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

ever revert to the fashion of colouring the façades of our houses and our public edifices, we shall lose nothing by studying Egyptian methods or reproducing Egyptian processes.

3.--WORKS OF SCULPTURE.

To this day, the most ancient statue known is a colossus--namely, the Great Sphinx of Gizeh. It was already in existence in the time of Khûfû (Cheops), and perhaps we should not be far wrong if we ventured to ascribe it to the generations before Mena, called in the priestly chronicles "the Servants of Horus."
Fig 183.--The Great Sphinx of Gizeh. Fig 183.--The Great Sphinx of Gizeh.
Hewn in the living rock at the extreme verge of the Libyan plateau, it seems, as the representative of Horus, to uprear its head in order to be the first to catch sight of his father, Ra, the rising sun, across the valley (fig. 183). For centuries the sands have buried it to the chin, yet without protecting it from ruin. Its battered body preserves but the general form of a lion's body. The paws and breast, restored by the Ptolemies and the Caesars, retain but a part of the stone facing with which they were then clothed in order to mask the ravages of time. The lower part of the head-dress has fallen, and the diminished neck looks too slender to sustain the enormous weight of the head. The nose and beard have been broken off by fanatics, and the red hue which formerly enlivened the features is almost wholly effaced. And yet, notwithstanding its fallen fortunes, the monster preserves an expression of sovereign strength and greatness. The eyes gaze out afar with a look of intense and profound thoughtfulness; the mouth still wears a smile; the whole countenance is informed with power and repose. The art which conceived and carved this prodigious statue was a finished art; an art which had attained self- mastery, and was sure of its effects. How many centuries had it taken to arrive at this degree of maturity and perfection? In certain pieces belonging to various museums, such as the statues of Sepa and his wife at the Louvre, and the bas-reliefs of the tomb of Khabiûsokarî at Gizeh, critics have mistakenly recognised the faltering first efforts of an unskilled people. The stiffness of attitude and gesture, the exaggerated squareness of the shoulders, the line of green paint under the eyes,--in a word, all those characteristics which are quoted as signs of extreme antiquity, are found in certain monuments of the Fifth and Sixth Dynasties. The contemporary sculptors of any given period were not all equally skilful. If some were capable of doing good work, the greater number were mere craftsmen; and we must be careful not to ascribe awkward manipulation, or lack of teaching, to the timidity of archaism. The works of the primitive dynasties yet sleep undiscovered beneath seventy feet of sand at the foot of the Sphinx; those of the historic dynasties are daily exhumed from the depths of the neighbouring tombs. These have not yielded Egyptian art as a whole; but they have familiarised us with one of its schools--the school of Memphis. The Delta, Hermopolis, Abydos, the environs of Thebes and Asûan[42], do not appear upon the stage earlier than towards the Sixth Dynasty; and even so, we know them through but a small number of sepulchres long since violated and despoiled. The loss is probably not very great. Memphis was the capital; and thither the presence of the Pharaohs must have attracted all the talent of the vassal principalities. Judging from the results of our excavations in the Memphite necropolis alone, it is possible to determine the characteristics of both sculpture and painting in the time of Seneferû and his successors with as much exactness as if we were already in possession of all the monuments which the valley of the Nile yet holds in reserve for future explorers.

The lesser folk of the art-world excelled in the manipulation of brush and chisel, and that their skill was of a high order is testified by the thousands of tableaux they have left behind them. Fig 184. --Panel from tomb of Hesi. Fig 184. --Panel from tomb of Hesi.
The relief is low; the colour sober; the composition learned. Architecture, trees, vegetation, irregularities of ground, are summarily indicated, and are introduced only when necessary to the due interpretation of the scene represented. Men and animals, on the other hand, are rendered with a wealth of detail, a truth of character, and sometimes a force of treatment, to which the later schools of Egyptian art rarely attained. Six wooden panels from the tomb of Hesi in the Gizeh Museum represent perhaps the finest known specimens of this branch of art. Mariette ascribed them to the Third Dynasty, and he may perhaps have been right; though for my own part I incline to date them from the Fifth Dynasty. In these panels there is nothing that can be called a "subject." Hesi either sits or stands (fig. 184), and has four or five columns of hieroglyphs above his head; but the firmness of line, the subtlety of modelling, the ease of execution, are unequalled. Never has wood been cut with a more delicate chisel or a firmer hand.

