts and in the lands on the shores
 of the ,mediterranean3 but no one has  

refused to admit that they were         
imitations of ,egyptian models1 and     
perhaps a more impartial examination    
would lead archologists to restore some 
of them at least to ,egypt4 ,at any     
rate1 the treasure of ,zagazig shows us 
what those models ought to be3 the      
,phnicians were not unmindful of them   
and respected the general arrangement1  
even if they often modified the detail4 
,one element only in the scenes of the  
two rows may be exotic3 the female      
sphinx with the strange locks of hair1  
if we choose to see in her a derivative 
of the griffin rather than a fantastic  
deformation of the male sphinx of a     
former age4 ,but even so1 it must not be
 forgotten that the griffin belongs to  
the ancient national foundations like   
the oxen and gazelles1 goats1 dogs1     
leopards seen by its side3 its presence 
would only prove--if its form was so    
characteristic that we could not refuse 
to believe it an incongruity--that it   
was borrowed from the arts of ,syria or 

,chalda by some artist tired of always  
using the traditional types of his      
country4     ,,xviii  ,,three           
,,statuettes ,,in ,,wood  7,the ,louvre7
   ,the three little wooden figures     
reproduced here are of ,theban origin1  
and represent persons who lived under   
the conqueror-kings of the ,x,v,i,i,ith 
and ,x,i,xth ,dynasties4  ,the first was
 found in the ,salt collection1         
purchased by ,champollion at ,leghorn in
 #ahbe1 which forms the basis of the    
,louvre collection4#gg ,it is a young   
woman in a long clinging dress trimmed  
with a band of embroidery in white      
thread running from top to bottom4 ,she 
wears a gold necklace of three rows and 
gold bracelets4 ,on her head is a wig1  
the hair of which hangs down to the rise
 of the breast2 the wig is kept in place
 by a large gilded band simulating a    
crown of leaves arranged points         
downwards4 ,the right arm hangs down    
beside the body1 and the hand held an   
object1 probably in metal1 which has    

disappeared2 the left arm is folded     
across the chest1 and the hand clasps   
the stem of a lotus1 the bud pointing   
between the breasts4 ,the body is supple
 and well-formed1 the breast young1     
straight1 slight1 the face broad1 and   
smiling with something of softness and  
vulgarity4 ,the artist was unable to    
avoid heaviness in the arrangement of   
the coiffure1 but he has modelled the   
body with an elegant and chaste         
delicacy2 the dress follows the form    
without revealing it indiscreetly1 and  
the gesture with which the young woman  
presses the flower against her is       
natural4 ,the statuette is painted dark 
red1 except the eyes and the embroidery1
 which are white1 and the wig1 which is 
black3 the bracelets1 the necklace1 and 
the bandeau are of a yellow gold        
identical with the small book exhibited 
in the glass case marked ,z in the      
8,salle civile40#gh  ,illustration3     
,la ,dame ,na    ,prtre    ,officier en 
costume demi civil  ,,statuettes ,,in   

,,wood4  ,the ,louvre4  ,two            
inscriptions engraved on the pedestal1  
and then painted yellow1 inform us of   
the name of the woman1 and of that of   
the individual who dedicated the statue4
 ,one on the front runs thus3           
7,a7 ,,adoration ,,to ,,phtah           
,,sokar-,,osiri1#gi ,,great ,,god1      
,,prince   ,,of ,,eternity1 ,,to ,,whom 
,,are ,,given ,,all ,,kinds ,,of ,,good 
,,things ,,and ,,pure ,,things1 ,,to    
,,the ,,double ,,of ,,the      ,,perfect
 ,,lady ,,na ,,of ,,the ,,true ,,perfect
 ,,voice4  ,the other is engraved on the
 right side1 and runs3    7,b7 ,,it ,,is
 ,,her ,,brother ,,who ,,makes ,,her    
,,name ,,to ,,live1                ,,the
 ,,servant ,,phtah-,,ma4  ,from other   
monuments we know more than one         
,egyptian of the name ,phtah-,ma1 and   
more than one lady ,na3 but none of them
 has any claim to be identified with our
 two personages4 ,phtah-,ma is not a    
noble3 he filled a very humble post1    
that of a page attached to a noble1 or a

 subordinate employ of a temple or of a 
court of justice4 ,but the charm of the 
monument he devoted to the memory of his
 sister is only the more remarkable4    
,the personage in the middle is a       
priest1 standing1 wearing the short wig 
with little locks of hair in rows one   
above the other4 ,the bust is bare1 and 
his only garment is a long skirt falling
 half way down the leg1 spread out in   
front into a sort of pleated apron4 ,in 
his two hands he bears a sacred insignia
 consisting of a ram's head surmounted  
by the solar disk1 and forming an gis1  
the whole set into a staff of fairly    
large dimensions3 the attitude is one of
 repose4 ,the third figure1 on the      
contrary1 is full of movement and       
activity4 ,it is an officer in          
semi-military costume of the time of    
,amenphis ,,iii or of his successors3 a 
small wig1 a clinging smock with        
sleeves1 a short loin-cloth tightly     
girded over the hips and scarcely       
descending to the middle of the thigh1  

decorated in front with a small piece of
 stuff standing out1 pleated lengthwise4
 ,these two statuettes are painted dark 
red with the exception of the wig1 which
 is black1 of the cornea of the eyes1   
which is white1 and the insignia of the 
priest1 which is yellow4 ,the old       
pedestal has disappeared1 and with it   
the name4 ,like the limestone and wooden
 statues of large dimensions1 these     
formed part of the funerary equipment3  
they were the supports of souls in      
miniature1 and served as a body for the 
double of the model and kept alive the  
name of a person who had been loved or  
well known4 ,there are a large number of
 them in the museums1 and nearly all are
 of the same epoch4 ,neither the        
,ancient nor the ,middle ,empire made   
them--,sate art preferred hard stone3   
the wooden statuettes that ,i have so   
far seen are of the second ,theban      
period1 and belong to the ,x,v,i,i,ith1 
,x,i,xth1 and ,x,xth ,dynasties4  ,some 
of them1 if not all1 were used for      

purposes that seem strange to us4       
,several had little rolls of papyrus    
fastened to their pedestal or their     
body1 ordinary letters that the writers 
sent to one another2 one possessed by   
the ,leyden ,museum is an adjuration    
addressed to the perfect soul of the    
lady ,ankhari by her still living       
husband3#hj 8,what fault have ,i        
committed against thee that ,i should be
 reduced to the miserable condition in  
which ,i find myself8 ,what have ,i done
 to justify this attack on me1 if no    
fault has been committed against thee8  
,from the time ,i became thy husband    
until this day1 what have ,i done       
against thee that ,i should conceal8    
,what shall ,i do when ,i have to bear  
witness to my conduct in regard to thee1
 and shall appear with thee before the  
tribunal of the dead1 addressing myself 
to the cycle of the infernal gods1 and  
thou wilt be judged after this writing1 
which is in words uttering my complaint 
in regard to what thou hast done4 ,what 

wilt thou do80 ,the general tone of the 
piece is1 as is clear1 one of complaint 
and accusation4 ,the husband laments    
about 8the miserable condition to which 
he is reduced10 three years after he has
 become a widower2 then he relates the  
incidents of his conjugal life in order 
to show the ingratitude he has received 
for his trouble and care4 8,when thou   
becamest my wife1 ,i was young1 ,i was  
with thee1 ,i did not desert thee1 ,i   
caused no grief to thy heart4 ,now so ,i
 acted when ,i was young2 when ,i was   
promoted to high dignities by ,pharaoh1 
,i did not desert thee2 ,i said3 #8,let 
them be mutual between us6' and as      
everybody who came saw me with thee1    
thou didst not receive those whom thou  
didst not know1 for ,i acted according  
to thy will4 ,now1 here it is1 thou hast
 not satisfied my heart and ,i shall    
plead with thee1 and the true will be   
distinguished from the false40 ,he      
dwells on and reminds her of his        
kindnesses3 8,i have never been found   

acting brutally to thee like a peasant  
who enters other people's houses40 ,when
 she died1 during an eight months'      
absence occasioned by his service with  
,pharaoh1 8,i did what was seeming for  
thee3 ,i lamented thee greatly with my  
people opposite my dwelling1 ,i gave    
stuffs and swathings for thy burial1 and
 for that purpose had many linen cloths 
woven1 and ,i omitted no good offering  
,i could make thee40#ha ,the poor man   
does not state clearly the nature of the
 troubles from which he suffered4       
,perhaps he imagined that his wife      
tormented him in the form of a spectre2 
perhaps1 what after all comes to the    
same thing in the belief of an          
,egyptian1 he was attacked by diseases  
and overwhelmed with infirmities that he
 attributed to the malignity of the dead
 woman4 ,we are reminded of the strange 
actions that the ,icelanders of the     
,middle ,ages practised against ghosts4 
,the administration set on foot the     
whole cortge of officials and the whole 

of its legal code to bring the          
accusation1 judge and condemn the dead  
who persisted in haunting the house in  
which they had lived4 ,the records of   
the causes are extant and testify to the
 gravity that presided over this strange
 procedure4 ,the ,leyden papyrus        
certainly relates to an affair of the   
kind4 ,a husband1 addressing his wife's 
soul1 summons her to suspend            
persecutions that are in no way         
justified1 under pain of answering for  
her conduct before the infernal jury4   
,if she did not heed this preliminary   
advice1 the matter would be brought     
later before the tribunal of the gods of
 the west and pleaded3 the papyrus would
 serve as a piece of convincing         
evidence1 and then 8the true would be   
distinguished from the false40  ,there  
was one difficulty to be overcome3 how  
was the summons to be sent to her8 ,the 
,egyptians were never embarrassed when  
it was a question of communicating with 
the other world4 ,the husband read the  

letter in the tomb1 then fastened it to 
a figure of the woman4 ,thus she could  
not fail to receive the adjuration as   
she received the funerary banquet1 or   
the effect of the prayers that assured  
her happiness beyond the tomb4 ,the     
preoccupations of art held only a       
subordinate place in statues like those 
of the lady ,na and her two companions3 
the religious idea was predominant1 and 
it was religion which gave the monument 
its meaning4     ,,xix  ,a ,,fragment   
,,of ,a ,,theban ,,statuette#hb   ,the  
excavations undertaken by ,mr4 ,mond on 
the eastern slope of the hills of       
,chekh-,abd-el-,gournah1 in one of the  
richest of the ,theban cemeteries of the
 ,x,v,i,i,ith and ,x,i,xth ,dynasties1  
have already given several valuable     
monuments to the 8,service des          
,antiquits02 and nothing surpasses or   
even equals the fragment illustrated    
here4 ,the statuette to which it belongs
 was broken in the middle4 ,the hips and
 legs have disappeared1 as well as the  

right arm1 and the plinth against which 
the back leaned2 ,mr4 ,mond eagerly     
sought the missing pieces among the     
residue of his find1 but in vain2 they  
were not forthcoming1 and were doubtless
 either destroyed in ancient times1 or  
carried off by some amateur during the  
nineteenth century4 ,the fragment that  
remains to us measures nearly a foot in 
length and about #d inches across the   
shoulders2 there is nothing in the lines
 by which one can determine whether the 
person it represents was seated or      
standing4 ,i am inclined to think that1 
according to the custom of the time1 the
 attitude resembled that of the little  
lady ,tou in the ,louvre1#hc standing1  
the feet nearly on the same level1 the  
right arm hanging down1 the head erect1 
with the wig of ceremony1 and the dress 
of great holidays4  ,illustration3 ,,the
 ,,mond ,,statuette 7,,front ,,view74   
,the material employed by the sculptor  
is limestone of the kind the            
inscriptions describe as the fine white 

stone of ,tourah1 but thick beds of it  
extend along the sides of the valley of 
,egypt from the environs of ,cairo to   
the defiles of ,gebelen4 ,it abounds in 
the ,theban plain1 and although it is   
too split and cracked in every sense to 
be of any use for building purposes1 it 
is admirably suited for designs of      
restricted dimensions1 such as those of 
our statuette4 ,it was most probably    
carved in the stone of                  
,chekh-,abd-el-,gournah itself1 perhaps 
in one of the blocks extracted at the   
time of hollowing out the tomb for which
 it was destined4 ,it forms an excellent
 substance1 supple and firm at the same 
time1 and subserves with an inimitable  
docility the boldest and the most       
delicate strokes of the chisel2 the     
grain of marble1 crystalline and almost 
metallic1 makes the sensation on the eye
 of a rigid envelope in which the       
subject is1 as it were1 imprisoned1     
while limestone1 softer and richer1     
better reproduces the elasticity of the 

surface of flesh and the free play of   
the muscles under the skin4 ,our        
statuette had been illuminated in       
accordance with custom1 but it bears    
only imperceptible traces of painting   
and has the natural colour of old       
limestone1 a tone between cream and     
yellowed ivory1 which recalls the       
paleness of ,egyptian women4 ,the detail
 of the clothing and ornaments which was
 due to the brush has vanished1 and is  
only indicated on the border of the     
mantle by faint tooling4 ,it has thus   
lost its archological value1 but has    
gained an aspect of refinement wanting  
in works where the colour has been      
preserved intact4  ,the young woman who 
has thus left us her portrait lived     
under the ,x,i,xth ,dynasty1 at a time  
when fashion imposed enormous           
head-dresses and scanty clothing on its 
votaries4 ,an almost transparent linen  
covers the left shoulder1 then crosses  
the chest and is knotted under the right
 armpit1 concealing the rest of the     

costume2 the left hand is freed from it 
and clasps a lotus stem1 the flower     
reaching to the hollow between the      
breasts4 ,the bust has not yet attained 
its plenitude1 but the breasts are well 
shaped and well separated1 but so slight
 that they scarcely make any impression 
on the linen2 the lines of the arm1     
shoulder1 and neck indicate thinness4   
,the artist has well understood the     
characteristics of the dawn of          
womanhood1 and the discreet fashion in  
which he permits us to guess the slender
 grace beneath the garment is that of a 
master craftsman1 but it is in the head 
and face that he shows the full measure 
of his talent4 ,the head is fitted into 
a wig of complicated structure which    
yields nothing in size to the majestic  
peruke of ,louis ,,xiv4 ,a double ribbon
 running from the forehead to the back  
of the neck divides the hair into two   
equal masses1 which are themselves      
divided into volutes of little waved    
locks1 each formed of two thin tresses1 

