t were, from an early period, imbued with the love of luxury, and with a taste for the beautiful. Living or dead, the Egypti

least by grace of form; and in order to satisfy his requirements, the clay, the stone,

, CLAY, A

pietra dura which have survived till the present time. As yet we have found neither the diamond, the ruby, nor the sapphire; but with

mber and some kinds of turquoise; organic remains, as coral, mother-of-pearl, and pearls; metallic ores and carbonates, such as hematite and malachite, and the calaite, or Oriental turquoise. These substances were for the most part cut in the shape of round, squar

ftsmen who made them. But their skill did not end here. With the point, saw, drill, and grindstone, they fashioned these materials i

ic of renewed birth. The little lotus-flower column in green felspar (fig. 212) typified the divine gift of eternal youth. The "?at," or sacred eye (fig. 213), tied to the wrist or the arm by a slender string, protected against the evil eye, against words spoken in envy or anger, and against the bites of s

, the beetle was made the emblem of terrestrial life, and of the successive "becomings" or developments of man in the life to come. The scarabaeus

kind of modelling. Relief-cutting, properly so called (as in cameo-cutting), was unknown to Egyptian lapidaries before the Greek period. Scarabaei and the subjects engraved on them have not as yet been fully classified and catalogued.[55] The subjects consist of simple combinations of lines; of scrolls; of interlacings without any precise signification; of symbols to which the owner attached a mysterious meaning, unknown to everyone but himself; of the names and titles of individuals; of royal ovals, which are historically interesting; of good wishes; of pious ejaculations; and of magic formulae. The earliest examples known date from the Fourth Dynasty, and are small and fine. Sometimes Sixth Dynasty scarabs are of obsidian and crystal, and early Middle Kingdom scarabs of amethyst, emerald, and even garnet. From the time of the Eighteenth Dynasty scarabs may be counted by millions, and the execution is more or less fine according to the hardness of the stone. This holds good for amulets of all kinds. The hippopotamus-heads, the hearts, the Ba birds (p. 111), which one picks up at Ta?d, to the south of Thebes, are barely roughed out, the amethyst and green felspar of which they are made having presented an almost unconquerable resistance to the point, saw, drill, and wheel. The belt-buckles, angles, and head-rests in red jasper, carnelian, and hematite, are, on the contrary, finished to the minutest details, notwithstanding that carnelian and red jasper are even harder than green felspar. Lapis lazuli is insufficiently homogeneous, almost as hard as felspar, and seems as if it were incapable of being finely worked. Yet the Egyptians have used it for images of certain goddesses--Isis, N

ance-- the offering-table of Sit?--the libations, instead of running off, fell into a square basin which is marked off in divisions, showing the height of the Nile at the different seasons of the year in the reservoirs of Memphis; namely, twenty-five cubits in summer during the inundation, twenty-three in autumn and early winter, and twenty-two at the close of winter and in spring-time. In these various patterns there was little beauty; yet one offering-table, found at Sakkarah, is a real work of art. It is of alabaster. Two lions, standing side by side, support a sloping, rectangular tablet, whence the libation ran off by a small channel into a vase placed between the tails of the lions. The alabaster geese

at Lisht are also of alabaster, as are the human heads upon the lids. One, indeed, is of such fine exe

ynasty, they were cut in compact limestone. The workmanship is very unequal in quality. Some are real chefs- d'oeuvre, and reproduce the physiognomy of the deceased as

e. The greater number were of alabaster, turned and polished. Some are heavy, and ugly (fig. 215), while others are distinguished by an elegance and diversity of form which do hono

female head just at the rise of the neck (fig. 218). The smallest of these vases were not intended for li

ony powder with which they darkened their eyes and eyebrows. The Kohl-pot was a universal toilet requisite; perhaps the only one commonly used by all classes of soc

an, whose scooped- out body contained the powder; a young girl carrying a wine-jar. Once started upon this path, the imagination of the artists knew no limits. As for materials, everything was made to serve

working, and this clay was habitually badly washed, badly kneaded, and fashioned with the finger upon a primitive wheel worked by the hand. The firing was equally careless. Some pieces were barely heated at all, and melted it they came into contact with water, while others were as hard as tiles. All tombs of the ancient empire contain vases of a red or yellow ware, often mixed, like the clay of bricks, with finely-chopped straw or weeds. These are mostly large solid jars with oval bodies, short necks, and wide mouths, but having neither foot nor handles. With them are also found pipkins and pots,

s. The first comprises plain, smooth-bodied vases, black below and dark red above. On examining this ware where broken, we see that the colour was mixed with the clay during the kneading, and that

tombs at Beni Hasan. As regards the period of Egypt's great military conquests, the Theban tombs of that age have supplied objects enough to stock a museum of pottery; but unfortunately the types are very uninteresting. To begin with, we find hand-made sepulchral statuettes modelled in summary fashion from an oblong lump of clay. A pinch of the craftsman's fingers brought out the nose; two tiny knobs and two little stumps, separately modelled and stuck on, represented the eyes and arms. The better sort of figures were pressed in moulds of baked clay, of which several specimens have been found. They were generally moulded in one piece; then lightly touched up; then baked; and lastly, on coming out of the oven, were painted red, yellow, or white, and inscribed with the pen. Some are of very good style, and almost equal those made in limestone. The ?shabti? of

(fig. 223), cross-lines resembling network, festoons of flowers and buds, and long leafy stems carried downward from the neck to the body of the vase, and upward from the body of the vase to the neck. Th

under the Eighteenth Dynasty, became more and more c

e finest. On the body of the vase, the protecting goddess Kh?it is depicted with outspread wings, while Horus and Thoth are seen presenting the bandage and the unguent vase; the whole subject being painted in blue and red upon a white ground. From the time of the Greek domination, the national poverty being always on the increase, baked clay was much used for coffins as well as for canopic vases. In the Isthmus of Suez, at Ahnas el Medineh, in the Fay?m, at As?an, and in Nubia, we find whole cemeteries in which the sarcophagi are made of baked clay. Some are like oblong boxes rounded a

in contact with the flame, so that it may not harden during the operation. Chemical analysis shows the constituent parts of Egyptian glass to have been nearly identical with our own; but it contains, besides silex, lime, alumina, and soda, a relatively large proportion of extraneous substances, as copper, oxide of iron, and oxide of

ts were not accessible to all the world. The glass-workers imitated the emerald, jasper, lapis lazuli, and carnelian to such perfection that even now we are sometimes embarrassed to distinguish the real stones from the false. The glass was pressed into moulds made of stone or limestone cut to the forms required, as beads, discs, rings, pendants, rods, and plaques covered with figures of men and animals, gods and goddesses. Eyes and eyebrows for the faces of statues in stone or bronze were likewise made of glass, as also bracelets. Glass was inserted into the hollows of incised hieroglyphs, and hieroglyphs were also cut out in glass. In this manner, whole inscriptions were composed, and let into wood, stone, or metal. The two mummy-cases which enclosed the body of Netemt, mother of the Pharaoh Herhor Seamen, are decorated in this style. Except the headdress of the effigy and some minor details, these cases are gilded all over; the texts and the principal part of the ornamentation being formed of glass enamels, which stand out in brilliant contrast with the dead gold ground. Many Fay?m mummies were coated with plaster or stucco, the texts and religious designs, which are generally painted, being formed of glass enamels incrusted upon the surface of the plaster. Some of the largest subjects are made of pieces of glass joined together and

that it loses none of its effect under the magnifying glass. The greater number of these objects date from, and after, the first Sa?te dynasty; but excavations in Thebes

we have been accustomed to regard as of Phoenician and Cypriote manufacture.[60] Here, for example, is a little aenochoe, of a light blue semi-opaque glass (fig. 225); the inscription in the name of Thothmes III., the ovals on the neck, and the palm-fronds on the body of the vase

