The necropolis quarter of Abydos, in which were interred the earlier generations of the Theban Empire, furnishes the most ancient examples of the first system. The tombs are built of large, black, unbaked bricks, made without any mixture of straw or grit. The lower part is a mastaba with a square or oblong rectangular base, the greatest length of the latter being sometimes forty or fifty feet. The walls are perpendicular, and are seldom high enough for a man to stand upright inside the tomb. On this kind of pedestal was erected a pointed pyramid of from 12 to 30 feet in height, covered externally with a smooth coat of clay painted white. The defective nature of the rock below forbade the excavation of the sepulchral chamber; there was no resource, therefore, except to hide it in the brickwork. An oven-shaped chamber with "corbel" vault was constructed in the centre (fig.

144); but more frequently the sepulchral chamber is found to be half above ground in the mastaba and half sunk in the foundations, the vaulted s.p.a.ce above being left only to relieve the weight (fig. 145). In many cases there was no external chapel; the stela, placed in the bas.e.m.e.nt, or set in the outer face, alone marking the place of offering. In other instances a square vestibule was constructed in front of the tomb where the relations a.s.sembled (fig. 146). Occasionally a breast-high enclosure wall surrounded the monument, and defined the boundaries of the ground belonging to the tomb. This mixed form was much employed in Theban cemeteries from the beginning of the Middle Empire. Many kings and n.o.bles of the Eleventh Dynasty were buried at Drah Ab'l Neggeh, in tombs like those of Abydos (fig. 147). The relative proportion of mastaba and pyramid became modified during the succeeding centuries. The mastaba--often a mere insignificant substructure--gradually returned to its original height, while the pyramid as gradually decreased, and ended by being only an unimportant pyramidion (fig. 148). All the monuments of this type which ornamented the Theban necropolis during the Ramesside period have perished, but contemporary tomb-paintings show many varieties, and the chapel of an Apis which died during the reign of Amenhotep III. still remains to show that this fashion extended as far as Memphis. Of the pyramidion, scarcely any traces remain; but the mastaba is intact. It is a square ma.s.s of limestone, raised on a base, supported by four columns at the corners, and surmounted by an overhanging cornice; a flight of five steps leads up to the inner chamber (fig. 149).

[Ill.u.s.tration: Fig. 149.--Section of Apis tomb, _tempo_ Amenhotep III.]

The earliest examples of the second kind are those found at Gizeh among the mastabas of the Fourth Dynasty, and these are neither large nor much ornamented. They begin to be carefully wrought about the time of the Sixth Dynasty, and in certain distant places, as at Bersheh, Sheikh Said, Kasr es Said, Asan, and Negadeh. The rock-cut tomb did not, however, attain its full development until the times of the last Memphite kings and the early kings of the Theban line.

In these rock-cut tombs we find all the various parts of the mastaba. The designer selected a prominent vein of limestone, high enough in the cliff side to risk nothing from the gradual rising of the soil, and yet low enough for the funeral procession to reach it without difficulty. The feudal lords of Minieh slept at Beni Hasan; those of Khmn at Bersheh; those of Sit and Elephantine at Sit and in the cliff opposite Asan (fig.

150). Sometimes, as at Sit, Bersheh, and Thebes, the tombs are excavated at various levels; sometimes, as at Beni Hasan, they follow the line of the stratum, and are ranged in nearly horizontal terraces.[31] A flight of steps, rudely constructed in rough-hewn stones, leads up from the plain to the entrance of the tomb. At Beni Hasan and Thebes, these steps are either destroyed or buried in sand; but recent excavations have brought to light a well-preserved example leading up to a tomb at Asan.[32]

[Ill.u.s.tration: Fig. 150.--Tombs in cliff opposite Asan.]

[Ill.u.s.tration: Fig. 151.--Facade of tomb of Khnmhotep, at Beni Hasan, Twelfth Dynasty.]

[Ill.u.s.tration: Fig. 152.--Facade of tomb, Asan.]

