Part 22

When we had passed through the little aperture, we found ourselves in a beautiful hall, twenty-seven feet six inches by twenty-five feet ten inches, in which were four pillars three feet square. I shall not give any description of the painting, till I have described the whole of the chambers. At the end of this room, which I call the entrance-hall, and opposite the aperture, is a large door, from which three steps lead down into a chamber with two pillars. This is twenty-eight feet two inches by twenty-five feet six inches. The pillars are three feet ten inches square. I gave it the name of the drawing-room; for it is covered with figures, which, though only outlined, are so fine and perfect, that one would think they had been drawn only the day before. Returning into the entrance-hall, there is on the left of the aperture a large staircase, which descended into a corridor. It is thirteen feet four inches long, seven and a half wide, and has eighteen steps. At the bottom we entered a beautiful corridor, thirty-six feet six inches by six feet eleven inches. We perceived, that the paintings became more perfect as we advanced farther into the interior. They retained their gloss, or a kind of varnish over the colours, which had a beautiful effect. The figures are painted on a white ground. At the end of this corridor we descended ten steps, which I call the small stairs, into another, seventeen feet two inches by ten feet five inches. From this we entered a small chamber, twenty feet four inches by thirteen feet eight inches, to which I gave the name of the Room of Beauties; for it is adorned with the most beautiful figures in basso relievo, like all the rest, and painted. When standing in the centre of this chamber, the traveller is surrounded by an assembly of Egyptian gods and goddesses. Proceeding farther, we entered a large hall, twenty-seven feet nine inches by twenty-six feet ten inches. In this hall are two rows of square pillars, three on each side of the entrance, forming a line with the corridors. At each side of this hall is a small chamber: that on the right is ten feet five inches by eight feet eight inches; that on the left, ten feet five inches by eight feet nine inches and a half. This hall I termed the Hall of Pillars; the little room on the right, Isis’ Room, as in it a large cow is painted, of which I shall give a description hereafter; that on the left, the Room of Mysteries, from the mysterious figures it exhibits. At the end of this hall we entered a large saloon, with an arched roof or ceiling, which is separated from the Hall of Pillars only by a step; so that the two may be reckoned one. The saloon is thirty-one feet ten inches by twenty-seven feet. On the right of the saloon is a small chamber without any thing in it, roughly cut, as if unfinished, and without painting: on the left we entered a chamber with two square pillars, twenty-five feet eight inches by twenty-two feet ten inches. This I called the Sideboard Room, as it has a projection of three feet in form of a sideboard all round, which was perhaps intended to contain the articles necessary for the funeral ceremony. The pillars are three feet four inches square, and the whole beautifully painted as the rest. At the same end of the room, and facing the Hall of Pillars, we entered by a large door into another chamber with four pillars, one of which is fallen down. This chamber is forty-three feet four inches by seventeen feet six inches; the pillars three feet seven inches square. It is covered with white plaster, where the rock did not cut smoothly, but there is no painting on it. I named it the Bull’s, or Apis’ Room, as we found the carcass of a bull in it, embalmed with asphaltum; and also, scattered in various places, an immense quantity of small wooden figures of mummies six or eight inches long, and covered with asphaltum to preserve them. There were some other figures of fine earth baked, coloured blue, and strongly varnished. On each side of the two little rooms were some wooden statues standing erect, four feet high, with a circular hollow inside, as if to contain a roll of papyrus, which I have no doubt they did. We found likewise fragments of other statues of wood and of composition.

But the description of what we found in the centre of the saloon, and which I have reserved till this place, merits the most particular attention, not having its equal in the world, and being such as we had no idea could exist. It is a sarcophagus of the finest oriental alabaster[5], nine feet five inches long, and three feet seven inches wide. Its thickness is only two inches; and it is transparent when a light is placed in the inside of it. It is minutely sculptured within and without with several hundred figures, which do not exceed two inches in height, and represent, as I suppose, the whole of the funeral procession and ceremonies relating to the deceased, united with several emblems, &c. I cannot give an adequate idea of this beautiful and invaluable piece of antiquity, and can only say, that nothing has been brought into Europe from Egypt that can be compared with it. The cover was not there: it had been taken out, and broken into several pieces, which we found in digging before the first entrance. The sarcophagus was over a staircase in the centre of the saloon, which communicated with a subterraneous passage, leading downwards, three hundred feet in length. At the end of this passage we found a great quantity of bats’ dung, which choked up the way, so that we could go no farther without digging. It was nearly filled up too by the falling in of the upper part. One hundred feet from the entrance is a staircase in good preservation; but the rock below changes its substance, from a beautiful solid calcareous stone, becoming a kind of black rotten slate, which crumbles into dust only by touching. This subterraneous passage proceeds in a south-west direction through the mountain. I measured the distance from the entrance, and also the rocks above, and found, that the passage reaches nearly half way through the mountain to the upper part of the valley. I have reason to suppose, that this passage was used to come into the tomb by another entrance; but this could not be after the death of the person who was buried there, for at the bottom of the stairs just under the sarcophagus a wall was built, which entirely closed the communication between the tomb and the subterraneous passage. Some large blocks of stone were placed under the sarcophagus horizontally, level with the pavement of the saloon, that no one might perceive any stairs or subterranean passage was there. The doorway of the sideboard room had been walled up, and forced open, as we found the stones with which it was shut, and the mortar in the jambs. The staircase of the entrance-hall had been walled up also at the bottom, and the space filled with rubbish, and the floor covered with large blocks of stone, so as to deceive any one who should force the fallen wall near the pit, and make him suppose, that the tomb ended with the entrance-hall and the drawing-room. I am inclined to believe, that whoever forced these passages must have had some spies with them, who were well acquainted with the tomb throughout. The tomb faces the north-east, and the direction of the whole runs straight south-west.

