Manual of Egyptian Archaeology and Guide to the Study of Antiquities in Egypt - Gaston Maspero (mobi ebook reader TXT) 📗

distance, namely, to the end of the valley (known as the Western Valley), which opens from near Drah Abû'l Neggeh. Amenhotep III., Aï, 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 passage opens like a gateway into the hidden valley beyond. Was it in the time of Horemheb, 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 Gûrneh, at the Ramesseum, at Medinet Habû; and they have already been described. The Theban rock, like the Memphite pyramid, contained only the passages 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 gods 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 damned. Then came more dark and narrow passages, more blind gropings in the gloom, more strife with malevolent genii, and again the joyful welcoming of the propitious gods. 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 passages, 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.

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.
Fig 156.--Plan of tomb of Rameses IV. Fig 156.--Plan of tomb of Rameses IV.
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).
Fig 157.--Plan of tomb of Rameses IV., from Turin papyrus. Fig 157.--Plan of tomb of Rameses IV., from Turin papyrus.
Nothing, however, could be more simple than the ordinary distribution of the parts. A square door, very sparingly ornamented, opened upon a passage leading to a chamber of more or less extent. From the further end of this chamber opened a second passage 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.
Fig 158.--Plan of tomb of Seti I. Fig 158.--Plan of tomb of Seti I.
A third staircase (E) opening from the end of the principal 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 passage 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 passages, and the degree of finish given to the wall paintings, constitute 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 passages. 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.

The most complete type of this class 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 gods 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 Ûnas relate how Ûnas, being identified with the sun, navigates the celestial waters or enters the Fields of Aalû, 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 Aalû (fig. 159).
Fig 159.--Wall-painting of the Fields of Aalû, tomb of Rameses III. Fig 159.--Wall-painting of the Fields of Aalû, tomb of Rameses III.
Where the walls of the pyramid of Ûnas 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 illustrated 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 circumscribed 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 god 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 assessors 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, passed in the fifth hour into the company of his fellows, whose task it was to cultivate the Fields of Aalû 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 gods 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 assailed, like Virgil and Dante at the Gates of Hell, 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,