CAPART, Jean - Primitive.art - En.egypt.1905

The
Institute of Fine Arts
New York University
Stephen Chan Library

of
Fine Arts
PRIMITIVE ART
IN
EGYPT
BY
JEAN CAPART
KKI-U'ER OF
THE EGYPTIAN ANTIijL'ITIES OF THE ROYAL MUSEUM, BRUSSELS

LECTURER AT TL'E UNIVERSITY OF LIEGE
TRANSLATED
FROM THE REVISED

AND AUGMENTED ORIGINAL EDITION
A.
S.
WITH
GRIFFITH
20S ILLUSTRATIONS
LONDON
H.
}3,
GREVEL &
CO.
KING STREET, CO\'ENT GARDEN,

1905
W.C.
Fine Arts
H 51
^^
PRINTED AND BOUND BY

HAZELL, WATSON AND VINEY,
LONDON AND AYLESBURY.
PROFESSOR
A
A 3 7 8 7 9
W.
M.
FLINDERS PETRIE
TOKEN OF PROFO U N D. GR ATITU DE
PREFACE.
^
M-I
I
-*-
S book made
a series of articles
March 1904
in
Bruxellcs,
dc
d' ArcJieologie
In
first
its
appearance
in
the form of
the Annales de
la
xvii.-xviii.,
vols,
Societ(^
1903-4.
was published as a separate volume,
it
without any modification of the text.

I
have been much gratified by the
Grevel
&
brought
edition.
before
In this
The works
Lubbock,
way my book
public
that
prepared both to receive and to
Gillen,
H.
Co. to issue an English translation of a revised
and enlarged
be
offer of Messrs.
which
criticise
is
will naturally
perhaps most
it.
of English ethnologists, more especially of
Tylor,
were the
Haddon,
Lang,
first
to
Spencer, and
Frazer,
draw attention
to a
whole series
of problems of the greatest importance for a study of the

oriofin of Art.
In submitting
I
am aware
for
the
my work
to the
English-speaking public,
that those points which ensured
its
originality
French public may perhaps give the book the
appearance of a compilation, borrowed from the works of

Enoflish scholars.
The
materials have, to a large extent, been drawn from
PREFACE.
viii
of
publications
the
two
Fund and
Exploration
from their pages
English
Egypt
the
societies,
Research Account
the Egyptian
have gathered a large number of
facts
of the greatest importance.

I
owe very
special gratitude to Protessor
with his habitual courtesy, has for
permitted
me
primitive
Egypt, gathered together
and
to study
University College, London.

I
am
have received from him
of
collection
at
in
how much
Egyptian archzeo-
at the yearly exhibition
Egypt Exploration Fund.
of the
his
in
years
tive
relics
cannot express
indebted to him for the lessons
logy that
more than
photograph the
to
who,
Petrie,
If
my book
nature to render any assistance to students,
is
it
is
in the
of a
first
instance to Professor Petrie that thanks are due.
Two
Oxford have enabled me
visits to
complete
to
collection
of notes and of photographic reproduction.
am happy
to
have
and Mr. Bell
for
this
my
I
opportunity of thanking Mr. Evans
their
generous reception of
me
at
the
Ashmolean Museum.
Owing
Shafer,
to
the
kindness
have been able
material from the Berlin
of
this
of
to
utilise
Museum.
opportunity of offering them
The
cordial
hospitality
Macgregor has enabled me

of important
pieces
antiquities at Bolehill
in
his
my
received
to
Erman and
Professors
much unpublished
gladly avail myself
sincere thanks.
from
the
draw attention
fine
collection
Rev.
to a
ot
Manor House, Tamworth.
W,
number
Egyptian
PREFACE.
The Egypt
Exploration Fund, the editorial staff of the
German review Die

Archaeology,
Umschait, and the Society of Biblical
London, have been good enough
several photograpliic reproductions at

It
to
is
Miss
ix
my
also a pleasant duty to express

Griffith
for
the
to
place
disposal.
my warm
admirable manner
in
thanks
which
she has accomplished the task of translating this book.

AuDERGHEM, December
1904.
ANALYTICAL TABLE OF CONTENTS.

PAGE
Chapter
Preliminary CoxbiDERAXiox;
I.
Chapter
Personal Adornment
Body
II.
2r
Painting the
21
Painting the Eyes
23
Tattooing
30
Mutilations
The Hair
Combs and
34
35
P:
40
Wigs
42
Beards
43
Face-veils
45
Ornaments
47
Sliells
^7
Beads
47
48
Pendants
Bracelets
49
50
Rings
Clothing
52
Girdles
5-^
Tail
54
Karnata
54
Animal's Skin
55
56
Loin-cloth
Mantle
Chapter
III.
56
Ornamental and Decorati
Art
59
Generalities
Transformation of a Natural Design into a Geometrical

Designs derived from Technique
Transformation of a Useful Object into an Ornament
D esisn
59
60
63
64

Chapter
III.
{continued).
Object of Decoration
Art
6S
65
Information
65
66
Luxury and Power

Religion and Magic
Knives
Spoons
66
67
71
Combs
72
Pins
75
Pendants
Palettes
76
.
77
82
Incised Palettes
Maces and Sceptres
94
Stone Vases
95
Skeuomorphic Decoration
Human
98
Decorations
98
Animal Decorations
99
....
Stone Vases of Fantastic Form
lOI
Pottery
103
Basket
Work and
Matting
Pottery copied from Plaited
108
Hard Stone
,,
104
Work
T08
Gourds
White Painted Vases
,,
108
,,
108
Floral Designs
109
Representations of
,,
,,
Human
Figures
Animals
Boats
Decorated Pottery
112
,,
in
,r
Imitation of
,,
Representations of Mountains
Hard Stones
Plaited Work
.
Plants
,,
Animals
,,
Human
,,
Boats
Vases decorated with Figures
,,
,,
116
ii7
Beings
119
J
20
121
in Relief
with Decoration inside
Incised Decoration
of Fantastic Forms
114
ii6
Various
no
no
22
126
126

Chapjer in.
Xlll
{continued).
PAGE
Human Forms
Vases of
,,
,,
Animal Forms
[27
:28
Decorated Boxes
^31
....
Furniture and Personal Property
The Hearth
Zl
^Zli
t35
Ivory Carvings
Pottery Marks
:39
Primitive Hieroglyphs
[42
....
" Alphabetiform " Characters
Cylinders
Chapter
Sculpture and Paintin
IV.
Flints of
Human Statuettes
Men
54
^55
[60
\Vomen
72
Dwarfs
Captives
Servants
Vases
in
'52
Animal Forms
form of
72
74
Human
Figures
Figures of Animals
75
:76
76
Hippopotami
78
Lions
Dogs
Apes
55
Cattle
Quadrupeds
Various
Birds
[90
Fish
191
Crocodiles
[92
Scorpions
[92
Frogs
[92
Grififins
[92
Bulls'
f93
Head Amulets
Double Bulls
f95
Magical Instruments with
Human F
[96
Boats
[99
Houses
200
Fortified Enclosure
201
Sculptures in Relief
201
Drawing and Painting
202
xiv
Chapter
IV. (continued).
PAGE
Graffiti
Painted
Tomb
of Hierakonpolis
....
........
Boats
Animals
Men
Object of Paintings and of
Graffiti
....
.....
....
.......
.....
The Earliest Pharaonic Monumexts
Chapter V.
Archaic Statues of Koptos
Statue of Hierakonpolis
Votive Palettes
First Cairo
Fragments
Fragment
....
.......
at the British
Museum and
the Louvre
Small Palette of Hierakonpolis
Louvre Palette
Small Fragment
at
202
206
207
210
21
213
222
222
226
226
228
229
230
23 +
.....
236
....
....
....
242
the British
Museum
Second Cairo Fragment

Fragments at the British Museum and Ashmolean
Fragment at the Louvre
236
Great Palette of Hierakonpolis
246
Small Fragment
at the
Louvre
Votive Mace- heads of Hierakonpolis

Ivory and \Vooden Plaques
Plaque of the Chief of the Anou
.
Private
248
249
256
and Royal Stelae from Abydos
Statues of Libyans
Cairo Statue, No.
I.
266
Archaic Statues
Statues of
King Khasakhmui
Hierakonpolis Lion
258
26c
266
270
Figure of Cheops
Chapter VI.
,....
....
Dancing, Music, and Poetry
Generalities
Dancing
Music
.......
Poetry
Chapter VII.
Index
Conclusions
....
272
272
274
277
280
282
291
LIST OF ILLUSTRATIONS.
Fig.
I.
The Geese
The Geese
of
of
....
....
Medum
Medum
From
......
Fragment of one of the Panels of Hosi.

by Petrie
Fragment of one of the Panels of Hosi

Figure of a
Woman
a photograph
Whole Body
with Designs painted ov er the
Grey clay with black paint

Figures of
Women.
University College,
with greenish paint
....
Slate Palettes used for Grinding Paint
Ivory
Box
in
Form
of a
Grey
London.
clay
24
Duck
28
Tatoo-marks of the Primitive Egyptians compared with those o

the Libyans.
From r Aiithropologie
of Seti L
Tomb
lO.
Libyans from the
II.
Fragment of a Statuette with Tatoo-marks on the Breast and

Cabinet des Medailles, Paris
Right Shoulder.
Wooden
Statuette
ornaments
13-
.........
Pottery Vase with Designs
A
Woman
Bologna Museum, with Ivory Ear
the
in
White representing Men
in
14.
Ivory Statuette.
crouching captive
15-
Figure of a
in
16.
Ostrich Eggs.
17.
Combs and
8.
Glazed Pottery.
From Xaqada and Hu
a Pin, decorated with
From
Band
of False Hair.
of one of the Libyans
21.
Ornaments
Bone and Ivory

of an
24-
Bracelets,
wearing
40
42
I.
43
and a Spoon with a Handle
a Series of Similar Bracelets
XV
37
41
44
46
48
........
Arm
Ivory Kings
Forehead
.
3S
.....
.....-
Figure from the MacGregor Collection
Discovered at Abydos
Tomb of King Zer

from the Tomb of Seti
Head
36
the
19'
for the
.....
.....
J3
fighting
Animal and Bird Figures
20.
Pendants
in
Form
50
51
XVI
Fig. 25.
........
........
Wearing
Huntsman.
his girdle
Clothed
a feather on his head,
fixed to
tail
26.
Warriors.
,,
27.
Figures of
,,
28.
Evolution of the
,,
29.
Evolution of the Representation of the
30.
Tortoise-shell
31.
Magical Decoration on a
,,
32.
Flint
,,
33.
Gold Leaf with Incised Designs, sewn on
54
formed
a panther skin, or holding a shield
,,
in
and the
of a similar skin
Women. Wrapped
Below
is
nesian Art.
Museum
From Holmes
Art.
Alligator
Human
Figure
in
61
Poly
From Haddon
63
Straits, in imitation of the
From Haddon
(a).
Comb
65
of a
Malacca Tribe.
of Women
From
66
Brussels
cm
length, 25
Flint Knife to form the
67
Handle
one end of a large
....
....
to
68
and of a Boat on a gold Knife-handle
,,
34.
Figures
,,
35.
Ivory Knife-handle in the Pitt-Rivers Collection
,,
36.
Ivory Knife-handle.
,,
37.
Small Flint Knife with Ivory Handle.
,,
38.
Fragment of an Ivory Knife-handle with
Petrie Collection
Museum
Berlin
in
worked and retouched on both Faces.

;
57
Ancien
.....
of the
........
Haddon
Knife,
Representation
Ornaments from Torres
Fish-Hook
,,
39.
Ivory Spoon-handles
,,
40.
Ivory
,,
41.
Ivory
71
72
Petrie collection
a Figure of an Antelope
......
Human
with
42.
Ivory
,,
43.
Ivory
Comb
with
,,
44.
Ivory
,,
45.
Comb, Recto.
Ivory Comb, Verso
.,
46.
Ivory Pins decorated with Figures of Birds and a Bull's
,,
47.
Slate and Ivory Pendants
,,
48.
Slate
,,
49.
Stone and Ivory Pendants with Incised Line Decoration
50.
Plaque
in the Berlin
(?)
,,
51.
Plaque
in
the Berlin
(?)
,,
52.
Palette with a
,,
53.
Palette with the Figure of an Antelope, the
,,
54.
Palette in
,,
55.
Palettes in
,,
55A. Palette in
Figures.
69
70
Combs
Combs
Combs
,,
56
decorated
are fragments of leather with painted decoration
Columbian
,,
one of which
in cloaks,
73
74
Petrie Collection
75
with Figures of Antelopes and Giraffes
75
with Figures of Birds
76
the Figure of an Antelope
derived from Bird Forms
and Ornaments
....
......
Davis Collection
78
78
Head
79
80
and Ivory Pendants decorated with Derived Designs
Museum (Recto). Shell

Museum (Verso). Shell
Human Figure at the Top
84
Head missing
Form of Antelopes
Form of Elephants and Hippopotami
Form of a Lion. MacGregor Collection
.
84
85
86
87
LIST
OI'
LLL'ST RATIONS.
.....
......
......
.......
..
5-
Form of Turtctiscs
Palettes in Form ol' Fish
l-'alette in Form (jf a I5ir(i
..
59-
Palettes of Bird
60.
Bird-slia])ed Palette.
61.
Palettes decorated with Incised Figures
62.
Palettes with
..
63.
Palette.
With
64.
Palette.
With two
,.
65.
Mace-heads from Hierakonpolis and Naq.nda
Fig. 56.
..
57-
'alettes in
Form
birds carved in
89
90
91
92
Decorated Mace-heads
Mace-head carved
68.
Sceptre- or Mace-heads from Hierakonpolis
..
69.
Stone Vase.
70.
Fragment of Vase
71-
Fragment of Vase
,,
7--
Stone Vases with Animal Figures in Relief
'.
7h-
Pictographic
74-
Stone \'ase
in
..
75-
Stone Vase
in
,.
76.
Stone Vases
in
93
MacGregor
relief.
67.
Coll ttiou
95
Berlin
of a Tortoise.
IMusenm
96
97
Decorated with two humian heads
\v
Form
Form
in
Boat
ith
in
99
ICO
with a Hatchet
Low
Relief
ICO
101
102
Vase
Inscription on a Stone
(?)
Form
Warrior armed
103
of a Leather Bottle
of a Bird
103
?"orm of Frogs, Hi|ip(ip(>tamus, and Birds
104
Museum
104
77'
Vase
7S.
Vase, and Fragments of Vases, in
..
79-
Red Vases with White
u( a Dog.
Berlin
Form
of Animals
Paint, in Imitation of Basket
Black Incised Pottery, with Decoration
105
Work
Imitation of
in
ic6
B asket
Work
107
White with
109
81.
Vases painted
82
Bowl painted
83.
Vases painted
84.
\'ase painted in
85.
Vases painted
in
86.
Vases painted
in hriitation
7.
Vases decorated
..
88.
Vases decorated with a Series of Triangles
..
8c;.
Representations of .Moes and Trees
yo.
Decorated Vase with Representations of Animals, and a Tree
,.
9'-
Various Designs on Decorated Pottery
9--
Vâse with
in
in
Crocodile
in
Floral Designs
........
White with Figures of Hippopotami
a nd
no
White with Represent'ations of Animals

Wh.ite with a Boat and Various Animals
White.
University College,
Hard
of
in Imitation of
with Birds perched on
Dancer
93
94
Soft Stone
in
Form
80.
88
a sign (hieroglyphic?) in relief
66.
,.
86
87
.....
Engraved Designs
in
I-AGK
London
Univer^îty CoUet^c',
.,
..
XVI
it
London
113
114
.Stoiujs
Basket
II
112
Work
115
116
....
....
.
Representations of Castanette Players
(?)
117
118
118
be!
119
^?)
..
93-
Vase Decoration representmg Gazelles fighting
.,
94-
Vase with Various Representations,
From de Morgan
120
121
XVIII
Fig.
95-
Decorated Vase from Abadiyeli
96.
Vase
97-
Decorated Vases
Representations
witli
Snakes.
ol'
Ornamentations
Designs
and
Relief
in
Other
98.
Black-topped Pottery with Figures
99.
Vase of Black-topped Pottery with an Incised Decoration
in
Rough-faced Pottery with Incised Decorations

Black Polished Vase
102.
Clay Vases
in
103.
Clay Vases
in
[04.
Clay Vase
[05.
Pottery Boxes with Various Designs
106.
Clay Fire-places decorated with Designs
Form
Form of Birds
Form of a Vulture
inside
126
....
......
of a
of .Animals
124
125
lOI.
in
R.ire
Relief
100.
in
122
........
vvitli
Form
PAGE
Giraffes, Ostriches, Crocodiles, an
Museum
Berlin
......
......
Woman
:B
......
......
.....
-9
130
Imitation of Plaited
in
Work
107.
Ivory Feet for Furniture, in the Shape of Bulls' Legs
[08.
Fragments of Ivory carved with Various Figures
[09.
Fragments of Ivory Objects carved with Various Designs
10.
1
1.
Carved Ivory Cylinders

Pottery Marks
Hieroglyphic
'3-
Table of
14-
Impressions taken from Cylinders
"
18.
Worked
Worked
Worked
Worked
19.
Figures of
'5-
16.
17-
Signs of the Prehistoric Period
Alphabetiform
"
56
.......
......
.....
12.
(?)
'33
Signs
.....
Form of Animals
Berlin Museum
Flint in Form of an Antelope (Bubalis).
Flint in Form of a W'ild Goat.
Berlin Museum
Berlin
Flint in Form of a Wild Barbary Sheep.
Museum.
Flints in
.........
....
Men
of the Primitive Period
Men
o7
138
141
'45
147
[50
53
54
55
155
[56
discovered at Hierakonpolis
'57
'5S
14.
Heads discovered at Hierakonpolis

Ivory Statuette from Abydos
Steatopygous Clay Figures. Ashmolean Museum
Steatopygous Clay Figures. Ashmolean Museum
25-
Steatopygous Figure
26.
Clay Female Figure.
-7-
Female Figure
28.
Female Figures
in Pottery, Ivory,
129.
Female Figures
in Ivory.
120.
:i.
Ivory Figures of
....
......
Ivory
in
in
Clay (complete).
Berlin
Museum
Berlin
I'"igure
ll-
Ivory
MacGregor Collection
of a
[32.
Ivory Figures discovered at Hierakonpolis
133-
Ivory Figures discovered at Hierakonpolis
[65
166
167
Shoulders
Berlin
163
[64
Lead, and Vegetable Paste
Woman carrying a Child on her

Figure of a Woman carrying a Child.
lo-
[62
Museum
University College, London
Vegetable Paste.
'59
[61
Museum
....
....
168
[69
[70
[71
XIX
pa(;e
fig- '34-
Small Figure
ill
..
135-
Ivory Figures of Dwarfs
..
136.
Figures of a
Woman standing
Form of Women
..
137-
Vases
..
i3<^-
Figures of Hippopotami
>.
139.
Hippopotamus
in
.......
.......
Lapis-Iazuli from Hierakoiipolis.
a Large Jar
in
Clay, Glazed Pottery, and Stone
in
Black and White Granite
in
172
173
174
175
177
178
.......
....
.......
.........
......
.......
,.
140.
Small Figures of Lions.
141-
Small Figures of Lions
180
,.
14-.
Limestone Statue of a Lion from Kuptos
181
-tj-
Dog and
Ivory Carvings of a
Museum
University College,
144.
Figures of Dogs
'45-
Part of an Ivory Figure of a
London
of a Lion Irom Abydos.
146.
Natural Flints roughly worked to represent Baboons

Figures of
148.
Figures of Cattle and Pigs.
149.
Camel's Head
150.
Figures of Birds and of Griffins
Monkeys
in
Aslimolean
Museum
Clay, found at Hierakonpolis
154-
Head Amulet in Ivory.

Bull's Head Amulets
Double Bull's Head Amulets.
155-
Magical Instruments
156.
Magical Instrument made of Horn, from Katanga.
157-
Models of Boats
15S.
Pottery Boat with Figures of Men.
'59-
Clay Model of a House discovered
160.
Clay Model of a Fortified Enclosure
161.
Graffiti
163.
Paintings on the Primitive
College,
in
187
193
Berlin
Museum
194
Hilton Price Collection
196
Ivory
197
........
.....
London
185
191
Figures of Frogs and of Scorpions
(?) in
183
184
189
151.
Bull's
182
188
15:.
'53-
Brussels
Dog
147.
179
University
Clay and Ivory
Museum
Amrah
Berlin
at El
from the Rocks of Upper Egypt
Tomb
Tomb
198
199
200
201
....
of Hierakonpolis
202
204
208
,63.
Paintings on the Primitive
164-
Standards on the Primitive Boats
165.
Gazelles caught in a Trap and Religious
tomb of Hierakonpolis
211
166.
Statues of the god Min discovered at Koptos
223
167.
Hammered Designs on
168.
Archaic
169.
Fragment of a Slate
From
the painted
Statue
Museum,
(?)
209
210
Representations
the Archaic Statues of the
God
iMiu
225
........
227
Museum
239
discovered
0.xford
.....
of Hierakonpolis
Palette.
at
Hierakonpolis.
Cairo
Aslimolean
170.
Slate Palette with Hunting Scenes.
171.
Slate Palette with Representations of
Animals (Recto).
O.xford
172.
Slate Palette with Representations of Animals (Verso).
O.xford
Louvre and British .Aluseum
231
232
LIST
XX
ILT.USTRATIOXS.
OI-
173.
Slate Palette (l\ecto).
Louvre Museum
174-
Slate lâlette (Verso).
Louvre Museum
175-
Fragment
I'U
176.
/ /
Fragment of
a Slate Palette (Verso).
Fragment of
.Slate
i7f^.
Fragment of Slate Palette
179-
Fragment
Cairo
(Verso).
237
238
O.xl'orci
-39
of Slate Palette (Recto).
British Must'urn
So.
Fragment
of Slate Palette (Verso).
British
,.
181.
Fragment
of Slate Palette (Recto).
Louvre ^Museum
Fragment
of Slate Palette (Verso).
1S3.
..
184.
240
Museum
241
242
Louvre Museum
^43
Museum
Cairo Museum
Slate Palette of Nar-Mer (Verso).
Fragment of Slate Palette. Louvre Museum
Slate Palette of
Xar-Mer
Cairo
(Recto).
-44
245
246
,.
185.
187.
Scenes carved on the Great Mace-head of King Nar-Mer
1S8.
Great i\Iace-head of an Unidentified King.
86.
-35
236
O.xlord
Palette (Recto).
234
Museum
Museum
Cairo
Slate Palette (Recto).
ol a
....
....
Ashmolean Museum, O.vfon
Great Mace-head of King Nar-Mer.
247
249
Ashmolean Museum
Oxford
189.
Principal Scene on the Great Mace-head of an Unidentified King
190.
Specimens
of Small Ivory
the Royal
Tombs
and Wooden Plaques discovered
in
Abydos
Glazed Pottery discovered at Abydos
Dynasty
of the First
at
,.
191-
Small Plaque
19--
Private Stehe from the Royal Necropolis of the First Dynasty a
.,
193.
Stela of Hekenen.
.,
194.
Limestone Statue of
..
195-
Head
Abydos
96.
in
..........
Ashmolean
Black Granite Statue.
197.
198.
Statue in the Brussels
199-
Statue of Ncsa,
..
^^03.
Cairo
a Lil)yau.
Fig. 202.
]\Iuseum, O.vford
of a Libyan in Limestone.
Statue of a Princess
Figs. 200, 201.
in
Turin
Ashmolean Museum,
O.xlord
....
....
......
of the Statue of
262
Museum
269
Ashmolean Museum,
Part of the Ivory Figure of Cheops.
Upper
i.
-05-
Dancers from the
,.
2C6.
Steatite Figure from Hierakoupoiis.
Tomb
261
263
O.^ford
Khasakhmui
Pottery Figure of a Lion
-59
260
......
.......
the Louvre
204.
Museum
256
-58
Museum
Museum
Museum
Cairo
in the
Statue of Khasaklimui.
Head
-55
of Aiita at
Cairo
Deshasheh
at
Bcni Hasan
266
267
26S
-75
Ashmolean IMuseum, O.xford
Musical Instruments, from a painting
265
-77
CHAPTER
I.
PRELIMIXARY COXSIDERATIONS.
TH E
extreme
antiquit}' of Egv'ptian civilization lends a x&ry
attraction
special
welcome
e\'ery
fresh
the
to
minds are so constituted
of
stud}'
productions.
its
reaching back
that,
clue that
guide
will
Our
we
into
the
past,
to
the
starting-
us
by man
more or less brilliant civilization.
From this point of view Egypt has proved itself to be a
mine of information.
Its
numerous monuments of antiquity
witness to the existence of an advanced art at a period when
we can
point whence
on paths which ha\e
trace the
curiositx'
setting
last
plunged
still
before
attainable.
about the
in
the deepest barbarism.
few years, however, Eg\"pt has
she only rendered
steps taken
led to
the rest of the world was

Until the
feeble
first
us
a riddle
it
the
more
not satisfied our
day
intense from
solution
to da\',
of which appeared un-
At the time of her first appearance in histor\-, at

commencement of the fourth dynasty, she already
possessed a civilization which was practically fixed and complete.
Language, writing, administration,

these
could
we found already
observe
thousand
period
race.
established,
\'ears
of time
If v/e
"
sufficient
was
it
etc.
of
we
be styled
development
to allow for the
Four thousand years," he

for
the
would perhaps not be enough.

no pretensions to exactitude
all
all
rarely that
may
development of an
facts
its
In
any case
only merit
is
this
that
intelligent
races,
figure
it
" is
says,
were watching the progress of transitional
to the exigencies of
suppose, as did Chabas, that about four
would be necessary
civilization.
and
ceremonies,
and there of what
here
One might
"archaism."
of such a
traces
cults,
it
makes
lends
itself
which are known up to the present

I
PRIMITIVE ART
time or which
when we
many
as
This impression
works of
considering;
arc
without
endorse
probable."
arc
an
hesitation
EGYPT.
IX
art,
and one
opinion
centuries to the period between the
and the Ancient Empire as
civiHzation
that empire and the
to
struck with their extreme realism, their

in
it
their intention,
such a manner that
mode
Egyptian
classical
art
Fig.
exclaims Mariette,
with
the
"
almost
commencement
the
earh'er
ductions that can scarcel}- be termed primitive
rendering
tempted to
is
assigns
period
of
between
years of the Christian era.
first
examining the productions of the
In
which
accentuated
is
far
mode of seeing nature, and

we can immediately grasp
still
"
us.
The Geese
they
are specially
more complete than the best
can show
1.
pro-
d>-nasties
we
Beautiful in
that
themselves,"
of Medu.m.
appear beautiful when compared
work of dynasties that we
believe
to
represent
the
flourishing centuries of Egypt."-
strange consequence of this opposition between the realism
of the
earliest
was, that
it
leci
dvnasties
scholars
and the hicratism of
who
which was distinctly disconcerting

to our taste at the
the
"
commencement
that
Egyptian
everything around
Chabas, Etudes
it
art,
the
stir Vantuiiiitc historiquc
Mariette,
ib.
p. 86.
perfect
formulae
d'apres
work which
of art as well
les sotoxcs
as
i-gypiiomes et
moiiumc7its /epiites prehisfoi-u/iies, 2nd ed. Paris, 1873, p. 9.

- Mariette, in the Revue archeologique,
i860; quoted by Rhone,
d petitcs jou7'iiecSy Paris, 1877,
Egypt
of the Ancient Empire, under
implacable influence of that slow sacerdotal
petrified
Ics
classical
studied the question to a conclusion
L Egypte
PRELIMINARY CONSIDERATIONS.
immediately began
the formulae of belief"
more and more.
riorate
to
change and dete-
Nestor L'Hotc, one of the scholars best
acquainted with ancient Egypt, came to a legitimate conclusion,

appears,
it
when he
"
wrote,
The
one penetrates
further
antiquity towards the origins of Egyptian
art,
the
more
into
perfect
are the products of that art, as though the genius of the people,
he
art,"
that
to
invcrsel)-
"we
sa\-s,
know
onl\-
emerged
gradually
The
its
'decadence."
from
the
tombs
the
of
Empire
Âncient
Shcikli el Beled, the seated scribe of the Louvre, the scribe
Museum,
Cairo
of the
statues of
who have seen them

has so far popularized them
them here. But a fact not
works
of
art
which
phenomena, appearing
exists
high
Another
of the
whole
level
fact
series
memory
Museum, and photography
as to render
it
unnecessary to reproduce
sufficiently realized outside the limited

in
man\'
to
addition
must
these magnificent
to
appear
to
be
isolated
a period of primitive barbarism
of
contemporary works which
attained by Egyptian
not sufficiently realized
painters
The two
the world.
Rakotcp, are living in the
that,
is
at
all
at the Cairo
Medum, Nojrit and
of Egyptologists
to
The Geese of Medu.m.
all
circle
known
are
Fig. 2.
the
in
need scarcely refer to the masterpieces of art which have
of
Egyptian
was formed suddenly.^
of others,
art
is
at
the
there
attest
Pyramid
to
age.
the marvellous dexterity
and sculptors who decorated the walls of the
tombs with paintings and

^Journal dcs savanis,
1851,
Hisfoire de I'art dans I'antiquite,
reliefs
pp.
vol.
53,
i.
of incredible delicacy, inspired

54.
Quoted by Perrot
L'^gypte,
p.
677.
&
Chipiez_
ART
PRIMITIX'K
by Nature, which
the\"
copied
KGYPT.
IX
with
scru[)iilou.s
fidelity.
It
will
dates from
the
be sufficient to quote a typical example of each.
modern painter could have

the
heav\-
of the
gait
tentious carriage of
(Figs.
and
than
it
human
In
figure.
tomb
pre-
plumage"'
its
and
perfection
of the
now
a high
deceased,
the
both seated
neck, the
its
2).
discovered six wooden panels,

represent
and humour
spirit
curves of
the
and
No
picture.
this
in
more
seized with
goose,
xAnother instance shows us the same

the
Maspero says
head, and the markings of
its
feeding
painters of the highest power,
gave better proof of
never
represented geese
artist
In reference to this painting
The Egyptians were animal
they
Medum, which
at
d\Miasty, the
third
tlie
various attitudes.
in
"
mastaba discovered
In
end of
d>'nast\'
tliird
the Cairo
in
of the
official
rendering
in
Mariette
Museum. The\'
name of Hosi,
There are hierogl\'ph inscriptions
standing.
above the figure or before the
We
face.
reproduce here
the
heads of two of the figures, which show the marvellous manner

in
which the
has succeeded
artist
and delicately rendering

that
convention
is
alread}'
in
profile
on a head seen
cannot
to
fail
be
seizing the type
in
with
it
the
there.
We
chisel.
The eye
and surely
must admit
drawn
is
full
but, admitting this con\-ention,
astonished,
and
at
the
face
one
same time charmed,
with this power of execution at a period when we only expect

to
meet with rude and barbarous work (Figs.
We
art
at
the
Eg}'ptian
banks of the Nile

Theories
Pharaonic
to
commencement
Was
explained?
held
bv'
by
Eg\-ptians
art
an
'
and
Maspero,
26 and
text
pi. .xxix.
until
the high level
is
history
Egvpt
of
to
be
brought to the
importation
man\'
from
scholars
who
would
Asia, conquering
the river, after a
prolonged on the east coast of Africa

h\'pothesis,
How
deal.
of the
conquering foreigners?
Nile as they descended
p.
4).
have now said enough to enable us to state briefly the
problem with which we have

of
and
the last
it
by Grebaut, Le muscc egyptien,
bring
valley
the
of the
more or
less
to strengthen
this
sojourn
appear
few years
the
has been difficult to

vol.
i.
Cairo,
1890- 1900,
So
accept any other explanation.
back to the
far as
and
presence of a
was possible
circumstances, such as the
onl\' peculiar
name, permitted certain
king's
museums
Europe and Egypt contained
which might be dated as belonging
statues,
three
of
d\-nasties
first
drawn
seriousl}-
to
but
them, and
that their true character has
however,
Recently,
changed
the
of
current
the
discovered
first
at
begun
in 1893,
certain rude
was never
quite recent years
in
discoveries
has
Flinders
Petrie
some roughly-worked
statues
Professor
god Min, on which were
car\-ed,
very
in
singular figures of animals, 'of mountains, and
of hieroglyph employed to write the

the
true
to the period of the
important
research.
of
Koptos,
is
be recognized.^
to
of
series
only
is
it
It
of scholars
attention
the
be
bas-reliefs to
attributed to a period anterior to the fourth dxmasty.

that the
to trace
productions rarely presented
earliest d\-nasties, their
traces of archaism,
it
name
low
relief,
an archaic form
of the
god Min.
At
time potter)- was found of a peculiar t\'pe, which had
same
previously been
known
which could not
rare specimens,
onl\' in
be correctly dated.
The
following year,
Petrie, aided by Mr. Ouibcll, found

Naqada an enormous necropolis, where
found at Koptos, at the same time as the
Dr.
the neighbourhood of
in
similar pottery to that
statues of Miti, was extremely abundant.
Researches carried out
simultaneously by M. de Morgan proved that they were dealing with

prehistoric cemeteries.
of these excavations, as
an article
in
content
in
cannot attempt to enter here into details
have recently given an account of them
the Reviie de
myself
with
l^
Bnixellcs?
Universite de
mentioning
the
followed the publication of that work.
principal
events
will
which
During the winter 1S98-99,
Professor Petrie and his fellow workers explored various prehistoric
cemeteries at Abadiyeh and
menting those
'
See
Berlin,
C.'M'.ART,
plates
-
the
ii.
and
at
Bologna,
Hii.
These
discoveries, b>- supple-
Naqada, afforded material

Brussels,
Cairo, Leyden,
Rcciieil dc 7nonH7ncnts egypticns,
establishing
for
in
London, Naples,
Pari?,
Brussels,
Remarks on
1902.
Turin.
iii.
Petrie, Kcptos, London, 1893.

Cap.\rt, a otfs stir les origines de
Rcvuc de V Universite de Bnixelles,
P Egypte
iv.
d'apres
Ics
fouilles ri'centes, in
1898-9, pp. 105-139,
fig.
and
pi.
PRIMITIVE ART
a preliminary fashion the
the
same
main
time, Mr. Ouibell
IX KGVPT.
outlines of prehistoric Egypt.
of the ancient temple of Hierakonpolis
site
of objects, dating from the
which,
in
a manner,
At
and Mr. Green found (1S97-8-9) on the
commencement
an important
.series
of the historic period,
formed the bridge between Egypt of
historic
and of prehistoric age.
These
results
were confirmed
excavations of Professor Petrie in

d)-nasties at
the
in
following
\'ear
b\'
royal tombs of the
the
the
first
Abydos, which shortly before had been negligent!}'
-Fkag.ment of o
Ht
From a photograph by
AM.
I..
Petrie.
by M. Amelineau.
explored
Finally, the excavations in the

temcnos of the temple of Osiris at Ab\-dos (190 1-2-3), '" addition
to other discoveries, brought to light a small prehistoric town, which
provided the necessary materials
for a
complete and incontestable
welding together of prehistoric Egypt and the historical dynasties.

Other excavations carried out at El-Ahaiwah and Xaga-cd-Der,^
'
The
result of these excavations
Dr. Reisner will be
Fund,
fouiiti in
is
goo- 90 1, pp. 23-25 and 2 plates.

1
not yet puljlished.
the Archccolog/cal Report of the
.\
short note
by
Egypt Exploration
under the direction of Dr. Reisner,
and
Amrah by
also at El
for the University of California,
Mr. Maclver and Mr. Wilkin, completed
the information already acquired relating to the primitive period.
The evidence thus acquired supplied us with much

it
\vas
at
once recognized that
the rituals, to discover
in
it
many
was
possible,
drawn from these discoveries
Fig. 4.
more
vestiges of that
as a
especially
civilization
The
which the archaic cemeteries bear witness.

clusions to be
interesting
primitive inhabitants of Egypt, and
information concerning the
whole
to
con-
general
are, that
Fragment of one of the Panels of Hosi.
From
a photograph by Petrie.
there was a civilization anterior to the Pharaonic civilization, and

that this civilization produced
We
of excavations were published.
simpK'
are
reports
important arc
1
vvitli
^'
works of
art.
must here mention the principal works
of
Most of
e.xcavations
of
in
which the
these are in English,
Naqada,'^ Diospolis'^ TJie Royal
Tombs of
Pama,
the Cemeteries of
Abadiyeh and
Hit,
&
and
The most
cemeteries.
NiK/ada and Ballas, 1895, by VV. I\I. Flinders Petrie

chapter by F. C. J. Spurrell, London, Oiiaritch, 1896.
Diospolis
results
J.
E.
tlie
First
Quibell,
1898-9, by
W. M.
PRIMITIVE ART
Dynasties^
(i.
Hierakunpolis'^
Green; and,
tions
and
(i.
and
finally,
Abydos'
ii.),
ii.),
and
i\.
by
published
El AmraJi^
EGYPT.
IX
tîves
by Mr. Maclver and Mr. Wilkin
due
ii.),
Mr.
Petrie
to
Quibell
and
Mr.
the results of the excava-
the cemetery at
in
that
locality.
addition
In
monograph on
to
each of which
books,
these
constitutes
work by M. de Morgan
a prehistoric cemetery, a
must be mentioned, entitled Reclierches sur les origines de I'EgypteJ'

This is the only book in French which has been published on
Unfortunately
the subject.
had
discoveries
deal
appeared before the most important
made, and
been
became out of
rapidly
it
date,
in
by force of circumstances
those
chapters
at
least
generally with the primitive ethnology of the
it
which
inhabitants
of the Nile Valley.
We
must not
of Leipsic,
fail
who was
to
mention the work by Professor Steindorff
the
to
first
give an accurate
judgment on
a whole class of artistic remains belonging to the archaic period,

of which mention will frequently be
Being at
Flinders
last
Petrie,
in
with
possession
cliapters
by
made
in
this book.*^
of Egyptian artistic
A.
C.
Mace,
productions
London,
1901
{Egypt
Exploration Fimd).
by W. M. F. Petrie,
2 he Royal Tombs of the First Dynasty^ 1900,
with chapter by F. Ll. Griffith, London, 1900 {Egypt Exploration Fund).
The Koyal Tombs of the Earliest Dynasties, 1901, ii. by VV. M. Fli.nders
'
i.
Petrie, London, 190 1 {Egypt Exploration Fimd).

^ Abydos, i.
1902, by VV. M. Flinders Petrie, with chapter by A. E. Weig.'^ll
{Egypt Exploration Fund). Abydos, ii. 1903, by W. M. Flinders Peikie, with
chapter by F. Ll. Griffith, London, 1903 (Egypt Exploration Fund).
^ Hie?-akonpolis, i. by
with notes by W. M. Flinders Petrie,
J. E. Quibell,
London, Ouaritch, i()Oo {Egypt Research Account). Hicrakonpolis, li. by J. E.
Quibell
&
W. Green,
London, Quaritch, 1902 {Egypt Research Account).

by D. Randall MacIver & A. C. Mace, with a
chapter by F. Ll. Griffith, London, 1902 {Egypt Exploration Fund). The
name of Mr. Wilkin does not occur in the title of this public;ition, owing to
the lamented death of this young scholar shortly after the e.xcavatioiis were
-*
F.
El Amrah and
Abydos,
concluded.
^ Recherches sur
les origines de V Egyptc.

Edge dc la pierre et des metaux,
by J. DE Morgan, Paris, 1896. Recherches sur les origines de I' Egypte. Ethnographic prehistorique et tombeau royal de Negadah, by J. de Morgan, Paris,
Leroux, 1897.
^
filr
Steindorff, Einc neue Art iigyptischer Ku7ist

Georg Ebers, Leipsic, 1897, pp. 122- 141.
in
Aegyptiaca.
Festschrift
anterior to the dynasties,
becomes possible
it
to enquire
Egypt can be
the question of the origin of art in
any hope of arriving
furnish
are extremely abundant
potters,
Of
objects
multiple
The
artistic!
because
of what
vary on
point
of
or other
these
which
almost un-
in
of
can claim
the
the\-
that
replying
in
utensils
what should we choose
are
difficulty
Unhappily
art.
is
all
difficulty.
the contents of the tombs
various
to
this
m()re
give a definition
only transfers the problem without
the
true
easy of solution.
nature of
art.
Qnot capita
truth,
were possible
it
specially
say with
tot census.
to
transcribe the ^\hole of the pages
written by Professor E. Grosse on this subject.^

as
great,
We know how opinions

Each author has his special
viev,', which
makes him insist more expressly on one
aspect of the subject.
So much is this the case, that
it
wish
of
title
is
there are {&\\ subjects in the world of which one can
more
these
all
question
this
we must
order to arrive at a solution
in
rendering
and
statuettes,
limited number.
with
raised
at a solution.
But here we are face to face with an unforeseen
The remains
whether
wish to observe, which
was
It
work,
his
me
started
first
on the
researches which have resulted in the production of this book
but to do this would appear excessive, and

with giving a
summary
them
of
must content myself
dwelling
as briefly as possible,
principally on those points which should act as our guide.
"The duty
establish
is
of a science," says Professor Grosse, "is this: to
and explain a certain group of phenomena.
two parts
therefore theoretically di\ided into
which
part,
is
the
description,
the explanatory part, which
Does the science of
laws."
first
part the reply ma\' be
as regards the second part?
and
of facts
refers
these
the descriptive
their
to
facts
All science
nature
art fulfil these conditions

in
the affirmative
It
appears that
it
For the
but can
i.s
and
their general
open
it
be so
to doubt,
and here Professor Grosse proves himself very severe concerning

the
productions of art criticism, which,

"
usually
infallibility
which
systems,
'
arrogate
is
the
GuosSE, Lcs Debuts dc
to
themselves
distinctive
I'Art,
in
French
sign
addition
that
of
to
complete
majestic
systems
air
of
edition, Pans. Alcan, 1902.
of
the
PRIMITIVE ART
lo
philosophy of
Of
"
he says,
course,"
both useful
of which,
art,
may
on art which
EGYPT.
when
are occasions
to be
fraijincnts.
they constitute nnere
in fact,
there
and pleasant
IX
nnay appear
it
informed of the subjective opinions
be held by a
man
of genius
when they
but
are imposed on us as general knowledge, founded on a scientific
from
basis,
moment we must
that
principle of scientific research
essential
is
The
them.
refuse to accept
always and everywhere
whether research concerns a plant or a work of art,

It is in consequence of not
should always be objective,"
it
having obeyed this necessity that the philosophy of art has not
same
the
yet succeeded
providing us with a satisfactory explanation of
in
phenomena, notwithstanding the mass of material placed

command by the history of art.
artistic
at its
"
The
task
which
describe and explain the
science
phenomena which
phenomena
"
denomination of
before the
lies
of art
is
a social one.
In the
the object must be to understand an isolated
work of
has two sides
entire work of one
to
artist,
and
individual work,
between an
artist
as the product of an artistic
his
it
is
possible
This task
case,
first
art,
or the
and
to explain
the
individuality working
This individual side of the problem,
under certain conditions."

if
to
discover the relations which exist
work of
art
are classed under the
of an artistic character."
an indixidual and
this
to study
it
with precision during the centuries
most nearly approaching our own times, becomes more and more
complex as we reach further back into the past, and very soon
we find ourselves forced to abandon our attempt and to adopt
the
social
" If it
side.
character of a work
is
impossible to explain the individual
of art
by the individual character
of the
author, nothing remains to us but to trace the collective character

of artistic groups having a certain extension within time or
space,
The
to
first
the
character
aspect of our
second sociological."
logical
aspect
of
the
of
nation
problem
is
or
of an
therefore
entire
psychological, the
As Professor Grosse observes,

problem
has
not
been
epoch.
this
socio-
overlooked
as
Reflexions critiques sur la

early
17 19
pocsie et la peinture, opened the way to the sociology of art.
Herder, Taine, Hennequin, and Guyau successively attempted
as
Abbe Dubos,
in
his
to
general theories, or else combated
form
decessors
but
unfortunately,
studies
sociological
results
those of their
obtained
of art are reviewed,
matters
in
the
if
ii
pre-
by these
must be
it
This can be accounted
confessed that they are very poor.
for,
by the small number of students who have

realized the sociological value of art, but also and above all
by the erroneous method which forms the basis of all these
in
the
place,
first
researches.
"
In
we ha\e
other branches of sociology
all
We
beginning.
at the
phenomena, and
nature and
is
it
only when we thoroughly understand the
forms
simple
conditions of these
sociological schools have, one after another,

;
that
we attempt
more complicated.
the explanation of those which are
roads
learnt to begin
study the simplest forms of social
first
the science of art alone pursues
its
attempted
to find
mistaken methods.
All
new
All
others have eventually recognized the powerful and indispensable

aid that ethnology can afford to the science of civilization
only the science of art which

of primitive nations offered
still
ethnolog}'.
b}'
The
not yet capable of resolving the problem under

aspect.
we would one day
If
it
science of art
its
arrive at a scientific
of the art of civilized nations,
is
despises the rough productions
we must,
more
is
difficult
comprehension
to begin with, investigate
the nature and conditions of the art of the non-civilized.
We
must
know the multiplication table before resolving problems of higher

mathemiatics.
It is for this reason that the first and most pressing
task
of the
science
of art consists in the study of the art of
primitive nations."
It verily
itself to all
appears
which we attempt by degrees

our
first
study of
that, in the
the expressions employed.
to define,
conclusion that there again
and requiring
Which,
in
We
is
art,
misfortune attaches
begin with vague terms,
only to find on arriving at
a term wanting in precision
definition.
fact,
are the nations
who can be
called primitive
Here again the most diverse opinions have been expressed, and
when studying the proposed classifications, we meet at every step
with errors which lead us
Only
to
review the results with suspicion.
to
quote one example
"
Between an
inhabitant
of
the
PRIMITIVE ART IN EGYPT.
12
Sandwich
Continent there
than
and
Islands
man
indigenous
a difference in
is
that which separates an
AustraUan
the
to
civiHzation greater, no doubt,
Arab and an educated
educated
European, and yet Ratzel, who distinguishes the 'semi-civilized'
Arabs from the

and Australians
Is
civilized
'
method of determining the
there an}'
any one
Europeans, combines the Polynesians
'
one group."
in
That which
civilization?
complicated, even in
civilization
called
is
simplest forms, that
its
relative degrees
it
is
is
of
so
impossible, at
our day, to determine with any certainty the factors
an\' rate in
we were to compare the various civilizations

we should probably not attain our end
but we should be able to solve our problem fairly easil\-, if we
that produce
in all their
were
to
If
it.
manifestations,
succeed
finding an isolated factor, which would be easy
in
determine and sufficiently important to pass as characteristic
to
of the whole of a civilization.
Now
there
tions indicated,
which
a factor to be found
is
and that
The form
production.
is
adopted exclusively, or almost exclusively,

is
to
say, the
their food
manner
is
a fact which
is
is
we can have no doubt
know
To have
nation,
vvc
that
directl\',
and to
civilization.
religious or social beliefs
as to their productions
It
is
perhaps
the intellectual civilization of the ancient
we know
Incas were agriculturists
group
any form of
in
a hunter and a collector of plants.
impossible for us to
Peruvians, but
of production
in a social
easy to observe
precision
Whatever may be our ignorance of the

the Australian
the two condi-
which the members of that group produce
in
determine with sufficient
of the Australians,
fulfils
that the citizens of the empire of the

that
established what
is
a fact which admits of no doubt.
the form of production of a given
is
however, would not be sufficient to attain the end that
have proposed to ourselves,
if
we could not prove
at the
same
time that the special form of civilization depends upon the special
form of production.
The
idea of classifying nations according to
the dominant principle of their production

the most ancient works on
is
in
no way new.
the history of civilization one
In
finds
already the well-known groups of nations, classed as hunters and

fishermen,
nomad
cattle breeders
and
agriculturists, established in
PRELIMINARY COXSIDHRATIOXS.
Few
their countries.
the
full
exaggerate
way
historians, however,
importance of production.
seem
to
13
have understood
easier to underrate than to
It is
In every form of civih'zation, production
it.
the centre of hfe
on the other factors of
it
in
is
some
has a profound and irresistible influence
civilization.
It
is
itself
factors of civilization but b}' natural factors
determined, not
b\-
by the geographical
and meteorological character of a country.

One would not be
wrong in calling production " the primar\' phenomenon
altogether
of
phenomenon by
civilization," a
the side of which other factors
of civilization are but sccondar\' derivatives, not in the sense that
they have sprung from production, but because they have been
formed and have remained under
its
of the necessities of production
dominant
powerful influence, although of
Religious ideas have certainly not grown out
independent origin.
nevertheless, the form of the
religious ideas of a tribe can
The
form of production.
belief in
belief in
an
among
the living
less
;
but
order of the
hierarchic
nothing more nor
of ancestors
in
its
turn
one
finds
It
it.
whose nomad
cial organization,
is
life
is
indeed the belief
The importance
manifests
nowhere so evidently as
family
of
in
in souls
that
of production.
on the product
appear
to
us
the
human
still
more
perfectly comprehensible
we consider them in their relation

The most primitive people depend
the term "chase"

and the plants which they
of the chase
broadest meaning
not of
howe\'er,
the organization of the
which have inspired sociologists with
strange hypotheses
among
but
production,
The strange forms which have been taken by
forms
moment
and centralizing
does not admit of a fixed so-
order.
family.
is
the consequence of pro-
for this reason that
the hierarchic
itself
than a reflection of the hierarchic order
which
tendencies which result from

tribes,
part to the
particular form
its
souls
duction, of the breeding of cattle, of the warlike
hunting
in
which exists among
souls
the Kaffirs, has an independent origin

the
be traced
to
the
the forms
for their food
being taken
in its
collect.^
we survey the world in search of tribes living in this elementary stage, we shall not find them in large numbers. Grosse quickly
" The immense continent of Africa contains
disposes of them.
If
'.pp. 26, 27.
14
but one hunting tribe
leaving
us these
pygmy tribes
completely unknown
out of account the
of the centre, the civih'zation of
whom
is
Bushmen, the vagrants of the Kalahari

and surrounding countries.
In America we find true huntsman
tribes only in the north and the south
the Aleutians and the
to
are
the
Tuegians.
All
the
the exception of
who
live
still
some
more
are
or
less
under very primitive conditions.
exhibit the primitive state in
all
its
with
agricultural,
Brazilian tribes, such as the
Botocudos,
In Asia there are
any but the Mincopies of the Andaman
scarcely
still
others
purity
who
Islands,
Veddahs of
the
Ceylon have been too much influenced by the Cingalese, and the
Tchuktchis of the north and their ethnical relations are already
breeders of cattle.
There is only one continent which is still
occupied over
being
made
of
whole extent by a primitive people exception

European colonies this is Australia, a continent
its
its
that v>e can also consider from an ethnological point of view as

the
trace of a vanished
last
\\"h\-
artistic
Here an objection
world."
arises.
take into account the prehistoric populations, whose
not
productions are both numerous and varied
M. Grosse,
according to
that
is
in
evidence of these productions, before

certainty that
we
are
forms we are in search
The
considering the
"
reason,
invaluable
being able to say with
actually dealing here with the primitive

of,
would be necessary
it
for us to
know
the civilizations which have furnished these records."
Happily
this
objection
does not exist, at least
in
the
same
of
degree, in the case of primitive Egypt, where the abundance

records
already such that we can picture to ourselves the
is
of the primitive Egyptian

I
think,
to
of "artistic
distinguish
"
;
and with
with sufficient accuracy to be

productions which
those
this
we
" In
title
return to the problem just pro-
pounded, with some additional likelihood

to solve
merit the
life
able,.
this
time of being able
it.
collections of Australian objects," says Professor Grosse,^
"one almost invariably

binations
of points
and
finds
lines.
tinguish these designs at the

'
wooden
Grosse,
It
first
loc.
is
sticks
covered with com-
almost impossible to dis-
glance from
at. p. 17 et seq.
those which are.
.15
found on the Australian clubs and shields, and which arc ordinarily
There
'ornaments.'
styled
difference
between
we
been
have
nothing
are
sticks
aware
the
that
than
else
an
notwithstandinj:^,
is,
so-called
rude
upon
desii^ns
kind
essential
For some time
two classes of patterns.
the
writing
of
these
marks
who carries the stick of the

They have therefore a practical
intended to remind the messenger

essential points of his message.
and not an
prevents our falling into error

instances where
how numerous must be
but
Who
otherwise?
it is
ments
Is
it
signs
tribal
Or
we
almost every time we look
arise
answer.
an
give
also
are
the orna-
at
Notwithstanding the great number of
many
can never be called
in
which the purely
aesthetic
The doubtful cases

our science. The birds'
in question.
from being valueless
far
iew instances can
very
In
race.
doubtful instances, there are also

signification
are religious symbols
these figures
possibl}'
any primitive
of
are actually orna-
not possible that they are marks of property or
These questions
mentation
the
could authoritatively assure
that the figures on the Australian shields
us
knowledge
In this instance our
aesthetic signification.
for
heads at the prows of the Papuan canoes are perhaps primarily

symbols, but
religious
ornamentation
of an
choice
also
the)'
sideration, the execution
serve
ornaments.
as
the
If
detennincd by a religious con-
is
and the combination with other
motifs,
whether different or analogous, are always affected by aesthetic

needs."
It
how
easy to see what are the
is
impossible
it
would be
had resolved from the outset

data on
all
subjects.
the
hope that one day
the
discuss
question
to give only definite
It is therefore
to multiplying observations
in
to
of the subject, and
difficulties
if
one
and assured
necessary to confine oneself
and studying the doubtful instances,

light
may
forth from
spring
them,
permitting us to trace with a sure hand the laws which govern

artistic
phenomena.
"
As
it
necessary,
is
give a definition of Art,
ideas, to
Speaking broadly, we mean by
activity
to
which
excite
is
intended by
direct
sensation,
'
we
jEsthetic
its
'
order
in
will
or
'
artistic
exercise, or
which
in
to
fix
our
say with M. Grosse
most
by
its
cases
'
activit)'
an
final result,
is
one of
i6
But we are careful
pleasure."
that "our definition
our edifice
is
This has been
some extent
time
of the
it
believe
be demolished when
we
that
difficulties
that
it
encounter
shall
may
for
in
Is
Egyptian
classical
asked ourselves? or
Was
is
it
same
at the
day
of Egyptian
possibly throw light one
art an
at the
the future from a
on the extremel}' interesting question of the origin

art.
Eg\-pt."
in
warning us
will be of service in
it
appears to
it
from "Primitive Art
shows us what we may hope
study thus directed
to
very long parenthesis, and
to be a digression
Nevertheless,
outset
merely a scaffolding
built."
is
add immediately, with our author,
to
we have
importation, as
of the primitive
continuation
just
art?
and progressive evolution or is it possible to

a sudden contrast between
establish at any given moment a hiatus
the primitive artistic productions and those of dynastic Egypt ?
there a slow
We
cannot attempt to reply to these questions
arrived at the completion of our study
the
result
will
state of our
As
remain
we have
until
and even then,
extremely problematic
in
the
fear,
present
knowledge.
a precaution against error
we
borrow from Professor
will
Grosse the plan of his book, and also the method of dividing our
matter shall be as follows: "Art," he says, "is divided into two
ence
The differarts of movement and arts of repose.

which separates them has been very clearly indicated by
great groups
Y^z\\^&x {Vorschule der Aesthetik,
by forms
in
repose, the others
ii.
The
5).
first
by forms eithen
following one another in time;
the
first
in
seek to plca.se
movement
or
transforms or combines
and the other produces the movement of the

body, or changes in time capable of attaining the result aimed at
masses
by
repose,
We
art.
called
in
"
will
commence with
the plastic arts."
of these, and as the
the
Decoration
object
first
is
"
arts in repose,"
adorned
is
the
human body,
we will begin with the study of personal adornment.

the most primitive folk are not content to adorn
'
J.
Collier,
in
his
commonly
probably the most primitive
Primer of Art (London,
18S2),
p.
36,
But even
the
body
defines art as a
"creative operation of the intelligence the making of something either with

a view to utility or pleasure."
only
they must also embellish their weapons and utensils.
ornamentation of these objects
We
our stuciy of the subject.

art
occupy the second place
will
shall
It
between the
arts of repose
be defined
as
may
{lebendc Bildnerei')
people dancing
it
animated
Dancing forms
"
and the arts of movewhich creates movement
the art
plastic art.
always united with song
is
mode
in
then examine the free plastic
creation of works which are in themselvês artistic.
the transition
The
which aims not at decoration but at the
Bildiierei),
{freie
ment.
17
Among
primitive
and thus we have
poetry.
Finally we will
The three last subjects can only be
treated in a most summary fashion in their relation to ancient
Egypt. Before commencing the last portion of our task we will
a convenient
of transition to
study primitive music."
devote a short chapter to the earliest Pharaonic monuments, the
comparison of which with the primitive remains cannot
fail
to
be interesting.
But before entering upon our subject,

give
some
Authors
differ
the date of the
enormously
first
3892
5004
their opinions
in
it
necessary to
Wilkin.son, 2320
Brugsch, 4455
on the subject of
Here are some of the dates
Eg}-ptian dynast}-.
which have been proposed.

