[110] For the different species of the lotus and their characteristics see Description de l'Égypte, Hist. Naturelle, vol. ii. pp. 303-313 and Atlas, plates 60 and 61.—In the Recueil de Travaux, etc., vol. i. p. 190, there is a note by M. Victor Loret upon the Egyptian names for the lotus.

[111] Strabo, xvii. 1, 15.—Diodorus, i. 34.

[112] Strabo, xvii. 1, 15.

[113] Strabo only speaks of ten feet, which would agree better with modern experience.

[114] Diodorus, i. 80.

[115] Pierret, Dictionnaire d'Archéologie Égyptienne, see Papyrus. Upon the different varieties of papyrus, see also Wilkinson, vol. ii. p. 121; pp. 179-189; and Ebers, Ægypten, pp. 126, 127.

[116] Mémoires de l'Académie des Inscriptions, vol. xix. p. 140, with one plate.

[117] Egger, Des Origines de la Prose dans la Littérature Grecque. (Mémoires de Littérature Ancienne, xi.)

[118] Maspero, Histoire Ancienne, p. 8.

[119] Description de l'Égypte; Hist. Naturelle, vol. ii. p. 311. Antiquités, vol. i. Description générale de Thèbes, p. 133: "Who can doubt that they wished to imitate the lotus in its entirety? The shaft of the column is the stem, the capital the flower, and, still more obviously, the lower part of the column seems to us an exact representation of that of the lotus and of plants in general."

[120] Chapter iv. pp. 396-400, Vol. I.

[121] Description de l'Égypte, plates, vol. iii. pl. 5.

[122] This is a mistake. By a reference to Fig. 208, Vol. I., or to Fig. 126 in this volume, it will be seen that the peristyle was not continued along the inner face of the pylon.—Ed.

[123] The arrangement in question is capable of another and, perhaps, more simple explanation. The two rows of columns of which the portico in question is composed, run in an unbroken line round the court with the exception of the side which is filled by the pylon. It was natural enough, therefore, that they should each be stopped against an anta, even if there had not been an additional reason in the inclination of the pylon. The ordonnance as a whole may be compared to a long portico, like that in the second court of the temple at Gournah, bent into two right angles.—Ed.

[124] In this the Greek architects took the same course as those of Egypt.

[125] Description, Antiquités, vol. v. pp. 120, 121. In their Description Générale de Thèbes (ch. ix. section 8, § 2), the same writers add: "We are confirmed in our opinion by the discovery on a bas-relief of four lotus stems with their flowers surmounted by hawks and statues, and placed exactly in the same fashion as the columns which we have just described. They are votive columns. We are also confirmed in this opinion by the fact that we find things like them among those amulets which reproduce the various objects in the temples in small." This bas-relief is figured in the third volume of plates of the Description, pl. 33, Fig. 1.

[126] Mariette, Karnak, p. 19, pl. 4. Voyage dans la Haute-Égypte, pp. 13, 21, 22.

[127] This explanation seems to have been accepted by Prof. Ebers; Ægypten im Bild und Wort, vol. ii. p. 331.

[128] Maxime du Camp, Le Nil, p. 251.

[129] The Description de l'Égypte indicates the existence of this pluteus both in the Ramesseum (vol. ii. pl. 29) and at Medinet-Abou (vol. ii. pl. 7, Fig. 2). Photographs do not show a trace of it, but many parts of those buildings had disappeared before the beginning of the present century. There is no reason to suppose that the Ramesseum underwent any modification after the termination of the Theban supremacy. In his restoration of Dayr-el-Bahari, M. Brune has introduced a similar detail, which he would assuredly not have done unless he had found traces of it under the portico. Unfortunately his restoration is on a very small scale. That at Dayr-el-Bahari must have been the earliest example of such an arrangement.

[130] The history and signification of this symbol were treated by Brugsch in a paper entitled: "Die Sage von der geflügelten Sonnenscheibe nach alt Ægyptischen Quellen dargestellt."

[131] In this restricted and comparatively mean form the emblem in question is found at Beni-Hassan. (Lepsius, Denkmæler, part ii. pl. 123.)

[132] Lepsius, Denkmæler, vol. ii. pl. 83, and vol. v. pl. 56.

[133] See Chipiez, Histoire Critique des Ordres Grecques, p. 90.

[134] Lettres, pp. 68, 117.

[135] See the plate in Prisse entitled Details de Colonnettes de Bois.

[136] From Champollion, Grammaire Égyptienne, p. 53.

[137] Ebers, Ægypten, p. 250.

[138] Felix Teynard, Vues d'Égypte et de Nubie, pl. 106.