The funeral procession, having slowly scaled the cliff-side, halted for a moment at the entrance to the chapel. The plan was not necessarily uniform throughout any one group of tombs. Several of the Beni Hasan tombs have porticoes, the pillars, bases, and entablatures being all cut in the rock; those of Ameni and Khnmhotep have porticoes supported on two polygonal columns (fig. 151). At Asan (fig. 152), the doorway forms a high and narrow recess cut in the rock wall, but is divided, at about one-third of its height, by a rectangular lintel, thus making a smaller doorway in the doorway itself. At Sit, the tomb of Hapizefa was entered by a true porch about twenty-four feet in height, with a "vaulted" roof elegantly sculptured and painted. More frequently the side of the mountain was merely cut away, and the stone dressed over a more or less extent of surface, according to the intended dimensions of the tomb. This method ensured the twofold advantage of clearing a little platform closed in on three sides in front of the tomb, and also of forming an upright facade which could be decorated or left plain, according to the taste of the proprietor. The door, sunk in the middle of this facade, has sometimes no framework; sometimes, however, it has two jambs and a lintel, all slightly projecting.

The inscriptions, when any occur, are very simple, consisting of one or two horizontal lines above, and one or two vertical lines down each side, with the addition perhaps of a sitting or standing figure. These inscriptions contain a prayer, as well as the name, t.i.tles, and parentage of the deceased. The chapel generally consists of a single chamber, either square or oblong, with a flat or a slightly vaulted ceiling. Light is admitted only through the doorway. Sometimes a few pillars, left standing in the rock at the time of excavation, give this chamber the aspect of a little hypostyle hall. Four such pillars decorate the chapels of Ameni and Khnmhotep at Beni Hasan (fig. 153). Other chapels there contain six or eight, and are very irregular in plan. One tomb, unfinished, was in the first instance a simple oblong hall, with a barrel roof and six columns.

Later on, it was enlarged on the right side, the new part forming a kind of flat-roofed portico supported on four columns (fig. 154).

[Ill.u.s.tration: Fig. 153.--Plan of tomb of Khnmhotep, at Beni Hasan.]

[Ill.u.s.tration: Fig. 154.--Plan of unfinished tomb, Beni Hasan.]

[Ill.u.s.tration: Fig. 155.--Funeral processions and ceremonies from wall- painting in tomb of Manna, Thebes, Nineteenth Dynasty.]

To form a _serdab_ in the solid rock was almost impossible; while on the other hand, movable statues, if left in a room accessible to all comers, would be exposed to theft or mutilation. The _serdab_, therefore, was transformed, and combined with the stela of the ancient mastabas. The false door of the olden time became a niche cut in the end wall, almost always facing the entrance. Statues of the deceased and his wife, carved in the solid rock, were there enthroned. The walls were decorated with scenes of offerings, and the entire decoration of the tomb converged towards the niche, as that of the mastaba converged towards the stela. The series of tableaux is, on the whole, much the same as of old, though with certain noteworthy additions. The funeral procession, and the scene where the deceased enters into possession of his tomb, both merely indicated in the mastaba, are displayed in full upon the walls of the Theban sepulchre. The mournful _cortege_ is there, with the hired mourners, the troops of friends, the bearers of offerings, the boats for crossing the river, and the catafalque drawn by oxen. It arrives at the door of the tomb. The mummy, placed upright upon his feet, receives the farewell of his family; and the last ceremonies, which are to initiate him into the life beyond the grave, are duly represented (fig. 155). The sacrifices, with all the preliminary processes, as tillage, seed-growing, harvesting, stock- breeding, and the practice of various kinds of handicraft, are either sculptured or painted, as before. Many details, however, which are absent from tombs of the earlier dynasties are here given, while others which are invariably met with in the neighbourhood of the pyramids are lacking.

Twenty centuries work many changes in the usages of daily life, even in conservative Egypt. We look almost in vain for herds of gazelles upon the walls of the Theban tombs, for the reason that these animals, in Ramesside times, had ceased to be bred in a state of domestication. The horse, on the other hand, had been imported into the valley of the Nile, and is depicted pawing the ground where formerly the gazelle was seen cropping the pasturage. The trades are also more numerous and complicated; the workmen's tools are more elaborate; the actions of the deceased are more varied and personal. In former times, when first the rules of tomb decoration were formulated, the notion of future retribution either did not exist, or was but dimly conceived. The deeds which he had done here on earth in no wise influenced the fate which awaited the man after death. Whether good or bad, from the moment when the funeral rites were performed and the necessary prayers recited, he was rich and happy. In order to establish his ident.i.ty, it was enough to record his name, his t.i.tle, and his parentage; his past was taken for granted. But when once a belief in rewards and punishments to come had taken possession of men's minds, they bethought them of the advisability of giving to each dead man the benefit of his individual merits. To the official register of his social status, they now therefore added a brief biographical notice. At first, this consisted of only a few words; but towards the time of the Sixth Dynasty (as where na recounts his public services under four kings), these few words developed into pages of contemporary history. With the beginning of the New Empire, tableaux and inscriptions combine to immortalise the deeds of the owner of the tomb.