twisted together at the extremity4 ,the 
whole forms a stiff heavy fabric which1 
unskilfully interpreted1 would make the 
piece ugly1 no matter how successful in 
the other parts4 ,our sculptor has made 
no change in the general                
arrangement--his model would not have   
permitted it--but he has adjusted the   
parts with such happy ingenuity that the
 monster wig1 instead of overpowering   
the face1 acts as a frame to it and sets
 it off4  ,illustration3 ,,the ,,mono   
,,statuette 7,,profile74  ,it is of the 
purest ,egyptian type1 not the heavy1   
brutal type which predominates in the   
,memphian age and among the fellahs     
to-day1 but an elegant refined type of  
which numerous examples are provided by 
statuettes of all periods4 ,the forehead
 appears to be rather low1 but we cannot
 be sure if it was so by nature1 or if  
it is the wig which conceals its height4
 ,the eyes are long1 almond-shaped1     
slanting towards the temple1 widely     
opened4 ,the eyelids are drawn clearly1 

almost sharply1 and meet at an acute    
angle both at the inner corner and at   
the outer commissure4 ,the globe of the 
eye is rather prominent1 the pupil was  
added with the brush1 and a sort of     
greyish tone vaguely marks the place4   
,the eyebrows are a flattened bow1 thin 
and regular4 ,the nose is attached to   
the superciliary arcade by a fairly     
accentuated curve2 it is straight1 thin1
 rounded at the end1 with delicate      
nostrils4 ,the lower part of the face is
 thick-set1 and of so firm a cut that   
with age--if age ever came--it would    
have become hard4 ,the lips are full1   
thick1 edged the whole length1 split in 
the middle3 they are pressed together as
 if to keep back a smile4 ,the whole    
face changes in character and almost in 
century1 according to the angle from    
which it is looked at4 ,seen from the   
front it is round and full1 with neither
 superabundance nor softness of flesh3  
it is the little middle-class girl of   
,thebes1 pretty1 but common in form and 

expression4 ,seen from the side between 
the hanging pieces of the wig1 as if    
between two long ringlets falling on the
 shoulders1 it assumes a malicious1     
roguish expression not ordinarily usual 
in ,egyptian women3 it might be one of  
our contemporaries who from caprice or  
coquetry had put on the ancient         
coiffure4  ,who was she in her lifetime1
 and what was her name8 ,the fragment   
which represents her was found at the   
bottom of a funerary pit1 in the        
court-yard of the tomb of ,menna1 and   
,menna flourished under the ,x,i,xth    
,dynasty4 ,was she one of his wives1 or 
daughters1 or sisters8 ,the inscription 
which might have told us is heaven knows
 where1 and it will be a great piece of 
good fortune if it is ever found4       
,,xx  ,,the ,,lady ,,tou ,,of ,,the     
,,louvre ,,and ,,egyptian ,,industrial  
,,sculpture ,,in ,,wood#hd   ,the little
 lady ,tou1 who entered the ,louvre last
 year1 was in her lifetime a singer in  
the service of ,amon4 ,the title gives  

rise to doubt and scarcely permits us to
 determine to what class of society she 
belonged4 ,the singers in the service of
 ,amon were of all ranks1 some married1 
others free4 ,they were all bound to    
serve the god2 they shook before him the
 sistrum that kept off spirits1 or      
wielded the magic whip1 the monat1 with 
which they beat the air to keep off with
 heavy blows the evil beings who floated
 invisible in it4 ,the most humble were 
of easy morals1 and the series of       
licentious vignettes in the ,turin      
,museum leaves no room for doubt        
regarding the kind of life they led4    
,they were the servants of the temple2  
they placed their bodies at the free    
disposal of their master ,amon1 and     
whoever addressed them in his name would
 not meet with refusal4 ,in the         
,grco-,roman period the high-priest     
chose a young girl of rare beauty from  
among the richest and noblest families  
of ,thebes and solemnly dedicated her4  
,she became the chief singer1 and shared

 the life of her companions of lower    
origin as long as youth lasted2 when she
 was past the age of child-bearing she  
retired1 and an honourable marriage     
allowed her to end her days amid the    
respect of all4 ,the lady ,tou's        
position seems to have been less        
curious4 ,the wives of priests or those 
of citizens affiliated to the different 
brotherhoods of ,amon formed            
associations of singers who appeared in 
the temples on days of festival or at   
the hours fixed for certain ceremonies3 
they only accepted the duty of playing  
the sistrum or of plying the whip1      
leaving to the others the rest of the   
function4 ,tou doubtless had a husband  
and children somewhere in ,thebes4 ,in  
an ,egyptian tale#he the heroine1       
,tboubou1 daughter of a priest of       
,bastt1 replies to the lover who is     
importuning her3 8,i am pure1 ,i am no  
wanton40 ,tou might say the same to us  
if1 trusting to her title1 we confused  
her with the common singing-girls1 who  

yielded their bodies to all4            
,illustration3 ,,the ,,lady ,,tou1      
,,statuette ,,in ,,wood4  ,the ,louvre4 
,the statuette that represents her may  
deservedly rank as one of the best works
 which have recently emerged from       
,theban soil4 ,she stands upright in the
 hieratical attitude of repose1 one foot
 in advance1 the head fixed1 the right  
arm hanging by her side1 the left arm   
across the chest1 holding the sacred    
whip1 the monat1 folded up4 ,she wears  
the ceremonial costume1 a long robe with
 sleeves1 narrow1 crossed in front1     
edged with a heavy1 stiff fringe1 a     
broad necklace round the neck2 on her   
head the immense wig fashionable among  
the ,thebans in the eleventh and tenth  
centuries ,b4,c41 numerous little       
tresses gathered together at the ends   
into two or three1 and finished off with
 tassels or little curls4 ,the effect   
was fairly ugly3 it lent heaviness to   
the top of the figure1 diminished the   
size of the face1 cramped the neck1     

concealed the fall of the shoulders and 
the rise of the breasts1 broke the      
equilibrium of the body4 ,but the       
anonymous artist who made the portrait  
of the lady ,tou has derived an almost  
fortunate advantage from this deplorable
 head-dress3 he has treated it as a sort
 of background which sets off the face1 
neck1 and chest4 ,the lateral tufts of  
hair frame the features without making  
them too heavy1 and the close-fitting   
coif at the top is placed on the skull  
without appearing to crush it4 ,the     
slender1 healthy forms of the body are  
rendered in remarkable fashion1 and the 
modelling of the belly and legs shows   
itself under the clinging stuff with a  
precision that is in no way brutal4 ,in 
looking at it we certainly recognize    
more than one defect3 the figure lacks  
suppleness and the face expression2 the 
wood is cut harshly and with an almost  
puerile detail4 ,the whole1 however1    
pleases by some indescribable simple and
 chaste charm3 the ,louvre was perfectly

 right to acquire it1 even if more money
 was expended than is usual on ,egyptian
 objects of such small size4  ,its use  
is easy to determine2 it is a miniature 
statue of the double shut up in the     
tombs of the ,memphian period4 ,a statue
 was not within the reach of everybody3 
only the rich could procure one1 and    
people of moderate means were obliged to
 content themselves with little figures 
of less cost4 ,the population of        
priests1 servants1 singing-girls1 heads 
of the works who lived round the        
sanctuary of ,amon or in the temples of 
the necropolis1 had many pretensions to 
luxury with slender resources3 their    
tombs are filled with objects which     
pretend to be what they are not1 and    
veritably deceive the eye1 destined to  
give the dead the illusion of opulence2 
massive wooden vases painted to         
represent alabaster or granite vases1   
rings and jewels in glass or enamel that
 appear to be gold rings and jewels1    
furniture in common wood1 varnished1    

speckled1 veined1 to simulate furniture 
in rare woods4 ,the lady ,tou belonged  
to that half-needy class1 and had to    
substitute statuettes of carved and     
polished wood for limestone or sandstone
 statues4 ,all the museums in ,europe   
have similar ones1 and through          
,champollion1 the ,louvre possessed the 
lady ,na1#hf who sustains comparison    
very well with her new comrade4         
,egyptian sculptors had acquired        
veritable mastery in this subordinate   
form of sculpture1 and there are pieces 
of singular charm among those that have 
reached us4 ,take1 for instance1 the    
little girl and the woman ,i have chosen
 almost at hazard in one of the cases of
 the ,turin ,museum4 ,the little girl is
 standing1 one foot in advance1 the arms
 hanging down1 naked according to the   
custom of ,egyptian children1 with a    
necklace1 and a belt which loosely      
surrounds the loins1 short plaited hair 
with a tress falling over the ears4 ,the
 material is less precious than with the

 lady ,tou1 and the work less thorough1 
but has the slim delicacy of a little   
,egyptian girl of eight or ten years old
 ever been better expressed8 ,it is an  
exact portrait1 in costume and figure1  
of the little ,nubian girls of the      
,cataract before the age of puberty     
obliges them to wear clothes2 it is     
their thin chest1 slender hips1 clearly 
cut1 delicate thigh1 their bearing1     
hesitating and bold at the same time1   
the roguish expression of their         
features4  ,illustration3 ,,statuette   
,,in ,,wood4  ,turin ,museum4           
,illustration3 ,,statuette ,,in ,,wood4 
,turin ,museum4  ,the other statuette   
represents a well-developed woman       
standing on a round pedestal without a  
scrap of clothing or veil1 but very     
proud of her head-dress1 and especially 
of her big earrings4 ,she touches the   
right one with her hand and makes it    
stand out a little in order to show it1 
or to assure herself that the jewel is  
very becoming2 the head is big1 the     

shoulders thin1 the chest narrow1 and   
the sculptor was embarrassed to render  
the movement of the arms2 but the eyes  
are so wide open1 the smile so          
contented1 the expression of the whole  
so intelligent1 that we can easily      
excuse that defect4  ,men were as well  
treated as women by this art fostered by
 persons of small means4 ,scribes of    
subordinate rank1 old retired officers1 
retail merchants1 or men at the head of 
small industrial concerns1 all of whom  
swarmed in the poorer quarters1 felt as 
strongly as their wives1 in default of  
the stone statue1 the need of acquiring 
a wooden image which would show what    
they had been like in their lifetime4   
,there were as many artists as they     
wished to model them in the attitude    
they preferred1 in their everyday       
costume or in that of fte-days1 bearing 
and likeness guaranteed4 ,those found in
 the tombs in the early years of the    
nineteenth century form a veritable     
gallery1 most varied and curious1 of the

 different types prevailing from the    
thirteenth to the ninth century ,b4,c4  
in ,thebes and its environs among the   
lower middle-class4#hg ,some had been   
soldiers1 and wear the light petticoat  
bulging at the waist of the ,egyptian   
foot-soldier2 others had spent their    
lives scribbling in a ,government       
office2 the greater number belonged to  
one of the funerary professions1        
guardians of mummies1 decorators of     
hypogeums1 hewers of tombs1 sacristans  
or priests of a low order employed in   
the minor offices of burials or         
commemorative rites4 ,they proudly      
exhibit their insignia3 they carry long 
staves crowned with sacred emblems--the 
human head of ,hathor1 the hawk's beak  
of ,horus--and everything in their      
attitude betrays the pride and          
satisfaction of knowing themselves so   
fine and so important4 ,their bearing   
reveals what the inscriptions usually   
placed on the pedestal of their         
statuettes confirm3 8,it is ,i1         

,khbokhni1 the ,servant of the #8,true' 
,place10 he who poured the libations1 or
 who1 at the canonical hours1           
distributed a portion of bread1 flowers1
 and fruits to each of the dead         
entrusted to his care4 ,the ,egyptians  
were admirable in observation and full  
of satirical humour3 ,i would not swear 
that1 in impressing this character of   
nave vanity on their works1 the         
sculptors were not yielding to the      
temptation of discreetly amusing        
themselves at the expense of their      
sitters4  ,study of these small         
monuments is too much neglected4 ,by    
considering the colossi of granite or   
sandstone1 the heroic statues and the   
ceremonial groups1 we are inclined to   
recognize only qualities of grandeur and
 immobile majesty in ,egyptian art2 the 
wooden statuettes show how1 on occasion1
 it could display charm and wit4 ,most  
of them are the products of chance1     
commercial pieces1 prepared in advance  
for the needs of customers1 of which a  

large assortment was always kept in     
reserve4 ,the family desiring to offer  
one to one of its dead came to get it at
 the fairest price1 and something was   
sold1 more or less well done according  
to the sum that was spent2 the choice   
being made1 the piece was adapted to its
 definitive destination by engraving on 
the pedestal1 or on the back1 the names 
which transformed the anonymous doll    
into a body for the double of a         
particular individual4 ,they were       
artisans who sculptured these images1 or
 rather manufactured them for the       
undertakers of funerals4 ,their         
education was so complete and their hand
 so practised that they rarely fell very
 low2 their average productions are of  
honest composition and sufficiently true
 in feeling4 ,when they were given      
enough time or commissioned to take     
great care with a piece of work1 those  
who combined natural talent with the    
routine of their craft produced work of 
real value--the statuettes of the lady  