[139] Monuments de l'Égypte et de la Nubie, Notices Descriptives, p. 504.

[140] Notices Descriptives, p. 431.

[141] Prisse, Histoire de l'Art Égyptien.

[142] Notices Descriptives, p. 332, fig. 2.

[143] In front of the sphinxes which stand before the great pylon at Karnak there are two small obelisks of sandstone.

[144] The Italians call them guglie, needles, and the Arabs micellet Faraoun, Pharaoh's needles. The obelisks now in London and New York respectively, which were taken by the Romans from the ruins of Heliopolis, in order to be erected in front of the Cæsareum at Alexandria, were known as Cleopatra's Needles. Herodotus only used the expression, ὀβελός. Ἐν τῷ τεμένει ὀβελοὶ ἑστάσι μεγάλοι λίθινοι (ii. 172; also ii. 111).

[145] Diodorus (i. 57, 59), always uses the word ὀβελίσκος. The termination is certainly that of a diminutive. See Ad. Regnier, Traité de la Formation des Mots dans la Langue Grecque, p. 207.

[146] De Rougé, Étude sur les Monuments de Karnak.

[147] Pierret, Dictionnaire d'Archéologie Égyptienne.

[148] A small funerary obelisk, about two feet high, is now in the museum of Berlin. It is figured in the Denkmæler, part ii. pl. 88. It was found in a Gizeh tomb dating from the fifth dynasty.

[149] Mariette, Monuments Divers, pl. 50. The obelisks illustrated in this chapter are all drawn to the same scale in order to facilitate comparison.

[150] Wilkinson, Manners and Customs, etc., p. 396.

[151] Diodorus, i. 57.

[152] Recent measurement has shown that the height given on page 105, Vol. I., is incorrect.—Ed.

[153] In the Dictionnaire d'Archéologie Égyptienne of M. Pierret, a translation of the hieroglyphics upon one side of the Paris obelisk will be found under the word Obélisque. The Athenæum for October 27, 1877, contains a complete translation of the inscription upon the London obelisk, by Dr. Birch.—Ed.

[154] Monuments Divers, pl. 50.

[155] Description, Antiquites, vol. ii. pp. 371-373. In our view of Luxor on page 345 we have restored the base of the larger obelisk after that belonging to the one now at Paris. We were without any other means of ascertaining its form.

[156] Precis sur les Pyramidions de Bronze doré Employés par les Anciens Égyptiens comme couronnement de quelques-uns de leurs Obélisques, etc. J. J. Hittorf, 8vo, 1836.

[157] Abd-al-latif, Relation de l'Égypte; French translation by Silvestre de Sacy, published in 4to, in 1810, p. 181.—Ed.

[158] Mariette, Itinéraire de la Haute-Égypte, third edition, p. 142.

[159] Description, Antiquités, vol. ii. p. 369.—Charles Blanc, Voyage dans la Haute-Égypte, p. 150.

[160] For an interesting description of the present state and curious situation of this obelisk, see The Land of Khemi, by Laurence Oliphant, pp. 98-100, (Blackwood. 1882).—Ed.

[161] Denkmæler, part ii. pl. 119.

[162] Description, Antiquités, ch. 23.—M. Edouard Naville has recently (June 16, 1882) published in the Journal de Genève an account of a visit to these ruins, during which he counted the fragments of no less than fourteen obelisks, some of them of extraordinary size.—Ed.

[163] The sculptor who made the two famous colossi of Amenophis III. had the same name as his master, Amenhotep. (Brugsch, History, 1st edition, vol. i. pp. 425-6). Iritesen, who worked for Menthouthotep II. in the time of the first Theban Empire, was a worker in stone, gold, silver, ivory, and ebony. He held a place, he tells us, at the bottom of the king's heart, and was his joy from morning till night. (Maspero, la Stèle C. 14 du Louvre, in the Transactions of the Society of Biblical Archæology, vol. v. part ii. 1877.)

[164] See Notice des Principaux Monuments exposés dans le Musée de Boulak, 1876, No. 458.

[165] Devéria, Bakenkhonsou (Revue Archéologique, new series, vi. p. 101).

[166] Brugsch, History of Egypt (English edition), vol. i. p. 47. Ti, whose splendid tomb has been so often mentioned, was "First Commissioner of Works" for the whole of Egypt, as well as "Secretary of State" to Pharaoh.

[167] We have here ventured to take a slight liberty with M. Perrot's local tints.—Ed. Paul Pierret ("Stèle de Suti et de Har, architectes de Thèbes," in the Recueil de Travaux, vol. i. p. 70), says, "This is said by him who has charge of the works of Amen in Southern Ap." Suti-Har says in his turn: "I have the direction of the west, he of the east. We are the directors of the great monuments in Ap, in the centre of Thebes, the city of Amen."