rgest circumference. The handles are pale green, and the thread round the lip is pale blue. Princess Nesikhons? had beside her, in the vault at Deir el Bahar?, some glass goblets of similar work. Seven were in whole colours, light green and blue; four were of black glass spotted with white; one only was decorated with ma

oloured glass gob

y inexact names of Egyptian porcelain and Egyptian fa?ence. The oldest specimens, which are hardly glazed at all, are coated with an excessively thin slip. This vitreous matter has, however, generally settled into the hollows of the hieroglyphs or figures, where its lustre stands out in strong contrast with the dead surface of the surrounding parts. The colour most frequently in use under the ancient dynasties was green; but yellow, red, brown, violet, and blue were not disdained.[61] Blue predominated in the Theban factories from the earliest beginning of the Middle Empire. This blue was brilliant, yet tender, in imitation of

from the time of Ahmes I. to the time of the Ramessides. It was then, and only then, that ?shabti? of white or red glaze, rosettes and lotus flowers in yellow, red, and violet, and parti-coloured kohl-pots abounded. The potters of the time of Amenhotep III. affected greys and violets. The olive-shaped amu

s yellow, green, and violet rings, blue and white fleurettes, fish, lutes, figs, and bunches of grapes.[64] One little statuette of Horus has a red face and a blue body; a ring bezel bears the name of a king in violet up

ack spots. It belonged of old to Ahmes I. A third, hollowed out of the body of an energetic little hedgehog, is of a changeable green (fig. 231). A Pharaoh's head in dead blue wears

decoration of cup,

The face and hands are of turquoise blue; the head- dress is yellow, with violet stripes; the hieroglyphic characters of the inscription, and the vulture with outspread win

cular vase, gla

handles, decorated along the edge with pearl or egg-shaped ornaments, and round the body with elaborate collars (fig. 234), belong almost without exception to the reigns of Apries and Amasis.[66] Sistrum handles, saucers, drinking-cups in the form of a half-blown lotus, plates, dishes--in short, all vessels in common use--were required to be not only easy to keep cle

pi I.; upon a green brick, the name of Rameses III.; upon cert

from step pyram

th green tiles, oblong in shape, flat at the back, and slightly convex on the face (fig. 236). A square tenon, pierced through with a hole large enough to receive a wooden rod, served to fix them together in hori

eh. This time the question of ornamentation concerned, not a single chamber, but a whole temple. The mass of the building was of limestone and alabaster; but t

ream-coloured rosette (fig. 237). Some of these rosettes are framed in geometrical designs (fig. 238) or spider-web patterns; some repres

esigns, as scrolls, foliage, and parallel fillets, such as may be seen on the foot of an altar and the base of a column preserved in the Gizeh Museum. The royal ovals were mostly in one piece; so

o the pieces by which it was surrounded (fig. 239). This temple was rifled at the beginning of the present century, and some figures of prisoners brought thence have been in the Louvre collection ever since the time of Ch

Rameses III., which dates the building; some borderings of lotus flowers and birds with human hands (fig.

after the same type. Glazed bricks, painted tiles, and enamelled mosaics are readily injured; and in th

, LEATHER, AND

certain insects, which rapidly destroy it. Bone and ivory soon deteriorate and become friable. The elephant was known to the Egyptians from the remotest period. They may, perhaps, have found it inhabiting the Thebaid when

s in the shape of a hand supporting a bronze cup in which the perfumes were burned, and boomerangs engraved with figures of gods and fantastic animals, were also made of ivory. Some of these objects are works of fine art; as for instance at Gizeh, a poignard-handle in the form of a lion; the plaques in bas-relief which adorn the draught-box of one T?a?, who lived towards the end of the Seventeenth Dynasty; a Fifth Dynasty figure, unfortunately

ch as Ka statues; and the Wooden Man of Gizeh shows with what boldness and amplitude of style it could be treated. But the blocks and beams which the Egyptians had at command were seldom large enough for a statue. The Wooden Man himself, though but half life-size, consists of a number of pieces held together by square pegs. Hence, wood-carvers were wont to treat their subjects upon such a scale as admitted of their being cut in one block, and the statues of olden time became statuettes under the Theban

little maidens of Elephantine, who, without immodesty or embarrassment, walk unclot

cer who has retired on half-pay at the Louvre (fig. 243) wears an undress uniform of the time of Amenhotep III.; that is to say, a small wig, a close-fitting vest with short sleeves, and a kilt drawn tightly over the hips, reaching scarcely half-way down the thigh, and trimmed in front with a piece of puffing plaited longwise. His companion is a priest (fig.

adorn her wrists, and on her head she carries a wig with long curls. The right arm hangs by her side, the hand holding some object now lost, which was probably a mirror. The left arm is raised, and with the left hand she presses a lotus lily to her breast. The body is easy and well formed, the figure indicates youth, the face is open, smiling, pleasant, and somewhat plebeian. To modify the unwieldy mass of the headdress was beyond the skill of the artist, but the bust is delicately and elegantly modelled, the clinging garment gives di

r instance, generally represented a stem of lotus or papyrus surmounted by a full-blown flower, from the midst of which rose a disk of polished metal. For this design is sometimes substituted the figure of a young girl, either nude, or clad in a close-fitting garment, who holds the mirror on her head. The tops of hair-pins were carved in the semblance of a coiled serpent, or of the he

nd kohl-bottles that the inventive skill of

omades, and the variously-coloured preparations with which both men and wo

alley. A little case at Gizeh is carved in the shape of a couchant calf, the body

a stem and two buds (fig. 248). The most elaborate specimens combine these subjects with the human figure. A young girl, clad in a mere girdle, is represented in the act of swimming (fig. 249). Her head is well lifted above the water, and her outstretched arms support a duck, the body of which is hollowed out, while the wings, being movable, serve

49.--

n a long-necked lute as she trips along, is fr

y skiff (fig. 252); and sometimes a girl bearing offerin

ong robes; but this damsel has gathered up her skirts that she may thread her way among the reeds without wetting her garments. The two musicians and the swimming girl belong, on the contrary, to an inferior, or servile, class. Two of them wear only a girdle, and the thir

r not even the children of nobility were wont to put on the garmen

e of the head, and the general arrangement of the parts, remind one of the terra-cotta grotesques of Asia Minor. In these subjects, all the minor details, the fruits, the flowers, the various kinds of birds, are rendered with much truth and cleverness. Of the three ducks which are tied by the feet and slung over the arms of th

by the mere sight of a bow and arrows, just as a company of rooks is put to flight nowadays by the sight of a gun. The Egyptians were especially familiar with the ways of animals and birds, and reproduced th

ads, but low frameworks like the Nubian angareb; or mats rolled up by day on which the owners lay down at night in their clothes, pillowing their heads on earthenwar

mmon vessels of pottery or bronze. For making fire there were fire- sticks, and the bow-drill for using them (figs. 255 and 181); children's toys were even then foun

nd wood (fig. 256); figures of men, and animals, and terra-cotta boats,

ancient dynasties. Planks were dressed down with the adze, mortised, glued, joined together by means of p

y boat, Twelfth Dynasty; Kahun, Gurob, and Ha

legs, and are occasionally thus raised to

much in favour among the Egyptians of all periods. Sometimes, though rar

e panels, which are large and admirably suited for decorative art, are enriched with paintings, or inlaid with ivory, silver, precious woods, or enamelled plaques. It m

g destined for burial in the sepulchre, may either be of a character exclusively destined

im into the next world; but the defunct Egyptian required nothing short of a complete outfit. The mummy- cas

of a mummy-case, wall s

s not elegant, but the decoration is very curious. The lid has no cornice. Outside, it is inscribed down the middle with a long column of hieroglyphs, sometimes merely written in ink, sometimes laid on in colour, sometimes carved in hollowed-ou