,tou1 of the little girl and the woman  
in the ,turin ,museum1 and many others  
hidden from the public in the cupboards 
of our museums4     ,,xxi  ,,some       
,,perfume ,,ladles ,,of ,,the ,,xviiith 
,,dynasty  7,the ,louvre7   ,it is not  
without reason that these objects are   
called perfume ladles4 ,the ,egyptians  
used them1 in fact1 for making either   
essences1 pomades1 or the various       
coloured pigments with which both men   
and women painted the cheeks1 lips1     
eyelids and underneath the eyes1 the    
nails and palms of the hand4 ,the form  
and decoration vary in accordance with  
the epochs4 ,at the time of the         
,ramessides1 between the fourteenth and 
twelfth centuries ,b4,c41 fashion       
introduced ,syrian manufactures into    
,egypt2 later1 under the ,bubastis and  
under the ,ethiopian kings of the       
,x,x,vth ,dynasty1 some ,chaldan or     
,ninevite manufactures came in4 ,the    
five ladles illustrated here are purely 
,egyptian in origin and style4 ,the     

designs were generally borrowed from the
 fauna and flora of the valley4 ,the    
first has by way of handle a young girl 
lost among the lotuses1 who is gathering
 a bud2 a tuft of stems from which two  
full-blown flowers escape attach the    
handle to the bowl1 the oval of which   
has its rounded part outside and the    
point inside4 ,in the second1 the young 
girl is framed by two stems of lotus    
flowers and papyrus1 and walks along    
playing a long-handled guitar4 ,the next
 ladle substitutes a bearer of offerings
 for the musician1 and the fourth has   
the musician standing on a boat sailing 
among the reeds4 ,the last takes the    
form of a slave1 half bent under an     
enormous sack4 ,nothing could be better 
than the general design of the          
decoration4 ,the artisans brought as    
much conscience and skill to its        
execution as the sculptors gave to their
 colossal statues4 ,the physiognomy and 
age of the four young girls are well    
characterized4 ,the girl who plucks the 

lotuses is an ingnue3 that state is     
shown by her carefully plaited hair and 
her pleated skirt4 ,theban ladies wore  
long skirts1 and this is only turned up 
high to facilitate walking among the    
reeds without soiling its edges4 ,the   
two musicians1 on the contrary1 belong  
to the lower class2 one has only a belt 
round her hips1 the other a short       
petticoat1 carelessly fastened4 ,the    
bearer of offerings has the tress of    
hair falling over the ear1 as was the   
custom with children1 and her belt is   
her sole garment4 ,she is one of the    
slender1 slim young girls of whom many  
may be seen among the fellahs on the    
banks of the ,nile1 and her nudity does 
not prevent her from belonging to a     
respectable family3 children of both    
sexes only began to wear clothes at the 
age of puberty4 ,lastly1 the slave1 with
 his thick lips1 flattened nose1 bestial
 jaw1 low forehead1 sugar-loaf head1 is 
evidently a caricature of a foreign     
prisoner2 the brutish1 conscientious way

 in which he lifts his heavy burden1 the
 angular prominences of the body1 the   
type of the head1 the arrangement of the
 different parts1 remind us of the      
general aspect of some terra-cotta      
grotesques that come from ,asia ,minor4 
,illustration3 ,,perfume ,,ladle4  ,the 
,louvre4  ,illustration3 ,,perfume      
,,ladle4  ,the ,louvre4  ,all the       
details of nature grouped round and     
framing the principal subject1 the exact
 form of the flowers and leaves1 the    
species of the birds1 are very accurate1
 and sometimes betray wit4 ,of the three
 ducks that the bearer of offerings has 
tied by their claws1 and which hang over
 her arm1 two are resigned to their fate
 and go swinging along1 the neck        
stretched out1 the eye wide open2 the   
third lifts its head up and flutters its
 wings4 ,the two water-fowl perched on  
the lotuses listen at ease1 the beaks on
 their crops1 to the lute-player who is 
passing near them2 experience has taught
 them that they need not disturb        

themselves for songs1 and that a young  
girl is only to be feared if she is     
armed4 ,in the bas-reliefs1 the sight of
 a bow or a boomerang throws them into  
confusion1 just as to-day that of a gun 
scatters the crows4 ,the ,egyptians knew
 the habits of the animals who lived in 
their land1 and took pleasure in        
minutely observing them4 ,observation   
became instinctive with them1 and they  
gave a striking air of reality to the   
least of their productions4  ,the bowl  
of the ladles is generally oval4 ,it is 
edged by a running decoration between   
two lines1 a waving line1 or a more or  
less accentuated denticulation4 ,the    
cavity made in the slave's burden is of 
irregular shape1 and the thick border is
 decorated with lightly carved flowers  
and foliage4 ,it was a perfume box      
rather than a ladle1 for the little hole
 in the lower part1 near the prisoner's 
shoulder1 held the hinge of the lid1 now
 lost4 ,the fifth ladle is in the shape 
of a quadrangular trough4 ,the bottom1  

set in four rectangular mouldings1 is   
covered with waving lines simulating    
water2 the edges represent the banks of 
the lake and are covered with aquatic   
scenes4 ,on the right1 amid the flowers 
and lotus buds1 a little personage is   
catching birds with a net2 on the left1 
another is fishing from a boat4 ,they   
are both summarily indicated1 but are   
not the less full of life4 ,it is a     
miniature reproduction on a wooden ladle
 of the great scenes of fishing and     
bird-catching which are painted in the  
tombs and the temples4  ,illustration3  
,,perfume ,,ladle4  ,the ,louvre4       
,illustration3 ,,perfume ,,ladle4  ,the 
,louvre4  ,the objects are in wonderful 
preservation4 ,a lid is lost1 a lotus   
branch is broken behind the girl who is 
gathering flowers1 one of the feet of   
the bearer of offerings is missing4     
,otherwise they are intact1 and might   
have just come from the hands of the    
craftsman4 ,the wood is of a very fine  
grain1 marvellously adapted to the needs

 of the chisel4 ,it has never been      
painted1 but has become darkened with   
time4 ,the original colour must have    
been the golden yellow seen in the      
cracks of some pieces of thin wood found
 in the tombs4 ,none of the ladles show 
any signs of wear3 they seem to have    
been deposited new in the tomb near the 
dead person1 who preserved them new     
until our day4 ,like the rest of the    
funerary equipment1 they were intended  
for use in the other world4 ,the lists  
of offerings mention antimony powder and
 green paint among the things sent to   
the double on festival days3 the perfume
 ladles and boxes were as necessary in  
the tomb as they had been on earth4  ,i 
do not think that any survive which we  
can with certainty attribute to the time
 of the ,pyramids3 but the bas-reliefs  
of the ,memphian tombs show us the      
joiners at work1 and do not allow us to 
doubt that the trade in small wooden    
objects was very flourishing at that    
period4 ,under the great ,theban        

,dynasties1 ,egypt exported them by     
thousands2 imitated in ,phnicia1 or even
 transported directly by the ,phnicians 
to the ,mediterranean coasts1 they      
transmitted the forms of ,oriental art  
to the ,west4 ,it is probable that      
,theban production--the only one known  
to us by dated monuments found in the   
tombs--entirely ceased1 or at least     
became almost insignificant1 when the   
greatness of ,thebes declined from the  
tenth century ,b4,c4 ,they were still   
manufactured at ,memphis and in the     
important cities of the ,delta until the
 ,ptolemies and the ,csars4 ,recent     
specimens are somewhat rare1 and present
 considerable differences from those of 
,theban manufacture4 ,as it was exactly 
this ,memphian art that almost          
exclusively supplied the ,phnician      
market from the time of ,sheshonq1 it is
 vexing that examples are not more      
abundant3 as we do not possess          
sufficient1 we cannot accurately judge  
what their influence was on the arts of 

the ,mediterranean4  ,the five objects  
,i have been discussing come from the   
,salt collection4 ,the ,theban tombs    
where they were found were exploited and
 emptied at the beginning of the        
nineteenth century by collectors and    
dealers2 it is difficult to find any    
like them in ,egypt now1 and those that 
are discovered are very inferior to     
these in delicacy and quality4          
,illustration3 ,,perfume ,,ladle4  ,the 
,louvre4     ,,xxii  ,,some ,,green     
,,basalt ,,statuettes ,,of ,,the        
,,sa,,te ,,period   ,these statuettes   
were cut in greenish basalt of fine     
grain1 loved by the artists of the ,new 
,empire and the ,sate ,period above all 
other stones4 ,they formed part of the  
,salt collection1 and are now exhibited 
in the ,louvre4  ,the first represents a
 ,pharaoh1 as is proved by the serpent  
that rises above his forehead and the   
hawk's head that terminates the dagger  
passed through his belt4 ,he is         
standing1 and walking quickly1 the head 

erect on his shoulders1 and slightly    
bent forward in the attitude of a man   
who is looking attentively at the point 
towards which he is going2 the arms are 
not detached from the body1 and hang    
down along the bust and the thigh4 ,the 
composition is excellent1 highly        
finished in spite of the hardness of the
 material1 and the detail is rendered as
 freely as on the colossi of the ,theban
 ,period4  ,the face has a particular   
character which struck ,egyptologists   
long since2 it is short1 wide at the    
height of the eyes1 rounded at the      
bottom4 ,the eye is long1 prominent1    
surmounted by strong curved eyebrows1   
marked where they join on the forehead  
by two deep vertical furrows4 ,the nose 
is aquiline1 short1 thick at the end1   
flanked by two nostrils the outside     
walls of which seem to be somewhat thin4
 ,the mouth is widely opened and        
protrudes2 full lips1 short chin        
receding a little under the shadow of   
the lips4 ,on his return from his       

journey in ,egypt1 ,m4 de ,roug was     
struck by the resemblance of this       
statuette1 till then lying forgotten in 
the corner of a cupboard1 with the      
portraits of the ,shepherd ,kings       
discovered at ,sn by ,mariette4 ,dvria  
cleverly reproduced it in two plates in 
the ,revue archologique4#hh ,he asserted
 what ,m4 de ,roug had admitted as a    
mere hypothesis3 that it was the        
portrait of a ,shepherd ,king1 and that 
it belonged to the disturbed period     
which immediately preceded the          
,x,v,i,i,ith ,dynasty4 ,i must confess  
that these conclusions do not appear to 
me to be sound4 ,the long list of       
,pharaohs includes many sovereigns whose
 faces present characteristics very     
different from those usually attributed 
to the ,egyptian race1 and yet who1 all 
the same1 were ,egyptians born and bred4
 ,without entering into the discussion1 
,i will content myself with saying that 
several of those who reigned at periods 
relatively late1 ,taharqa 7,x,x,vth     

,dynasty7 or ,hakori 7,x,x,i,xth        
,dynasty7 for example1 bear a singular  
likeness to the sovereign of our        
statuette in the structure and          
expression of the face4 ,i cannot be    
certain here that it is a question of   
one of them1 but the general composition
 reminds me of the style of the ,sate   
,period more than of that of the        
,theban4 ,without asserting anything1 ,i
 am inclined to believe that our        
,pharaoh lived in the last centuries of 
,egyptian independence4  ,illustration3 
,,green ,,basalt ,,statuettes ,,of ,,the
 ,,sa,,te ,,period4  ,the ,louvre4  ,the
 second fragment is evidently ,sate2 the
 somewhat harsh precision of the        
modelling1 the heaviness of the         
head-dress1 the roundness of shoulders  
and chest1 sufficiently prove it4 ,it is
 broken too high up for us to determine 
if it belonged to a standing statue like
 the ,pharaoh1 or a crouching figure    
like the third monument4 ,it is a       
perfect type of the middle-class        

,egyptian1 developed in width rather    
than in height4  ,the shoulders are soft
 and flabby2 the smiling insignificance 
of the features1 the sinking down of the
 trunk on the hips and the head on the  
shoulders1 are just what we should      
expect in one of the scribes who led    
sedentary lives in offices1 amid piles  
of documents1 of whom some bas-reliefs  
exaggerate the obesity with an evident  
intention of caricature4 ,the           
inscription engraved on the base tells  
us that he was named ,a1 son of ,hapi1  
and that besides his sacerdotal         
functions he possessed the dignity of   
director of the two store-houses of the 
money4 ,the ,turin papyrus informs us of
 the nature of his office4 ,the         
financial system of ,egypt rested on an 
entirely different principle from ours3 
coins not being yet invented1 or only   
lately come into use at the ,sate       
,period1 the payment of taxes and of the
 officials1 the transactions of the     
,state with private individuals1 or of  

private individuals with each other1    
were valued and settled in kind4 ,every 
,egyptian owed the ,treasury1 according 
to his profession and his fortune1 so   
many fish if he was a fisherman1 so many
 bushels of grain or head of cattle if  
he was an agriculturist2 the whole was  
duly received1 registered1 and stored by
 scribes who1 in their turn1 put aside  
for the ,pharaoh what would keep1 and   
used what was perishable for the daily  
disbursements4 ,silver and gold were    
articles of exchange in the same way as 
stuffs or oxen2 ,pharaoh brought them   
back in quantities from his expeditions 
abroad1 and received them from his      
subjects as the equivalent of their     
share of the tax4 ,gold and silver      
circulated in powder1 in sachets that   
contained a definite weight1 in thin    
rings1 in the form of couchant oxen1 of 
half-oxen1 of ox or gazelle heads1 of   
jars full or empty1 in curious shapes   
that generally were of no use in daily  
life1 and which consequently were only1 

in spite of their artistic value1 a sort
 of metallic reserve for the rich4 ,the 
two store-houses or the double house of 
the money formed the treasury in which  
,pharaoh stored the quantities of gold  
and silver that belonged to him3 taking 
into account the value attached to these
 metals1 the directors of these         
establishments must have occupied a     
fairly high rank in the ,egyptian       
hierarchy4  ,but for all that1 we must  
not take the manuscript spread over ,a's
 knees and that he is attentively       
reading for an account-book1 or a       
document relating to his business4 ,the 
portion of the scroll that he holds in  
his right hand1 placed flat on his      
knees1 is divided into vertical columns1
 which1 cut by horizontal lines1        
presents a sort of chequered surface1   
the squares of which are not all of the 
same size4 ,each of the larger ones     
contains the name of an object1 and each
 of the smaller a number4 ,it is the    
list of the gifts composing the banquet 