5869
think
dates in order to fix our ideas.
Champollion-Figeac gives the year
Bockh, 5702
Unger, 5613
Bunsen, 3623
Lieblein,
5004
Lepsius,
Mariette,
Lauth, 4157.-
Dr. Budge, Keeper of the Egyptian and Assyrian Antiquities of

the British
Museum,
in his
recent History
of Egypt^ having quoted
the dates given by Champollion-Figeac, Bockh, Lepsius, Mariette,
Bunsen, Wilkinson, and Brugsch, ends thus

onl\-
"
Of
these writers, the
ones whose chronological views are to be seriously considered
are Lepsius, Mariette, and Brugsch, between whose highest and
lowest dates
is
an mterval of over
lOO years.
Viewed
in
the light
of recent investigations, the date of Lepsius seems to be too low,

whilst that of Mariette, in the
same way, seems
to be too high
we
Grosse, loc. cit. pp. 38, 39.

According to the chronological table drawn up by Wiedema.xn in his
Acgyptischc Gcschichte, pp. 732, 733, which gives with reserve the date 5650.
3 Budge, History
of Egypt, i. Egypt in the Neolithic and Archaic Periods,
1
London, igo2,
p. 159.
PRIMITIVE ART
have therefore to consider the date
Egyptian
lists)
arrived at
M. Maspero,
in
for
Menes
(the
first
large
his
Histoire ancienne des
somewhat
possible error of several centuries
peiiples
He
similar dating.
king of the fourth dynasty, at 4100
first
king of the
by Brugsch."
I'Orioit} apparently accepts a
Sneferu,
EGYPT.
IX
more or
B.C.,
de
places
"with a
less."
Professor Petrie, in one of his more recent works,- places the

reign of
We
Menes between 4777 and
can therefore admit,
monuments
millenary
dealt with in
B.C.
in
4715.
taking a
date, that all the

to
the
fourth
but having thus obtained a provisional date for the
termination of the primitive period,

to assign
minimum
book are anterior
this
one also
for the
it
would be equally advisable
commencement
But here
of that period.
is still greater, and a calculation can only be based

upon extremely vague presumptions. Fôr the development of the
the difficulty
primitive civilization Dr. Petrie
demands about two thousand
years,
and as he places the commencement of Pharaonic Egypt about

5000
B.C.,
the most ancient of the
to consider
As we
monuments which we
would necessarily date back

find ourselves
immense periods
any precise dates
be established,
in
our
to
about 7000
own country
are about
B.C.''
face to
face
with
of prehistoric ages, without being able to assign
it
to
the different stages of civilization which can
has
been
necessary
to
find
convenient
terminology to enable us with ease to classify the objects found.
To
this
end a
series of deposits characteristic of
chosen, and to that age the
name
an age has been
of the deposit has been given.
Thus terms have been created which
are universally accepted, such
as Chellean, Mousterian, Magdalenian, etc.
convenient to be able to do the same
in
It
would be extremely
Egypt, and
in
fact the
Paris, Hachette, i. 1895, p. 347, note 2.

In the new Gn/de to the Cairo
Mitsemn, Cairo, 1903, p. 2, the same author places the first dynasty at about
5000 B.C.
^ Abydos, i.
p. 22.
^ Mr. Maclver has recently attempted to
combat these conclusions, but his
arguments are not conclusive. In his calculations he has not taken into account
that the tribe who interred in the El Amrah cemetery may have been nomads
who would only return periodically to that locality, a circumstance that would
completely change the conclusions to be drawn from the number of tombs. Sec
MacIver & Mace, 1 Amrah and Abydos, pp. 50-52.
'
age, so called from the principal cemetery of that period
Naqada
which has been explored,

of Naqada,
gone
etc.,
farther,
still
a term already applied to the entire
is
Naqada
In scientific books the
primitive period.
men
19
already commonly
are
civilization, the
referred
Petrie has
to.
and instead of names he has proposed
to
make
use of numbers.
Relying upon the study of
t\'pes of pottery,
which are extremely
varied during the primitive period, Dr. Petrie has succeeded, by a
which
series of classifications
here, in separating all
known
it
impossible for
is
me
to describe
To
t\'pes into a scries of 50.
these
he has applied numbers ranging from 30 to 80, which numbers
To
represent the successive periods of the prehistoric age.
numbers he applies the term
seqiieiice
maximum and
minimum number,
The
dates.
tomb, when studied on the basis of these
these
contents of a
classifications, furnish a
the average of which indicates
the relative age of the burial.
scheme originated
This
rendered
only
have
which
criticisms
to
b\'
by the
possible
been
discovered.
which
his
Petrie
large
is
very ingenious,
number
of
is
intact
graves
the
various
Notwithstanding
m.ethod has been
and
subjected,
up
to
the
present time no one has apparently been able to bring forward

contradict
to
facts
we can
sa\'
his
results.
It
is
owing
of the type of a statuette or of a
to this
system that
scheme of decoration
that they occur, for instance, between the sequence dates 35 and
39
and
it is
thus that similar indications must be understood, as
they are met with

that
in the
pages of this book.
numbers previous
the
to
30 have been
a lucky find should bring to light
any already known.
As
first
must explain
reserved
in
case
monuments more ancient than
have previously mentioned, the point
of union between the sequence dates
of the
We
and the reigns of the kings
dynasty has been established on the evidence of the
small prehistoric town of Abydos, and Petrie has fixed the reign
of
Menes
'
as coinciding with the sequence date 79.-
Petrie, Sequences in Prehistoric Re?nains, in the Joiinial of the AnthroInstitute,

xxi.\.
19CO,
Petrie, Diospolis parua,
295-301
pp.
pological
pp. 4-12;
S.
Reinach, Review of the preceding
pp. 759-762.
^
Petrie, Abydos,
i.
p. 22.
in
rA?tthropologie,
xi.
1900,
20
It
on the basis of these sequence dates that we can state
is
of certain objects that they are
have endeavoured to multiply the
be
never
sufficiently
merely
intended
quoted
the text Naqada,
in
mark 78
23, the
where the text
summary commcntar\- on
each
of
manner
which can
illustrations,
work
in
as
source
following
the
in
numerous
serve
to
The
monuments.
cated
ix.
numerous during the
specially
or second half of the prehistoric period-
first
the
of
When,
Ixiv.
pi.
illustrations
is
indi-
there
instance,
for
is
the
is
and Diospolis Parva,
"jS,
be found at the side of the illustration
will
taken from Naqada, and D. 23 beside that taken from Diospolis.
A.
Abydos
signifies
Amrah;
These annotations,
etc.
foot of the page, should,
and
In
of the illustrations.
in Figs. 7
Royal
R. T.
or
A.,
it
easy to trace the originals
some very exceptional
especially
cases,
which give examples of objects which
17,
El
El,
connection with those at the
in
think, render
necessary to refer to again

identification
Am.,
tombs;
it
is
the indications relating to the
later,
of the objects will be found in
the passage where
they are treated in detail.^
concluding these preliminary remarks,
In
conceal
to
defects
the
this
work may
hazardous to write on a subject so
on a
will
of objects the
class
day.
to
sincerely
have rendered
number
hope that
this
book
simply endeavoured to render

that
it
it
will
remain, at any
existed at the
1
Following
the
moment
example
new
as
as
it
It
is,
in
fact,
and especially
increases from
a few years
altogether
rate,
do not attempt
this,
of which
in
contain.
new
day
discoveries
inadequate.
have
complete as possible, hoping
summary
of the question as
of publication.
of
M.
Salo.mon
Reinach
in
La
Sculpture
have my sell" drawn the

greater part of these figures (except those signed with a monogram). These
must, however, be considered entire!}^ as sketches, by no means intended to
supersede the original publications.
etiropeemir.
avant
les
ivfliiaiccs greco-rotnaines,
21
CHAPTER
II.
FERSOXAL ADORNMENT.
PRIMITIVE
only
The
races paint almost the whole of the body.
exception
bodies with clothing,
at
events,
all
who
Esquimaux,
the
are
when
cover
their
quit their huts.
the\-
Australian always has a store of white clay, or of red and
The
yellow ochre
pouch.
his
in
In
daily
he
life
content with
is
various smears on his cheeks, shoulders, or chest
but on solemn
occasions he daubs the whole of his bod\'.^

'
Is
possible to pro\-e that
it
the primitive Eg\'ptians?
antimony,
are
we must remark
e.xisted
among
that "colouring
and yellow ochre, malachite, and sulphide
materials, such as red
of
any similar custom
First
frequentl}-
found
in
usualh" contained
colouring materials are
tombs
the
"
these
small bags, placed
in
near the hands of the deceased person.^
There
no evidence,
is
believe, to
whole of the body, but there
is
at
Tukh
above her head,

of vases.
ration
shall
a position
In
the
make an attempt
which has designs

dis-
woman, standing, with her arms
represents a
it
in
that they painted the
This interesting object was
painted over the whole body.
covered
show
a clay statuette
we
shall
find
again
chapter dealing with
the
in
deco-
that subject
to determine, if possible, the
we
meaning of
this attitude.
The
designs painted
on
this
statuette are of various
kinds.
place there are figures of animals, goats or antelopes,
In the
first
which
Petrie
remarks are absolutely identical with those on the
'
Grosse, Lcs Debuts de
De Morgan, Kecherches sur
Petrie, Naqada,
p. 30.
I'Ari, p. 41.
les
origines de VEgyptc,
ii.
p. 51.
22
We
red pottery with white line decoration.
should next observe
the zigzai^ patterns, and finally the motives borrowed from plants.
All these decorations occur
commencement
the
This indicates that the figure
(sequence dates).
extreme
upon the pottery contemporary with

between 31 and 32
of the prehistoric period
antiquit}',
and we may consider
it
as
in
question
one of the
is
of
earliest
female figures known, with the exception of the ivories discovered
Figure of a Woman with Designs painted over

THE Whole Body.
Fig. 5.
Grey clay
in
witli
black paint.
(Fig. 5).
M. de Morgan,
same figure, remarks that " it would be easy to
number of analogies among the tribes of Central
the caves of the south of France
reproducing
find a
this
large
Africa, of Asia,
'
and of Oceania."
Petrie, iVaqada,
pi.
li.x.
6 (.-\shmolean
Museum,
O.vford).
The examples of
pottery quoted by Petrie for comparison with the paintings are the following
pi.
xxviii.
^
34,
48;
pi.
xxix. J7, 85
De Morgan, Rechaxhes
c/,
stir les
91-95.
origines de
V Rgypte,
W-.
y. 56, fi?.
loi.
PERSONAL ADORNMENT.
The most
interesting comparison from
this
one indicated by Petrie, who observes how

on
designs
west
the
to
body
the
point of view
greatly the
is
painted
the tatoo-marks of the populations
recall
Timihu
Egypt, those
of
23
we
who, as
(Libyans)
have occasion to remark, present man\' analogies
shall frequently
The
with the primitive Eg\'ptians.
we
subject of tatooing
shall
consider presently.
Two
clay female
Museum, Oxford,
those on the
It
is
were
in
Also,
it
in
fragment
in
Ashmolean
the
painted v/ith designs analogous with
statuette^
be seen
the Petrie collection, University
similar
are also
Tukh
will thus
body
figures
London, and
College,
(^'ig-
6).
evidence relating to painting the
that
very scanty, and only enables us to assert that
body with various
the habit of decorating the
not absolutely certain, in the objects quoted here, that
is
we have
women
patterns.
not
deal with tatooing
to
it
only the discovery of
is
colouring materials in the tombs that leads us
to
believe
that
they are instances of painting.-
On
of painting
the subject
evidence
clearer
for
the
purpose
this
eyes
we happily
malachite was
possess far
used, ground
mixed with some fatt\' substance.

line was drawn round the eye,
which, besides being decorative, had a utilitarian purpose.
powder and
to
With
this
As
apparently
broad
paint a rather
Petrie observes, Livingstone records that in the centre of
Africa he found that the best
remedy against obstinate
sores
was
powdered malachite, which the natives provided for him. The

same author compares the coating of colour which preserved
the eye from the blazing glare of the desert with the custom of
the Esquimaux,
it
who
blacken the skin round the eye to protect
from the glare of the snow.^
My
'
whicli
attention
show
has been drawn
distinctly the line
ol'
to
paint
similar
figures
at
the Turin
iVIuseum,
below the eyes which we are about
to
consider.
=
For
painting
the
Antiqiiites
civilisation de
la
du
A'ord,
^
new
and
body
Blinkenberg,
Grece, in the
series,
tatooing
premycenictmes.
Manoires de
1896, pp. 46-50.
Petrie, Diospolis pania,
p. 20.
in
pre-Mycenaean Greece, see

sur la plus atictenne
Rtude
la Societe royale dcs aiitiquaires
24
Fig
6.
Figures
Grey clay with greenish

off,
and only a few
The following
of Women.
paint.
facts
On
lines
in
Petrie, A'aqada,
to the left the painting
on the torso can
prove that
during the primitive period.
been discovered
the figure
this
now
has scaled
be distinguished.
custom existed
Egypt
in
Shells containing green paint have
the tombs/ and similar traces of colour have

p.
6,
tomb 522 Ballas
p.
15,
tomb 23
Ballas
p.
16,
PERSONAL ADORNMENT.
25
been found on ordinary pebbles, very much polished, which are

invariably found with the slate palettes.^
These
speak
palettes, of
which we
shall
frequently have occasion to
course of this work, served for grinding the malachite,
in the
which was crushed
to
have just mentioned.
Fig.
powder on them by means of the pebbles
The
fact
is
demonstrated
in
an undeniable
Sl.\te P.^lettes used for grinding Paint.
7.
manner b\- the traces of green paint found on them, and also
by the cavities worn in them by prolonged grinding ' (Fig. 7)
Petrie
has
occasionall}'
also
found
traces
of
haematite
on
them.
The
palettes
were fated
to
fulfil
brilliant
destiny.
Later
The same use of shells in the fourth dynasty has also been
See Petrie, Medutn, London, 1892, pi. xxi.v. 17, p. 3.1 " Tiie shell
contains powdered blue carbonate of copper as paint."
Petrie, Xaqada, pp. 10, 19, tomb 5 Naqada. A fine specimen of a palette
with traces of paint, from Gebelein, at O.xford.
tomb
87 Dallas.
established.
'
Petrie, A'aqada,
p. 43.
PRIMITIVE ART IX EGYPT.
26
on we find them developed into
works of
real
adolescent
the
Australians
the
immense
in
the
primitive
bones of the deceased with red colour.
period of paintini^ the
Among
of
art,
size and apparently employed ceremonially.

We must mention the custom that existed
red for the
painted
is
time at his initiation, when he joins the community of the
first
"
men.
Painting with red, characteristic of entrance into
employed
also for death."
life,
is
Without more evidence than we possess we cannot determine how far this custom was general among the primitive
Egyptians.
have only met with one instance mentioned by
Petrie.-
Did the habit of painting the body, and more especially of

line of green paint round the eye, continue in Egypt
drawing a
at the historic period
P'rom the earliest times the skin of the

is
in
men on
the
monuments
generally represented as being of a brownish red colour, dark

tone,
women
the skin of the
while
is
yellow.
M. Maspero,
r Orient classique^ expresses

" The men are generally coloured
himself thus on the subject
in fact, one can observe among them
red in these pictures
among the population at the present day,
all the shades seen
from the most delicate pink to the colour of smoked bronze.
The women, who are less exposed to the glare of the sun, are
in his Histoire anciennc des peuples de

:
usually painted yellow, the tint being paler
if
they belonged
to
the upper classes."
This explanation
might very easily be accepted.
It
even
explains the exceptions to the red and yellow colourings which
we observe on
skin
yellow,
will
in
the
of
is
certain
women,
for
nearly the
very
number of monuments, where

instance,
natural
instead
colour.
of
being
the
painted
As an example
mention the figure of a daughter of Prince Tchuti-hetep,

the
tombs of El Bersheh
'
GROsst:,
Inc. cit.
Naqada^
p. 25,
* Vol.
^
i.
^
;
or,
again,
the
pp. 41, 42.
tomb
234.
p. 47.
Newberry, El Bersheh,
i.
frontispiece.
representations
PERSONAL ADORNMENT.
Aahmes
Queen
of
where the pink

of other
Thiti,
yellow on the walls of their
bright
in
Queen
of
those of thousands
contrast with
colours
painted
ladies
and
Deir-el-Bahari,
at
flesh
27
tombs.
am
however,
I,
Egyptians a custom resembling that of primitive nations,
the
especially
most frequently
yellowish
among them.
use
in
Grosse thus expresses

red,
the
is
of almost
is
employed, red and yellow, are those
colours
the
as
"palette,"
it
singular colouring of
disposed to see in the
when
in
"Red,
especially
colour of priniitive
fa\'ourite
nations.
all
the general sentiment
Analysing the primitive
himself:
Goethe undoubtedl\'
It
e.xpresses
he speaks of the
his Farbenlelnê
exciting influence of a yellowish red.
peoples, as
for this reason that
is
red has alwa}-s played an important part in the toilet, especially
The
of men.
that
in
habit
of victorious
painting themselves red has vanished with

.
Yellow
that
to the
the
vogue
in
long
at
period
is
also
employed
in
it
is
Egyptians, and although
all
it
yet
periods,
was
of painting
accuratel}-, of underlining
with
much
sufficientlv'
convention of representing
The custom
can
and
.".
by no means impossible to apply these prindo not wish to assert

I
manner was
this
skin
in
custom of painting the
believe
ciples
importance,
of similar
is
the same manner.
Roman generals of
the Roman republic
greater
men
suppose
that
general
to
in
red and
during a
give
rise
women
in
fairly
the
to
yellow.''
round the eyes with green or, more

the eye with a dash of green paint
certainty
be
attributed
to
Egyptian
civilization.
Petrie reports that he discovered in a
(M.
I.
tomb of
Abydos) some powdered malachite
in
the
first
dynasty
box
a small ivory
Naville, Dcir-el-Bahari, iii. pi. Ixvii. Benedite, Le Joinbcau de la rei/ie

Ale moires de la Mission archeologique franâise du Caire, v. p. 397.
^ Grosse, Les Debuts dc V Art,
pp. 45-47.
^ Maspero, Histoirc ancicnne des peuples de V Orient classi(/!u\ i.
p 54 " Je
pense bien qu'au debut ils s'enduisaient tons les membres de graisse on d'iiuile.'
Why not grease, or oil, coloured by means of mineral or vegetable dyes? See,
however, ScHWEi.NFL'RTH, Origin and present condition of the Eg}ptia?is, in
Baedeker, Egypt, 5tli ed. Leipsic, 1903, p. xxxvi.
'
Thiti, in the
28
form of a duck
the
in
'
very interesting object as prototype
numerous boxes of paint of the same form which have

in tombs of the Second Theban Empire,
and of which several museums contain specimens- (Fig. 8).
of the
frequently been found
The monuments
green
of
of 'the fourth dynasty clearly show the line
under the eyes, espccialh' two door-posts
colour
Museum, on which is
named Sokar-khabiu, " who was
the Cairo
Nubian type
Hathornefer-Hotep as her
called
name this woman's
great name, and Toupis as her short

recall the
The
"
Sepa
celebrated
and of Nesa
have the same

the
e\-elids,
painted
8.-h^RY
Bo.k in
'^
Form
OF A Duck.
mencement of
features
she has a line of green paint under the

eyes."
Fig.
at
figured the wife of a personage
"
and the
black,
who
of
the
Louvre
The
pupils,
eyebrows are
and below the eyes
a line of green."
q{ Rauefer,
at
lines.
statues
The
mummy
lived about the
com-
the fourth dynasty, was closely enveloped in linen
wrappings, and on these the eyes
and eyebrows were painted
green.'
The green powder used

small bags, which
in
They were made,
offerings.
show,
of leather
graves
the
in
confirm
paint
was
or
the
preparing the paint was enclosed
are frequently
the
accuracy of
placed
pictured
these
as
and
skin,"
represented
this
small
specimens
detail.
in
the
of
lists
representations
found
in
the
Occasionally also
I
cannot
attempt to enter into the question of the composition of this
green paint in Pharaonic Egypt, nor stop to describe the various
paints in 'use at the
Petrie,
pi. -x.v.wii.
in
same
Diospolis patva,
see
p.
27
id.
ii.
period.
p.
20.
vases
It
or
baskets.
would have no bearing on
Published
in
Petrie, Royal
To?nbs,
i.
p. 37.
An example
in Petrie, Kahun, Gurob and Hawara, pi. xviii. 10, and

two others in Leema.xs, Aegyptische Monume}itat van het Nederhmdsche
Museum van Oiidheden te Leyden, ii. pi. xxxvi. 565, 567.
^ Maspero, Guide to the Cairo Miiseu?n,
Cairo, 1903, p. 40, No. 62.
* De Rouge, i\'otice des ?nonuments,
A 36-38, pp. 26, 27.
^
p.
35
'"
Petrie, Medum, p. iS.

Griffith, Beni Hasan,
iii.
pi.
iii.
27, p. 14.
PERSONAL ADORNMENT.
work, and
the subject of this
done by
others.^
already
been
however, mention the
must,
Egyptian writing and
has
it
29
ritual
b\'
this use of
admirably
traces
in
left
green paint.
hieroglyphic sign :^&= clearly shows the line of colour drawn
below the
and
c}'e,
sign, in addition
this
name Uazu
to determine the
other uses, serves
to
powder and of
of the
green paint.the
In
frequent
rituals
paint
Uzait, the painted eye,
This
or health}' eye.
been
has
point
green
to
and the
texts,
protective and curative \-irtues of the

that time, that the
made
are
allusions
occurring as early as the Pyramid
of the
daily ritual
funerary
means whereby the god,

healthy with
a
Finall}",
brings
all
rendered perfectly clear
expressed
is
left
Under
substituted.
subject.^
Egypt,
anci
also the
makes himself
"
thy
for
in
these terms
right
and
eye,
"
:
He
nicstcvt
e\'e."''
designs with which primitive
no persistenc}' of character
others
in
him."^
paint
th}'
cult
or the deceased person,

in
text
green
[another paint] for
The
is
curious
thee
to
that
at
called the sound
bringing a bag of green paint as
mention
rituals,
divine
the
was such, even
was
by Maspero, who has several times written on the
The
paint,
belief in
the\-
man
paints his skin ha\-e
can be got
some
of at will and
rid
circumstances
may
it
be
VViEDEM.ANX, k., Varieties of aticient ''Kohl,"' in Petrie, Medion, pp. 41-44.

Floren'CE & LoRET, Lc collyre noir et le collyre vert dii tombeau dc la
princcsse Xonbkotep, in De Morgan, Fouilles a Dakchour, March June, 1894,
1
153-164; also printed separately, Vienna, 1895,
pp.
-
Maspero, Revue
critique, April
22nd,
1901,
p.
16 pp.
Review of Davies,
308.
33 for the exact representation of the sign.

^ Masi'Eko, Notes au jour le jour,
25, in the Proceedings of the Society of
Biblical Arc/uEology, xiv. 1902, pp. 313-316, and La table d'uffrandes des tombeaux
Ptahhotep,
i.
see
cgypticns, in the
reprint,
p.
7-tcuedlis en
23).
pi. v.
Revue de
Petrie,
hgypte
et
en
I'histoire des religions,^ xxxv.
Medum,
pi.
xiii.
1897,
Mariette,
Italic, Paris, 1889, pi. xix. b,
where
p.
297 (separate
Momuncnts
TH
Q
^
divers,
occurs from a
000
mastaba of the beginning of the fourth dynasty.

^ See Moret, Le rituel du cultc divin journalier
e7i
gyp/e,
du Musee Guimct, Bibliotheque d' etudes, xiv. pp. 71, 109, 199.
V'ON Lemm, Das Ritualbuch des Ammondienstes, Leipsic,
''
in the
Annales
1882, p. 68.
30
them
desirable to render
indelible
of tribal or religious marks, and
custom of
for instance, in
as,
we
thus
the case
find the origin
of the
tatooiiig.
As we have seen
preceding pages,
the
in
it
is
difficult
to
distinguish clearly from the primitive Egyptian figures
between
The same
patterns
what was tatooed and what was painted.

were
apparently
comparison
have already stated, a
made between
been
has
As
use for both.
in
painted
the
or
tatooed
patterns on the primitive statuettes and the tatoo-marks on the
Libyans
'['imihii)
of the
tomb
of Seti
I.
This comparison, extended
^ m
'<((iwf
Tatoo-marks ok the Pruiitive Egyptians co.mpareu

WITH THOSE of THE LIBYANS.
Fig. 9.
From
V Anihropologie.
to the tatoo-marks of the indigenous inhabitants of Algeria, has
shown
We
Seti
to
I.-
the
(Fig.
;c=K,
the
we
especially
is
tatoo-marks
which we
to
10),
It
connection
is
Maspero
Vl.
(Fig.
9).
are
writes
times have occasion
shall several
interesting
note
to
that
one
of
very accurate reproduction of the hiero-
symbol
of the
led
an Egyptian king
of
all
reproduce here a group of Libyans from the tomb of
refer.
glyph
between them
close analogy
thus
to
of
the
Neith
goddess
consider
first
the
name
and
of
in
the
this
wife
dynasty called Meri-NeitJi.
on the subject
"
The name of Meri-
Wiedemann, Die Urzeit Acgyptens imd seine dltestc Bevvlkerung, in

Die Uttischau, September 23rd, 1899, pp. 756-766. Les modes d' ensevelissement
dans la 7iecropole de i\'egada/i ct la question de l'origi7ie du peuple egyptien^ in
'
De Morgan,
Naqada, pp.
xi.
Petrie,
stir les origines de l' Egypte, ii. pp. 221, 222.
Tatotiages des indigenes de I'Algaie, in I' Aftthropologie,
Reche7xhes
45, 46.
1900, p. 485.
*
Lepsius, Denkmciler aus Aegypteti
imd Aeihiopien,
iii.
pi.
136.
PERSONAL ADORNMENT.
Neith
interesting," apart from
is
its
we were already aware from other

by Neith
played
of high
ladies
in
the
religion
who
position
are
31
being a royal name; "but

of the important part
proofs
buried
mentioned
or
mastabas of the IVIemphite period have, as favourite

of
'
Prophetess
of Neith
'
or
'
Prophetess
at
of her cult during the primitive period
moment, when the Berlin school
this
is
is
pre-
noteworthy
to the
Libyans from the Tomb of Seti
10.
Fig.
Neith
the
Semitizing
utmost the language and the population of Egypt."

I
those
Hathor.'
of
the
in
titles,
appears to have been a goddess of Libyan origin, and
dominance
The
of the earliest centuries.
I.
This leads us to enquire whether the painting and tatooing
some other object, in addition to an jesthetic

order to answer this we must examine our ethnological
Family and tribal marks are generally to be recognized,
of the body had not

one.
In
evidence.
and
as
divinity
it
sometimes happens that a
for
its
religious signs
1
distinctive
among
M.A.SPERO, in the
tribe selects the
mark, there
is
symbol of a
a chance of finding
tatoo-marks.-
Revue
ctilique,
November
I2th,
1900, p.
366.
For the
inadequate arguments, see MacIver & Wilkin^

Libyan Notes, London, 1901, pp. 69, 7c. For Meri-Neith see Sethe, Bcitriige
zur iiltesten Geschichte Aegypteiis {Untersuchiotgen zur Geschichte und Altercontrary opinion, but
with
thionsktinde Aegyptcns, herausgegebcn

2
Gkosse,
loc. cit. p.
55
et.
seq.
von Kurt
Sethe,
iii.
i),
pp. 29, 30.
32
Occasionally tatoo-marks are actually pictographic, and convey
An American
a meaning.
zigzag
may
lines
signifying
mysterious
be intended to serve
the
of
Indian, for instance, bore on his arm.
"
breast
on
the
Second Theban Empire
the
with
some instances
mention
With
arms.
reference
to
of
confined
to
exclusively
to
queen
his
upon the breast and
tatooed
subject
have met
be sufficient to
will
It
Wiedemann
Professor
remarks that Libyan influence can clearly be traced during
reign. ^
Museum shows
Thothmes III., who bears on
temporary with
cartouche of that
On
Pesth
stela in the
the
representations
Amenophis IV. and
A ten
this
or
do not remember
period.
of this.
god
names
perhaps
an example outside that
bore the names of the
The Egyptians
themselves occasionally on
the
was
custom
This
divinities.
arms with
tatooing
Also,
medical purpose.-
tatooed
period
classical
or
power.''
this
a personage conhis
arm a
right
king."*
we
other e.Kamples
Amon-Ra
god
find the figure of the
tatooed on the right shoulder, notably on a statue of a kneeling

scribe
in
Museum
the
Turin Museum.^
(D 19) bears on
Am.on-Ra, and on the
'
the
left
Another statue
right
VVashinoton,
1893,
figure of
shoulder the cartouche of Amenophis
Garrick Mallerv, Tenth Atmual Report of
1SSS-9,
Leyden
the
in
shoulder a small
pi.
xvii.
235.
p.
Bureau of Ethnology,
Examples by Hoerxes,
the
Urgeschichte der hildeyiden Ku7ist in Eu7-opa von den Attfiingen bis u?n 500 z-or
There the author also mentions the Libyans
Chr., Vienna, 1898, p. 31, note 4.
tomb of Seti I.
FouoUET, Le Tatouagc medical en Egyptc dans
of the
-
actuelle,
in
the Archives d' anthropologic cri?ninclle,
See BuscHAN
in
in the Centralblatt fiir
Anthropologic,
I'antiquite et a
xiii.
iv. p.
1S99, p.
75,
Vepoque
270
et
seq.
and R. Verxeau
Professor Petrie draws my attention to the

x. 1899, p. 99.
of a priestess of the sixth dynasty, in Cairo, where there are numerous
rAnthropologie,
mummy
tatoo-marks on the body.

^ Wiedemann, Die Urzeit Aegyptcns ...
in
Die Umschau,
iii.
1899, p. 766,
and
Recherches sur les origines de I'Egyptc, ii. p. 222. For the

Professor Petrie
figured representations see Lepsius, Dc7ikmdler. iii. pi. 106, 109.
has remarked to me that in this case the so-called tatoo-marks may be, in reality,
in
De Morgan,
small plaques of glazed pottery fixed on fine muslin.

plaques are found with the name of the god Aten.
.At
Tel-el-.A.marna similar
* Maspero,
Notes stir differents points de gram?naire et
Melanges d'archeologie egyptie?t?te ct assyrienne, i. 1872, p. 151.
'"
'Masve.v.o, Histoire ancie7ine des
pcuplcsde
I'
d'histoire,
Orient classique,\\.
in the
p. 53'' figure.
PERSONAL ADORNMENT.
[I. ?]
Another example from the same museum (V 82) represents
a sculptor
== 9
33
n,
who
bears on his breast and shoulders the tatooed sign
temple of Ptah.
Finally,
a small
statuette,
of which
the upper part alone remains, in the Cabinet des Mcdaillcs
in Paris,
shows that on the breast and shoulders signs were tatooed, the
meaning of which we cannot always follow, and which bear considerable resemblance to the
Fig.
II.
marks found on
potter\- (Fig. ii;.
Fragment of a Statuette with TAToo-MARKis on the Bre.\st

AND Right Shoulder.
Cabinet dcs Medailles, Paris.
With regard
to
decorative
tatoo-marks, they are
rare on Egyptian remains of the classical period.
however, on a small figure of a
Museum
'
in
(No. 9,583),- on a stela in the Cairo
They
occur,
faience in the Berlin
Museum
(No. 20,138),
Leemans, Aegyptlsche Monicmenten van het Nedcrhuidsche Musciun van
OudJicdcn
-
woman
somewhat
tc
Stratz,
Leydctt,
ii.
pi. 4.
Ueber die Kle idling der
iigyptiscJien
sclinft fiir dgypiiscJie Sprachc, xx.xviii. 1900, p. 149.
Tdnzerinncti in the
Zeit-
34
where a man
finally
decorated on the breast with tatoo-marks/ and
is
representation
in
of
tomb of the Second Theban
Empire.-
The
"
perforation of the ear, the nose, or the lips
a view to
obtained
some kind
placing
as a natural step
ment, which
may
am
placing
in
not
certain
one of the
that
thus
Libyans
ornaments upon
Egyptians
the prehistoric
I
wish to draw attention
use of ear-studs in the classic period
observe
hole
therefore be considered
hanging
or
that
practised these mutilations, nevertheless,

to the
the
in
done with
towards the second method of personal adorn-
consists
the body."-^
ornament
of
form of mutilation
this
is
of
the
and,
we
first,
tomb
of Seti
will
I.
is
wearing ear-studs, judging from the plates published by Belzoni

and by Champollion.
Lepsius, in the plate of which our
Fig.
represents
10
has not
part,
noted the ear-stud/
(See
Fig. 19.)
In
the
at
Egypt the wearing of ear-studs is fairly frequent, but only

commencement of the eighteenth dynasty. As Erman
remarks,'
these
ear-ornaments are either broad
During the reign of Amenophis IV. one
rings.
wore these ear-ornaments as much

Lange
'
&
discs
finds
l.xxxvi.
p.
that
men
ScHAEFER, Grab- und Denksteuie des mittlcren Reichs (CataMusee du Caire),

iv.
p. 163
i.
p. 465.
Lepsius, Denkmdlcr,
fig.
large
as women.''
logue general des antiquites Egyptiennes du

pi.
or
iii. 2.
See Erman, Life
Ancient Egypt, p. 230 and
See M.A.SPERO, Histoire ancienne des peuplcs de T Orient classiqiie, i.
and note 3.
See Alfred Herz, Tiittowining, Art tend Verhreitung,
216.
p.
54,
Leipsic,
tatooing
1900 (Doctor-dissertation,
and
painting
'EXaôoTiKToy, in Hermes,
the
Universitat
body
xx.xviii.
among
Erlangen).
On
Greeks,
see
the
the subject of
Wolters,
P.,
pp. 265-273.
Deniker, Les races
et les peuples de la terre, Paris, igco, p. 209.

Belzoni, Plates illustrative of the Researches and Operations of G. Belzoni
in Egypt attd Nubia, London, 1821, pi. viii.
Champolliox, Moftii?nents de
V.gypte, pi. ccxl.
For a reproduction of the head after this plate see Perrot &
Chipiez, Histoire de I'art dans Vantique, i. Egypte, fig. 528, p. 796. It is much
to be regretted that the various publications of this important representation vary
^
^
so greatly in the details.
It
is
very desirable that an edition definitive should
be made.
^
Erman, Life
in Ancient Egypt, p. 228.

Steindorff, Vier Grabstelen aus der Zeit Amenophis IV.,
filr Aegyptische Sprache, xxxiv. 1896, p. 66.
in the Zeitschrift
PERSONAL ADORNMENT.
The woman represented
Museum
Bologna
or to assure
place."
These discs
statuette
of
the
gravely pushing one of them forward, either to
is
show
off
charming
(Fig. 12) "is very proud of her large ear-orna-
ments, and
it
the
in
35
herself that
are
the jewel
is
safely in
its
not
found
tombs of the Second

Theban Empire, and a certain number
infrequently
in
been
appear to have
fixed
must
of
lobe
the
in
to
the
which
have
necessaril}-
be
intended
ear,
been
greatly
distended.
Schweinfurth
Professor
primitive
the
from
external
and
can
profile,
judging
which,
period,
shape
its
belonging to
brocatel
lished a ring in
pub-
has
from
also
its
been
only have
used as a lip-ring.^
We
now
pass to the consideration
of methods of hairdressing
'
On one
Egypt.
in
ancient
of the earliest vases of
by Petrie " cross-lined

^^ ^,.
at
which was onlv m use
the kind called

,,
pottery,
^
-^
the beginning of the
primitive
Wooden Statuette
THE Bologna Museu.m,
.
_
WITH Ivory Ear-ornaments.
Fig. 12.
IN
period
(sequence dates 31-34), a combat between two

(Fig.
13).
One
of the
combatants has
top of the head into four tresses,
his
men
is
represented
hair divided
which hang down
on the
his back.^
M.ASPERO, Histoire ancicJine des peiiples de VOrieiit classu/ue, ii. p. 533 and
states, probably erroneously, that the statuette belongs to
Petrie's photograph of the same, from which he has reprothe Turin Museum.
duced it, is No. 83 of the Italian series, but has the letter B, indicating Bologna.
If it is doubted that such a distension of the ear, in some cases very
1
fig.,
where the author
considerable, can be
fact,
such e.xamples as are represented by ScHURTZ,
1900, pp. 65 and 396, will carry most comElliott Smith, Report on the Mmnmy of the Priestess Xcsitet-neb-tani, in the Annales du service des Antiqiiitcs de VEgypte, iv. 1903, p. 158.
^ ScHWEi.NFURTH,
Ueber eincn Altiigyptischen Ring aus Brocatelle, in the
VerhandluHgcn der berl. Ajithropol. Geselischa/t {FehrwdTy, 1902, pp. 99, 100).
* Petrie,
Diospdis parva, p. 14: " M. Schweinfurth avait emis I'idee que
les 'nôlithiques' egyptiens se teignaient !es cheveux en blond (par decoloration
Urgeschiditc der Kiiltiir, Leipsic,
plete conviction.
PRIMITIVE ART
z^
P:GYPT.
IX
Other remains of more recent date show the hair arranged

a
in
variety
of
ways,
the
worn
hair
and divided
long
two rows of
framing the
curls,
and hanging down
face
shoulders
short
or
^
;
into
to the
hair
in
small curls, either round or of

"
"
corkscrew
form, arranged in
rows from the nape of
parallel
neck to the crown of the
the
head
again, in other in-
or,
the whole of the hair
stances,
massed
a single thick plait,
in
which, falling from
head, hangs
of the
back
(Fig.
found
methods of
the
hair-
men are also

monuments of
for
on
down
14),
All these
dressing
crown
the
the
the Ancient Egyptian Empire,
where
this
in
Egyptians appear
have
faith-
to
their predecessors.
plait,
the
the traditions of
fully followed
however,
worn by men
respect
The
is
no
by
this
single
longer
time
it
a I'aicle de chaux ou d'urine) ou en

roux (par coloration avec du henne).
M. Vircliow
hypothese.
croit devoir ecarter cette

.''
Salomon Reinach,
review of V'lRCHOW, Ueber die et/inologische Stcllung dcr priihistotischen

lend protnhistorischeii Aegypter [AdFig. 13.
Pottery Vase with Designs
White representing Men
fighting.
in
der Preuss. Akademie

der Wissenschaften, Berlin, 1898), in
/land/u/igcH
VAiithropologie,
ix.
1898, p. 447.
QuiBELL, Hierako7ipoIis,
pi. ii.
- Id. pi. V.
and vi., and Petrie, TIic Races of Early Egypt, in the Jojiriial
of the Anthropological Institute, xxxi. pi. xix. ii and 12.
^ OuiBELL, Hiera/conpolis, i. pi. xi. and xxvi. a, and Petrie, Royal Tombs
of
'
the Earliest Dynasties,
i.
ii.
pi. iv. 4.
PERSONAL ADORNMENT.
is
3/
worn only by children, or as one of the distinctive marks of

and certain high sacerdotal dignitaries.
In this case,
princes
when we see it represented on the monuments of the Second

Theban Empire, the plait has usually lost its original form, and
is
transformed into a fringed band hanging over the
The
and
it
earliest
female figures have no trace of any hair whatever,
might be considered that the head was entirelv shaved.
Fig. 14.
crouching captive.
It
is
of
The
Ivory Statuette.
hair, in a thick plait or twist, is
probable, however, that this
the
ear.^
artist,
who
did
not
is
owing
understand
hanging down the back.
to
how
the inexperience
to
render
hair.-'
For the types of wigs of the Ancient Empire, see Erman, L/fe in A7icicnt
Egypt, pp. 2ig-223.
P'cr
the side-locks of children and of princes, ib.
pp. 117, 235, 314, reproduction of the lock transformed into a decorated bandeau.
This forms an interesting example of the laws of evolution of clothing as laid
down by Darwix, G. H., Levolutio7i dans le vek??ient, in the Keznic de
I'Univcrsitc de Bruxcllcs, v. 1899-1900, pp. 385-411, ill.
(Separate reprint,
Brussels, Lamertin.)
Translation from MacMillan's Magazine, 1872.
' Later on
we shall see that hair-combo are especially abundant at this
'
period.
art
PRIMITIVP:
38
in EGYPT.
Towards the end of the primitive period, on the contrary, we

two distinct modes of hairdressin"", a short and a lon'j^ one.
the
on
first
each
case
the hair
of the
side
When worn
long
the
is
on the forehead, and,
di\'ided
face,
is
cut
short
abo\-e
breasts.-
15.
FiGUKE
falling
shoulders.'
hanging over the
statuette discovered at Ab\-dos (1902-3)
Fig.
In
hangs loose down the back, some
hair
being drawn over the shoulders and
tresses
the
find
of a
Woman
in Gl.\zed
by Professor
Pottery.
Discovered at Abydos.
Petrie
shows yet another arrangement, the whole of the hair
being drawn slightly to one side
down
in
the right shoulder-blade'' (Fig.
a thick plait, which
hangs
15).
QuiBELL, Hicrakonpoiis, i. pi.

Petrie, Royal Tombs, ii. pi. iii, a, 8.
QuiBELL, loc. cit. i. pi. i.x. xi. See, farther on, various female figures which
show numerous examples of the two kinds of hairdressing. It is possible that a
certain number of rings, hitherto classed as bracelets, were employed in hairdressing to support the curls, as they are found used in Greece {tcttigcs) and in
the Punic tombs.
See Gsell, Fotiilles de Couraya: Sepultures puniqucs de la
cote algerieiuie (publication of the Association Historique de I'Afrique du Nord),
1
i.\-.
Paris, Leroux, 1903, p. 39.

^
Petrie, Abydos,
ii
pi. iv. p. 25.
PERSONAL ADORNMENT.
39
Here, again, we find modes of dressing the hair identical with

those
among women
use
in
commencement
at the
Empire, such as are represented,

statues of Nofrit, at Cairo,
and of Nesa,
at the Louvre.^
Savages of the present day delight

with various objects, such as feathers,
pins,
men
we
and
primitive
stuck
fragment
worn
find
in
of
We
hair
slate
palette
are
the
feathers,
Louvre.'-
feathers,
and
it
dress
The
goddess
of the
her name, which,
in
feather
^Nlaat,
and
is
found
also
the Pyramid texts,
bearing the feather on
its
On
head."
covered at Koptos by Petrie, the
surmounted by an ostrich
is
it
is
in
later
the
which the
noticeable
whether there was not a religious significance

of employing them.
among
prevailing
specially
is
in
ostrich
carved combs and
shells,
custom
this
decorating their hair
in
meet with
first
their
way
this
in
same
this
Egyptians.
of the Ancient
for instance, in the celebrated
on a
The
feathers
question
is
this
as
employed
method
the headin
determined by
writing
a
hawk
the ancient statues dis-
emblem
of the
god
Min
is
feather.^
must mention here that ostrich eggs have been found in

prehistoric tombs, showing traces of painting and engraving
I
(Fig.
The custom
16).
several
At Hu
history.''
of depositing ostrich eggs in tombs has
been observed at
times
different
periods
of
Egyptian
Petrie discovered clay models of ostrich eggs
See Er.man, Life in Ancient Egypt, pp. 222, 223.

Heuzev, gypte OH Chaldee, in the Comptes rendus de VAcademie des
See, farther on, our Fig. 25.
inscriptions et belles letlrcs, 1899, pi. on p. 66.
^ Griffith,
Davies, The Mastaba of Ptahhetep and Akhethetep at
in
'
Saqqareh,
*
'"
i.
p.
15.
Petrie, Koptos, pi. 3.

De Morgan, Recherches sur
Vkxkie, Naqada,
p.
19,
tomb 4;
les
origines de l'gypte,
p. 28,
ii.
pp. 35, 69,
tomb 1480 (Ashmolean Museum,
and
100.
O.xford).
At the historic period, ostrich eggs and feathers were imported from the land ot
Punt, and perhaps also from Asia, if we credit a scene in the tomb of Harmhabi.
See BouRiANT, Le Tombeaii d' Harmhabi, in the Memoires de la Mission
archeologique franraise du Caire, v. pp. 420 and 422, and pi. iii. and iv. We must
also remember the discovery of painted eggs in the Punic tombs of Carthage
(GsELL, Fouilles de Couraya, Paris, 1903, pp. 35-37, where the author questions
whether ostrich eggs were not decorated by the Greeks of Egypt or of Asia
Minor), and even in a tomb of the valley of Betis in Spain {I'Ajithropologie, xi. 1901,
It must,
See also Petrie, Naulcralis, i. p. 14 and pi. xx. 15.
p. 469).
nevertheless, be remembered that the ostricli egg was employed for industrial
40
one of these
of cords
(Fig
^
;
decorated with
is
the others
black
simply
are
zigzag lines
with
painted
in
imitation
white
spots'-
i6).
The
ostrich feather almost without exception
is
found placed
in
the hair of lightly-armed soldiers of ancient times, and a trace of

this
preserved
is
tomb of
Seti
I.
in
the
hieroglyph
have two feathers stuck
Fig.
iM
6.
Ostrich
.^
in
The
Lib\-ans of the
their hair.
Eggs.
fragment with incised figures; also clay models showing traces of painting.
Naqada and Hii.
The women
for fastening
up
delighted in the use of decorated

their hair
these were
made
combs and
From
pins
of bone or ivory,
See Tylor & Griffith, T/ie Tomb of Paheri at El Kab, pi. iv. and
Petrie, Illahun, Kahuii and Gnrob, pi. x.xii. and p. 19. Petrie, Kahun,
Gnrob and Hawara, p. 32. Mr. J. L. Myres contributes the following interesting
note relative to the persistence of the commerce in ostrich eggs in the north of
purposes.
p. i8.
Africa
"
The transsaharan
trade in ostrich eggs persists.
could ascertain in Tunis and Tripoli
(in
1897),
come
The
eggs, as far as
via Kano, along with the
consignments of feathers, and emerge at the Mediterranean seaboard termini,

where they are in request as pendant ornaments in the mosques."
Petrie, DiospoUs.parva, pi. v. and p. 33 (tomb B loi).
' Hil, tomb
B262 and B56 {2 examples), (Ashmolean Museum, Oxford).
* See the remarks of Max Muller, Asien and Eit7-opa tiach altagypHschen
Denkmiilern, p. 3 ^/ seq.
'
PERSONAL ADORNMENT.
and were often decorated
a
human
figure
these
combs
were
even
occasionally
that
rennarks
top
the
at
commencement
with figures of animals;
found on
especially
period
prehistoric
the
of
is
41
them.
Petrie
numerous
between
at
the
and 44
;},2,
(sequence dates), while the pins,
which
of
type
is
decorated with a small

a
of
figure
whole
the
prehistoric
period
shall
found
are
bird,
throughout
We
common
most
the
the
of
(Fig.
17).
have an opportunity
these more in
when studying ornamental
but we will here observe
these combs
it is possible
examining
of
detail
art,
that
and
had
hairpins
purpose, as
magical
notably the case
is
China.
in
The
decorating the
of
art
and of arranging"
hair
it
in
manner does not
complicated
appear to have been raised to
any
high
Egypt.
certain
ideal.
in
primitive
which seem
more elevated
indications
point
to
level
Nevertheless, there are
Is
to
it
not
possible
to
Fig.
recognize
of certain
divinities
in
the
kings,
on
head-dresses
queens,
monuments
17.
WITH
Combs and a Pi.n, decorated

and Bird Figures.
Anim.'M-
and
of
the
classical
period
survivals
of
See pi. vi., where pins, a combined comb

p. 2\.
and also a spoon are to be seen still entangled in the hair of a woman.
M. DE Groot, The Religious System of Cliina, i. pp. 55-57 "Among
J. J.
the hairpins provided for a woman's burial is almost always one which is adorned
with small silver figures of a stag, a tortoise, a peach, and a crane. These being
emblems of longevity, it is supposed that the pin which is adorned with them
will absorb some of their life-giving power, and communicate it to the woman
in whose hair it is ultimately fastened."
E.xample quoted by Fr.azer, TIic
Cchidcn Bough, 2nd ed.
p. 48.
'
and
Petrie, Diospolis parva,
pin,
i.
42
earlier fashions?
Observe, for example, the head-dress worn by
the queens, which
is
formed of the feathers of a vulture, with the
head of the bird arranged
front of the forehead.^
in
large
number of instances of decorations for the hair comparable with

those of Egypt can be furnished by ethnology.-
One
solitary
witness
bears
fact
to
honour
the
in
which
elaborate hairdressing was held in primitive Egypt, and that
custom of depositing
the
used during sleep to
in
preserve artistic
be renewed every day, and which
good order as long
From the tomb
Under
director
with
inspector
of
the fourth
tomb
of
false hair
keep
to
Band
in
of
King
of False Hair.
Zer, of the first dynast}-.
wigs was bestowed on great personages.
an
mentions
a
intended to
was desirable
Ancient Empire the charge of the king's hair
the
his
coiffures, not
it
as possible/'
Fig. i8.
and of
is
tombs head-rests, which were
the
King
(Fig.
of
wig-makers
and
fifth
Zer, of the
i8),
wig-makers to
to
the
king,
dynasties.^
first
composed of
the
king,
Maspero
and also
contemporary
Petrie
discovered
with
in
the
dynasty, at Abydos, a band of

curls,
and apparently intended
See an example of this head-dress upon the stela of Queen Nubkhas in

(C 13), dating back to the thirteenth dynasty. It is the earliest
example I know.
^ Grosse, Les Debuts de I'Art,
pp. 67, 68.
et seq
ScHURTZ, Urgeschichte der Kultto-, Leipsic, 1900, p.
*
Maspero, Histoire ancicftne des 'peuples de r Orient ciassique,
p. 278,
'
the Louvre
-i^'^c)
'
i.
note
I.
PERSONAL ADORNMENT.
The Libyans
worn on the forehead.^
be
to
are
Seti
I.
hair,
which
(Fig.
19).
wearing two rows

divided
is
and
of
similar
tomb
of the
curls
on both
falls
43
sides
between
of
of
their
head
the
Very numerous examples show that the men ordinarily wore

We shall meet with some of
their beards trimmed to a point.
these when we are considering representations of the human
figure.
Fig.
Showing
Head of one of the
19.
the ear-ring, the
rows of
Liby.a.ns fro.m
the Tojib of Seti
curls on the forehead,
I.
and the hair
falling
over the right shoulder.
We
in the
the
as
pletely
must here pause a moment
MacGregor
beard,
is
conceals
to consider a curious
Collection- (Fig. 20), where
enveloped
them.
If
in
it
kind of
not,
is
as
the
figure
hair, as well
pouch which com-
Naville
suggests,
"a
" The fringe of locks is exquisitely

Petrie. Abydos, i. pi. iv. 7 and p. 5
made, entirely on a band of hair, showing a long acquaintance with hair work at
'
that age.
It is
now
in the Pitt-Rivers
Museum
at
Oxford."
Naville, Figurines egyptie7ines de l'cpo(ine arckaujite,

travaux relatifs a la philologic et a Vajxheohgie egyptiennes
1900, pi. vi. and p. 68.
^
ii.,
in the Rcciieil
de
ct assyriennes, xxii.
44
conventional or childish representation of hair," one might here

recognize an object related to the royal toilettes of the classical
where a
period,
What
used
it
false
was affixed by means of
beard
can have been the object of this sort of covering

order to ensure purity, for
in
ceremonies?
May
not the
Was
instance, during religious
custom which prevailed among the
Egyptian
priests
of completely shaving
simply a
radical
measure
for
avoiding
themselves
all
have been
contamination
that
Figure from the M.vcGregor Collection.
Fig. 20.
With a bag
straps.
for the hair
and beard, and a sheath
to protect
the lower part
of the body.
might
arise
suggestion
to
insist
from
which
unduly.^
the
I
hair
throw
and
out,
beard
This
and on which
is
do
merely a
not
wish
comparison might be suggested with the
One might compare this with the habit of our modern surgeons, who
occasionally cover the hair and beard during operations in order to avoid any
risk of infection for the patient.
'
' On the subject of

wearing a
Anacfit Egypt, especially pp. 225,
inde.x under " Beard."
The motive
pri77iitive, p. 5, for the wearing of
unfounded.
natural or false beard see
Erman, Life
in
and the various passages quoted in the

suggested by Moret, Coup d' ail sitr V .gypte
wigs and false beards, seems to me to be
226,
PERSONAL ADORNMENT.
paddn of the Magian^
religion
custom
again, with the Jewish
or,
45
of covering the beard as a sign of mourning.-
There
a small series of interesting objects which affords a
is
proof that the custom

with a
of covering
was already known
veil
more
rarelv",
At
front of the forehead.
was used
conjectured,
has been found
manner
the
with lines
face
shell,
of copper, which were suspended in
the base
is
a hook, which, as Petrie has
One
of these pendants
upon a
skull,
and shows clearly
which
in
of the
to support a veil.
position
in
still
part
second half of the primitive
These are small objects of
period (sequence dates 50-61).

of limestone, or,
lower
the
in the
One
was worn.
it
specimen, decorated
imitation of plaited work, points to the fact that
in
made
these pendants were also
woven
of
fibre,
and
would
this
explain their rarity in the tombs, as only those in more enduring

materials would
hook
the
worn
survive
(Fig.
lower
the
at
and
merely as ornaments on
belonging to the
Petrie
Other specimens have not
21).
end,
must
Tvvo
forehead.
the
have
therefore
been
specimens
in
the
form of female
pendants and
veil
before
are
Collection
figures.
It
possible
is
by men,
of
no
'
the sacred
Avesta,
i.
of
Magian
the
veil,
After
Arabs.'^
traces
In the
with a
the
as well
as
fire,
this
the
face
by women, or even exclusively
judge by the custom of the
to
certain
are
that
men
were worn by
custom
of
Touaregs, and also
times
prehistoric
veiling
in
the
Egypt
face,
there
and
it
religion the officiant has the lower part of the face covered
paddn
(av. paitidana), which prevents the breath from defiling

and the hands covered with gloves.
Cf. Darmesteter, Zend
He
p. Ixi.
also wears Vne
paddn
in eating, in
order not to contaminate
the food, which he swallows at one gulp between two intakings of breath
ib.
p. 214,
ii.
No.
31.
The paddn was worn by
the time of Strabo

fifXP'-
^""^
the magi of Cappadocia,
at
(Augustus), xv. 733

nupas Tvikards KaOeiKvias eKareptjOeu
KoXvjTTfLv Tu XeiXt] Tcis Trapayvabidas.
(Note contributed by M. Franz
<:,
Cumont.)
Benzinger, Hcbriiische Archaologic (Grundriss der theologischen Wissenschaften, Zweite Reilie, Erster Band), Freiburg i. B. and Leipsic, 1894,
p.
165.
^
Frazer,
of the Sahara
TIte
all
Golden
the
men
2nd ed.
BoiigJi,
(and not the
especially the mouth, veiled constantly;
eating or sleeping."
their faces."
Also note 3
"
i.
p.
313:
women) keep
the veil
Amongst
the
is
"Among
the
Touaregs
the lower part of their face,
never put
off,
not even in
Arabs men sometimes veiled
46
was the Arabs who
introduced
more
once
it
the
in
sevênth
century A.D.^
Grosse, in his
remark
book Les Debuts de r Art'^
of Lippert
"The
The two upper ornaments have been used
portions of the
body
Petrie, Naqada,
pi.
l.xii.
21-23,
p. Ixvii.
"
A.,
The
the
hanging a
veil before the face.
^nd
is
p.
47
principle
into
Diospolis parva,
pi.
is
governed
which coniii.
and
p. 22.
1.
5-7.
1902,
practice of wearing veils dates from very remote times (Gen. xxiv.
Isa. iii. 22, 23), though

65
ancient Egyptians, as veiled
;
for
Man, 1902, No. 13, pp. 161, 162, and pi.