eated for his benefit. Skilfully composed, and painted upon a background made to imitate some precious wood, the whole forms a boldly-designed and harmoniously-coloured picture. The cabinet-maker's share of the work was the lightest, and the long boxes in which the dead of the earliest period were buried made no great demand upon his skill. This, however, was not the case when in later times the sarcophagus came to be fashioned in the likeness of the human body. Of this style we have two leading types. In the most ancient, the mummy serves as the model for his case. His outstretched feet and legs are in one. The form of the knee, the swell of the calf, the contours of the thigh and the trunk, are summarily indicated, and are, as it were, vaguely modelled under the wood. The head, apparently the only living part of this inert body, is wrought out in the round. The dead man is in this wise imprisoned in a kind of statue of himself; and this statue is so well balanced that it can stand on its feet if required, as upon a pedestal. In the other type of sarcophagus, the deceased lies at full length upon his tomb, and his figure, sculptured

enty-first Dynasty c

really extraordinary skill with which the craftsman had reproduced the features of the deceased sovereigns. The mask of Ahmes I., that of Amenhotep I., and that of Thothmes II., are maste

njured. Apart from their abnormal size, these cases are characterised by the same simplicity which distinguishes other mummy-cases of royal or private persons of the same period. Towards the middle of the Nineteenth Dynasty, the fashion changed. The single mummy-case, soberly decorated, was superseded by two, three, and even four cases, fitting the one into the other, and covered with paintings and inscriptions. Sometimes the outer receptacle is a sarcophagus with convex lid and square ears, upon which the deceased is pictured over and over again upon a white ground, in adoration before the gods of the Osirian cycle. When, however, it is shaped in human form, it retains somewhat of the old simplicity. The face is painted; a collar is represented on the chest, a band of hieroglyphs extends down the whole length of the body to the feet, and the rest is in one uniform tone of black, brown, or dark yellow. The inner cases were extravagantly rich, the hands and faces being red, rose-coloured, or gilded; the jewellery painted, or sometimes imitated by means of small morsels of enamel encrusted in the wood-work; the surfaces frequently covered with many- coloured scenes and legends, and the whole heightened by means of the yellow varnish already mentioned. The lavish ornamentation of this period is in striking contrast with the sobriety of earl

at Hawara, now in the National Gallery, London. (Hawara,

and over-gilded, were again in demand. If the craftsmen of Graeco-Roman time who attired the dead of Ekhm?m for their last resting places were less skilful than those

there replaced the modelled mask, until towards the middle of the second century A.D. it became custo

s for a handle by which to take off the lid. Each box was provided with its own little sledge, upon which it was drawn in the funeral procession on the day of burial. Beds are not very uncommon. Many are identical in structure with the Nubian angarebs, and consist merely of some coarse fabric, or of interlaced strips of leather, stretched on a plain wooden frame. Few exceed fifty-six inches in length; the sleeper, therefore, could never lie outstretched, but must perforce assume a doubled-up position. The frame is generally horizontal, but sometimes it slopes slightly downwards from the he

ed and painted

access to the miniature edifice. Three winged discs, each larger than the one below it, adorn three superimposed cornices above the door, the whole frontage being surmounted by a row of erect uraei, crowned with the solar disc. The canopy belonging to the Thirteenth Dynasty bed is much more simple, being a mere balustrade i

ied mummy-couch

is open, save for a row of vultures hovering above the mummy, which is wept over by two k

The sledge canopy is a panelled shrine, like those which I discovered in 1886, in the tomb of Sennetm? at K?rnet Murraee. If lig

e Louvre and the British Museum were made about the time of the Eleventh Dynasty. These are not the least beautiful specimens which have come down to us, one in particular (fig. 268) having preserved an extraordinary brilliancy of colour. The framework, formerly fitted with a seat of strong netting, was originally supported on

to resemble running lions, and the lower supports being prisoners of war, bound back to back (fig. 270). A foot-board in front served

rone-chair, wall-p

e, resembles that now in use among the weavers of Ekhm?m. It is horizontal, and is formed of two slender cylinders, or rather of two rods, about fifty-four inches apart, each held in place by two large pegs driven into the ground about three feet distant from each other. The warps of the chain were strongly fastened, then rolled round the top cylinder till they were stretched sufficiently tight. Mill sticks placed

wall-scene in tomb of Khn?mhot

in fact, examples of cut and painted leather. The leather- worker's craft flourished in ancient Egypt. Few museums are without a pair of leather sandals, o

gings, or carpet. From Be

r canopy in the Gizeh Museum. The catafalque upon which the mummy was laid when transported from the mortuary establishment to the tomb, was frequently adorned with

heb, daughter of the High Priest Masahirti, wife of the High

cut leather canopy of Isie

dering. On the right, scarabaei with extended wings alternate with the cartouches of King Pinotem II., and are surmounted by a lance-head frieze. On the left side, the pattern is more complicated (fig. 273). In the centre we see a bunch of lotus lilies flanked by royal cartouches. Next come two antelopes, each kneeling upon a basket; then two bouquets of papyrus; then two more scarabaei, similar to those upon the other border. The lance-

leather sail; wall-paint

The choice of subjects is happy, and the colours employed are both lively and harmonious.The craftsmen who designed and executed the canopy of Isiemkheb had profited by a long experience of this system of decoration, and of the kind of patterns suitab

leather sail; wall-paint

274), might be mistaken for one of the side pieces of the canopy at Gizeh. The vultures and fantastic birds depicted upon the sails of

tion. Once only, upon the body of one of the Deir el Bahar? princesses, did I find a royal cartouche embroidered in pale rose-colour. The Egyptians of the best periods seem to have attached special value to plain stuffs, and especially to white ones. These they wove with marvellous skill, and upon looms in every respect identical with those used in tapestry work. Those portions of the winding sheet of Thothmes III. which enfolded the royal hands and arms, are as fine as the finest India muslin, and as fairly merit the name of "woven air" as the gauzes of the island of Cos. This, of course, is a mere question of manufacture, apart from the domain of art. Embroideries and tapestries were not commonly used in Egypt till about the end of the Persian period, or the beginning of the period of Greek rule. Alexandria became partly peopled by Phoenician, Syrian, and Jewish colonists, who brought with them the methods of manufacture peculiar to their own countries, and founded workshops which soon developed into flourishing establishments. It is to t

-ME

silver; and the base metals, as copper, iron, lead, and, at a later period, tin. The two lists a

auquelin in 1825 contained 84 per cent. of copper 14 per cent. of tin, and 1 per cent. of iron and other substances. A chisel brought from Egypt by Sir Gardner Wilkinson contained only from 5 to 9 per cent. of tin, 1 per cent. of iron, and 94 of copper. Certain fragments of statuettes and mirrors more recently subjected to analysis have yielded a notable quantity of gold and silver, thus corresponding with the bronzes of Corinth. Other specimens resemble brass, both in their colour and substance. Many of the best Egyptian bronzes offer a surprising resistance to damp, and oxidise with difficulty. While yet hot from the mould, they were rubbed with some kind of resinous varnish which filled up the pores and deposited an unalterable patina upon the surface. Each kind of bronze had its special use. The ordinary bronze was employed for weapons and common amulets; the brazen alloys served for household utensils; the bron

hold instruments were mostly made

s in a good style, to the humblest of his works. The saucepan in which the cook of Rameses III. concocted his masterpieces is supported on lions' feet. Here is a hot-water jug which looks as if it were precisely like its modern successor

hing jackal; and the larger limb of a pair of scissors in the Gizeh Museum is made in the likeness of an Asiatic captive, his arms tied behind his back. A lotus leaf forms the disk of a mirror, and its stem is the handle. One perfume box is a fish, another is a bird, anot

