A History of Art in Ancient Egypt Volume I Part 23

As these tombs were all upon the surface of the ground they have suffered more than any others from the attacks of man. Those which are reproduced among these lines of text were only recovered by Mariette by dint of patient excavation. And although these ill constructed edifices, so far as their materials are concerned, are still standing, they will soon follow the many thousands which once stood in serried ranks round the sepulchre of Osiris. The only remains of this necropolis which are likely to be preserved are the numberless steles which Mariette rescued from its _debris_. They form about four-fifths of the total number of those monuments now preserved in the museum at Boulak.[236] We figure two of them, one belonging to the Middle, the other to the New Empire (Figs. 164 and 165).

[236] All these steles are figured in the last work published by MARIETTE, the _Catalogue general des Monuments d'Abydos, decouverts pendant les Fouilles de cette Ville_, 1 vol. 4to.

Paris, 1880.

[Ill.u.s.tration: FIG. 165.--Stele of Pinahsi, priest of Ma: Abydos. New Empire. Drawn by Bourgoin. (Boulak.)]

Whenever religious motives did not affect their choice, the Egyptians preferred, during the period we are now considering, to cut their tombs horizontally out of some rocky eminence. Such a tomb was called a sp??? by the Greeks. The most interesting examples of these constructions are offered by the tombs of the twelfth dynasty at Beni-Ha.s.san and at Siout, both situated between Memphis and Abydos.

Champollion was the first to appreciate the importance of the grottos of Beni-Ha.s.san. Ever since his time they have received, for various reasons, much of the attention of egyptologists. We have already referred to their inscriptions, which are as interesting to the historian of ideas as to the student of political and social organizations. We have alluded above to the varied scenes which cover the walls of their chambers, the most important of which have been reproduced by Champollion, Lepsius, and Prisse d'Avennes; we have finally to speak of those famous protodoric columns, as they are called, in which some have thought they saw the original model of the oldest and most beautiful of the Grecian orders. We are at present concerned, however, with the arrangement of the tombs themselves.

These are the same, with but slight variations, for the smallest and most simple tombs as for those which are largest and most elaborately decorated.

These facades are cut into the cliff-like sides of the hills of the Arab Chain, about half-way up their total height. They are, therefore, high above the surface of the river. When the cutting was made, two or three columns were left to form a portico, the deep shadows of which stand out strongly against the whiteness of the rock. This portico leads to a chamber which is lighted only from the door. Its ceiling is often cut into the form of a vault. A deep square niche is cut, sometimes opposite to the door, sometimes in one of the angles. It once contained the statue of the deceased. Most of the tombs have but one chamber, but a few have two or three. In a corner either of the only chamber or of that which is farthest from the door, the opening of a square well is found; this leads to the mummy-chamber, which is excavated at a lower level.

[Ill.u.s.tration: FIG. 166.--Facade of a tomb at Beni-Ha.s.san.]

The chamber upon which the portico opens is the funerary chapel, the place of reunion for the friends and relations of the dead. As Mariette very truly remarks, from the first step which the traveller makes in the tomb of Numhotep at Beni-Ha.s.san, he perceives that, in spite of all differences of situation, the traditions of the Ancient Empire are still full of vitality. "The spirit which governed the decorators of the tomb of Ti at Sakkarah still inspired the painters who covered the walls of the tomb of Numhotep at Beni-Ha.s.san. The defunct is at home among his own possessions; he fishes and hunts, his cattle defile before him, his people build boats, cut down trees, cultivate the vine and gather the grapes, till the earth, or give themselves up to gymnastics or to games of skill and chance, and among them the figure of the dead is carried hither and thither in a palanquin. We have already found pictures like these in the mastabas of the Ancient Empire, and here we find them again. But at Beni-Ha.s.san this painted decoration becomes more personal to the occupant of the tomb, the inscriptions enter into precise and copious biographical details, which are never found elsewhere."[237]

[237] MARIETTE, _Voyage dans la Haute-egypte_, vol. i. p. 51.

[Ill.u.s.tration: FIG. 167.--Facade of a tomb at Beni-Ha.s.san, showing some of the adjoining tombs.]

[Ill.u.s.tration: FIG. 168.--Interior of a tomb at Beni-Ha.s.san. Drawn in perspective from the elevation of Lepsius (i. pl. 60).]

[Ill.u.s.tration: FIG. 169.--Plan of the above tomb.]