Footnote 5:

Doctor Clark, the Professor of Mineralogy at Cambridge, found the quality of the stone to be aroganitic, much rarer than alabaster.

To give an accurate description of the various representations within this tomb would be a work above my capacity. I shall therefore only endeavour to describe the most remarkable that are to be seen in the various parts of it. From these may be formed some idea of this magnificent excavation.

I beg my kind reader to observe, that all the figures and hieroglyphics of every description are sculptured in basso relievo, and painted over, except in the outlined chamber, which was only prepared for the sculptor. This room gives the best ideas that have yet been discovered of the original process of Egyptian sculpture. The wall was previously made as smooth as possible, and when there were flaws in the rocks, the vacuum was filled up with cement, which, when hard, was cut along with the rest of the rock. Where a figure or any thing else was required to be formed, after the wall was prepared, the sculptor appears to have made his first sketches of what was intended to be cut out. When the sketches were finished in red lines by the first artist, another more skilful corrected the errors, if any, and his lines were made in black, to be distinguished from those which were imperfect. When the figures were thus prepared, the sculptor proceeded to cut out the stone all round the figure, which remained in basso relievo, some to the height of half an inch, and some much less, according to the size of the figure. For instance, if a figure were as large as life, its elevation was generally half an inch; if the figure were not more than six inches in length, its projection would not exceed the thickness of a dollar, or perhaps less. The angles of the figures were all smoothly rounded, which makes them appear less prominent than they really are. The parts of the stone that were to be taken off all round the figure did not extend much farther, as the wall is thickly covered with figures and hieroglyphics, and I believe there is not a space on those walls more than a foot square without some figure or hieroglyphic. The garments, and various parts of the limbs, were marked by a narrow line, not deeper than the thickness of a half-crown, but so exact, that it produced the intended effect.

When the figures were completed and made smooth by the sculptor, they received a coat of whitewash all over. This white is so beautiful and clear, that our best and whitest paper appeared yellowish when compared with it. The painter came next, and finished the figure. It would seem as if they were unacquainted with any colour to imitate the naked parts, since red is adopted as a standing colour for all that meant flesh. There are some exceptions indeed; for in certain instances, when they intended to represent a fair lady, by way of distinguishing her complexion from that of the men, they put on a yellow colour to represent her flesh; yet it cannot be supposed, that they did not know how to reduce their red paints to a flesh colour, for on some occasions, where the red flesh is supposed to be seen through a thin veil, the tints are nearly of the natural colour, if we suppose the Egyptians to have been of the same hue as their successors, the present Copts, some of whom are nearly as fair as the Europeans. Their garments were generally white, and their ornaments formed the most difficult part, when the artists had to employ red in the distribution of the four colours, in which they were very successful. When the figures were finished, they appear to have laid on a coat of varnish; though it may be questioned, whether the varnish were thus applied, or incorporated with the colour. The fact is, that nowhere else except in this tomb is the varnish to be observed, as no place in Egypt can boast of such preservation, nor can the true customs of the Egyptians be seen any where else with greater accuracy.

With the assistance of Mr. Ricci, I have made drawings of all the figures, hieroglyphics, emblems, ornaments, &c. that are to be seen in this tomb; and by great perseverance I have taken impressions of every thing in wax: to accomplish the work has been a laborious task, that occupied me more than twelve months.

The drawings show the respective places of the figures, so that if a building were erected exactly on the same plan, and of the same size, the figures might be placed in their situations precisely as in the original, and thus produce in Europe a tomb, in every point equal to that in Thebes, which I hope to execute if possible.