Doctrines of El Islaju, in Baedeker, Egypt, 5th ed.
PreJiistoric Egyptiaii Carvings, in
See SociN,
selecting
in
adorned with ornaments
to be
considerations, and
practical
followed
principle
an interesting
Ornaments for the Forehead.
Fig. 21.
by
refers to
Pp. 63, 64.
it
is
doubtful whether
women
it
was customary among the
never appear upon the monuments."
PERSOxXAL ADORNMENT.
of ideal
siderations
arrangement do not
of the body which are destined
contracted above
larger
enter.
47
.
The
parts
carry ornaments are those
to
portions which
are
bony or muscular.
the forehead and the temples,

These parts are the following
and the support afforded by
below
bones
with the projecting
:
the ear, the neck

it
and shoulders, the
the part above the ankles
is
and
wrist,
use of
all
a lesser degree
in
these for affixing ornaments
but he was not led to this
purely practical considerations."
b\-
We
the primitive Egyptians.
among
and
must now study
rings,
and see
in
necklaces,
their
what manner clothing
have developed out of these entirely elementary decorations.
The
simplest form of such decoration consists in attaching to
different parts of the
herbaceous
or
man makes
have already spoken of the arrangement of the hair
waist-belts, bracelets,
may
with the legs
Primitive
the fingers.
choice by aesthetic reasons, but
We
and hips
sides
with the arms, the biceps, the
body
fibres."^
beads, claws of animals,
In Egypt
"
thongs of leather, sinews of animals,
These
in
turn were
hung with
shells,
etc.
shells frequently occur in prehistoric
tombs.
Pierced
with a hole, they were evidently used as ornaments,- and their use
was continued
into historical times,
in glazed pottery, or in metal, to
content
when
shells
were even imitated
form parts of necklaces.
must
myself with a mere reference to the marvellous jewels
found at Dahchour by M. de Morgan.^
large
number of beads have been discovered
in
the tombs
of the primitive Egyptians, of which the forms remain practically

the same throughout the whole of the prehistoric period.
This
made
is
the
case
with the materials of which they were
Petrie
has
drawn
not
and
up a
chronological
list
of these with
considerable detail.^
Most of the ivory objects found
in
believes to be stoppers for leather bottles,

as necklace ornaments.
'
pi.
Deniker,
am
inclined to consider
are a species- of pendant, formed
peuples de
la terre, p.
211 et scq.
De MoRp.w, RcchcrcJies siir Ics origincs de V Rgypte, ii. p. 59.

De Morgan, Fouilles d Dahchour, March June, 1894, Vienna,
x.xiii.
Ll's races et Ics
"They
the tombs, which Petrie
and
xxiv.
pi. iv.
and
p. 27.
1895,
48
by the severed end of the

at the top
consequently,
wardsdeeply grooved
lines or
of an animal, often pierced
rib or tusk
they must have been worn point down-
at the wider end,
and covered with broken
with rudimentary geometric designs
these pendants are of stone
been used as vases.
"
(Fig. 22).
others are hollow, and
At the upper end of most of
a deep groove to allow of their being suspended
Some of
may have
these there
b\-
means of a
thong, which also passed through the hole with which
Numerous
them are pierced.

these
in
is
many
of
traces of leather ha\-e been found
cavities."'
fc^"^-^
Fig. 22.
Showing the imitation
We
shall
detail
in
Pendaxts.
of claws and of horns, decorated with incised or painted Hnes.
have opportunity to discuss these pendants more
when we
treat of
ornamental
art.
should, however,
It
made
be observed that a certain number of these ornaments are
imitation of horns or claws, and are merely a conventional
in
We can compare
still
more rudimentary ornaments.
them with the collars of the Bushmen, " the cords made of
tendons and painted with red ochre, from which are suspended
shells, teeth, claws, the carapaces of turtles, antelope horns, and
copy of
other
objects,
serving
partly
De Morgan,
Petrie, Naqada, pp. 46, 47,
as
receptacles
RccJicrchcs sur les origines dc

pi. lix.-lxiv.
V Egypte,
for
ii.
tobacco
p. 62, 63.
Diospolis paji'a, p. 21,
pi,
iii.
and
PERSONAL ADORNMENT.
amulets, and for the
unguents, parth- as
of personal adornment."
49
most part as objects
need scarcely remark on the prevalent use of beads and
pendants
Pharaonic
in
Eg\'pt.
Professor Petrie at University College, London,
with regard
these
to
claws,
well worth studying, as
monuments.
It
the\'
highly instructive
is
Such a wealth of pendants for

shells,
and various amulets is
objects.
comprising
necklaces
such as that of
collection
found
rarely
are
on the
figured
not alwa\-s justifiable to deny the existence
is
of a custom from an argument based solely on the absence of
an object from the figured monuments of Egypt.
Beads and other pendants were not only used
necklaces
for
they were also emplo\-ed as decorations for girdles, bracelets, and
The
anklets.
of
Zer,
the
jewellery found by Petrie in
dynasty, enables
first
us
the
tomb of King
appreciate
to
already acquired by the Egyptians at that period
and grouping various materials and producing
The
truly marvellous.
is
skill
combining
in
results
perfection of the jewellery
the
which are
so great that,
as .Petrie remarks, with the exception of the gold beads, there
no bead
any one of the
in
any other of another
for
is
which could be exchanged
bracelets
completely destro\-ing
bracelet, without
the harmonv' of the whole.But, besides these
bracelets
must notice the simple

found
are
survived
dynasty
first
bone,
ivory,
in
This use
into
fragments of bracelets
'
Horn,
in
ib.
pp. 14, 47.

pp.
Diospolis,
14,
5,
pi. X. 23.
29,
yielded an
Diospolis parva, p.
47;
:
ib. p.
33.
Schist
pp. 14, 51, 59; Diospolis, p. 36; Abydos,
Shell
Ivory:
Schist
ib.
:
ii.
pp. 24, 35, 37
Abydos,
i.
p.
ib.
17.
ii.
i.
p.
etc.^
immense number of
pi.
stone.^
Petrie, Naqada,
2.
ii.
Shell:
p. 29.
21,
and
p. 37.
pi.
x.
ib. pp. 14, 47.

Ivory: Petrie,
Bone: Petrie,
Petrie, Naqada,
Flint
p. 14.
16.
Horn: Petrie, Royal To??ibs, ii. p. 39.

Stone: Royal Tombs, ii. pp. 35, 37.
Bracelets of Aha Royal Tombs,
pp. 5, 18, 29 ii. p. 5.
Petrie, Abydos,
Bracelets of Zer:
hard stone,
flint,
Copper: Petrie, Diospolis parva,
Beads
we
They
pieces,
and the tombs of the
ivory, horn, shell, slate,
Alabaster: Petrie, A'aqada,
pp. 34, 42, 47.
Naqada,
'
shell,
Grosse, Les Debuts de PArf, p. 68.

Petrie, Royal Tombs, ii. pi i. pp. 16-19.
See QuiBELL, El Kab, pp. 6, 7, 9, 10, 18, and
pi. xliii.
ib.
copper,
separate
of
of various materials.
historical times,
Abydos have
at
formed
made
circlets
i.
p.
17.
Abydos,
i.
p. 5.
pp.
17,
iS.
i.
50
spoon
(fig. 23), the handle of which resembles an
with a large
number
shows us that they were worn

armature.
sort of
Bohr
"
arm adorned
of these bracelets, similar in size and form,
numbers
to
form a
Pleyte obser\"es that this recalls the
"Danga
in
sufficient
which Schweinfurth found among the Bongoes.discovered
Petrie
mentions,
woman
tomb containing
wearing on the arm
nine
connection
in
or ten
with
this
that
fact,
child,
carving
of
shows the same system
reindeer age in France
of the
body of a
the
of these ivory rings, and he
<3
HCfflMdCj
Fig. 23.
Bone and Ivory Bracelets, and a Spoon with a Handle

OF AN Arm We.\ring a Series of Similar Bracelets.
of ornamentation.'^
worn on the
legs,
It
as
is
in
Form
probable that these rings were also
shown
in
the representation
of the chief
of the land of Punt at Deir-el-Bahari.^
As
primitive
question
of
man making
stone-working
rings
in
flint.^
it
is
astonishing
Many
to
conjectures
Petrie, Naqada, pi. .xliii. i (Ashmolean Museum, Oxford).

Pleyte, Chapitrcs supplcmcntaires du Livre des Marts,
Schweinfurth, Artcs Africanac, Leipsic and London, 1875, P'-
find
have
'
Petrie, Naqnda, pp. 42 and 47.
Pleyte,
'
De Morgan,
ib. fig.
i.
pp.
"' '-
facing p. 147.
Rccherches sur
les origiitcs
de I'^gypte,
ii.
pp. 60, 61.
147,
148.
PERSONAL ADORNMENT
hazarded
been
Karr
Seton
at
it
frequent
manner
the
remained
the
for
Wady-el-Sheikh
The
the work.^
explain
to
accomplished, but
which
in
fortunate
show us
to
51
the
all
was
this
discoveries of
phases of
Egyptian monuments
occurrence on
of Pharaonic times of collars, bracelets, and anklets has frequently
been remarked on, and we need not therefore dwell longer on

that point.-
The
primitive Eg\-ptian was also well acquainted with finger-
rings, especially in ivor\', either plain or decorated with a knob.
Two
specimens show that
very curious
occasionally they were
DiS
Fig. 24.
Ivory Rings.
decorated with figures of animals
animals on
So
and
far
it,^'
we have not
because there
this
one of these has two
and on the other are four

dealt
is
not,
hawks
with the decoration of the hips,

to
my
knowledge, any monument
of the primitive period which shows us such a decoration.

exists
of
no
statuette,
leather
But
'
it
is
There
no drawing, on which we can see a thong
round the
difficult to
feline
(Fig. 24).
adorned with beads
waist
or
pendants.
say whether the beads and pendants which
ScHWEixKURTti, AegyptiscJtcr Ringc
aics
Kiesclmassc,
Forbes,
in
the Zeitschrift
a collection of stone
impleine7its in the Mayer Miisemn, tnadc by M. H. VV. Seton KatT, in mines of
the ancient Egyptians discovered by him on the plateaux of the Nile Valley, in
the Btdletin Liverpool Museum, ii. Nos. 3 and 4, pp. 78-80, and fig. on p. 82.
2 Erman, Life in Ancient Egypt, p. 227.
^ A specimen in the MacGregor Collection, Tamvvorth (No. 1,409 <z).
fiir Ethnologic, xxxi.
1899, p. 496 et seq.
Petrie, Naqada, pi.

nd pp. 21, 22.
X. 24, 25,
Ixii.
30
Ixiv.
78
and
p.
Ofi
47.
Diospoiis,
ix.
23
PRIMITIVE ART
52
may
have been discovered
body
EGYPT.
IN
not have decorated
that part of the
as appropriately as they did the neck, arms,
we can imply
analog)', therefore,
and
By
legs.
the use of ornamental girdles
and here we verge on the interesting
subject
the
origin
the
cord
of
of
clothing.
"The
round
skin of an
the
With
mantle.
aniinal
and
throat,
Fuegians
the
suspended
is
forthwith
effectually,
also
is-
skin
scanty
so
is
tied
into
has to be turned,
it
The thong round
following the direction of the wind.

the belt,
of
piece
this
body
that, in order to protect the
from
transformed
is
it
the waist,
hung with various appendages, and becomes
petticoat.
"
The
leafy branches
among
Xiam-Niam, the
the
supplies
which are thrust by the Veddahs under

of bark
pieces
the
their waist-belts,
'
sarang
by
held
the elements both of petticoat and of girdle
Writing
of
indigenous
the
inhabitants
Islands, Grosse expresses himself as follows

tribe the
women
some
of
Andaman
the
There
"
is,
however,
hang
this
classes, principally
brought by their occupation
most
articles
them
habitual
contact
as
absolutely
nude
of clothing
ornaments,
if
down
;
one
who were
with water,
while
their
wearing only a narrow girdle
part, are
with a few short strips hanging
those
into
represented
occasionally
fellow workers, for the
be called
these
all
has already remarked that, under the Ancient Empire,
the Egyptians of the lower
call
quite short fibres
must evidently be a mere ornament."
are
of which wear nothing round the waist but
a very fine string, from which
Erman
belt
are the prototype of the petticoat."
one
same
the
of the Indo-!\Iala}', which
'
in front.^
These can scarcely
and yet one would hesitate to

were
not
cases
this
assured
by numerous
ethnological parallels.
I
may add
that
in
some
round the loins served as an amulet.

quote the
curious
'
^
^
observation
of Dr.
simple
On
this
Stacquez,
Denucer, Les races et les peuples de la tej-re,

Grosse, Les Debuts de VArt, p. 70.
Erman, Life in Ancient Egypt, p. 212.
cord
knotted
subject
will
who, on
the
p. 312.
PERSONAL ADORNMENT.
modern population
subject of the
number
greater
of Thebes, writes thus
wore a
all
these
thread round
fine
naked
entirely
folks,
but
of such
reason
existed
that
to
told
that
it
no one
asked the
had always
was considered that the thread concealed
it
nakedness, and that
wear owing
not
state.
it
their
represented the garments that they could
the
to
for
of indecency
height
that
girdle.
events
of
thread round their loins, and
tie
show himself in
custom, and I was
would have dared
course
the
But they
old.
form of a
in
natural
the
would have been
it
have omitted to
to
bodies
their
was
years
fifteen
The
"
among them
were entirely nude, and
of boys
were some who might have been
To go
53
temperature of
high
the
country.
myself believe that the thread should be considered as a species

of amulet, and
habit
the
wrists
for
have a
to
some
small cord tied by
this
reason
parts
in
of
Egypt
it
is
the sheikh round the
and ankles as a preservative against sprains and other
accidents while working or walking.

the thread encircling the loins
is
a similar
is
forgotten."
practice
passed
It
among
into
is
therefore possible that
the inhabitants of Thebes

habit,
of which the reason
It should also be remembered that under the Second Theban

Empire the young female slaves and the dancing women wore
as their only clothing a girdle,
uhich occasionally
may
have been
ornamented.
was during the primitive age. On the

famous painted tomb of Hierakonpolis, with which we shall later
have to deal at length, there are several personages whose only
Let us see how
garment appears
same
is
locality,
to
this
be a girdle knotted round the waist.
The
seen on the palettes and mace-heads from the same

where the forms are already verging on those of the
Ancient Empire.-^
Stacouez, L'Egyptc, la basse A'tcbic et le Sinai, Liege, 1865, pp. 252, 253.
See also M.aspero, Histoire ancienne des peuples de V Orient classiqtie, ii. p. 526.
- Ermax,
loc. cit. p. 216.
Stratz, Ueber die Kleidung der dgyptischen
Tdnzerinucn, in the Zeitschrift fiir dgyptische Sprache und Altcrtinnskunde,
^
xxxviii. 1900, pp. 148, 149.

'
xliii.
Capart, La fete de /rapper

1901, p. 255.
les
Anon,
in the
Revue
d' histoire des religions,
54
To
this
various
objects
be
recognized
on
can
these
of
girdle
siderable
a sheath for
is
One
precision.
the
is
protecting
were
objects
of an
tail
and
attached,
existing
animal
two
with
con-
the
other
concealing the lower part of the
or
body.
The
warriors
huntsmen
or
we
that
tail
a jackal, attached to their girdle
25;.
''Fig.
of
and
this
In Eg\-pt, during the Pharaonic
The
tail
its
t-i?-,,
recognized on
well
the
figured above (Fig. 20),
ivory figures which
we
described by M. Naville:
statuette
is
the large
resisting
the
Louvre
king
and
.1
'
note
the
palette,
gods
on
^1
just
purpose has been recognized

Naville.''
the
in
It
can be specially
MacGregor
Collection
upon a considerable number of
consider
"The most
organs.
material, such as
cylinder, to
of
sheath
the
to
later.
This
is
how
it
is
characteristic feature in this
...
It
appears to be made of
metal, wood, or
This sheath extends half-way up the stomach.

of a
exactly
tails
sheath or horn, which, held by a narrow
girdle, covers the genital
some
also
shall
its
by M.
statuette
and
form
monuments.
reference
^^^^"-
signification explained
of
the
classical
mentioned,
and
of
wood.-
in
on the objects
tails
between the
period
those
Egyptian
fixed
a specimen
Hierakonpolis
at
primitive
head, and the
and the Marseilles Museum
possesses
transition
and
to his girdle.
an ornament of princes
is
representations of
found
the
tail
priests,
actuall}-
feather on his
interesting to
is
is
age, the
Wearing a
It
caudiform
found among a considerable number
that
nations.'
25. Hunts.m.^n.
of an animal, possibly
decoration
note
Fig.
represented on the
find
fragment of the Louvre palette wear the
which
is
thick
It
is
leather.
composed
joined another narrower one, at
the
For a
fine example see Denuêr, o/>. cit. frontispiece.

Maspero, Histoire ancic/uie des pciiples de I'Onait
classiqiie,
i.
p.
55,
3.
Grosse, Les Debuts dc V Art, p. 70, mentions among the Botocudos of

de Wied, an " etui de feuilles qui cache les parties
genitales."
See Yrjo Hirn, The Origins of Art, London, 1900, pp. 215, 21^
'
Brazil, according to Prince
PERSONAL ADORNMENT.
commencement
of which are two ovoid protuberances, which arc
an attempt to imitate nature.
M.
was
Naville
characteristic
Mediterranean
At
identify
to
Libyan
that
period
bore
the
that the
also
The
animal's
during
of
This
sheath
during
is
called
it
hang from
and the
with
stuff,
wrap oneself
to
and
the skin
it
loin-cloth
in
of
was
in
manner
this
All these elementary garments are
mantle was evolved.
the
be placed as an
ease
was easy
mat, a skin or a piece of woven
which,
people
stuff,
could
it
complete
a tradition,
and the sheath were attached
tail
possible to
skin
ornament on the shoulders
"
the
name
special
an animal, a mat, or a piece of

created.
group
with
itself
with
this
he says,
is,
march against Egypt."
same time
the girdle, it was
to
of
trait
to
Egyptian
the
enabled
."
dynasty, allied
nineteenth
the
by a similar covering, which
certainty
55
the
found
the historic period, and also in the primitive age.
in,
The
skin of a
panther, girded round the loins and covering
the lower part of the body, was
still
in
use
among
the negroes
of the Upper Nile at the time of the nineteenth dynast}'.
on the shoulders,
priests
One
it
and nobles as
at Hierakonpolis
adversary
had become one of the insignia of

earl}' as
is
tomb
of the primitixe age
thus clothed in a panther's skin, while his
holding a shield formed of a similar skin
is
certain
the beginning of the Ancient Empire."
warriors of the painted
of the
Placed
(Fig. 26;.
^
Naville, Figurines egypticnnes de Vepoque arc/iaiqtic, ii., in the Recueil dc
travaux relatifs d la philologie et a raixheologie egyptienites et assyrie>i7ics,
xxii. p.
69
et seq.
VON Lushax, Zur mithropologischen StcUung der altcn Acgypter,

1901, pp. 197-200: "Aenliche Taschen nun giebt es heute noch
im VVestlichen Sudan, besonders bei den Moba im Nordlichen Togo, wo sie
ganz allgemein von alien Mannern getragen werden."
' Maspero, Histoire ancien7ie des pcuples de V Orient classiquc,
pp. 53 and 55,
and p. 53, note a.
" I take the figure of the
* OuiBELL & Green, Hierakonpolis, ii. pi. Ixxvi.
^
in
See
Globus,
F.
Ix.xix.
i.
man
had
holding up the skin as showing that he has had

to
remove
loose clotliing
use as a shield.
skin, and from that the
it
to
But I do not think that

by Professor Petrie.
it
is
here
It
stiff
is
it
on his back, and has
the origin of the shield from the
shield with
wood frame was
shown as a defensive
derived.
shield alone."
Note
56
The
loin-cloth, either
narrow or wide,
frequently represented
is
on the primitive monuments on the palettes and maces of Hierakonpolis, in the

I
it
am
not
at all
tomb
women wore
with considerable doubt that
is
tomb
of
Hierakonpolis.
that the two
figures at the
are intended to represent

attitude with that of the
to
and again on the ivory
paintings,
certain that the
refer
wide
figures.^
loin-cloths,
here
to
the
and
painted
with any certainty
cannot assume
top of Plate Ixxvi. Hierakonpolis,
women
and yet the
ii.
similarity of their
female figures on the pottery appears
be noteworthv'.
Finally, the
has been so
long cloak, the use of which
Fig. 26.
appears several
There
times on the remains of the primitive age.
times
historic
in
ably dealt with by M. Maspero,-
is,
for instance.
W.xRRiORS.
Clothed in a panther skin, or holding a shield formed of a similar skin.
the figure of a
woman
in
the British Museum,^ and several ivory
from Hierakonpolis, which show the cloak, sometimes

sometimes decorated with geometric patterns.^ Petrie
and
plain
has very justly compared the decorated mantfe on one of these
statuettes
figures with the
fragments of leather painted
by him at Naqada, and they again

clothing of the Libyans of the
tomb
may
in
zigzag lines found
be compared with the
of Seti
I.'
(Fig. 27).
These
For the loin-cloth or sliort skirt in Egypt during the Ancient Empire see
in Ancient Egypt, pp. 202-206, and Sfiegelberg. Varia, xlviii. Zii
de7n Galasclmrz dcs altcn Rcichcs, in the Recueil de travaux relatifs a la philologie ei d V archeologie igyptiennes ct assyriennes, x\\. 1S99, pp. 54. 55Maspero, Histoire aficienne des peiiples de V Orient classiqne, 1. pp. 55"57.
'
Erman, Life
^
^
Budge, A History of Egypt, i. p. 53.

QuiBELL, Hierakonpolis, i. pi. ix. and x.
Petrie, Naqada, pi. Ixiv. 104 andp, 48. See
of the Earliest Dynasties,
ii.
pi. iv. 3. 4, 5.
also Petrie,
The Royal
Totiihs
PERSONAL ADORNMENT.
decorations
ivory
probably represent embroideries, as
statuette
Petrie at
Finallv
king
of a
of
the
first
57-
shown
Abydos, of which reproductions are given farther
we must mention a small
Fig. 27.
Wrapped
in cloaks,
the
in
dynasty discovered by
figure
of
woman
on.^
tiG-htl\^
Figures of Women.
one of which
decorated.
is
Below
are fragments of
leather with painted decoration.
wrapped
in
a cloak, discovered
by Petrie
from the commencement of the
The
first
at
Abydos, and dating-
dynasty.-
long cloak was fastened by means of studs intended

and
Petrie, Abydos,
Petrie, Tke Royal Tovibs of the Earliest Dyfiaslics,
p. 21.
ii.
pi.
ii.
xiii. p.
24.
.1
ii.
pi.
iii
a,
to-
8 and"
58
be slipped through loops, on the principle of our military frogs.

Petrie discovered
-of the
examples of these
temple of Osiris
We
at
have now arrived
adornment as
festation
which
it
is
at
glazed pottery in the temenos
Egypt
existed in primitive
)'et
an}' rate
our study of personal
at the close of
in
this
these
researches
sequence of ideas
there were sudden and radical changes at the
the Pharaonic
period,
between the habits

find
and that there
is
earliest
mani-
The immediate
is
that
to
it
not
is
prove that
commencement
we can maintain
of
no glaring discrepancy
the primitive people and those which
under the Ancient Eg\'ptian Empire.
seen whether
is
ot
this
so rich in artistic feeling.
conclusion to be drawn from

possible
in
Abydos.^
It
this conclusion
directed to the examination of ornamental
we
now remains to be
when our attention
art.
Petrie, Abydos, ii. pi. i. and viii. 141- 143, and p. 26.
On the subject of
comparing primitive clothing in Egypt with that of the Ancient Empire, I think it
well to quote a remark of Petrie's.
After describing the garments found in the
tombs of the fifth dynasty at Desliasheh, he adds " It is remarkable that not one
dress was found of the form shown on the monuments, with shoulder-straps but
the actual form seems to have been developed out of that by extension of the
shoulder-straps along the arms.
Hence the monumental dress must have been
-only an artistic survival in the Old Kingdom.'"
Petrie, Desliaslieli, London,
'
.189S, p. 31.
59
CHAPTER
III.
ORNAMENTAL AND DECORATIVE
THE
and
at
problem of the
earliest
ART.
beginnings of ornamental and
is
one of the most difificult
same time one of those which appear
decorative art
to deal with,
the
to ha\'e been
most neglected
b>'
In
art critics.^
the last few
however,
\-ears,
numerous indications which give
ethnologists have contributed
us
some hope of arriving at a solution. We will follow the paths

thus marked out, and see what solid results can be gained.
" The characteristic feature of decorative art among primitive
.
people," says Deniker, "
by
objects
real
is
there
this
All artistic designs are inspired
no feeling
is
voluntarily ornamental, nor,
for
what
for
more
still
there any geometrical figures, as was believed
which appear to be of
figures
ings
animals, objects,
of
frequentl}' are those
etc.
purel\-
is
till
and
reasons, are
forcible
recently.
All
nature are simplified draw-
this
The
designs
which occur most
borrowed from animals (zoomorphic designs),
from the human figure (anthropomorphic), and occasionalh- from
manufactured objects (skeuomorphic)

(phytomorphic) are extremely
is
rare.
transformed into an ornament, and
purpose for which
for the
to notice that
it
those
.
Often the entire object
becomes wholly unsuited
was destined. ...
'
is
the
It
is
interesting
the more a nation loves decoration, the less
able to draw a design, properly so called."
This
from plants
taken
way
in
it
is
why
is
which objects are decorated
but
Nevertheless, two important works on this subject must be quoted
Se.mper,
den iechmschett tnid tektotiischen Kilnsten, Miinclien, 1878-9, 2 vols.

and RiEGL, Stilfragen, Gruiidlegungen ztc cincr Geschichte der Oi-ftamentik,
De7' Stil
ill
Berlin, 1893.
^
De.nu-cer,
Les races
et Ics pei plea dc la icrrc, Paris, 1900, pp. 237-240.
6o
they are thus ornamented
that
it
problem
the
body
to
are
that
information, a
These
are
principles
apply them
the
in
consider
general
we must
also
luxury or
for
add the
from a view
power, and
for
but
clear,
Egyptians,
necessary
is
it
proceeding
before
primitive
the
of
to
order
in
we should
that
some complementary details which bear upon these

and give various examples which will enable
principles,
more
To
an
desire
established,
case
render our statement
us
Those who have studied
and
from religious or magical motives.^
finally
to
objects
ornamented from a variety of motives
to
art,
us
tell
easily to understand their bearing.
begin with,
animal can
let
how
see
us
be transformed
graphic
representation
geometric design
into
of
this
enable us to discover the laws which govern the treatment
will
of natural models.
One
view
is
most interesting
of the
furnished
examples from this point of

by Holmes' important work on the ancient
Colombia- (Fig.
art of the province of Chiriqui,
The
principal
theme
the
is
alligator,
28).
passing
which,
degradation to degradation, from simplification
from
to simplification,
ends by becoming transformed into a series of absolutely regular
more
shows
geometrical
designs.
explanation
can do the successive phases
which
tion,
is
28
Fig.
accounted
logically
The
of simplification,
child,
attempts
represents
by virtue
to
give
form which
of
animals
to
is
fixed
which he simplifies more and

idleness
to
diverging,
from the original
primitive
and
is
principles
the principle
man,
objects
like
the
which
he
and easily recognizable, and
more
this
can only be owing
consequence, more and
more widely
model.'"^
H.\DDO.\, Evolution in
'
London,
in
which
first
any
transforma-
this
by two great
for
which dominate the whole question.
than
clearly
of
Art as
illustrated by the Life-histories
on
of designs,
see also pp. 200-306.

Holmes, VV. H., Ancient art of the province of Chiriqui^ Colombia, in the
1895, pp. 4,
5,
illu.stration
p.
Annual Report of the Bureau of Ethnology, 1884-5, VV'ashington, 1888.

mention of the work is taken from Haddon's book mentioned m the preced-
Sixtli
My
ing note.
^
Grosse, Les Debuts de I'Art, pp. 107 and
119.

The second
preceding,
is
that
art
manner
does
it
order,
of the
least
that
of the
truly sa\-," continues the
S^^S>
unites
rh\-thmic
of
"dominates the
that
which
principle,
itself
the
Grosse says,
as
nations
the
in
most advanced."
cô
"
same
We may
Csy^
G^Ô
Fig. 28.
with
closely
which,
civilized
6i
same author, "that rhythm everywhere
!^2?
'^^m.
ART.
"^Sîi^^îi^
mm
^s
Evolution of the Represent.a.tion of the Alligator

CoLLMBiAN Art.
in
Ancient
From Holmes.
affords
the
the
same
pleasure
of
regular repetition
movement,
or, as in
to
any
of unit
this case, of a figure."
'
Grosse,
Rhythm
mankind.
sort
/oc. cit. p.
113.
of
consists in
sound,
of a
62
And
we seek
review
the
of
origin
taste
for
rhythm among primitive men, Grosse gives us a concise
ex-
if
planation of
genesis
its
we
" If
rhythmic order, which
to this
this
attribute an sesthetic importance
so prevalent
is
decorative
the
in
we do not in any way pretend that its

same order. We are, on the contrary, con-
of hunting tribes,
art
was of the
origin
the primitive artist did not invent the symmetrical
vinced that
principle, but
work
of
to
probable that
is
that
and
value was recognized,
the
that
artist
in
the
arrange
his
it
it
was from
designs were
textile
was only by degrees that
it
obliged
is
It
pleasure,
aesthetic
for
imitated
first
who
manner.
regular
and that he found
it,
basket-maker,
the
and not
habit,
he found
that
material in a
at
to
their
began
aesthetic
combine
to
and enrich these regular series. Obviously it would be

to say where mechanical imitation ends and where
work begins
experienced
that
is
it
ment."
in
case,
pleasure which
it
pleasure
the
would be
provoked
has
to
justifiable
produced
has
symmetry, as
observing
that
would be equally
it
arrangement
regular
that
assert
any
in
difficult
aesthetic
to
assert
arrange-
regular
In
designs
words,
other
by manufactured objects
inspired
(skeuomorphs) have imposed
their derivatives
on designs derived
from natural objects.

Thus,
copy of an
alligator
teristic features,
general
foregoing example,
the
in
lines,
this
is
there
is,
next reduced to
and from the time
begin with, a
to
its
most charac-
fundamental features,
its
its
of the
have been recognized, the representations
animal are symmetrically combined, and adapted to the space

to
be
decorated,
whether
oblong,
square,
or
The
circular.
principle of rhythmic order here leads to the successive repetition
of the
same
of the whole
of
are
from
way
an object, and
two principal factors

derived
such
figures, in
the
one
to form
under the
most
and
as
diversified
the
same
the decoration
of these
influence
geometrical
designs
of
the
(Fig.
29)
representation
alligator.
Another example borrowed

1
Grosse,
from
loc. cit.
Polynesian
pp. 114, 115.
art
ORNx^MENTAL AND DECORATIVE ART.

distinctly
same
the
The
shows the degradation of the human
figure, following
principles.^
Aegean Islands
stone idols of the
In addition to small
figures,
afford another proof.
where the human representation
fairly accurate, there are also others "in
be sufficient to quote the instance of the
admirably worked out
floral
lotus,
Goodyear'^ as
b\'
is
the shape of a violin. "-
For the successive transformations of a

so
63
design
it
will
which has been
to
render
it
un-
necessary to dwell longer on this point.
Fig. 29.
Evolution of the Representation of the

Polynesian Art.
Human Figure
in
From Haddon.
With regard
the
to
designs
inspired
two most important types
derived
unite
from the
two objects
thongs
;
or
by manufactured
be mentioned
to
cords
which
are
originall}'
objects^,
designs
served
to-
and designs copied from the work of the
H.ADDOX, Evolution in Art, fig. IC4, 125, 127, 12S, pp. 271, 273. See another
example in Collier, Primer of Art, London, 1882, fig. 3, series of paddles,.
p. 7 (now in the Pitt-Rivers Collection, University Museum, Oxford).
^ Blinkenberg,
Chr., Antiquites prhnyccniennes, in the Mcmoires dc la
'
Socicte royale des antiqiiaires

^
Goodyear,
VV. H.,
The
du
i\ord,
new
series, 1896, pp. 13, 14.
Grammar of the
Lotus, 1891.
64
basket-maker.
Both of these occur with equal frequency, and a
few words
When
suffice
will
two objects
for
decoration.
material
one
to the
in
single
mind
primitive
and handle
the
If
piece,
to
latter
copied
is
being.
joined
an
actual
another
in
would naturally occur
idea
the
into
are
forms
straps
the
of
by strapping, the interlacing

geometrical
how they came
explain
to
instance, a blade
reproduce these interlacing
and
lines,
what invariably occurs.

I will recall the well-known instance of architecture in wood
communicating its forms to architecture in stone. Another very
this
is
also been established
example has
typical
pottery of almost
all
sembling
formed
widest
cord
which
part,
countries.
is
refer
on vases
nothing
as presented
the
to
most
but
frequently
remaining
the
on the
decoration
re-
their
at
trace
of
the cord of coarsely-twisted fibre which keeps the vases separate
from each other while they are being dried
in
the sun previous
to being baked.
The
industry of basket-making plays an
the daily
life
appearance
its
of primitive
earlier
than ceramics.
making often commences with

exterior
or
and
people,
"
mould, usually a basket,
is
easily understood that in this
regular lines of the
woven basket
left
from an interior
or some other
in
in
makes
appears that pottery-
It
cast taken
basket-work which burns immediately

It
important part
almost always
the baking."
object
of
case the combinations of

their
marks on the
soft
and formed an actual geometrical decoration on the baked

pottery, which continued to be reproduced after pottery was
clay,
manufactured by another method.
At
the
commencement of
this
chapter
stated that an object
by decoration, and becomes unfit for

We shall have
the purpose for which it was originally destined.
occasion later on to deal with curious examples of this. To make
is
frequently transformed
this
point clear
without delay
Petrie, Egyptian Decorative Art,
will,
however, quote the very
p. 92.
ScHWEiNFURTH, Oriiameutik der dltcstcn

Deniker, op. cit. p. 184.
Cultur-Epoche Aegyptcns, in the Verha?idlimgcn der b. Gesellsch. fiir Anthro*
J>ologie, Ethnologie, nttd Urgcschichte, 1897, pp. 377, 378.

interesting instance of the tortoise-shell
Straits, which,
ART.
65
ornaments from the Torres
from the copy of a simple fish-hook,
diverging
by successive modifications and symmetrical development^ acquire

ornamental forms, which only
most distant
We
will
the
recall
model
original
manner (Fig. 30;.

now briefly examine some examples
the
in
motives which actuate primiti\"e
man
the
in
of the various
ornamentation of
objects.
The
motive
first
for
decorating an object
is
purely
artistic,
and requires no additional explanation.
Tortoise-shell Ornaments from Torres Straits, in imitation

OF THE FiSH-HoOK (a).
Fig. 30.
From Haddon.
Decoration
may
be
is
the
that
also
emplo}-ed with a view to information
maker
places
constitutes an actual signature, or
on
it
sign.
mark of ownership
The most typical example
mark
their
himself gives
'
for
object
may
is
itt
Art,
fig.
it
be that the proprietor
that
in
of the savages,
order to
tribal
who
be able to
symmetrical decoration see Schweinfurth,
398.
Haddon, Evolution
mark which
such, for instance, as a
arrows with a distinct sign,
For the origin of the taste
loc. cit. p.
^
it
an
44, p. jj.
66
man
determine the rights of each
This point
chase.
part in the
of
is
animals killed
to the
important, for
it
the
in
has played a considerable
during the most primitive stages
history of writing
development.
its
was the desire
It
decorated
objects,
for
ostentation which gave
especially
rapidly developed
to
weapons of
tokens of power.
into
rise to
highly
which thus
state,
was the desire
It
for
luxury which produced those objects which are absolutely useless,

but the possession of which ensured to their
among
stantial reputation
made
objects developed where the attempt was
by employing
value
more
either
proprietor a sub-
In a parallel manner, votive
the tribe.
to
precious
augment
their
by
or
material,
applying more studied and complicated ornamentation.
31. Magical Decoration on a Comb of a Malacca Tribk.
Fig.
From Haddon.
Finally,
is
religion
or
furnish
tribe
in
one of the most usual reasons
preserving the
wearers
safeguard for their
from those ailments
known, show us how important
plaining the
the
graves
in
it
correct
interpretation.
from
as
the
next
and the
Other instances, equally

to
is
ornamentation of any object.
meaning, but without explanation

find
their
different
for
different design corresponds to each malady,
designs are purely geometricaP (Fig. 31).

well
combs
in
They
maladies.
specified
these
of
be placed
to
possessor
combs, with the object of
certain
thirty
and cause them
maladies,
world.
from
about twenty or
possess
object.'*
magical
the
hair a variety of decorated
their
decorating
for
combs of a Malacca
us with an excellent example.
The women wear
and
magic,
be cautious
natives
the
in
ex-
may have some
It
Unfortunately,
with
we cannot
objects
of
antiquity, the necessary explanations are almost entirely wanting.
These fundamental
sight of them,
principles are established,
we can now
or decorative art of the primitive Egyptians.
Haddon, Evolution
and without losing
enter upon the study of the ornamental
in Art, p. 236 et scq.,
fig.
To
begin with,
120, p. 240.
is
ART.
67
there not already artistic feeling in the act of the primitive man,
who, not content with supplying himself with

the requirements they are intended
them
forms
have
the
as
and
perfect
opportunity
of
pointing
Egyptians attained perfection
to
elegant
in
possible
as
how
out
tools
suited
to
attempts to give
fulfil,
far
We
the
each class of objects
shall
primitive
we
pass in
review.
We
gerate
begin
will
when
with
say that
Fig. 32.
flint
working of
admire
do not exag-
in the
world has the
Flint Knife, worked and retouched on both Faces.
Museum;
length,
25cm.
been carried to such perfection.
flint
sufficiently
the
perfection
"
The
flakes
of
the
It
is
not easy
working and the
large, finely finished knives discovered
beauty of the forms of the

in the tombs.
believe
no other country
in
Brussels
to
knives.
have been struck off these objects with
such precision that the ribs
left
by the work upon the edge and
the back are symmetrically arranged, and correspond with each

other.
The meeting
of the ribs forms a very regular ridge
the centre of the blade

'
De Morgan,
pp. 107-109.
"
down
(F'g- 3-)-
Recherches sur Us origines de rgypte, i. pp. iii, 112; ii.

passages indicated in the
pi. Ix.xvi., and
See Petrie, Naqada^
68
The
covered
part of the knife which was held in the
with
-;^'
tfp)
leather.
Specimens
exist
hand was probably
which have gold and

which covers a part of the knife
by means of gold thread.

serpents
terlaced
rosettes
In
solid
one side two
at
spaces being
in-
up with
filled
on the other side there are nine figures of animals
also seen
is
it
at
gold handle fixed to
The handle
women, one
Fig. 34.
(Fig. 34).
especially
is
Cairo there
of
whom
holds a fan
Women
meet
.\nd of
rivets.
on one side are three
on the other
side, there
is
a boat
a Bo.\t on a gold Knife-handle.
Another dagger from the same place had an ivory
handle, only fragments of which remain

Collection,
The
to
also a dagger with a
is
decorated with incised figures
of
^t,).
blade by means of three
the
is
Figures
(Fig.
interesting
on the Chaldean monuments.^'
same museum
the
and a fantastic animaP
serpents
of interlaced
with, as
69
soldered, but sewn on
not
the point
engrnved, the
are
lions, gazelles, antelopes,
design
On
is
ART.
Farnham, Dorset, there
handle of which
is
decorated
is
and
a large
on both
in
flint
faces
the Pitt-Rivers
knife, the ivory
with a series of
animals^ (Fig. 35).

the Petrie Collection, University College, London,
Finally, in
De Morg.an, Reckerdics, i. pp. 112-115, and tig. 136 ii. pi. v.

Sculptured vase of Gudea. See Heuzey, Musec tiatianal du Louvre:
Catalogue des antiqjiitcs chaldeennes ; Sculpture et gravure a la poitite, Paris,
'
1902, pp. 280-285.
QuiBELL, Flint dagger from Gcbelehi, loc. cit. p. 13 r.

Petrie, Naqada, pi. Ixxvii. and p. 51. De Morgan, Recherches, ii. pp. 266, 267.
The whole of the knife has been produced in a plate intended for a work on the
A
Pitt-Rivers Collection, but which, I believe, has never been published.
copy of this plate is exhibited in the Pitt-Rivers Collection at the University
Museum, Oxford another copy is in the Edwards' Library, University College,
London. Its provenance is indicated thus upon the plate: "Obtained by the
Rev. Greville Chester in 1891 from Sheyk Hamadeh, near Souhag."
^
JO
there
a
two interesting
are
bearing
knife,
there
one of
on
frequently a fehne
pieces.
is
faces
chasing
animal
the hippopotannus goddess
Fig. 35.
it.
crocodile,
a handle, possibly of
design
gazelle
a quaint representation, in which
is
devour
its
One
which
on
occurs
other
the
sees
Professor Petrie
Taia-^ seizing a crocodile, perhaps to
Ivory Knife-handle in the Pitt-Rivers Collection.
With her
and with her
hand
right
left
she
she
holds
grasps
its
tail
a
(Fig.
foot
36).
of
the
Upon
a steatite prism discovered by Greville Chester at Karnak, and
Museum, Oxford, there is a

This reprecrocodile by the tail.
presented by him to the Ashmolean
man
standing and
sentation
may
holding a
perhaps
be connected with the figures
of
the

Greek
intaglios of the
The other
Upon one of
object
71
on which personages are figured
islands,
holding animals by the
ART.
tail.^
a small
is
flint
knife with an ivory handle.
the sides of the handle
are two interlaced serpents and rosettes,

as on the great knife at Cairo; on the
reverse there
a lion, a leopard, and
is
considered
another animal,
of a similar specimen
the
Museum
(No.
(Fig.
In
38).
the wa\-
in
in
fragment
a species of antelope
is
the
of
case
which the handle
the
is
Mr. Ouibell with
b\'
knife,
fastened
to the blade entirely confirms a
made
Berlin
proves, however,
15,13")
that this animal
Pctrie
b\'
to be a hedgehog- (Fig. ^y }.
remark
regard
states that the part of the knife

IS
fixed to the handle
is
knife
have
emplo\'ed
been
which
so minute that
could
certainly the
to
He
the ivor\"-handled knife at Cairo.
onl>"
cere-
monially.-'
The same
representations of
animals arc found on decorated

spoons, of which several interesting specimens
covered^ (Fig.
has
have been
published
dis-
handle
the
Ivory Knife-h.\.ndle.
Fig. 36.
Petrie Collection, University College,
Mr. Ouibell
39).
London.
of
some instrument, now disapoeared, which has two small animal

'
EvA.NS,
Arthur
Furtlier discoveries of Cretan aiid Aegean Script with

in i\\c Jonr/ial of Hellenic Studies, .xvii.
J.,
Libyan and proto-Egyptian Comparisons,

1S98, pp. 362-372.
Pefkie, Prehistoric
and
pi.
1.
3,
iii.,
and
4,
Egyptian Carvings,
in
Man,
ii.
1902,
No.
113, p. 16
r,
iv.
OuiBKLL, Flint dagger from Gebclcin, loc. cit. p. 132. See Lefebure. E.,
cole
Rites cgyptiens: Construction cl protection dcs edifices {Publications dc I'
'
des
Icttres, d' Alger),

^
Paris 1890,
Petrie, Naqada,
MoRG.A,.\, Rccherchcs,
ii.
pi.
p.
l.xi.
131.
p. 37.
2,
3,
5,
6,
8,
p.
47
Ouibell, Hierakonpolis,
Diospolis,
1.
pi.
.\ii.
p.
9.
22.
De
72
figures^
No. 7)
and there is also the handle of an
in form of a lion, which probably
a spoon or a knife
CF'g-
instrument
39,
came from Hierakonpolis, and
now
is
in the
Ashmolean Museum,
Oxford.
Combs
much
present a
us to follow
more
greater variety of types, and enable
and double combs were used

of a small
Both single
closeh- the evolution of the forms.
human
or animal
the most frequent type was that
figure,
lower part, as a means of fixing
Fig. 37.
Small
Fli.\t
in
it
furnished with teeth at the

the hair.
There are several
Knife with Ivory Handle.
Petrie Collection, University College, London.
specimens which have

a
outline of the face
The
is
is
for
is
represented
representations
remarkable
how
to
'
in
the
is
136.
drawn
in
merely the
point
still
more
variety.
It
very clearly characterized,

of being
unrecognizable,
the last specimen of Fig. 41, with
QuiBELL, Flint daggc?- fro7>i Gcbclein, he. cit. pi. i. 7.

Petrie, Naqada, pi. li.\. 5.
De Mokga.n, Rcchcrclics,
p. 62, fig.
face,
until
(Fig. 40).
the antelope, which
by degrees degraded
simplified
of animals offer
and of being confused," as
ii.
ornament the human
summary manner, and gradually
i.
p.
147,
fig.
342,
and
ORNAMENTAL AND DECORATIVK

the type derived from the figure of a bird.^
in
two instances he can
beHeve that
it
Another type
Petric believes that
of the type of
a simplification
head of a
the
is
we
shall see later.^
a bird, which
is
bull,
The
Fracment of
found
also
face,
full
figure that occurs
also used for decorated pins.
is
Here we pass from forms copied with considerable
Fig. 38.
;.
the amulets, as
most frequently
71
representations of the giraffe.
more probably
is
antelope'- (Fig. 41
among
identif\-
ART.
fidelity,
to
Ivory Knife-h.^ndle with a Figure of an
a.v
a.ntelope.
Berlin
simplified forms,
principle of
Museum.
which only remotely suggest the
symmetry again intervenes
by placing the same conventional

'
i.
fig.
Petrie,
//;.
Ixiii.
59, 63,
66
l.\iv.
augment
figure of a
S7 and
p.
87.
bird
The
the confusion,
at each
'
De Morgan,
end
Recherches,
343, p. 148.
and
'
Petrie,
Petrie, ib. pi. xliii. 57, 57 .

Petrie, Naqada, pi. Ixiii. and
to
original.
Morgan,
ib.
pi. xliii.
Recherches,
i.
60-62,
p.
148.
p. 47.
Ixiv.
Pudge,
Diospol/s,
ix.
x.
History of Egypt,
and
i.
p.
p.
20.
54.
De
74
of the axis of the

the combination
comb
two
of the
Other specimens, again, show
(Fig. 42).
designs of quadrupeds and birds
(Fig- 43)-
Owing
to the
generous kindness of Herr von Bissing,
and Von Bissing
This
comb belongs
shortly
will
enable us
will
draw
lca\-ing
this
subject,
reader of the magical role
intended to
publish a detailed
account of
it,
interesting
conclusions from this
of work (Figs. 44 and 45).
ver}- fine piece
Before
to
M. Thcodor M. Davis,
Ivory Spoon-handles.
Fig. 39.
which
to
am
comb decorated with
able to reproduce here a magnificent ivory

figures of animals.
fulfil,
must once more remind the
which these combs were apparently
and on which
have already dwelt
length.
^
De Morgan',
Rccherches,
i.
p.
148,
fig.
243.
at
some

The
show
hair-pins, while the\-
the
same zoomorphic designs
the
combs
have
birds
also regular
on the pin
first
and
itself,
bulls'
ART.
as
heads
incised
lines
which form the
example we meet with
of an
ornamentation derived from tech-
They evidently
nique.
the
pin,
binding
which attached
the carved ornament

bird, etc.
at
represent
wrapped round
the top
firmly
it
the
bull's
to
head,
(Fig. 46;.
iM'Xiit^
Fig 40.
Ivory Combs with Hl'.man

Figures.
Petrie Collection.
K>M
Fig. 41.
'
i.
Ivory Combs with Figures of A.sTELorEs a.\d Giraffes.
Petrie, Nat/ada,
pp. 14S, 149.
pi.
and Ixiv. Diospolis, pi. x. De Morgan, RccJioxhcs,

Mace, El Amnih, pi. xii. 2, 3.
l.viii.
MacIver
&
PRIMITIVE ART IX P:GYPT.
76
VMicn
exactly
objects in
same
stone,
determine
to
turn
\vc
the
the
to
designs
ivory,
of
consideration
reappearing
and bone.
possibly they were
on
mere ornaments.
a groove and hole at the lower end, and
if
find
whole series of
purpose
Their
we
pendants,
a
not easy
is
They have
suspended
b\'
them,
Ivory Coiibs with Figures ok Birds.
Fig. 42.
hang upside down. This may be a device

enable the wearer to see them as they hang.
These objects
the figures, of course,

to
are carved with representations of

birds
'
more or
Men
less
Petrie, \a(/ada,
pi. lix.
1.x.
Birds
De Morgan, Origincs,
El Amrah and Abydos, pi. x. 7. Bulls:
pi.
X.
xi.
Diospolis',
xii.
vii.
ii.
1.
human
figures (Fig.
47\ with
conventionalized, with bulls" heads,' and also

L\ii. and Ixiv.
Diospolis
and 143. MacIver & Mace,
Petrie, Auqada, pi. Ixii. 37 and 51;
:
ib. li.x.
pp. 64
ORNAMENTxAL AND DECORATIVE ART.

with a singular ornament which
77
perhaps derived from a type
is
of bird (Fig. 4S}.
Another
class of decorated objects
formed by the pendants
is
of necklaces, which have already been mentioned
in
s-
Those of most
mereh' engraved on the two
the chapter on personal adornment.
frequent occurrence arc
^'
sides with various short strokes at regular intervals.
The
decoration of others
which,
from
starting
the
base,
round
coils
the
pendant
to the top.
Others, again, have intercross-
ing
forming
simple patterns.
lines,
\"er\-
Occasionally
the two systems of decoration are combined (Fig. 49,
and also
Fig. 22).
we have
alrcad}'
When we
recall the
made, there
imitation of a cord,
in
is
(\\
is
observations
nothing to prevent
our considering these decorative lines on the pendants

as having a magical purpose.^
Museum
the Berlin
In
plaque
of
there
a small shell
is
workmanship (No.
fine
(?;
which
13,797),
perhaps should be considered as a pendant for a

necklace.
which
It
decorated with figures of animals,
compared
be
study
presently
and
is
should
on
the
with
those
palettes
slate
we
shall
(Figs.
50
51)."
Beyond
all
question
it
the slate palettes which
is
provide us with the finest examples of evolution of
form
that
it
is
possible
imagine.
to
Petrie
has
'!^
Fig.
43.
Ivory Comb
^^"""^
worked out the chronological succession of these ^^f^ '^^
of an antelope
palettes, and we need not therefore dwell long on
and ornaments
the subject.''
The
earliest
of these are rhomboids,
derived
fiiDm
bird forms.
and
this
Petrie,
form was probably suggested, according to
by some natural cross-cleavages of the
afterwards
Petrie, Naqada,
Recherchcs,
i.
pi.
pp. 62, 63,
Ixi.
fig.
l.xii.
Ko7iij(liche
Muscen
sit
and
137-147.
with a blackish plaster.