offered to the dead person on the day of
 burial and during the funeral          
ceremonies4 ,in the tombs both of the   
,ancient and the ,new ,empire it is     
highly developed1 and comprises the most
 varied materials3 clear or coloured    
waters1 beers of different kinds1 wines 
of four vintages1 seven or nine of the  
choice pieces of the victim1 cakes of   
all sorts1 essences1 cosmetics1 stuffs4 
,on the scroll of our scribe where the  
space was restricted the list is        
shortened1 and we only find the actual  
necessities3 water1 beer1 some meat1 a  
little perfume4 ,it is to that of the   
tombs what the usual dinner of a        
middle-class family is to the ceremonial
 banquet of a noble2 nevertheless1 our  
scribe reads it with evident            
satisfaction3 it is the menu of his     
meals for eternity1 and1 however scanty 
others may deem it1 he probably         
considers it more pleasurable than that 
of his terrestrial dinners4 ,we have    
here the natural development of the     

ideas that the ,egyptians had of the    
other world4 ,from the moment that the  
double was to feed materially1 they     
sought to assure it the food of which it
 had need4 ,the formulas of the stel    
which mention bread1 wine1 meat1        
deciphered by the first comer1 secured  
the provisioning of the double2 all that
 had been desired for him in reciting it
 would be assured him in the other world
 by virtue of the magic words4 ,for lack
 of a passer-by to accomplish this pious
 duty1 it occurred to them to place     
statues in the tomb which seemed to     
repeat for ever a written list held on  
their knees2 this simulation of a       
perpetual reading was more than         
sufficient to nourish for ever the      
simulacrum of a man4 ,here1 it is the   
defunct himself who renders himself this
 good office2 elsewhere it is a friend1 
a scribe1 a favourite servant4  ,the    
study of these three little monuments   
brings out very happily one of the      
qualities of ,egyptian art3 the skill   

with which the least of artists1 in     
reproducing in a sometimes realistic    
manner the portrait of individuals1     
understood how to seize the physiognomy 
and bearing characteristic of their     
craft or of their social rank4 ,compare 
the submissive and sheepish face of the 
crouching scribe with the bold carriage 
and imperious head of the ,pharaoh3 the 
contrast is striking4 ,with the scribe1 
all the muscles are relaxed2 the whole  
body is bent1 as with a man accustomed  
to obey and resigned to endure          
everything from his superiors4 ,with the
 ,pharaoh1 the modelling is firm1 the   
figure upright1 the mien haughty2 we    
feel that here is a person accustomed   
from childhood to walk upright in the   
midst of bowed backs4 ,it is unfortunate
 that the legend has disappeared with   
the lower part of the second statuette2 
comparing it with several other         
monuments in the ,louvre1 it reminds me 
of several priests of the ,sate ,period4
 ,the hardness in the eye and the       

corners of the lips is the same1 the    
same furrow surrounds the nostril and   
the mouth1 the outer walls of the nose  
are compressed in a similar fashion2 in 
spite of the loss of the name and       
titles1 ,i am tempted to think that the 
individual who bears on his face in so  
high a degree the peculiarities of the  
,egyptian priest belonged to the        
sacerdotal caste4     ,,xxiii  ,a ,,find
 ,,of ,,sa,,te ,,jewels ,,at            
,,saqqarah#hi   ,as soon as ,i returned 
to my old post1 ,i resumed the          
excavations of the pyramids at the point
 where ,i had left them in #ahhf4 ,i had
 then made a systematic search of the   
entrance into the funerary vaults3 it   
was now necessary to seek out the       
exterior chapels1 the caves1 the        
secondary pyramids or the mastabas1     
which1 shut in by a walled enclosure1   
completed the burial-place4 ,at the end 
of ,november1 #ahii1 ,i placed workmen  
round ,ounas1 and as ,i found it        
impossible to direct the operations     

myself with the requisite care1 ,i      
entrusted the surveillance of them to   
,m4 ,alexandre ,barsanti1 the           
curator-restorer of the ,museum1 with   
detailed instructions4 ,the campaign    
then begun was only ended in the last   
days of ,may1 #aijj1 and the account of 
it will be published elsewhere4 ,i now  
wish to draw the attention of amateurs  
and scholars to the discovery of a mass 
of ,sate jewels4  ,the progress of the  
clearing away revealed the existence of 
a series of intact tombs at the south of
 the pyramid4 ,the last of those that   
had been opened belonged to a very high 
personage named ,zannehibou1 in his     
lifetime commandant of the king's boats4
 ,the mummy1 a block of shining bitumen1
 was at once recognised as a very rich  
one4 ,at the height of the face it had a
 large gold mask which fitted on the    
front part of the head like the         
cartonnage case usual with mummies of   
the second ,sate ,period4 ,it had a     
broad necklace round its neck of beads  

of gold and of green felspar or of lapis
 lazuli mounted with gold thread1 and   
fastened to it were numerous amulets1   
also of gold4 ,below the necklace1 on   
the chest1 an image of the goddess      
,nout1 in gold1 spread its wings4 ,a    
network of gold and felspar hung down to
 the hip1 and from the image of the     
,nout to the ankles might be read1 on a 
long band of gold-leaf1 the usual       
inscriptions in relief3 the name of the 
dead man1 his filiation1 with short     
formulas of prayer4 ,two gold figures of
 ,isis and ,nephthys were sewn on the   
chest1 two leaves of gold cut as sandals
 were fitted to the soles of the feet2 a
 silver plaque with a line engraving of 
a mystic eye for the incision whence the
 entrails had been extracted1 gold cases
 for the twenty fingers and toes1       
completed this magnificent decoration4  
,everything that with the lower classes 
of the same period would have been in   
cardboard1 or gilded paste1 or enamelled
 clay1 was pure gold and fine stones    

with ,zannehibou4 ,the find1 estimated  
by weight alone1 would be valuable1 but 
what gave it inestimable worth was the  
delicate and artistic workmanship of the
 greater number of the objects4 ,a few  
of them1 like the sandals and the       
finger-cases1 are only worth the raw    
metal2 the rest are the work of         
veritable artists4 ,the inscriptions of 
the legs1 the winged ,nout1 the ,isis   
and the ,nephthys1 the mask1 are        
stamped1 and although the mask and the  
two goddesses were miserably crushed by 
the lid when the sarcophagus was closed1
 the mould of hard stone which was used 
to fix them was so delicately cut that  
the best-preserved pieces1 the winged   
,nout1 for instance1 may be quoted as   
the highest degree of perfection that   
could be attained by that process4 ,the 
amulet in shape of a necklace is only a 
leaf cut with the chisel1 on which a    
chapter of the 8,book of the ,dead0 is  
engraved with the graving needle4 ,the  
vulture amulet is a small1 thin plaque1 

on one side of which the stamped figure 
of a vulture with spread wings has been 
stuck1 while on the other the chapter of
 the 8,book of the ,dead0 has been      
engraved1 as with the necklace4 ,it is  
all of good workmanship1 but in the     
amulets hanging on the real necklace of 
the mummy the goldsmith has surpassed   
himself4  ,illustration3 ,,necklace     
,,amulet4 ,,vulture ,,amulet4           
,illustration3 ,,gold ,,palm-,,tree4    
,,boat ,,of ,,sokaris4  ,illustration3  
,,ram',s ,,head4 ,,gold ,,hawk4 ,,hawk  
,,with ,,human ,,head4 ,,hawk ,,with    
,,ram',s ,,head4  ,illustration3        
,,vulture4 ,,isis ,,with ,,the ,,child4 
,,crouching ,,ne,,th4  ,they are        
extraordinarily small1 and in order to  
show the detail ,i have had the         
illustrations made twice the actual     
size1 a proceeding that weakens the     
contours and the modelling4 ,to realize 
their beauty it is necessary to have    
held them in the hand4 ,the palm-tree1  
which has lost some leaves1 is a unique 

object1 more curious than elegant1 but  
the mystic boat which is beside it1     
unique also so far1 is a prodigy of     
delicate chiselling4 ,it is the boat of 
the god ,sokaris1 a boat of most archaic
 construction1 and which was already    
used for the accomplishment of the      
sacred rites under the ,thinite         
,dynasty4 ,the belly is broad and round1
 the stern rather heavy1 but the bows   
very light and much decorated4 ,it rests
 on a sort of side-ladder of beams and  
ropes1 which is itself built on to a    
sledge3 it was pulled along in the      
public ceremonies by means of a rope put
 through a hole made in the curved front
 of the sledge4 ,the decoration and the 
equipage are most curious4 ,on the bow  
is a gazelle's head with straight horns 
turned to the interior1 and along the   
prow a row of divergent plates of thin  
metal1 the use of which is not very     
clear3 it is as if the carcase of the   
gazelle was opened and showed the ribs  
fixed on the spine4 ,at the back1 to    

terminate the poop1 there is a ram's    
head with curved horns4 ,in the middle1 
on an oblong rectangular pedestal1 a    
hawk proudly perches2 behind him are the
 four oar-rudders1 two on each side2 in 
front of him six little hawks ascend in 
procession1 two by two1 towards the     
gazelle's head1 led by a ,nile fish     
placed edgeways on its ventral fin4 ,for
 the moment ,i will not attempt to      
explain the meaning of these emblems1   
but what we can never grow tired of     
admiring is the cleverness with which   
the craftsman has grouped these widely  
differing elements into an harmonious   
whole1 and especially the extraordinary 
skill with which he worked his metal4   
,his gazelle's head1 a mere fraction of 
an inch in size1 is of as proud a       
bearing as if it were of natural size3  
everything is exact1 intelligent2 the   
curve of the forehead1 the flattening of
 the snout1 the expression of the face1 
even to the natural pout of the         
creature4 ,each of the six hawks        

preserves its individual physiognomy1   
and the fish itself1 reduced in size as 
it is1 has the exact shape of the big   
,nile perch1 and not that of any sort of
 fish4  ,similar qualities are to be    
seen in the neighbouring pieces1 in the 
ram's head1 the ordinary hawk1 the hawk 
with a human head1 and that with a ram's
 head1 and in the vulture4 ,the seated  
,isis who nurses her child on her lap   
and the crouching ,neth have their usual
 characteristics of resignation and     
gentleness1 and at the same time the    
simplicity of line that lends so        
dignified an air to the smallest        
,egyptian figures4 ,it has all been     
chiselled out of the ingot itself1 and  
the detail cut with so minute a point   
that we ask where the artisan could have
 obtained it4  ,illustration3 ,,monkeys 
,,worshipping ,,the ,,emblem ,,of       
,,osiris4  ,illustration3 ,,vulture     
,,with ,,extended ,,wings4 ,,hawk ,,with
 ,,extended ,,wings4  ,illustration3    
,,the ,,soul 7,,front ,,view74          

,illustration3 ,,the ,,soul 7,,back     
,,view74  ,tiny lions addorsed or       
couchant1 tiny mystic eyes1 tiny monkeys
 worshipping the emblem of ,osiris1 tiny
 vultures1 and tiny hawks extending     
their wings1 each piece claims careful  
examination1 and would by itself alone  
bring joy to the heart of a collector4  
,the masterpiece of the series is1      
however1 the soul1 the hawk with a human
 head1 enamelled body and wings1 of     
which both back and front views are here
 reproduced4 ,the back follows the usual
 manner1 small rods of bent gold1       
curved1 soldered on to a gold plaque and
 encrusted with thin plates of felspar  
to simulate feathers2 but on the other  
side1 the body1 wings1 and claws are    
modelled with the new purpose of        
reproducing the natural form of the     
bird4 ,the little human head is a marvel
 of somewhat weak gracefulness3 the eyes
 are well open1 the mouth is smiling1   
the nostrils actually palpitate1 the ear
 is cut out and is hollowed broad and   

high as is customary1 and there is      
nothing1 even to the wrinkles of the    
neck and the roundness of a double chin1
 that does not clearly stand out under  
the reflection of the gold4 ,here again1
 it is all chiselled by a master-hand1  
with a sureness ,i have only found in   
the hawk with a ram's head in the       
,louvre1#ij with which this soul of     
,gizeh may be compared4  ,the           
circumstances of the discovery would not
 have informed us of the date1 if the   
style of the jewels had not done so4 ,it
 is ,sate art with its lightness1       
suppleness1 somewhat arch charm1 its    
almost too high relief4 ,a tendency is  
felt in the direction of the exaggerated
 roundness of the ,ptolemies1 and1 in   
fact1 a note furnished by ,m4 ,chassinat
 permits us to fix the time at which    
,zannehibou lived4 ,he belonged to the  
family of a certain ,psammetichus1 whose
 tomb is near his1 which an inscription 
in the ,louvre found by ,mariette in the
 ,serapeum places at the beginning of   

the fifth century1 during the last years
 of the reign of ,darius ,i4 ,if1 as is 
likely1 he was the grandson of that     
,psammetichus1 he died at the end of the
 fourth century1 just when the ,sate    
kings were resuming their superiority   
over the ,persians1 at most1 a hundred  
years before the ,macedonian conquest4  
,the goldsmiths who fashioned his       
ornaments had probably seen ,greek      
jewels1 and had perhaps already felt    
,hellenic influence3 in that way the    
almost ,ptolemaic characteristics of the
 collection are explained4 ,we know that
 ,sate jewels are very rare2 the ,louvre
 alone possesses any that are out of the
 ordinary run3 the two necklace         
fastenings in form of a ship bought by  
,m4 ,g4 ,bndite a few years ago4 ,the   
mummy of ,zannehibou has filled up the  
lacuna in the ,gizeh series1 and thanks 
to it1 we now know that the goldsmith's 
art yielded in nothing to the other arts
 at the time of the last ,egyptian      
renaissance4 ,let us add that these     

jewels1 although found on a mummy and   
made for it1 are not1 as is too often   
the case1 jewels of the dead1 pleasing  
in colour and design1 but too weakly    
mounted to stand the wear and tear if   
worn by a living person4 ,like the      
jewels of ,ramses ,,ii in the           
,louvre1#ia like those of ,queen        
,ahhotpou at ,gizeh1 they are real      
jewels1 identical at all points1 except 
perhaps in the choice of subjects1 with 
the jewels worn every day4  ,such is the
 find that made a happy termination to  
our ,saqqarah campaign4 ,all the pieces 
were covered with bitumen1 and it is no 
slight merit to ,m4 ,barsanti that he   
should have discovered them and         
separated them one after the other4     
,several pits1 equally untouched1 await 
us at the same spot under fifteen or    
eighteen yards of sand1 and ,i have a   
good hope that next year's excavations  
may have as glad surprises for us as    
those of this year4     ,,xxiv  ,a      
,,bronze ,,egyptian ,,cat ,,belonging   