Immediately within the entrance into the first passage, on the left hand, are two figures as large as life, one of which appears to be the hero entering into the tomb. He is received by a deity with a hawk’s head, on which are the globe and serpent. Both figures are surrounded by hieroglyphics; and farther on, near the ground, is a crocodile very neatly sculptured. The walls on both sides of this passage are covered with hieroglyphics, which are separated by lines from the top to the bottom, at the distance of five or six inches from each other. Within these lines the hieroglyphics form their sentences; and it is plainly to be seen, that the Egyptians read from the top to the bottom, and then recommenced at the top. The ceiling of this first passage is painted with the figure of the eagles, as in Plate 2. Beyond the first passage is a staircase with a niche on each side, adorned with curious figures with human bodies and the heads of various animals, &c. At each side of the door at the bottom of the stairs is a female figure kneeling, with her hands over a globe. Above each of these figures is the fox, which, according to the Egyptian custom, is always placed to watch the doors of sepulchres. On the front space over the door are the names of the hero and his son, or his father, at each side of which is a figure with its wings spread over the names to protect them, as is seen in Plate 3. The names are distinguished by being inclosed in two oval niches. In that of Nichao is a sitting figure, known to be a male by the beard. He has on his head the usual corn measure, and the two feathers; on his knees the sickle and the flail: over his head is a crescent with the horns upward; above which is what is presumed to be a faggot of various pieces of wood bound together, and by its side a group twisted in a serpentine form. Behind the figure are what are thought by some to be two knives, by others feathers; but as the feathers are of a different form, I for my part think they are sacrificing knives, which may have served as emblems of the priesthood, for we know, that the heroes or kings of Egypt were initiated into the sacred rites of the gods. Below the figure is a frame of two lines drawn parallel to each other, and connected by similar lines, beneath which is the emblem of moving water.

In the next oval on the right is a sitting female figure with a band round the head fastening a feather, and on her knees she holds the keys of the Nile. Above the head is the globe, and beneath the figure the form of a tower, as it is supposed to represent strength. The faces of both figures are painted blue, which is the colour of the face of the great God of the creation. On each of the oval frames there is the globe and feathers, and beneath it two hieroglyphics not unlike two overflowing basins, as they are under the two protecting figures at each side of the oval frame.

Next is the second passage, on the right hand side of which are some funeral processions, apparently in the action of taking the sarcophagus down into the tomb, the usual boat, which carries the male and female figures upon it, and in the centre of the boat a figure with the head of a ram, drawn by a party of men.

The wall on the left is likewise covered with similar processions. Among them is the scarabæus, or beetle, elevated in the air, and supported by two hawks, which hold the cords drawn by various figures; and many other emblems and symbolical devices. The figures on the wall of the well are nearly as large as life. They appear to represent several deities; some receiving offerings from people of various classes.

Next is the first hall, which has four pillars in the centre, at each side of which are two figures, generally a male and a female deity. On the right hand side wall there are three tiers of figures one above the other, which is the general system almost all over the tomb. In the upper tier are a number of men pulling a chain attached to a standing mummy, which is apparently unmoved by their efforts. The two beneath consist of funeral processions, and a row of mummies lying on frames horizontally on the ground. On the left is a military and mysterious procession, consisting of a great number of figures all looking toward a man who is much superior to them in size, and faces them. At the end of this procession are three different sorts of people, from other nations, evidently Jews, Ethiopians, and Persians. Behind them are some Egyptians without their ornaments, as if they were captives rescued and returning to their country, followed by a hawk-headed figure, I suppose their protecting deity. For this procession see Plates 6, 7, and 8.

I have the satisfaction of announcing to the reader, that, according to Dr. Young’s late discovery of a great number of hieroglyphics, he found the names of Nichao and Psammuthis his son, inserted in the drawings I have taken of this tomb. It is the first time that hieroglyphics have been explained with such accuracy, which proves the doctor’s system beyond doubt to be the right key for reading this unknown language; and it is to be hoped, that he will succeed in completing his arduous and difficult undertaking, as it would give to the world the history of one of the most primitive nations, of which we are now totally ignorant. Nichao conquered Jerusalem and Babylon, and his son Psammuthis made war against the Ethiopians. What can be more clear than the above procession? The people of the three nations are distinctly seen. The Persians, the Jews, and the Ethiopians, come in, followed by some captive Egyptians, as if returning into their country, guarded by a protecting deity. The reason why the Egyptians must be presumed to have been captives is, their being divested of all the ornaments, which served to decorate and distinguish them from one another. The Jews are clearly distinguished by their physiognomy and complexion, the Ethiopians by their colour and ornaments, and the Persians by their well-known dress, as they are so often seen in the battles with the Egyptians.