-
slate rock.
forms appear, which we shall
natural
Berlin
l.xiv.
The
Diospol/s,
pi.
Shortly
now examine,
x.
De Morgan,
incised lines are frequently filled up
Ausfiihrliclies
Altcrtilmer luid Gipsabgiissc, 2nd ed. Berlin, 1899,

^ Petrie, Diu spoils, pi. iii.
Vcrzeichm's dcr dgyptischen
p. 38.
78
and from which new forms were eventually derived which were
solely ^geometrical.
I
It
know only one
(Fig.
52).
Another specimen
surmounted by the
has disappeared
it
palette
which represents the human form.
belongs to the Petrie Collection, University College,
is
in
figure of an
(F"ig. S3)-
the
same
antelope
collection
(?;,
is
the head
With other specimens, on
London
a palette
of which
the contrary,
the entire palette which represents grosso viodo the lines of
mm

form of a tortoise are very instructive
having entirely mistaken

not scruple to
them
let
the
character
them disappear
of
entirelv',
into heads of antelopes^ (Fig.
Fig. 46.
we
ART.
79
see there that, after
the
feet,
they
56).
Ivory Pins decorated with Figures of Birds and a Bulls

Head.
Fish palettes, which are often shaped with great care, end
losing
'
all
characteristic form (Fig. 57).
remarkable example
Petrie, Naqada, pi. xlvii. 9-12, 14, and 18; Diospolis,

A History of Egypt, i. p. bo, 23,061. Berlin, No. 10,595.
Budge,
did
or even to transform
pi.
xi.
6,
9,
b^
is
lo.
8o
one
in
itself
the centre
of our
Fic^.
been transformed into a
Fig. 47.
57,
still
where the
smaller
tail
of the fish has
fish.^
Slate and Ivory Pendants.
The most
recognizable'
curious case
(Fig.
58J,
it
is
that of the
At
bird.
first
promptly becomes modified.
Petrie, Xaqada, pi. xlviii. 51, 52, 60; Diospolis, pi.

Newberry, Extracts from my Notebooks, v. No.
of the Society of Biblical Arc/tceology,
x.xiv.
1902, p. 251
.\i.
36,
and
easily
It
is
15-18, 27, 29.

in
pi.
the Proceedings
ii.

carved
palette
lengthened out of
of changes,
surface
plain
the
8[
order to give a symmetrical form to the
in duplicate, in
the
ART.
on which the
colour
proportion until, after
all
head
of
the
long
only
the
bird,
rubbed
is
is
succession
remaining,
part
finally becomes absorbed, and the palette presents a form where

it
would be impossible
to
recognize
the
original type,
the intermediate specimens been preserved
Fig. 4S.
bird
Sl.\te .vxd Ivory
(Fig.
the
Petrie
Collection,
London, which closely resembles the

the round that we
shall
59).
Pendants decor.\ted with Derived Designs.
wish to draw special attention to a palette

belonging to
had not
in
form of a
University
figures of
College,
birds carved
have occasion to study later on (Fig.
in
60).
Other forms might be quoted which do not appear to belong

to
any of the above
So much
for
Petrie, Naqada,
86, 89, 91, 92.
the
types.
shapes of the
pi. xlvii. 21, 23, 24, 29,
Diospolis.
pi. xii. 35, 38.
palettes.
30,
32
An
attempt was
pi. xlix. 64,
69, 72, 81, 82,
PRIMITIVE ART
82
made
render them
to
still
more
EGYPT.
IN
like
their
models by the aid
of incised lines, especially on those in form of a
shape was
less
or
In connection with
birds. ^
characteristic than
those
these
found-
On
others
Fig. 49.
where the
representing antelopes
complementary
are palettes of geometrical forms which also
on them.
fish,
lines
there
have figures incised
one of these the figure of an elephant has been

have representations of the crocodile/' and also
Stone and Ivory Pendants with Incised Line Decoration,

some Cases filled up with a Blackish Paste.
IN
figure of
covered
at
an indeterminate animaP (Fig.

Diospolis
(tomb B 102)
also
61).
bears
in
palette dis-
low
relief
figure difficult to identify'' (Fig. 61).
'
mentioned in the preceding notes,

Petrie, A'aqada, pi. xlvii.-l. and p. 43
MacIver & Mace, El A??irah and AOydos,
will
be found
pi.
and
p.
xi.
and
xii.
20.
Petrie, Diospolis,
Ue M0RG.A.N,
De Morgan,
'
in
X.
numerous
In addition to the palettes
specimens
pi. v.
Origiiies,
and
ii.
xii.
p. 144,
ib.
Petrie, Diospolis,
pi. v.
102.
43.
and Berlin Museum, No.
12,877.
Diospolis,
pi.
vii. viii.

A
very
fine
Fig.
specimen
50. Plaque
belonging
in
to
the
ART.
Petrie
83
Collection,
the Berlin Museum (Recto).

Shell (?).
College,
Universitv
Fig. 51.
London,
Plaque
in
is
engraved
on
both
faces
with
the Berlin Museum (Verso).

Shell (?).
ibex
facing
cavities
each other
(Fig.
62).
Two
ivory
other
beads are inserted

specimens,
one
in
the
discovered
eye
at
TRIxMITIVE
84
Hu (Ashmolean Museum,
ART
IX EGYPT.
Oxford) and the other of unknown
provenance (University College, London; are inscribed with very
Fig. 52.
summary
Palette with a Human

Figure at the Top.
designs of animals^ (Fig. 62).
teresting discovery
Tlie
pi. x.x. 20.
Fig.
first is
is
Palette with a
53.
Figure of an Antelope,
the Head missing.
Finally,
the
somewhat recent one by Mr.
most
in-
Mac Tver,
the specimen published without description by Petrie, Diospolis,
ORXAMEXTAL AND DECORATIVE

who
found
car\'cd in
palette
on the
relief
two
with
ART.
resembling
signs
85
hieroglyphs
Before stopping to dwell on this
face.
important point we must remark that a considerable number of

palettes
arc
be
that the}" could
emplo\'ed
with a
pierced
for
hung
hole
suspension, which
for
carried on
or
grinding colour
proves
body ready
the
to
be
while the smaller ones indicate
that in course of time these palettes were occasionallx' converted
Fig.
of the ordinary object
fact that
in
the
preclude
Form of Amtelopes.
in
of this instance of the transformainto
an
palettes, the
is
the shape
measures 44 millimetres
in
of
at
dimensions of which absolutely
them
the possibilit}' of employing
of these
is
attested by the
Tamworth, there are
amulet
some very minute
One
Palettes
The accuracy
into amulets.
tion
54.
Palette
height
for
69, of
grinding
our Fig.
the others,
of
paint.
59,
and
rhomboidal
form, measure respectively 80, 58, 56, and 39 millimetres.
Fig.
Sv
Palettes
Fig. 56.
in
Form of Elephants and Hiitopotami.
Palettes
in
Form ok Tortoises.
Fig. 55a.
Palette
MacGreôr
in
Form of a Lion.
Collection.
88
We
must now turn our attention
Maclver
Mr. Randall
sign.s
carved on
In an
palette
El
at
and what
it,
'Fig. 6}).
their
meaning?
is
Maclver wrote
"It
is
by
known
to
exist
but
dynasty,
first
before Menes, the
king of the
first
Palette
of these
statues
of
later),
the
he carries
we
have
and
one
his
here
of
on
Griffith,
the
the
analogy
standards
of
Min discovered by
hypothesis
a
sign
no
farther
similar
his
Amrah, Mr. Maclver points

of the sign
(we
ships
and with the signs engraved on

god
in
lO cm.
height,
El
at
subject
this
Form of a Bird.
Museum;
memoir on the excavations

Petrie
in
considerably
dynasty."
first
modified views
Brussels
palette
the
form as early as the
belongs to a period
slate
this
Fig. 5S.
with
are
example
far the earliest
a well-developed
in
Writing again with
out, with
What
Hieroglyphic writing has
yet found of the use of hieroglyphs.
been
found by
palette
published at the time of the discovery of this
article
]\Ir.
the
to
Amrah
to
Petrie
than
the
at
on the
speak
shall
the
archaic
Koptos, and
statement that
the
emblem
of
god
this
Min.-
Reduced
to
these proportions, the discovery
became no
1
MacIver, D. R., a Prehistoric Ce??tetcry at El Amrah in Egypt
liminary Report of Excavations, in Man, i. No. 40, April, 1901.
- MacIver & Mace, El Amrah and Abydos, pp. 37, 3S.
less
Pre-
Fig. 59.
Patettf-s of Bird ForiM.
ART.
89
90
important,
because,
example of
us
furnishes
At
top
the
as
other,
of this
first
carved
the
follow
first
i,758h).
relief;
in
outline
very great, as
is
transition
have such remarkable specimens (Fig.
Our
are
piece
the
possible
as
the
Collection
fCataloiûe
this
birds
bodies
their
was
it
The MacGregor
and the proto-dynastic
palettes
historic
and
interest
clearly
two
palette
this
The
palette.
shows
remarks,
relief.
another example of
with
of
they face each

the
author
the
as
palettes carved in
of
it
between the pre-
palettes
of
which we
64).
acquaintance with these was owing to the excava-
tions of Mr. Ouibell at Hierakonpolis,
which
led to the discovery
Bird-shaped Palette.
Fig. 60.
of two
marvellous palettes covered with carvings
These constitute evidence of the
first
They have
making of Egypt.
the
definitely fixed the period
to
Here
the
which arc found
in
simple
the
low
relief.
order for the history of

merit of having
great
the
which should be allocated various
fragments of objects of the same
museums.
in
kind
palettes
greater
preserved
in
grinding
for
number of
different
malachite,
prehistoric
have
tombs
de\ eloped
into
objects of luxury, votive offerings deposited in the temples
and
at
the
period
of
the
earliest
d}.'nasties,
perhaps intended to commemorate important
This
is
of which
another
instance
wc spoke
at the
of the
evolution
religious
festivals.
of decorated objects
cunimencement of
this chapter.
We

shall return
later to the scenes depicted
on the assumption
that
they relate
ART.
91
on these great palettes,
more
sculpture
to
than
to decorative art.
The same may be said of the votive maces from the same
temple of Mierakonpolis, which furnish another instance of common
Fig.
61.
Palettes decorated with Incised Figures.
objects
becoming actual objects of luxury, of huge proportions,
and
consequence rendered
in
entirely
unfit
for
their
original
purpose.
Speaking generally, stone mace-heads
two principal
classes.
the form of a disc.
The
first,
may
and the most
be divided
into
ancient, are
These are most frequently found
.'n
in
syenite
92
ORNAMENTAL AND DFXORATIVE

and
and
porphyr)',
and
pear-shaped,
more
The
alabaster.^
in
93
rarely
others
are
ART.
are
found
in
basalt, hsematite, breccia, alabaster,
and abo\'e
all
This
limestone.
pears
at
fourth
all
least
d}'nast}',
the
emblem
in
histor\in
compact white
latter
as
and
of
form
ap-
as
the
earl\-
throughout
Egypt
an
as
the hands of the king.
hicrogl>-phic
sign,
which
|,
conve\"s the idea of whiteness
and
has
distinction,
perpetuated
also
the figure.-
Two specimens discovered
Parva
po
Fig.
at
1
still
With
P.\LETTE.
?'
in relief.
63.
a sign (hierogl3-phic
handles,-'
retain their
one
and one of horn. Some

mace-heads are of a different form,
of
ivory
resembling
double
At the British
Museum
hammer
these objects are
not considered to be mace-heads.
Guide
with
See Budge,
and Fourth Egyptian

Nos. 63-84. The i)rooi
TJiird
to the
Roofns, 1904, p. 48,

that these pieces are really mace-heads will be
found
in
the representations on painted coffins
See Lepsius,
of the Middle Empire.
Aelteste
Texte des Todtcnbuchs nach Sarcophagen des

altiigyptischen
Berlin, 1S67, pi.
Reiclis
im Berliner Museum,
Lacau, Sarcophages
.x.xxviii.
anterieiirs
au nouvel empire : Catalogue
general des antiquites cgyptiennes du musee
du
Fig. 64.
With two
Palette.
birds carved in
Caire, 1904, pi.

-
relief.
MacGr.?:or Collection.
Naqada,
^
Lviii.
277.
Petrie, Dtospolis parva,
p.
24 and
pi. xvii.
Petrie, Diospolis pari'a,
pi. v.
pi. iv.
rRLMITIVE ART IN EGYPT.
94
pointed ends
(FiL,^
'
Amrah
covered at El
These mace-heads are usually without
Nevertheless, a specimen in limestone was dis-
ornannentatit)n.
decorated with black spots.'
some objects discovered bvof the same class.

He considers them
believe
t(j
63).
are
regard to
haviny;
to\',
the
At Hierakonpolis,
to
materials of which
limestone and soft sandstone
'
am
disposed
at
Naqada
be a form of
they are
made
66;.
(Fi^;.
besides the
Petrie
that
show pieces
have just alluded
Mr. Ouibell discovered an enormous number of mace-heads,^
to,
which must have been merely

Mr. Ouibell, from the
Fig.
65.
Mace-heads
fro.m
completely pierced.
alwa\-s
for
ceremonial use, judging, with

hole for the handle
the
that
fact
Hierakonpolis
a.nd
is
not
Xaoada.
Mace-heads are occasionally found
decorated with incised lines extending from the summit to the

base (see
effect
Another
three
shall
in
in
the
possesses
hard
stone,
Museum
Berlin
presently.
from the
15,142)
decorated
is
6j\
with
Tamworth
human head is
Collection at
two mace-heads, on one of which a
human
Fig.
15,716,
head type, of which we
bull's
The MacGregor
carved, and on the other two
possesses
which has been carved with
shape of a tortoise (No.
designs derived
speak
The
23).
same museum (No.
the
in
No.
65,
mace-head
curious
weird
Fig.
heads, similar to those on
the vase of our Fig. 69 (Nos. 3,495 and 3,779).

'
Petrie, Naqada,
shaped mace
in the
pi.
.xvii.
23 (Aslimolean
MacGregor Collection (No.
Museum, Oxford),
1,720)
is
terminated
an animal's head.
&
MacIver
Petrie, Naqada,
Ouibell
&:
Mace, El Aturah and Ahydos, pi. x. 6 and p.

pi. vii. and p. 35 (Ashmolean Museum).
Gree.x, Hierakonpolis,
ii.
pi. xxvii. p. 41.
16.
A
at
liammerone end by

are
Einall\% there
ART.
v^
two macc-heads or sceptres which cannot
be compared with any otliers
One
known.
is
of
ivor\',
and
is
carved with three rows of capti\'es, represented with their arms

tied
behind
backs, and fastened
tlieir
passed round
a cord
carved
in
relief
their
necks
^
;
together
in
other
is
the
single
with alternate figures of dogs and
in
file
by
serpentin.e,
lions.-
The-e
two pieces belong to the com.rnencement of the historic period,
and arc masterpieces of workmanship (Eig.
The
Fig.
aid
the
66.
metal
of
onh' increase
in
made
perfection of the form of these mace-heads,
hardest stones, and
the
6S^.
if
tombs as
at
an\- rate
in
the earliest period
Decorated Mace-he.-\ds
tools,
marvellous.
is
we examine
earl}' as
in
the stone
of the
without
Soft SroxE.
Our amazement can

vases
commencement
which are found
of the
prehistoric
Throughout the whole
prehistoric
the
period.
Of
these
Petrie
writes
"
age, from immediately after the rude savage burials of (sequence
'
OuiBELL, Hierakonpolis,
OuiBELL
pi. xii. and ii. pi. .xxxvii.

Green, Hia-akonpolis, ii. pi. xxiii. Ixvi. and p. 38;
pi. xix.
On Fig. 6S is another mace-head from Hierakonpolis representing the fore part of
two bulls or rams. Hierakonpolis,
ii.
An
pi. xix. 3, xxv. and p. 8
p. 38.
analogous specimen from Hu is now, like the preceding pieces, in the Abinnolean
Museum, Oxford.
i.
&
i.
\.
PRIMITIVE ART L\ EGYPT.
96
date) 30
down
the taste
for
in
the
hundreds of stone bowls were buried with each

d\'nast\-,
and many are found
But
dynasties.
Moreover,
to the end, stone vases are abundant.
hard stone was kept up
in
in
tombs of the
historic
times
kini; of the
third
first
and fourth
the twelfth dynasty the softer serpentine and
alabaster supplanted the fine dioritcs
and porphyries, and
in
the
eighteenth dynasty the art of working hard stones was forgotten
Fig.
67. Mace-head Carved

Berlin
for
and
anything but statuary.

skill
in
of a Tortoise.
Museum.
From
the point of view of magnificence,
using hard and beautiful stones,
the Egyptians gradually rose

prehistoric
in For.m
and
to
their
highest level
archaic splendours."
'
in
sa\-
that
the later
and that the sixth, twelfth

a moment compare with the
early dynastic times,
or eighteenth dynasties cannot for
we must
Petrie, DiospoUs paf-ua,
p. 18.

We
must not linger here
these vases, and
to Petrie's remarks,
to
study
in
detail
ART.
the
97
forms of
will
content myself with referring the reader
and
to the
numerous
plates on which
all
forms discovered up to the present time are reproduced.^
must turn
to
the
We
the decoration of pottery, and to those examples
LmLL
Fig. 68.
Scepire- or Mace-heads from Hierakonpolis.
'
Petrie, Diospolis parva, pp. iS, 19, and pi. iii. for the diagram showing the
evolution of forms during the prehistoric period (Mr. Petrie tells me that he has
reserved his opinion with regard to the evolution of the stone vases of cylindrical
PRIMITIVE ART
98
where the vase
been given a form either animal or
has
itself
EGYPT.
IN
human.
Most frequently the vase

there
without decoration
is
a simple representation of a
is
neck, and
other
instances
some
cases,
is
it
cord which encircles

out
workini;
in
mere sinuous
even
not
is
taken
has been
care
continuous.'
occasionally
the detail.
rounded
More
line,
decorated with regular ribs worked with "vvonderful

again,
or,
it
is
which,
In
in
vase
the
rarely
the
is
perfection-;
faced with a decoration of shells closely arranged
rows and overlapping each other.
in
On one
sented
vase
slight
in
there
network
skcuomorphic designs
chapter.
vase,
second
to
where the exterior
Finally, a
whole
commencement
This
This
is
be found
example of those
earlier
in
the
the fragment of a marble
most part from
show us
of only one vase which
figures in relief
We will
beings, animals, etc.
know
in
repre-
which the
in
fillet,
an
series of vases, dating for the
in
is
in
of the historic period,
them
and from
is
cords
carved to represent a plaited basket.'
heads and figures of human

pass
plaited
which we have referred
to
is
of
forming a sort of
relief,
might have been placed."
vase
the
is
rapidly
review.
is
decorated with
human
heads.
the Petrie Collection at University College, London^
its
form
mencement of
it
should belong to the time between the com-
the prehistoric period and the sequence dates 60-70
were based on Mr. Ouibell's observations,

and which Mr. Petrie did not himself check closely); Naqada, pi. viii.-xvi. ;
DiospoHs, pi. ix. MacIver & Mace, El A?nrah a)id Abydos, pi. xvi. Petrie,
pi. ix. x.
Abydos, i. pi. xxvii. xlii. xlvii. Royal To?nbs, ii. pi. lxvi.-liii._^ Abydos,
QuiBELL, El Kab, pi. ii. iii. vi. x. xxvii. Ouibell & Gree.n, Hie?-akonpolis, i.
pi. xxx.
These indications refer also to the
pi. xx.\i.-xxxiv. xxxvi. xxxvii.
ii.
See also A. H. Sayce, The Stone Vases
vases of the first Egyptian dynasties.
of Ancient Egypt, in The Connoisseur, a Magazine for Collectors, iv. 1902,
pp. 159-165, with beautiful photographs of vases in the Berens Collection.
Examples: Petrie, Naqada, pi. x. Royal Tombs, ii. pi. xlvii. Iii. liii. liii.
and liii./; QuiBELL, Hierakonpolls, i. pi. xxxiii.
pi. lix. 7.
De Morgan, Recherchcs, ii. p. 184. Quibell, Hierakonpolis,
pi. xxxviii.
and 2.
Petrie, Royal Tombs, ii. pi. xlix. pi. v. 12
* Petrie, Royal Tombs, ii. pi. vi. 27, xxix. 21-25, ^îJ
De Morgan,
9-1form, of which ihe sequence dates
i.
Zi,
'
i.
i.
'^''-
Rechejxhcs,
*
ii.
fig.
823, p. 245.
Petrie, Royal Tojnbs,
ii.
pi. ix. 12.

it
is
ART.
99
therefore entirely of the prehistoric period.
human
heads, sculptured
relief
in
There we see two

on the body of the vase, and of
same type we have already met with. The mouth is indicated

by a strongly accentuated horizontal line, and the eyes marked by
means of two beads fixed into the cavities of the stone (Fig. 69).
the
Two
relief
fragments of vases
in
fragment No. 15,084
is
IMuseum bear in light

15,084 and 15,693).
The
the Berlin
barks and hum.an figures (Nos.
specially remarkable for the representation
Fig.
Stone Vase.
69.
Decorated with two human heads.
of a warrior
The
style
armed with
of this
a hatchet, driving a prisoner before him.
figure
is
somewhat
similar to those
we
find
on the votive maces and palettes (Figs. 70 and 71).

At Hierakonpolis Mr. Ouibell discovered a whole series of
later
vases
decorated
feline creatures
with figures of animals.
There are heads of
above a sign which resembles the hieroglyph
r^^^^
A fragment of a similar vase uas found by Mr. Quibell at Dallas.

Petrie, iXaqada, pi. .<lii. 26, and p. 42.
'
Quibell, Hierakonpolis,
i.
pi. xvii.
,-
See
PRIMITIVE ART
lOO
LN'
EGYPT.
of
figure
(Fig.
72)
scorpion
and,
finally,
very curious group, which

I
am tempted
pictographic
as
I'epre-
without,
sentation,
ever,
to consider
how-
being able to suggest
any reading of
It
it.
is
more
especiall}'
of the
bow being depicted
that
the
makes me suspect
be something
to
fact
description
Other
it
of
this
(Fig.
J^).
pieces, unfortunate!)'
fragmentary, show a bird's

head, and
also
strange
object terminated b}-a
The
d\-na^^ty
first
have
afforded
ments of
Fig. 70.
Fragment of Vase Warrior

ARMED WITH A HaTCHET.
Berlin
Museum.
some,
star.-'"
royal tombs of the

at
Ab\Tlos
few
frag-
On
this nature.
curious
are car\'ed
in
ornaments
relief,
none
of which, unfortunately, can
be identified with certainty.
An
from the
alabaster vase
same
locality
base
the
is
with
incised
at
series
of
signs,
OuiBELL, Hicrakonpolis,
pi.
and xxiii.
Id. i. pi. xi.v. XX. and xxv.
QuiBELL & Green, Hic?-ako>i-
'
i.
xvii.
^
^
poliSy
*
15,
and
pi. lix.
ii.
Petrie, Royal Tombs,

\\.a,
ii.
23,
pi.
23;
Ii.//,
i.
335.
pi.
ii.
pi. v.
xxxviii.
4,
Fig. 71.
Fragment of Vase with Boat
Low
Berlin
Relief.
Museum.
in-

We
must mention that ivory was also used
judging
a very
from
was decorated
To
pass
curious
leather
represent
of
Hierakonpoh's
(Fig.
ATr.
in
Tamworth
there
it
one
of
the
most
Abydos, which represents
at
Relief.
in
specimens
from
Naqada
and hippopotami (Figs. 75 and "6). At

Ouibell discovered two vases of steatite and
is
In
birds."
the
a small steatite
'
Id.
QuiBELL, Hierakonpolis,
i.
Abx'dos,
at
frogs,
form of
serpentine
shapes,
Other
74).
for \'ases, and,
discovered
Stone Vases with Animal Figures
bottle'-
birds,
lOI
as stone.'
fantastic
by Petrie
that discovered
is
fragment
fine
same manner
vases
to
Fig. 72.
the
in
ART.
pi. xxxviii. 3,
and
ii.
MacGregor
vase,
at
and
and
Collection
the base of which
pi. vi. 22.
p. 28.
i.
pi.
xx. 2
4,
at
p.
ii.
p. 38.
102
is
head and
the
support
to
same
the
collection
preserves
its
paws of a small animal, which appears

its
body (Catalogue 3,544,. In the
four
vase
with
there
a vase
is
with gold
leaf
are crossed
the
has
given
artist
shaped
ancient gold mounting.
the
by a
form
thin
of
delicate gold chains are attached
The
to
like
frog,
which
of metal,
strip
still
handles covered
lateral
serpent.
\'er}"
which
to
and
fine
the serjênt. and ser\'ed
to
suspend the vase.
"~t^
::^;^2?cr:
^^^^/^"^
Fig.
73.
The Berlin
One
is
PicTOGRAPHic (?)
Museum
a \-ase in form
a vase
in
in
vase
'
unpublished
several
of a hippopotamus (No. 14,147)
form of a dog (No. 12,590)^ (Fig.
//).
form of a frog (No. 14,403), and the
represents a fish (No.

In
possesses
pieces.
a stone vase in form of an elephant (No. 14,146); another
is
vase
Inscription on a broNE Vase.
the
third
Another
is
is
last of the series
16,025).
Petrie Collection at University College,
which
represents
what
is
probabl}'
an
London,
elephant.
is
Two
Kdnigliche Museen zu Berlin Aiisfilhrliches Verzeichnis dcr agyptischeit

und Gipsabgiisse, 2nd ed. Berlin, 1899, p. 36 and fig. 2, where one
Altertilmcr
can indistinctly see No. 12,590.

fragments from
Fig.
74.
same
the
heads, and there
is
collection
exhibit
another of which
Stone
V.\se in
it
is
ART.
103
two hippopotamus
difficult
to
recognize
Form of a Le.\ther Bottle.
Ashmolean Museum, Oxford.
the
subject.
(Fig. 7S)
Is
it
in
realit\-
representation
of
an
animal
Fig.
75.
Stone Vase
in Fok.m
Most of the forms met with

of the decorations found on them,
in
we
of a Bird.
stone vases, and also most

shall find again in pottery.
PRIMITIVE ART
104
Fig.
verify
76.
which
hypothesis
the
Stone Vases
in*
as regards Egypt,
attributes
the
origin
of
Form of Frogs, Hippopotamus, and Birds.
primitive pottery to moulding,

in
KGYPT.
we must enquire whether,
But, to begin with,
we can
IN
or, at
least,
cop\-ing a basket
to
plaited work.^
Did the primitive Egyptian
Fig. 77.
the
earliest
prehistoric
matting, or the
in
Vase
understand
in
In
Form of a Dog.
Berlin
Museum.
tombs
either
bottom
basket work?
the
bod\'
was
wrapped
of the tomb was lined with a mat.-
in primitive Greek civilization, see Johx L. Myres,

an Early Clay Vessel from A?norgos, in the Journal of
78-1 So and pi. xii.
the Anthropological histitutc, xxvii. November, 1897, pp.
^ Petrie, Naqada,
p. 27,
p. 15, tomb 31
p. 23, tomb B 14
p. 25, tomb 42
tomb 722. MacIver & Mace, El A?nrah and Abydos, p. 31, and pi. xi. 5, 5.
^
For the same
fact
Textile Impressions on
ART.
Mats were frequently emplox'ed throughout the! whole

and
Ancient Empire, both as carpets
The
of rooms.
show
representations
of
lO:
of
the
decorating the walls
for
tombs of the fifth dynasty

they had attained at this
what a degree of perfection
to
period.^
tombs of the prehistoric cemeter\- of El Amrah were
In the
found baskets of the usual spherical form containing malachite.
The
on several
patterns
Fig. 7S.
V.\SE,
specimens recall the baskets made at
a.nd Fr.\gments of Vases, ix
Form of
Anim.\ls.
The same comparison was made

the present day in the Soudan.
by M. Amelineau on discovering in one of the chambers of the
tomb of King Khasakhmui a large quantity of objects in basket
"... I found there," he says, " fairh' long pieces of
work
:
wood covered with

out the chamber.
matting.
I
These
met with again through-
promptly recognized that
wood with matting round them were remains

one of the
for
chairs were
gives
the
at
well
ends was not

least o'"40
known form
high
of a
covered
with
and about
species
matting.
o'"6o
broad,
'
Petrie, EgypticDi Decorative Art, pp. 44, 45.

a prehistoric cemetery at El Amrah in Egypt,
MacIver,
No. 40,
p.
52
MacIver
&
Mace, El Amrah and Abydos,
vvôrk,
in
pi. xi. 2,
These
which
Upon
which,
Man,
and
of
chairs,
of high stool.
these chairs were placed other specimens of basket
pieces
these
of broken
1901,
p. 42.
io6
plaited witli a kind of parti-coloured straw, resembled the basket
work
When
Fig.
made
still
I
asked
the
the
Soudan and
my workmen
sold in the bazaar at Assouan.
whether they had anything of the
79. Rf.d Vases with White Paint,
saine kind
told
in
me
inside their
that the
Berbers.
in
Imitation of Basket
Work.
houses, they replied in the negative, but
work closely resembled the Margofie made by

struck me, and I immediately recalled
The word
ORNAMENTAL AND DPXORATIVE

the word
MAPKflNI,
Pakhome.
of
Fie..
So.
."
which
had met with
in
ART.
107
the Coptic
life
Bl.vck In'cised Pottkrv, with Di;cor.\tio.\
i.n
Lmitatio.v or
Basket Work.
Independently
'
Amelineau,
Les
ceramic
of
noiivellcs
Cotnpte rendu in extenso,
d'Abydos (1S96-7),
Paris,
Paris,
art,
1897, p. 40.
industry
of
the
basket
second season, 1S96-7.

Les lumvellcs fouilles
See Petrie, Royal Tombs, i. p. 15.
fouilles
1902,
the
d'Abydos,
pp.
176,
177;
io8
maker, as
remarked/
has
Petrie
decorative art of the
The
first
numerous
left
dynast}-.
imitation of the basket in prehistoric pottery
The
noticeable in two classes of potter\\

is
by Petrie
called
tombs
(sequence dates
(Figs. 79
work
polished
other
the
31-34);
especially
of these
first
only found
is
is
what
is
surface
red
in
the most ancient
is
black
pottery,
with a whitish paste, and probably imported
filled
and
pottoy
cross-lined
with designs in white, which
with incisions
on the
traces
Several specimens with imitations of basket
So;.
also belong to the class of decorated pottery."
Here we must also note that a considerable number of pottery

vases are decorated
substitutes for
has remarked that
imitate hard stone, and are intended as
to
made
vases
of more valuable
tombs where
in
fine
Petrie
materials.
stone vases are
found,
of pottery vases there are few or none.*
With the mention

from a gourd, as
we
have,
which
are
of occasional
the
in
example published
think, observed
skcuomorphic
Herr von
b\-
Bissing,^^
the principal cases where designs
all
derived
or
of vases modelled
instances
from
technique
are
met
with.
We
now
will
pendently of the
The
first
class
consider
decoration
the
of
the
vases
inde-
origin of the various designs found on them.
of pottery which should
arrest
our attention
is
that of vases of a brilliant red colour, on which the designs are
As we have already remarked, these belong

to the earliest period.
The striking analogy which exists between
this pottery and that made at the present day by the Kabyles
painted in white.
has several times been pointed

^
ii.
out.''
pp. 35, 39.
Petrie, Naqada, p. 38 and pi. xxviii. 34, 36, 46, xxix. 52-79, xxx. Diospolis
pan'a, p. 14, pi. xiv. 55-70. MacIver & M.a.ce, El Amnih and Abydos, pi. xv.
^ Petrie, Naqada,
Schwei.n'furth, Oriiame7itik
p. 4c, and pi. xxxiii. 12, 29.
der dltestcn Ciiltur-Epodic Aegypteiis, in the Verhandli/ngen der b. Gescllsch.
-
pilr Aiitliropologic, Ethnologie,
VzTKiz, Naqada,
pp. 15
^
and
*
and
Von
p.
J,o,
pi.
and
Urgcschichte, 1897, pp. 397, 398.

Diospolis pjrva,.
xxxv. 62, 63, 65, 67
i,
xxxiii.
18.
Bissing, Les origincs dc lEgyptc, in
pi. iv. fig.
i.
Petrie, Naqada,
p.
14
I'
Anthropologic',
ix.
1898, p. 254
xxvi. 40-43, 50-52.
pi.
;
Naqada,
p.
38.
MacIver
&
Wilkin,
ORNAMENTAL AND DECORATIVE ART

We
have said that
floral
also
the
potter>'
work
basket
of
imitation
was often decorated with
but
addition
in
to
of zigzag
series
painted
patterns
lines,
the
whole
the
in
lines
we
these
human
designs, representations of animals and
109
and
beings,
same
in
find
style
as
on the archaic statuettes which we have
already described.
When
floral
Fig. Si.
branches
much
compare the
designs
Vases
make
painted in
similar
Libyati Notes, frontispiece.

Pottery, in the
White with Floral
decorations
Journal
John
of the
L.
of
We
Designs.
Myers,
to
prehistoric
reproductions
give
A'oies
tempted
is
Greek
certain
as simple
is
it
conventionalized, with which one
discovered at Santorin.^
vases
appearance
their
of two
on the History of the Kabylc

June,
xx.xii. January
Anthropological Institute,
1902, p. 248-262 and' pi. XX.

'
Von
Bissing,
and
Les origines de l'gypte,
in
l' Anthropologic',
i.\.
189S,
40-42; pi. xxi.v. 69, 76, 85^/; the

application of the laws of transformation of natural designs into geometrical will
pi.
iii.
be found
in
63, 64, etc.
3.
Petrie, iXaqada,
the specimens figured,
MacIver
&
Mace, El
pi. .xxviii.
pi.
xxviii.
40,
42, 46,
Amrah and Abydjs,
48;
pi.
xxix. 52, 54, 6i,
pi. xv. 10, 20, 21.
PRIMITIVE ART
10
vases showiiiL^ branches which
of the smaller vase
are
EGYPT.
IN
Both sides
are fairly decorative.

in a position to
figured
show
distinctly
the floral decorations' (Fig. 8i).
The other face of the vase in the centre of Fig. 8i, decorated
with human figures, has already been reproduced as an illustration
Two other vases
of the hairdressing of the men (Fig. 13).
Fig. 82.
Bowl
p.\i.\ted in
A.ND
discovered
human
one
at
White with Figures
of Hippopota.mi
A Crocodile.
Abydos and
the other at
Meala
also
show
figures.^
Representations of animals are more numerous.
potamus occurs most frequently

also found,
and other animals which cannot always be
'
Petrie, Prehistoric Egyptiati Pottery, in
De Morg.an,
pp. 246, 247.
The hippo-
antelopes of various species are
Recherches,
i.
pi.
il.
and
Man,
pi.
iii.
identified
1902, No. 83, pi. H,

fig.
i.
Von
2.
Bissing,
loc. cit.

with
certainty
ART.
birds, crocodiles, scorpions, etc.
fish,
sufficient to describe a
few instances of these.
the
in
with
centre
hippopotami
the
is
i^Fi&-
decorated
animal that Petrie
Fig. 83.
the upper
is
decorated
part with three
Vases painted
design,
floral
hedgehog, although
in
indicate
Another vase from the same
^^J-
with
calls a
may
according to Petrie,
angles, which,
of water
ripples
at
be
will
It
below, at the lower part, with lines crossing each
other at right
collection
crocodile
large oval bowl
the Petrie Collection, Universitv' College, London,
in
am
and
deer,
an
not absolutely
White with Representations of Animals.
convinced of the accuracy of
this
identification
(vase in centre
"
of Fig. 83).
vase
which apparently comes from Gebelein shows some
extremely curious
above a
with a body greatly
by two pointed
it
'
On one
figures.
series of zigzag lines
giraffe,
ears.
but the
elongated, and
At
way
first
in
side, a
head surmounted
small
which the body

u\
Man,
placed
strange animal
one would be disposed
Petrie, Prehistoric Egyptian Pottery,

No. 83 and pi. H, 4.'
/b
two antelopes,
side
on the other
is
to consider
drawn precludes
1902, No. 83
and
pi.
H,
5.
12
shows us
how
in
May
sented.
fragment discovered at Naqada (xxix. 98)
h\-pothesi.s.
this
the giraffe was repre-
characteristic a fashion
not the animal here figured have been the okapi,
recently discovered in the Belgian Congo, and which was certainly
known
vase
Wiedemann
Professor
the ancient Egv'ptians, as
to
demonstrated?^ (Fig-
has
83;.
found, according
to
Von
Herr
Abydos,
Bissing, at
according to M. de Morgan,
at Gebelein,
our
of
equally worthy
is
attention.
It
is
most curious specimen of
In the centre
class of vase.
scorpion
is
it
are
surrounding
animals
various
hippopotamus, crocodiles,
which
figures
we
Fig.
S4.
V.ASE
p.mnted
White with
in
those
to
have
soon
inter-
the drawing
similar
ship,
shall
fish,
unrecog-
are
is
other
But the most
nizable.
esting object
of
and
tortoise,
birds,
this
ex-
to
amine, and which ordinarily
A Boat .and V.arious Animals.
appear upon another class of
After r Anthropologic.
pottery- (Pig. 84).
These
e.xamples
are
sufficient
and
showing animal
figures,''
two
decorated
specimens
strange figures
of which
to
an
give
of
idea
vases
only remains for us to mention
it
with
and
designs
geometrical
with
explanation has yet to be found.
the
Wiedemann, Das Okapi im altcjt Aegyptett, in Die I'mschan, vi. 1902, pp.
Das dgyptisclie Set-Thier, in tlie Orientalistischc Litieraiur Zeitung,
Fetrie, Prehistoric Egyptian Pottery, in Man, 1902,
1902, col. 220-223.
'
1002-1005
V.
No.
83. pi.
-
H,
I.
De Morgan,
pp. 246, 247.

^ See also
Prehistoric
Rccherc/tcs,
Petrie, Naqada,
Egyptian
Pottery, in
EA Amrah and Abydos,

Rcchcrches,
pi.
iv.
5.
i.
i.
pi.
ii.
pi.
pi.
ii.
Von
5.
x.xi.v.
Man,
Bissing,
91-97; Diospolis,
pi.
iii.
2,
3.
pi.
iii.
xiv.
fig. 2,
93
(J,
and
96;
MacIver & Mace,

animal ?). De Morgan^
1902, No. 83, pi. H, 6.
pi. .w. 17, iS ? (conventioiiali;ied
loc. cit. pi.
Von
Bissing,
loc.
cit.
pi.
iii.
and 3;
ORNAMENTAL AND DECORATIVE ART

These
Collcire,
two
\ases
London^
Of an
bclonc^
(Eig. 85
to
the
University
entirely different type
Fig. 85.
Collection,
Petric
113
is
the
Vases painted
in
"
decorated pottery,"- to
White.
which we must now turn our attention.
The
earliest
specimens
Petrie, Preltistoric Egyptian Pottery, in Ma7i, 1902, No. 83. pi. H, 3, p. 133
" The upper figures might be adzes or hoes, the lower figures are curiously like
lictors' fasces, but no such forms are known in Egypt; tt;ey may, however, be a
form of stone axes set in handles. Certainly neither can be the hieroglyphic
neter sign, as that had double projections down to dynastic times.''
HoERNES, M., Urgesdiichte der bildciiden Kiinst in Eiiropa von den
Anfdngen bis urn 50') vor Chr., Vienna, 1898, Nachtriige, 2, Neolithische
Vdseninalerci tit Acgyptcn, pp. 687-689.
114
almost contemporary with the white painted pottery, but
are
the
after
is
met
with.
the white
of
Fig. S6.
we look
"
for
the
Vases
the
will
pottery,
kinds
breccia-
of marble
accordinfj
to
and
distance,
Syrian
painted
coasts
of the
I.mit.\tion
i.\
point
of
the
if
Kabyle
to
specimens of
pottery,
is
it
Mediterranean
in
that
of H.\rd Stones.
the
manufacture of these
we mentioned
nummulitic
of
rem.embered
be
sometimes
is
at
starting
decorated vases."
It
for
painted type are related
direction
it
they are most frequently
40 that
appears that the origin of this kind of potter}'
It
be sought
should
the
sequence date
specifying
in
the
vases coloured in imitation

that
but the
limestone,
most
that,
thus
is
most
copied,
ingenious
of stone.
sometimes
interesting
represented
classes
by a
identification
imitation
scries
of
made bv
of
It
various
is
that
spirals,
Petrie
Petrie has termed these vases "decorated pottery,' and we will continue to
apply this term to them.
2 Petrie, Naqada, pi. x.xxiii. i, and p. 40, .xxxi. 6 (wavy handled)
Diospolis,
M.acIver & Mace, El
pi. XV. 5, \%b and c (wavy handled); xvi. 64, 76^.
'
Amrah
a7id Ahydos,
pi. xiv.
W/3 (wavy
handled).

and Schwcinfurth.^
after
was
the
lost,
and
by
Little
little
the
of that \vhich
recollection
eventually
two or three enormous
on
his
115
were developed,
spirals
they originally represented
was
decorator
the
spirals
ART.
vase by
to
satisfied
way
trace
of ornamenta-
tion- (Fig. S6).
This ornamentation has been wrongly interpreted by

observers,
who
considered
sex'eral
the spirals to be intended as a repre-
Unfortunately for this theory, spirals and
sentation of the sea.
representations of ships are never, to the best of m\- knowledge,
met with on the same piece

of pottery.^
We
must
call
attention to
representations of vases
the
of hard stone which are found

certain
in
tombs of the Old
Empire, representations which

follow the
same
lines as those
Fig. S7.
of the primitive decorators.^
Other vases
and
this
merely a repetition of what
Vases decorated in
OF Basket Work.
I.-viit.\tiox
is
have previously stated
are decorated
with lines representing the covering of plaited straw with which

the vase was covered, a covering sometimes loose, at other times
tightly twisted.'
It
is
thus that a vase published by
Upper Egypt, and showing
in
reproduces
most
great baskets
land
for
exactly,
De Morgan,
a slightly different style of work,
according
out
skill
of
the
pi. x.xxv. 67^7,
(5,
if,
Pefrie, Naqada,
A propos des bateaux cgyptiejis,
pi.
in
pi.
V A7ithropologie,
b.
xi.
1900, pp. 115, 347.

xix.
and pp.
22, 23.
&
Mace,
MacIver
De Morgan, Recherches, pi.

i.
Compare Petrie, Naqada,
Von Bissing, Les origines de VRgypte, in r Antkropologie,
i.
i.x.
Gcsellsch.
xv. 7 c.
Davies, The Rock To?nhs of Deir el Gebrawi, i. pi. xvii.

Petrie, Xaqada^ pi xxxii. x.xxv. Diospolis, pi. xv. xvi.
AmraJi and Abydos^ pi. xiv.
;
8/;.
Schweinfurth, Onumtentik
xxxiv. 3irt-33i^; Diospolis,
''
76.
p. 40.
(I'ig-
Ciiltur-Epoche Aegyptens, in the Verhandltcngeji der

Antkropologie, Etluwlogie luid Urgcscliichte, 1897, pp. 397, 398.
E!
and
leather-like
of
roots
iiltesteii
fur
those
milk that the present inhabitants of Somali-
weave with much
Petrie, Naqada,
"
Schweinfurth,
to
toughness of the bushy As/>aragns retroflexns"
dcr
discovered
pi.
ix.
xxxv.
1898,
ii6
It
undoubtedly'
is
method
this
in
hope to
find
the
more or
less
regular groups
some specimens they

gesting
merely
are
draughtboard
lines
of
origin
Frequently,
we
also,
those
parallel
scattered
lines
arranged
carefully
other
in
to be
drawn
we may
that
over the surface of the
effect
which appear
of decoration
chequer,
in
sug-
they are
again,
cases,
at hazard^
in
In
vase.
(I'^'g-
^7)-
on the vase, sometimes combined
find
with imitations of plaiting or of other designs, a series of small
which probably represent mountains.-
triangles
there
human
are
beings and animals placed
exactly as on the famous
statues
by
a resemblance pointed out
Fig. 88. --Vases
One
of
found upon
which
decorated
the most curious

these vases
Schweinfurth
has
is
of
Min
meets with
it
in
88).
which
representations
that
triangles,
a Serifs of Tri.wgles.
of
recognized
grown
plant
be
to
which does not belong to the spontaneous

still
on the
discovered at Koptos,
Petrie*^ (Fig.
whh
In one instance
Egypt, cultivated
in
the
pot,
plant
Egypt.
One
aloe,
flora of
been
has
in
cemeteries or placed
Schweinfurth, Ucdcf den Ursprung der Acgypter, in the Verpp. 247, 248.
ha?idlungen der b. Ceselhch. fur Antliropologie, Ethnologie icnd Urgeschichte,
Ornanicntik der dltesten Cultur-Epoche Aegypteiis, ib. p. 397.
1897, p. 281
Petrie, Naqada, pi. xxxiii. 11, 12, 20, 21, 23, 24, 26; Diospolis, pi. xv.
;
'
3,
4/
10b, 20c, lib, 2â.
See MacIver & Wilkin, Libyan Notes^ London, 1901, p. 65, note 2
"The so-called 'mountain' pattern found on prehistoric Egyptian decorated
pottery occurs everywhere in Kabyle work, where it has clearly nothing to do
with mountains, but arises from a combination of the triangles which enter as
^
units into almost

*
all
these rectilinear designs.''
Petrie, Naqada,
53^. 54, 59^. 78^.
pi.
xxxiv.
and
Ixvii. 13-15,
17,
and
p.
49
Diospolis,
pi. xvi.

above the doors of houses
a
as
symbol of
The
preservative against the evil eye.
plant should be borne in mind, and
this
to refer to
Other
trees,
later
it
on^
(F'-g-
and are
identification.
sufficienth'
I
suppose
like
it
is
be
to
the
and
force
vital
as
funerary character of
we
have occasion
shall
intended
hieroglyph
to these that
he speaks of representations of bushes,

signs of mountains, should
117
89^.
appear
representations
ART.
indicate
()
to
indicate
to permit
Petrie alludes
which,
this
when
combined with
the landscape, in the
midst
of which are animals, men, and boats."
rx.
Fig.
89. REPREsENrATiONs of Aloes
a.nd Trees.
The animals represented
are few in number.

One finds
and various kinds of gazelles and antelopes in exceptional cases the crocodile and the chameleon appear.^
A very
remarkable vase discovered at Abydos shows the figure of a
ostriches
kudu and of two long-horned
ScHWEiNFURTH, Onia7nentik der
cit. p.
^
Petrie, DiospoUs,
Petrie, Diospolis, p. 16.
392.
and also a representation
sheep,-*
iilU'stcn
Cidtur-Epoche Aegyptens,
loc.
p. 16.
Schweinkurth, Oniatnentik,
'
etc.. p. 399
Man erkennt uater ihnen die
Beisa-Antilope {Oryx leucoryx und Oryx Beisa), ferner AddaxAntilopen, beziehungsvveise Wasserbocke, vielleicht audi Kudus."'
Sabel- und
*
Thilenius, Das a<ryptiscke Hausschaf
in
the Reciieil de travaux relatifs
d Varcheologie egyptiennes et assyriejines, x.xii.

CLAUDt; Gaillard, Studieti iiber ('ie Geschichte
la philologie ct
DiJRST &
Hausscha/es,
ib.
xxiv. 1902, pp. 44-76.
1900, pp. 199-212.
dcs
agyptischen
ii8
Fig. 9c.
PRI.MITIVK
Dkcokateu
ART
IX
HGVrT
Vase with Representations of Animals, and a Tree

WITH Birds perched on it.
AAÂiÂA
Fig. 91.
V.\Rious
Designs on Decor.xted Pottery Boats,

Ani.mals, Trees, Shields (?), etc.
of a tree, figured
in
a different
manner from
meet with, and on which birds are perched.^

'
Petrie, Abydos,
i.
pi.
1.
aiui p. 23.
Human
that
we
With
Beings,
ordinaril)'
this
we can
ORNAMENTAL AND DPXORATIVE

compare
a vase
ones
rarel}'
human
extremely diagrammatic
indicated
appear
these
of
Here we
principal
the
find female figures,
first
occasionallv' even the arm^ are not

body is resolved into two triangles superimposed
other, and surmounted by an oval black mass for the
Ordinarily
if
and
90;.
the
appear
females
with that of the statuette reproduced

which,
the
one on the
head."
T-'ig.
figures
be found on Fig. 91.
will
119
an aloe on which are two birds
showinL,^
another similar fragment-
More
ART.
we may judge
from
in
an
Fig.
in
identical
attitude
of this book, and
the
tombs
similar representations on the
of the Ancient Empire, should be a
indication of dancing.'
characteristic
this
If
we
interpretation
tion there
for
is
represented
it
what founda-
the
before
"
the
vase
will
be recognized, as
discovered
accepted
is
shall see presently
two persons
dancer
El
at
on
"'
Amrah
they are by
Mr. Maclvcr, as castanette
''
pla\"ers
(Fig- 92).
With the exception of this instance

to, when men are
represented we see them upright and
1
Fig. 92.
Vase with Representa-
tions OF Cast.a..\ette Pl.wers (?)
have just referred
BEFORE A Dancer
From
El
(^?).
Amrah.
walking, sometimes with indications

the
of
sheath
or
karnata
described
in
Chapter
On
II.
one
specimen an attempt has perhaps been made to represent them

chasing antelopes; they
and
carr\- sticks or
boomerangs
(?)
"^
(F'a^- S8
91).
The most
startling objects
&
met with on these primitive vases
M.AcIvER
Petrie, yae/ada,
pi. xiv.
D49.
pi. l.xvi. 3.
MacIver & Mace, El Amrah and Abydos, pi. xiv. D 50^-.

Morgan, Recherches, ii. p. 65.
* MacIver & Mace, El Amrah and Abydos, pi. .xiv. D 46, and p. 42.
Vases with human figures
Petrie, Naqada, pi. xxxv. 77 ixvi. 5, 7 Ixvii. 17.
Cecil Torr, Sur qiielqties pretendits navires cgyftiens, in V Anthropologic, ix.
De Morgan,
i8v^, p. 33, fig.
p. 35, figs. 5^: and 5
p. 34, figs. ;i)a and 3*^
^
De-
Keohirches,
i.
(5.
pl. x. 2 a, zb.
PRIMITIVE ART
120
They occur on
representations of ships.
are the
number of vases boats with oars

bined with figures of
human
EGYPT.
IN
a fairly larije
or even with sails,
beings and animals
and com-
a landscape
in
and mountains, they enliven the pottery with scenes

the signification of which we shall study later.
VVe must content
of trees
ourselves
The Egyptians, he
hand and the
indicates
that
(Figs. 91
and
they are
We
which
refer to a
them-
the
current
xA.
which we
class of objects to
boats, found
each with an oar
gazelles
his
in
where the
a curious vase
between
two boats.
against
several
in
painted in a very unsophisticated
is
figures of rowers,
fi.;ht
left
the position of the boats
left,
navigated
These are pottery
one of which
is
being
remarks, orientate
Vase Decoration representing Gazelles fighting.
must here
later.
There
Schweinfurth,
them the west being on the
for
on the
east
with
94).
Fig. 93.
return
remarking,
boats are drawn showing the
towards the south, and
selves
right
with
exception, these
(larboard).
side
moment
the
for
that without
also
fish,
hand-
artist
is
manner with
(Fig. 91).
has
a crocodile,
strange ornamentation
shall
tombs,
represented
an ostrich, and
se\eral times repeated,
believe to be unique, consisting of lozenges, half black,
half white'' (Fig. 93).
Occasionally on
i-
one
finds
zigzag
these
lines,
decorated
intended
'
Schweinfurth, Onnunentik,
etc., p.
Petrie, Naqada,
and
pi.
xxxvi. 80
close
represent
to
water.
boats,
the
Several
4C0.
Ixvi. i.
Legrain, holes tf inspection, vi. La necropole archai(/iie dti Gebcl Silsileh,

the A/males du senncc des antiquiics de iEgyptc, iv. 1903, pp. 21S-220, and
'
in
to
vases,
figs.
5,
6.
ORNAMENTxAL AND DECORATIVE ART.

show
vases
Petrie
curious object difficult to identify, considered
be
to
mast and
be compared
them
made
at the
On
S,
IZII ?
that
in
Schweinfurth
a long pole,
and
Baris,
and these
upper end- (Fig.
in
by
might
case
sees
of skin, which, by analogy with the
weapons of the Dinkas,
means of
and which
sail,
hieroglyph
the
to
shields
121
in
similar
would be secured by
Egypt would carr}' the ensign
Kaffirs,
91^.
the vases are also found a series of signs in the form of
N, and
which
for
Z:'
may
it
When, howe\er, we remember

hair-pins decorated
with
Fig. 94.
V.\SE
perhaps be
that
difficult
to account.
we have previously remarked
which occasionally present forms
birds
with \'ariou5 Representations.
From de Morsran.
very similar to an S, we ma\',

are derived
am much
a
be
presume that these signs
from a summarized form of a row of ostriches.
series of the sign
head
think,
inclined to find a similar abbreviation
by
vase discovered
of female
O,
figures
Petrie
which
at
Abadiyeh,^ where
with the
there
upon
is
summary drawing
regard as a very
represented
of forms
arms raised above the
(Fig. 95).
There are other vases the decoration of which can scarcely

classed with any of those we have passed under review.
Among
these
are
star'; another with
the
vases
human
on
figures
which there
'
Petrie, Naqada,
Schweinfurth, Omamentik,
lb. p. 398.
Petrie, Diospolis,
lb. pi. XV.
five-pointed
drawn reversed and
is
pi. I.xvi. 6, 9,
pi. x.x. 8.
10,
and
etc., p.
p. 49.
399.
in a
very
PRnilTIVE ART IX KGVPT.
TOO
summary
fashion
and,
arc crocodiles
one
and serpents
in
(Fig.
is
and
giraffes (No.
number
of vases on which
pierced with harpoons
include
97).
a small
Museum, on which
the Berlin
ostriches,
finallv',
of which
in
this
series
scorpions,
a
specimen
are painted serpents, crocodiles,
15,129; Fig. 96;.
W'e must now deal with the rare vases decorated with designs
in
relief,
of which a specimen discovered
figure of a lizard
and
which cannot
be
Another specimen
boats,
On
with figures of birds.
In
the
(No. 36,328) decorated with
two of the handles are surmounted
the
identified,
same vase there are two
symmetrically arranged,
at University College,
collection
of the
Petkie, Naqada, pi. xx.xv.