The necropolis of Siout, in the Libyan chain, offers the same general characteristics. The tomb of Hapi-Tefa, a feudal prince of the twelfth dynasty, and consequently a contemporary of those princes of the nome of Meh who are buried at Beni-Ha.s.san, is the most remarkable. It is composed of three large chambers communicating one with another, and with the external air by a wide portico. The mummy-pit is reached from the innermost of these chambers.

Neither statues, mummies, nor any other movable objects have been found in these grottos. When their accessible situation and their conspicuous appearance is remembered, this should not cause surprise.

Many centuries ago the acacia doors, which are mentioned in one of the texts at Beni-Ha.s.san, disappeared, and, in spite of the acc.u.mulation of sand, the mouths of the wells could be found so easily, and could so readily be cleared, that all objects of value and interest must have been abstracted from the mummy-chambers in very remote times, perhaps before the fall of the antique civilization. The inscriptions and the painted walls alone remained practically intact down to the commencement of the present century. The dryness of the climate, and the difficulty of detaching them from the wall contributed to their preservation, which was nowhere more complete than at Beni-Ha.s.san. But since travelling in Egypt became the fashion their sufferings have begun. The mania for carving names upon every surface, and for preserving souvenirs of all places of interest, has destroyed the whole of one wall. The smoke of torches has also done its work in reducing the brilliant tones and blunting the delicate contours.

Happily, the more interesting examples are all reproduced in those great works to which we have already had such frequent occasion to refer.

[Ill.u.s.tration: FIG. 170.--Chess players, Beni-Ha.s.san. (Champollion, pl. 369.)]

The rich necropolis of Thebes has not preserved any monuments from this period in such good condition as those of Abydos, Beni-Ha.s.san, or Siout. M. Maspero has discovered, however, in the district known as the _Drah-Aboul-Neggah_, some remains of the royal tombs of the eleventh dynasty. Several of these tombs resemble in their general arrangements those of the feudal princes of Meh and Siout. Thus the sepulchre of the King _Ra-Anoub-Khoper-Entef_ is what the Greeks called a _hemi-speos_, that is, it was partly built and partly hollowed out of the living rock. Before the facade thus built against the mountain, two obelisks were reared. The tombs of the other princes belonging to the family of Entef were built upon the open plain. They were structures in masonry, and seem at one time to have been crowned by pyramids. Some idea of their shape may be obtained from our ill.u.s.trations of the tombs at Abydos.[238]

[238] MASPERO, _Rapport sur une Mission en Italie_ (in the _Recueil de Travaux_, vol. ii. p. 166). The Abbott Papyrus gives a list of these little pyramids.

To complete our observations upon the tombs of the first Theban Empire, it will be sufficient to recall what we have already said about the pyramids in the Fayoum, which were the work of the thirteenth dynasty. It is difficult to form an accurate idea of the appearance of those monuments when complete. Time has treated them with great severity, and in their present state it is impossible to verify the a.s.sertions of Herodotus as to the peculiarities of their casing and crowning ornaments. But it is quite certain that the Middle Empire made no original inventions in the matter of sepulchral architecture. It appears to have discontinued some of the ancient arrangements, but in those which it preserved its efforts were confined to putting old elements together in a new fashion and with new proportions. It made frequent use of one mode of sepulture which had previously been quite exceptional. No mastaba is known which dates from this epoch, but the kings had not ceased to confide their mummies and the perpetuation of their glory to pyramids, but these were no longer of such colossal dimensions as under the Ancient Empire, while their character was complicated, to some extent, by the colossi with which they are said to have been surmounted, and the figured decoration of their walls. Finally, they were often employed, not as self-contained monuments in themselves, but merely as the culminating points in a more complex _ensemble_. They were built upon a rectangular platform or tower with walls slightly inclined from the perpendicular.

It would seem that the idea of this arrangement had occurred to the primitive Egyptians. So, too, had that of the _speos_ or rock-cut tomb; but the Memphite architects have left nothing which at all resembles the grottos in the mountain sides of Beni-Ha.s.san and Siout.

Neither in the neighbourhood of the pyramids nor in any other district where the tombs of the early epoch are found, has any sepulchre been discovered which shows the monumental facades, the large internal development, and the simple and dignified lines of the artificial chambers in the Arab and Libyan chains.