Khnmhotep of Beni Hasan records in full the origin and greatness of his ancestors. Kheti displays upon his walls all the incidents of a military life--parades, war-dances, sieges, and sanguinary battle scenes. In this respect, as in all others, the Eighteenth Dynasty perpetuated the tradition of preceding ages. A, in his fine tomb at Tell el Amarna, recounts the episode of his marriage with the daughter of Khenaten. Neferhotep of Thebes, having received from h.o.r.emheb the decoration of the Golden Collar, complacently reproduces every little incident of his invest.i.ture, the words spoken by the king, as also the year and the day when this crowning reward was conferred upon him. Another, having conducted a survey, is seen attended by his subordinates with their measuring chains; elsewhere he superintends a census of the population, just as Ti formerly superintended the numbering of his cattle. The stela partakes of these new characteristics in wall-decoration. In addition to the usual prayers, it now proclaims the praises of the deceased, and gives a summary of his life.

This is too seldom followed by a list of his honours with their dates.

When s.p.a.ce permitted, the vault was excavated immediately below the chapel.

The shaft was sometimes sunk in a corner of one of the chambers, and sometimes outside, in front of the door of the tomb. In the great cemeteries, as for instance at Thebes and Memphis, the superposition of these three parts--the chapel, the shaft, and the vault--was not always possible. If the shaft were carried to its accustomed depth, there was sometimes the risk of breaking into tombs excavated at a lower level. This danger was met either by driving a long pa.s.sage into the rock, and then sinking the shaft at the farther end, or by subst.i.tuting a slightly sloping or horizontal disposition of the parts for the old vertical arrangement of the mastaba model. The pa.s.sage in this case opens from the centre of the end wall, its average length being from 20 to 130 feet. The sepulchral vault is always small and plain, as well as the pa.s.sage. Under the Theban dynasties, as under the Memphite kings, the Soul dispensed with decorations; but whenever the walls of the vault are decorated, the figures and inscriptions are found to relate chiefly to the life of the Soul, and very slightly to the life of the Double. In the tomb of Horhotep, which is of the time of the sertesens, and in similar rock-cut sepulchres, the walls (except on the side of the door) are divided into two registers. The upper row belongs to the Double, and contains, besides the table of offerings, pictured representations of the same objects which are seen in certain mastabas of the Sixth Dynasty; namely, stuffs, jewels, arms, and perfumes, all needful to Horhotep for the purpose of imparting eternal youth to his limbs. The lower register belonged to both the Soul and the Double, and is inscribed with extracts from a variety of liturgical writings, such as _The Book of the Dead_, the _Ritual of Embalmment_, and the _Funeral Ritual_, all of which were possessed of magic properties which protected the Soul and supported the Double. The stone sarcophagus, and even the coffin, are also covered with closely-written inscriptions.

Precisely as the stela epitomised the whole chapel, so did the sarcophagus and coffin epitomise the sepulchral chamber, thus forming, as it were, a vault within a vault. Texts, tableaux, all thereon depicted, treat of the life of the Soul, and of its salvation in the world to come.

At Thebes, as at Memphis, the royal tombs are those which it is most necessary to study, in order to estimate the high degree of perfection to which the decoration of pa.s.sages and sepulchral chambers was now carried.

The most ancient were situated either in the plain or on the southern slopes of the western mountain; and of these, no remains are extant. The mummies of Amenhotep I., and Thothmes III., of Sekenenra, and Aahhotep have survived the dwellings of solid stone designed for their protection.