,,to ,m4 ,,barr,,re#ib   ,this fine     
bronze cat was purchased at ,cairo in   
#ahhd by ,m4 ,barrre1 then agent and    
consul-general of ,france in ,egypt4 ,it
 belongs to the innumerable family of   
cats which suddenly came forth from the 
ruins of ,tell ,bastah in #ahgh1 and    
were1 in a few years1 scattered over the
 whole world4 ,it measures #a foot #d   
inches in height1 and if not the largest
 found at that time1 it is at least     
bigger than the average4 ,but its size  
is not its chief merit3 the ,egyptians1 
who were the first to tame the cat1     
studied it so closely that they         
expressed its characteristics with      
extraordinary excellence4 ,m4 ,barrre's 
cat is firmly seated on her             
hind-quarters1 looking straight in front
 of her1 in the satisfied attitude of an
 animal which has done its duty and has 
nothing to reproach itself with4 ,the   
wooden pedestal to which it was attached
 is wanting1 but the metal tenon which  
fastened it is still in its place1 and  

the body is in a perfect state of       
preservation4 ,it was moulded in one    
piece round a core of sand that has     
disappeared1 then touched up with the   
burin and the file1 and then polished2  
it has not suffered from its long       
sojourn in the earth1 and we can judge  
its qualities or its defects as clearly 
as if it had been made yesterday4 ,it is
 a fine piece1 of very sure design and  
careful execution4 ,the artist was not  
afraid to multiply the details1 and he  
has simplified the surfaces2 but the    
force of the line1 the robust and       
vigorous character of the execution1    
make his work a piece of the first rank4
 ,it is wonderful to note the           
intelligent skill with which he has     
expressed the characteristics and       
physiognomy of the race4 ,the haunch is 
broad and round1 the back supple1 the   
neck slender1 the head delicate1 the ear
 straight2 it is the ,egyptian cat in   
all its elegance1 as we can still see it
 among the fellahs1 for crossing with   

foreign species has not altered it4     
,illustration3 ,,bronze ,,cat ,,of ,,the
 ,,sa,,te ,,period4  ,barrre            
,collection4  ,she is ,bastt1 a goddess 
of good family1 the worship of whom     
flourished especially in the east of the
 delta1 and she is very often drawn or  
named on the monuments1 although they do
 not tell us enough of her myths or her 
origin4 ,she was allied or related to   
the ,sun1 and was now said to be his    
sister or wife1 now his daughter4 ,she  
sometimes filled a beneficent and       
gracious rle1 protecting men against    
contagious diseases or evil spirits1    
keeping them off by the music of her    
sistrum3 she had also her hours of      
treacherous perversity1 during which she
 played with her victim as with a mouse1
 before finishing him off with a blow of
 her claws4 ,she dwelt by preference in 
the city that bore her name1 ,poubastt1 
the ,bubastis of classical writers4 ,her
 temple1 at which ,cheops and ,chephrn  
had worked while they were building     

their pyramids1 was rebuilt by the      
,pharaohs of the ,x,x,i,ind ,dynasty1   
enlarged by those of the ,x,x,v,ith2    
when ,herodotus visited it in the middle
 of the fifth century ,b4,c41 he        
considered it one of the most remarkable
 he had seen in the parts of ,egypt     
through which he had travelled4 ,it     
stood in the centre of the city1 at the 
end of the market-place4 ,it was        
bordered by two canals1 each #ajj feet  
wide and shaded by trees2 they flowed   
without joining1 one on the right1 the  
other on the left of the building1      
almost making it an artificial island4  
,travellers before entering it looked   
over the enclosure1 even into the       
exterior court-yards1 for ,bubastis had 
undergone the fate of many of the large 
cities of ,egypt2 in the course of ages 
the ground became raised in such a way  
that the foundations of recent houses   
were on a higher level than those of the
 temple4 ,a big wall1 decorated with    
pictures like the outer wall of the     

temple of ,edfou1 enclosed the temenos4 
,the ftes of ,bastt attracted pilgrims  
from all parts of ,egypt1 as at the     
present day those of ,sidi ,ahmed       
el-,bedaou draw people to the modern    
fair of ,tantah4 ,the people of each    
village crowded into large boats to get 
there1 men and women pell-mell1 with the
 fixed intention of enjoying themselves 
on the journey1 a thing they never      
failed to do4 ,they accompanied the slow
 progress of navigation with endless    
songs1 love songs rather than sacred    
hymns1 and there were always to be found
 among them flute players and castanet  
players to support or keep time to the  
voices4 ,whenever they passed by a town1
 they approached the bank as near as    
they could without landing1 and then1   
while the orchestra redoubled its noise1
 the passengers threw volleys of insults
 and coarse remarks at the women        
standing on the bank2 they retorted1 and
 when they had exhausted words1 they    
pulled up their petticoats and behaved  

indecently by way of reply4 ,herodotus  
was told that #gjj1jjj persons1 equal   
numbers of men and women1 not reckoning 
little children1 went thus every year to
 ,bubastis4 ,entry into the temple did  
not calm them1 far from it4 ,they       
sacrificed a great number of victims    
with a sincere and joyous piety2 then   
they drank deeply from morning to       
evening1 and from evening to morning1 as
 long as the festival lasted3 more wine 
was consumed in a few days than in all  
the rest of the year put together4  ,the
 greater number of the pilgrims1 before 
returning home1 left a souvenir of their
 visit at the feet of ,bastt4 ,it was a 
votive stele with a fine inscription1   
and a picture showing the donor         
worshipping his goddess2 or a statuette 
in blue or green pottery1 or if they    
were wealthy1 in bronze1 silver1 or     
sometimes gold3 the goddess would be    
standing1 seated1 crouching with a      
woman's body and a cat's head1 a sistrum
 or an gis in her hand4 ,during the     

,greek period the figures were in bronze
 or in painted and gilded wood          
surmounted by a cat's head in bronze4   
,many were life-size and modelled with  
elaborate art2 they had eyes of enamel1 
a gilded necklace round the neck1       
earrings1 and amulets on the forehead4  
,it sometimes happened that when a cat  
he particularly venerated died in his   
house1 the pilgrim embalmed it according
 to the rites3 he took the mummy with   
him1 and1 arrived at ,bubastis1 shut it 
up in one of the figures he offered4    
,these various objects1 at first placed 
anywhere in the temple1 would quickly   
have filled it1 if some remedy had not  
been found4 ,they were piled up         
provisionally at the end of one of the  
secondary chambers1 then thrown outside1
 and there encountered diverse fortunes4
 ,i do not think ,i am calumniating the 
,egyptian priests in saying that it must
 have been a great grief to them to part
 with so many precious gifts without    
trying to derive some honest profit from

 them4 ,the gold and silver figures did 
not endure2 they quickly went into the  
melting-pot1 and few emerge from the    
ruins1 but the bronze and copper were so
 abundant that there would have been    
little to gain in melting down the cats4
 ,so they sorted out the heap of        
bronzes1 and while they kept some1 the  
finest1 doubtless1 or those that bore   
inscriptions1 they sold the rest to new 
generations of pilgrims1 who1 in their  
turn1 offered them in due form4 ,however
 frequently this was done1 the influx   
was considerable1 and they were forced  
to rid themselves quickly of the pieces 
that had at first been kept in reserve4 
,they shut them up in cellars1 or in    
pits dug expressly for them1 veritable  
faviss similar to those of classical    
times2#ic they accumulated by thousands1
 large and small1 in wood and in bronze1
 some intact and fresh as when just     
made1 others already out of shape1      
rotten1 oxidized and of no value4 ,the  
places of concealment were soon         

forgotten1 and the stuff in them reposed
 there beyond the reach of men until the
 day when the chances of excavation     
brought it to light4  ,one of them      
restored ,m4 ,barrre's cat4 ,it is not  
possible to determine the period at     
which it was buried3 the persons who    
found it were seekers of nitreous       
manure1 or dealers in antiquities who   
took good care not to divulge the       
circumstances and the site of their     
discovery4 ,but judging from the        
roundness of certain forms and the      
aspect of the bronze1 we recognize the  
style of the second ,sate ,period1 and  
the piece is to be attributed either to 
the ,nectanebos1 or the first           
,ptolemies1 in a general way to the     
fourth century ,b4,c4 or the beginning  
of the third century ,b4,c4 ,it was the 
time when the worship of ,bastt and her 
subordinate forms1 ,pakht1 ,mat1 was    
most popular1 the period when1 near     
,speos-,artemidos1 the most extensive   
cemetery of cats in ,egypt was          

established4 ,the execution is pure     
,egyptian1 and in no way betrays any    
,greek influence4     ,,xxv  ,a ,,find  
,,of ,,cats ,,in ,,egypt#id   ,it was   
announced in the ,english newspapers1   
and the ,french followed suit1 that a   
ship had recently reached ,london and   
disembarked #ahj1jjj mummies of         
,egyptian cats4 ,for a long time        
manufacturers of different nationalities
 have been accustomed to seek out the   
burying grounds of animals throughout   
,egypt1 and to export the bones to      
,europe1 where they are used as manure4 
,a few years ago a necropolis full of   
monkeys was sent to ,germany to manure  
beet-root fields4 ,it seems that the    
cats of this year were discovered near  
,beni-,hassan2 they were piled up at    
hazard in a sort of cavern1 into which a
 fellah in search of antiquities was the
 first to penetrate4 ,in fact1 at some  
distance to the south of the hypogeums  
of ,beni-,hassan1 in the place called by
 geographers ,speos-,artemidos1 is a    

chapel hollowed out in the rock1 and    
consecrated by the kings of the         
,x,v,i,i,ith and ,x,i,xth ,dynasties to 
a local goddess1 a woman's body with a  
cat's or lion's head1 called ,pakht4    
,the dept recently exploited was found  
there1 and the cats which reposed in it 
must have lived in the vicinity1 under  
the protection of their cousin1 the     
goddess4 ,cemeteries of the same kind   
existed wherever a divinity of a feline 
type was worshipped1 lion1 tiger1 or    
cat4 ,the most celebrated was at        
,bubastis1 in the delta1 where the      
seekers of antiquities cleared away the 
rubbish about thirty-seven years ago4#ie
 ,the mummies of cats were buried there 
in faviss1 deep pits1 some merely       
wrapped in swathings1 others enclosed in
 little coffins reproducing the image of
 the animal4 ,some of these coffins are 
entirely of wood covered with white     
stucco1 gilded1 painted in bright       
colours2 some are in bronze1 others have
 the body in wood and the head in       

bronze1 with gold rings in their ears   
and encrustations of gold on the        
forehead and in the eyes4 ,statuettes of
 cats of different sizes1 portraits of  
the goddess ,bastt with a cat's head1 or
 of the god ,nofirtoumou1 are mingled   
with the mummies4 ,thence come the      
thousands of bronze cats1 big and       
little1 with which all the antiquaries  
of ,europe and ,cairo were so abundantly
 provided from #ahgf to #ahhh4 ,the     
important cat illustrated here1 and who 
lives now in one of the glass cases in  
the 8,salle divine0 of the ,louvre1 is a
 perfect type of the species1 long1     
slender in the back1 broad in the       
hind-quarters1 with a delicate1 well-set
 head1 rings in the ears1 a necklace    
round the neck1 and a little scarab on  
the top of the head2 the artist who     
modelled it has rendered excellently and
 truthfully the supple bearing and the  
bold physiognomy of his original4       
,illustration3 ,,bronze ,,cat4  ,the    
,louvre4  ,the cats represented on the  

monuments1 or the mummies of which are  
found in ,egypt1 were not of the same   
race as our domestic cat4 ,scholars have
 studied them and are                   
unanimous--,virchow1 too1 recently--in  
recognizing them as the ,felis          
maniculata and the ,felis chaus4 ,egypt 
had tamed a few individual ones1 but had
 not domesticated the whole species4    
,they are sometimes to be seen on the   
bas-reliefs solemnly seated near their  
masters4 ,it is commonly asserted that  
they were used for hunting birds in the 
marshes1 and ,wilkinson quotes in       
support a fairly large number of mural  
paintings where they stalk through the  
reeds1 routing out little birds4 ,i     
confess that this interpretation does   
not seem to me to be correct4 ,where    
others claim to recognize animals ready 
for the chase and acting on behalf of   
man1 ,i only see animals1 tame or not1  
on marauding bent and scouring the      
bushes for their own purposes2 just as  
our domesticated cat chases the sparrows

 in our gardens and destroys the nests  
in our parks without any advantage to   
his master4 ,egyptian artists1 very     
acute observers of what was going on    
around them1 reproduced their cats'     
expeditions1 as they noted other        
picturesque details of the life of      
nature4  ,if we examined the #ahj1jjj   
cats--neither more nor less--we should  
probably come upon a fairly large       
proportion of ichneumons4 ,in ,egypt the
 ichneumon and the cat were always      
associated2 wherever there are mummies  
of cats it may be safely assumed that   
mummies of ichneumons are not far off4  
,cats or ichneumons1 ,i hope the whole  
of them will not be used to manure the  
ground1 but that some fine specimens may
 be chosen for the museums of           
antiquities and of natural history3 in  
sparing a few hundreds1 agriculture will
 not lose much1 and science will gain   
considerably4 ,the origin of our tom-cat
 has long been under discussion2 some   
refer it to ,egypt1 others to ,europe4  