--4. _The Tomb under the New Empire._

The subterranean tombs for which the first Theban Empire had shown so marked a preference, became firmly seated in public favour during the succeeding centuries. We do not know what the funeral customs may have been during those centuries when the Hyksos, or shepherd kings, were masters of Egypt; but, after their expulsion, the great Theban dynasties, the eighteenth, the nineteenth, and the twentieth, by whom the glory of Egyptian arms and culture was spread so widely, hardly made use of any sepulchre but the chamber hollowed laboriously in the rocky sides of that part of the Libyan chain which lies to the west of Thebes. Every traveller visits the royal tombs which lie in the gloomy ravine called the _Bab-el-Molouk_, or the Gate of the Kings. The valley is about three miles in length and has a mean width of about eleven hundred yards; its sides are riddled with galleries penetrating more or less deeply into the mountains, and starting sometimes from the slopes, sometimes from the base of the cliffs, which here and there attain a height of 400 feet. The word speos seeming to the Greeks to give an inadequate idea of the depth of these excavations and of their narrow proportions, they called them s?????e? or pipes; and modern archaeologists have often employed the same picturesque term in speaking of the Theban tombs. Five-and-twenty of these tombs are royal; the rest belong to wealthy subjects, priests, warriors, and high officers of state. In extent and richness of ornament some of the latter are in no way inferior to the tombs of the sovereigns.

Our studies must first, however, be directed to the royal tombs, because in them we find the most original types, the most important variations upon those which have gone before. In them the art of the New Empire gives a clearer indication of all the changes which the progress of ideas had brought about in the Egyptian conception of a future life. In them, too, the Egyptian taste for ample dimensions and luxuriant decoration is more freely indulged. The architects of Seti and Rameses had resources at command far beyond those of which their early rivals could dispose. They were, therefore, enabled to indulge their employers' tastes for magnificence, and to give to certain parts of the tomb a splendour which had been previously unknown. And such parts were never those upon which the pyramid builders had lavished most of their attention.

Nothing could be more simple than the course of proceeding of the earlier architects, whose services and high social position are indicated for us by more than one stele from the Ancient Empire. They had to distinguish the royal from the private tomb, and no means to such an end could be more obvious than to make use of a form of construction which allowed the height and extent to be added to _ad infinitum_ without compromising the stability of the monument. Their one idea, therefore, was to push the apex of the pyramid as far up into the sky as they could. The height grew as the flanks swelled, so that it became, by one process of accretion, ever more imposing and better fitted to safeguard the precious deposit hidden within it. In such a system the important point was this envelope of the mummy-chamber, an envelope composed of thousands of the most carefully dressed and fixed blocks of stone, which, in their turn, were covered with a cuira.s.s of still harder and more durable materials. In order that all access to the sarcophagus might be more safely guarded against, the funerary chapel was separated from the mountain of hewn stone which inclosed the mummy-chamber. Supposing the latter to be decorated with all the taste and richness which we find in the tomb of Ti, it would still be comparatively small and unimportant beside the colossal ma.s.s which overshadowed it, and to which it belonged. The disproportion is easily explained. When the pyramids were built, the workman, the actual mason, had little more to learn. He was a thorough master of the dressing and fixing of stone and other materials; but, on the other hand, the art of architecture was yet in its infancy. It had no suspicion of those rich and varied effects which the later Egyptians were to obtain by the majesty of their orders and the variety of their capitals. It was not till much later that it learnt to raise the pylon before the sacred inclosures, to throw solemn colonnades about their courts, and to greet the visitor to the temples with long naves clothed in all the glory of colour.

Two periods of national renascence, in the thirteenth and eighteenth dynasties, had to intervene before these marvels could be realized.

The earlier of these two periods is only known to us by a few works of sculpture in our museums. We are forced to guess at its architecture, as we have nothing but descriptions, which are at once incomplete and exaggerated, to guide our imaginations.

[Ill.u.s.tration: FIG. 171.--General plan of Thebes.]

The second Theban Empire may be studied under very different conditions. The architects of that epoch excelled all their predecessors in the skill with which they used their materials, and the artistic ability with which they laid their plans. In a word, they realized the ideal towards which Egyptian builders had been tending for many centuries, and their genius is still to be seen in buildings which, even in their ruin, charm by the grandeur of their conception and the finish of their execution.

In the century which saw the construction of the great temples of Abydos, of Karnak, and of Luxor, the architect who was charged with the building of the royal tombs could dispose of all the resources of an empire which stretched from the southern boundaries of Ethiopia to Damascus and Nineveh. He would have fulfilled the wishes of neither prince nor people had he not found means to give an amplitude and a beauty to those tombs which should stand a comparison with the sumptuous edifices which the same kings had erected, in another part of the city, in honour of the great deities of the country.