Towards the middle of the Eighteenth Dynasty, however, all the best places were taken up, and some unoccupied site in which to establish a new royal cemetery had to be sought. At first they went to a considerable distance, namely, to the end of the valley (known as the Western Valley), which opens from near Drah Ab'l Neggeh. Amenhotep III., A, and perhaps others, were there buried. Somewhat later, they preferred to draw nearer to the city of the living. Behind the cliff which forms the northern boundary of the plain of Thebes, there lay a kind of rocky hollow closed in on every side, and accessible from the outer world by only a few perilous paths. It divides into two branches, which cross almost at right angles. One branch turns to the south-east, while the other, which again divides into secondary branches, turns to the south-west. Westward rises a mountain which recalls upon a gigantic scale the outline of the great step-pyramid of Sakkarah (fig. 137). The Egyptian engineers of the time observed that this hollow was separated from the ravine of Amenhotep III. by a mere barrier some 500 cubits in thickness. In this there was nothing to dismay such practised miners. They therefore cut a trench some fifty or sixty cubits deep through the solid rock, at the end of which a narrow pa.s.sage opens like a gateway into the hidden valley beyond. Was it in the time of h.o.r.emheb, or during the reign of Rameses I., that this gigantic work was accomplished? Rameses I. is, at all events, the earliest king whose tomb has as yet been found in this spot. His son, Seti I., then his grandson, Rameses II., came hither to rest beside him. The Ramesside Pharaohs followed one after the other. Herhor may perhaps have been the last of the series. These crowded catacombs caused the place to be called "The Valley of the Tombs of the Kings,"--a name which it retains to this day.

These tombs are not complete. Each had its chapel; but those chapels stood far away in the plain, at Grneh, at the Ramesseum, at Medinet Hab; and they have already been described. The Theban rock, like the Memphite pyramid, contained only the pa.s.sages and the sepulchral chamber. During the daytime, the pure Soul was in no serious danger; but in the evening, when the eternal waters which flow along the vaulted heavens fall in vast cascades adown the west and are engulfed in the bowels of the earth, the Soul follows the bark of the Sun and its escort of luminary G.o.ds into a lower world bristling with ambuscades and perils. For twelve hours, the divine squadron defiles through long and gloomy corridors, where numerous genii, some hostile, some friendly, now struggle to bar the way, and now aid it in surmounting the difficulties of the journey. Great doors, each guarded by a gigantic serpent, were stationed at intervals, and led to an immense hall full of flame and fire, peopled by hideous monsters and executioners whose office it was to torture the d.a.m.ned. Then came more dark and narrow pa.s.sages, more blind gropings in the gloom, more strife with malevolent genii, and again the joyful welcoming of the propitious G.o.ds. At midnight began the upward journey towards the eastern regions of the world; and in the morning, having reached the confines of the Land of Darkness, the sun emerged from the east to light another day. The tombs of the kings were constructed upon the model of the world of night. They had their pa.s.sages, their doors, their vaulted halls, which plunged down into the depths of the mountain. Their positions in the valley were determined by no consideration of dynasty or succession.

[Ill.u.s.tration: Fig. 156.--Plan of tomb of Rameses IV.]

[Ill.u.s.tration: Fig. 157.--Plan of tomb of Rameses IV., from Turin papyrus.]

[Ill.u.s.tration: Fig. 158.--Plan of tomb of Seti I.]

Each king attacked the rock at any point where he might hope to find a suitable bed of stone; and this was done with so little regard for his predecessors, that the workmen were sometimes obliged to change the direction of the excavation in order not to invade a neighbouring catacomb.

The designer's plan was a mere sketch, to be modified when necessary, and which was by no means intended to be strictly carried out. Hence the plan and measurement of the actual tomb of Rameses IV. (fig. 156) differ in the outline of the sides and in the general arrangement from the plan of that same tomb which is preserved on a papyrus in the Turin Museum (fig. 153).