,it would be a pity not to profit by    
such an invasion of ,egyptian cats1 and 
to try to obtain a definite solution of 
the question4     ,,footnotes   #a ,from
 the ,journal des ,savants1 #aijh1 pp4  
#a-ag4  #b ,f4,w4 von ,bissing1         
8,denkmler gyptischer ,skulptur40 ,text1
 #dto2 portfolio of plates1 fol42       
,bruckmann1 ,munich1 #aijf-h4  #c ,it   
may also be asked if the stele of the   
,king-,serpent is an original or a      
restoration of the time of ,setou ,i4   
#d ,bissing1 ,,ii4 ,plate with the name 
of ,king ,athotis1 note #f4  #e ,i even 
noted the existence of one of these     
tails in wood in the ,marseilles ,museum
 7,catalogue1 p4 #ib1 ,no4 #bgi74  #f   
,muse ,egyptien1 vol4 ii41 ,pl4 ,,ix-,x 
and pp4 #be-cj4  #g ,ibid41 vol4 ii41   
,pl4 ,,xv1 pp4 #da-de4  #h ,maspero1    
,guide to the ,cairo ,museum1 #aijf1 pp4
 #aef-g1 ,no4 #eej4  #i ,revue de l',art
 ,ancien et ,moderne1 #aijf1 vol4 x41   
pp4 #bda-eb1 #ccg-dh2 cf4 ,chap4 ,x4 of 
the present volume4  #aj ,muse          

,egyptien1 vol4 ii41 pp4 #ij-b4  #aa    
,from the ,revue de l',art ancien et    
moderne1 #aiab1 vol4 xxxi41 pp4 #bda-ed4
  #ab ,it is mentioned for the first    
time in ,emmanuel de ,roug's ,catalogue1
 #ahee1 under ,no4 #f2 it is placed on  
the mantelpiece in the 8,salle civile40 
#ac ,see good examples in ,mariette1    
8,karnak10 ,pl4 ,,viii4  #ad ,this is no
 longer true since the discovery of the 
favissa at ,karnak4 ,the ,cairo ,museum 
possesses some hundreds of statues of   
private individuals from the ,theban    
temple of ,amon 7#aiab74  #ae ,mariette1
 8,sur les tombes de l',ancien ,empire  
qu'on trouve  ,saqqarah10 #aiab1 pp4    
#h-i4  #af ,on this theory see          
,lepage-,renouf1 8,on the ,true ,sense  
of an important ,egyptian ,word10 in the
 ,transactions of the ,society of       
,biblical ,archology1 vol4 iv41 pp4     
#did-ejh1 and ,maspero1 8,mmoires du    
,congrs des ,orientalistes de ,lyon10   
vol4 i41 and ,bulletin de l',association
 scientifique de ,france 7#ahgh71 ,no4  

#eid1 pp4 #cgc-hd4  #ag ,one of the     
,egyptian festivals of the dead4  #ah   
,for complete translation of the        
contract see the ,transactions of the   
,society of ,biblical ,archology1 vol4  
vii41 pp4 #a-i4  #ai ,the ,skhemka group
 was catalogued for the first time by   
,e4 de ,roug1 8,notice sommaire des     
,monuments gyptiens10 #ahee1 pp4 #ej-ea1
 under the number ,s4 #ajb4 ,the other  
two statues of the same person possessed
 by the ,museum are both entered under  
the number ,s4#ajc4 ,one is in granite1 
the other in painted limestone4  #bj    
,there are exceptions only in the middle
 of the ,x,v,i,i,ith ,dynasty1 when men 
and women1 and especially women1 are    
painted light pink or flesh colour4  #ba
 ,the pretty painted bas-relief of the  
tomb of ,seti ,i in the ,louvre 7,e4 de 
,roug1 8,notice des principaux          
monuments10 p4 #ce1 ,b4 #g7 shows in    
large the arrangement of the glass beads
 on the stuff4  #bb ,cf41 e4g41         
,lepsius1 8,denkmler10 ii41 #dg;b1      

#gd;e1 where the woman crouching in     
front of her husband puts her arm round 
his leg4  #bc ,here are some references 
to plates in ,lepsius where the husband 
and wife are represented side by side in
 different positions4 ,the woman of low 
stature crouches behind her seated      
husband 78,denkmler10 ii41 #ga;b72 the  
wife and husband1 both of heroic        
stature1 are seated on the same         
armchair1 and the wife puts her right   
arm round her husband's neck            
78,denkmler10 ii41 #aj;b1 #bd1 #be;b1   
#da;b1 #db;a-b1 #ge;a1 etc472 the wife  
of low stature stands in front of her   
husband1 who is of heroic stature       
78,denkmler10 ii41 #ch;b72 she stands   
behind him and puts her arm round his   
left arm 78,denkmler10 ii41 #bg1 #cc;a71
 or she puts her arm round his waist    
78,denkmler10 ii41 #ch;a72 and lastly1  
the husband and wife1 of the same       
stature1 are standing1 the wife behind  
her husband and putting her arm round   
his neck 78,denkmler10 ii41 #ac1 #bj-a1 

#bi;b1 #cb1 #cd;b1 #dj;b1 #dc;b1 #df1   
#eh;a1 #ei;b71 or separated from him    
78,denkmler10 ii41 #gc1 etc474  #bd     
,thus in ,lepsius 78,denkmler10 ii41    
#gd;e71 where the noble ,senotmht1      
surnamed ,mihi1 is seated1 of heroic    
stature1 while his wife1 ,khontkaous1 is
 represented crouching and of low       
stature1 although she is a legitimate   
daughter of the king4 ,in another part  
of the tomb 7,lepsius1 8,denkmler10 ii41
 #gc7 the same persons are represented  
standing side by side and of heroic     
stature1 while their children are of    
ordinary stature4  #be ,see the         
preceding chapter1 pp4 #ee-ei4  #bf ,see
 ,chapter ,,iii1 p4 #ea4  #bg ,we know  
now 7#aiab7 that the figures described  
by ,mariette as mourners are cooks1 who 
held the spit in one hand and with the  
other protected their faces from the    
heat of the brazier where the chickens  
were roasting4  #bh ,in examining the   
eye of the ,chekh-el-,beled closely1 ,i 
found that there was no silver nail in  

it1 but that the luminous spangle was   
produced by a scrap of polished ebony   
placed under the crystal2 it should be  
the same with the eyes of the ,crouching
 ,scribe4  #bi ,cf4 pp4 #ee-ei4  #cj    
,this article was published in two      
slightly different forms in the ,gazette
 des ,beaux-,arts1 #crd period1 #ahic1  
vol4 ix41 pp4 #bfe-gj1 and in the       
,monuments ,piot1 #ahid1 vol4 i41 pp4   
#a-f3 ,i have combined them for this    
volume4  #ca ,the statue is described in
 the 8,visitor's ,guide to the ,cairo   
,museum10 #bnd edition1 #aiab1 p4 #eh1  
,no4 #adb4  #cb ,maspero1 8,visitor's   
,guide10 #bnd edition1 #aiab1 pp4 #eg-h1
 ,no4 #ada4  #cc ,cf4 p4 #fa4  #cd ,cf4 
what has already been said regarding    
statues of private individuals erected  
by the favour of the ,pharaoh1 p4 #dj4  
#ce ,maspero1 8,visitor's ,guide to the 
,boulaq ,museum10 p4 #bh1 and now       
8,visitor's ,guide to the ,cairo        
,museum10 #bnd edition1 #aiab1 p4 #gc1  
,no4 #bbg4  #cf ,the expression is      

borrowed from a letter of the ,papyrus  
,anastasis1 ,no4 #c4 ,its position in   
the ,egyptian context leads me to       
believe that it was an often-quoted     
proverb4 ,the idea is repeated in       
different forms in the scribes'         
correspondence3 8,work1 or you will be  
beaten40 8,when the scribe reaches the  
age of manhood1 his back is broken by   
the blows he has received40  #cg        
,mariette1 8,notice des principaux      
monuments du ,muse de ,boulaq10 #fth    
edition1 #ahgf1 p4 #bce1 ,no4 #gfi3     
8,memphis4 ,saqqarah--limestone ,,ii1 #a
 foot #b inches--kneeling figure4 ,his  
hands crossed on his legs4 ,his eyes are
 of mosaic work and formed of several   
stones curiously combined40 ,the statue 
of the kneeling scribe figures in a     
group in ,plate ,,xx of ,mariette's     
work1 8,album du ,muse de ,boulaq10     
containing #dj plates1 photographed by  
,,mm4 ,dli and ,bchard1 with explanatory
 text edited by ,auguste ,mariette-,bey4
 ,cairo1 ,mours et ,cie1 #ahga1 fol4    

#ch ,mariette1 8,notice des principaux  
monuments du ,muse de ,boulaq10 #fth    
edition1 #ahgf1 p4 #baf1 ,no4 #ehb4 ,the
 ,boulaq ,museum possesses a second     
statue of the same person 7ibid41 p4    
#ic1 ,no4 #bh71 but of a less fine      
execution than the statue ,no4 #ehb4    
,cf4 what is said of the two statues on 
pp4 #gj-gc of this volume4  #ci         
,mariette1 8,notice10 p4 #bag3 8,the sum
 of the qualities1 and study of the     
inscriptions on the base of the         
monument1 leave no doubt as to the epoch
 to which it belongs4 ,rnofir evidently 
lived under the ,ancient ,empire4 ,his  
titles bring him near the ,vth          
,dynasty40 ,the study of the            
inscriptions leads me to be more certain
 than ,mariette was4 ,rnofir undoubtedly
 lived at the end of the ,vth ,dynasty4 
#dj ,see pp4 #fj-fe4  #da ,he is a cook1
 as ,i mentioned on p4 #fa1 note #bg4   
#db ,see p4 #ea4  #dc ,see p4 #fa4  #dd 
,see the curious study of ,dr4 ,parrot1 
8,sur l'origine d'une des formes du dieu

 ,phtah10 in the 8,recueil de travaux   
relatifs  la philologie et  l'archologie
 gyptiennes et assyriennes10 vol4 ii41  
pp4 #abi-cc4  #de ,published in the     
,revue de l',art ancien et moderne1     
#aijf1 vol4 xx41 pp4 #bdg-eb1 #ccg-dh4  
#df ,see pp4 #ej-ea4  #dg ,see1 e4g41   
the stel described or referred to in    
,maspero1 8,guide to the ,cairo         
,museum10 #aijc1 pp4 #gc-e1 #id-e1 #if1 
etc4  #dh ,already published in the     
,muse ,egyptien1 vol4 ii41 ,pl4 ,,ix-,x1
 pp4 #be-cj4  #di ,the head was         
reproduced by ,roug-,banville1 8,album  
photographique10 ,nos4 #aaa-ab2 cf4     
,mariette1 8,monuments divers10 ,pl4    
,,xxi1 a1 b1 c1 and p4 #bii2 the whole  
is reproduced in the ,muse ,egyptien1   
vol4 ii41 ,pl4 ,,xiii1 and pp4 #cd-e4   
#ej ,see article on this group by       
,legrain in the ,muse ,egyptien1 vol4   
ii41 pp4 #a-ad and ,pl4 ,i-,,iv4  #ea   
,the head of the ,pharaoh1 which was    
stolen at the moment of discovery1 has  
been found since this article appeared1 

and purchased by the ,cairo ,museum1    
#aiab4  #eb ,published in the ,revue de 
l',art ancien et moderne1 #aijg1 vol4   
xxii41 pp4 #e-ah4  #ec ,she is noted in 
the 8,livre d'entre0 under ,no4 #chege  
and the chapel under ,no4 #chegf4  #ed  
,naville1 8,das ,thebanische            
,todtenbuch10 vol4 i41 ,pl4 ,,ccxxii4   
#ee ,it comes from ,tell ,tmai1 and is  
entered in the 8,livre d'entre0 under   
,no4 #chicj1 and in the 8,guide to the  
,museum10 #crd ,english edition1 under  
,no4 #dfa1 p4 #afd4  #ef ,no4 #chicb in 
the 8,livre d'entre02 cf4 8,notice des  
principaux monuments du ,muse de        
,gizeh10 #ahic1 p4 #hf1 and ,no4 #fhc of
 ,borchardt's unpublished catalogue4    
,the monument comes from ,saqqarah4  #eg
 8,guide to the ,cairo ,museum10 #crd   
edition1 pp4 #cca-cc1 ,no4 #ajbj2       
8,livre d'entre10 ,no4 #chibg4  #eh     
8,guide to the ,cairo ,museum10 #crd    
edition1 p4 #ccj1 ,nos4 #ajah1 #ajai2   
8,livre d'entre10 ,nos4 #chibh1 #chibi4 
#ei ,see the ,revue1 #aijf1 vol4 xx41   

pp4 #bda-eb1 and pp4 #ccg-df2 and pp4   
#ij-aje of the present volume4  #fj ,it 
was catalogued by ,champollion in his   
8,notice descriptive des monuments      
gyptiens du ,muse ,charles ,x10 ,paris1 
#ahbg1 p4 #ee1 ,no4 #aa4  #fa ,published
 in the ,revue de l',art ancien et      
moderne1 #aiaj1 vol4 xxviii41 pp4       
#bda-eb4  #fb ,see pp4 #abj-abe4  #fc   
,mariette1 8,notice des principaux      
monuments du ,muse de ,boulaq10 #fth    
edition1 #ahgf1 p4 #cjj1 ,no4 #ajj ,c4  
#fd ,e4 de ,roug1 8,notice sommaire des 
monuments gyptiens10 #crd edition1      
#ahfd1 p4 #cd1 ,a4 #ba4 ,the ,british   
,museum possesses a replica of this     
statue4  #fe ,mariette1 8,notice10 #ast 
edition1 #ahfd1 p4 #ahd1 ,no4 #ag2 and  
#fth edition1 #ahgf1 p4 #ib1 ,no4 #bb4  
#ff ,mariette1 8,notice10 #fth edition1 
p4 #bba1 ,nos4 #fch-dh2 ,maspero1       
8,guide du ,visiteur au ,muse de        
,boulaq10 #ahhc1 pp4 #ajj-c4  #fg       
,mariette1 8,notice10 #fth edition1 p4  
#bba1 ,nos4 #fdi-ea2 ,maspero1 8,guide10

 p4 #aja4  #fh ,mariette1 8,notice10    
#fth edition1 p4 #bba1 ,nos4 #fbc-cg4   
#fi ,mariette1 8,notice10 #fth edition1 
pp4 #bab-ac1 ,no4 #egh2 ,maspero1       
8,guide10 p4 #ge1 ,no4 #cif4  #gj       
,mariette1 8,notice10 #fth edition1 p4  
#bci1 ,no4 #gib4  #ga ,maspero1 8,letter
 to ,m4 ,gustave d',eichtal on the      
circumstances of the history of ,egypt  
which favoured the exodus of the ,hebrew
 nation10 in the ,comptes ,rendus de    
l',acadmie des ,inscriptions et         
,belles-,lettres1 #ahgc1 pp4 #cg-h4  #gb
 ,published in ,la ,nature1 #ahib1 vol4 
lix41 pp4 #afa-c4  #gc ,major ,arthur   
,bagnold published an account of them1  
with three drawings by ,wallis and a few
 sketches1 8,an account of the manner in
 which two ,colossal ,statues of        
,rameses ,,ii at ,memphis were raised10 
in the ,proceedings of the ,society of  
,biblical ,archology1 vol4 x41 p4 #deb  
et seq4  #gd ,i have related many       
examples of this belief in spirits      
inhabiting the ancient monuments in     