chased or in relief. These sometimes represent deities, each in a separate

inly from the Eighteenth and Nineteenth Dynasties. The chased lion's head found with the jewels of Queen Aahhotep, the Harpocrates of Gizeh inscribed with the names of Kames and Ahmes I., and several statuettes of Amen, said to have been discovered at Medinet Hab? and Sheikh Abd el G?rneh, are of that period. Our most important bronzes

probably from the years which immediately preceded the accession of Psammetichus I. The Lady Tak?shet is standing, the left foot advanced, the right arm hanging down, the left raised and brought close to the body (fig. 279). She wears a short robe embroidered with religious subjects, and has bracelets on her arms

he worships the sun, as is the duty of the Heliopolitan genii. His right arm is uplifted, his left is pressed to his breast. The style of the whole is dry, and the granulated surface of the skin adds to the hard effect of the figure. The action, however, is energetic and correct, and the bird's head is adjusted with surprising skill to the man's neck and shoulders. The same qualities and the same

r century, for the delight of devotees and pilgrims. They are rounded, vulgar, destitute of originality, and have no more distinction than the thousands of coloured statuettes of saints and Virgins which stock the shelves of our modern dealers in pious wares. An exception must, however, be made in favour of the images of animals, such as rams, sphinxes, and lions, which to the last retained a more pronounced stamp of individuality. The Egyptians had a special predilection for the feline race. They have represented the lion in every attitude--giving chase to the antelope; springing upon the hunter; wounded, and turning to bite his wound; couchant, and disdainfully calm--and no people have depicted him with a more thorough knowledge of his habits, or with so intense a vitality. Several gods and goddesses, as Sh?, Anh?r, Bast, Sekhet, Tefn?t, have the form of the lion or of the cat; and inasmuch as the worship of these deities was more popular in the Delta than elsewhere, so there never pas

ze lion from H

t is nearly white. The silver came chiefly from Asia, in rings, sheets, and bricks of standard weight. The gold and electrum came partly from Syria in bricks and rings; and partly from the Soudan in nuggets and gold-dust. The processes of refining and alloying are figured on certain monuments of the early dynasties. In a bas-relief at Sakkarah, we see the weighed gold entrusted to the craftsman for working; in an

] These plates of metal were forged with hammer and anvil. For smaller objects, they made use of little pellets beaten flat between two pieces of parchment. In the Museum of the Louvre we have a gilder's book, and the gold-leaf which it contains is as thin as the gold-leaf used by the German goldsmiths of the past century. Gold was applied to bronze surfaces by means of an ammoniacal solvent. If the object to be gilt were a wooden statuette, the workman began by sticking a piece of fine linen all over the surface, or by covering it with a very thin coat o

many figures were less than an inch in height, many others measured three cubits, or more. Some were of gold, some of silver; others were part gold and part silver. There were even some which combined gold with sculptured ivory, ebony, and precious stones, thus closely resembling the chryselephantine statues of the Greeks. Aided by the bas-relief subjects of Karnak, Medinet Hab?, and Denderah, as well as by the statues in wood and limestone which have come down to our day, we can tell exactly what they were like. However the material might vary, the style was always the same. Nothing is more perishable than works of this description. They are foredoomed to destruction by the mere value of the materials in which they are made. What civil war and foreign invasion had s

es III. presented as the reward of valour to one of his generals named Tah?ti. The silver cup is much mutilated, but the golden cup is intact and elegantly designed (fig. 284). The upright sides are adorned with a hieroglyphic lege

ir probable age; but whether they belong to the Greek or the Theban period, the workmanship is purely Egyptian. Of one vessel, only the cover is left, the handle being formed of two flowers upon one stem. The others

er the shape of the body of the vase. These are interesting specimens; but they are so few in number that, were

f coin. When the gods had received their share of the booty, there was no alternative but to melt the rest down into ingots, fashion it into pe

for the service of the table, such as cups, goblets, plates, ewers, and ornamental baskets chased with figures of fantastic animals (fig. 287); but also with large ornamental vases which were dressed with flowers, and displayed to visitors on gala days.

cruet. Wall-painting

ully caparisoned, stand back to back on either side of the foot of the vase. The body is divided into a series of horizontal zones, the middle zone being in the likeness of a marshland, with an antelope coursing at full speed among the reeds. Two enamelled cruets (fig. 290) have elaborately wr

cruet. Wall-painting

rently of the same nationality, kneel with upraised hands, as if begging for quarter. Two negro prisoners lying face downwards upon the ground, lift their heads with difficulty. A large vase with a short foot and a lofty cone-shaped cover stands amid the trees.[78] The craftsmen who made this piece evidently v

trees, in place of led giraffes. These were costly playthings wrought in gold, such as the Byzantine emperors of the ninth century accumulated in their palace of Magnaura, and which

n of foreign captives. Vases in daily use were of slighter make and less encumbered with inconvenient ornaments. The two leopards which serve as handles to a crater of the time of T

ervice (fig. 295), are very happily conceived, and have much purity of f

ands. The passion for precious metals was pushed to such extremes under the reigns of the Ramessides that it was no longer enough to use them only at table. Rameses II. and Rameses III. had thrones of gold--not merely of wood plated with gold, but made of the

atisfied to adorn themselves when living with a profusion of trinkets, they loaded the arms, the fingers, the neck

el was movable, and turned upon a pivot. It was frequently set with some kind of stone engraved with the owner's emblem or device; as, for example, a scorpion (fig. 296), a lion, a hawk, or a cynocephalous ape. As in the eyes of her husband his ring was the one essential ornament, so was her necklace in the estimation of the Egyptian lady. I have seen a chain in silver which measured sixty-three inches in length. Others, on the contrary, do not exceed two, or two and a half inches. They are of all sizes and patterns, some consisting of two or three twists, some of large links, some of small links, some massive and heavy, others as light and flexible as the finest Venetian filigree. The humblest peasant girl, as well as the lady of highest rank, might have her necklet; and the woman must be poor indeed whose little store comprised no other ornament. No mere catalogue of bracelets, diadems, collarettes, or insignia of nobility could give an idea of the number and varie

cartouche of ?sertesen III. From Dahsh?r

t likely seized and executed before they could carry that pretty little project into effect. The secret of their

t merely of plain gold rings, both solid and hollow, bordered with plaited chainwork in imitation of filigree. Others are for wearing on the wrist, like the bracelets of modern ladies, and are made of small beads in gold, lapis lazuli, carnelian, and green felspar. These are strung on gold wire in a chequer pa

een Aahhotep, bearing ca

namels. Ahmes kneels in the presence of the god

the burin, and stand in relief upon a ground-surface filled in with pieces of bl

ree parallel bands set with turquoises. On the front a vulture is represented with outspread wings, the feathers composed of green enamel, lapis lazuli, and carnel

neck was a large flexible gold chain, finished at each end by a goose's head reversed. These heads could be linked one in the other, when the chain needed to be fastened. The scarabaeus pendant to this chain is i

d "?sekh" of

scrolls, four-petalled fleurettes, hawks, vultures, winged uraei, crouching jackals, and figures of

breast, below this collar, hung a square jewel of the kind known as "pectoral ornaments" (fig. 303). The general form is that of a naos, or shrine. Ahmes stands upright

k of semi-transparent material, which came very little higher than the waist. The chest and bosom, neck and shoulders, were bare; and the one garment was kept in place by only a slender pair of braces. The rich clothed these uncovered parts with jewellery. The ?sekh collar half hid the shoulders and chest. The pectoral masked the hollow between the breasts. Sometimes even the breasts were covered with two golden cups, either painted or enamelled. Besides the jewels found upon the mummy of Queen Aahhotep, a

ing one from another and diminishing towards the point. A poignard found at Mycenae by Dr. Schliemann is similarly decorated; the Phoenicians, who were industrious copyists of Egyptian models, probably introduced this pattern into Greece. The second poignard is of a make not uncommon to this day in Persia and India (fig. 305). The blade is of yellowish bronze fixed into a disk-shaped hilt of silver. When wielded, this lenticular[79] disk fits to t