Nothing, however, could be more simple than the ordinary distribution of the parts. A square door, very sparingly ornamented, opened upon a pa.s.sage leading to a chamber of more or less extent. From the further end of this chamber opened a second pa.s.sage leading to a second chamber, and thence sometimes to more chambers, the last of which contained the sarcophagus. In some tombs, the whole excavation is carried down a gently inclined plane, broken perhaps by only one or two low steps between the entrance and the end. In others, the various parts follow each other at lower and lower levels. In the catacomb of Seti I. (fig. 158) a long and narrow flight of stairs and a sloping corridor (A) lead to a little antechamber and two halls (B) supported on pillars. A second staircase (C) leads through a second antechamber to another pillared hall (D), which was the hiding-place of the sarcophagus. The tomb did not end here. A third staircase (E) opening from the end of the princ.i.p.al hall was in progress, and would no doubt have led to more halls and chambers, had not the work been stopped by the death of the king.[33] If we go from catacomb to catacomb, we do not find many variations from this plan. The entrance pa.s.sage in the tomb of Rameses III. is flanked by eight small lateral chambers. In almost every other instance, the lesser or greater length of the pa.s.sages, and the degree of finish given to the wall paintings, const.i.tute the only differences between one tomb and another. The smallest of these catacombs comes to an end at fifty-three feet from the entrance; that of Seti I., which is the longest, descends to a distance of 470 feet, and there remains unfinished. The same devices to which the pyramid builders had recourse, in order to mislead the spoiler, were adopted by the engineers of the Theban catacombs. False shafts were sunk which led to nothing, and walls sculptured and painted were built across the pa.s.sages. When the burial was over, the entrance was filled up with blocks of rock, and the natural slope of the mountain side was restored as skilfully as might be.

[Ill.u.s.tration: Fig. 159.--Wall-painting of the Fields of Aal, tomb of Rameses III.]

The most complete type of this cla.s.s of catacomb is that left to us by Seti I.; figures and hieroglyphs alike are models of pure design and elegant execution. The tomb of Rameses III. already points to decadence. It is for the most part roughly painted. Yellow is freely laid on, and the raw tones of the reds and blues are suggestive of the early daubs of our childhood.

Mediocrity ere long reigned supreme, the outlines becoming more feeble, the colour more and more glaring, till the latest tombs are but caricatures of those of Seti I. and Rameses III. The decoration is always the same, and is based on the same principles as the decoration of the pyramids. At Thebes as at Memphis, the intention was to secure to the Double the free enjoyment of his new abode, and to usher the Soul into the company of the G.o.ds of the solar cycle and the Osirian cycle, as well as to guide it through the labyrinth of the infernal regions. But the Theban priests exercised their ingenuity to bring before the eyes of the deceased all that which the Memphites consigned to his memory by means of writing, thus enabling him to see what he had formerly been obliged to read upon the walls of his tomb.

Where the texts of the pyramid of nas relate how nas, being identified with the sun, navigates the celestial waters or enters the Fields of Aal, the pictured walls of the tomb of Seti I. show Seti sailing in the solar bark, while a side chamber in the tomb of Rameses III. shows Rameses III.

in the Fields of Aal (fig. 159). Where the walls of the pyramid of nas give the prayers recited over the mummy to open his mouth, to restore the use of his limbs, to clothe, to perfume, to feed him, the walls of Seti's catacomb contain representations of the actual mummy, of the Ka statues which are the supports of his Double, and of the priests who open their mouths, who clothe them, perfume them, and offer them the various meats and drinks of the funeral feast. The ceilings of the pyramid chambers were sprinkled over with stars to resemble the face of the heavens; but there was nothing to instruct the Soul as to the names of those heavenly bodies.

On the ceilings of some of the Theban catacombs, we not only find the constellations depicted, each with its personified image, but astronomical tables giving the aspect of the heavens fortnight by fortnight throughout the months of the Egyptian year, so that the Soul had but to lift its eyes and see in what part of the firmament its course lay night after night.

Taken as a series, these tableaux form an ill.u.s.trated narrative of the travels of the sun and the Soul throughout the twenty-four hours of the day and night. Each hour is represented, as also the domain of each hour with its circ.u.mscribed boundary, the door of which is guarded by a huge serpent.

These serpents have their various names, as "Fire-Face," "Flaming Eye,"

"Evil Eye," etc. The fate of Souls was decided in the third hour of the day. They were weighed by the G.o.d Thoth, who consigned them to their future abode according to the verdict of the scales. The sinful Soul was handed over to the cynocephalous-ape a.s.sessors of the infernal tribunal, who hunted and scourged it, after first changing it into a sow, or some other impure animal. The righteous Soul, on the contrary, pa.s.sed in the fifth hour into the company of his fellows, whose task it was to cultivate the Fields of Aal and reap the corn of the celestial harvest, after which they took their pleasure under the guardianship of the good genii. After the fifth hour, the heavenly ocean became a vast battlefield. The G.o.ds of light pursued, captured, and bound the serpent Apapi, and at the twelfth hour they strangled him. But this triumph was not of long duration.