8,egypt3 ,ancient ,sites and ,modern    
,scenes10 #aiaj1 chap4 xv41 p4 #aee4 ,i 
have collected many more1 and hope one  
day to have an opportunity of publishing
 them4  #ge ,published in ,la ,nature1  
#ahid1 vol4 lxiii41 pp4 #bcj-d4  #gf    
,extract from the ,revue de l',art      
ancien et moderne1 #aijh1 vol4 xxiii41  
pp4 #dja-ab1 and vol4 xxiv41 pp4 #bi-ch4
  #gg ,champollion1 8,notice descriptive
 des monuments gyptiens du ,muse        
,charles ,x10 #ahbg1 #hvo1 describes the
 object as follows3 8#he4 ,hard wood4 ,a
 woman named ,na1 standing1 dressed in a
 long fringed tunic1 hair plaited4 ,the 
statuette was dedicated by her brother1 
,phtah-,ma1 auditor of justice10 pp4    
#fh-i4 ,now the little figure is        
numbered #cg2 it is in case ,a of the   
8,salle civile0 7first shelf74  #gh ,cf4
 ,e4 de ,roug1 8,notice des principaux  
monuments10 p4 #hb4  #gi ,,sokari 7 of  
the fragment of ,cratinus the ,younger1 
8,fragm4 ,comicor4 grcorum10 edition    
,didot7 was the god of the dead at      

,memphis1 as ,osiris was at ,abydos2 so 
they were soon identified one with the  
other1 ,sokar-,osiri1 and with ,phtah1  
,phtah-,sokari1 ,phtah-,sokar-,osiri4   
,here the scribe1 who first took the    
three sacred names as belonging to one  
same god whom he qualified as ,prince of
 ,eternity in the singular1 later       
regarded them as belonging to three     
different gods1 and used the plural     
pronoun1 ,,se1 variant of ,,sen3 8to    
whom ,,they give0 instead of 8to whom   
,,he gives40  #hj ,the figure to which  
it was fastened is reproduced in        
,leemans1 8,egyptian ,monuments in the  
,museum of ,antiquities of ,holland at  
,leyden10 ,part ,i1 ,pl4 ,,xxiv2 cf4    
,chabas1 8,notice sommaire des papyrus  
gyptiens10 p4 #ai4  #ha ,the facsimile  
of the text is in ,leemans1             
8,monuments10 ,part ,,ii1 ,pl4          
,,clxxxiii-,,clxxxiv1 and is translated 
and annotated in ,maspero1 8,etudes     
gyptiennes10 vol4 i41 pp4 #ade-ei4  #hb 
,extract from the ,revue de l'art ancien

 et moderne1 #aije1 vol4 xvii1 p4 #djc4 
#hc ,see the ,chapter on the little lady
 ,tou1 pp4 #ahc-ahi4  #hd ,published in 
,la ,nature1 #ahie1 vol4 lii41 pp4      
#baa-ad4  #he 8,the ,adventure of       
,satni-,khamois with the ,mummies10 in  
,g4 ,maspero1 8,les contes populaires de
 l',egypte ancienne10 #dth edition1 p4  
#adf4  #hf ,see pp4 #agb-agd4  #hg ,see 
,chapter ,,xviii1 pp4 #agb-agg4  #hh    
,revue archologique1 ,april1 #ahfa1 vol4
 iii41 #bnd series4  #hi ,printed in the
 ,revue de l',art ancien et moderne1    
#aijj1 vol4 viii41 p4 #cec4  #ij ,see p4
 #aej4  #ia ,see ,chapter ,,xvi41 p4    
#ade4  #ib ,published in the ,revue de  
l',art ancien et moderne1 #aijb1 vol4   
xi41 p4 #cgg4  #ic ,see ,chapter ,x4    
#id ,published in ,la ,nature1 #ahij1   
vol4 xxxv41 pp4 #bgc-d4  #ie ,see pp4   
#bab-bac4     ,,index     ,a            
,abousr-el-,malak1 excavations of1 #bi  
,abydos1 #cj1 #ca1 #cg2     ,memnonium  
of1 #ie1 #acd2     ruins of1 #id        
,adoni 7,adona71 #abb    ,ahhotpou ,i1  

#ade1 #adf1 #aeh    ,ahhotpou1 ,queen1  
#aeb1 #aeh1 #bjf    ,ahmsis ,i1 #ach    
,a1 #ach2     portrait of1 #ih    ,a1   
son of ,hapi1 #aig1 #aih    ,alexandria1
 bas-reliefs of1 #cc    ,amenemhat      
,,iii1 #bf1 #cb2     sphinx of1 #bb1    
#bc2     statue of1 #bb1 #bh1 #cg       
,amenertaous1 #ajc    ,amenhotpou1 #ach 
,amenmeses1 #ach    ,amenphis ,,ii1 #abb
    ,amenphis ,,iii1 #abb1 #abd1 #agd   
,amenphis ,,iv1 #abj1 #abb1 #abc1 #abd1 
#abe1 #aca    ,amenphis1 statue of1 #fd 
,amenthes ,i1 #ia    ,amenthes ,,ii1    
#aji1 #aab1 #aac1 #aag1 #aah1 #acd      
,amenthes ,,iv1 #ca    ,amenthes1 statue
 of1 #bb1 #bh    ,amon1 #ha1 #aja1 #ajb1
 #ajd1 #aba1 #abb1 #abd1 #abe1 #ace1    
#ahc1 #ahd1 #ahe2     priests of1 #ib2  
temple of1 #ij1 #ig1 #acg    ,amon of   
,harmhabi1 #ih    ,amonr1 #ajg1 #abc    
,amonr1 ark of1 #acf    ,anderson1 #adb 
,ankhari1 the lady1 #age                
,ankhasnofiriabr en ,hathor1 #ajc       
,ankhnas1 #ajc    ,antouf kings1 the1   
#aec    ,anubis1 temple of1 #ec         

,apis1 #adf1 #adi2     tomb of1 #gi1    
#ade    ,apou1 tomb of1 #ba    ,apries1 
#adc    ,armas1 #aci    ,asia ,minor1   
#afi1 #aia    ,assiout1 #ca    ,assyria1
 #afi    ,ati1 #ef1 #eh1 #ei    ,aton   
7,amon71 #aba1 #abb1 #abc1 #abd1 #abe   
,atonian ,dynasty1 fall of the1 #ca     
,b    ,bagnold1 ,major ,arthur1 #adb1   
#adc    ,baraize1 ,m41 #ajh    ,barrre1 
,m41 #bjh1 #bab    ,barsanti1 ,m4       
,alexandre1 #bja1 #bjf    ,bastt1 the   
goddess1 #ahd1 #bji1 #bab1 #bac1 #bae2  
her festival at ,bubastis1 #baj1 #baa   
,ba1 ,dr41 #acc    ,bedrechen1 #ada     
,bndite1 ,m41 #bjf    ,beni-,hassan1    
#cj1 #ca1 #hg1 #bad    ,berbers1 the1   
#abi    ,bercheh1 #ca    ,berlin        
,museum1 #aeb2     ,scribe of the1 #bj1 
#ba    ,bibn-el-,molouk1 #aaa           
,bissing1 ,f4,w4 von1 #ag1 #ah1 #bj1    
#ba1 #bb1 #bc1 #bd1 #be1 #bf1 #bg1 #cd1 
#ce    ,bocchoris1 #cc    8,book of the 
,dead10 #aac1 #aad1 #bjc    ,borchardt1 
#bd1 #be    ,boulaq ,museum1 #fc1 #gj1  
#ga1 #ha1 #he1 #hf1 #ace1 #acg1 #ach1   

#ade1 #adf    ,british ,museum1 #aec    
,bruckmann1 #ag1 #bc    ,bubastis1 #abd1
 #aed1 #aeg1 #afa1 #aij1 #baj1 #baa1    
#bae     ,c    ,cairo1 #ci1 #ajh1 #aed1 
#agi1 #bjh1 #bae    ,cairo ,museum1 the1
 #ba1 #bb1 #bi1 #cb1 #cc1 #ci1 #dd1 #df1
 #dg1 #ic1 #if1 #ih1             #ajh1  
#aad1 #aae1 #aaf1 #abh1 #abi1 #aca1     
#acd1 #aeg2     ,scribe of the1 #bj     
,carter1 #ib    ,caviglia1 #ada         
,chalda1 #afi1 #aga    ,champollion1    
#aba1 #agb1 #ahf    ,chassinat1 ,m41    
#bjf    ,chekh-,abd-el-,gournah1 #aae1  
#agh1 #agi    ,chekh el-,beled1 statue  
of the1 #ba1 #df1 #dh1 #hh              
,chekh-,sad1 #ca    ,cheops1 #cj1 #bji2 
statuette of1 #cg1 #ch    ,chephrn1 #cj1
 #dd1 #df1 #dg1 #dh1 #acg1 #bji2        
statuette of1 #cg1 #ch    ,chephrn1     
statues of the1 #ba1 #bd1 #cg           
,coptos1 #bb    ,cow1 the1 of           
,der-el-,bahar1 #ah1 #ajf1 #aag         
,crete1 #afi    ,crouching ,scribe1 the1
 #ah1 #dh1 #di1 #fj1 #fa1 #fc1 #fd1 #fe1
 #hd1 #hh     ,d    ,dahchour1 #ade1    

#aej1 #aeb1 #aeh    ,darius1 #adj1 #bjf 
,davis1 ,theodore1 #abf    ,decauville1 
#ij    ,denderah1 #ca1 #abc             
,der-el-,bahar1 #ib1 #ajh1 #aaj1 #aae2  
favissa of1 #ih2     porticoes of1 #ie  
,dvria1 #aif    ,dog1 nome of the1 #da  
,double1 the1 #ea1 #eb1 #ec1 #ed1 #aaa1 
#aae1 #adc1 #aic1 #aih     ,e    ,ebers1
 #ag    ,edfou1 temple of1 #baj         
,edgar1 ,mr41 #aed1 #aee    ,egypt1     
financial system of ancient1 #aig1 #aih 
,egyptian cats1 #bjh1 #bji1 #bad1 #bae1 
#baf    ,egyptian jewellery1 #ade-aec1  
#bja-bjg    ,egyptian ,scribes1 #fa1    
#fb1 #fc1 #fg1 #fh1 #fi1 #gd1 #ge1 #gf1 
#gg1 #aii1 #bjj    ,egyptian statuary1  
#ag-ce    ,el-,amarna1 bas-reliefs of1  
#aca2     necropolis of1 #ca1 #abe1     
#acc2     sculptors of1 #acj2           
statues of1 #ajj    ,el-,tell1 tombs of1
 #ca    ,es-,sayed ,ed1 #aee            
,ethiopia1 #ie1 #ajb1 #abd1 #aci        
,ethiopian pyramids1 the1 #aec          
,euphrates1 #agj    ,europe1 #bae1 #baf 
,f    ,fayoum1 the1 #bf1 #bi1 #id1 #acg 

,ferlini1 #aec     ,g    ,garwood1 #adb 
,gebelen1 #bb1 #agi1 #bad    ,germany1  
#bad    ,gizeh1 #ci1 #ie    ,gizeh      
,museum1 #ba1 #bd1 #ff1 #fh1 #gj1 #aeb1 
#bjf    ,gizeh1 necropolis of1 #ba1 #bi 
,gold and silver vases and cups1 #afj-h 
,golenischeff1 #cb    ,gournah1 #ach    
,gournah1 temple of1 #ie1 #acd          
,grbaut1 #cg    ,greece1 #aai     ,h    
,hachopsoutou1 ,queen1 #ig1 #aaa1 #aab1 
#aai    ,hakori1 #aif    ,hapi-,t'aufi1 
,prince1 #ec    ,harmais1 statues of    
the1 #bb    ,harmhbi1 #ajj1 #acj1 #acc1 
#ace1 #ach1 #aci    ,hathor1 the        
goddess1 #da1 #db1 #aji1 #aaj1 #aaa1    
#aab1 #aad1 #aae1 #aag1 #aah1 #ahg      
,heliopolis1 #abc    ,hellenes1 the1 #cc
    ,heracleopolis1 #cj1 #id            
,hermopolis1 #bh1 #ca1 #aje             
,herodotus1 #cb1 #abd1 #adj1 #baj1 #baa 
,hor1 the scribe1 #hd    ,horus1 #ahh   
,horus ,qa-ou1 stele of the1 #ai        
,hrihor1 #abd    ,hykss king1 portrait  
of a1 #bb     ,i    ,icelanders and     
ghosts1 #agf    ,iouaa1 #abb    ,isis1  