XXXV. 78; Diospolis,
lb. pi.
Petrie, Naqada,
Budge,
p. 32,
the
(Fig. 97).
London,
is
in
figures
relief.^
decorated
in
with figures of a crocodile, a crescent, and a harpoon.
relief
'
Museum
a vase in the British
ostriches, triangles,
''
Decorated Vase from Abadiveh.
Fig. 95.
On
Naqada shows
at
and another of a scorpion
No. 164.
Guide
pi.
77.
pi. xvi. j'&b,
xxxvi. 87,
to the
Ashmolean Museum, Oxford, there
First
and
p.
78c, jZd.
41
and Second Egyptian Rooms, 2nd
ed.
1904,
0RXAMP:XTAL and decorative art.

arc three red vases, with the upper edge blackened
which
pottery),
period,
and
from
date
possess
in
relief;
this
is
1,449;,
perpendicularly, becoming
line
in
black-topped
the
On
98).
historic
the
first.
head roughly worked

relief,
gradually thinner.
which descends
believe this re-
Museum.
Berlin
presents
the
arms.
lines
Near the
can
be
in
base,
relief are
at
distinguished,
from which two

vase.
From each
body of the man.
two ascending
the
seen
of
Vase with Representations of Giraffes, Ostriches, Crocodiles, and Snakes.
FiG. 96.
line,
i-^
on by a
carried
(Fig.
interest
special
found at Naqada (tomb
commencement
the
123
lines
certain
also
ascend
The man must be
side near
the top,
detached, which represent
in
distance
relief,
somewhat
clasping
from
two
the
the
central
circular
knobs,
aoriiptly to
the vase,
in
the top of
a
position
124
which
is
chfficult
inexperience
of
imaiîne,
to
represent the head
and can only be explained by the
primitive
the
who has
artist,
full-face (the
of Fig.
98 are two fragments of a similar
interest
of
this
vase consists
curious
not
two photographs
in
onnitted
The
vase;.
its
to
the centre
in
special
permitting
us
to
watch the operation of that law of extreme simplification which
we have
recently been
considering.
This
is
carried
still
further
f^J^^f^'''
Fig. 9/.
-Decok.vted
with Designs in Relief

Ornamentations.
V.-vses
Hu
on two Other vases from
(tombs
.\.nd
Other Rare
179 and
loi), which,
according to sequence dating, are more recent than the Naqada

specimen, and show as decoration two ornaments
sisting
in
simply of a circular knob, from which a
the top of the vase.
It
the figure on the vase
first
of frequent copying, the
is
thus an exact
described.
meaning of the
relief,
line
copy of the
con-
rises
to
legs
of
think, as a consequence
lines
was
lost,
and, more

Hu
the
espcciall}- in
specimens,
any connection with the human

sembles two serpents
if
facin^^
it
ART.
125
was not known that they had
Thus
ficûre.
each other, and
the ornament re-
should not be surprised
when he made the vase.^

Ashmolean Museum, Oxford, discovered
the primitive artist had that idea
vase
Naqada
rare
the
in
ftom.b
1,871,
sequence date 46) introduces us to a
The vase
scheme of decoration.
The
blackened upper edge.
Fig.
is
itself
but there
previous to baking, a
represent serpents
a
number
and
is
^?).
with
is
the
usual
ix Relief.
besides, roughly cut in the clay
of crude designs, which probably
plants (Fig. 99).
magic vase
red,
is
also blackened, as
9S. Black-topped Pottery with Figures
with these vases
figured as
interior
at
vcr\'
What
is
It
certain
may
is
possibly have
that, with
the
exception of two small fragments, of identical technique,
in
the
same museum,
to
my
knowledge
'
The
DiospoLh,
^
at
vase to
there
all
tlie
no piece
is
comparable with
left
is
in
existence at
least,
this.-
figured, without description in the text,
by Petrie,
pi. xiv. 66.
See Petrie, Naqada,
inside with fantastic signs,
xx.w. 71.
A vase in theBritisli Museum, decorated
apparently only a modern fraud.
pi.
is
PRIMITIVE ART
126
number
certain
with incised
lines,
been employed
but
etc.
Fig. 99.
It
V.\SE
propounded
is
\-arious
summed
dcri\-ed directly
it
mode
this
^
of ornamentation appears to have
Ashmolean Museum, Oxford).
(Fig. lOO,
of
classes
ornamentation with which
Egyptian pottery was decorated.
archaic
be cursorily
man,
EGYPT.
of vases of rouL;h-faced pottery arc decorated
onl\- rarely
Such are the
IN
up, they are
all
from some natural object
is
an excellent proof
So
far
as
they
can
either skeuomorphic, or else
in
mountain, plant, animal,

support of the theories
of Bl.ack-topped Pottery with ax Lvcised Decoration inside.
at the
commencement
of this chapter,
and on which
not necessary to insist further.
We
must now rapidly review the pieces of
potter\' to
which
human
or an
the primitive artist has attempted to give either a
animal form.-
An
extremely curious vase, of
brilliant black glaze,
found
in
p. 41, and pi. xx.xv. 74, 76; .xx.\'vi. 93^2 and b\ xxxvii. 41.
J^b and 93 <r; xvii. 49. In our figure the upper vase = Diospolis,
= Naqada, xxxvi. 93 b (smoke-blacked
xvi. 74
below, beginning at the left,
brown pottery): 2 Diospolis, xvi. 93c (Hu, U I-6); 3 (Hu, B158); 4 =
'
Petrie, Naqada,
Diospo/is, pi. xvi.

(J
Diospolis, xvii. 49 (Hu,

170).
I reserve for the chapter on sculpture
senting
human
figures
some vases in stone and clay reprewhere the "vase" disappears before the sculptured figure.
ART.
Dr. Petrie's excavations at Abadiyeh, was discovered

of the
The
first
in
127
a
tomb
sequence dates 33-41;.
half of the prehistoric period
primitive artist has endeavoured to give to the vase a female
form, and he has succeeded in
from the
differ greatly
which we
will
cla}'
consider
making
figure
which does not
female statuettes of the same period,
later,
and of which we have already given
clothing
and personal adornment.
specimens as
illustrating
mere pinch
the clay serves to indicate the nose, the ears, and
Fig.
shoulders
in
100.
the
Rough-faced Pottery with Ixcised Decorations.
breasts
are
they are with negresses.
summarily formed and pendant,
Finally, the vase swells
as
out suddenly
behind, attempting to portray the extraordinary development of

the buttocks (steatopygy), which
is
also seen
on the statuettes
(Fig. loi).
<\.nother
vase
of
human form
must
be
mentioned which
appears to represent a captive crouching on the ground
uncomfortable attitude.
to render the
'
head with
Petrie, Diospolis,
The
fidelity.pi. v.
in a
most
primitive artist has only attempted
102.
lb. pi. vi.
83.
128
The same CNcavations

covery of two vases
at
Hu- Abaci iych
also effected the dis-
in the form of hippopotami.
In one, care
has been taken to render the form of the animal as accurately as

pf)ssible
in
the other the design
with two lateral handles
'
(Fig. 102
a vase
summary, and decorated

The same is the case with
vcr\-
is
.
the form of a hippopotamus,
in
museum at
was published b\' Von
now
Cairo, which
the
in
some
Hissing
\'ears ago.-
The
piece
lies in
been
added
of
interest
special
last
this
the paintings which have

the
b\'
primiti\'c
artist.
Herr von Bissing speaks thus of

"
The
hippopotami
Empire
of
decorated,
are
remarks, with reeds,
because they
flies,
the
Maspero
as
lotus,
live
it
!\Iiddle
and buttermidst
the
in
of reeds, where butterflies are flitting
round them.
In
the
hippopotamus-shaped
the
long series
their
Egyptian
saw
of marsh
and
necks
long
of
characteristic
must
explanation
IN
or three
the head, and the
lip,
tail.
These very
'
Petrie,
painting
^
Fr.
ajit
id. pi. vi.
may still be
W.
v.
in
and
pi.
it
was desired
to
show
by harpoons."^
xW. 67.
On
Gcfcisse
shall
again
the latter specimen traces of
seen, notably harpoons painted under the
Bissing, Altiigyptische
Another
groups of two
remarks are interesting, and we

134,
nature
in
upon the handles, under the
Apparently
the hippopotamus hunted and taken
ancient
found for the
be
harpoons, which are
Form of a Woma.v.
feet,
they actually
birds.
Vase
Bl.\ck Polished
with
with
large
hippopotamus
the
vase
birds,
most
the
because
art,
surrounded by such
fiG. loi.
same wa}' the
the
could decorate the two sides of
artist
i? i
body of the animal.
Museum
zii
Cisc,
in
the
Zeitschrift fiir iigyptischc Sprache, xxxvi. 189S, pp. 123-^25.

^
We
have already remarked the same detail
in a
representation of crocodiles.

have occasion
to refer to them.
ART.
129
Herr von Bissing notes
at the
same time the frequent occurrence of vases of animal forms

primitive Egyptian
Among
as
art,
in
these vases of ancient
and others more numerous
the
art
Egypt
vases,
Clay Vases
one
primitive
in
Petrie.
Hierakoiipolis,
Naqada,
ii.
pi. l.xvi.
pi.
and
68
<;-<:,
The Petrie
number
Form of Animals.
of which
xxvii.
fish,^
certain
is
very remarkable as an
attempt at representing a vulture^ (Figs. 103 and

'
people.
as
Occasionally
side^' (Fig. 102).
London, contains a
Collection, University Collecie,
of bird-shaped
all
some shaped
in bird form'- (Fig. 102).
the vase represents tu-o birds side by
Fig. 102.
of
are
in
and
p.
37.
104).
Ouibell
&
Greex,
p. 50.
Petrie, Naqada,
pi. xxvii.
Petrie, Naqada,
pi.
69 z-f.
De Morgan,
Recherchcs,
i.
p. 160, fig.
481.
xxxvi. 90.
* " I am inclined to connect this bird (with mouth on top and spout in front)
with the bird vase said to be used by the Ansairiyeh in Syria, called 7}z.y'(the
peacock) from which they receive sacramental wine in their secret rites." Note
by Professor Petrie.
i^.o
ART.
Here, again, the copy differs widely from the model, and
i^î
it
is
only by the aid of the intermediate forms that we can realize
what
it is
the primitive artist wished to represent.^
some tombs small rectangular pottery boxes have been

discovered, which are decorated on the outside in the same
In
Fig. 104.
Clay Vase
in
Form of a Vulture.
manner as the vases. One of these boxes from Diospolis shows

a row of triangles in imitation of mountains, and also rows of
parallel lines, which slope in alternate directions from one row
to the next- (Fig.
105,
D 73).
Another specimen belonging

1
Petrie, Diospolis,
lb, pi. .xvi. 73.
to the British
pi.
vi.^R 131
Museum
.\i.\'.
71.
is
decorated
PRIMITIVE ART LN EGYPT.
132
with
signs
(Fig.
There
groups of parallel
ibex,
boats,
1
105).
a cover of a
is
similar
the
Maclver,
Mr.
Fig.
105.
most ancient representations of
this
x\mrah excavations,
dis-
the
in
Pottery
El
Boxes with Various Designs.
box of the same kind, on
were drawn
On
charcoal.
in
the Petrie Collection,
in
the cover an ostrich, a scorpion, and two
workmen engraved on
human figures, one of
class that we know.Finally,
box
Before baking the clay, the primitive
covered
and with S-shaped
lines,
which
different
one of the sides appears a hippo-
potamus, on the second a boat, beneath which
The
third
side
is
at present
pi.
in
it
Budge,
Petrie,
series
of
animals
si.x
History of Egypt,
i.
is
crocodile.
inexplicable,'"^ while with regard to
Mr. Maclver
the fourth, various interpretations are attempted.

sees
scenes
p. 98, fig.
with
British
Prehistoric Egyptiari Figures, in
(probably
long necks
Museum. No.
Man,
1902, No.
3:;,63q.
14.
p.
17
and
B, 22.
^
See ÊTRiE, Naqada,
pi.
liii.
the design on this side (Fig. 105).
13,
where
a pottery
mark
is
given similar to

giraffes) proceedinc^
drawn
are
The drawings of
triangles.^
simplified as they arc,
their bodies,
the
have not accustomed us
diagrammatic representations of animals.

probabl}- a palisade, of which
decorated with bucrania.
It
the
he remarks,
greatly
period,
to
00
Below these
and resemble palings.
di.igrammaticall}',
row of
is
towards the right
ART.
such extremely
consider
it
as
more
upper part of the posts are
has been proved on several occasions
that at this period animals' skulls
were emplo\-ed not only
for
decoration, but also for magical or religious purposes- (Fig. 105).
We
have now arrived at the close of our examination of
There
decorative pottery of the primitive era.
which we must mention
of designs
another series
connection, although
this
in
is
they can scarcely be considered as a form of decoration
and signs engraved on the
are the marks
which
decorative
art,
the chapter,
it
will
somewhat outside the domain
be preferable to reserve
when we have
these
As, however, this subject would
of primary importance.
is
lead us to treat of questions
pottery, the study of
finished our
it
for the
of
end of
examination of decorated
objects of the ^primitive period.
The
furniture of the primitive
Egyptians, as
The
imagined, was extremely rudimentary.
may
easily
be
materials employed
purpose, less resistant than ivory or pottery, have been
for this
by the action of time. We cannot,

we have but little information on this
must wait for the commencement of the historic
almost or quite destroyed
therefore, be surprised that
We
subject.
period to find precise indications.
We
by
recent excavations, and
houses,
in
however, mention several objects brought to light
can,
of which
Professor
first
the fire-places of the primitive
Petrie
discovered
several
examples
the small prehistoric town which lay close round the earliest
temple of Osiris at Abydos.

pottery cisterns.
found
'
in
fiire-places closely
in
resemble
them, and cinders were
one of them.
&
Mace, El Amrah and Abydos, pi. xii. 10-13, '^"^ P- 4-- This
in the Ashmolean Museum, Oxford.
Capart, La fete de frapper les Anon, in the Revue dJiistoire des religions,
MacIver
decorated box
xliii.
These
Charcoal was burnt
is
now
1901, pp. 252, 253.
134
They
have designs
all
pottery on the
the
in
The
remarkable.
the
The
of plaited work
the creature appears to be hanging over
the hearth-place^ (Fig.
fetish
at
combined
prehistoric times, with
ot
io6).
have already spoken of fragments of furniture w
ith plaited
The excavations
of
Naqada, of Messrs. Amelineau and Petrie
at
work attached, found

M. de Morgan
incised
specimens are specially
decorator, remarks Professor Petrie, has
the agathodemon, the domestic
We
Two
rims.
design represents a serpent, whose head projects
inside the rim so that

fire.
imitation
in
flat
the
in
royal
tombs.
j^.n
Fig.
io6.
Clay
Fire-places decor.\ted with De.signs
i.\
I.mit.a.tio.v
of
Plaited Work.
Abydos, and of Mr. Quibell
at Hierakonpolis,
have unfortunately
only produced fragments of small importance, which give a very
vague idea of furniture

lound
are
parts
The\'
are,
however,
of
or
coffers,
sufficient
to
and were treated
in
of
show
supported these pieces of furniture were

bulls,
All that has been
the primitive age.
in
small
seats
that
in
or
the
low
feet
beds.
which
the form of legs of
manner which reminds
Dr. Petrie of
Italian cinque cento work, rather than of archaic efforts- vPig. 107).
'
IÊTRiE,
Abydos,
*
i.
Exxavations at Abydos,
pi. liii.
13-18,
and
p. 25.
i.
p. 27.
Man,
1992, No. 64, p. 89
and
tig?.
6-8.
ORXAMIiNTAL AND DECORATIVE ART.

It
is
specially intcrcstin-j to observe the
the decorators for
Small
inlaying.
plaques
pronounced
in
03
taste of
ivory, wood, and
'dazed pottery with incised lines are very numerous.^
Fig.
The
107.
models
principall}'
'
Ivory Feet for Furniture,
which
inspired
in
the
the Shape of Bulls' Legs.
decorators
from matting, cords, and feathers.
Petrie discovered at
Abydos
had served as a wall decoration.
large
number
are
of glazed pottery
See Petrie, Abydos,
borrowed
The human
ii.
pi. viii.
figure
tiles
which
and
p.
26.
This entails an entire revision of the opinions given in Borchardt, Zur

Ccschiciite dcr Pyra?ftiden I. Thiir aus der Stufenpyrainidc hei Sakkara,
Berliner y'asenm, No. 1185, in the Zcitschrift filr iigyptische Sprachc, x.\x. 1892,
Wiedemann, review of Q\ji\iY.i.wfiierii/co7tpolis, i., in
pp. 83-S7 and pi. i.
Pzx\n^. /uyyal Tonihs,
1900,001. 331.
\.\\z OricntijUstiiche Litteraiurzeitti/tg, iii.
;,
p. 36.
is
ART
PRIMITIV1-:
136
also used as a support,
IX
EGYPT.
and alreadv one
finds kneclini,^ captives
supporting seats, as they are found later on durin;^ the historic

period
(Fig.
14).
Certain ivor\' fragments found at Hierakonpolis arc perhaps

the
arms
of
chairs
the same style as

The most remarkable
animals
these
of
with the neck lengthened out of
with
found on
those
in
knives.
ornamented
are
thc\-
is
of
handles of
the
animal
fantastic
Occasionally a
proportion.
all
figures
man, standing, seizes the neck of one of these animals with

both hands, in an attitude which is specially familiar to us in
M\-cena;an and Chaldean art- (Figs. loS, 109).
108.
Fig.
Frac.mknts of Ivory cakvf.d with Various Figurf.s.
The same excavations
at Hierakonpolis
cylinders decorated with figures of
the
same
style.
brought
men and
Judging by the sceptre discovered
they might be considered as fragments of a sceptre.
interesting as a curious
example
'
lb.
pi.
.xii.-.\iv.
-xvi.
EvA.xs, The Mycciuran tree

illiistrc lions
from
Journal of Hellenic
recent
xvii.
and
pi.
.xi.
and
xx.xii.
p. 7;
Cretan finds,
Studies), p.' 65 et seq.,
ii.
pi. ix.
i.
ii.
fantastic
pillar cult
occasion to return to this point.

^
of a
name
at
Abydos/'
One
of these
King Nar-Mer, is
pictographic and hierogl\-phic
cylinders in particular, which bears the
i.
to light ivory
animals, treated in
and
its
of
p. 37.
animal,
pi.
xvi.
and
xvii.
Meditcrranca7i relations, with
London, 1901 (reprinted from the

and figs. 43-45- We shall later have
ART.
137
PRnilTIVK ART IX EGYPT.
n8
inscription
Cairo
similar
to
Museum, of which
When we
engraved on
that
\vc shall
plaque
slate
later
on
more especially
in review, there
striking.
observers of nature
The
men.
is
the
in
no).
(Fig.
we have
recall the various types of decoration that
had occasion to pass
one which appears
to be
primitive Egyptians were accurate
plants,
and animals almost exclusively

have rarely met with what
We
them with models.
supplied
speak
^^k.
i?d^
A^ ^m
/TvM
.H6
Fig.
no.
might be called geometric
Carved Ivory
Cyli.nders.
beyond those which sprang
pattern.s
spontaneously from the imitation of materials employed by primitive

industries,
especially
from
basket
decorative genius, as distinguished
appears to have been absent
work and matting.

from a fancy
among
natural models thc\- copied.

the
"
decorated
potteyy,"
OuiBELL, Hicra/onpolis,
This mediocrity
and one
i.
fact
decoration,
the primitive Eg>'ptians.
must be admitted that they achieved very mediocre

in
for
In
pi. .\v. 7,
may
is
results
It
from the
especially flagrant
even ask oneself
inscription of Nar-Mcr.
if
ORXAMKXTAL AXD DECORATIVE

man who
the primitive
and men,
the vase, or whether they had not
sake of art
for the
is,
believe,
people, and a purpose which
among them.
be found
of the
tomb
to elucidate this point,
appreciation
The
stud\-
of the
which
really wished to decorate
some other
object
an exception
among
view.
in
primitive
truly aesthetic can only ver\' rarely
is
The
Hierakonpolis
at
139
traced on the clay those rcpiesentations
of boats, birds, plants, gazelles,
Art
ART.
we
is
decorative
devote to the paintings
shall
will.
believe,
partly
enable
us
of great importance for the just

art
of the
primitive
Egyptian'^.
period of the Ancient Egyptian
Empire does not differ very

greatly in this respect from the primitive age, and on this point
also it is difficult to find any radical modification between the
two periods. There is nothing, I think, which should prevent
our seeing
the art of the fourth,
and sixth dynasties the

outcome of the gradual development of ideas which were
first evolved
by their distant predecessors of primitive times.
I
hope to show in due course that the decorations of walls of
in
fifth,
natural
mastabas of the Ancient Empire arc no other than the development of the ideas which the primitive Egyptians expressed in
adorning their pottery with painted
figures.
Besides scenes and
designs borrowed directly from nature, these tombs merel\us imitations of hard
stones, of
plaiting
show
and weaving, or even
of the graining of wood.^
To
return
scarcely be
these incised
present
day
certainty.
those
to
marks
found
lines
it
is
seem
on
pottery,
The motives
regarded as decoration.
which
for inscribing
have been various, although
to
impossible
always
to
can
at
the
determine them with
Professor Petrie has recognized that in
some
instances
they appear to have been a mark of property, various pieces of

pottery in one tomb bearing the same mark.Frcquentl}-, I
think, they should
be considered as a kind of signature placed

by the potter upon the vases which issued from his hands. Dr.
Petrie has
after the
'
remarked
to
that
baking of the vase.
It
Petrie, Egyptian Decorative Art,
decoration.
*
me
Petrie, Naqada,
p. 44.
all
these
marks were inscribed
should be observed that there

pp. 44, 89,
and. chap.
iv.
Structural
PRIMITIVE ART
140
which they are commonly found
classes of pottery on
two
are
the black-topped and
we have
red
the
On
polished.
and
cross-lined
the
studied,
KGYPT.
IX
the
other pottery
they do
decorated,
the
not occur.
wc
If
The human
which
animal,
head
the
marks under
follow Petrie in classifying the.se
we
heading's, the results
of
to
difficult
identif\',
animals
one exception they
differ
style
in
the
recalls
more
occur
little
one
In
instance
m}'thological
The most
lined pottery.
usual t\-pes
the
are
Birds
often
on
the
decorated
Petrie,
Tlie
which frequently
S,
Crocodiles and serpents are

limited
to
summarv
sketches
and of various kinds of vegetation not easy
palm-tree
determine.^
are
an
into
pottery.''
designs
Floral
found.'
of the
to
one recognizes, however, the bird with long
and with the neck curved
occurs
giraffe.'^
and the species represented are not
frequent,
are less
identifiable
easil\-
cross-
hippo-
elephant,
potamus, various kinds of antelope, and possibly the
feet,
and with
frequentl}',
from those painted on
and perhaps resemble most closely those on the
vases,
an
apparently devouring
is
man, a group which
iMgurcs of
2Ia/ies:^
appear^."
rarely
figure
is
different
shall gather are as follows'' (Fig. ill).
Boats,
while
the\'
are
rare,
arc
not
entirely
iXai/iu/a, p. 44.
marks D 20
from a slate
are
The
describe in Diospo'iis.
original
is
palette which Petrie has omitted to
in the
Ashmolean Museum, Oxford, and
reproduced earlier in the book in dealing with palettes with incised

ornamentation.
^
Petrie, Naqnda, pi. li. i, 2, 7.
*
According to Pleyte, Chapitrcs S2ippleicntaiycs da Li^'rc dcs Morfs,
p. 41,
" Ce n'est pas qu'apres la xx''. dynastie que le titre on nom de Mahes davient un
nom de dieu." I believe the representations of this god to be rare. I will quote
Naos D 29 at the Louvre Pierret, PaiitJicoii cgypticii^ fig. on p. 79), a whip
handle at the Leyden Museum, i. TJ (Lee:\iaxs, Mo/noiie/iis, ii. pi. Ixxxiv.),
and a magical boomerang at University College, London, ol the twelfth
is
i.
dynasty.
'
Petrie, Naqada,
pi.
El Amrali and A/jydos,

V.
No.
p. 251
li.
7-27
pi. xvii.
Diospolis,
19-24.
pi.
xx
13-29.
M.acIver
Newberry, Extracts fro7)i my
&
Mace,
Notebooks,
37, in the
Proceedings of the Society of Biblical Archccology, xxiv. 1902,
and
5.
pi.
i.
Diospolis,
Petrie, Naqada, pi li. 28-32
Petrie, Naqada, pi. li. 33*38; Diospolis,
^
Petrie, Naqada, pi. Hi. 52-69 Diospolis,
El Amrah and Abydos, pi. xvii. 25-29.
'"'
'
pi. xx.
30-35, xxi, 51.
pi. xxi.
36-43.
pi. xxi.
53-72.
MacIver & Mace,

absL-nt,
but
they
only
recall
ART.
very vaguely those that
141
we know
on the decorated potter}-.'
Fig.
Men, elephants, hippopotami,
III.
-Pottery M.arks.
lions, antelopes, giraffes,
birds, plants, reptiles,
boats, etc.
These are almost the only representations which

1
Petrie, I\'aqada,
pi. Hi. 70,
71
Diospolis,
it
pi. xxi. 52.
is
possible
PRIMITIVE ART
142
to
recognize at a
tion
question of
we
continuing our examina-
Before
glance.
first
marks,
these
of
EGYPT.
IX
should
ask
therefore
our.-elves
some importance.
Among
those
which
figures
easv
are
of
do
identification,
we could designate as " hierogl\'phs"?

we
ought
to consider hieroglypliic writing as
In other words,
an importation brought by conquerors from Asia, from Upper
we meet with
signs that
Nubia, or from some other region
belonging
anx'thing on these objects

that suggests that they
it
possible to discover
to the
primitive Eg}'ptians
or
is
of which
employed a method of writing
the later hieroglyphs are but a development?
We
must
some remarks
recall
Von
of
Bissing on the subject
of the African origin of hieroglyphs.
"Hieroglyphic writing," he says, "in m}' opitiion presents a
which
character
is
Egyptian.
entirely
large
fairly
number
of extremely ancient signs are drawn from plants and animals.
The papyrus
which
of
it
and flower of
Lower Egypt and

occurs
so
with
frequently
occurs
sents the stem
often
Egyptian
an
assuredly
is
the
Now
plant.
meaning
this plant.
It
sign
the
also the standard
As
thousaud
for
verdant repre-
of
is
the sign for the north.
that
group
to the lotus,
Eg\'ptian
in
is
actually the stem of the Xymp/ura ccrnlea, with a leaf floating

on the water.
The flowers of Xynipkcva on a basin is the
earliest form of the letter S where the papyrus enters later.
I
do not know that the XyiiipJicca ccrnlea and the NyiHpluva
lotus
and
of Asia,
natives
are
from the
times
earliest
Asia,
monuments of the late period.

" With regard to animals, the
crocodile
and
the
from
the
archaic
separate
mythological
Asia (the
conceptions
Indian
species
is
black
vulture,
not
result
hippopotamus,
civilization
of
the
fliffcr
these
plants,
as
which one meets with
the
is
found except on the
and
Egyptians,
The
bald-headed
Above
the same.
which
considerably
specimens figured on the monuments).

reality
precisely
Griffith,
Egypt, while the Nyinplura ucluinbo,
in
which probabl\' comes from
the
is
it
proved by Messrs. Borchardt and
one
from
the
do not
from the
eagle,
vulture
all,
not
could
earliest
exist
in
African
which
(sacred
is
in
bird

Mut\
goddess
the
of
termed
sparroa--hawk
the
above
a falcon;, the owl, and,
are absolute!)' African,
at
or,
the
all,
143
should
('which
ibis, offer
be
types which
no way characteristic
arc in
least,
ART.
of Asia.
" It is the
same with the
animals, such as the jackal,
dift'erent
symbol of various gods of the dead

nearly a
which
fox
the
Asia
in
the
e\'en
the African type, the hyxtia, and
snakes, insects, and tish
among
Icukoryx,
presents
others.
we
we come to
species known
If
find
the uncus, scarab, scorpion,
that one sees in the hieroglyphs
fish
and meets with
of the Ancient Empire.
again in the mural decorations
more
is
0/i:v
these
all
the
it
elephant, which
many
as existing in Eg\'pt at that period
and various
told that
"among others
gazelles
unknown
is
am
(I
Natur-
ally the
Egyptians must have long been acquainted with a large
number
of the
many
animals
mentioned before they learnt
here
them the conventional meaning they
attribute to
times did they see the hippopotamus
of the water to breathe
animal
appearing
that which we
in
above
call
air,
thrust his head out
before finding in the head of the
water a
the
graphic
seeing
in
him
formation of the egg.

strictly speaking,
into
s\-mbol
the
If
it
the
ver}'
Egypt."
mud
the
it
at their first entry
to
In an\- case, the Egyptians before entering
an ins taut or
for
to
become,
words which designate these ideas are native
to
Basing
his
argument
partly
on
these
considerations
and
we
shall
conclusion
that
partly on the pottery marks, and the graffiti of which
speak presently,
F.
balls,
creation,
them the very strange idea

cannot at any rate have been the
Egypt could have had no word

as
for
were possible that the hippopotamus,
Egypt, and had suggested
case with the beetle.
his
perpetual
of
had struck the new arrivals
of symbolizing an instant,
expression
For a long time the ancient
iiiiiiutc'^
Egyptian must have watched the beeile making

before
to
How-
received.
M.
Zaborowski came
to
VON BissiNG, Les origines dc VEgypte,
pp. 409-411.
In these last lines there
in
me
the
r Anthropo/ogic,
i.v.
1898,
be a confusion, which I
See Erma.v,
the present time.
appears to
am convinced the autlior would not make at

Aegyptische Grammatik, 2nd ed. Berlin, 1902, 36,
tc
p. 17.
PRIMITIVE ART
144
the
writing should
of hicrogU'[)hic
origin
EGYPT.
I\
reality
be sought
extremely
attractive,
in
for in the graffiti.^
At
and
conchisions
these
sight
first
seems
it
arc
evoKe the
to
ratic^nal
a system of elcmentar>' pictograph)-.
Von
to
being
Bissing,
effected
M. Zaborowski appear
more
me
This
e\'olution,
absolutcl}'
On
correct.
it
according
deductions
the
Eg}-pt,
question, however,
the
closely into
be
to
in
from
hierogl\'phs
classical
of
looking
does not a{)pear to
to be a certainty.
The
inscriptions of the
d\-nasty have not the appearance
first
The concordance
of hieroglyphs in course of formation.
sequence dating with the dates of
Empire, as
of his
Dr.
has
Petrie
excavations
the
in
kings
the
Osiris
at
hope
could
form a link between the pottery marks, the
present
We may
the classical hierogl\-phs.
not
is
chance that excavations
discovery of some
relics
There
is
sign
and another which
south;^
Lower Egypt,*
Libyan
origin,
an)'
hierogl\-phs
ask, however,
graffiti,
and
may some day
lead
to
the
worshippers of Horus," whose

solve."
mentioned include few
alread}'
representing
plant
the
nothing else than
is
that
whether there
Sethe has recently been able to
we have
pottery marks
hieroglyphs.
"
of those
real significance Professor
The
discovering
of
results
Abydos, leaves
little
at
of the
Ancient
the
them from the
established
tenicnos of
of
the
of
the
crown of
crown of the goddess Neith, which, being of

we have mentioned previousl}-, might very
the
as
well have been introduced as a pictographic sign into a system
of writing which was already constituted.

I
will also refer to
the sign engraved on a slate palette, the
god Min, which occurs rather frequently among these
sign of the
pottery marks.'^
This could
onl)-
have
become
hieroglyphic
Zaborowski, Origincs africaincs dc la civilisation dc I'aiicicv.nc Egyplc, in

Revue scienti/iqiie, 4th series, xi., March iitii, 1S99, pp. 293, 394.
- Sethe,
Reitrdgc zur iiltcsten Geschichtc Aegyptcns [Untersuclinngen zur
Gcsdiichte und Alterlhumskundc Îcgypfcns, herausgegeben von Kurt Sethe, iii. i),
'
the
pp. 3-21
die
''
HorKsdiencr."
Petrie, A'aqada,
It),
pi. Hi.
11).
pi.
"'
liii.
pi. Hi.
74.
75.
1
17-122
Diospolis, pi.
.x.'î.
67, 69, 73-79.
ORXAÎEXTAL AND DECORATIVE ART.

sign
145
by the adoption of an indigenous god by the conquering
population.
seems
also
It
possible
to
recognize
which would confirm the interpretation which

years ago (Fig.
the
sign
gave of
some
it
12).^
Another sign which

possible to explain
found on the pottery, where
is
is
it,-
not
is
it
found apparently on an interesting
scription
discovered
in
the
tomb
dynasty,
where also
it
has
so
of
King Den
the
of
infirst
proved inexplicable^ (Fig.
far
112, No. jSj.
These indications are very

serious conclusions.
and do not warrant any
faint,
believe, until
evidence
fresh
obtained,
is
42
^\
Fig.
we cannot
Hieroglyphic
112.
(?)
-^^^tDl
'rî
Signs of the Prehistoric Period.
that the ancient Egyptians were in
assert
possession
of any system of hieroglyphic writing.
Were they
of
the
greatest
perceive the
characters.^
discovered
of
among
the
later
discoveries
has
One
been to
having employed alphabetifonn
of their
precisely
is
these
characters
the pottery marks, and
it
that
is
have
been
with these that
deal.
Petrie, Diospolis,
gypte,
-
surprises
possibility
It
we must now
'
possession of any other kind of writing
in
pi. xxi. 4.8, 68. 97.
in the Zcitsclirift fiir cigyptische
Petrie, Saqada,
pi.
lii.
p.
78 et
Capart, Note
sicr la decapitation
en
Sprache, x.xxvi. 1S98, pp. 125, 126.
scq.
and pi. xvi. 20; ii. pi. xxvi. 59, andxxvii.

See Evans, Arthur J., Further discoveries of Cretan and Aegean Script
with Libya" and Proto-Egyptian Co7nparisons, in t\\Q Journal of Hellcftic Studies,
^
i.
pi.
.x.
11,
102.
xvii. 1897, p. 378.

*
I m 1st apologize
for this barbaric term, which in my eyes possesses the
advantage of not prejudicing the question of the value of the signs.
10
146
excavations at Naqada Professor Petric
In the course of the
found
number
certain
"
he states that
marks
of
geometrical
of
few of them are striking, or
alphabetical series
nor are any to be found
in
and
forms,
any
like
definite
sequence to suggest
that constant ideas were attached to them."^
But the excavations
new
supplied
the
tombs
royal
Evans among
Mr.
of
researches
in
materials for the study of this
Cretan
the
Abydos
of
have
and the
question,
and
pictographs
way
the linear systems of the Creto-Aegean world prepared the
has drawn from them.
for the conclusions that Petrie
The examination
our subject, and
would lead us
question
and with referring the reader
indications,
far
from
works where
to
he
more complete information.
find
will
of this
must content myself with a k\v summary
the pottery of the royal tombs of the
Dr. Petrie noted on
marks which showed themselves
identical
with the alphabetiform marks of the prehistoric vases.
At the
first
dynasty a
series of
same time he confirmed what Mr. Evans had already observed

that
with
is
Creto-Aegean
to say, the identity of the
the
potter)'
marks
discovered
in
Egypt
linear alphabets
Kahun and
at
Gurob, on vases of the twelfth and eighteenth Egyptian dynasties.

This time a step
tabulated
in
advance was taken
in
showing that the
marks of the twelfth and eighteenth dynasties corre-
spond exactly with the marks of the royal tombs of the

dynasty and of the prehistoric pottery.
first
Finally, the primitive
alphabets of Karia and Spain present a series of identical signs.

If the
table
drawn up by Petrie^
Petrie, Naqada,
'
some marks
in
i.
MacIver
p. 44, pi.
&
Pre-Phoeiiicia7i
Scnpt froJH
liii.
et seq.
is
examined,
Diospolis, pi.

i.
it
is
seen that
See also
x.xi.-xxiii.
pi. xvii.
Evans, Primitive Pictographs and a

Journal of Hellenic Studies, xi\-. 894,
Further Discoveries of Cretan and
1895
pp. 31, 32.
Crete, in the
270 et seq., and London, Oiiaritch,

Aegeaft Script, with Libyan ajid Prolo-Egyptian Comparisons, ib. xvii. 1897,
Sergi, The Mcditoranean Race : A
pp. 327-395, and London, Oiiaritch, 189S.
Study of the Origin of Eu7-opean People, London, 1901, pp. 296-305, and figs. 79-93.
^ The sources whence this table was derived are as follows, from information
Kahtcn,
kindly supplied by Dr. Petrie.
Petrie, Naqada Royal Tombs,
p.
Gurob a7td Hawara, London,

Lnscriptio7is, in the
pp.
12-154
1S90.
Sayce,
i.
The Karian Language and
Transactions of the Society of Biblical Archceology, ix. 1887,

P. A., Essai sur la numis7natique iberie/me, Paris, 1859.
BouDARD,

missing from
few of the signs are

that
the
which
It
which are found
signs
differ seriously
must,
any one of the
ha\e
was well established from
been
the
course
first,
of ages.
system
and
modifications
in
probability be
compared with the Libyan
which are
still
the Touaregs.
.. i..
employed
The
series,
present
rarely
all
147
in
the
conclusion
that
may
It
of
signs,
113).
which
signs
underwent
even
with
and with
and
variants
from the most ancient signs (Fig.
therefore,
the
in
ART.
few
some
tifiiiagJi,
present day in the writing of
that
may
be
drawn from these
148
Here
Dr. Petrie's reply
is
" Certainly the so-called
were familiar long before the
letters
What
is
due
really
of Phoenician influence.
rise
Phoenicians seems to have been the
the
to
amount of the surviving
selection of a short series (only half the
alphabets)
N =
50,
numerical
for
100,
purposes,
500,
A=
as
use of them
M.
in
5,
own numbers, and
10,
force
Phoenicians
with which the
countries
all
Hence before long these
traded.
except
on
E =
i,
This usage would soon render
etc.
these signs as invariable in order as our

the
Phoenician
signs drove out of use
others,
all
the less changed civilizations of Asia Minor and Spain."
Weill, in a recent article in the
these results, but
Revue
must confess that
way convinced me.
do not think
arc]ieologiqtie-
contested
arguments have
his
possible for
it
in
no
any one
to
say, as the result of his demonstration, as he himself says, that

"
of
Dr.
fact
is
Petrie's
and deductions not one word nor one
table
standing."
left
seems
It
one point of primary importance

form
signs
linear
are
we must
If
known
these
in
after
use for the signs to develop a linear
remains
primitive
have
failed
very doubtful traces

of M.
Weill,
who,
question, do not
tables
'
seem
manner as to render
to compare them
Up
to
thirty) discovered
the
present time
those hieroglyphs which
on
prehistoric
think,
number of
Spain.
in
recover
to
must have been propagated
so strange a
in
had been retained
thousands of years,
several
with the identical signs (to the

the
existence which
in
only a very small number
Mediterranean world
possible,
of
that, previous to the earliest
(thirty-three in Petrie's table), which

in the
commencement
the
remains, a hieroglyphic system was
Of
alphabeti-
merely a degradation of the hieroglyph signs,
had been long enough

form.
"
admit, as he wishes, that the
would also be necessary to believe
it
the presence of
it is
that he has lost sight of
signs on prehistoric pottery from
"
the primitive period.
it
me
to
to
me
has
in
have
remains, and
not
any way
only
the criticisms
side
of the
have touched
Petrie's
faced
to
left
on
we
that
and deductions.
Weill,
R.,
La
i.
pr 32.
question de Vcoiturc lincaire dans la Mcditci'rancc primitive,
in ihc Rcviic arc/tcologique, 1903,
i.
pp. 213-232.
ART.
149
"
Now, how can we explain the fact that these " alphabetiform
signs are found in Egypt at the prehistoric age, and under the
I
think there
first, the twelfth, and the eighteenth dynasties?
considered.
At these
which
should
be
hypotheses
are two
may have been
Egypt
periods
different
country where this system
from primitive times
may
the
Egyptians
the
else
have preserved the knowledge of
this
in addition to their hieroglyphic writing.
system
We
have already remarked on the analogies with the Libyans
We
presented by the primitive Egyptians.
resemblances
of
primitive
their
Libyan alphabets, and
have mentioned the
system
alphabetical
with
the
between the Libyan and
also the relations
Creto-Aegean peoples have several times been established.
the
I
with
touch
in
or
originated,
do
think
not
appearance
history
to
it
these
of
contact
is
bold
too
marks
with
at
the
attribute
definitely
to
different
Egyptian
of
periods
Aegean people, either directly or

These relations are
the
through the intermediary of the Libyans.

indicated
type
special
same time by the appearance of vases of
the
at
this is
in
the
found
in
Spain and
and
in
attributed
Bosnia,
appearance
in
thirteenth dynasties of small
disappeared
at
of
pottery, with a
Hissarlik,
in
from
Egyptian
Egypt
nude
art
Crete
in
Egypt
is
it
during
figures of
since
whitish
pottery have been
this
(Knossos),
evidently an
believe also that to these relationships
the
incised
specimens
and when found
Sardinia,
importation.^
black
the
incisions
paste
the
must be
twelfth
and
women, which had

times.
primitive
Again,
finds them reappearing in the eighteenth dynasty, and the

phenomenon is interesting to note. The proof of the relations
of Egypt with the Libyo-Aegean people during the first dynasty
one
is
easily
found
in the vases
discovered by Dr. Petrie at Abydos,
in
the royal tombs, and in the temple of Osiris; during the twelfth
dynasty, in the fact that at Knossos there are Egyptian remains of
that period, and perhaps also in the appearance of
'
M.AcIvER
Ahns
&
Mace, / Amrah and Abydos, p. 43.

London, 1904, fig. 61, pp. 160-162.
"
pan graves."
Petrie, Methods attd
in ArcJucologv
The description of these will be found in Petrie, Diospolis, pp. 45-49 ^he
term employed by Petne, "pan graves," is merely an abbreviation of " pan-shaped
'<
graves.''
PRIMITIX'E
1^0
The presence
the
end of
of these graves
route
the
EGYPT.
IN
in
the vicinity of Abydos, at
from the oases, indicates
which must have been taken

people,
ART
after the twelfth
whose Libyan character
is
the
direction
dynasty by these
Foreign relations,
so evident.^
.M.SGO.
i_%_a^^^^r.';
'''
R T.IL.35.
Fig.
with
especially
114.
the
I.MPUESsiON's
Mycensean
during the eighteenth

this
point
taken from Cylinders.
civilization,
dynasty, that
we have already
it
pointed out
is
were
useless
the
under Amenophis IV.

1
MacIver
&
Mace,
/oc. cit.
pp. 67, 6S.
so
to
numerous
insist
on
Libyan influence

As
signs
the hypothesis of a continued use of
to
in
Eg}'pt,
must,
it
think, be
Mace
pointed out by Mr.
"
rejected,
ART.
He
and the objects there discovered.
the
for
reasons
pan graves,"
"
also estabhshes the fact
we have just mentioned is with

two sporadic examples under the third
that this incised black potter}-
the exception of one or
dynasty
"
alphabetiform
connection with the
in
151
completely absent
during the whole of the period which
separates the prehistoric people from those of the pan graves.^
must apologize
nature of which
primitive writings,
to
refer to
the
am fully
may be
inscriptions,
Some
present
We
art.-
these last pages

'
MacIver
&
permitted
have discussed the
closing
in
Mace,
thus return
loc. cit. p.
chapter
at
the
disappear with
onl}- to
to
and animals
them completely with the
our subject,
we have somewhat diverged
wish specially
this
of personages
to connect
as
unsubstantial
of these, in addition to hieroglyphic
representations
archaic a style
primitive
As
aware.
the history of Egypt,
considerable rapidity.
of the
reflections,
which make their appearance
cylinders,
earliest period of
of so
these
for
from which
(Fig.
in
114).
69.
quote two ivory cylinders at Berlin, Nos. 15.337 and

ScHAEFER, Neue Alte)-tliumcr der " new race " aus Ncgadah, in the Zeit1 5,338.
schftfi fur dgyptische Spraclie, xxxiv. 1896, p. 160, fig. 4.
-
ii.
pi.
X.
to
De Morgan,
Petrie, Abydos,
xiv. 101-104.
i.
pi.
Ii.
Rcchcrches,
No.
Max MOller,
1 1
ii.
p.
Royal
i6g,
fig.
To}?ibs,
Att archaic cylinder
i.
560,
pi.
Hellenic Studies,
xvii. 1897, p.
362
ct seq.
p.
from Egypt,
v. 1902, col. 90-92, and fig.

Evans, Further Discoveries of Cretan and Aegean
tische Litteratiirzeitiing,
and
xix. 8,
Dennis,
170,
ii.
fig.
pi. xiii.
561.
95
in the Orientalisib. col.
210, 211.
Script, in the Jotirual
of
CHAPTER
IV.
SCULPTURE AND PAINTING.
WE
most
have now arrived at the
same time
the
most
and
difficult,
Objects illustrating our subject become increasingly
and
enable
perhaps,
will,
hitherto have been

difficulties
us
some
decide
to
uncertainty.
in
left
One
at
our
of
part
interesting,
the
study.
numerous,
which
points
our greatest
of
has been to establish the exact line of demar-
here
between remains of prehistoric times and those of the

commencement of the Egyptian historical age. It has seemed
cation
me
to
advisable
importance to
for
this
which can be
remains
the chapter
for
those
great
too
attach
objects
only
with certainty, owing to their bearing
classified
an inscription or royal
to
and to reserve
Egyptian
devoted to the earliest
not
present
the
distinction,
name.
These specimens form a distinct
nucleus, round which the various objects which are closely allied
them can be grouped.
to
To
begin
with,
we
consider
will
shaped into the forms of animals.
As
flints
have
which
example
early as 1890 an
representing a hippopotamus was discovered at Kahun.

Petrie
is
inclined to assign
it
to
the twelfth
whole group of similar finds induces
me
dynasty
to consider
been
Professor
^
;
it
but the
rather as
being of the primitive period.

In the Petrie
are
several
Collection,
University College,
most interesting examples
a snake
London, there
from
Koptos,
Petrie, Kahun, Gurob and Hazuara, London, 1890, p. 30 and pi. viii. 22
Ten Years' Digging in Egypt, 2nd ed. London, 1893, p. 127; Prehistoric
Egyptian Figures, in tÎan, 1892, No. 14, p. 17 and pi. B, 20.
1

a
dog
The
Berlin
represented
and also a bird
(?),
Museum
153
flight^
in
(Fig-
possesses three remarkable specimens,
form of an antelope
{bubaiis), a
i^S)in
the
wild goat, and a wild Barbary
manner the figures of

M. Schweinfurth,
who has recently published them, also compares them with the
At the British
which we shall consider later on.graffiti,
sheep, which resemble in
a most striking
animals engraved on the vases (Figs. 116-118).
Museum
there
(No. 30,41
1),
an unpublished specimen
is
and also another
115. Worked
Fig.
In the
MacGregor
Collection,
form of a
in
bull's head'^^
Form of
Fli.nts in
form of an antelope
in
Ani.-\ials.
Tamworth, there
is
/;/
situ
among
'
Petrie, Prcldstoric Egyptian Figures,
Schweinfurth,
Umschau,
(?),
discovered in the small
town surrounding the temple of
vii.
1903,
G.,
pp.
i&w specimens
other remains of the primitive age.
These are crocodiles and hippopotami

prehistoric
a large specimen
of the bull's head form, about 19 cm. in height.
have been found
(No. 32,124).
loc. cit. p.
Osiris at
17, pi. B,
Ab\-dos.^
17-iq.
Aegyptischc Tierbildcr ah Kiesclartefakte, in Die

804-806 and fig.
Figures
French translation
d'afiiviaicx fabriques en silex et
provcnent dc I'Egypie,
in the Rcviie
de
V Ecolc
d'Anthropologie dc Paris, xi. 1903, pp. 395-399, figs. 87-89.

* Budge, A History 0/ Egypt, i. fig. of p. 84, No. 32124.
i.
pi.
Petrie, Excavations at Abydos,

xxvi. 292-
:c.',
and
p. 12.
in
Man,
1902, No. 64, p. 89, No. 3
Abydos^
154
These curious pieces
testily to
working (Fig.
known
in
Fig.
16.
Worked
in
remarkable dexterity
Ii5)-
The only analogous
other countries
in
flint
pieces
been discovered
ha\-e
Russia and America.'
Flint
in
Form of an Antelope
(BUBALIS).
Berlin Museum.-
Small figures of human beings are very numerous, and specially
My
Baron de Loe, keeper of the preliistoric antiquities of the

good enough to communicate to me his
notes on this subject.
A flint in form of a fish comes from Archangel. Another,
A specimen from the
in form of a bird, from the Government of Vladimir.
same neighbourhood perhaps represents a human figure. Several worked fiints
from the Volossovo bed. Government of Vladimir, present, he says, exceptional
'
Royal
colleague,
Museums
of Brussels, has been
forms.
Some show
of a boat
of animals,
others
more
the outline
the
profiles
or less deter-
among which a bird may

be distinguished.
Volossovo
mined,
was
a centre of habitation in the
... In the Government of Irkutsk a flint has

been discovered, also of bird
form.
These specimens are all
neolithic age.
of extremely fine work, the contour being retouched with extraordinary delicacy.
Other similar pieces have been discovered in the valleys of the Ohio and
See Wilson, Th.,
Mississippi, one representing a bird, another a serpent.
Classification des pointcs de fieches, des pointcs des laiiccs, et des coiiteaux de
pierre, in the Compte rendu dit Congres intcniaiional d'antliropologic et
d'arcJieologie pi'ehistoriqiies,
pp. 320-322,
and
fig.
twelfth
session,
at
Paris,
in
1900,
Paris,
1903,
14.
Reproduction alter Die L'?nscliaif. Ubersicht iiber Fortschritte und Bewegungen auf dem Gesamtgebiet der Wissenschaft, Technick, Litteratur und
Kunst. Francfurt a/Main, H. Bechhold, Verlag.
-

the
at
period of Egyptian history
earliest
various materials
and
pottery,
lead.
remind
will
men
reader of the figures of
which
of
given earlier
there
is
The
rare
been
further.
men
of
somewhat
are
specimen was found
one
not
Petrie
human
book, and of which
the
no need to speak
statuettes
the
have
illustrations
in
in
carved on the
combs, and also of the pendants of
form
they are found
clay, stone, ivory, glazed
b\'
the vast necropolis of Naqada.
in
At Diospolis a few rude examples were

found, made apparently at '^6 and 33-55
(sequence
represented standing
seen
be
,
Fig.
be
rendering of these figures
not more perfect than
is
human
(Fig.
that of the
we examined
representations
chapter
the
in
the
that
said
117. Worked Flint
Form of a Wild Goat.

,.
^,
Berlin IMuseum.-
caretullv marked.^
is
may
it
to
of the karnata,
,
the beard
general,
In
them are
of
indications
distinct
or sheath
another appears to
On most
be seated.
are
figures
Se\-eral
dates).
relating
decorative
to
in
art
119).
Another
Gebel
statuette,
discovered
pottery,
Tarif,
el
is
in
more
yellowish
necropolis
the
in
interesting.
of
It
shows a bearded personage kneeling, the

Fig. 118.
Worked
Flint
arms
Form of a Wild
Barbary Sheep.
IN
hanging
already
the
the nose
Berlin Museum.-'
down
face
body.
the
formed, and
better
is
and ears are
Here
well indicated.'*
and p. 36. The two statuettes U96

were discovered by Mr. Garstang, at
Alawanyeh see Garstang, Mahdsjia and Bet KlialUif, London, 1903, pi. iii.
See also two specimens in ivory in the MacGregor Collection. Naville, Figurines
egyptiennes de I'lipoque archaique, ii., in the Recueil dc travaux relatifs a la
Petrie, Diospolis,
'
pi. v.
are of clay, painted red.
U96;
Two
vi.
19,
similar pieces
philologie, et a Parclicologic egyptiennes et assyrienties, xxii. 1900,

-
After Die Umschai/,
lb.
De Morgan,
pi. v.
loc. cit.
Reclierclies sitr les origines,
i.
p.
151,
fig.
373
ii.
fig.
ill, p. 54.
PRIMITIVE ART IN EGYPT,
i=;6
Mr. Evans has drawn an extremely able comparison between

this
figure
and
Fig.
the
its
side,
marble
idol
found at Amorgos.
"Though
Figures of Men of the Pri.mitive Period.
119.
he says, "from the primitive marble 'idols' of the
differing,"
Aegean
Islands
yet
general
in
it
shape
its
bent
knees
shows a remarkable
;
while
in
its
and
arms
held
close
to
resemblance to them
in
recurved
flat-topped
head
it
157
reproduces one of their most characteristic features"^ (Fig- 119.
M.
III).
In
the
excavations
several figures of
type
Mr.
Maclver discovered
of the same
specimens
the
as
Amrah
El
at
men
found
at
Diospolis, and always characterized
by the
karjiata or sheath- (Fig.
19).
There are several other statuettes
Museum,^ and
Berlin
the
in
without
legs,
University
in the Petrie Collection,
London.
College,
one
history unknown,
its
men
Figures of
occur more frequently
the mass
in
of ivories discovered at Hierakon-
and
polis,
These
pieces.
tunately
in
to
before
see,
effort
realize
are
bad
is
unfor-
condition,
necessary
what
in
they were
We
mutilation.
their
can
however, that they were standing
figures, clothed
in
preceding
the
ivories
rather
and a serious
order
same time we note
at the
advance on
real
its
was
in a loin-cloth held
place by a girdle, to which
attached
the
The
karjiata.
120.
Ivory Figures of Men
discovered at hierakonpolis.
Fig.
beard,
when represented,
is
enclosed
the bag already described.
in
short,
it
frequent
appears
type
that
the
In
most
The heads probably do not belong to

the bodies. Ashmolean Museum,
Oxford.
was that of which
Mr. MacGregor's ivory figure supplies the best specimen^ (Figs.