Scarcely had the sun achieved this victory when his bark was borne by the tide into the realm of the night hours, and from that moment he was a.s.sailed, like Virgil and Dante at the Gates of h.e.l.l, by frightful sounds and clamourings. Each circle had its voice, not to be confounded with the voices of other circles. Here the sound was as an immense humming of wasps; yonder it was as the lamentations of women for their husbands, and the howling of she-beasts for their mates; elsewhere it was as the rolling of the thunder. The sarcophagus, as well as the walls, was covered with these scenes of joyous or sinister import. It was generally of red or black granite. As it was put in hand last of all, it frequently happened that the sculptors had not time to finish it. When finished, however, the scenes and texts with which it was covered contained an epitome of the whole catacomb.[34] Thus, lying in his sarcophagus, the dead man found his future destinies depicted thereon, and learned to understand the blessedness of the G.o.ds. The tombs of private persons were not often so elaborately decorated. Two tombs of the period of the Twenty-sixth Dynasty--that of Petamenoph at Thebes and that of Bakenrenf at Memphis--compete in this respect, however, with the royal catacombs. Their walls are not only sculptured with the text (more or less complete) of _The Book of the Dead_, but also with long extracts from _The Book of the Opening of the Mouth_ and the religious formulae found in the pyramids.

As every part of the tomb had its special decoration, so also it had its special furniture. Of the chapel furniture few traces have been preserved.

The table of offerings, which was of stone, is generally all that remains.

The objects placed in the _serdab_, in the pa.s.sages, and in the sepulchral chamber, have suffered less from the ravages of time and the hand of man.

During the Ancient Empire, the funerary portrait statues were always immured in the _serdab_. The sepulchral vault contained, besides the sarcophagus, head-rests of limestone or alabaster; geese carved in stone; sometimes (though rarely) a scribe's palette; generally some terra-cotta vases of various shapes: and lastly a store of food-cereals, and the bones of the victims sacrificed on the day of burial. Under the Theban Dynasties, the household goods of the dead were richer and more numerous. The Ka statues of his servants and family, which in former times were placed in the _serdab_ with those of the master, were now consigned to the vault, and made on a smaller scale. On the other hand, many objects which used to be merely depicted on the walls were now represented by models, or by actual specimens. Thus we find miniature funeral boats, with crew, mummy, mourners, and friends complete; imitation bread-offerings of baked clay, erroneously called "funerary cones," stamped with the name of the deceased; bunches of grapes in glazed ware; and limestone moulds wherewith the deceased was supposed to make pottery models of oxen, birds, and fish, which should answer the purpose of fish, flesh, and fowl. Toilet and kitchen utensils, arms, and instruments of music abound. These are mostly broken--piously slain, in order that their souls should go hence to wait upon the soul of the dead man in the next world. Little statuettes in stone, wood, and enamel--blue, green, and white--are placed by hundreds, and even by thousands, with these piles of furniture, arms, and provisions.

Properly speaking, they are reduced _serdab_-statues, destined, like their larger predecessors, to serve as bodies for the Double, and (by a later conception) for the Soul. They were at first represented clothed like the individual whose name they bore. As time went on, their importance dwindled, and their duties were limited to merely answering for their master when called by Thoth to the _corvee_, and acting as his subst.i.tutes when he was summoned by the G.o.ds to work in the Fields of Aal. Thenceforth they were called "Respondents" (_shabti_), and were represented with agricultural implements in their hands. No longer clothed as the man was clothed when living, they were made in the semblance of a mummified corpse, with only the face and hands unbandaged. The so-called "canopic vases,"

with lids fashioned like heads of hawks, cynocephali, jackals, and men, were reserved from the time of the Eleventh Dynasty for the viscera, which were extracted from the body by the embalmers. As for the mummy, it continued, as time went on, to be more and more enwrapped in _cartonnage_, and more liberally provided with papyri and amulets; each amulet forming an essential part of its magic armour, and serving to protect its limbs and soul from destruction.

Theoretically, every Egyptian was ent.i.tled to an eternal dwelling constructed after the plan which I have here described with its successive modifications; but the poorer folk were fain to do without those things which were the necessities of the wealthier dead. They were buried wherever it was cheapest--in old tombs which had been ransacked and abandoned; in the natural clefts of the rock; or in common pits. At Thebes, in the time of the Ramessides, great trenches dug in the sand awaited their remains.