#ig1 #aaf1 #adg1 #adh1 #bjb1 #bjd       
,isis1 statue of1 #if     ,k    ,karnak1
 #ca1 #cg1 #aje1 #ach1 #aci2     favissa
 of1 #bb1 #bf1 #ij1 #id1 #ie1 #if2      
modern village of1 #ij2     temple of1  
#ace    ,khbokhni1 #ahh    ,khmost1 high
 priest of ,phtah1 #ade1 #adf           
,khsakhmou1 the ,pharaoh1 #ai1 #bj      
,khitas1 the1 #aea    ,khnoum1 #ace     
,khnoumhotpou1 the dwarf1 #he1 #hf1 #hg1
 #hh1 #hi    ,khonsou1 #ih1 #ii         
,khounaton1 #abe1 #ach    ,khouniatonou1
 #ca1 #ajj1 #abf1 #acj1 #acc    ,kings1 
,valley of the1 #abf    ,king-,serpent1 
stele of the1 #ai    ,knom1 #ef1 #eh    
,l    ,leghorn1 #agb    ,legrain1 ,m41  
#bb1 #bf1 #ia1 #id1 #ie1 #if1 #ih1 #ajj1
 #aje    ,lepsius1 #eg    ,leyden1 #bj  
,leyden ,museum1 #aec1 #age    ,leyden  
papyrus1 the1 #agg    ,libyan ,desert1  
the1 #aab    ,libyan ,mountains1 the1   
#aac    ,longprier1 ,m4 de1 #di         
,louis ,,xiv1 peruke of time of1 #ahj   
,louvre1 the1 #ah1 #ba1 #bb1 #di1 #ed1  
#ee1 #eh1 #fj1 #fd1 #fg1 #fh1 #gj1 #gi1 

#hj1             #hd1 #abe1 #acj1 #acd1 
#acf1 #ade1 #adf1 #aeb1 #aec1 #agb1     
#agh1 #ahc1             #ahe1 #ahf1     
#aie1 #bjj1 #bje1 #bjf1 #bae    ,louxor1
 #ca1 #ajg     ,m    ,macedonians1 the1 
#ajb    ,madagascar1 queens of1 #ajd    
,mat1 #bac    ,mankahorou1 statuette of1
 #cg    ,mantimeh1 #ajc1 #ajd           
,mariette1 #bb1 #bd1 #cb1 #ch1 #ee1 #fj1
 #fb1 #ff1 #gi1 #id1 #ih1 #ajj1 #ajc1   
#aaf1             #aba1 #acf1 #aci1     
#ade1 #aej1 #aea1 #aif1 #bjf    ,matonou
 7,amten71 statue of1 at ,berlin1 #bi   
,medinet ,habou1 #abh    ,mediterranean1
 the1 #aga1 #aid    ,medoum1 #df1 #dh1  
#fb1 #fc2     excavations of1 #bi1 #cj  
,memphian ,empire1 the1 #bj    ,memphis1
 #be1 #bh1 #bi1 #cj1 #ca1 #cb1 #cg1 #ee1
 #gb1 #gh1 #gi1 #hh1 #abc1 #acg1 #adj   
,menephtah1 #acf1 #ach    ,menna1 #ahb  
,menzaleh1 ,lake1 #cb    ,minieh1 prince
 of1 #he1 #hg    ,mnou1 the god1 #bb    
,mt-,fares1 #bb    ,mt-,rahineh1 #bd1   
#cg1 #ci    ,mohammed-,ali1 #adb        
,mohammed ,effendi ,chabn1 #aed         

,mond1 ,mr41 #agh    ,montouhotpou1 #aaa
    ,montouhotpou1 statue of1 #bf       
,montouhotpou ,i1 temple of1 #bb1 #ajf  
,montouhotpou ,,iii1 statue of1 #bb     
,montouhotpou ,v1 tomb of1 #ib          
,monuments de l',art ,antique1 #cd      
,morgan1 ,m4 de1 #ff1 #gc1 #ade         
,moursi ,hassanen1 #aee    ,munich1 #bj1
 #ba    ,muse ,egyptien1 the1 #bf1 #cd  
,mycerinus1 statues of1 #cf1 #cg1 #ch1  
#ci1 #da1 #dc1 #dd1 #df1 #dg1 #dh     ,n
    ,nafrourya1 #ig    ,na1 the lady1   
#agc1 #agd1 #agg1 #ahf    ,naousirrya1  
statuette of1 #cg    ,napata1 #ca       
,naples ,museum1 the1 #bj    ,nr-mer1   
palette of1 #ai    ,nasi1 statue of1 #ba
    ,naville1 #ib1 #ajf1 #ajg1 #aaa1    
#aah    ,nectanebo ,i1 #aaf             
,nectanebo ,,ii1 #cc    ,neth1 #bjd2    
temple of1 #afg1 #afi    ,nephthys1     
#adg1 #adh1 #bjb    ,nile1 the1 #bg1    
#aab1 #agj2     valley of the1 #bh      
,nofirtoumou1 the god1 #bae             
,nofrihotpou1 funeral of1 #hh    ,nofrt1
 statue of1 #bb    ,nont1 the goddess1  

#bjb    ,nsiphtah1 #ajc    ,nubia1 #ca  
,o    ,omm-el-,gab1 tombs of1 #bi       
,osiris1 #aaf1 #abc1 #adg1 #adh1 #bje   
,osorkon ,,ii1 statuette of1 #ajc       
,ostraca1 #ih    ,ounas1 #bja           
,ousimares 7,osymandyas71 #aeh          
,ousirmr1 #adi    ,oxyrrhinchus1 #da    
,p    ,pakht1 #bac1 #bad                
,pehournowri1 statuette of1 #gi1 #hd    
,perfume ladles described1 #aij-c       
,persian ,conquest1 the1 #ia            
,persians1 the1 #ajd    ,petesomtous1   
#aaf    ,petrie1 ,flinders1 #bf1 #dg1   
#abi1 #aca    ,phnicia1 #aic            
,phnicians1 the1 #aga    ,phtah1 #hg1   
#ie1 #ada1 #ade1 #agc2     temple of1   
#cg1 #adj    ,phtah-,ma1 #agc1 #agd     
,pioupi1 bronze statue of1 #ba          
,poubastt 7,bubastis71 #bji             
,psammetichus1 #aaf1 #aag1 #bjf         
,psammetichus ,i1 #cc1 #ajc    ,psarou1 
#adf1 #adg    ,pyramids1 plain of the1  
#bi     ,q    ,qodshou1 battle of1 #aea 
,r    ,r1 the solar god1 #abc1 #abd     
,rahotpou1 the scribe1 #hd2     tomb of1

 #fb    ,ramessides1 the1 #ia1 #ajc1    
#abd    ,ramke1 the scribe1 #hd         
,ramses1 #acj2     statues of the1 #bb  
,ramses ,i1 #ach    ,ramses ,,ii1 #cj1  
#acf1 #acg1 #ach1 #adj1 #ada1 #adb1     
#add1 #ade1 #adh1 #aea1 #aeh1           
#aei1 #afj1 #agj1 #bjf2     statues of1 
#bf1 #aja1 #ace    ,ramses ,,iii1 #ajb  
,ramses ,,vi1 #aja1 #ajb                
,ramses-,nakhouti1 #aja    ,rnofir1 #dd1
 #df1 #hh2     statue of1 #gj1 #ga1 #gb1
 #gg1 #gh    ,readers1 statue of the1 at
 ,cairo1 #ba    ,reisner1 #ci1 #dd      
,rome1 #aai    ,roug1 ,m4 de1 #aif      
,roxelane1 #abg     ,s    ,sabou1 tomb  
of1 #ff    ,sad1 the1 #ca1 #aac    ,st4 
,sebastian1 paintings of1 #hc1 #hd      
,sas1 #aje    ,sate jewels1 #bja        
,saladin1 #ci    ,salt ,collection1 the1
 #abj1 #aid    ,sn1 #aif    ,snakht1    
#ach    ,sanmaout1 statue of1 #if1 #ig  
,sanouosrt ,i1 statue of1 #bb1 #df2     
bas-relief of1 #bb1 #cg2                
7,ousirtasen71 #id1 #ie    ,sanouosrt   
,,iii1 #id2     statue of1 #df    ,sapou

 7,sepa71 statue of1 in the ,louvre1    
#ba1 #bi1 #fd    ,saqqarah1 necropolises
 of1 #ba1 #bi1 #di1 #ee1 #fc1 #ff1 #gf1 
#he1 #hh1 #ie2     village of1 #gb      
,sculpture in wood1 #agb-d1 #ahc-i      
,scythians1 the1 #adj    ,serapeum1 the1
 #ee1 #fj1 #fd1 #gi1 #ade1 #adf1 #adh1  
#aej1 #aec1 #bjf    ,serdb1 the1 #ea1   
#fj1 #fb    8,service des ,antiquits10  
the1 #adc1 #aee1 #agh    ,sesostris1    
#adj    ,setinakht1 #ach    ,setou ,i1  
#cj1 #cg1 #ie1 #aba1 #acj1 #ach2        
hypogeum of1 #acd2     statue of1 #ace  
,setou ,,ii1 #ach1 #afj    ,shepherd    
,kings1 the1 #bb1 #cb2     portraits of1
 #aif    ,sheshonq1 #aid    ,sidi ,ahmed
 el-,bedaou1 #baj    ,simon1 ,herr1 of  
,berlin1 #abi    ,sinai1 #abi    ,siout1
 #ed    ,siphtah1 #afj    ,siphtah      
,menephtah1 #ach    ,sistrum1 nome of   
the1 #da    ,skhemka1 the scribe1 #ee1  
#ef1 #eh1 #ei1 #fj1 #fd1 #fe1 #hd       
,sokaris1 boat of the god1 #bjc         
,sovkemsaouf1 #bb    ,sovkhotpou1 the   
king1 #bb1 #hd    ,speos-,artemidos1    

cemetery of cats at1 #bac1 #bad         
,sphinxes1 the so-called ,hykss1 #bh1   
#cb    ,stephenson1 ,general1 #adb      
,sycomore1 ,canton of the1 #da          
,syria1 #ie1 #abd1 #aci1 #afd1 #aga     
,t    ,taharkou1 #ajc    ,taharqa1 #aif 
,taa1 #ih1 #ii1 #aba1 #abb1 #acd        
,tama1 singing-girl of ,neth1 #afg1 #afi
    ,tanis1 #cb1 #ajb1 #aje1 #acg2      
sphinxes of1 #bh    ,tantah1 fair of1   
#baj    ,taouasrt1 #agj    ,tboubou1    
#ahd    ,tell ,bastah1 ruins of1 #bjh   
,tell-el-,khanzir1 #adb    ,thebad1 the1
 #ajb    ,theban ,empire1 the1 #ba1 #bb1
 #bh1 #cb    ,thebes1 #bh1 #cj1 #ca1    
#hh1 #ib1 #ic1 #ie1 #aje1 #abj1 #abc1   
#abd1 #abe1 #abh1 #aca1                 
#acg1 #ade1 #aha1 #ahc1 #ahg    ,thebes1
 government of1 #ajc1 #ajd    ,thinis1  
#cj    ,thinis-,abydos1 #bi             
,thinites1 the1 #bj1 #bi    ,thot1 city 
of1 #ca    ,thoutmsis1 #ach             
,thoutmsis1 statue of1 #bb    ,thoutmsis
 ,,iii1 #ia1 #id1 #if1 #ig1 #ih1 #ajg1  
#aji1 #aab1 #aba1 #acd    ,thoutmsis    

,,iv1 #abd    ,ti1 #hh2     statue of1  
#gj    ,tyi1 #abf1 #abg1 #abh1 #abi     
,tyi1 wife of ,amenthes ,,iii1 #ajj     
,touaa1 #abb    ,tou1 the lady1 #agh1   
#ahc1 #ahd1 #ahe1 #ahf1 #ahi            
,toumoumtaouneb1 the royal cupbearer1   
#afd    ,tourah1 limestone of1 #di1 #agi
    ,toutnkhamnou1 #acc1 #acd1 #ach     
,toutnoukhamanou1 #ih1 #ii1 #ajj        
,turin ,museum1 #fd1 #ahc1 #ahf1 #ahi   
,turin papyrus1 the1 #aig     ,u        
,upper ,egypt1 #da     ,v    ,vassalli1 
#dg    ,vienna ,museum1 #bb    ,virchow1
 #bae     ,w    ,wiedemann1 #bf         
,wilkinson1 #baf     ,z    ,zagazig1    
#aed1 #aee1 #aef1 #afe1 #aga            
,zannehibou1 #bja1 #bjb1 #bjf   ,the    
,gresham ,press1 ,,unwin ,,brothers1    
,,limited ,,woking ,,and ,,london4      
99      99      99      99      99      
99     ,transcriber's note3             
,punctuation1 hyphenation1 and spelling 
were made consistent when a predominant 
preference was found in the original    
book2 otherwise they were not changed4  

,spelling discrepancies between the main
 text and the ,index were resolved in   
favor of the main text4  ,simple        
typographical errors were corrected2    
unpaired quotation marks were remedied  
when the change was obvious1 and        
otherwise left unpaired4  ,illustrations
 in this e,book have been positioned    
between paragraphs and outside          
quotations4 ,in versions of this e,book 
that support hyperlinks1 the page       
references in the ,list of              
,illustrations lead to the corresponding
 illustrations4  ,most full-page        
illustrations included printer's        
instructions specifying 8,to face p4    
xxx40 ,those instructions have been     
removed from this e,book4  ,footnotes1  
originally at the bottoms of pages1 have
 been collected1 sequentially numbered1 
and placed at the end of this e,book1   
just before the ,index4 ,references to  
those footnotes have been renumbered in 
the same way4  ,the index was not       
checked for proper alphabetization or   

correct page references4