nze, formerly gilt. On one side, it is ornamented with lotus flowers upon a gold ground; on the other, Ahmes is represented in the act of slaying a barbarian, whom he grasps by the hair of the head. Beneath this group, Ment?, the Egyptian war-god, is symbolised by a griffin with the head of an eagle. In addition to all these objects, there were two small boats, one in gold and one in silver, emblematic of the bark in which the mummy must cross the river to her last home, and of that other bark in which she would ultimately navigate the waters of the We

rary bark of Q

among them. The technical processes throughout are irreproachable, and the correct taste of the craftsman is in no wise inferior to his dexterity of hand. Having arrived at the perfection displayed in the parure of Aahhotep, the goldsmith's art did not long maintain so high a level. The fashions changed, and jewe

s invention. Rameses II. was condemned either to forego the pleasure of wearing his ring, or to see his little horses damaged and broken off by

racelet of

modifying the style of Egyptian gold-work, and ended by gradually substituting Greek types for native types. The jewels of an Ethiopian queen, purchased from Ferlini by the Berlin Museum, contained not only some ornaments which might readily have been attributed to Pharaonic times, but others of a mixed style in which Hellenic influences are distinctly traceable. The treasure discovered at Zagazig in 1878, at Keneh in 1881, and at Damanh?r in 1882, consisted of objects having nothing whatever in common wi

y more might not be discovered if one had leisure to visit provincial museums, and trace what the hazard of sales may have dispersed through private collections! The variety of small monumen

IRST ENGLI

o the kindness of Mr. W.M. Flinders Petrie, author of "The Pyramids and Temples of Gizeh" (Fie

B.

Kom Baglieh, Kom Ab? Bill?, and Tell Nebesheh, the house

ns as to dry properly; when rightly adjusted there is no cracking in drying

he Twenty-sixth, 16-1/2 x 8-1/4 x 5; later 15 x 7- 1/2; in early Ptolemaic times, 14 x 7; in Roman times, 12 x 6, in Byzantine times, 10 x 5; and Arab bricks are 8 x 4, and continue so very general

even there they are rare, and these are the only cases I hav

t above the plain, as at Defenneh; or the chamber

ks of basalt, and then ground only just the edges flat, while

r face with a rough excess of a few inches; the excess still remains on the granite casing of the pyramid

ction with the Sphinx is much disputed, while it is in direct communication with th

of fine limestone; only a few blocks of this remain. For f

, remains complete, opening to the upper

is often a scene of offering

platform, and was applied by the natives to suc

s in a parabolic curve which turns over into the top surface without any c

ed from the cumulative mastabas, such as

ut the Gizeh pyramids are ent

of the pyramids the passages are such that it would have bee

a pyramid been clearly enlarged, and that

t-- at Gizeh--ar

t do not extend beneath the

one casing have been found; the variety

of the masonry; a temporary staging of stone built up over part

lock which covered the granite plugs was of

accidentally found by the Arabs, after they had forced a long tunnel in the masonry, being

°, like the descent of the entrance passage,

because they are coarse enough to be easily seen; but some joints of the entrance passag

tcullises are those in the

hey ever existed, and the other never could reach the fl

pyramid was opened in the early day

ly touching at the top, without necessarily any thrust. Such at least is the cas

separated; thus all the beams of the upper chambers have been dragged, and every beam o

er sixteen courses; the larger

staba, the faces of which are at the mastaba angle (75°), and the successive enlargements of which are shown by numerous finished facings

yphs on the passage of Pepi's pyramid are not inj

beams which rested independently on the side

e is 75°, and the pyr

the "step-pyramid" of Sakkarah, a cumulative mastaba, as is shown by the remains of th

TNO

ooms at Kahun had

th to Twentie

Medin

triumph from one of his Syrian campaigns. He is met at Zar? by the great officers of his court, who bring bouquets of lotus-blossoms in their hands. Pithom an

ille, with 13 Plates and 2 Maps; published by the Egypt Exploration Fund

l Defenneh of the present day) see Mr. Petrie's memoir, entitled Tanis, Part II, (includ

seen about two hours' distance to the southward o

nd Lake Moeris. Maj

dedicatory inscription dates from the first year of his reign; but t

is design, to scale, in Mr. Petrie's w

oboscion.

Bubastis, see Eighth and Tenth Memoirs of

ressed by "Processional Hall," in accordance with

of Mena, and are referred to in monumental inscriptions as representing the pre-historic people of Egypt. I

dest funerary chapel known, that of K

this temple in Pyramids and Te

uch thicker at the bottom than at the top, so that on the outside it pr

new reading is, however, more correct. Professor Maspe

te excavation of this temple, see the Deir el B

re wall of the Temple, within w

rth, represented by On (Heliopolis)

the usual corresponding pylons. These were ranged in pairs; i.e., a pair of obelisks, a pair of statues; a pair of obelisks, a pair of

n the hieroglyphic inscripti

é. It was considered authentic till Dr. Erman, in an admirable paper contributed to the Zeitschrift, 1883, showed it to have been a forgery concocted by the priests of Khons? dur

Sea, on either side the Bab el Mandeb. Queen Hatsheps?t's famous expedition is represented in a series of coloured bas-relief sculptures on the walls of her great temple at Deir el Bahar?, reproduced in Dr. Dümichen's wo

ulchral vault. If the latter was below the level of the chapel, as in the time of

he necropolis of Med?m,

on its way to England, was of this type. See illustration No.

le on a large scale, see Professor Maspero's article entitled "Trois Années de Fouill

inished chamber. The lettering along the base of the pyramid, though not bearing upon the work of Professor Maspero, has been preserved for the convenience of readers who may wish to consult Mr. Petrie's work for more

t Beni Hasan and El Bersheh see the first memoirs of t

face, General Grenfell caused the sand to be cleared, thus disclosing the entrances to several rock-cut tombs dating from the Sixth and Twelfth Dynasties, as well as two flights of steps on either side of an inclined plane leading from the Nile bank t

with the whole of the texts and the wall decorations faithfully reproduced: Mém

ely, that of Seti I., of beautiful alabaster, in the Soane collection (xixth Dyn.

on of heaven) might mean the ferruginous substance of meteoric stones

the masonry show the use of br

found by Petrie in the ruins of a

emayemi, in 1886, during his excavations for the Egypt Exploration F

interesting piece of trial-work consisting of the

he beginning of the Fourth

are also to be seen at El Kab, and in the famous speos

land immediately facing Syene which was the traditional seat of the Dynasty, and on which the temples stood. The tombs of Elephantine we

nature of the Double, see Chapt

ut in English, squatting, as applied to Egyptian art, is taken to mean t

is statue was best known in England

Greek C

m a brilliant photograph in A Thousand Miles up the Nile, give a truer and

nth, Nineteenth, and Twen

ossus, it must have stood ninety feet high without, and one hundred and twenty feet high with, its p

the sister and successor of her brother Shabaka, and wife of Pian

ribe of the Thirti

epresented as a hippopotamus walking. She carries in each hand the emblem of protec

ds of brick or limestone ruins. This dust is much valued as a manure, or "top-dressing," and is so constantly dug out and carried

o-Egyptian portrait painting

ssay of Scarabs, which is in fact a catalogue of his own specimens, admirably illustrated fr

made at As?an. I bought a small

the mummy. The lids of these vases were fashioned to represent the heads of the four genii of Amenti, Hapi, T

s of the glassworker's stock, were discovered by Mr. F. Ll. Griffith at Tell Gemayemi, about equidistant from the mounds of Tanis and Daphnae (San and Defenneh)

r. F. Ll. Griffith, and in such sound condition that it was possible to

kind known as the "fa

rowns are frequently a

he Eleventh D

at the Louvre, and another i

in the glass and glaze manufactures of Tell

autiful little head here referred to is in the Gizeh

biblical "Hophra;" Amasis, Ahmes II.;

may be seen in the Egyptian depar

seum; but the finest examples of the latter are in the Ambras Collection, Vienna. For a highly interesting and scholarly description of the remains

t was the emblem o

Eighteenth and Nin

he Leyden Museum, and the Florentine Museum contains a cel

to Thebes; its Tombs and their Te

ood, apparently rosewood; the legs being shaped like bull's legs, having silver hoofs, and a solid gold cobra snake twining round each leg. The arm- pieces are of lightwood with cobra snakes carved upon the flat in low relief, each snake c

loom is represented as if upright; but it is

drawings of the separate parts, facsimiles of the inscriptions, etc., s

andscapes, etc., has recently been presented to the British Museum by the Rev. G.J. Chester. The tapestry found at Ekhm?