The simple and ma.s.sive forms of the pyramid did not lend themselves to success in such an enterprise. They afforded no opportunity for the happy combinations of horizontal and vertical lines, for the contrasts of light and shadow and splendour of decoration which distinguished the epoch. The experience of the Middle Empire proved that it was better to make a fresh departure than to attempt to foist upon the pyramid a cla.s.s of ornament which was destructive to the simplicity in which so much of its grandeur consisted. The highest expression of the new form of art was in the temple, the development of which was rather in a horizontal than in a vertical direction; in the long avenues of sphinxes, in the pylons and colossal statues of the kings, in porticoes and forests of columns. The problem, therefore, was to embody some of these elements in the design of the tomb. For this purpose it was necessary to give increased dimensions and greater importance to a part of the royal sepulchre which had been hitherto comparatively neglected. The funerary chapel had to be expanded into a temple in miniature, into a temple where the king, who had rejoined the deities from whom he was descended, could receive the homage and worship of his people.

The exploits of these princes, which were greater than anything of which Egypt had to boast in the whole of its glorious past, must have helped to suggest the temple form of their tombs. To this form the general movement of the national art also pointed, and to give it effect nothing more was required than the separation of the chapel from the tomb proper, to which previous tradition had so closely allied it. The situation of the sepulchre, after Thebes had become a populous city and the real capital of Egypt, was no longer a matter of question. It was in the rocky flanks of the Libyan chain that all its inhabitants sought that asylum for their dead which the inhabitants of Memphis found upon the eastern edge of the desert. The Libyan chain to the west of Thebes offers no platform like that of the necropolis of Memphis. Its cliffs and intersecting ravines offer no sites for constructed works; hence the ordinary form of Theban tomb is the _speos_, or the _pipe_, which is but an exaggerated form of the _speos_.

Like the chief men among his subjects, the sovereign loved to take his last repose in the immediate neighbourhood of the city in which he had dwelt during his life, in which the streets had so often resounded to the cries of triumph which greeted his return from some successful campaign, or had seen him pa.s.s in some of those long processions which are figured upon the walls of Medinet-Abou (Fig. 172).[239] His tomb was a cavern like that of his subjects. Fashion and the physical conditions of the country governed him as well as his inferiors in rank. From the reign of Seti I. onwards, the kings chose for their place of sepulture the wild and deserted valley in which Belzoni found the tomb of that conqueror. In the time of the Ptolemies it contained the bones of no less than forty Egyptian monarchs. It would be difficult to imagine any site better calculated for the isolation and concealment of the mummy than this valley, where the rocks split and crumble under the sun, and the sand blown hither and thither by the winds from the desert fills up every crevice in the cliffs.

[239] Fig. 172 reproduces only a part of the long plate given in Wilkinson. In order to bring the more important groups within the scope of one page, we have been compelled to omit the central portion, which consists princ.i.p.ally of columns of hieroglyphs.

[Ill.u.s.tration: FIG. 172.--Rameses III. conducting a religious procession, at Medinet-Abou. (Wilkinson, iii., pl. 50.)]

Nothing could be easier than to mask the entrance in such a place, but, on the other hand, no constructed building of any importance was possible except at a great expenditure of time and labour.[240]

[240] See the description of the Valley of the Kings in the _Lettres d'egypte et de Nubie_ of CHAMPOLLION (p. 183 of the second edition).

But the plain at the foot of the range offered all that the architect could wish. It was still within the district consecrated to the dead, and yet its level surface presented no obstacles to an unlimited extension of any buildings which might be placed upon it.

We have here then the facts which determined the course of the Egyptian architects.

In the s.p.a.ce inclosed between the left bank of the river and the first slopes of the Libyan chain, certain edifices were raised which are still, in great part, extant. Their funerary signification was never completely understood, in spite of the confused hints to that effect given by the Greek writers, until within the last few years. To Mariette belongs the credit of having at last removed all doubt on the subject. It is probable enough that the number of these buildings was formerly much greater than it is at present, but those which have come down to us are still in sufficiently good preservation to enable us to discern and define their true character, a character which was doubtless common to all the temples on the left bank of the Nile.