20,
119,
120,
and
121).
Evans, Further Discoveries of Cretan and Aegean Script, in the Journal

of Hellenic Studies, xvii. 1897, p. 380, and fig. 33, p. 381.
MacIver & Mace, El Amrah and Abydos, pi. xx. 11, xii. 7, pp. 41, 42.
3 ScHAEFER, Neue Altertiimer der " tiew race "
aiis Negadah in the Zeitschrift
1
filr dgyptische Sprache, xxxiv. 1896, pp. 160, 161, figs.

^
egyptie7t7ies
i.
pi. vii. viii. x.
de I'cpoque archaique,
ii.,
in the
and pp.
8,
11.
6, 7.
Naville, Figurines
Rccueil de travaux relatifs a la
1^8
From an examination
statuettes,
of the
whom we
head
ivor\-
Dr.
considers
race, anterior
that
to
they represent
the
I2i)
(Fig.
which
is
especially characteristic.^
Ivory He.\ds discovered
121.
another head of a
two small ivory figures

at
these
Egytians those Libyans

There is an
man we
see
.\t
Hier.^konpolis.
kind of high-pointed
philologic ct a VcDxhdologic cgypticnncs ct assyriemies, xxii. 1900,
found
all
individuals
have already met with several times.
Fig.
On
Petrie
primitive
of the ph\-.sioIogical t\-pc of
in the
pi. v.
There are
similar to the specimens
HierakonpolLs.
OuiBELL, Hicrakonpolii, i. pi. v. vi. 4, 5, p. 6. Schwei.nfurth, Die

Oberagyptcn mid die Stclhmg der iioch lebcndctt
nciiestcn Grdbcrfimde
Wiistcn-Starnmeii zii dcr altiigyptischcn Bcvolkerutig, in the Vcrhandlungen der
Petrie, The Races of
berl. aHthropologischen Gesellschaft, 189S, pp. 180-1S6.
'
Early Egypt,
pi. xviii. 6.
in
i\\e.
Journal of the Anthropological
Institute, x.\xi. 1901, p. 250,
159
casque, suggestive of the white crown' (Figs. 121 and liz), and
the
in
same head-dress
is
found on a small ivory statuette discovered
the temple of Abydos, which dates
of the historic period.
This
is
ivory carving of the primitive age.
on the subject, and we
may
from the commencement
undoubtedly the masterpiece of

Professor Petrie speaks thus
entirely
rely
on
his
judgment
i6o
shows
power
apart from
with
dealing
of
work
the later
all
in
which
individuality
stands
unshrinking figuring of age
its
and weakness with a subtle character. It belongs to the same

and these reveal a style which
school of art as the figures
.
has hitherto been
(F'g-
on
to
be questioned whether this
ma\'
It
the
more
122}.
seem
and
head,
the
custom of intentional malformation of the

the
preceding
as
position of the ears should be noticed
perpendicularly
size.
Kingdom"^
formal style of the Old
The
unsuspected,
quite
is
they are placed
be
abnormal
of
not a trace of a
more so that
ears, the
same anomaly, with even greater exaggeration, is seen on

from Hierakonpolis and Abydos' (Fig. 132,
other ivory heads
No.
14).
Female
statuettes are
more numerous, and enable us
far
follow closely the evolution of the type.
begin
to
by
body
appearance,
two
of
to
however,
completely on one side certain figures of
setting
extraordinary
illustrations
It is necessary,
which
of
we
have
already
given
specimens when treating of painting the
(Fig. 6).
These
ment of
figures are characterized
principally
fat,
thighs (steatopygy).
found
among
Petrie, Abydos,
lb.
is
the
known
in
by an exaggerated develop-
lower limbs, and especially the

that this deformity
Hottentots, and
the
a representation
It
in
it
the temple of Deir
has
el
is
frequently
been compared with

Bahari of an African
and xiii.
Mexican statue in the Ethnographical
Museum, Berlin, shows a similar deformity.
See Woekman, Geschichte
der Kunst aller Zeiten und Volker, i. Leipzic, 1900, fig. p. 88. Pliny, Natural
" The island of the Fanesii, in which the inhabitants,
History, iv. 27, 5
who are naked, completely cover themselves with their ears, which are of
excessive size.'' Male, E., L'ari religeux du xiii'. siecle en France, Paris, 1902,
" Men with ears as large as winnowing fans."
p. "]"] (the Portal of V^zelay)
Delafosse, M., Sur des traces probables de ciîilisation egyptienne et d'hommes
de race blanche a la cote d'ivoirc, in l' Anthropologic, xi. 19C0, p. 679, " Ces
fils du Ciel avaient la peau blanche
leurs oreilles etaient si grandes qu'ils
s'en cachaient leur visage a la vue d'un homme de la terre."
P. 684, " Tous
ceux qui en ont vu ou en ont entendu parler disent que, pour ne pas etre
reconniis, ils prenaient leurs oreilles avec les mains et les ramenaient sur
leur visage."
Information contributed by MM. Bayet, Macoir, M. Hebert,
and F. d4 Zeltner.
ii.
pi.
ii.
17-19,
iii.
p. 24, pi.
and
p.
ii.
24.
3,
sculpturp: and painting.

These curious statuettes arc
queen, the queen of Punt.^
standing
either
positions,
i6i
or
seated.'
The specimens
in
two
in
the
Ashmolean Museum, Oxreproduced here, are
ford,
of a greyish clay, covered
with a briUiant red glaze,
and
show
still
(Figs.
paint
black
Museum
only complete
know
We
Berlin
possesses a seated
the
figure,
one
123,
The
125).
124,
of
traces
of (Fig. 125).
here encounter an
problem
important
con-
cerning the history of the

primitive
of
migrations
peoples.
Should
Egyptian
statuettes
these
be
taken as a proof of the

of
presence
Hottentot
Egypt
race in prehistoric
Fouquet
Dr.
after
the
writes,
examination
of
discovered
in
the
bones
the
tombs
At
"
South
Naqada, the cephalic index
for
men,
the
women,
the
for
72,
"Ji
13
Ji,
induces a comparison with

those
the
of
Bushmen
Kaffirs
(72,
Naqada
^
les peitples
2
The
54).
itself
1878,
dc la
discovery
of steatopygous
ii.
62, pp. 72,
terre, pp.
Petrie, Aaqada,
Steatopygous Clay Figures.

Ashmolean Museum.
10,
pi. vi.
made by
statuettes
1-4
73.
Flinders
suggested
Mariette, Voyage dans
p. 34.
pi.
123.
the
(72, 42)
Petxij. Naqada,
and Cairo,
Fig.
Hottentots,
the
le
to
Petrie
Haute ^gypte,
Paris
See, however, Deniker, Les races et
1.
p.
at
him the
34
II
ART
PRIiMITIVE
l62
same
IN EGYPT.
which he does not appear
idea,
final
analysis.
It
is
known, however, that
into
France, and
it
is
Egypt."
writes
way
of
This impression appears at the
all
penetrated
race
this
returned by
they
possible that
but we hasten to add that
by
have adopted on
to
it
is
first
glance to be extraordinary
identical
with that entertained
who have examined these objects. M. de Villenoisy

The excavations at Brassempuy have effected the disa series of ivory statuettes representing women with
those
'
"
covery of
whose head-dress there
Fig.
is
nothing analogous except
in
Egypt,
Steatopygous Clay Figures.
124.
Ashmolean Museum.
and whose physiological characteristics are found only
among
the most ancient inhabitants of the soil
in Africa,
the dwellers in
the land of Punt (now Somaliland) in the time of the Egyptian
Queen Hatasu (eighteenth dynasty), Abyssinians and Bolofs (who

must at one time have been neighbours of Egypt), Bushmen
and Hottentots.
out,
^
in
on
The
insistence
Pyrenean
the
FouQUET, Recherches sur
with
Piette pointed
peculiarities
which
cranes de I'epoque de la pierre taillceen Egypte,
Df Morgan, Recherches sur les origincs^

^ De Villenoisy, Lhiatus prehisioriqice
in the Bulletui
figures,
palaeolithic
les
which M.
ii.
p. 378.
et les decouvertcs
de
M. Ed.
Piette,
de la Socicte de spcleologic , April to June and July to September,
1896, pp. 97, 98.

among women
African,
did
163
of contemporary races are found to be exclusively
not
at
succeed
first
in
fixing
attention
was
it
considered that they were merely the result of accidental circumstances, or
lack of skill on the part of the sculptor.
was taken when,
step in advance
dcs
Inscriptions,
the
great
November
similarity
that
23rd,
at the
meeting of the Academie
1894,
M. Maspero recognized
between the
exists
great
legless
figures
of
Bassempuy and those deposited in the tombs of Egypt.

He
believes them to be inspired by the same religious conception."
Fig.
125.
Steatopygous Figure
Berlin
M. Boule,
way
may
in
in Cl.\y (complete).
Museum.
r Anthropologic} expresses himself
with regard to the Hierakonpolis figures
have very slender foundation, yet
"
in
the
same
The comparison
cannot
resist
finding
a certain resemblance between some of these reproductions and

those on the sculptures found by M. Piette at
I
received the
Mas
d'Azil,
and
same impression on examining the steatopygous
female figures [found by Professor Flinders Petrie and Mr. Quibell

at
Naqada and
Ballas."
'
r Anthropologic
xi.
1900, p. 759.
164
doubts,
NotwithstandiriL^ Boule's
resemblance
is
figures in the
and
Illyria,
without
not
French caves/
seems probable that
it
We
foundation.
Thrace
Malta,- in the regions of
in
at Butmir, Cucuteni,
Sereth, in
and the Aegean Islands, notably
Poland,'^ in
Greece,'*
Crete.''
But by the side of these steatopygous
Egypt
in
this
analogous
find
figures,
as also in France, statuettes of another
type are found, characteristic of a race of less
The
bulky proportions.''
be quoted
can
paintings
of this type in
where the
decorated
(Fig.
with
There
5;.
clay, ivory,
and
summarily indicated.
are
legs
specimen that
best
figure
reproduced
alread}'
are statuettes
lead,
the
is
Frequently the arms are merely represented by
means of a nip
at other
deti Kiuist, pi.
ii.
29-1
ix.
not a trace
is
p. 34,
5 1.
figs.
dcconvcrte dans
polog/e,
there
where he quetes l AnthropoHoERNES, Urgcschiditc der bildenReinach, S., Statuette de femme

9-13.
Petrie, Naqada,
logic, vi. 1895,
Jine
times
\Vc must notice a curious specimen,
of them.
'
causing the shoulder
Occasionally the breasts are clearly
to project.
indicated
in the clay,
des gj'ottes de iMctiton, in l'Anth?-o-
ic?ie
189S, pp. 26-31, pi.
i.
ii.
von Malta,
Akadcmie der ^V'iss.,
CI., .\xi. Bd., iii. Abth. Mu.nchen, 1901, pp. 699-703, and
pi. X. 2, xi.
and 2. Review by Arthur Evans, in Man,
Mayr, Die
in
tiie
vo7geschichtliclicn Denkmiila-
Abhandliuigcn der
k.
bayer.
i.
1902, No. 32, pp. 41-44,

.xi.
Fig 126.
Clay
Fe.male Figure.
University Col'ege,
Poland are reproduced
London.
(separate reprint, p.
of our Fig. 123.
Perrot
&
in
Europe avatit les influences

Compare especially the
39).
Chipiez,
priynitive, I'art fnycenien,

*
43,
reproduces
fig.
2 of pi.
'
pi.
fig. 3, p.
Mayr more clearly tatoo-marks are distinguishable.

HoERNES, Ufgeschichtc der bildendcfi Kunst,-p. 192 and
iii.
The statuette of Cucuteni (Roumania) and tiiat of
of
fig.
Reinach,
figure
Histoire de fart dans

325, p. 736,
and
figs.
La
S.,
sculpture en
94 and 95
from Poland with those
greco-romai7ics,
I'antiquitc',
333 and 334,
fig.
La
vi..
Grece
p. 741.
Evans, Arthur, The Neolithic Settlement at Knossos and
its
Place in the
History of Early Aegean Culture, in Ma.t, 1901, No. 146, pp. 184-186, and fig.
They appear again in Egypt in the eighteenth dynasty. See MacIver & Mace,
El Amrah and Abydos,

E 178.
pi.
pi. xi.x.
*
Petrie, Naqada, p. 34.
iv.
D8.
Garstang, El Arabah, London,
1901,

unknown provenance,
of
hands
the
of
body
the
clasped
are
(Fig.
specimen which
Museum
as
to
hide
There
is
also
126).
No.
paste,
London, where
College,
though
almost perfect at
is
vegetable
in
University
at
165
the
lower
part
Berlin
the
(Fig.
14 167
127).
Another very early example (sequence date

38) in vegetable paste moulded on a reed core
painted red and
the thighs
edge
be covered with a
there
when joined^
(Fig.
specimen
a similar
University
tomb B
10
arms
There
11).
Petrie
The excavations
examples,
(sequence date
the
lower
the
at
No.
128,
the
in
have furnished other
D.
Round
Collection,
London, as well as another
College,
in lead (Fig. 128).
with
curved
a belt
is
of the
part
veil.
both ends so as to form a point between
at
the legs
is
The lower
black.
appears to
face
is
at Diospolis
small
carved-
carefully
from
notably,
a
34),
figure
(Fig.
128,
loi).
In
same
the
necropolis,
tomb
in
S;^
(sequence date 33-48), excavations have brought

to
hair
at
least
legs
and
(Fig.
^
128,
D.
B80
in
the
same
the
indicated
=*
The arms
are
rudimentary
.
Aegean
still
fashion
represented
as
worked
already
statuette,
where
detail,
in
are
female
light
more
the
in
III-!
Islands.-*
'
also
figures
the
-J^
of
c
Fig.
127.
r-
Fe.m.\le
Figure in Veget^^^^ Paste.

the
Berlin Museum.
In the series of ivory female statuettes the progress
is enorUnfortunately there has been no specimen found in the

course of scientific excavation to furnish a relative date for these
mous.
objects.
The examples we can quote
Petrie, Naqada, pi.

mok.an Museum, Oxford.
P-
lix.
11
'
Petrie, Diospolis,
lb. pi.
vi.
pi. v.
83, p. 32.
Diospolis,
p.
26.
Now
Identical fragments \n\Diospolis,
533
present a great variety in
p.
33.
pi.
at
v.
tiie
loi,
Ashand
PRIMITIVE ART IN EGYPT
66
Fig.
128.
Female Figures
in
Pottery, Ivory, Lead, and Vegetable Paste.

the
position
body
of
Sometimes they hang
arms.
the
sometimes
only
the
right
arm
on
the
breast
have
others
pendant,
is
One
appears to support the breasts.
left
folded
167
Most have the head shaved

long,
two
with
Fig.
locks
129.
some, on
hanging
on
carved,
and
lower
the
series
framing
the
part
of holes,
of
arranged
sometimes
the
arms
the
placed
on the
body.
of the
contrary, wear
the
over
the
in
front
Fem.\le Figures in Ivory.
MacGregor
shoulders,
the
down
the
has
figure
one hand
stomach, while the second hides the lower part
hair
down
while
Collection.
On some
face.
the
body
is
fan-shape.
inlaid
with
later
figures
the\'
were
ar^^'
The
round
specimens
'y
e\-es
the
rendered
are
bone beads
hair
b\-
sometimes
(Figs.
128
129).
Some
means
of
of these
which
have a tenon at the base, by

fastened
to
stands,
similar
to
Budge, A Hiitory of Egypt,

p. 52.
MacGregor Collection Naville,
Figicrines cgvpiicmies de tepoque archa.que, ii., in the Rcciieil dc travaux relatifs
Britisii
Museum, 32.125, 32,139-42.

London see our Fig.
University College,
i.
128
a la philologii ct a I'archeologie egypticn?ics et assyriennes,

V hicli our Fig. 129
is
a reproduction.
xxii. 1900, pi. iv.
of
68
some of
those of
Hierakonpoh's ivories which we are about
the
to consider.
The
woman
which
British
Museum
(No. 32,143; possesses a statuette of a
standing, wrapped
leaving
fringed,
is
shoulder she carries
the
uncovered
breast
left
whose body
child,
upper edge of
cloak, the
large
in
is
folds of the cltiak^
The
in
her
'fig-
of
t\"pe
carrying
ijO).
also occurs
child
in
the Berlin
Museum
(No.
14,441;
tremely
rough
style
ex-
of
work
of
130-
At
the
her
woman
the
an ivory figure
(Fig.
on
hidden beneath the
wc
find
figures,
and
Hierakonpolis
same female
these enable us to decide that

the
examples described
preceding
the
in
which
lines,
are
of
uncertain provenance, are to be
considered as belonging to the
130.-F1GCREOFAW0M.AN carkving
Fig
^ge shortly before
A Child on her Shouledrs.
the
Hntibh ^,
Museum.
,,
,_
fact,
progress
rise
There
dynastx-.
^
first
the
made
is,
of
in
between
one group and the next, and although the pose and the arrange-
ment of the
artist
has
completely
absent
examples, a
I
hair
fair
same, one
ma\' be the
feeling
in
for
the
the
earlier
number of
is
conscious that the
individuality of the
Like
figures.
type which
the
is
preceding
^hese statuettes have the e\'es inlaid.
cannot attempt to describe
but few varieties beyond those
all
I
these carvings.
They
have mentioned.
present
In Figs.
132
and 133 are reppodiictions of the best ivories found at Hierakonpolis, and
now at the Ashmolean Museum. O.xford.
wish
I
however,
to
cloaks which
two small
^
Budge,
For
tlie
draw attention
we have already
statuettes,
to
the
figures
dealt with,
on bases,- identical
and
in
wrapped
also to
st\-le
in
with an ivory
History of E;^ypt, i. p. 53, No. 7.

Hierakonpolis ivories see Quibell, Hierakonpolis,
large
remark on
i.
pi. ix. x.
SCULPTURK AND PAINTING.

discovered
statuette
carved
of children
tionality^ (Fig.
The
in
konpolis
carved
one
of
and
free
from
figures
conven2).
at
with
we had
met with
the
pre\-iously
from Hiera-
a figure
chrysocolla.'"
in
two
Abydos,
ivory
women were
of
shows
which
carvings"^ (Fig
found,
strong
Hicrakonpolis
the
to
affinity
style,
Abx'dos,
at
These are
other
contributed
attitude- which
at
1902-3
mouth, a traditional
finger in the
Also,
of
Nos. iSjand 21, and Fig. 133, No.
children,
of
statuettes
excellent
excavations
have
Abx'dos
car\-ings
winter
Egyptian dynast}'.
first
in
132,
same
the
durinc^
and dating from the
169
Ab
I-8.
5^
while
the other, according to Dr. Petrie,
already shows signs of the forma-
Ancient Empire.'
st\ie of the
list
There are
\'arious other figures
which are unimportant, with the

exception of some
specimens
in
clay and glazed potter}'," and the
pretty statuette in glazed pottery
reproduced
to
dressing (Fig.
Finall}',
illustrate
to
Fig. 131.
terminate
of female figures,
IvoKv Figure
of
.\
Woman
CARRYING A ChiLD.
list
Berlin
in lapis-lazuli,
Museum.
discovered at Hicrakonpolis.
position of the hands, the slender proportions of the body,

Petrie, Abydos,
ii.
pi.
ii.
lb.
QuiBELL, Hicrakonpolis,
ii.
pi.
ii.
7,
8;
Petrie, Abydos,
female figures found
this
we must mention
an interesting statuette
The
hair-
15).
pi.
ii.
in
i,
and
j).
23.
18.
ill.
i.
pi. .xviii. 4.
and
tiie
ii.
p.
24.
ro>al tombs at Abydos.
pi. vii.b, 8, and p. 21.

compte rendu in extcnso, Paris, 1^99, pi. xx.xi.
^ Petrie, Abydos. ii. pi. ii. 2 and np.
23, 24.
* lb. ii. pi. i.\. if-'4,
23c
.>:i.
The same
is tiie caiê with the

Petrie, Royal Tombs, ii.
Amelineau, Les nouvelles foiiillcs d' Abydos, 1895-6.
pi.
170
PRIMITIVE ART
IX
EGYPT.
'-
171
.r
PRIMITIVE ART
1/2
and the bending of the knees
IN EGYPT.
recall to
an astonishing degree the
small figures of the Greek Islands^ (Fig.

I
134).
have intentionally omitted a
and female
which
specimens
curious
at once elicited a
figures of
"
in
suggest
have been
and these
Ptah
male
class of
because they represent ana-
malformations
tomical
Some
figures,
comparison with the
embryo" of
There are two examples
rickets.
published,
the historic
ivory in
in
age.'^
the Petrie
We
Collection, University College, London.
shall
presenth- have occasion to enquire what was the
meaning of these deformed

reason
they were
temples (Fig.
We
FjG.
134.
Figure
SM.A.LL
i.v
Lapis-
from
lazuli
must
tombs and
the
135).
also class in a separate category the
squatting or
in
This
positions
is
either
which seem to be im-
the case with
men
represented
There
the back, and apparently captives.
with
ivory figure, very instructive
Ashmolean Museum, Oxford
it
regard
to
is
point, in
this
was brought from Egypt
by Greville Chester (159-91), and
1891
in
what
standing^ or kneeling, with the arms bound behind
Ashmolean
Museum.
is
stated
to
an
the
in
have been
ii. p. 38.
QuiBELi., HierakonpoUs, i. pi. xviii. 3, and p. 7
N.AViLLE, Figitrines egyptienncs de iepoque arcfmu/iie, ii., in the Reciieil ch
'
travaux
7-elatifs
1900,
pi. 5.
pi. xi.
and
X.
deposited
for
which represent human beings
statuettes
possible.
HlERAKONPOLIS.
and
figures,
a la philologie et a I'archcologie egyptie7mcs ct assyrietmes, xxii.

A History of Egypt, ix. p. 52, 2. Quibell, HierakonpoUs, i.
Petrie, Abydos, ii. pi. v. 44, 48
ii. pp. 37, 38.
7, 19, and p. 7
Budge,
xviii.
213, pp. 25, 27.

'
See ViRCHOVv, Die Phokomele/i imd das Biirenweib,
in the
Verhandlmtgen
Gesellschaft filr Anthropologie, EtJmologie imd Urgeschichte, 1898,

Dr. Parrot, Sitr I'origitie d'lme des formes dii
pp. 55-61, witli fig. and plate.
dicii Ptah, \\\ the Rcciteil de travaux relalifs a la philologie et a I' archeologie
der
berl.
egyptiemies ct assyriciiiics. ii. 18S0, pp. 129-133, and plate (reproduction from the
Dr. Eifer,
Bulletins de la ôciete d\mthropologic de Paris, 1878, p. 296).
LAchondrflf>lasie, in the Correspondant medical, vi. 120, September 15th, 1899.
See ScHVEi.FURTH, Ueber ivestafrikanische Figure?i aiis lalkschicfer, in the

Verha7idlugai der berl. Gesellschaft fiir Anthropologie, Eihnologie tmd
Urgeschicrte, \<)C\, pp. 329, 330 and fig.
* ScHAEKJiK, Nene Altertiimer der " new race " aus Negadah. in the Zeitschrift
fiir dgypUiche Sprache, xxxiv. 1896, p. 159, and fig. 3, p. 160
SCULPTURE
x*\ND
The main
found at Thebes.
thong that held the captive

other
specimens
example shows how similar

of our Fig.
132,
No.
Fig.
same
give
ivories
There
is
in
i.
pi. xi.
the
3.
to
be noticed at
dynasty,
the
where scenes
.xii.
Petrie Prehistoric Egyptian Figures,
3, xxii.
(Fi&-
figure
first
Petrie. Abydos,
2,
hard red limestone, with eyes
lb.
xxi.
all
this
examples of these
fragment of crystal inlaid on
Objects of
pi.
In
but
Collection.
a small
also
of rock crystal, and 'another
i.
drawn
H)- Objects of
glazed pottery, were found at Hierakonpolis
University College, London,
'
several
arms bound behind the back
head.'''
the
Ivory Figures of Dwarfs.
135.
type, but in
top of the
disappeared,
in
statuettes should be interpreted (t\'pe
MacGregor
and Abydos.-
lies
tightly
19J.
The Hierakonpolis
captives, the
the
crouching position.
thong has
leather
this
his
in
/5
object
interest of this
preserved leather belt, which represents
well
the
PAINTING.
in
ii.
Man,
pi. v. 37,
and
p. 25.
1902, No. 14 p.
17, pi.
B,
1.
1/4
we
occur representing captives, and which
shall
consider farther
on, afford proof of the accuracy of this interpretation.
Finally
we
At Naqada,
with the statuettes representing servants.
will deal
tomb (No.
in
271), Petrie discovered a
placed
ivory statuettes
the
upright,
on
tomb, several
the
of
side
east
row of four
They represented
centimetres apart.
personages (whether male or female

it
to
difficult
is
by beads
of
these
say) having a vase
The eyes
on the head.
are indicated
(Fig.
119, No.
at
University
is
London, and
also
One
7).
College,
head
the
of
similar piece in alabaster.
There are some specimens
at the
Museum, which are supposed

have come from Naqada, which
Berlin
to
must
be
included
statuettes, although
Figure of a Woman
STANDING IN A LaRGE |aR.
Fjg.
136.
in
this
they
very different style.
list
are
Some
of
of
of these
formed part of the crew of a boat

(Fig. 119,
of a
S3,
woman
8,
and
standing
thing under her
One
ii).
in
is
the figure
a large jar, occupied in crushing
The
feet.
of the most curious
left
hand
is
upon her
the right she supports herself by resting
it
hip,
some-
and with
on the edge of the
vase- (Fig. 136).

I
have reserved
Petrie, Naqada,
'
date 38
is
given.
pi.
for
li.x.
this
7,
and
chapter some vases of

p, 21
where the sequence

du Louvre, Catalogue des
Diospolis, p. 26,
Compare Heuzey, Musee
antiquites chaldee7tnes, scjilpture et
human form
natiofial
gravurc a
la pointt\ Paris,
1902, pp. 96, 97,
race" aus Negadah,
in the Zeitschrift
105, III, 305, 306. 313-318.

^
ScHAEFER, Neue Altertiimer der
''
new
fragment of a similar figure

id.
has been found at Naqada see Petrie, Naqada, pi. x.xxvi. 95, and p 41
pi. xxxvi. 96, another piece of unknown provenance (Fig. 119); an unpublished
piece at the Ashmolean Museum, Oxford, and a head at University College,
in he
London.
It seems that the woman, standing in the jar, is occupieo
See Borchar:)T, Imc
preparation of beer, made by means of bread.
fur
(igyptische Sprache, xxxiv. 1896, pp. 160, 161.
Diencrstatueu aus den Griibeni des alien Reiches,

pp. 128 et scq. and
fig.
p.
129; Kat. 1895, No. 91.
in the ZeitscJ'rLft,
xxxv. t^q/,

published
by M. Naville
and which appear

art.
The
first
to
as
belonging to the primitive period,
belong rather to sculpture than to decorative
of these are two vases
Fig.
137.
Vases
in
of hard
Oni
i.i
a kneeling
p'-esents
and the
fine
woman, holding
collection of Mr.
in
her hand an
was struck with the analogy which

with the attribute that appears on a large
object resembling a horn.

this object
stone
Form of Women.
fragment of a tbiid vase belonging to the
MacGregor.
1/5
(]
1/6
number of European
prehistoric
The other
sculptures.^
is
dwarf of a type already known, while the fragment appears
to
be
part
two
female
of
terracotta
and
Petrie,
M.
figure.-
figures
in
do not hesitate
compares these with
Naville
With Erman
Museum.
them to
Athens
the
the eighteenth
to attribute
dynasty.'^
As regards
M. Naville
the
preceding ones,
and
work,
ceramic
have
am
inclined
which
art
difficult)'
at the
believing
in
connect
to
produced
artists
rendering of animals than of
valuable.
Of
classif\'ing
them according
these
we
will
human
at
Hicrakonpolis,
Sometimes
at times, in
'
Reinach,
in
is
it
La
137).
strange to
is
They carved
materials
in
a great
hard and
both
to their species.
in
almost
glazed
in
There
is
the excava-
all
and
Diospolis,
sometimes
stone" (Fig. 138;,

S.,
It
of
with
note the most interesting specimens.
Abydo.s,
clay,^
pottery
earlier (P"ig.
figures.
The hippopotamus has been found

tions
school
the
general understood better the
in
animals, and sometimes
variety of
be Egyptian
to
incised
extremely numerous.
P'igurcs of animals are
remark that the primitive
it
with
it
black
the
we have spoken
whitish paste, of which
woman, bought by
same time as the two
standing
the
of
figure
Luxor and published
at
Gebelein
at
potter)','
figure
and
a
of
also,
hippo-
sculpture en Europe avant les injluences greco-romaines,
and figs. 26, 28, 44. 46-49.

Naville. Figurines egyptieimes de I'epoquc archaique, \\., in the Recueil de
travaiix relatifs a la philulogie et a rarcheologic egyptiennes et assyricnnes, xxii.
Angers, 1896, pp.
l8-20,
13,
1900, pp. 65, 66,
pi. i.-iii.
Naville, ib. .x.xi. 1899, pp. 212-216, pi. ii. iii. These vases may be compared
with those found at Abydos.
See G.\rstang, El Arabali, pi. xix. K 178.
MacIver & Mace, El A7?irali and Abydos, pi. xlviii.
and notice of J. L.
^
Myres,
pi.
225.
35
pi. v. B loi (Ashmolean Museum, Oxford); Abydos,

(Musees royaux de Bruxelles), and p. 26; ii. pi. i.x. 188, and p. 27,
Von
Bissi.ng, Altdgyptische Gefiisse />
iigyplisclie
Aftirah
*
pp. 72-75.
Petrie, Diospolis,
liii.
fur
!b.
i:prache,
and Abydos,
xxxvi.
Museum
124,
and
fig.
ztt Gise, in
the ZcitsdiHfi
MacIver
&
Mace, El
pi. ix. 5.
QuiBELL, Hierakofipolis,
Oxford).
1S98, p.
i.
x.
Pe.'rje, Abydos,
ii.
i.
pi. xviii.
xWui.b) (Ashmolean Museum

and p. 25.
B loi, and p. 33 (Ashmolean Museum)
18 (see
pi. vi. 70, 71, 73,
Limestore >'ErRiE, Diospolis, pi. v.

iXaqada p!. Ix. 21. ai.d p. 46 (bought at Gebelein, University College, London).
*
Ca'.cic":
QuTBELL
&
Green, Hierakonpolis,
ii.
pl. Ixiv.
5,
and
p.
50,
tomb 153

potamus
which
museum
merits
Athens, where
at
Collection.
It
carved
is
extremely polished.
block
the head
Fig.
13S.
special
The
forms
it
in
attention
black
beast
is
part
belongs
it
of
177
the
and white
Di Demetrio
granite,
and
is
scarcely disengaged from the
only has been treated with some
Figures of Hippopotami
the
to
in Clay,
The
detail.
Glazed Pottery, and Stone.
University College, London, and Ashmolean Museum.
whole
effect
is
heavy and
without
character.
to
curious
this
(Ethnograpiiical
thickset,
Professor
piece, does
but nevertheless
Wiedemann, who drew
not
hesitate
Museum, Cambridge). Alabaster
to
attribute
PiTiÊ, Abydos,
it
is
not
attention
to
it
ii.
pi. x.
the
226,
and p. 27, a specimen in quartzite in the MacGregor Coilerilon, Tamvvorth (3,334).

Three similar pieces belong to the Randolph Berens Collection at the South
Kensington Museum.
12
178
Naqada period'
(Fig.
and
139).
impression
this
is
confirmed by
comparison with the figures of lions belonging to the primitive
by Dr.
period which were discovered
The
type
lion
specially
is
were discovered by Mr.

are
in
and
ivory,
low,
and
the
that
they
formed
Fig.
Ouibell
show
over
Hippopotamus
139.
in
University
London.
College,
Gebelein, where there
These
Ballas
the
movement
'
iii.
lions
lions
down,
It
the
head
considered
is
by Dr. Petrie, and are now

They were probably found at
in
to regular
and
limestone are of a t>'pe
already one sees
but
which
Nagada
Z.u
They
a vast prehistoric necropolis, which un-
is
of the head
Wiedemann,
pieces
Ballas.
Other specimens, almost
fortunately has not yet been subjected
excavation.
earliest
Black and White Gr.\mte.
contemporaneous, were purchased

at
lying
back.
the
game.^
of a
part
The
tomb at
in
animal
the
twisted
tail
Petrie at Koptos."
interesting.
Periodc^
is
in
found
in
in
two
almost
of
all
scientific
similar to
them
the later
the Orieni'ilistisdic Litteraturzeitttng,
1900, col. 86.

*
Petrie, Koptos,
pi. v.'5,
and
p. 7
(one of these cx the Aslimolean Mu.seum,
Oxford).
'
Petrie, Naqada,
pi. vii.
Qj^^,
P'- 'x-
^'-,
16
17,
and pp.
14, 35, 46.
Another example of uncertain provenance
ones^ (Fig. 140).
more massive, and
The
limestone.-
with
Menes,
crystal, of
179
is
royal
has
disengaged
scarcely
tomb
from
is
block of
of Naqada, apparently contemporary
two
yielded
the
figures of lions
one of rock
crude work, recalling the earlier pieces^; the other of
140.
Fig.
Small Figures of Lions.
ivory,
which
in
the
sculptor
has
details, carefully indicating the ears

'
Petrie, Naqada,
lb.,\A.
\x.
pi. Ix.
endeavoured
to
render
the
and mane.^
24-26.
23.
^ De Morgan, Recherches surles origincs, ii. fig.

700, and pp. 193, 194. There is a
second e.xample, probably also from Naqada, in the MacGregor Collection (No. 533).
* De Morg.a..\, Rechcrclies sur les origines, ii. figs.
699^ and b, and pp. 192-194.
Von Bissing, Lcs origincs de VEgypte in I'Anthropologie, ix. 1S98, pi. iii. 8, and
A similar specimen is in the collection of Mr. Hilton Price, London.
p. 249.
See Hilton Price, Noles upon some Pre-dyitastic and Early Dynastic Antiquities
pom
Egypt
stpwrately,
p.
in the writer's
5,
fig. 5/^,
Collection (No. 504).
and
collection,
p. 10).
in
There
is
ArchcEologia,
Ivi.
1899 (published
another specimen in the MacGregor
PRIMITIVE ART
i8o
The
ivory
discovered
lions
EGYPT.
IN
one
in
of
the
tombs
private
which surround the tomb of King Zer, show a further improve-
ment
spots
with
in
On
form.
one of these Professor Pctrie notices two
marked above the

on
Mesopotamia
he also
This
eyes.
Eg}'ptian work, but
peculiarity
points out
that the
position
t
Fig.
141.
identical
those
with
peculiarity
to
The
carvings.^
of
is
prehistoric
two
that
Amelineau,
Petrie, Royal Tombs, ii. pi.

Amelineau, Les notivelles
extenso, Paris, 1899,
pi.
curved at the end,
the
Abydos, had previously produced a
of
tail
over the back and
be observed
excavations
that
of the
Figures of Lions.
define the outline of the muzzle (Fig.

.
in
of
this figure, twisted
in
Small
met
not
is
observed
frequently
is
xxxi.
vi. 3, 4,
in
is
final
relief clearly
141).
in
lion in
and
lines
The
same
ivory,- and
the
tombs
at
also a head
p. 23.
fouillcs d' Abydos,
1895-6,
Compte rendu

on which the two
There
is
an
of special
is
h'nes
of the muzzle are more clearly defined.^
example of
larger
This
interest.
i8r
size
which
in
this
peculiarity
a limestone statue discovered
by
which reproduces the principal characteristics
of the small figures (Fig. 142).
One would gladlv assign it to
is
Petrie at Koptos,
Fig.
142.
Limestone Statue of a Lion from Koptos.
the age of Zer, and this date would equally apply to the
hippopotamus at 'the museum at Athens. These specimens are,
however,
not
sufficiently
abundant
to
enable
with
us
to
307,
where they are
fix
certainty the appearance of a type.-
Amelineau, Les noiivelles foiiilles d'Abydos,

quoted as figured on pi. xli.
'
Petrie, Koptos,
pi. v. 5,
and
p. 7.
f)l.
.^lii.
p.
i82
Randolph
the
In
South Kensington
Berens
Museum,
now deposited
Collection,
two large
there are
granite and in alabaster found at Abydos.
an art
far
more powerful than
and they should be attributed,
think, to the
the
in
black
bear witness to
first
temple
d}'nasty.
of
Osiris
at
yielded a series of ivory lions
143.
in
the
that of the great lion of Koptos,
The excavations carried on

Abydos during the winter 902-3
Fig.
lions
They
at
Ivory Carvings of a Dog' and of a Lion- from Abydos.

Brussels Museum.
of excellent workmanship.
them
to a
Dr. Petrie, from the style, attributes
Two
date later than that of Zer or Menes.
are lionesses, and, strange to say, they are wearing
the
intend thus to
artist
animals?
'
Petrie,
thinites
in
Abydos,
ii.
pi.
iii.
that
indicate
Another has the eyes

22,
p.
inlaid
24.
of
collars.
them
Did
they were domesticated

with chalcedony.^
Capart,
Aiitiquitcs de
I'epoqne
Bullethi dcs Musees royMiy des arts decoratifs ei industriels
the
a Bruxelles, iii. 1904, p. S3, fig. 2.

' Capart,
ib. p. S3, fig. 4.
' Petrie, Abydos, ii. pi. iii. 231^, and
in chalcedony
29.
:
p.
24.
Lionesses
26 and 28.
Eye

The excavations
at Hierakonpolis
remarkable figure of a
opportunity to discuss
antiquities.
we must
To
lion
in
led
which we
shall
have
connection with the earliest Egyptian
in
conclude our examination
notice an
the discovery of a
to
terracotta,
183
example
of figures
of
lions,
glazed pottery, which also comes
in
from Abydos.^
Figures of dogs are
by glazed pottery
later
the
more archaic
type,
figures discovered at Hierakonpolis
Fig.
and the
They must
numerous.
less
two principal groups
into
144.
be divided
represented
and Abydos,-
Figures of Dogs.
type represented by ivory carvings, which already
suggest a resemblance
earliest sovereigns of
to
the
the
first
lion
figures
dynasty^
have a collar round the throat (Fig.
of the
(Fig.
143)-
time of the
These dogs
144).
Petrie, Ain'dos, ii. pi. xi. 246, and p. 28.

OuiBELL, Hierakonpolis, pi. xx. 13 and p. 13 (monkey) ii. p. 38 (monkey?).
Petrie, Abydos, ii. pi. vi. 67, 08 (?), and p. 25.
' De Morgan, Recherches sur les origines, ii. figs. 698 a and d, and p.
192.
Von BissiNG, Lcs origines de I'^gypt, in f Anthropologic, ix. 1898, pi. iii.
Petrie, Royal Tombs, ii. pi. v'x.a, xxxiv. 21, 22, and
figs. 7, 9, II, and p. 249.
Abydos, ii. pi. ii. 13, iii. 22 (M usees royaux de Bruxelles), and p. 24.
p. 37
There is also a specimen in the MacGregor Collection, Tamvvorth (No. 534).
'
i.
i84
There are two breeds of dogs

mastiff,
to be distinguished
a kind of
strong and powerful, which was employed in lion-hunting^
and also a breed of large running dogs, of slender

pendant
head much
ears, the
like
our modern
build, with
foxhound, and
with a coat either black and white, or white and reddish brown.It
is
to
now
in
class of animal that the dog belongs which is

by an ivory carving discovered at Hierakonpolis,
Ashmolean Museum, Oxford^ (Fig- HS) also two
this
represented
the
rough fragments
in
Fig.
145.
clay,
which Mr. Quibell recognizes as
dogs.'*
Part of an Ivory Figure of a Dog.

They
with
are
specially
European
examples of
figures
''
(Fig.
ii.
pi.
from the analogy they present

144).
These are almost
all
the
which have been found.
this species
Petrie, Abydos,
Fig.
interesting
ii.
13.
i.
pi.
.xi.\-.
6,
and
68 of this book.
See Lenormant, Fr., Sur
a la chasse et a la giierre,
in
les
the
ani?naux employes par
les ancieits iHgyptieiis
Cuniptes rendus dcs seances de
I'
Academie des
October 31st, November 7th, 14th, and 28th, 1870. Reprinted

in Notes sur tin voyage at Egypte, Paris, Gauthier-Villars, 1870.
^ The feet were carved separately and
are now missing.
It is the dog of
pi. xii. 7.
which a portion only was published by Quibell, Hierakonpolis,
The same breed is found, especially at Beni Hasan, under the twelfth dynasty.
See Newberry, P. E., Befti Hasan, i. pi. xx\. See on the dogs of Egypt,
besides Lenormaiit's article, quoted in tlie preceding note, Birch, The Tablet 0/
Antefaa //., in the Transactions of the Society of Biblical ArchcEology,\\. 1875,
pp. 172-195, pi. and fig.
^ Quibell & Green, Hierakonpolis, ii. pi. l.xiii.
7, 10, and p. 50.
* Reinach,
S., La sciilptttre en Europe avant les influences grcco-romaines,
sciences de Paris,
i.
fig.
366, p. 125.
11-14,
and
p. 522.
Hoernes, Urgeschichte der
The
figure,
bildendeti
Hierakonpolis,
Ixiii. 7,
Kunst
appears
i?n
to
Eiiropa^ pi xv.
me
to
rep.-c.";';nt
i8s
In the temple at Hierakonpolis, as in that of Abydos,

enormous numbers of figures of apes were found, in stone and
ivory, and also in glazed pottery, white and brown, light green,
and blue or purple.
The most
curious
pieces
are blocks of stone from Abydos,
barely roughed out, and of which the head
By
cated (Fig. 146).
only
with a projection bearing a vague resemblance

a
monkey.
Fig.
remarks that
Petrie
Found
being
its
he says,
for its likeness to a

in
"
preserved.
been kept,"
this
clearly indi-
"
in
the
to
flint,
head of
was the cause of
likeness
Natural Flints roughly worked to
146.
is
the side of these there was a natural
rese.mble Baboons.
the temple of Abydos.
The
great
natural
flint
seems
as being like a quadruped,
baboon.
No
other
have
to
and [another]
large flints were
found
the whole temple area, and these must have been brought
mile or more
from the desert.
rudest figures of baboons that
As they were
we know,
it
placed with
the
seems that we have
here the primitive fetish stones picked up because of their likeness
to
sacred
animals,
and
perhaps
venerated
any
before
compared with those discovered at the station of Argar, in

Spain see Siret, H. & L., Les premiers ages du metal dans le stid-est de VEspagiie,
Anvers, 1SS7, pi. xvii. 1-3, anc^pp. 123, 124; also with those discovered at Cncuteni.
See BuTZURE.ANo, Gr. C,
jI'- sur Coucoute7ti et plusieurs autres stations de la
a bull, and should be
:
Moldavie du nord,
et
in the
Compte rendu du Congres
d'archeologie prehisioriqucs, tenth
pp. 299-307
and
pi.
ii.
17,
session,
at
i?iteniatiotial d' anthropologic
Paris,
in
1889,
Paris,
1891,
l8.--Information contributed by the Baron de Loe.
i86
images were attempted."
artificial
with which we
From
the
The
figure.-
species of
there
monkey
this
subject
another very
is
here represented
is
on the ground, the fore-paws resting
seated
extremely numerous,
Figures of this class are
knees.
deal later.
will
c}'nocephalus,
on
not insist on
will
temple of Hierakonpolis
the
rough stone
the
We
which touches on the purpose of these figures
point,
always copied from the same type, sometimes summarily, sometimes worked with
which
and a regard
observation
careful
One group
quite remarkable.^
is
small apes seated in front of a large one.^

are in glazed potter)', except one, which
We
must
inspired
monkey who
one
arms,'' the little
artist
tenderly in her
head round and looking back
its
Or,
there
again,
ground.
In
this
of a
manner on a small square
baboon
rendered with
walking,
much
where
spirit^ (Fig-
The head of an ape

Museum, Oxford, appears
in
to
base.''
the
gait
ape seated,
the
is
example the
last
has completely separated the paws, which rest
natural
of
remarkable
to
her young one
holds
fore-paws touching the
artist
ivory' (Fig. 147).
Hierakonpolis and Abydos, and
at
turning
with a gesture of alarm.

its
All these statuettes
in
is
primitive
the
These were found
represent a
detail
mention, as exceptions to these, another kind
monkey which
degree.
for
gives the figure of two
There
in
is
also a figure
been
has
a perfectly
seized
and
HZ)-
now
pottery,
have
formed
in
the
part
Ashmolean
a more
of
specimen than the numerous examples just quoted
finished
in
glazed pottery.^
Petrif, Abydos,
OuiBELL
ii.
pi.
i.v.
190-196, p. 27.
&
Green, Hierakonpolis, ii. pi. x.xxii. i, and p. 43.

^ Petrie, Abydos,
pi. liii. 7-9,
I, and p. 25 ; ii. pi. vi. 50-61, 64, 65, and p. 25
ix. 197, 202, and p. 27; x. 217-219, and p. 27; xi. 233, 235, 238, 247, 248, 253, and
xxii. 11, 12.
pi. xxi. 10, 11
p. 28.
Petrie, Abydos, ii. pi. vi. 49, and p. 25.
^ lb. ii. pi. xi. 12, and
p. 24.
^ lb.
Ouibell, Hierakonpolis,
ii.
pi. iv. V. 41, and p. 25 (glazed pottery).
-
i.
i.
i.
pi. xviii.
(stone).
pi. iii. 16, and p. 24 (ivory).
and p. 25 (glazed pottery).
Greex, Hierakonpolis, ii. pi. Ixii. i, and
'
Petrie, Abydos,
lb.
'
Quibell
ii.
pi.
i.
&
vii.
ii.
86,
p. 49.
Ktr.S3.
Fig.
147.
Figures of Monkeys.
187
i88
Representations
use
in
the
in
of
Maclver
sometimes grouped
frequently
they are simply formed

friable
Diospolis and
that
it
is
are
148.
difficult
was
already
proved
by the
These animals are
Most
mud, and so
unbaked
of
Occa-
preserve them.^
to
At
which have been baked.
found
Abydos other
Fig.
as
were
rows of four on the same base.
in
one or two
calves
Amrah.
at El
extremely
sionally
and
cows,
cemeteries,
prehistoric
of Mr.
discoveries
bulls,
where
pieces have been discovered,
Figures of Cattle and Pigs.
the animal intended to be represented" (Fig. 148) cannot always
Two
be identified with certainty.

glazed
in
feet
bound
We
pottery
pieces one
calf lying
in
rapidly
&
Mace^,
pass
in
El Amrah
Prehistoric Cemetery at
review the representations of the

atid Abydos,
El Amrah
pi. ix.
in
1-3,
Egypt
of Excavations, in ^fa?l, 1901, No. 40, p. 51, and fig. 2, p.

^ Petrie, Diospolis, pi. vi. B
109 (?). Abydos, i. pi.
6, 9, 10, and p. 41.

Preliminary Report
50.
Iri.,' J.0-42,
and p. 25 pi. ix. 204, and p. 27 (ivory calf).

^ QuiBELL, Hierakonpolis,
pi. xxi. 5 = xxil. 7 (glazed
i.
Abydos, ii. pi. ii. 30, and p. 24 (ivory, hollowed in form of a
pieces of the eighteenth dynasty and later).
pi. vi.63,
ivory, the other
down, with the four
together.^
will
MacIver
MacIvek,
represent
and
p.
26
pottery).
flat
Petrie^
dial, similar
to
189
pig^ (Fig. 148), the jackal,- the antelope,^ the bear,^ the hare/* and,
camel, which up to the present has been considered
finally, of the
an animal introduced into Egypt at a very recent
Two
camels'
konpolis,
the
lower
t^.^
in
heads were discovered at Ab}'dos and
terracotta,
lip
period.''
leaves
where
no doubt
the
as
characteristic
to
its
Hiera-
movement
identity
(Fig.
of
149).
190
According to the theory
promptly, leaving practically no trace.
M.
of
Zippelius,
it
appears
that
was
it
same
the
with
the
horse.^
Small figures of birds make their appearance with the com-
mencement of
the primitive
The specimens discovered

and lead." The hawk
period.
are in quartz, glazed pottery, stone, bone,
most frequently represented, without
the
is
were mummified,
in
the
position
so
feet,
though
as
found on
often
it
Egyptian
monuments,
more especially on the stelse of Hierakonpolis.^

number have been discovered at Hierakonpolis ^ and
fair
The
Abydos.''
body, as
feet
occasionally
are
figure found
the limestone
in
Ashmolean Museum, Oxford."

have
been
by the models of birds found
the
&
QuiBELL
Gree.v, Hierakonpolis,
head of an
the
the
in
pi.
li.
time
the
at
this
and that the
indicate
did
artist
The proof appears
l.xii.
2,
to
judge
to
the temple of the
Does
age.'
not venture to depart from the model
in
attributed, even
that the\' were copied from a fixed t3'pe,
considered as
dynasties,
first
very remote
under
Koptos, now
at
Medum,
at
pyramid of Sneferu, which Petrie

of their discovery, to
back
These representations appear
modified during
little
folded
and
p.
49,
where
it
to
is
Petrie, Abydos, ii. pi. x. 224, and pp. 27, 49

(read Zippelius instead of Zippelin).
Zippelius, Das Pferd i?/i Pharao>ie7ilande,
in the Zcitschrift fur Pferdekunde titid Pferdeziicht (Wiirzburg), xvii. 1900,
125-127,
pp.
-
tlie
133-135. 142-144,
Petrie,
Naqada,
with the
Oxford,
ass.
pi.
149-151-
Ix.
14,
15,
18-20,
exception of 20, which
is
and
at
p.
46 (Ashmolean Museum,
London).
University College,
Diospolis, p. 26.
^
QuiBELL, Hierakonpolis^
lb.,
xxiii.
\.
pi.
xxi.
14,
xxii.
i.
pi. xlvi. 7,
14,
15.
u.
Quibell
&
Green, Hic7-akonpolis,
ii.
pi.
(beads of glazed pottery in form of birds).

Petrie, Abydos, i. pi. liii. 6 (limestone) ii.
pi. vii. 79-83 (glazed potter\'), 84

199 (limestone) the base is hollowed to allow of the
figure being placed on a staff or at the top of a standard.
See p. 27 xi. 242
'"
(quartz)
198
pi. ix.
(?),
See also Petrie, Diospolis, pi. vii. (no precise description

in the text).
There is a specimen of uncertain provenance in the MacGregor
Collection (No. 3,813), and three others of unusual dimensions in the Randolph
Berens Collection, deposited at the South Kensington Museum.
^ Petrie, Koptos, pi. v. 6, and p. 7.
"
" Glazing of No.
PrTRiE, Medum, London, 1892, pi. xxix. t-5, and p. 9, 35
3,
a clear light purplish blue, with dark purple stripes, is also early, and cannot be of
(glazed
pottery).
the eightieinh dynasty, nor hardly of the twelfth.

that these are contemporary with
figures
known"
(1892).
think probably, therefore,
the decease of Sneferu, and the oldest small
SCULPTURE AND PALNTING.

found
be
in
small
way
the admirable
from
figure
191
which shows
Hierakonpolis,^
which the hawk was represented when
in
the artists were not forced to adhere closely to a model.

Finally, the excavations at Hierakonpolis yielded a statuette,
which
unique,
is
pottery
(Fig.
of a
pelican,
perhaps a turkey,
or
in
glazed
50).
tomb
In the great
Naqada M. de Morgan discovered a

mouth for suspension. On
at
series of fish in ivory, pierced at the
Z?.
Fig.
150.
Figures
of Birds
and of Griffins.
Ashmolean Museum, Oxford, and University College, London.
examples
several
supply the
are carefully inscribed on
lines
details.^
Another
in
fish
glazed pottery comes from
The same excavations have
Hierakonpolis.^
also
the model of a basket in steatite decorated with
QuiBELL, Hie7'akonpolis,
pi.
\.
.xviii.
the surface to
(schist),
p.
contributed
fish,^'
and from
(Ashmolean Museum,
38 " Found in the temple, but not in main deposit, it is doubtless

of later date than the rest, and has been put in this place by error, as a fragment
O.xford)
ii.
p.
of a diorite bowl with the
name
'
De Morgan,
Capart, Aotes sur

Rev2ie de
Rccherches
les
of
Khufu
pi. xxi.
i.
stir
origines de
les
incised.
15, xxii.
origines,
16,
V^gypte d'apres
''
I.
p. 8.
figs.
701-713,
and
p.
193.
les fouilles recenles, in the
V Universitc de Briixelles, iv. 1898-g, p. 128, note 4 and fig. (separate

A similar fragment was discovered at Abydos. Petrie, Royal
Tombs, ii. pi. iii. , 10, and p.