hich is still erect at Karnak. For a translation in full s

central object may be a royal umbrella wi

l- shaped, or a dou

DE

p, 157,

p II.,

ds of, 163

2-54, 58,

, 2

ash, 1

(See TEMP

4, 131, 13

TRESSES, TEMPLE

a, 20

iron, 2

(See

te,

317, 323, 324, 325

69 and note.

ertari,

l Medin

5, 15

a (See

n?ti

65, 128, 141, 166, 1

men,

r, his t

II., colos

, 52, 241,

ina,

note, 302 (See

er,

tion, in Vien

(See

a (See

at II.,

, 76, 143, 228

I., 157,

tep II

, 103, 147, 158, 179, 226, 229, 23

(See

ef Amenem

is, 235

st, 24

35, 36,

llae

enius, 2

forms of, 100, 167, 2

of (See BAS-RELIEF,

architect

ess o

e MASTABAS a

hinx, 89

Nubian bed

(See

286,

b, sarcophagus

ets,

(See

s, 176,

254, 267 (

nes, 2

, his chapel a

(See

il,

he serpe

76, 199, 25

ng of Ava

DDESSES, TA?

(See

ote, 311 (See HOP

ine, th

r destructive

r table of of

rs, 2

re,-- mili

e dwellin

ic work

es, 4

(See MASTABAS,

46, 52, 53, 5

olossi

166. batt

ngs, 27

arrows,

ze,

ce,

s, 273,

phuret of, o

lon,

, 91

or, 248,

See ELE

rawings,

vasion of E

al tables,

and note, 226, 228, 256 (note),

na,

of the Lady T

ramid o

is,

es, 67. at Karna

attle, 3

n,

ne,

belisk

oul, 111, 112. a

decoration, 142,

the sun at

o serve as b

gration

andeb, 1

96 and note.

nf (See

tela of, 1

oat of the

, 66, 77, 95, 108, 159, 16

27, 169, 196,

201 (See

,-- Ab? Si

forms of,

s,

ed,

ry,

or study

pire,

g of, 2

of walls f

period

s for,

f Horem

l Amar

of Abyd

(See PAINTING, SCULP

ee GODD

s, 28,

s, 14, 24,

68, 247,

30. of s

, of statue of

hinx,

, 20, 4

292. funera

funerary

(See SCA

obelisk

(See TEMPLES a

san (Se

S?e

, parure of j

h (See

See G

rings, 321

See

uman-ha

?r?n, lake

,-- dressing, 47

132, Note15,

ing,

es,

g, 49,

transport by, 45,

ng, 4

ork in,

g that which i

tual of Bu

ual of Emba

129, 157, 165, 172

Opening of t

lue glazed

, 276, 308, 32

s, 29

depicted in tombs,

ngs of

, 42, 2

,-- ba

ramids

4, 270

military arch

3-4, Note

nd straw

3, 21, 11

straw, 1

il and military

es,

rchitectur

alls of tem

ation

as, 11

els

mastabas

g courses

of Za

, rarit

1, 270 (note), 272

(polymit

196, 248, 260, 261

es, 3

, 203. reed

8, 88, 266, 308, 3

(See DYNA

"214 (note). (See RAEMK

. (See GO

, 305

ng, 124. 273

See ROMAN

ite,

gula

os,

nites

of Zar

s, 37

167, 252-253,

erary, 293-

ee COLUMNS

ures, 1

247, 250, 3

nnage

262, 271, 278, 299, 302, 3

d statu

es 7 and 9, 132, Note 15,

71, 17

, 13,

wood

on, 18-19, 92, 9

la,

rs, 3

52, 19

us,

us, performed by ki

325-326. me

179, 281

ion, 26,

furnitur

bas, 116

s, 131 et

lpture in, 121 e

S, AMENHOTEP, AMENI, APIS, DAHSH?R, GIZEH, G?RNEH, K

ts, 18

45 (note). (Se

(See

n (See

e Rev. G.J.

s, 28

45, 195,

mys,

opras

abar

erns

dius

le valley, 254-255. (

story

(See MUMMY-CASES

edals, no E

er of the G

17, 48, 67-

3, 106, 202, 22

nd built in courses, 5

headed,

-bud,

s of

rete

unerary,

a Esn

polis, 61 (

105, 203, 30

roidery, 3

ft), 1, 24

al,

ling,"

36-3

15, 24, 50,

, 3

-- of hous

ples,

alls, 25,

, meta

machi

phinx,

ile, 1

s, 31

f temples

tals

glazed po

nd silver

in wa

ite ancient E

of enamelle

i, 164, 16

pposed gla

, 114, 131,

keh

nh?r

embank

one,

s, 177

te (See TAHPANHES

r, 3

alms,

ani

21-22. geometrical, 19, 256, 258, 295,

, 85 and note, 109 (note), 180

ebraw? (S

dineh (Se

, 37, 209, 235, 2

h (See

r,

T., 196

of ivo

f colu

of Koshe

arrawe

Genne

2, 169, 19

winged

ls,

s, 15, 2

, 151, 160, 285. false, for KA

26, 46, 47,

the (S

tail

Neggeh, 147

ht-bo

. conventional s

g of, 1

in, 182-191. (See PA

74-276, 327.

s, 29

178, 2

ss, 241,

201,

, 227

oat, 2

mbroide

, 168,

oat,

, 225

275,

275, 286

95, 247,

ty, 9

15, 2

n, 109

tatue of

hite),-- possible

emphite),-- de

mples, 64 a

17, 118, 124,

isks

s, 202

s, 134-

gus, 19,

baei,

uary

Memphite),--

ants,

tint

tatuett

117, 119

f offeri

nts, 2

' palett

carved w

ds, 13

f offeri

n Abydos, As?an, the Delta, He

ks,

tint

ress

abas

ds, 14

baei,

aintin

30, 149 (note), 15

heban),-- blue

c vase

rs,

ress

statuet

-case

uary

bs,

(Theban),-- b

ess,

7, 8, 12

22, 323 (S

nak

f offeri

s132, 1

ry, 22

les,

te), 156 (Se

heban),-- funera

nak

226-227, 2

tes, 23

. (Xo?te),-

ry, 22

(Theban),-- dr

ry, 323

phagi

. (Theban),--

glaze

the De

zes,

c vase

296-297

si, 2

chitecture,

r plate, 316,

lver statue

ry, 323

ak,

mphis

ases, 2

' palett

baei,

ure, 2

tuaries, 8

lae

ebes,

ngs, 12, 14

155 e

s,

Theban),-- blu

zes,

ssi,

archite

tint

cations

ilver plat

silver st

lery,

nak

-case

158 e

Theban),-- bl

c vase

archite

33 (See ME

silver pl

lery,

-work,

ches

Bakhtan,

f Khons?