The funeral rites once performed, the grave-diggers cast a thin covering of sand over the day's mummies, sometimes in lots of two or three, and sometimes in piles which they did not even take the trouble to lay in regular layers. Some were protected only by their bandages; others were wrapped about with palm-branches, lashed in the fashion of a game-basket.

Those most cared for lie in boxes of rough-hewn wood, neither painted nor inscribed. Many are huddled into old coffins which have not even been altered to suit the size of the new occupant, or into a composite contrivance made of the fragments of three or four broken mummy-cases. As to funerary furniture, it was out of the question for such poor souls as these. A pair of sandals of painted cardboard or plaited reeds; a staff for walking along the heavenly highways; a ring of enamelled ware; a bracelet or necklace of little blue beads; a tiny image of Ptah, of Osiris, of Anubis, of Hathor, or of Bast; a few mystic eyes or scarabs; and, above all, a twist or two of cord round the arm, the neck, the leg, or the body, intended to preserve the corpse from magical influences,--are the only possessions of the pauper dead.

[31] For a full account of the Twelfth Dynasty tombs at Beni Hasan and El Bersheh see the first memoirs of the _Archaeological Survey of the Egypt Exploration Fund_.

[32] The steps are shown in fig. 150. They were discovered by General Sir F. Grenfell in 1885. Noting the remains of two parallel walls running up from the water's edge to a part of the cliff which had evidently been escarped and presented a vertical 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 to the door of one of the tombs. The distance between the two walls is ten feet. The steps are eighteen inches deep, and 250 in number. The steps were for the haulers, the mummies and sarcophagi being dragged up the inclined plane. (See p. 209.)--A.B.E.

[33] M. Lefebure has lately produced a superb and elaborate volume on this tomb, with the whole of the texts and the wall decorations faithfully reproduced: _Memoires publies par les Membres de la Mission du Caire_, Vol. II., fasc. I.--A.B.E.

[34] We have in this country two very fine specimens of inscribed sarcophagi; namely, that of Seti I., of beautiful alabaster, in the Soane collection (xixth Dyn.), and that of Queen Ankhnesraneferab (xxvith Dyn.) in the British Museum.--A.B.E.

CHAPTER IV.

_PAINTING AND SCULPTURE_.

The statues and bas-reliefs which decorated the temples and tombs of Ancient Egypt were for the most part painted. Coloured stones, such as granite, basalt, diorite, serpentine, and alabaster, sometimes escaped this law of polychrome; but in the case of sandstone, limestone, or wood it was rigorously enforced. If sometimes we meet with uncoloured monuments in these materials, we may be sure that the paint has been accidentally rubbed off, or that the work is unfinished. The sculptor and the painter were therefore inseparably allied. The first had no sooner finished his share of the task than the other took it up; and the same artist was often as skilful a master of the brush as of the chisel.

I.--DRAWING AND COMPOSITION.

Of the system upon which drawing was taught by the Egyptian masters, we know nothing. They had learned from experience to determine the general proportions of the body, and the invariable relations of the various parts one with another; but they never troubled themselves to tabulate those proportions, or to reduce them to a system. Nothing in what remains to us of their works justifies the belief that they ever possessed a canon based upon the length of the human finger or foot. Theirs was a teaching of routine, and not of theory. Models executed by the master were copied over and over again by his pupils, till they could reproduce them with absolute exactness. That they also studied from the life is shown by the facility with which they seized a likeness, or rendered the characteristics and movements of different kinds of animals. They made their first attempts upon slabs of limestone, on drawing boards covered with a coat of red or white stucco, or on the backs of old ma.n.u.scripts of no value. New papyrus was too dear to be spoiled by the scrawls of tyros. Having neither pencil nor stylus, they made use of the reed, the end of which, when steeped in water, opened out into small fibres, and made a more or less fine brush according to the size of the stem. The palette was of thin wood, in shape a rectangular oblong, with a groove in which to lay the brush at the lower end. At the upper end were two or more cup-like hollows, each fitted with a cake of ink; black and red being the colours most in use. A tiny pestle and mortar for colour-grinding (fig. 160), and a cup of water in which to clip and wash the brush, completed the apparatus of the student. Palette in hand, he squatted cross-legged before his copy, and, without any kind of support for his wrist, endeavoured to reproduce the outline in black. The master looked over his work when done, and corrected the errors in red ink.