Jb.
."
and
ii.
reprint, p. 28).
pi. xix,
XX.
7,
21.
i.
and
pi. xxi. 16, xxii. i8.
p. 8.
19^
Abydos come
the excavations at
figures of crocodiles
glazed
in
pottery.^
Figures of scorpions in carnelian are frequently found at the

close of the primitive period (sequence dates 70-So;
found
large
in
made
numbers
Figures
of
They
period.^
Abydos," both
serpentine,
(Fig.
151).
are
found,
frogs
stone and
animal
University
at
which
in
Egyptians
in
fair
suspension,
We
will,
figures
th''^
these
of
the
supposition
in
figures
Chapter
III.
for
used as
several
that
Amulets of
fish, birds,
Dtospolis,
scorpions,
p. 26, tigures a
crocodile
52.
Petrie, Dtospolis,
and
p. 27,
XX. 10 (haematite); xxi. 4
pierced
religious purpose.
74-76, and p. 25
pi. vi.
are
they were
that
provisionally that several of these
had either a magical or a
\.
by the
form present the same characteristic.
now admit
sequence date
be
S, sga or
'^^^^
represented
still
descriotion, representing crocodiles, frogs,

Petrie, AbydoSy
may
This
similar
150).
animal
have already seen
body of the
the
or
'-^,
tt
dynasty was
of animal
therefore,
in serpentine,
primitive
bands.
gold
hunting scenes^ (Fig-
admitting
We
amulets.
the
at
Naqada.'
at
London
College,
the twelfth
number
schist palettes
haematite,
curious figure of a feline
discovered
animal
identified with the weird

sajf,
crystal,
glazed pottery (Fig. 151).
in
ornamented with two
is
rock
commencing
we must mention
In conclusion,
specimen
they were
are of frequent occurrence at Hierakonpolis' and

in
creature with a bird's head,

is
the temple of Hierakonpolis, and are
in
materials
various
in
and glazed pottery''
pi. iv.
pi.
i.
xxii.
xviii.
(serpentine), 16 (crystal), 22
4 (glazed pottery);
ii.
pi. xxiii.
xix. 5
(glazed beads)
xxxii. (haematite).
*
Petrie, Naqada,
QuiBELL, Hicrako7ipolis,
Petrie, Abydos, ii. pi.
xi.
pi. Iviii.
240, 245 (glazed pottery).
University
Diospolis,
i.
26 (sequence date 65).
p.
pi. xviii. 10,
il, 14.
x. 214 (glazed pottery)

72 (glazed pottery)
Several stone specimens in the Petrie Collection,
vi.
London, and three examples

South Kensington Museum.
College,
in
the
Randolph Berens
Collection, deposited at
^
Petrie, Naqada, pi. Ix. 13.

Chabas, Eticdes sur Pantiquite hislarique,
Lectures historiques
Paris, 1873, pp. 399-400.

Histoire andenne, Paris, 1892, pp. 116, 117, and
Maspero.
fig.
67.

are found
jackals, lions, etc.,
among
193
the
antiquities of classical
will
quote what Dr. Petrie
Egypt.
As we
are speaking of amulets,
has said with regard to a class of objects which are

of
bulls'
bull's
heads
head.
The oldest form of amulet found is the

The origin of this form was a puzzle until an
example was found
Fig.
151.
at
on
xAbydos,
which the
muzzle form of the lower end
and
a bull.
continues
degraded.
It
use
in
begins
till
left
at
no doubt that
late.
early,
have continued,
as
must be
it
sequence date 46, or
sequence date Gj, when
form, apparently continued from
had disappeared
to
and
College, London.
this,
blue marble with beads of the twelfth dynasty, so
have lasted on as
front
flat
Figures of Frogs and of Scorpions.
Ashmolean Museum, Oxford, and University
copied from
the form
in
"
it
is
it
But the connection with the
earlier,
is
very
found
in
may even
bull's
head
while the idea of such an amulet seems
we
find
w$ll-made
bull's
head amulets
194
about
of carnelian at
the
dwindhng
gradually
the
in
fifth
Dr.
size."
in
the
of
close
such continued to be used
prehistoric
and
and continues
"
Looking
head
amulets
large
bronze
hang
up
Majorca
1897,
buildings
{Rcviie
in
archcologiqiie,
Gold
bull's
head
in
Cyprus
Mykenae, and
at
present
are
cows' skulls are
hung on houses
and
Malta,
in
to
found
amulets
and
and
heads
bulls'
138).
bull's
Spain,
in
on
this
pan graves,"
"
West, we find bronze
the
to
dynasties,
compares with
Petrie
the painted skulls of bulls discovered in the
fact
and
[era],
sixth
trees
fruit
and Algiers,
Sicily
in
to avert the
evil eye.
The whole
bucrania
is
opened
subject of
by
these
prehistoric bull's head amulets."^

Fig.
152.
Bull's Head A.mulet in
Ivory.
Berlin
ivory
Museum.
very
Museum
clearly that
'
it
is
Petrie, Diospolis,
in
Mati, 1902, No.
ii.
pi.
xiv.
Negadah,
On
intended for a
and
281,
in
p.
14,
p.
26
p.
30.
17,
Naqada,
B,
pi.
pi. Iviii.
8-16;
shows
14,964)
152).
i.
pi.
H.
4,
5,
and
p.
Alterti'oner der ''new race"'
the Zeitsc/irijt fiir iigyptischc Sprachc, xxx\v. 1896,
the subject of bucrania in Egypt see
in
Prehistoric Egyptian Carvings,
Abydos,
Schaefer, Xene
(No.
head (Fig.
bull's
specimen
fine
belonging to the Berlin
Wiedemann, Zu
fig.
6,
p.
23;
aus
180.
Petrie's neiien Fiinden,
rendu de
a M. G. Maspero siir trots
petites trouvailles egyptologiques, in the Recueil de travaux relatifs a la philologie
et a Varcheologie cgyptiennes et assyriennes, .\i. 1889, p. 98. Lefebure, Lcs Huttes
de Cham, in the Museon, xvii. 1898, p. 350 et sec/. Rites cgyptietis : Construction
et protectioji des edifices {Publications de rEcole des lettrcs d' Alger : Bulletin de
correspondance africaiiie), Paris, 1890, p. 20 et seq.
Naville, The Festival
Hall of Osorkon //. in the great temple of Bubastis, London, 1892, pi. i.v. 9, and
Daressy, Catalogue general des antiquites cgyptiennes du Musee du Caire
p. 21.
Ostraca, pi. v. No. 25,019 (revers), and p. 5. Maspero, La Pyramide du roi Ounas,
in the Recueil de travaux relatifs d la philologie et d Varcheologie egypticnnes et
assyriennes, iv. 1883, p. 48, line 4^3 and the variants in La Pyratnide du roi Teti,
ib. V. 1884, p. 29, line 242.
Capart, La fete de frapper les Anou, in the Revue de
in
the Orientalistische Litteratiirzeitimg,
Hierakonpolis,
i.
ib. col.
331.
ii.
1S99, col. 182-184; Conipte
Golem ischeff,
l.ettre
rhistoire des religions,
xliii.
1901, pp. 252, 253 (separate reprint, pp.
4, 5).
SCULPTURE AND PAIXTIXG.

These
bull's
head amulets bear
to note the
sufficient
Mykenean ornament,
general aspect to a
analogy^ (Fig.
195
resemblance
to render
in
their
interesting
it
153).
European prehistoric remains have furnished a large number

of figures representing " animals back
to
back, with the bodies
united at the croup, so as to present the appearance of a single
body terminated by two heads, forming a pendant."'"

Most frequently these are small bronze pendants, formed of
Fig.
two
bulls,
there
is
back
to
Bulls He.\d A.mulets.
153.
back
as
scarcely an important
M.
Salomon
Reinach
museum which does
remarks,
not possess
some of them. Similar figures are also found in primitive Egypt,

more especially on the cylinders. They will be found in our
Fig.
14 (M 560), and also upon a palette with figures in relief
which we shall deal with later.
The Hilton Price Collection,
London, includes three curious ivories representing these double
bulls, where the
feet are not indicated.
Like some of the
1
'
Perrot
&
Chipiez,
primitive, I'art myccnien,

-
Histoire
fig.
de Pari datis
Reinach, S., Zrt sciclpture en Europe avnnt

and figs. 320-327.
pp. 113-115,
V atiUqtiitc
vi.,
La
Grece
223, p. 546.
Ics itifiiiences greco-rontai7,.es
196
European
figures,
they have a tenon in the
suspended^ (Fig.
to permit of their being
In certain
tombs of the
One
tusks.
is
Fig.
154).
earliest primitive period,
sequence dates S3 ^^^ 44> there

or
middle of the back
always
solid,
is
between the
found a pair of ivory horns
the other
hollow.
They
are
Double Bull's He.\d A.mulets.
154.
Hilton Price Collection.
sometimes quite undecorated, ending

that
end
for
a groove and
suspension
ring.
In
sometimes
this
in
at
point,-'
and pierced
the pointed end there
case there are
two
eyes,
indicating a beard engraved on the surface of the horn

'
Hilton Price, Some Ivories front Abydos,
in
the
at
is
and
lines
in
some
Proceedings of
tlie
The block of our

Society of Biblical Archecology, xxii. 19CO, p. 160 and plate.
Fig. 154 has been lent by the kindness of the Society of -Biblical Ar.;h39ology.
-
Petrie, Diospolis,
pi. vii. 2,
and
p.
48.
p.
21.
MacIver
&
Mace, El Ajnrah and Abydos,

instances the eyes are represented
and
this
human
is
the most
head,
by beads.
197
Occasionally, also,
interesting form, the horns terminate in a
worked with
On
care.
the top of the head there
a ring for suspension- (Fig. 155).
is
The
precise purpose of these objects
Fig.
155.
Magical Instru.ments
is
(?)
difficult to
i.\
determine.
Ivory.
University College, London, and Ashmolean Museum.
Dr. Petric supposes that they formed part of the equipment of a

sorcerer, or
The horns remind him of the belief

who imagine that white men
medicine man.
of the negroes of the Gold Coast,
can by enchantment catch the souls of the

Petrie, Xaqa'/a,
-
Hilton Price,
dgyptische Sprache,
and
Enrt,
pi. Ixi. 34,
35
I'-uo objects
.v.vxv'i.
in
horns,
and pp. 19, 21, 47.

prehistoric tombs, in the Zcitschrift fiir
pi. l.xiv. 81,
from
1899, p. 47
Dynastic Antiquities
natives
and
fig.
from Egypt
Arclucolog- X, hi. 1899 (separate reprint, p.
2,
Notes upon some Predynastic

in
and
the
fig.
ivriter's
i).
collection,
in
198
and convey them thus

them.^
for
toil
In
the
can gain
sorcerers
ivory horns, and
work
in
large
number
their
to
their
Congo
them
souls,
the white men,
to
to
make them
negroes believe that the
human
possession of
sell
own country
certain
enclose
them
in
who make them
They imagine that a

are men who have been
country on the sea coast.

of labourers at the coast
procured
When
manner.
this
in
one
of the natives goes there for purposes

of commerce,
he
frequently searches
anxiously for his dead relations.
The
man whose
over
soul
slavery
to
is
die
will
thus
given
rapidly
or
in-
stantaneously.-
would gladly connect with
belief the
Werner
old
this
custom observed by Alice
in British
woman
Central Africa.
An
carried round her neck a
hollow ivory ornament, about
3 inches
length and in the form of a round
in
peg, pointed at the top, with a slight
groove by which
it
could be suspended.
This object, which exactly corresponds
Magical Instrument
MADE OF Horn, from Katanga.
Fig. 156.
to
the
by
this
woman
ivories,
her
life,
was called
or her soul.
Naturally, she would not part with

colonist
Egyptian
of
tried
in
vain
to
buy
it
it
her.^'
This interesting ethnological comparison appears to be confirmed by an object said to

recently
instrument
is
made
of horn
the deep grooving formed

indicate that
It is
come from Katanga, which I have

The magic
to acquire (Fig. 156).
had the good fortune
now
it
the patina which covers
by long use
London.
P^TRiE, Naqada, p. 47; DiospoUs, p.

Frazer, The Golden Bough, 3nd ed.
lb.,
2nd. ed.
iii.
p. 407,
note
4.
21.
i.
as well as
the suspension holes,
dates back a very considerable
at University College,
'
in
it,
p. 279.
number of
years.
199
tombs of Naqada contain
cla\-
models of boats, sometimes decorated with paintings (Fig.
157).
of
Certain
We
an
the
prehistoric
have already seen that one of these boats was painted

unsophisticated
figures
representing
by
times
at
Professor
intended
to
rowers.^
small
Petrie,
clay
these
represent
Fig.
on
fashion
The
figures-
(Fig.
or
pap\Ti
of wood, but
boats built
tightly
bound
i.\
shows
in alabaster,
this
method of
Similar
'
boats
According
those
to
not
of
period
in
in
use
Egypt.^
from the royal tombs of Abydos, distinctly

construction.^
have been discovered
in
the
excavations
at
pi. l.^vi. i, and

Petrie, Xaqada, pi. x.x.xvi. 80, 81 ^z and b, and pp. 13, 41
De Morgan, Rechcixhes sur les origines, ii. p. 91, figs. 235-237, p. 90.
Scmaker, Netie Alte?-lumer dcr " nnu race " aics Negadah, in the Zeitschrift
fiir iigypl'schc
'
made
such as were
together,
were
they
O.xford.
p. 48.
-
represented
Clay and Ivory.
throughout the whole of the historical
specimen
that
in
human
small
also
15^).
show
paintings
Ashmolean Museum,
reeds
with
crew was
Models of Boats
157.
edge
the
Sprache,
x.x.xiv.
1896, pp. 159, 161,
Er.max, Life in Ancient Egypt,

Petrie, Abydos, i. pi. ix. 4.
p.
479
et seq.
fig.
200
They
EI Amrah^ and at Ab\'dos.-
also occur frequently in
great find of ivories at HicrakonpoHs.
The shape
of one of these
specimens strangely recalls the Venetian gondola'' (Fig.

presence at these various sites
very great
again,
A
us an
more
clay
idea
importance.
in
We
of
shall
157).
boats in clay and ivory
The
is
have occasion to refer to
of
it
detail.
model of a house, discovered

of the
the
habitations
of the
at
El
Amrah,
gives
primitive Egyptians, and

A
tomb discovered
model of a
at
Diospolis
contained
fragments of
enclosure, with figures of two
fortified
201
men
looking
over the wall' (Fig. i6o).
We
the
to
chapter
in
the
159.
our examination of the
and we should
round,
drawing and
primitive
Fig.
omit
now completed
have
carved
pieces
must,
principal
to
study
however, not
Clay Model of a House discovered at El A.mrah.
mention the carvings

on
We
painting.
proceed
ornamental
handles of knives,
pottery and stone.
art
low
in
reliefs
on fragments of
We
shall
see
in
on
relief
the
furniture,
the
described
slate
in
the
palettes,
on
and on vases
in
following chapter that
Mace, El Amrah mtd Abydos, pi. x. 1-3, and p. 42. See, on the Iiouses of the
The Sources and Groivtii of Architecivre, in the Journal
of the Royal Institute of British Architects, third seriei', viii. 1901, pp. 341-343,
and figs. 1-4.
Petrie, Diospolis, pi. vi. B 83, and p. 32 ('Aslimolean Museum, O.xford).
primitive age, Petrie,
'
PRIMITIVE ART IX EGYPT
202
this art
developed greatly at the commencement of the historical
and that
period,
The
already
produced masterpieces of extraordinary power.
it
primitive drawings and
known
decoration,
upon the
to
In
Mr. Green not
Upon
the
Fig.
it
of drawings, the
classes
in
personal
on the vases, and principall}'
chapter
this
and the paintings of a
rocks
met with them
have
palettes,
slate
pottery.
examine two
We
us.
on the
paintings are to a large extent
only remains for us

graffiti
prehistoric
engraved on
to
the
tomb discovered by
from Hierakonpolis.
far
of
rocks
i6o.
Clay
the
Arabian
and
Libyan
mountains
Model of a Fortified Enclosure.
there has been observed
and copied, although unfortunately
in
a very incomplete fashion, a series of drawings of men, animals,
and boats
in
a style identical with that of the pottery marks and
the paintings on decorated pottery.'

'
Wiedemann, Lcs
tnodes d' cnsevi;lisscme7it dans la necropnle de NegadaJi et
la qucstio7i de I'origine
otigtnes de VEgypte,
du
ii.
peiiple egypticn, in
p.
222,
and note
De Morgan, loc. cit. i. p. 162 et seq.

Une excursion a Berenice, in the Reciieil des
quoted
This has led to the legitimate
De Morgan,
RcchercJies stir les
where the following works are

and figs. 487-492. Golenischeff,
i,
travaicx relatifs a la philologie et
a Varcheologie cgyptiennes et assyrie?ines, xiii. 1890, pi. iv. 17, pi. vii. 62.
Petrie, Ten Years'' Digging, 1881-91, London, 2 id ed. 1893, p. 75, fig. 57:
"To judge by the weathering of the rock, it seems probable that they were
begun here long before any of the monuments of Egypt that we know. The
usual figures are of men, horses, and boats, but tliere are also camels, ostriches,
and elephants to be seen."
203
conclusion that they also belong to the
primitive age.
These
drawings are frequently mixed with representations accompanied
by hieroglyphic
however,
some
in
those
there
no
is
more recent
of
possible
M. Legrain
at Gebel-Hetematt,-
Silsileh noticed
by Dr.
between the
date.^
some
Some
which closely resemble those
me
which appear to
graffiti,
in
pottery marks in Fig.
at
belong
to
Their analogy
particularly remarkable.
is
of these animal figures are arranged in squares, as on the
red pottery with white paintings.
may
quote
copied by
graffiti
Petrie.'
The most important

the
some
In
must
to the primitive period, will be found in Fig. 161.
with
extremely
is
it
doubt.
specially noteworthy in this respect
as
cases
a clear line of demarcation
and
primitive graffiti
cases,
and
inscriptions,
establish
to
difficult
Certain curious representations
This remark should
perhaps indicate the use of the horse.
be taken
in
conjunction with
M.
theory of
the
Zippelius,
to
which we have recently alluded.
One
of
these
apparently
seems
to
merits
harpoon
special
into
notice.
an animal's
be stretched on the ground, with
already fixed in
that
graffiti
thrusting
of an
it.
In this representation
ivory tablet
discovered
in
the
another
see an
man
hide,
is
which
harpoon
analogy with
tomb of King Den
Setui, of the first dynasty.^
Wady Hammamat,
In
Nile
has
Valley with
noted
several
graffiti
road which connects
the great
the coast of
the
which
Red
also
Sea,
seem
to
the
M. Golenischeff
belong to the
primitive period, notably representations of the ostrich, and even

'
The
primitive graffiti can be distinguished from those of the historic period
See Schweinfurth, G., Aegyptische

Die Umschan, vii. 1903, p. 806: " Diese
Tierbilder versetzen uns im Geiste in jene Zeiten, da die Urbevvohner von
Aegypten und Nordwestafrika ahnliche Zeichnungen in die Felswande
einkratzten, die in den Sandsteintalern Oberagyptens haufig angetroffen werden
und von deren hohem Alter die braunliche Patina Zeugnis ablegt, mit der die
Linien bedeckt erscheinen, wahrend datierte Inschriften aus der Zeit der 5. und
6. Dynastic (bei el Oab), die z. T. iiber die iilteren hinweg eingeritzt wurden,
aussehei. a.'s wi'ren sie von gestern, wie Prof. Sayce bezeugen kann."
De Mokcan, Rechcrches sur les origines de V Rgypte, i. fig. 487, p. 162.
^ Petrie, Ten Years' Digging in Egypt, p.
75, fig. 57.
* Fetme, Royal Tombs, ii. pi. vii.
Abydos, i. pi. xi. 8.
1
by
the
patina
Tierhilder
ah
which covers them.
Kieselartefakte,
in
204
^
în^
//////
,r-A^
,,
,j
I?)
'^J^
f?i^^j^/fr
^w
Fig.
The
i6 I. -Graffiti
from
thf.
!-^>
Rocks of Upper Egypt.
Oran.
from the south of the province of
three figures at the bottom are

1
man
We
lassoing an ostrich.
which occurs here, although
and
the primitive boats,
it
also
mention a boat
not absolutely identical with
is
it
must
should perhaps be attributed to the
The quarries of Silsileh have

number of similar graffiti, personages,
Ancient Empire.^
a large
conclusion,
In
etc.-
we must mention
and more especially of a boat which
the
is
also
furnished
animals,
ships,
of El
graffiti
Kab,
an exact counterpart of
tomb of Hierakonpolis, which we
of the
those
205
shall
presently-
consider.^
It
is
scarcely necessary to mention that similar graffiti have
among
found
been
among
widely from
peoples differing
and even
the Australians,^ the Bushmen,'"'
prehistoric graves."
the Egyptian graffiti
each other
the French
in
most striking resemblance exists between
and those
the south of the province of
in
The comparison,
Oran here the identity is almost absolute.
vases (Fig. in),
on
the
engraved
designs
when extended to the
is exceedingly striking, and we find here a new proof of the close
;
connection between the primitive Egyptians and the Libyans.'
M. Zaborowski has attempted

constitute
the embryonic forms
"
demonstrate that these
to
"
of hieroglyphic writing.'^
graffiti
What
have already said on the subject of primitive hieroglyphs will
we
GoLEMSCHEFF,
'
Iiiscriptio)is
(ill
Ouady
Hatnfnaifiaf, in the
Mcmoires dc
Section oricnlale de la Socle tc impcrialc russe d'archeologle (ia Russian),

pi. V.
1-3, pi.
hi
Egypt:
Prehistoric
Rock
January ist, 1898, fig. 7, with four photos.

3 Green, Prehistoric Drawings at El Kab,
Drazulngs,
in the
of Biblical A?-chcEology, xxv. 1903. pp. 371, 372, with

* Grosse, Les Debuts de PArt,
pp. 125 et seq.
^
Grosse,
lb.
p.
138 et seq. and
l-'Afrlque, Paris, 1897,

^
See,
la
1887,
-xiii.
Antiquities
ii.
among
Comptc rendu
pi.
iii.
others, L. Capit.\.\, L.
viii.
the
Graphic,
Proceedings of the Society

pi.
and
fig.
Christoll, Fred., A/c sud de
V Anthropologic,
xi. 1900, p. 78 et seq.

H. Breuil, Les gravures sur les parols
grottc de Combarelles, in the Revue de lEcole
in
&
des grottes prehlstorlqiies, la

d'anthropologle de Paris, xii. 1902, pp. 33-46.
'
Bonnet, Les gravures sur roches du
d'ethnographle,
in
1889, pp. 149-158
and
fig.
sud Oranals, in the Revue

Compare fig. 6 with our Fig. ill;
Ouelques personnages ont les bras leves dans I'attitude de I'admiration

priere.
GsELL, Les tnonuments antiques dc I'Algerle, i. Paris, 1901,
The ram bearin^^ the disc on his head, fig. 13, p. 46,
pp. 41-54, and figs. 10-14.
may be compared to our Fig. iii, Am 19.
s
Z.\BOROWSKi, Origlnes afrlcalnes dc la civilisation de Vancienne gypte,
in the Revue sclentlfique, fourth series, .\i. 1899, pp. 293, 294.
p.
155
ou de
"
la
PRIMITIVE ART
2o6
how
probably be sufficient to show
EGYPT.
IN
small a foundation there
such an explanation.
for
The
moreover, the earliest of which
graffiti,
may
probably date
back to palaeolithic times, show points of resemblance with the
we have already seen, are more especially

met with on the vases of the black topped, and of the red polished
pottery marks, which, as
pottery.
that
It
however, with the scenes on the decorated pottery
is,
compare the paintings
should
vv-e
discovered
in
the
1899 by Mr. Green at Hierakonpolis.'
in
In the course
of the second season of excavations in this locality, a
neighbourhood reported
living in the
that, at
tomb
prehistoric
workman
the e.xtreme south-
cast of the prehistoric cemetery, there were walls with traces of
The tomb had unhappily been
painting.
years previously, but
which had been judged valueless by the

possible to date
date
least,
it
sequence
to
62,.'
The tomb was

with
render
pillagers, to
tomb, approximately at
the
two or three
pillaged
nevertheless contained sufficient pottery,
it
mud
mortar,
entirely constructed of bricks, plastered
millimetres
The
thick.
walls were
over
finally
washed over with yellow ochre or whitewash. Some of these

walls were decorated, and at the present time one of the sides,
happily the
longest, has
The lower
condition.^'
of about 27 centimetres.
the scenes
The
by a
decoration
its
in
fairly
good
This lower part was separated
line of red ochre, of a
from
width of about 2 centimetres.
task of copying these invaluable representations was extremely
and we cannot be
pillagers,
His work
primitive
various
in
artist,
sometimes effaced
on
which
it,
the action of time
sufficiently
which he brought
for the care
ground,
damaged by
the wall being
difficult,
the
retained
part was painted blue-black to a height
places was
rendered
&
OuiBELL
lb.
'
lb. p. 21, pi. l.xviii.
ii.
p.
54
and
in
once
Mr. Green
difficult
in
red,
by
had
doing so stained with red the yellow
more drew the
Green, Hierakonpolis,
;
more
who, having made his sketch
he
to
to the execution of the work.
attentive study of all the details, Mr.
grateful
and by
ii.
p.
note, by Professor Petrie.
20 et
After
figure.
Green came
to
an
the very
seq. pi. lx.\v.-l.\.\viii.

important conclusion that the
any
to arrange his figures in
artist
apparently did not attempt
definite order
room
are inserted where he found
207
the different scenes
them, after finishing
to place
the larger objects, such as the ships.
We
now examine these representations somewhat closely

The first objects which strike us are the six large
will
(Figs. 162, 163).
boats which occupy the greater
and which
of the space,
part
remind us of the boats on the decorated pottery, and also of the
The
which we have already described.
terracotta models
difference
which distinguishes these boats from those painted on the vases

is
that
we
more of the
no
see
parallel
lines
At
the lower edge and descend vertically.
the cable for tying up the boat
over a small erection.
constructions
serve
hinder cabin
to
is
In
two
the centre
On one
cabins.
notice
slight
drawings the
the
of
seen surmounted by a post, a kind of small mast,
which emblems are attached.
This
also
is
boats a
man
seated,
is
met with on the
In the stern of one
drawings of boats on the decorated pottery.

of these
from
start
bows we
on the deck some palm branches
cast a shade
as
which
the
working a long
ending
in
relating to boats,
we
oar,
an oval blade, which acts as rudder.
As we have hitherto studied all the objects

may refer to a very serious objection which
this subject,
Basing
and which,
his
think,
is
refuted
by
has been raised on
successive discoveries.
remarks on the drawings of boats on the decorated
by M. de Morgan and Dr. Petrie, and also

on the specimens at the British Museum and at the Ashmolean
Museum, M. Cecil Torr considered that " the long curved lines,
pottery published
which have been considered as representing

rampart
of a
indications
that
the
straight
so-called oars, indicate a species of glacis
can
be
rampart
observed
;
in
this
row indicates
and, finally, that
the
ships, are in reality
shorter
that the
the
lines,
the
gap which
approach
to
the
objects considered as cabins are
in reality small
towers placed on the two sides of the entrance
to the rampart."
M. Loret has resumed M.

'
ix.
Cecil Torr's arguments, but modifying
Cecil Torr, Sur quclques prckndus navires cgyptieus,
1S98, p. 35.
in
I'
Anthropologic,
20S
his conclusions to
so-called
some
and greater awkwardness

the
sign
^^^
(I
with
represent,
vessels
believe," he says, " that these
less
the
in
dexterity
circumference of the Koin
all
be able to view at one glance
represents
Fig.
The
buildings.
fortified
the
drawing
the
lines
are
of
part
that a spectator facing
palisade, interrupted in front of a gateway,
two
in
perspective, the .same thing as
The curve
^>,
"
extent.
it
the
would
intended for a
which opens between
presence of the palms on the slope
Paintings on the Primitive Tomb of Hierakoxpolis.
162.
are accounted for quite naturalh', and also the standard bearing
the
emblem
Kom."by these scholars are of

to mention them here, in
or totem of the tribe inhabiting the
Somie of the arguments employed

great importance,
it is
very desirable
order to refute them as far as possible.
To
begin with, there
is
one
important to note.
fact
It
is
the
discovery of a drawing on a vase of a sailing vessel (Fig. 91),

the
general
form of which resembles closely one of the repre-
sentations of the Hierakonpolis tomb.^

'
-'
Kdin or Tell
LoRET,
Le
mound,
mot
(1
the Revue Egyptologique,

^
Compare
hillock.
"^ o
'^^
P^^ns,
1902,
p.
7. E.xtract from
x.
the hieroglyph of the boat in Lepsius, Denhniile/*,
Y\.
18,
where

Torr and Loret object
above and
found
are
that,
209
although gazelles and
below these
so-called
ostriches
vessels,
fish
and
aquatic animals are never represented.
On
point
this
is
it
84 and 93, where the

crocodiles, and fish.
"
lines, if
of the
boats
are
in fact, are
P.mntings
163.
figured," they say,
and not from the lower
hull,
on one of the boats
Fig.
refer
to
our
Figs.
by hippopotami,
surrounded
"and the
vertical or
they represent oars, should start from the upper
The oarsmen,
said,
necessary to
Rowers are never seen
oblique
line
only
part."
not represented
but as we have just
the Hierakonpolis tomb, there
in
is
on the Pri.mitive Tomb of Hierakonpolis.
managing the rudder. Again, it may be admitted, without

any way disproving the identification of these drawings, that
sailor
in
Even
the vertical lines are not oars.
was inclined
An
argument of
far
who has found
Petrie,
where
tions,
to consider
it
is
to represent a ship.
of Seti
I.,
at
at that date
them rather as
greater importance
these
same
impossible
to
lines
in
is
the
prow
'
De
by Dr.
Egyptian representa-
In fact, in one of the halls of the temple
Abydos, there
rises well
in
supplied
doubt that they are intended
is
a very careful
bark of the god Sokaris, and the prow, which
Kunst,
M. de Morgan
fishing tackle.^
above the caoin.
SeeSxEiNDORFF, Etne
drawing of the
is
very high,
neiie A?'l cigypiischer
Aegypttaca, Festschrift fiir Gevrg Ebers, p. 125,
Morgan', Reclicrches sur
ies origines,
ii.
is
p. 91.
14
2IO
with
actually
decorated
we
on the primitive boats.^
find
of
series
lines
It
a curious
is
those
recalling
fact
that
the
that
sacred bark has three oars with broad blades, acting as rudder,
such as
seen on one of the prehistoric representations.-
is
The
temple of Denderah also presents a bark of the god Sokaris, of
where the
later date,
As
lines
we speak
palm branches placed
to the
place where the pilot
is
of have almost disappeared.^
in
the
bows,
the\-
shade the
seated.*
With regard to the emblems placed on a post above the

cabin, we must agree with Dr. Petrie and M. de Morgan in
considering them to be signs indicating either the proprietor of
the
boat,
the
or
tribe,
the
port
of
Petrie,
sailing.'
this
in
connection, recalls a storv told bv Strabo of the sign of a ship
Standards
Fig. 164.
lost
in
the
Red Sea
o.\
the Primitive Boats.
when exposed
in
the
market-place
at
Alexandria it was recognized by a mariner of Gades (Fig. 164).

In the space unoccupied by the boats various figures are
represented, principally relating to hunting wild beasts, which
are lassoed, or caught in a trap shaped like a wheel.
The trapped
animals are gazelles of various kinds (Fig. 165), and this drawing
recalls the decoration
of a cup discovered
by Mr. Maclver
at
1
Petrie, Archceo logical Notes, in Cal'lfield, The Te?nple of the Kings at
Abydos, London, 1902, pp. 15, 16, and pi. vi.
3
^
See Fig. 91.

Mariette, DenderaJ}, iv. pi. 64 (after Petrie).
Budge, A History of Egypt,
PErRiE, Naqada, p. 48.
origines,
ii.
figs.
p.
71 et seq.,
is
for the sign of the tribe to

*
i.
where
thoroughly discussed. De Morgan, Rechcrches stir les

The author believes rather that it is intended
240-264, and p. 92.
the question of barks
De Morgan,
which the proprietor of the vessel belongs.

les origines, ii. p. 93, and fig. 247-264.
Rccherches sur

Amrah, now
El
in
upper part of the

attacks a lion
(?).
left,
Another personage
is
the
to
various
of
antelopes
on,
birds,
one
possibly
recognize equidas
be perfectly
in
in
man
would
it
the
be
Farther
rash
to
here and there, and
are scattered
bustard.
On
brandishing a ckib
drawing a bow.
which
kinds,
attempt to identify precisely

also
Museum, Oxford.^
University
the
wall,
21
It
very tempting to
is
the figures on the right
and to do so wôuld
accordance with the observations we have already
made.
On
Fig.
one of the boats, above the stern cabin, there are two
165.
G.\ZELLES
caught
ix
a Tr.\p and Religious
Representations.
(?)
Painted tomb of Hierakonpolis.
human figures roughly

women are standing, their arms
sketched
small
above the boat three
raised in the attitude characteristic
of dancing.
The most
line
left
interesting scenes are depicted under the boats in a
immediately above the painted base of the
we
see a
man
holding a cord, which
of three crouching captives,

the head with
his
'
mace.
whom
This
is
MacIver & Mace,
is
tied
On
the
round the necks
preparing to smite on
he
is
an
important
loc. cit. pi.
wall.
xv. 17.
representation,
212
which gives us the prototype of the monuments of the Ancient

Empire, such as the bas-reh"efs of W'ady Magarah or of Sinai,
where the king of Egypt brandishes
enemy.
whom
of
is
In
front
holds
in
his
mace over a vanquished
of this group there are two personages, each
hand the sceptre which
his
age
in the historic
the attribute of divinities and of the king, and which does not
appear
in
any other
capacity, except in the hands of shepherds.^
Immediately afterwards one comes

of a
man
stand on their hind

figured
We
feet.
engraved on
the
group a
religious
It
(?)
group consisting
by the neck while they
have already spoken of a similar
ivories
Hierakonpolis (Fig. loS).

this
to a strange
standing, holding two lions
is
discovered
especially
scene,
in
to avoid
difficult
temple
the
of
recognizing
in
when one compares
it
with analogous representations of the Aegeo-Cretan people.
Continuing the examination of the wall to the

antelope caught
an
then, a
by a
another antelope which

the position
in
lasso
man, who appears

is
to
be
we
right,
see
hunter has disappeared)
(the
dismembering with
his
hands
lying on the ground with the feet
tied,
we know already on the two pieces discovered at

Ma}- we not recognize in this scene
Hierakonpolis and Abydos.

the capture of the victim by
it
Abydos,-
at
and
then
means of the
the
dismemberment
probably before a religious symbol.

exactly what
I
am much
is
''
(Fig.
It
the object in front of the
inclined
to
recognize
would confirm an hypothesis which
work
lasso, as Seti
in
I
is
the
animal
of the
to
difficult
man who
it
depicted
I.
is
pillar
put forward
in
identify
sacrificing.
fjl,
which
a former
164).
V. ScHEiL, To7nbeaux thebains, le Tombeau d'Apoiii, in the Memoires publics

paries membrcs de la Mission archeologiqiie frajifaise dii Cairc; v. p. 610, and [)1. ii.
- Mariette,
Fouilles exeaitees en Egypie, en Nubie et an Soudan, Paris,
On comparing the text of Unas, 423, and Teti, 242, with these
1867, ii. pi. 50.
scenes, I am disposed to recognize the hunting of Apis quoted on the Palermo
stone.
See Maspero, review of Pellegri.ni, Nota supra una Iscrizione Egizia
Naville, La pierre
del Museo di Palerrno, in the Revue critique, 1899, p. 4.
de Palertfio, in the Recucil de travau.x; xxv. 1903, p. 71. Schaefer, Ein
Bruchstiich altiigyptischer Annakfi, Berhn, 1902, pp. 21, 23.
^ Capart,
La fete de frapper les Anoic, in the Revue de I'histoire des
religions, xHii. 1901, pp. 266, 267. Spiegelberg, Der Stabkiiltus bei den Aegypten,
'
in the
Recueil des travaux, xxv. 1903, p. 190, note
3.

Following
scene of dismemberment
this
and three women
(Fig. 26),
We
would also point
men
of
figures
sceptre
{})
find
walking,
two groups
a reproduction
crouching on the ground.
on another wall of the tomb, two
out,
the
Both carry a
progressed.
we
we have already given
of combatants, of which
213
of painting
style
staff
curved at
having already
the top, and also the
forked at the base.^
The information given on the subject of the colours employed

The ground, as we have already stated, is yellow
ochre or white. " The blacks are a blue-black, and do not seem
is
as follows.
pounded charcoal.
to be
All
the boats, except one, have been
painted white, over which a wash of bright green,

structure,
probably
exception
is
a boat
which
stern,
was drawn
many
pounded
with
high prow and
in
first
red
ochre
instances overlapped
this
by a blue-black spot on
we attempt
to
this."
of
hunting
comparatively low
outline of the figures
The eyes were put
outline.
in
the pupil being represented
recapitulate, in
scenes,
in
The
put.
depicted on the paintings and

consist
granular
been
the white of the dresses has in
with a thick pasty lump of white
If
The
painted blue-black.
is
had
malachite,
of
few words, the scenes
we should say
graffiti,
navigation,
Hierakonpolis, of religious scenes.
We
and
that they
possibly,
as
at
must remember that on
the decorated pottery, independently of the skeuomorphic designs,
we have only found representations of
We may
why
ask
the
primitive
similar character.
Egyptian inscribed
such
scenes on the rocks, on the sides of tombs, and on his earthen-
ware vases?
Was
The
has
question
important
a propos
primitive
evidence
interest
pdnturcs
this
wc
artistic
been solved, at least
et
dcs gravurcs dc I'dgj
Egyptian culture, we
on
if
recently
imperative
in
by M. Salomon Reinach on L'Art
article
lies
he obeying an
and perhaps
subjecl,
linger over
'
OuiBELL
lb. p. 21.
l:i
&
it
for a short
it
will
magic
du reuuc?
The
not
time.
GRt:.N, Hierakonpolis,
ii.
pi. Ixxix.
txlitthropologic, xiv. 1903, pp. 257-266.
an
et la
contributes
believe,
craving?
part, in
invaluable
be without
PRIMITIVE ART IX KGYPT.
214
M. Salomon
Reinach
expresses himself on the subject
thus
of the art of the cave-men
To
"
begin with,
have established
what has long since been observed, that designs borrowed from
also what
the animal world are by far the most numerous
;
me
appears to
and fishermen
these
and
for food
may
be
tribes of hunters
These un-
be classed as undesirable.
animals include the great feline
tiger,
by
animals being desirable, while others which
were not thus used

desirable
may
the animals represented
be new, that
to
termed exclusively such as are used
tribe,
such as the
lion
the hyena, jackal, the wolf, a;id various kinds of snakes,
etc.
of this fact an important deduction
is
that the troglodytes, in drawing, in
From the establishment

arrived at the knowledge
and
painting,
fix
visual
their
companions admiration
their
merely seek to occupy their
did not
in sculpture,
leisure, or to
memories
in
The
dexterity.
their
for
from
order to gain
severe
choice which presided over their artistic activity implies for this
same
activity
some object
alleged up to the
it.
painting
or
They knew what they were doing

They were not idlers and dreamers, in-
present.
and why they did

scribing
those which have been
than
less trite
any
no matter what,
silhouette,
familiar
following the fancy of the moment."
Availing himself, therefore, of the contributions of ethnolo<;y,

the
as
French scholar
established
simple
and of
and
all
recalls the
fundamental principles of magic,
by Frazer's grand work.
logical
ideas serve
The
manipulations.
the
as
first
that
is
its
which have once been
contact, but
continue to act on each other as

In the
first
case
we have
of
all
" like
if
imitative
have
produces
in
"
still
the
like,
things
ceased to be
the contact
magic
very
ceremonies,
cause"; and second, that
or that an effect resembles

in
two
magic,
In
basis
so,
persisted."
second, sym-
Imitative magic consists in representing a being,
pathetic magic.
an object, or an action with the object of bringing into existence

the being or the object which is represented, or to provoke the
action
which
is
sympathetic magic
imitated,
;
perhaps
at
times
independently of
sympathetic magic, on the contrary,
combined with imitative magic.
Frazer, T/w Goldcfi Bough,
i.
p. 9,
2nd
ed. 3 vols. 1900.
is
always
When we
existence
into
we
that
believe
view
of
or
with
dealing
are
upon
magic,
imitative
man
sentation
has any influence on the being which
owing
entirely
is
it
nothing of the
is
the
to
fact
something which has emanated
would be the case with

"
One
with
which
is
taken
that
into
account
figure."
reflection
in
while
for
the repre-
represented,
mirror or
is
forbidding
the
in
water.
to inspire people holding
is
and which certain forms

in
is
if
representation
this
dread of being represented
widespread
human
In fact,
sort.
actually
from that being, absolutely as
of the consequences of this idea
this belief
the
his
mentality.
we
it,
primitive
there
eas\',
figure in order to bring
act
to
not
is
primitive
of
speak of drawing an animal
animal
that
arc considering the distinction
from the point
regarded
as
we
case
In the
215
effigy, a fear
in
of religion
have
painting or sculpture of
These general ideas of the fundamental principles of magic

among primitive people need development but this branch of
;
study would lead us
from our subject.
far
Frazer's work,- requesting the reader to forgive
can only refer to
my
being unable
him more completely the proofs of my assertion.

French primitive man, according to M. .Salomon Reinach,
must have drawn and inscribed figures of the desirable animals
to lay before
upon the walls

the
like,
or
of
the
of multiplying the
of
with the object
caverns,
" It is
species.
procuring
the expression
very intense religion, consisting of magic
of a very crude but
practices having for their sole object the supply of daily food."
An
interesting
confirmation
method of viewing
of this
'
the
matter has been supplied by the researches of Messrs. Spencer
and Gillen among the aboriginal
tribes
Australia"
of Central
"These tribes," as M. Reinach relates, "periodically celebrate a

ceremony called iiiticJiiuma, differing according to the various
clans, but
ticular
'
'
species,
whether animal or vegetable, which
Reinach, La sculpture en Europe avant
p. 260.
-
having the immediate object of multiplying the par-
Fr.azer,
loc. cit.
i.
p.
les
is
the totem
influences grcrorotnaines,
295-297.
Frazer, The Golden Bough, 2nd ed.

Reinach, loc. cit. p. 265.
3 vols
Macmillau, London, 1900.
PRIMITIVE ART IX I^GYPT.
2i6
of the
Describing the ceremonies of the emu clan, they
tribe.
fSpencer and Gillen) state that certain of the clan
let
their
blood drop on a surface of three square metres until the
impregnated with
well
When
it.
own
soil is
the blood has dried they take
and charcoal, and on the area reddened

by the blood they paint the sacred image of the cnui totem
pipe-clay, yellow ochre,
with yellow and black circles, which
represent
either before or after they are deposited.
that
men
the
of the
come
clan
It is
the
bird's
round
this
crouch and sing
to
eggs
figure
chorus,
in
while the chief, or master of the ceremonies, explains the details
we have an
image
Having been told the object of these rites,

example of the magic use of a painted
drawings.
of the
incontestable
to induce the multiplication of the model."
Sometimes these
figures
are
on the sides of rocks
painted
women and children. Among

these representations there are animals, human heads, and the
imprints of the footsteps of women of the mythological period
in places
which are
strictly taboo for
of Central Australia."
the troglodytes
for
with
but,
is
M. Reinach,
Certainly," says
of
the
" it
reindeer
age totem
of the Aruntas of Australia
those
short of wishing to renounce
more reasonable
at
to search for analogies
among
the
agricultural
Now
the
representation in
for
the
that
Egyptians,
permit us to maintain or to
^
Reinach,
loc. cit. p.
with
studied
the
in
upset this
the
of
have
to that of the
Aruntas, as studied by Messrs. Spencer and Gillen."
we have
or
show whether the
clearly
primitive
tribes
Gaul
food, to the exclusion, as
was similar
the
it
the depths of our
religious condition of the troglodytes
Do
time
present
people of
already remarked, of carnivora, will
manifestations
identical
among hunting
than
caves, of animals suitable
to postulate
cults
attempt at explanation,
all
France.
of to-day
historic
would be rash
numerous
artistic
preceding pages,
theory?
Can we, on
262.
&
Gillen, The Native Tribes of Ce?itrnl Australia, London, 1899,

figs. 124 and 132.
See, on the subject of the ititichiuma cereirionie!? the work
by Dl'rkheim, E., Sur le totcmisyne, in the Amice socioloîqice, v. 1902, pu. 82-121.
Compte rendu by S. Reinach in r Anthropologic, xii. 1902, pp. 664-9.
*
Spencer
Reinach,
loc. cit. p.
263.

coming
religious
The
Eg\'pt
close of this chapter, say that the representations
to the
Egyptians
primitive
of the
condition was
patina which
As we have
" will
remote age
The
themselves to
possession
in
fresh
of a
religious object,
It
flotilla
tribes
Upper
which they must be
to
their
Aruntas"?
attri-
already said, animals and boats are most
of
Their object was to ensure success
and
to the primitive hunting,
tions.
whether
prove
covers the graffiti of the rocks of
frequently found represented.
with a numerous
clearly
similar to that of the
to the
testifies
buted.
217
possibly to
also
for fishing,
nomad
localities
flotilla.
or even
hunters
in
the
the tribe
suppl>-
for warlike
could
Nile Valley,
if
expedi-
transport
easily
they were
These boats possibly had also
and were used
in
magical ceremonies.^
should be remembered, with reference to this subject, that
Egyptian divinities are frequently represented in barks,

and that the sacred barks play an important part in Egyptian
the
by Salomon Reinach, Le navlre da cholera, in

G. A. Dorsey, The Dzvamish Indian Spirit
Boat and its use, in the Free Museum of Science and Art, Department of
Archccology, University of Pennsylvania, Bulleti}t, iii. 1902, p. 227, with five plates.
Coinpte re7idH by Dr. L. L[aloy], in VAnthropologie, xiv. 1903,] pp. 349-351M. Salomon Reinach quotes an ivory boat of the prehistoric age, belonging to a
private collection at Munich, in which, instead of men seated, there are birds.
He adds " I have often questioned whether the boats on the vases publislied
by M. de Morgan, which Mr. Cecil Torr has attempted to identify as enclosures
with ostriches, are not intended for funerary barks where the large birds repreThe part played by the ostrich egg in the ancient
sent the deceased persons.
the personages on
religions of the East would be in favour of my hypothesis
^
See the curious
I'Anthropologie,
xiii.
article
1902, p. 788.
the vases in question might be interpreted, moreover, as mourners, either male

or female.
I must also say that the birds are not depicted as in the boats, but
above them, a fact which is scarcely explained by any other interpretation which
has been adopted on this subject." Review of Weigher, Der Seelejivogel in der
alte7t Litteratur tmd Kunst, L.&i'psic, 1902, in ih.e: Revue Archcologique, 1903,11.
It must be remembered that the bark of the god Sokaris, already
pp. 378-9.
mentioned, is ornamented at the prow with bird figures. I think that when
ostriches and gazelles are placed above as well as below the boats, it is because
the artist has distributed his smaller figures in the vacant spaces after drawing
the principal ones. On the subject of the part played by ostrich eggs, I will add
to what 1 have stated in the chapter on personal adornment that Wilkinson
infers that they were suspended in the temples of the Egyptians as they still
are in the churches of the Copts.
Marshall, James, Sotne points of rcsetnblance
betweeii ancient nations ,^f the East and West, in the Proceedings
of Biblica. Arclur.ology, xiv. 189 1-2, p. 6.
of the Society
2i8
religion.'
It
cult in the
assembled
in
certain
under certain circumsacred
localities
to
the
same way that the Australians celebrate the iitticJiiiivia

which are always the same.- Greek authors
certain localities,
in
relate
ually
how numerous barks

went
The
it
to .suppose that,
pcrmi.s.sible
is
the tribes
stances,
laden with entire populations habit-
to Bubastis to celebrate the feast of the goddess.''
ideas of death entertained by
comprehensible why
easily
primitive people render
all
the walls of
tombs were inscribed
with scenes analogous or identical with those found on the rocks,

the purport of which savours of magic.
If
the living multiplied
made
paintings and sculptures of useful animals and
representa-
tions of boats with a utilitarian object, the deceased,
who
tomb
would have
of the
lived a life scarcely different to that
living,
in
his
a similar desire to benefit from the result of these representations.
The tombs
Egypt were extremely small, and could scarcely

Thus the walls could not suffice
contain the contracted corpse.
in
the representation
for
were, therefore,
provisions,
his
find,
and
necessary
sides
and
this
with
painted
are
of scenes
drawn on the
we
that
is
it
for
and
boats
have
reason
the dead.
that
The
animals.
already
for
They
of the jars which contained

so
many
plants
mentioned, are
vases
that
aloes,
we
which
pots, and still retain in Egypt to the present

day the property of averting the evil eye. As to the dancing
scenes which we believe we ha\e recognized, they would be
explained by the funerary and magical nature of primitive dances.
We will speak of them in a special chapter.
are cultivated in
Certain figures of the Hierakonpolis painted tomb, moreover,
confirm
the
religious
nature of these representations, and they
we suppose, the ceremonies of the

When Pharaonic Eg\pt makes its appearance
reproduce, as
'
in the
paintings
See, lor e.xample, Lefkbure, Rites c^yptiots: Consh-uction ct protection des
edifices, p.
86 ^/
sc(i.
&
Spencer
herodatits,
loc. cit. fig. 24, p. 171, and fig. 33, p. 195.

See Wieue.man.x, Herodots zwcites Bitch init
Gillex,
ii.
60.
ErUUitcru7igen, Leipzic, 1890,

^
cult.^
On
the subject of
tlie
p.
253 et
saclilicken
seq.
cult of the pillar T,
am
struck with the frequent
LLi
appearance of
loc. cit. passim.
tiie
pole in Australian ceremonies.
Inde.x,
"Pole."
See Spencer
&
Gille.x,
219
and sculptures of the tombs of the Ancient Empire,

also scenes
doubt
is
but
arc
things
that
navigation
of
seems
Here,
where
no longer possible, we are certain of the reason of these
They
representations.
the deceased
for
occur repeatedly.
still
it
Figures of animals and
changed.
httle
exist solely for the purpose of procuring
the realization of the objects depicted on the
tomb. The religious formulae which accompany

show the Egyptian of historic times employing
magic methods in order to ensure to the deceased a peaceful
and happy existence, methods which in reality are only the development of those employed by his primitive predecessors. No
doubt this is the explanation of numerous primitive sculptures.
We have mentioned models of boats, and also of animals.
of
walls
the
these scenes
On
In Egypt it
As we have
M. Salomon Reinach.
that
are
represented.
of the undesirable animals

frog,
may
point a grave objection
this
lion, jackal,
is
be made to the theory of

not only desirable animals
seen, there are also
figures
the hippopotamus, crocodile, scorpion,
monkey, and even the
with the body
griffin
of a lion and the head of a bird.
The answer which meets this objection appears to us a simple

The primitive Egyptians, when we first know them, are
already advanced to such a degree of civilization that we may
one.
be
justified in
supposing
that, in addition to
magic formulas, the
object of which was to secure a supply of food, they also possessed

religious beliefs of higher development, such, for
animal
cults.
The monuments
of ancient
Egypt
example, as the
afford sufficient
proof of the existence of such cults at the commencement of
Egyptian history
to enable us to recognize, in the
the goddess Thueris
^
;
in
the crocodile, the
scorpion, the goddess Selkit
in
hippopotamus,
god Sebek
the
in
the frog, the goddess Hekit
in
The figures of the hippopotamus are perhaps intended to enable the

See Prisse
deceased to enjoy the pleasure of hippopotamus hunting.
D'AvENNES, Histoirc dc Vart cgypticn, atlas ii. pi. x. At tlie British Museum there
is a statue in breccia of the goddess Thueris in hippopotamus form, which was
but as doubts
at first attributed to the Saitic period, then to the archaic ag'i
'
have been raised as to its authenticity, I have not dared to make use of it as
a proof. See Budge, A History of Egypt, ii., Egypt under the Greal Pyramid
Builders, fig. p. 5, Britisli Museum, No. 35,700.
"
220
Sekhmet
the lion, the goddess

the god xAnubis
god Mentu,
the god Thot
in the ape,-
The
etc.
god Atum
or the
in
in the jackal,
the griffin, the
cults of these divinities apparent!)- did not
developments
exist at this age with all their later
the fact that these Egyptian
but
see in
of the historic age were
divinities
represented by these animals, the proof that from primitive times
they had been the object of a
cult.
If
were possible
it
me
for
to
enter here into details of theories relating to fetishism such as

is
it
practised
by the negroes of the coast of Guinea, or of totemism,
would be easy to make

animals,
these
and
on which
existence
desirable.
the
of
Thus
the
it
boats
of
how
could happen that
it
entire
tribe
well-being
depended, became actually
theory proposed by M. Salomon
among
finds a striking confirmation
Models
clear
was supposed that the
it
Reinach
the primitive Egyptians.
frequently occur
Egyptian
in
tombs of
Pharaonic times, and also models of houses have been found.
The primitive tombs have yielded representations of servants,

women, and of dwarfs, whose presence may be explained in
the same way.
The servants are given to the deceased to
accompany him in the other life, and the numerous statues of
of
servants found in the mastabas of the Ancient

the
to
persistence
of
Wives
custom.
this
Empire bear witness

accompan\'
their
husbands, and a statuette discovered at Naqada, with a model

of a
bed,-^
representations
similar
recalls
Dwarfs and deformed persons served

did the buffoons for the living
as
sentations on the
The
religious
next
world.'^
The
On
to
and
Pharaonic times.
amuse
here,
indicate
figures of captives,
difficult
the subject of lions
the
deceased,
the
the
again,
tombs of the Ancient Empire confirm
texts
would be more
of
repre-
this view.
importance of dwarfs
in
the
which we have previously mentioned
to
explain
and apes see
if
also
the
foundation
Lefebure,
rites
of
Kiies egyptietts
Constructioti et protection des edifices, p. 52 et seq.

^
The
figures of apes are
perhaps intended to provide the deceased with pet
See Lepsius, Denkmdler, ii. 13.