el Yah?deh

aintin

obberi

158 e

sh, 2

rving,

Priest-kings),

ture,

(tomb of

(Bubastite),--

-work,

nak

(Ethiopian)

nak

(Sa?te),-- amp

, 307,

ss,

atuette

nce, 235

re, 236

offerin

bs,

(Persian),--

gs, 33

- building t

7, at Ka

2, at Th

, 295

See TE

m, funerary can

s,

n Fund,-- at Ber

stis, 5

nae, 36

el Bahar

om, 36

s, 104

emi, 200 (not

259, 291, 293,

andiy

3. at Beni Has

54, 69, 88, 228, 265

ozam,

, 304, 3

hant

209 (note), 273, 2

, 276, 302

, 41, 2

in jewellery, 2

la of Bakhtan

nt,

92, 1

ia, 10

nasty (See D

itated scar

s amulet

oratio

cophag

168. (

statues,

, 3

39, 66, 105, 134,

erary, 118,

f Horemheb

ts,

7, 250, 324

ry,

hn,

s,

s, 2

stick

ecoration, 2

amel,

ngs of

Egyptian war-char

s (See

mples

gs of,

ds,

20-34. of Ab

Kab, 2

l Ahmar,

mmeh,

mneh,

tions,

eze

s amule

, 28, 31

, glass,

ancient Egyptian lov

66-168, 251 et s

of poor, 1

,-- in ho

rivate house

6. scaraba

128, 153, 171,

?feydeh,

kal (See

eikh Her

sileh (Se

yn, 33

, 166, 171, 1

(note). of On, Sop,

Husei

h, 14

YRAMIDS, TEM

232-233 237, 239, 241, 242, 244, 262, 265, 267, 268, 271, 273, 274,

El Kab, the Ramesseum, Tell

ell Gemayemi

d ware, 165-172

t,

04, 105, 109, 171, 231, 232,

Ra,

?r,

s, 16

147,

57, 254,

crate

rus), 9

96, 105, 207, 259

, 72, 74, 75, 97,

, 97,

, 1

?m, 31

4, 95, 142, 168,

168,

208,

makhis

, 3

phon),

, 3

118, 167,

, 1

-- Apet, 2

168,

61, 62, 69, 70, 82

47, 249, 250, 28

it,

262,

, 97

th,

heb

, 249, 250, 2

t, 42

250, 2

is,

237 (

?t,

ris,

i,

1, 304,

mith,

scheff

ge,

es, 1,

136, 137, 169, 196, 197, 199, 214,

41, 23

, 77, 107, 127,

models,

an fortification

patterns

tation sc

e on astronomi

uence on c

ence on jew

nce on sculp

ipteral t

stem of building

mounds, 5. (See

eral Sir F., 149 (n

, in draw

Ll., 200 (not

stone

agacan

neh

um,

243, 24

pins

, valley

r, 19

nius, 25

fa (Se

ates (S

See HATS

(See GO

, 85, 104, 105, 109 and not

a, 25

259, 267,

r. Jesse,

, 128, 1

og, 25

lli,

26, 32, 10

am at bat

te, 24

it el Wally, 84,

Bahar?

r,

Husei

Sab?a

158, 2

polis

38, 39-40

?,

257, 261-262 and note, 268, 270

tamus,

31, 185. (

, 203

the bibl

us (See

it statue o

t, 311

82, 155, 158, 179-18

ep (Se

oden statue

be, ?shabt

bjects

f introductio

, 64 and

(See

ta,

es,

See T

is papyrus

, 20

hinxes (S

74, 76, 89, 92, 102,

, 60,

neh

t Add

46, 57, 60, 62-63

of Khon

et Ha

eum, 5

s,

, Princ

?n, 3

, 95, 1

193, 285. red, 44,

in Temple of Sphinx, 66

of ?na

gi, 127,

151, 155-156. (S

195-19

ion, 35

b, 180,

ee GODD

tian patter

72, 273-

e,

r, 24

y, 249,

s,

ard

(See

sh?), 31, 1

ynasty Town, 1,

dah (See

h (See T

, 323

, 130, 141-142, 156-157, 162

of Pep

(See TE

, 235

?d (See CH

nef, 25

, 265

kari (Se

9, 133, 137, 134, 21

(See

Khepra (See

01, 185,

(See

n?,

tep (Se

(See

, 96,

he, 11

enhotep IV.),

, 133, 134-137

oskh?,

See GOD

, 227

s, 30

(See C

, collyrium),

Damas

hmar, 2,

ultan, 2

ee OMBOS an

eish

meh

urraee,

nth, t

oeris,

sacre

, 19

, 247, 250, 304,

so,

ice,

d,

, 292,

ure,

ard,

f. Hayter,

m, 266 (note

s (See O

plateau, 39, 113

21, 207,

135, 138, 139, 140, 147, 148, 166, 169, 192, 19

nt,

os,

30, 286,

26, 46, 47

176, 199, 2

89, 1

. W.J., 201 (no

, 297

4, 116, 180, 247, 254, 266, 268, 269.

6, 227, 239, 240, 266 (note), 271, 27

(See T

e GODD

, (See

aura

et, M

ite, 2

45, 19

al?t

(See

(note), 129,

irti,

ry, 4

arah

, Notes 12-14. (S

, 72,

ee GODD

appliances,

ts,

ers,

ges

(See T

el Fay

ab? (See

e), 131, 143,

30, 245. (See

58, 88, 113, 132, 147, 156, 157, 16

38, 64

es,

128 (note), 134, 137,

?hor,

eperr

?yeh,

(See

emhat

ptah,

a, 133

ankh?

shi?,

, 144

om,

, stela

kh, 69

Egyptian classif

31-33 (Se

ffering

em) (Se

eh,

g, 35

277, 306,

anaanite c

39 (See AME

, Lake

eriyeh

ttam

r, 48

?,

s, 1,

animals and

anopies fo

transpor

127-128, 153, 15

house"

84, 292 et seq.

r, 321. (See

s of,

, 167 (See

es fo

Aahhotep,

tep I.

ara,

m III.

enra,

es III

, 259, 261-

false, 2

ents, 166. lute

rum,

urine

pet,

, 286 (Se

roup fr

, 2

8, 312, 326.

ta,

36 and note

267 a

276, 322, 325

eneb

tep (Se

t, 21

rtar

?m (Se

h (See

es, 4

See GOD

(See GO

p, dwar

(See

(See GO

hons?

t,

mt,

k Museu

in of, 152 (See DOOR

39, 45, 48,

(deities),

hter of Psamme

epresent

, 47, 66,

See PYR

, the

67, 103-106,

ig,

Dynas

104, 106,

polis

or,

is,

an, 24

celesti

re,

e, glas

gs,-- c

k,

l,

FEAST, LIBATIONS, T

l,

88, 92, 245, (See K

nius o

(See

aka,

, carica

128, 153,

nefer

6, 292-293. (See DRAWING,

(See GO

a, mosaic

-- paint

, 128, 1

capit

g, 2, 11 (See DAT

0, 167, 170, 171, 172

, 57, 1

of private

inet H

nebo, Ph

mother-

ls,

322, 323

shi, 23

s,

175

, 140,

, 133, 1

67, 128,

Hyksos, 22

n, 174

, 72, 79, 90, 93, 98. 175, 208,

, 90, 98, 173

econd, 19

83, 84, 106 (See

tive, 1

and mor

oph (Se

-65, 104, 113, 131, 197, 200, 202

67, 95-97,

(See TE

s, 248, 26

hi I.

II., 235

sa,

ts, 20

3-55, 65, 68,

shion

em II

III.,

khan?

I, 36

20 (See GOLD

ny,

ka (Se

rds, 3

), 6, 195, 197,

mita

8, 15

3 (See P

ry, 42

ramids, 136, Note

54, 57, 60, 67, 116

291-292. (See BAS-RELIEF,

ollecti

-259. (See GLAZED

e PHARAOH a

e, M.

enoir), 53, 58 and note

s, 70,

ichus I

s, scribe,

322,

(See

ep (See

mes,

d of, 109

, 77, 78, 79, 80, 85, 87,

Amenemhat III.