[168] Pierret, Dictionnaire d'Archéologie Égyptienne, p. 59.

[169] See Brugsch, History of Egypt, 1st edition, vol. i. p. 302.

[170] The serdabs of the tomb of Ti contained twenty, only one of which was recovered uninjured. Mariette, Notice du Musée de Boulak, No. 24.

[171] Maspero, in Rayet's Monuments de l'Art Antique.

[172] All the monuments in the Wadi-maghara are figured in the Denkmæler of Lepsius (part ii. plates 2, 39, and 61); casts of them have also been made.

[173] Notice des Monuments exposés dans la Galerie d'Antiquités Égyptiennes, Salle du Rez-de-chaussé et Palier de l'Escalier, 1875, p. 26.

[174] The Boulak Museum also contains specimens of these figures. See Notice, Nos. 994 and 995.

[175] Notice des principaux Monuments exposés à Boulak, No. 973. These figures were discovered in January, 1872. They had a narrow escape of being destroyed by the pickaxes of the superstitious fellaheen. Mariette fortunately arrived just in time to prevent the outrage. Recueil de Travaux, vol. i. p. 160.

[176] MARIETTE, Voyage dans la Haute-Égypte, p. 47.

[177] "According to all appearance these panels date from before the reign of Cheops." Notices des principaux Monuments, etc. Nos. 987-92.

[178] There is a panel of the same kind in the Louvre (Salle Historique, No. 1 of Pierret's Catalogue), but it is neither so firm, nor in such good preservation as those at Cairo.

[179] Mariette, La Galerie de l'Égypte Ancienne au Trocadéro, 1878, p. 122.

[180] Thus we find in a tomb which, according to Lepsius, dates from the fourth dynasty, certain thickset sculptured forms, which contrast strongly with figures taken from mastabas in the same neighbourhood, at Gizeh. The body is short, the legs heavy and massive. Lepsius, Denkmæler, part ii. pl. 9.

[181] De Rougé, Notice sommaire des Monuments Égyptiens, 1865, p. 68.

[182] Another wooden statue of equal merit as a work of art was found in the same tomb. It represents a woman, standing. Unfortunately there is nothing left of it but the head and the torso. Notice des principaux Monuments du Musée de Boulak, No. 493.

[183] The Description de l'Égypte (Antiquités, vol. v. p. 33) gives the details of a mummy-mask in sycamore wood, of fairly good workmanship, which was found at Sakkarah. The eyebrows and edges of the eyelids were outlined with red copper; a fine linen was stretched over the wood; over this there was a thin layer of stucco, upon which the face was painted in green.

[184] The figure in the Louvre is split deeply in several places, one of the fissures being down the middle of the face. This latter our artist has suppressed, so as to give the figure something of its ancient aspect. These fissures are sure to appear in our humid climate. The warm and dry air of Egypt is absolutely necessary for the preservation of such works, which seem doomed to rapid destruction in our European museums.

[185] Maspero (Journal Asiatique, March-April, 1880), Sur quelques Peintures Funéraires, p. 137. See also Brugsch, Die Egyptische Græberwelt, No. 87.

[186] Comptes Rendus de l'Académie des Inscriptions, 1875, p. 345.

[187] Chabas, Sur l'Usage des Bâtons de Main, p. 12. (Lyons, 8vo, 1875.)

[188] Catalogue of the Posno Collection, No. 468.

[189] Ibid., No. 524.

[190] De Longperier, Musée Napoléon III. pl. 1.

[191] M. Pisani, who mounted the numerous bronzes in M. Posno's collection, assures me that their insides are still filled with the core of sand around which they were cast. The outward details of the casting are repeated inside, showing that the method used was what we call fonte au carton.

[192] A sketch of this statue also appears on page 10, Vol. I. Fig. 6; but as, according to Mariette, it is one of the best statues in the Boulak Museum, we have thought well to give it a second illustration, which, in spite of its smaller scale, shows the modelling better than the first.

[193] Notice des principaux Monuments du Musée de Boulak, No. 24.

[194] Wooden instruments have been found which were used for the pleating of linen stuffs. One of these, which is now in the museum of Florence, is figured in Wilkinson (Manners and Customs, vol. i. p. 185). The heavy and symmetrical folds which are thus obtained are found, as we shall see, in the drapery of Greek statues of the archaic period.

[195] Notice du Musée de Boulak, No. 770.

[196] Ibid., No. 769.

[197] Notice, No. 793. These two people were called Nefer-hotep and Tenteta. The latter is also described as related to Pharaoh.