In the front of this hall, facing the entrance, is one of the finest compositions that ever was made by the Egyptians, for nothing like it can be seen in any part of Egypt. It consists of four figures as large as life. The god Osiris sitting on his throne, receiving the homages of a hero, who is introduced by a hawk-headed deity. Behind the throne is a female figure as if in attendance on the great god. The whole group is surrounded by hieroglyphics, and inclosed in a frame richly adorned with symbolical figures. The winged globe is above, with the wings spread over all, and a line of serpents crowns the whole. The figures and paintings are in such perfect preservation, that they give the most correct idea of their ornaments and decorations (See Plate 19).

Straight forward is the entrance into another chamber with two pillars. The wall of this place is outlined, ready for the sculptor to cut out his figure. It is here that we may plainly see the manner in which the artist prepared the figure on the wall ready to be cut; and it is almost impossible to give a description of the various figures, which adorn the walls and pillars of this chamber. There are great varieties of symbolical figures of men, women, and animals, apparently intending to represent the different exploits of the hero, to whom the tomb was dedicated.

In the first hall is a staircase, which leads into a lower passage, the entrance into which is decorated with two figures, on each side, a male and a female, as large as life. The female appears to represent Isis, having, as usual, the horns and globe on her head. She seems ready to receive the hero, who is about to enter the regions of immortality. The garments of this figure are so well preserved, that nothing which has yet been brought before the public can give a more correct idea of Egyptian customs. The figure of the hero is covered with a veil, or transparent linen, folded over his shoulder, and covering his whole body, which gives him a very graceful appearance. Isis is apparently covered with a net, every mesh of which contains some hieroglyphic, serving to embellish the dress of the goddess. The necklace, bracelets, belt, and other ornaments, are so well arranged, that they produce the most pleasing effect, particularly by the artificial lights, all being intended to conduce to this purpose (See Plate 18).

On the wall to the left, on entering this passage, is a sitting figure of the size of life: it is the hero himself on his throne, having the sceptre in his right hand, while the left is stretched over an altar, on which are twenty divisions, as will be seen in Plate 1. A plate in the form of an Egyptian temple is hung to his neck by a string. It contains an obelisk and two deities—one on each side of it. Plates of this kind have been much sought after, as they appear to have been the decoration or breastplate of the kings of Egypt. Few have been found, and I have seen only two,—one is in the British Museum, and the other I was fortunate enough to procure from an Arab, who discovered it in one of the tombs of the kings in Beban el Malook. It is of black basalt, much larger and superior in workmanship to the other, which proves, that they were of various sizes, and more or less finished. It has the scarabæus or beetle in alto relievo on a small boat with a deity on each side of it, and on the reverse is the usual inscription. Over the head of this figure is the eagle with extended wings, as if protecting the king. On the upper part of each side of the walls of the passage is the history of the hero divided into several small compartments nearly two feet square, containing groups of figures eighteen inches high. The hero is to be seen every where standing on a heap of corn, receiving offerings from his soldiers or companions in war. Farther on is a small staircase leading into a short passage, where the procession still continues, and the sacrifice of a bull is to be seen, as in Plate 13. The walls of both passages are covered with hieroglyphics in separate divisions. From this short passage there is an entrance into another much wider than the rest. The charming sight of this place made us give it the name of the Room of Beauties. All the figures are in such perfection, that the smallest part of their ornaments can be clearly distinguished. The sides of the doors are most beautifully adorned with female deities, surrounded with hieroglyphics, and the lotus is to be seen both in bud and in full bloom, with the serpent on a half globe over it (See Plate 17). Farther on is the great hall with six pillars, containing on each side of it two figures as large as life. The walls are adorned with the procession and other symbolical figures. Over the door, in the inside, is the figure of a female with extended wings, as in Plate 3. At each side of this hall is a small cell; that on the left containing various mummies and other figures, and that on the right a cow of half the natural size, with a number of figures under it, which form a very curious group. The walls also are covered with hieroglyphics. In the large hall close to the door are a number of men carrying a long slender pole, at each end of which is a cow’s head, and on the pole, two bulls, as in Plate 15. Still farther, the hall opens into the large vaulted chamber. Here it would be impossible to give any accurate description of the numerous figures, which adorn the wall of this place. It was here that the body of the king was deposited, as I found in its centre the beautiful sarcophagus, which is sculptured within and without with small figures in intaglio, coloured with a dark blue, and, when a light is put into the inside of it, it is quite transparent. The ceiling of the vault itself is painted blue, with a procession of figures and other groups relating to the zodiac.