The variety of attitude and gesture which we so much admire in the Egyptian bas-relief is lacking to the statues. A mourner weeping, a woman bruising corn for bread, a baker rolling dough, are subjects as rare in the round as they are common in bas-relief. In sculpture, the figure is generally represented either standing with the feet side by side and quite still, or with one leg advanced in the act of walking; or seated upon a chair or a cube; or kneeling; or, still more frequently, sitting on the ground cross-legged, as the fellahin are wont to sit to this day. This intentional monotony of style would be inexplicable if we were ignorant of the purpose for which such statues were intended. They represent the dead man for whom the tomb was made, his family, his servants, his slaves, and his kinsfolk. The master is always shown sitting or standing, and he could not consistently be seen in any other attitude. The tomb is, in fact, the house in which he rests after the labours of life, as once he used to rest in his earthly home; and the scenes depicted upon the walls represent the work which he was officially credited with performing. Here he superintends the preliminary operations necessary to raise the food by which he is to be nourished in the form of funerary offerings; namely, seed-sowing, harvesting, stock-breeding, fishing, hunting, and the like. In short, "he superintends all the labour which is done for the eternal dwelling." When thus engaged, he is always standing upright, his head uplifted, his hands pendent, or holding the staff and baton of command. Elsewhere, the diverse offerings are brought to him one by one, and then he sits in a chair of state. These are his two attitudes, whether as a bas-relief subject or a statue. Standing, he receives the homage of his vassals; sitting, he partakes of the family repast. The people of his household comport themselves before him as becomes their business and station. His wife either stands beside him, sits on the same chair or on a second chair by his side, or squats beside his feet as during his lifetime. His son, if a child at the time when the statue was ordered, is represented in the garb of infancy; or with the bearing and equipment proper to his position, if a man. The slaves bruise the corn, the cellarers tar the wine jars, the hired mourners weep and tear their hair. His little social world followed the Egyptian to his tomb, the duties of his attendants being prescribed for them after death, just as they had been prescribed for them during life. And the kind of influence which the religious conception of the soul exercised over the art of the sculptor did not end here. From the moment that the statue is regarded as the support of the Double, it becomes a condition of primary importance that the statue shall reproduce, at least in the abstract, the proportions and distinctive peculiarities of the corporeal body; and this in order that the Double shall more easily adapt himself to his new body of stone or wood.[43] The head is therefore always a faithful portrait; but the body, on the contrary, is, as it were, a medium kind of body, representing the original at his highest development, and consequently able to exert the fulness of his physical powers when admitted to the society of the gods. Hence men are always sculptured in the prime of life, and women with the delicate proportions of early womanhood. This conventional idea was never departed from, unless in cases of very marked deformity. The statue of a dwarf reproduced all the ugly peculiarities of the dwarf's own body; and it was important that it should so reproduce them. If a statue of the ordinary type had been placed in the tomb of the dead man, his "Ka," accustomed during life to the deformity of his limbs, would not be able to adapt itself to an upright and shapely figure, and would therefore be deprived of the conditions necessary to his future well- being. The artist was free to vary the details and arrange the accessories according to his fancy; but without missing the point of his work, he could not change the attitude, or depart from the general style of the conventional portrait statue. This persistent monotony of pose and subject produces a depressing effect upon the spectator,--an effect which is augmented by the obtrusive character given to the supports. These statues are mostly backed by a kind of rectangular pediment, which is either squared off just at the base of the skull, or carried up in a point and lost in the head-dress, or rounded at the top and showing above the head of the figure. The arms are seldom separated from the body, but are generally in one piece with the sides and hips. The whole length of the leg which is placed in advance of the other is very often connected with the pediment by a band of stone. It has been conjectured that this course was imposed upon the sculptor by reason of the imperfection of his tools, and the consequent danger of fracturing the statue when cutting away the superfluous material- -an explanation which may be correct as regards the earliest schools, but which does not hold good for the time of the Fourth Dynasty. We could point to more than one piece of sculpture of that period, even in granite, in which all the limbs are free, having been cut away by means of either the chisel or the drill. If pediment supports were persisted in to the end, their use must have been due, not to helplessness, but to routine, or to an exaggerated respect for ancient method.

Most museums are poor in statues of the Memphite school; France and Egypt possess, however, some twenty specimens which suffice to ensure it an honourable place in the history of art. At the Louvre we have the "Cross- legged Scribe,"[44] and the statues of Skemka and Pahûrnefer; at Gizeh there are the "Sheikh el Beled"[45] and his wife, Khafra[46], Ranefer, the Prince and General Rahotep, and his wife, Nefert, a "Kneeling Scribe," and a "Cross-legged Scribe." The original of the "Cross-legged Scribe" of the Louvre was not a handsome man