, 1

yramid of Gizeh)

ramid of Gizeh)

Pyramid of Gi

a, 133

I.,

, 133, 1

, or Great, 13

ed?m), 132

i,

3, 138,

sen I.

II. (Ill

ion, 10

staba tomb

Notes, pp, 334-337. Ab?

(Hekall

, 131,

ohammeri

ro?, Napata,

a and Illah?

31, 133-

, 134

al?t

33, 134, 13

31. (See

, 35, 41

See

khis (Se

(See SHEIK

p, 214

88, 8

s I.,

, 84, 86, 101, 103, 158, 188, 202, 226,

87, 101, 184, 194, 195,

es IV

es IX

7, 57, 60, 62, 72, 92, 10

23, 109, 153, 168,

, 24, 30

r, 214

171,

emerald m

?yeh,

brush

, 180

ra (Se

e, 175, 23

(See GOLD, JEW

252 (See DAMS, D

.H., 293

, 305, 321

30, 34,

and tombs (See

9, 10, 11,

Vicomte de,

let, 23

ady (See

97. (See FEAST

leather-w

, 26

te), 133, 134, 137, 138, 140, 144, 158, 189, 197, 204, 217, 22

26. (See

(See SPEOS a

ssential part of

, 168,

67, 76, 87, 103, 169

ng, 2

9, 132, 137, 140, 157,

f,-- Aahhotep

s I.

ertari,

tep I.

f?,

oskh?,

128 (no

II., 2

161, 16

, 287. (See

apalus

inia

f Rameses

247

a mode of at

50. funerary, 16

aeoids

st,

ann, Dr

furth,

, of bro

on, 32

cross-legg

214, 222

of, in chapel of Py

in Temple of

luence on

chool of,

119 et s

school of

s of,

school of

l schools

s, 18

mids

e school o

rst) schoo

ies, 226-227. (See BA

, 321

See G

ggers, 23

saf, 20

tep III

enra,

(See GO

(See

20, 28

case of wife of,

a,

27, 129, 139,

169, 195, 23

159, 164, 259,

(See T

5. (See R

See G

, 49, 51, 78, 85, 101, 107, 158, 161

a, 235

h (See

G?rneh,-- bron

s from

of, 214 and note, 220-22

h Sa?

k, 33,

66, 108 (

See G

, 38, 43

bark of,

n of

of,

ets o

ts of

d hilt

work of

s of

es of

s of,

essels of,

of,

41, 6

53, 61,

?,

, bronz

4, 148,

ka,

ptian id

or transport

ry, 29

, 132,

lection,

Egypt, 2

(See T

geniu

feast

gold f

he, (Se

81-85. Ab? Sim

Addah,

, 232. (See

midos (See

64 (note),

325. andro

f, 67, 88

-, 8

s, 22

mpire

ners

273, 278

g, 13,

e,-- for

e, 1

, 70,

pylon

- Alexandri

f Amenhote

er,

d scribe of

cribe of the L

, 2

eb, 23

214, 217

scribe,

shi?,

t, 21

(dwarf)

nefer

f Si?t,

een,

tep,

saf, 20

tep III

d (Raemka), 21

Beled's wi

ka,

mes I

es II.

-- in ho

es, 106,

152, 163, 1

of,-- Amen

l, 27

a, woo

bronze,

enamell

genius, b

bronze

wood,

, wood,

wood,

gold

enamell

, bronze

s,-- alab

e, 30

y,

l Baha

t,

, 31

, 273

tone,

. and XIX. d

ynasty

ynasty

aic, 307. (S

n, 109 and note.

of mastabas, 11

-mastab

tombs,

mid (See

46. dik

. (See ALAB

16, 35, 3

off, Co

illiers,

, 170, 261

er of Hore

eged impurit

ration i

5. wood of, 205

96, 209 (note),

ite,

note), 87, 187,

let, 24

nacle

06-107, 115, 119, 130,

ka, 5

e). (See TELL DEFE

genera

et, 30

urine

7, 200 (note), 227, 228, 234, 235

of hous

296-298, 3

let, 286

ss (See

d,

e APET an

, system

(See GO

neh

a, I (See

(note), (See TAHPA

13, 155, 197 (no

ah, I (See PIT

?deh, tiles

s Seba

shm?ne

emi, 200,

os, 8

0. Ab? Simbel,

9, 51, 60, 64, 85

ly, 84, 205

52 and not

os,

51, 53, 61, 83,

Medine

r,

61, 72, 73, 88, 91

8, 64, 72, 74,

, 56,

ntine,

, 92,

Bark

sileh, 81

Husei

, 64-

h, 60

Addah,

heh, 5

, 60, 62, 63-64, 70-72, 76-79, 87, 88, 89, 92, 100, 101,

, 72, 79, 80, 89, 100, 10

56, 59,

3, 60, 63, 72, 87, 101, 15

eikh

a, 4

58, 88, 9

, 62, 80-81,

neh

beh,

onah

eb,

47, 104

ab?ah,

otep

p III, 5

nus Pi

ars,

ty IV

ty XI

EIR EL BAHAR? and

See GEBEL

arnak, 60, 7

emie

I. (See ME

HAPEL, HEMI-SPEOS,

s, 16,

a, vases o

g, pyrami

67, 296-29

ndria

aded

303-304

an,

, the,

48, 153, 154, 155, 157-165, 168, 174, 177, 186, 193, 197, 205, 209, 2

ver vases o

(See

s I, 76

s II, 7

3, 58-59, 60, 77, 92, 1

mes I

GODDESSES, AP

. (See PITHOM and

See

Denderah an

rooms in Hadrian

en, vase

mural decorat

d of Sakk

l Yah?deh

at,

, 3

, 166, 259, 266-267

,-- Aff

17, 15

d?a,

tep II

, 149

, 12

renf,

ef, 26

zefa

?,

b, 179-

ep, 15

, 2

ir,

okari,

ha,

t?,

, 150, 151, 152

na,

?ka,

ep, 115,

130 a

enoph

nika

118, 119, 1

tep,

es I.

es II

II., 161-

es IV

cribe

3, 186,

158, 161-

m?, 25

espta

i, 11

, 117,

, 1

24. (See

. Egyptian ide

pyramids

as, 11

ds, 13

tombs,

, 22,

l Medin

148, 149,

nd note, 149, 150, 151, 1

, 148 a

period,

Gebraw

a, 13, 1

9, 291-29

eh,

period

s Sa?d

Murra

deh,

h Sa?

148,

.,-- adze,

il,

201

, 305

measur

45, 21

, 214, 247

ge,

stone

r, 19

s, 30

45, 19

s,

(note), 197, 20

47, 25

ges

(See WHEEL,

s,

us,

te 1, 7-8, 87-

nic, 1

emai

an,

tic

Dynast

d, 20

182,

es,

s, 182

?,

genius,

See G

171, 229, 231, 232,

e, 247,

Set) (Se

feast

ote). (See APRI

ee GODD

See T

3, 138,

silisk), 6

, 326

en I, 7

II., 7,

II., 28, 22

167, 253

ulet, 2

, 203-2

cient Empir

ze,

67, 252-25

of, 256, 25

on, 29

nd gold,

lae,

otta, 1

ONZE, GLASS, GLAZED WARE

note, 36, 51, 14

lin, M

us,

lion,

Museu

2, 299, 30

ol. How

weh, 40. G

See HEMI

es,

, 99, 120, 122, 124, 130, 152-156, 162, 165, 177, 178, 179, 192, 193, 194, 195, 260,

hous

, 124,

potter'

, 276, 286, 3

ir Gardner,

ir E., 12

, 11, 50,

5, 36,

and note, 224, 235, 274-277. (See CABINET

zig,

lle), 34

cle of Dende

el Arya