[198] Notice du Musée de Boulak, No. 768.

[199] Notice, No. 771. This is the person represented in profile in Fig. 47, Vol. I.

[200] Notice, No. 766.

[201] The four last quoted figures belong to the series noticed in the Boulak Catalogue under numbers 757 to 764. The statue reproduced in Fig. 197 has been already shown in profile in Fig. 48, Vol. I.

[202] Gabriel Charmes, Cinq mois au Caire, p. 96.

[203] Wilkinson, Manners and Customs, vol. ii. p. 270.

[204] Gabriel Charmes, La Réorganisation du Musée de Boulak (Revue des Deux Mondes, September 1, 1880). He is speaking of the fragment which is numbered 988 in the Notice du Musée. According to Mariette it dates from a period anterior to Cheops. It was found near the statues of Ra-hotep and Nefert.

[205] Notice du Musée de Boulak, Nos. 578 and 792. The discovery was made in 1860; Mariette gives an account of it in his Lettres à M. de Rougé sur les Résultats des Fouilles entreprises par ordre du Vice-roi d'Égypte. (Revue Archéologique, No. 5, vol. ii. pp. 19, 20.)

[206] This is a Coptic word meaning hood.

[207] Journal des Savants, 1851, pp. 53, 54.

[208] Mariette, Notice du Musée, etc. Avant-propos, pp. 38, 39.

[209] See Pierret, Dictionnaire d'Archéologie, under the word Uræus.

[210] Notice des Monuments exposés dans la Galerie d'Antiquités Égyptiennes, Salle du Rez-de-chaussée, No. 23.

[211] De Rougé, Notice, etc. Avant-propos, p. 6.

[212] Mariette, Notice du Musée, p. 86.

[213] Mariette, Lettre de M. Aug. Mariette à M. de Rougé sur les Fouilles de Tanis (Revue Archéologique, vol. iii. 1861, p. 97). De Rougé, Lettre à M. Guigniaut sur les Nouvelles Explorations en Égypte (Revue Archéologique, vol. ix., 1864, p. 128).—Devéria, Lettre à M. Aug. Mariette sur quelques Monuments Relatifs aux Hyqsos ou Antérieurs à leur Domination (Revue Archéologique, vol. iv. 1861, p. 251).—Ebers, Ægypten, vol. ii. p. 108.

[214] Notice du Musée de Boulak, No. 869. Our draughtsman has not thought it necessary to reproduce the hieroglyphs engraved upon the plinth.

[215] Notice du Musée de Boulak, No. 1.

[216] Notice du Musée de Boulak, No. 2.

[217] Devéria, Lettre à M. Aug. Mariette, p. 258.—Pierret, Catalogue de la Salle Historique, No. 6.

[218] M. Fr. Lenormant (Bulletino della Commissione Archeologica di Roma, fifth year, January to June, 1877) believes that he has discovered in one of the Roman museums another monument belonging to the same period and to the same artistic group.

[219] Lettres à M. de Rougé sur les Fouilles de Tanis, p. 105. (Revue Archéologique.)

[220] Mariette, Notice du Musée, p. 259.—Ebers, Ægypten, vol. i. p. 108.

[221] Description de l'Égypte, Antiquités, vol. ii. p. 182.

[222] Description, Antiquités, vol. ii. p. 105.

[223] Ch. Blanc, Voyage dans la Haute-Égypte, p. 208. It has been calculated that this colossus weighed about 1220 tons.

[224] Gabriel Charmes, La Réorganisation du Musée de Boulak.

[225] Mariette, Notices du Musée, Nos. 3 and 4.

[226] The head of Amenophis III. may be recognized in the bas-relief reproduced in our Fig. 33, Vol. I. The fine profile and large well-opened eye strongly resemble those of the London statue.

[227] Mariette, Voyage dans la Haute-Égypte, vol. ii. p. 31.

[228] G. Charmes, De la Réorganisation du Musée de Boulak.

[229] Denkmæler, vol. vi. plates 91-111. The curious ugliness of this king is most clearly shown in plate 109.

[230] Mariette, Bulletin Archéologique de l'Athenæum Français, 1855, p. 57.

[231] Mariette, Notice du Musée, No. 902, and Dayr-el-Bahari, plates.

[232] Mariette, Dayr-el-Bahari, p. 30, believed that Punt was in Africa, probably in the region of the Somali. He quotes various passages from the writings of modern travellers to show that this strange obesity is rather an African than an Arabian characteristic. See Speke's description of the favourite wife of Vouazerou, Discovery of the Source of the Nile, chap. viii., and Schweinfurth's account of the Bongo women, Heart of Africa (3rd edition) pp. 136 and 137.