They were certainly temples. Their general arrangements do not differ from those of other religious edifices, both in Thebes itself, and elsewhere in Egypt. There is, however, a difference which was not perceived until the texts which contained the history of each temple and of the prince who claimed the credit of its erection were deciphered. The famous buildings at Luxor and Karnak may be taken as typical examples of the temple, properly speaking, in its richest and most complete development. The translation of the inscriptions and royal ovals which cover their walls has sufficed to show that they were national monuments, public sanctuaries consecrated by the king, as the representative of the people, to the worship of those great deities who were at once the principles of life and the faithful protectors of the Egyptian race. Century after century they never ceased to found such temples, to increase and to embellish them. From the princes of the twelfth dynasty down to the Ptolemies, and even to the Roman emperors, every successive family which occupied the throne held it a point of honour to add to the creations of its predecessors.

One prince built a hypostyle hall, or a court surrounded by a colonnade; another added to the long rows of human or ram-headed sphinxes which lined the approaches; a third added a pylon, and a fourth a laboriously chiselled obelisk. Some kings, who reigned in periods of recuperation after civil war or barbaric invasion, set themselves to repair the damage caused by time and the violence of man. They strengthened foundations, they lifted fallen columns, they restored the faded colours of the painted decorations. The foreign conquerors themselves, whether Ethiopians, Persians, or Greeks, as soon as they believed themselves to have a firm hold upon the country, set themselves with zeal to obliterate the traces of their own violence. Each of these sovereigns, whether his contribution to any work had been great or small, took care to inscribe his own name upon it, and thus to call upon both posterity and his own contemporaries to bear witness to his piety.

The temple as we see it at Karnak and Luxor is the collective and successive work of many generations. Such, too, was the character of the great buildings at Memphis which were consecrated to Ptah and Neith.

But on the left bank of the Nile, and in the neighbourhood of the Theban necropolis, we find a group of temples whose physiognomy is peculiar to themselves. Nothing exactly like them is to be found elsewhere;[241] and they all belong to one period, that of the three great Theban dynasties, the eighteenth, nineteenth, and twentieth.[242] "These temples are monuments raised by the kings themselves to their own glory. They are not, like the temples at Karnak and Luxor, the acc.u.mulated results of several generations.

Each temple was begun and finished by the king who planned it, so far at least as construction was concerned. In those cases where the decoration was left incomplete at the death of the royal builder, his successor finished it in his name. In these decorations the founder of the temple was represented either worshipping the G.o.ds, or in the eventful moments of his military career, or in his great hunts; and thus, while yet alive, he laid the foundations of an edifice destined to carry the memory of his glory and piety down to the latest posterity."[243]

[241] EBERS, indeed, found something of the same kind in the temple of Abydos. He found there a cenotaph consecrated to his own memory by Seti I. This cenotaph was near the tomb of Osiris, while the king himself was buried in the Theban necropolis.

(_aegypten_, pp. 234, 235.)

[242] The beautiful little temple of Dayr-el-Medinet, begun by Ptolemy Philopator and finished by his successors, especially by Physco, has often been considered a funerary monument. It is alleged that the situation of the temple in the necropolis, and the nature of the subjects represented in the interior, particularly in the Western Chamber, prove that it was so. If we accept this opinion, we must look upon the temple as a mere freak of fancy, suggested to Ptolemy Philopator by a journey to Thebes. The Greek prince was interred far from it, and it could have formed no part of his tomb.

[243] MARIETTE, _Deir-el-Bahari_, -- 1. (Atlas, folio, Leipsic, 1877, with 40 pages letterpress, 4to.)

[Ill.u.s.tration: FIG. 173.--Rameses III. hunting; from Medinet-Abou.]

Surrounded on all sides by tombs and packed into a comparatively narrow s.p.a.ce, these temples are separated from the Bab-el-Molouk only by the slopes of the surrounding El-a.s.sa.s.sif. The oldest of them is that at Dayr-el-Bahari. It was built by the regent Hatasu, of whose career we know enough to strongly excite, but too little to satisfy, our curiosity. We know that Hatasu, the wife and sister of Thothmes II., governed Egypt with skill and energy for seventeen years, in trust for her brother, Thothmes III. Where does her mummy repose? Is it in that ravine on the south-west of the Bab-el-Molouk which is called the _Valley of the Queens_, because the tombs of many Theban princesses have been found in it? Or is it in the slopes of the mountain behind the temple itself? Numerous sepulchral excavations have been found there, and many mummies have been drawn from their recesses. The artists to whom the decoration of the temple was committed, were charged to represent the chief actions of Hatasu as regent, and, although their works do not give us a detailed history of her eminently successful administration, they deal at length with the enterprise of which the regent herself seems to have been most proud, namely, the maritime expedition against _Punt_, a distant region which must have been either southern Arabia, the country of the Somalis, or the eastern coast of Africa.