Petrie, Naqada, pi. xx.xvi. 83, and p. 41.
Maspero, ^r une formule du Livre des Pyrajnides,
animals.
'
*
mythologie et darcheologie egyptiennes,
ii.
pp. 429-443.
in
the Etudes de
221
tombs, of temples, and of houses amongst the primitive people
come
not
did
our
to
These arc victims
presence.^
monument, and Egyptian
It
New Empire furnish

may be considered
house,
Egyptians
not
surprising that
dead
the
succeed in entirely
Theban tomb
primitive
the
many
contribute so
say of
primitive
all
tomb, between
the
The tomb
difference.
temple
the
their
temples
objects similar
This coincides with the conception
to
temple, and
the
be no essential
to
of
us with a conclusive proof of this.-
to those found in the tombs.
of the
for
guardians
as
representations on a
Abydos
of Hicrakonpolis and
sacrificed
civilization did not
The
banishing this custom.

of the
and indicate the motive
aid
nations
of
the
which there seems

house of the
the
is
probably either the house of the living
is
god or the tomb of the dead god.
Unfortunately
briefly indicate these points, without
entering into the develop-
we can only
ments which are not directly connected with our subject.
The
results of
that of radical
sculptures and
our investigations
differences
paintings
chapter tend to show
in this
there are scarcely
any between the
of the primitive Egyptians and those
of Pharaonic times.
The
following
monuments,
show
will
this
manner
we can
that
the
in
that
if
but the
same manner
follow
it
primitive
the
to
the style
step
art
by
Pharaonic
earliest
of art productions was
was effected
transformation
transformed,
introduced,
devoted
chapter,
step.
in
so gradual a
New
elements were
was only changed by them
as that in which
nation itself alters by
frequent admixture of foreign blood.
MTo-nseur],
E.,
review of Sebillot, Lcs travaux publics et les tnines datts

de tons les pays, Paris, 1894, in the Bulletin de
les traditions et les superstitions
Folklore,
ii.
fasc.
iii.
iv.
1893,
p.
177,
where the bibliographical indications
The same primitive beliefs may

Le but de ces sacrifices est de procurer
relating to this point are to be found.
also
explain certain animal figures.
a la
"
construction un g(5nie protecteur.''

-
les
Maspero, Le tombeau de Mentouhikhopshouf,
in
the
inembres de la Missioji archeologique fratifaise au Cairo,
Mcmoires publics par

v.
fasc.
3,
pp. 435-468.
222
CHAPTER
V.
THE EARLIEST PHARAOSIC MONUMENTS.
DURING
the winter of 1893-4, in the course of excavations
on the
site
of Koptos, Petrie and Ouibell
of the temple
number of stone monuments " quite apart from

They comprised three
anything known in Egyptian work."
discovered
human
statues
We
any metal
possible to
we have seen
assign them
owing
that,
The
characteristic
Min.
The
by a
slight
attitude
gro(;ve in
front
the
position
is
to
hold
Min
it
in
first
in
the
Egyptians to the
god
to
and are marked only

the knees are scarcely
project
arm
right
a whip,
the
joined,
and behind
of the
representations of the god
of being raised
fist
and
period
personage standing
assigned by the
legs are parallel
discoveries,
150).
The arms, roughly worked,
indicated.
body
represent
statues
three
to recent
position in the classified series
their
from the primitive
remains, extending
The
and a
lions,
tool.
Egyptian dynasties (Figs. 142 and
the
three
have previously had occasion to speak of the lions and
the bird, and
of
size,
life
and are entirely hammer-worked, showing no trace of the
bird,
chisel or of
is
considerably
over
but
differs
little
from
the classical period

it
is
from
that
;
of
instead
hanging down the
side.
clenched, and a hole pierced through the hand shows
some kind of emblem, possibly the

The only garment indicated is a girdle formed of
material wound eight times round the body one end
that the figure should hold
whip
itself.
a piece of
falls
down
the
right
side,
broadening
Petrie, Koptos,
to
p. 7.
the
base (Fig.
166).
THE EARLIEST PHARAOXIC MONUMENTS.

On
this
end
there
arc
various
indicated
designs,
by
223
outlines
more deeply hammered, and which probably are an attempt
at
rendering embroidery.
In
the
first
statue
166.
Fig.
the
designs
are
stag's
head fixed on
Statues of the god Min discovered at Koptos.
Ashmolean Museum,
O.Ktbrd.
of which enters the mouth of the animal

two pteroceras shells.
a Stake, the top
below
On
this are
the
second statue there are also two
two saws of
poles,
the
saw-fish
of
the
Red
Sea,
ptv=;roceras
and,
shells,
fiually,
on the top of which are ."xed emblems identical
two
with
224
the
which
sign
Min, and
the god
reproduction (Fig.
On
used
the
of
the sign engraved upon a slate

Amrah, of which we have given a
EI
at
62,).
the third statue the designs are
poles with
name
writing the
for
recalHng
discovered
palette
on was
later
Min emblem
are
The two
more complex.
separated, as in the preceding
specimen, by the saws of saw-fish, the teeth of which are in this
worked with a
case
knotted pole
two
is
is
a drawing of an ostrich.
pteroceras
large
elephant, a hyaena
(?),
whose
hammered.
and an ox, the
In addition, there
indefinite
feet
figure,
then
an
of which are placed
167).
have already had occasion to notice similar figures on
decorated
the
an
shells,
on small triangular objects^ (Fig-
We
of being
joined to one of the Min emblems, and below
the other there

are
instead
flint-knife
pottery,
where we
placed on
are
feet
men hunting animals
find
a succession of triangles, apparently
On
intended to represent mountains (Fig. 88).
sculptured ivory from Hierakonpolis elephants
We
standing on these triangles (Fig. 109).

these archaic statues with
the
primitive
a fragment
of
are likewise seen
may, then, connect

even though
remains,
they are manifestly intended for a representation of an Egyptian

-divinity.
Without insisting here on the deductions which have
been drawn from the presence of these statues at Koptos, we
may
say, in
those
passing, that they provide a powerful
who wish
Red
With
statues,
age
is
east coast of Africa, on
the exception of Professor Petrie, the discoverer of these
the only scholar
who
has attempted to determine their
Professor Steindorff, of Leipzic.
Petrie, Kopios,
fbeen found, but
it is
pi.
iii.
much
iv. and pp.

mutilated.
Judging from
Petrie, Koptos, pp.
8, 9.
7, 8.
It
The head
shows
'
\\.\\
on the
of one of the statues has
that the
god was bearded. The
ib. pi. v.
London, 1899, p. 12.

Steindorff, Eine neue Art dgyptischer Kunst,
fur Georg Ebers, pp. 130, 140, notes ,41.
Sixteenth Dynasty,
their style
Petrie,
4 (Ashmolean Museum, Oxford).

History of Egypt from the Earliest Times to the
See Petrie,
face has suffered most.

*
the borders of
Sea.-
he attributed them to the prehistoric period.^
to
bring the dynastic Egyptians from the land
to
of Punt, situated on the

the
argument
ed.
in
Aegypiiaca, Festschrift
THE EARLIEST PHARAONIC MONUMENTS.
Fig
225
the god Min.

167, Hammered Designs on the Archaic Statues of
(i
and
2)
Cairo
Museum
(3
and
4).
IS
226
them
contrary, in a recent article, considers
This divergence of opinion cannot be ignored.
the dynastic race.^
Hierakonpolis an
At
statue
archaic
discovered, which had
Koptos was
man
Mr. Green, this represents a
the
hangs down the
a large cloak,
which reaches
figure
left
side.
to
According to
town.
standing, the
The
leg slightly
left
the
and the right
breast,
tionately long,
from
those
to
used as the threshold
The knees are summarily indicated
horizontally on
laid
similar
been
ancient
of a gateway in the wall of the
advanced.
work of
as the earliest
arm
left
is
dispropor-
arm,,
clothing consists of
the knees, fitting close
to
the
and supported by a broad band, which, passing over the
As
shoulder, leaves the right side of the chest uncovered.

statues of Min, the right
in the
hold a sceptre or
Museum, Oxford,
woman
(Fig.
The
staff,-
hand
original,
is
pierced horizontally to
now
in
Ashmolean
the
gives rather the impression of the statue of a
i68).
The same excavations

of two very important
at
Hierakonpolis led to the discovery
monuments, which have been the means
of dating a whole series
of similar objects dispersed
various
in
museums, and about which there had been much divergence of

opinion.
These objects
consist
on which figures of men and

low
fragments
M. Heuzey, the learned
relief
Museum,
of
animals
insisted
on the resemblance
fragments and the monuments
of slate
custodian
of
palettes,
sculptured
are
style
of Chaldean
very
in
Louvre
of the
between
these
M. Maspero
art.
observed points which were completely Egyptian, and believed

that for one of the fragments he could assign a date during the
rule of the
and
his
Libyan kings of the twenty-second dynasty (Sheshonk

Dr. Budge, the keeper of the Egyptian
successors).
department of the British Museum,

be
to
offered
Finally, Professor
we have already mentioned, came
to
Egypt
the
as
presents
kings
of
Steindorff, in the
the
conclusion,
them
the
article
after
and Development of Egyptian Art, in ihe Journal of the

London, June 21st, 1901, p. 594.
QuiBELL & Green, Hierakonpolis, ii. pi. Ivii. pp. 15, 16, 47.
Petrie, The Rise
Society of Arts,
-
his turn considered
Mesopotamian works imported into

by the Mesopotamian princes to
eighteenth dynasty.
'
in
227
minute examination of the entire group, that these objects were

indeed Egyptian, but of the prehistoric age.^
It
polis
was
at
this
time
Ouibell
that
two pieces of the same
furthermore,
on one
characters
royal
Fig.
68.
them
of
name.
discovered
was
inscribed
Unfortunateh',
Archaic Statue discovered
.\t
Hierakon-
at
They were
class.
complete, and
hieroglyphic
in
name does
the
not
Hierakonpolis.
known
correspond with any of those

of later date, and
at
the
to us from the royal
present time opinion
as to the e.xact position that should be assigned

'
sur
still
is
to
lists
divided
It
it.-
is,
M. de Morgan arrived at the same conclusion. See De Morgan, Recherches

ii. pi. ii. iii. fig. 864, and p. 263 ei seq., where M. Jequier compares
les origines,
them with the knife-handles shown

-
Petrie, History of Egypt
in
our Figs. 33 and 35.

the Earliest Ti?nes^
from
etc.,
5th ed.
1903,
FoucART, Les deux rots incoiiiuis d' Hierakonpoli'i, in the Comptes

rendus de V Academie des inscriptions et belles lettres, 1901, pp. 241-249. Naville,
pp.
7-9.
Les plus anciens monumejits egyptiens,

1903, pp. 206-208, 218-220.
iii.,
in
the Recueil de travaux,
etc., .x.xv.
228
who
nevertheless, incontestable that this king,
Nar-Mer
called
is
by general agreement, belonged to the earliest period of Egyptian
He
history.
deposited several objects in the temple at Hierakon-
among them
polis,
a great slate palette and an
head, both decorated with scenes
with an instance of
use to
become
common
in
low
relief,
enormous macewhich supply us
objects diverted from their ordinary
Their discovery dispelled
ex-votos.^
to the age of similar objects,
doubt as
all
and henceforth they must be dated
from the close of the prehistoric times, or the commencement

of the dynastic era.
It is
impossible to give here a detailed description of these
interesting pieces, as
it
would be necessary
solution
of which
difficult
questions,
the
pages
nor can
attempt to indicate the
^;
history of primitive
of these objects.-^
would
occupy many
facts relating to
the
Egypt which have been drawn from the study

must content myself with giving
illustrations
adding some remarks on the analogies which we
of them, and
notice
extremely
to raise
between these pieces and those of primitive times or of
the historic period.
Basing our selection on the

our
list
style,
we should
place
first
on
a fragment at Cairo (Fig. 169), published by Professor
Steindorff.'
It
represents a boat similar to those
known
to us
Capart, La fete de frapper les Anon, loc. cit. xliii. 1901, pp. 251, 252.
Naville, Les plus miciens momi?nents cgyptiens, iii. loc. cit. p. 223.
' Legge, The Carued Slates from Hierakonpolis and elsezvherc, in the Pro1
ceedings of the Society of Biblical ArchcBology, x.xii. 1900, 125-39, ^î'^ "'"^ plates;
New Carved Slate
Attother Carved Slate, ib. pp. 270, 271, with one plate;
Steindorff, Eine neue Art agyptischer
loc. cit. xxvi. 262, 263, with one plate.
Kiinst, in Aegyptiaca, Festschrift fiir
Georg Ebers, pp. 122-141.
J.
L. M[yres],
review of Legge, Cari'ed Slates from Hierako?tpolis and elsewhere, in the

Journal of the Anthropological Institute, xxx. 1900; Anthropological Reviews
and Miscellanea, pp. 15, 16, pi. B, C, D. Capart, La fete de frapper' les Anou,
in the Revue de Vhistoire des religions, xxii. 1901, where an almost complete
bibliography will be found of the great palette of Hierakonpolis. M. Benedite,
in a
work on the new
group.
publics
pi. XI.
palette at the Louvre, gives a
Benedite, Une noiivelle palette en
par V Academic
summary study of the whole

Monuments et memoires
schiste, in (he
des inscriptiotts et belles lettres, x. 1903, pp. 105-122 and

antithetische Gruppe, in the Jahrbuch der Kaiserlich
See also Jolles, Die
deutschen Archeologischen Institut, xix. 1904, p. 37 et seq.

^ Newberry
Garstang, A Short History of Ancient Egypt, London, 1904,
&
pp. 14-19.
<
Steindorff,
loc. cit. fig. p.
124.

from the prehistoric remains.
one of which
already on
is
This
^^,
the bird
is
rekhyt,
surmounted by two signs

which we have met with
with relief decorations from
a vase
what may be a pictographic inscription
in
Steindorff, with
exist
229
Hierakonpolis,
(Fig. Ti).
perfect accuracy, noted the
Professor
resemblances which
between the boat here represented and those figured
in
the earliest hieroglyphs.
fragment at the Louvre and two
Fig.
169.
others
at
the
British
Fragment of a Slate Palette.

Cairo Museum.
Museum belong
together,
and united form almost a complete
In the centre there
palette^ (Fig- 170).
is
a round cavity, in-
tended apparently to contain the green paint by means of which

the divine statue or the king officiating in the temple was painted.
Surrounding the cavity are traced hunting scenes.
and
left
animals of the desert

resistance.
*
To
the right
of the palette, two bands of huntsmen are chasing the
The type
at the top there
Heuzey, J^gypte on Chaldce,
inscriptions et belles
lettres,
is
a lion offering a vigorous
of lion gives us at least

in
y^
clue to the date
the Comptcs rendii^ de I'Acndemie dis
1899, pi. of p. 66,
and pp.
62, 63.
230
The working
of the palette.
mane
of the
recalls very exactly
the figures previously described of lions contemporary with the
kings of the
dynasty (Fig.
first
141).
The
eyes of the hunts-
men, as Steindorff remarked, are hollowed to contain a bead,

All the men represented wear the
as in the prehistoric figures.
tail
attached to the girdle, and most of them have one or two
ostrich feathers
their
in
Their weapons are characteristic
hair.
of prehistoric times.
If
it
were possible to verify the hypothesis which
ago on the subject of the two
several years
the upper end of the palette,
we should
put forward
figures inscribed
in this palette
on
have one
of the earliest instances of the use of hieroglyphic writing.-
Here, again, we see standards formed of a pole, on the top
emblem
of which an
the
primitive
is
fixed, recalling
age (Fig.
The
164).
the ensigns of boats of
figures of animals,
similar
to those on the decorated pottery, resemble also other pieces

which are more accurately dated, especially a palette discovered
at Hierakonpolis, the top of which is decorated with two running
jackals, the silhouette of the
two animals following exactly the
outline of the palette.
In
is
other
this
the
constitute
palette,
essential
the
also,
part
of the
appears
central
cavity
piece.
Here our attention
to
attracted by the weird figures of feline animals with enormously
long necks,
which we have already seen on the Hierakonpolis
ivories (Fig. 108),
and which we
shall
meet with again.
scenes
real
and imaginary creatures, as
various
There
animals represented here are somewhat surprising.
same mixture of
The
in
is
the
the hunting
depicted on the walls of tombs of the twelfth dynasty^
1 One
of the British Museum fragments is figured, with reference to the
shape of the bow, in Schurtz, Urgeschichte der Kultur, Leipsic, 19CO, p. 345,
with the astounding description, " Assyrische Jagdszene."
dii Musee
2 Capart, Melanges,
2, Remarque sur line des palettes archa'iqiies
Budge, A
Brita7t7iiqiie, in the Recueil de travatix, etc. xxii. 1900, pp. 108-uo.
History of Egypt, ii. 1902, p. 1 1, where the author is not acquainted with
Max Muller, W., Nachtrag ztc Louvre, O, in the
the preceding work.
Orientalistische Litteraticrzeitimg
3
OuiBELL
ou Chaldee,
& Green,
loc. cit.
1899,
part of a similar palette
iii.
1900, col. 433.
Heuzey, .gypte
ii. pi. xxviii. and p. 41.
and pp. 66, 67. A fragment of the lower
the MacGregor Collection at Tamworth.
Hierakotipolis,
is
pi.
in
of p. 66,
iX
-^^
Fig.
170. Slate Palette with Hunting Scenes.

Louvre and British Museum.
231
232
171 and 172).
(Figs.
Captain
jackals,
Mr. Quibell, from information supplied by
Flower, identifies
dogs,
a leopard,
a wild bull, a giraffe,
Fig.
171.
gazelles,
antelopes,
ibex, ;oryx, stags,
vulture (more probably ,an ostrich),
and two
fantastic creatures.
One
of these
Slate Palette with Representations of Animals (Recto).
is
griffin
with a hawk's head, and
out of the middle of
on
its
hind
feet,
the
its
back
with birds' wings rising
the other, a jackal
body surrounded with a
(?),
girdle,
walking
appears

to be playing a flute
a zoological
of animals,
point
(?).
Dr. Petrie remarks^ on the interest from
of view
some of them
are no longer to be found
Fig.
172.
233
presented
of species
in
by these representations
which
at the
present
day
Egypt.
Slate Palette with Representations of Animals (Verso).
M.
'
Bcnedite
has
Petrie, The Rise
Society
of Arts,
published a palette
recently acquired
and Development of Egyptian
xlix. 1901, p. 595.
by
Art, in ih& Jourfial\o/ the
PRIMITIVE. ART IN EGYPT.
234
him
is
in
in
Egypt
closely
the
for the
allied
figures
to
Louvre Museum
(Figs.
173 and 174).
It
Hierakonpolis palette, especially

whose outlines form the contour of
small
the
of animals
173. Slate Palette (Recto).
Fig.
Louvre Museum.
the
object,
four jackals
the
two
first
this difference,
but with
(?)
instead
that in this case there are
of two on each face.
Here appears
time a curious design treated very awkwardly
giraffes
facing
palm
tree.
We
shall
find
this
for
namely,
motive
developed on a palette of which there are fragments
brilliantly
at the British
If
235
Museum and
we attempt
at Oxford.^
to characterize the style of these last palettes,
174. Sl.\te P.\lette (Recto).
Fig.
Louvre Museum.
which show so much similarity

say with M. Heuzey
'
"As
to
Bexedite, U)ic notiveUe palette en
puhlicz par
pi. xi.
^
V Academie
Legge.
Heczey,
See
p.
the
ornamentation, we shall
the style,
schiste,
is
it
in the
64.
in
every respect
Momunents
des inscnptions et belles lettres
228, note 2.
loc. cit. p.
in
x.
1903,
et
pp.
Memoires
105-122,
236
such as
we have
but
full
of energy, which attempts to render movement, and at
the
same time robust forms with
human
figures,
defined from the
but also
in
first,
a realism which
salient
muscles, not
monuments
figures
the
of
the Egyptian
Pyramid
had been shown
Fig.
175.
crude
only
in
those of animals even of the lightest
and most agile species, such as the ibex and antelope.

can be farther from
is
tim.es,
style,
as
and
if
it
exists
Nothing
early on
any one of these
to us separately, without an}- indication
Fragment of a Slate Palette (Recto).

Cairo Museum.
of
its
origin,
to Chaldaea, or Assyria, or
is
it
bordering on these, that we
small
fragment
included in this
cavity there
is
at
the
same category
British
;
Museum
part of a recumbent animal, and
second fragment at Cairo
differing very little
it."
should
also
be
here at the top of the circular
ostriches identical with those of the
one of the countries
should have assigned
is
below are two
two preceding
pieces.
carved with representations
from those on the preceding example.
Instead,

however, of being scattered
of
the
rows
palette,
the
in
are bulls
first
This decoration
rams.^
haphazard fashion over the surface
in
animals are regularly separated
the
knife-handle in Fig. 35,
in
the second, asses
the
recalls
in
figures
into
in
which Petrie recognized
"
these
must also be compared the Hierakonpolis
duced
in Fig. 109.
Below the
with
on the
the regular
-
With
ivories
repro-
third register there are trees almost
Fragment of a Slate Palette (Verso).
176.
Cairo
identical
three
the third,
of animals
Egyptian style of the tombs of the Ancient Empire."
Fig.
237
Museum.
which appear
those
in
the
hieroglyphs of the
beginning of the fourth dynasty.'^
The
'
strongest
Durst
&
proof
that
Gaillard, Studlcn
schafes, in the Recueil de travaiix,

2
Petrie, Naqada,
Lepsius, Denknuilcr,
p. 51.
ii.
7.
the
iiber die
x.xiv.
Cairo
fragment
should
be
Geschichte des dgyptischcn Haus-
1902, p. 46.
238
attributed
to
Pharaonic
with primitive pieces,

face,
is
Egypt,
in
the
notwithstanding
where we see hieroglyphic
The animals a
with pictography.
treated
its
analo^-ies
on the second
writing, combined, it is true,
representations
lion,
a scorpion,
and a hawk
an archaic manner, destroy, by means of a hoe, the

crenellated walls on which they are perched (Figs. 175 and 176).
in
This system of pictography

the
Ashmolean Museum
Fig.
is
seen again on a fragment at
here standards, from each of which issues
Fragment of Slate Palette (Recto).
177.
Ashmolean Museum,
human
arm,
seize
the captives.^
O.xford.
The
forms part has not been recovered entire

the
at
British
Museum.
On
standing on either side of a
The beauty of execution
of which
palette
;
the
largest
one of the faces

palm-tree,
of this group
are
is
two
eating the
this
piece
is
giraffes,
leaves.
admirably described
This same symbol of standards furnished with arms is frequently found on

monuments of the classic period. I quote one e.xample from among a thousand.
^
Lepsius, Dcnkmdler,
iii.
74^/.

by
M.
"The palm branches," he

The cluster of
Benedite.
decoration of great elegance.
adds a motive which assumes singular importance

of
the
palette.
simplicity
Finally,
of
in
detail
this
struck with the interest presented
the gigantic animal.

it
Seeking
by the
affected
fragment
its
it
at
in
a
top
the
the midst
remainder of the
impossible
is
by the
"form
sa}'s,
fruit
239
not
to
be
position of the head of
food at the summit of the
tree,
appears to inhale with extended nostrils the appetising scent
Fig.
17S.
Fr.xgment of Sl.vte Palette (Verso).
palm branches and of the pollen of the blossom."

body of one of the giraffes a large bird vaguely
suggests that on the painted tomb of Hierakonpolis (Fig. 162).
The other face evidently depicts a field of battle strewn with
corpses, which are being torn by birds of prey.
A lion has
seized one of the corpses by the abdomen, and is attempting
of the
fresh
Above
the
to tear out a
tself to
piece.
being seized,
The
is
inert
body, which entirely abandons
most happily rendered.
The
lion
bears
240
16
241
J43
a
resemblance
principally in the lines of the
forehead
(Fig.
141).
wrapped
in
large
Fig.
we
figures
the
to
Above
have
described,
previously
muzzle and the two spots on the

this
scene of carnage,
person
embroidered mantle, recalling that of the
Fragment of Slate
Palette (Recto).
181.
Louvre Museum.
small
a
ivory
prisoner,
heavy stone
The
statuette of
whose
(?)
is
arms
Abydos
(Fig.
122),
are bound behind
hung round
his
pushes before him

his
while
back,
neck (Figs. 177
to
180).
engraved
living standards play a direct part in the scene
on a fragment of
palette
from
the
Louvre.
Five
ensigns
surmounted by emblems of gods, among others of the god Min,.

end
a hun:ian
in
an actual
hand grasping
pictographic
constitutes
trampling a
the
a strong cord.
as
inscription,
upper
part
man under
of the
is
also
palette
and about
his feet,
Fig.
1S2.
This
the
is,
243
in reality,
which
scene
vigorously
bull
him with
to transfix
Fragment of Slate
Palette (Verso).
Louvre Museum.
his horns.
This, as Schaefer
was the
first
to recognize,
an instance of a king "Strong Bull" overthrowing

'
Steindorkf, Eine
?teue
Art
iigyptischer Kunst,
Otford remarks that " in the epilogue to the

boasting of his victories, calls himself
enemy.'
"
'
Code
loc. cit. p,
of
is
already
his enemies.^
131,
note
Hammurabi, the
the mighty steer
i.
Mr.
king, in
who overthrows
the
244
Fig.
183.
-Slate Palette of Nar-Mer

Cairo Museum.
(Recto).
Fig.
84.
Slate Palette of Nar-Mer

Cairo Museum.
(Verso).
245
246
The type
of the vanquished
enemy should be
hair and the curled beard, as
On
suspended.
observed, also the
well as the girdle from
which the
the reverse of this palette the principal
kaTnata
is
scene
repeated, but this time the place of the animated standards
is
is
occupied, as
the
in
second
walls representing fortified
Cairo
fragment, by crenellated
In the centre of these walls
towns.
hieroglyphic signs give the names of cities (Figs. i8r and 182).
Fig.
185.
Fragment of Slate Palette.

Louvre Museum,
The symbol
of the king, "Powerful Bull," destroying his enemies,
again on the great
occurs
palette
discovered at
where the bull has overthrown with
This palette, with the name of King Nar-Mer,
walls of a town.
discussions
raises
refer
'
loc.
to special
They
will
cit.
See
appendix,
in
Hierakonpolis,
horns the crenellated
his
of
extreme complexity,
works published on
this
for
which we must
subject.^
We
observe,
be found recapitulated in Capart, La fete de frapper les Atiou,

also Naville, Les plus a?icie?ts monuments egyptiens, iii.
the Recucil de travaux,
xxv.
1903,
pp.
223-225.
Weill,
R.,
247
however, the great lion-like animals with serpents' necks, which

are also found on a Chaldsean
an
says M.
identity,"
cylinder at the Louvre.^
186.
Such
Heuzey, "between two motives, both of
which are of such precision and complexity, cannot be the
Fig.
''
effect
Gre.\t Mace-head of King Nar-Mer.
Ashmolean Museum,
O.xford.
les origines de I'Egyple, in the Revue archeologtqiie, 1902, ii.

QuiBELL & Gree.n, Hierakonpolis, ii. pp. 41-43.
Heuzev, gypie on Chaldee, in the Comptes rendus des seances de
I' Academie des inscripiions et belles leilres,
1899, pp. 66-68 and pi. of p. 6r.
The leopard [?) with the neck and head of a serpent is not without parallel in
Hieraconpolis et
pp. 119-121.
'
Egyptian
in
art.
It
is
the fantastic animal
hunting scenes at Beni Hasan.
named
les
Anou,
loc. cit. p. 264.
which
is
figured
See Newberry, Beni Hcafi, ii. pi. iv. It

See C.apart, La fett
also occurs on the magical ivories of the twelfth dynasty.
de frapper
s^dja,
248
of chance.
by very
only be explained
can
It
between primitive Chalda;a
The explanation only
and the
close
Egyptian
earliest
gains in force and emphasis
relations
civilization.
one admits
if
a race originally Asiatic arrived on the banks of the
that
and founded the
earliest dynasties,
of Africa
lations
elements
the
This fact
taken form.
conforming
of
bringing to the black popu-
an
which had
art
simple and rational
is
not only
also to
the laws
which we know of the great currents
that
to
On this
by the human race" (Figs. 183 and 1S4
we find a use of hieroglyphs similar to those of d)'nastic
followed
palette
already
itself,
in
the traditions of humanit}', but
to
of history and
Nile
Eg>pt, and, nevertheless, pictograph}' has not entirely disappeared.
On
the recto, above the head of the barbarian smitten
king,
group
singular
head, a bunch
of
papyrus
unanimous with regard
composed
sculptured,
is
stems,
this
to
and a
is
it
of
by the
human
Opinions are
bird.
intended
to
that
signify
the
god Horus, or the goddess Nekhbet, vanquished or seized
six
thousand
foes,
or
also
perhaps that they overthrew the people
of the north.
There
is
fragment
small
the
in
Louvre Collection,
e.xtremely archaic, representing a group of people on the march,
which was bought
Beyrout
at
by Ary Renan.
doubt that the fragment must be placed with the

class of objects (Fig.
We
Fgyptian
art,
details
by the
Fharaonic monuments.
stand alone
in
this
series
of objects without observing
are found which
The
to primitive
are allied
side of others which
are characteristic
ivories of Hierakonpolis
suppl\-ing a convincing
mind
in
no
earliest of this
and
of
and Abydos
satisfactory succession,
forming a link between prehistoric and historic work.

bear
is
185).
must not leave
what extent
to
There
what we have already mentioned,
We
that
must
before
anything was known of primitive Egypt, Professor Steindorff,

with his perfect knowledge
arrived
^
''
the conclusion
at
Capart,
id. p.
Lettre de
third series,
ix.
Egyptian
of
these
that
art
palettes
and
archaeology,
belonged
to
the
256.
M. Ary Renan a M.
1887, pp. 37, 38, with
G. Perrot,
fig.
in
the Revue archeologique,

Now
prehistoric period.
that
we
to
the
owing
possess,
Hierakonpoh's
a
discoveries,
palette
name of an
king, we are
bearing the
Egyptian
to recognize
forced
we
witli
Pharaonic monu-
actual
The
ments.
one
that
confronted
are
hesitation
pronouncing
feels in
judgment on these
appears
palettes
to
be
the
that
there
any
given
Egypt
of
slate
me
to
proof
best
was
not
at
moment
in
a sudden
direction
change
artistic
in
We
conceptions.
have
already had occasion
remark
this,
return
to
have
will
when
we
it
formulate
to
to
and we
our
conclusions.
King Nar-Mer, who

dedicated the great
palette of Hierakonpoh's,
also
deposited
temple
mace
of
the
in
head
the
of
colossal
size,
inscribed with scenes
in
low
of
the
Several
relief.
on
this
still
be
personages
palette
may
recognized
the
servant
carrying the sandals,

another on
the
identity
249
PRIMITIVE ART L\ EGYPT.
250
whom
of
The
standards.
not
are
writers
on
reliefs
and
agreed,'
this
men
the
carrying
the
mace-head show a roughness of
workmanship which denotes a less practised hand

187) than that which carved the great palette.-
i86 and
(Figs.
Without entering into a detailed study of the scenes on this

we must notice the three bearded men dancing before
mace,-'
the
who
king,
under a dais placed on a platform,
seated
is
Both before and behind these
which a ladder affords access.

dancers
crescent-shaped
three
objects
these objects make their appearance
have acquired a regular form.
We
represent.
these
"
It
must be content
crescents
"
occur
in
to
are
what they
to say
difficult
is
observe that in
to
When
represented.
the classical period, they
in
the composition of the
the
texts
of certain
titles
officials^
The remains
who has
the nam.e of a
king
any
Among
certainty.''
mace
second
of a
opening
of
dyke
On
we here
In
'
lower
the
Can
one of the canals
angle
bear
see the king pre-
1S8 and 189).
seen the prow of a vessel which recalls

period.
type
perfect
hitherto not been identified with
other scenes
siding over public works (Figs.

*'
more
of
at
the
there
those of the
Naville, Les plus ancicns ^noniiments cgyptiens,
iii.
may
loc.
be
primitive
remains
the
right
be the
this
cit.
.x.w.
are
1903,
pp. 223-225.
QuiBELL, Hicrakonpolis, i. pi. .xxvi. b,

G., La plus vieille Agypte, ii., Lcs mormments cormnemoratifs
Moret, A., Du
dit Sed a Hicraconpolis, in the Sphinx^ v. 1901, pp. 102-106.
Caractere religieiix de la royautc pha?-aoniqHe, Paris, 1902, p. 242, and fig. 71,
Weill, R., Hieracotipolis et les origznes de I'^gypte, in the Revue
p. 240.
^
Fouc-vRT,
archeologique, 1902,
ii.
pp. 121, 122.
Lepsius, Denkmliler, ii. 129. Newberry, Beni Hasan,"\. pi. xxxv. p. 41.
ScHiAPARELLi, Museo archeologico di Firenze, Atitichita egizie, i. pp. 266, 267,
*
369, 468.
*
See Griffith, Hieroglyphs, pi. iii. 36, and p. 64.

G., Les deux rois inco?tnus d^Hieraconpolis,
Fouc.^rt,
rendus des seances de V Academie des mscriplions

Naville, loc. cit. xxv. 1903, p. 218.
^ Quibell, Hierakonpolis, i. pi. xxvi.
^, pp.
nizes,
took
Ma?tual of Egyptian
chapter, p.
des edifices,
353,
note.
p. 32.
Aegyptologie,
p.
425.
place
at
the
Archeology,
Lefebure,
foundation of
5th
ed.
p. 133,
and
230-241.
to,
"digging out the
temples.
See Maspero,
supplementary
London,
Rites egypt-iens
Mariette, Dendcrah,
the Coinptes
M. Maspero here recog-
10.
9,
with sufficient probability, the ceremony of Khebs
ground,'' 'which
in
et belles lettres, 1900, pp.
1902,
Construction et protection
i.
pi.
20.
Brugsch, Die

small
of a
distinguishable
found on the top of the
construction
vaulted
palette
slate
similar
251
to
that
reproduced on Fig.
170.
left, some persons are being carried

mace of Nar-Mer, and men wearing a
long tress of hair hanging down their backs are executing a dance.
Dancers with this same tress may be seen on the fragment of
In the middle register, to the
in
palanquins, as on the
a third mace, which

idea of the whole
Fig.
88.
is
too
much
mutilated to allow of an accurate
These maces, which again
design.^
differ
in
Great Mace-head of an Unidentified King.

style from the
Egyptian
theless, to scenes
It
same with
the
is
discovered
classical
which reappear
in
the
royal
monuments, introduce
at
us,
never-
subsequent periods.
numerous
fairly
series
These
tombs of Abydos.
objects
of
arc
small
plaques, of ivory or wood, engraved with shallow lines sometimes

filled
with a blackish paste, showing a great variety of scenes
in
and inscriptions (Fig.
The
igo).
largest of these plaques
the king
whom
Menes, the
first
'
was discovered
in
the
tomb of
scholars are apparently agreed to identify with
King of
the
first
QuiBtLL, Hicrakonpolis,
i.
dynasty,
pi. .x.xvi. a,
according
and
p. 8.
to
the
2^2
Fig.
189 Detail
Mace-head
of the Principal Scene on the Great
OF AN Unidentified King.
Block lent by the Egypt Exploratioa Fund.
See Archaological Report, 1897-8,
P-
7,
P'ale.

historians of the classical period.^
are divided
Fig.
right
'
190.
is
into four
The
scenes and descriptions
superposed registers.
In
the
first
of Small Ivory and Wooden Plaques discovered

THE Royal Tombs of the First Dynasty at Abydos.
curious
representation
of a
primitive
the
at
Specimens
253
in
temple, above
This identification has been questioned especially by Naville, Les plus
aticiens
monuments
egypiiens,
pp. 207, 208, 218-220.
i.,
loc
cit.
xxi.
1899,
08-1 12;
iii.
ib.
xxv.
903,
254
which there are

sanctuary with
the
two boats.
a sacred
mace of Nar-Mer
scene
of the
Vaphio
next
the
similar
bird,
to
register
is
another
one of the figures on
the temple
before
is
bull
hastening
ground with two pegs, thus recalling
to the
into a net, fastened
In
The two lower
goblets.
are
registers
occupied by figures of boats and by inscriptions.^
On
another tablet, that of the king Den-Setui, Tor Semti or
we
Hesepui),
The king
find a similar scene to that
is
which access
afforded by a ladder.
is
crescents,"
platform,
to
Before this small pavilion
the king himself again appears, framed

"
on the mace of Xar-Mer.
under a slight canopy, on
seated
in
two groups of three
This scene, as well as that of the
performing a dance.-
Hierakonpolis mace, has been recognized as a representation of
was celebrated throughout the whole
the feast of Heb-Sed, which
fragment of a plaque
duration
of
with the
name
the staff
and mace, and preceded by the standard of the jackal
the
we
find
Sinai.
in
An
Egypt.'"
Here we
Anubis or Apuat.*
closely to
of
history
of the same king shows the king walking, holding
the
first
we
feel that
representations
the classical
on
place
ivory plaque
in
rocks at
the
the
are approaching very
of the Pharaoh, such as
MacGregor
Wady
Maghara,
in
Collection, with the
King Den, is especially instructive on this poinf

Special stress must be laid on the important discovery of M.
Weill, who has succeeded in identifying the king of one of the
bas-reliefs at Sinai with King Mersekha of the first dynasty."
name
of
Petrie, Royal Tombs
ii.
ancieiis nionumeiits egyptiens,

-
Petrie,
ib.
i.
MoRET,
A.,
Du
pi. xi.
14
pi.
ii.,
\\\.a,
loc. cit.
xv. 16,
x.
and
pp. 21,
51.
Naville, Les plus
xxiv. 1902, p. 120.
and pp.
22, 40, 41.
Caractcre religieux de la royaictc pharaonique,
fig.
86, p.
262
Budge, wiio regards the seated figure as Osiris, draws from it curious
conclusions.
See Budge, The Book of" the Dead {Books on Egypt and Chaldca),
London, 1901, i. pp. xxxiv.-x.xxvii. A History of Egypt, i. p. 194-19S.
Dr.
84 xiv. 9, and p. 21.

Spiegelberg, Ein ncues Dciikmal aus der Frilhzcit dcr dgyptischen Kunst,
in the Zcitschrift fur dg\ptischc Sprachc mid Altcrthumskunde, xxxv. 1897,
pp. 7-11, and fig.
^ Weill,
Un nom roval egyptien dc la periode thinite an Sinai, in the
Comptes rendu s de I'Acadeniie des inscriptions et belles lettres, 1903, pp. 160-162
Inscriptions cgyptiennes du Sinai, ii., Lcs bas-reliefs thinites du Ouady Magharah,
M. Naville questions the reading
in \.\\& Revue archcologique, 1903, ii. pp. 230-234.
i.
pi. x.
'"

on
Finally
representing
bringing
Fig.
captives,
tribute
and
191.
palette of
note, as
are
various
other
and
possibly
the
vanquished,
their
conqueror.^
rendering
Small Plaque
the
homage
to
these captives and those on
in
the
slate
Glazed Pottery discovered at Abvdos.
Oxford and of the
also
fragments
there
servants,
190
The resemblance between
Fig.
255
British
representation
Museum
of the
is
personage
important to
in
the
long
name of tliis king and also tlie position that he occupies in the dynasties
he reads Khesket, and considers he is not earlier than the second dynasty. See
Naville, Lcs plus anciens 77tonumcnts egyptietis, iii., loc. cit. x.w. 1903, pp. 219, 220.
Petrie, Royal Tombs, ii. p. \\\.a, i, 2, and iv. 4-6, 11, 12, and pp. 21, 22.
A fragment which fits on to that published by Petrie, pi. iv. il, was discovered
See Ameli.neau, Lcs nouvcllcs fouilles d'Abydos, 1S95-6,
earlier by Amelineau.
Compte re7idu In cxtenso, Paris, 1899, pi. xlii. and p. 307, where the fragment is
of the
'
described as being on plat
xli.
It is
now
in the
Brussels
Museum.
256
The
mantle on the same piece.
which we notice
hair
strange method of arranging the
on Fragment
two of the Hierakonpolis maces.
on
of the archaic races of Egypt,
Fig.
men
is
of our figure
is
seen also
Petric, in his classification
inclined to see in these figures
192. Private Stel.e from the Royal Necropolis of the First

Dynasty at Abydos.
of the
hill
tribes of the eastern desert (Gebel
Dorkhan and
Gebel Ataka).'
An
object
which
very curious as regards style was dis-
is
covered in the course of Petrie's excavations at

the winter
pottery,
'
1902-3.
It
is
bearing in low
a small plaque or
relief a
Petrie, The Races of Early Egypt,
Institute, x.xxi. 1901, p. 253,
and
pi. xix.
figure
in
the
13, 15.
tile
of a
Abydos during
of green glazed
man
walking,
his
Journal of the Anthropological
THE EARLIEST PHARAOXIC MOXUMEXTS.

the space
An
hand.
staff in his
left
the back, but
inscription, also in relief, occupies part of
unoccupied
writes thus on
been intended to insert
The
dynastic
to the
From
races.
does not seem, therefore, to have
it
a wall, but rather as
in
figure
people,
prehistoric
the
we must
inscription
the hieroglyphic inscription

several
of the
signs
'
for
attribute
him
Egypt.
He
in
devoted to God,' of the
Hemen."
the town of
in
made
and neither of the pure Libyan or
appears to be a chief called Tera-Xeter,
Anu
if
of a low t\-pe, the negroid variety
is
Anu, who are known as an aboriginal people
fortress of the
Petrie
"It has no groove or dovetail on
quite plain
votive offering.
of the
front of the figure (Fig. 191).
in
the subject
is
o/
The reading
of
very uncertain, at least as regards
is
of which
it
The extreme
composed.-
is
rudeness of the modelling recalls the carving in low
relief
on
the private stelse discovered round the royal tombs at Abydos,

of which we give
If
it
objects,
some specimens^
(Fig. 192).
were desirable to characterize

it
in a
few words this series of
might be said that they betray indecision.
appears to hesitate as to the manner

of his figures
the hieroglyphs
in
The
artist
which he should dispose
carved without order, very
are
different from the fine regularity of the inscriptions of the Ancient
These objects betray the awkwardness of the mason,

The
signs without understanding their meaning.
Empire.
who
copies
variants of the
same
of hieroglyphs of the
will strongly
and the publication

announced by Mrs. Petrie.
sign are considerable,

first
emphasize
d}-iiasty,
this fact.
The
contrast
one examines the hieroglyphs on the royal
striking
is
stelai
when
of the
first
dynasty, which have not at any age been surpassed for dignity
and
beaut}-.*
It
was evidently
at this period that the fusion occurred
between
the primitive art and that which the Pharaonic Egyptians
may
have possessed at the commencement of their occupation of the

Xile Valle\-.
'
'
It
Petrie, Abydos,
was
ii.
pi.
at this
i.
v. 33,
time also that the Egyptian style

and
p. 25.
Atheiitcum, October 24th, 1903, p. 544.

Petrie, Royal Tombs, i. pi. xx.\.-xx.xvi.
lb.
d' Abydos,
i.
frontispiece
1895-6, p.
ii.
pi.
xxxi.
ii.
pi. xxvii.-.xxx. a.
Amelineau, Les
nouvelles foiiilles
xlii.
17
PRIMITIVK ART I\
258
declared
first
to impress
itself in
the royal workshops, before
it
was possible
on the whole of the recently acquired and unified
it
Long
kingdom.
1':GYPT.
afterwards, on the private
stelae,
one can detect
same opposition to official Pharaonic art.^

As a t\-pical
example I will quote a stela in the Ashmolean Museum, Oxford,
of a person named Hckcncn.
A priest of the double, mentioned on
the
the stela, bears the
name
inscriptions of the fourth
The same
of Pcrscu,
and
name which
dynasties
fifth
which wc have observed
rivalry
carving in relief as existing
Fig.
193.
between the
brtL.A.
occurs
on
(Fig. 193).
in
the
case
of
Pharaonic art
official
of Heke.nen.
and
that
of
statuary, at
vations
Two
at
private
least
statues were
found
be
the
in
The exca-
dynasties.
this.
found representing a man, one knee on the
somewhat strange
proved possible to preserve, and

'
also
first
Hierakonpolis have furnished us with proofs of
ground, and of a
it
is
type.
now
Of
these
one only
Cairo Museum.
at the
See SciiWEi.NFURTH, Die ncucsicn Gn'iberfujidcn in Ohcr-Aci^yptcn und

SlelliDi^
die
ma\'
individuals,
during the three
dcr
nocli
lehenden
ll'iistcii-Stiimme
211
dcr
altiigyptiscJicn
Bcvolkcni/ig, in the Vcrha7idlu)igcii dcr berliner antliropologisdtcn Gcsellscliaft,

1898, pp. 1S4, 185,
-
De Rouge,
where the author speaks

Rcchcrches sur
les
of
"Bauernkunst" and ''Herrenkunst.
ino7iumcnts qn'oii pent attribtier
premieres dynasties de Mancthon, p. 53. Lepsius, Denknililcr,

Les mastabas de V Ancicn Empire, pp. 299-301, Pari?, 1899.
ii.
S3.
aux
six
MARIETTE^

The man wears
mode of cutting
hair cut
his
the
hair
short
above the shoulders.
and the short
beard
259
This
resembles,
as
Pctric remarks/ the type of one of the standard bearers on the
great palette of Nar-Mer.
which narrow
.strips
Fig.
The
clothing consists of a girdle to
are attached, which
194.
Limestone
.Statue of
hang down between
.\
the
Liby.\.\.
Cairo Museum.
legs,
a costume which
on the
bas-reliefs of the
is
found on the palette of Nar-Mer and
Ancient Empire.-'
Professor Schweinfurth
draws special attention to the shortness of the neck, which appears

to agree exactly with the length of the head,
'
xliii.
In OuiBELL, HlerakonpoUs, i. p. 6.
Capart, La fete de frappc^- les Anon,
1901, p. 255.
in
the
and the considerable
Revue de
Vhistoirc des religions,
PRIMITIVE ART
26o
development of the
lips.^
From
IX EGYPT.
the ethnographic point of view,
Dr. Petrie considers that the type presents elements other than
Libyan and Negro (Fig.

This
the
194).-
not the case with another crouching statue, of which
is
head only could be preserved (Fig.
scholar
definitely
The short
come from
"
recognizes
the
Negro
while
195.
long
the
trace of colour can
Head of a Libyan
i.\
from
He
and well-formed
are inlaid, and no
Limestone.
0.\ford.
be distinguished.
while travelling he met an individual

type.
face
The eyes
"'
Ashmolcan Museum,
obviously
type.
curly hair and the thick projecting lips clearly
Fig.
in
Negro-Libyan
half
nose are due to Lib}'an blood."
tical
where the same
195),
mi.xed
the
Dr.
Petrie
who was
records
that
absolutely iden-
him that he was from x^merica,

the Southern States, and of Negro-European
learnt from
origin.'
A
'
'
comparison should be made between

ScHWEiNFURTH,
first
of
these
loc. cit. p. 184, and fig. pp. 182, 183.

pK ii. p. 6 ii. pi. i. and p. 35.
ii. p. 36.
In QuiBELL, Hierakonpolis, i. p. 6, and pL v. vi.
Petrie, The Rise and Develop7nent of Egyptia7i Art, in the Journal 0/
i.
the
the Society of Arts, xlix. 1901, p. 594.

Museum
dynast}'.
He
statues and one at the Cairo

attributes
on
to
the
this subject
third
which
workmanship," he
.says,
Fig.
may
to
has
i)
which
'SI.
Maspero
made some remarks

"The
consider necessary to give here.

"is
196.
archaic, but
One knows what
still
more coarse than
Bl.\ck Granite Statue.
Cairo
archaic.
(No.
261
Museum.
differences in technique
and
in
st\'le
be presented by works belonging to the same reign, according
whether they were executed
in
the immediate vicinity of the
sovereign, in a large civilized town, or in a locality remote fnom
262
TRIMITIVK ART IX EGYPT.
Fig. 197.
Statuf. of a Princess in the
Turin Museum.
THE EARLIEST PHARAOMC [MONUMENTS.
Fig.
198.5t.\.tue_in the Brussels Museum.
26^
264
the
...
court.
any object
necessary to take into consideration the local it\'
is
from whence
it
comes, and the importance of that
when the
time
preceded
royalty did
cities
object was made.
not yet
if
for
b\-
example
them with the
are ruder than
Pharoah
the
and
inferiority that
statue
the
is
they are
by Besh,
a provincial work, and
much
does not so
that
it
is
proof of the want of
were then living
Memphite nome
fact
that
as
It
it
is
between these
and the
in the
impossible better
rival arts
art of the subject,
art
is
it
skill
art,
of the
the
similar
of
in
who
artists
(Fig. 196).
that
of
existed
the masters,
adopt Schweinfurth's
at
was not
commencement
the
of the
transformed except
radicall)*
immediate neighbourhood of the residence of the
in
ruler.
phenomenon might be proved in the history of the

Theban art, when the political power was moved to
Thebes, from Memphis.
Quite
Strasbourg has published
where he explains
its
recentlx-. Professor
(Hoflcunst),
Spiegelberg of
an excellent history of Egyptian
successive developments
struggle between popular art (Volkskunst)

court
lies
remote antiquity
the art
art, to
Our
the logical sequence of the art
population, and
Egyptian occupation,
rise
peasant
tJie
The peasant
expression.
of the primitive
express the dualism
to
the official
importance
indicate
Khasakhmui,
latter objects.
its
"
el-
comparing
in
conclude from their
to
the
perhaps
Kom
or at
of
bas-reliefs
older than
far
be
those discovered in
Thinis-Abydos
executed
carefully
and
dynast}',
not, therefore,
would be a mistake,
it
with the palettes dedicated
or
One must
there.
monuments
its
frequented
Ahmar,
reside
the
localit}- at
Memphis, or the town which
was very obscure before the fourth
it,
astonished
order to appreciate the relative antiquity of
In
it
between
profane
art
art,
by the constant
and the art
of the
and
(ProfankunstJ
religious art (Religosekunstj.-
'
pi.
Maspero, text of Lc nuiscc cgypiicn,

See also De Morgan, Rcchcrchcs
i.
.xiii.
p.
sitr
13.
Ics
The
statue
origincs,
is
ii.
figured on
pi.
iv.
and
pp.^253. 254.
-
Spiegelberg,
Leipzic, 1903.
by the popular
GescJdchte
dcr
include under the
dgyptischcn Kimst im Ahriss dargcstellt,
name
of " profane art
" artistic
works created
religion, following the beliefs of primitive times, in opposition to
the official religion of the Pharaonic invaders.
Fig.
199.
Statue of Nesa,
in
the Louvre.
ART
PRIMITIX'K
266
EGYPT
I\
Cairo Museum, there must be con-
With the statue of the
nected a whole series of sculptures, to which
have alluded at the commencement of
London,
Turin,
Berlin,
Naples, and
of the
give
\\*e
Figs.
the
master-
realistic
and
fifth
specimens
of
b\-
dynasties.^
them
in
197 to 199.
There
another object which should be
is
mentioned,
found
human
the
tended
to
captive
crushed
h a
now seen
in-
represent
weight of the
We
Here
head.
evidentl}'
artist
at
decorated
Hierakonpolis,
with a
door
stone
socket
or
sill
to
fourth
various
Brussels,
Le^'den.,
These lead us on
Paris.
gradual gradations
pieces
museums Bologna,
European
various
in
this
The}' are the archaic statues preserved
book.
b\'
a
the
door.'-'
\-
the
sculptui-e of the
Fig.
St.atue of
2CO.
Ashmolean Museum,
with the excep-
O.xford.
official
d\'nasties
first
Kh.\3AKH.MLI.
of
tion
works of
art.
Up
the
to
the present the royal statues
know
are
only
two
specimens.
sufficient,
the
'
C.\P.ART,
Anzciger,
that
difference
them
between
Steindorff,
by
are
however, to show
wide
existed
us
They
to
Recucil
Uebcr
in the
lie
Fig. 201.
and
ninnu))icnts
cgyptiens,
iigyptiscJic
a7-cliiiisclie
Statue
notice
Statiicn,
in
of plates
the
i.
pi.
iii.
and
p.
ii.
p. 36.
ii.
and
iii.
Archiiologisc/ier
Jahrbiich des kaiscrlich dcutschoi archiiologischcn
1S93, pp. 64-66.

-
of Kh.xsakhmui.
Aslimolean Museum, Oxford.
I/istititt, \iii.
THE EARLIEST PHARAOXIC MOXU.AIEXTS.
267
private sculptures a difference analogous to that which
the
have already established
were discovered at
statues
of a
in
king
who appears
carving in
the
Hierakonpolis, and
to
have
reigned
we
These two
relief.
name
bear the
towards the end of
second dynast\- or the beginning
the
of the third' (Figs. 200, 201, 202^.
AL Weill has given a very precise

description
Two
of
these
small seated
statues.
as
massive
statuary
part
of
Ancient Empire.
The
first
statue,
body
and
the
ably
limestone,
the
head,
young,
expressive,
and
The
serious.
part
the other
body
Kh.^sakhmui.
melancholy,
which
statue,
is
draped
in
garment
vvidel}'
open
arm
is
folded over the body, and
the
the knee and holds the end of a sceptre.
great white crown.
with
unconventional
represent
thrown
in
the
The
singularly
the
The
rests
the head
is
on
the
bases of both statues are surrounded
designs engraved
routing
On
on
which cover
hand
right
is
The
flowing
the arms to the wrist.

left
and
attitude
chest, with sleeves
Museum, Oxford.
of
remark-
is
of slate and almost intact.

He.^d of the Statue of
is
costume arc the same as
the
in
the
of
upper part of the
the
missing
is
of
which has been recovered,
Asliniolean
be
to
early
broken,
Fig. 202.
exceedingly unlike the
fragile,
somewhat
statues, of strange
workmanship, so delicate
almost
".
of multitudes
unexpected
with
and
and
the
figures
varied
point,
which
men
over-
positions.
The
of
M.VSPERO, Guide to tlic Cairo Museum, English ed. 1904, p. 244. Naville,
Les plus ana'cns monuiiieiits cgypliens, iii. loc. cit. .\.\v. 1903, pp. 237-239, " of the
third dynasty."
PET-tiE, history of Egypt,
5th ed. 1903, pp. 27, 27*, 28, 28*
'
i.
29,
who
distinguishes two kings, the eighth and ninth of the second dynasty.
the middle of the second
i.
"
p. 5
"After
tlie first
dynasty, and probably not before
rRnriTivK art ix kgvpt.
i6S
numbers of the
tablets,
and
slain
front
in
cartouche of the
that the eye
is
enemies arc also recorded on these small

of
the
of
feet
the
Horus Khasakhmui."
painted with
statue
car, a fashion
theory
to
make
the
appearance
These
which are obvious
of
now
traces
on
stone,
the
fact
at
discovery,
the
only
left
few
of the
surface
may
which
be
by examining the
ascertained
200, 201 and 202, taken
from the original
molean Museum.
able
until
photograph taken
time
have
I-'igs.
some
dynasty.-
lines,
the
the
which, according
published
its
sixth
painted
in
the
ago by Borchardt, did
\-cars
not
is
continuing to the
of colour
lines
there
been remarked
has
It
'
an
that
at the
It
is
Ashprob-
study
attentive
of the ro\'al statues of Hiera-
konpolis
light
would
throw
on the question
age
of
the
fourth
the
royal
fresh
of the
statues
dynasty
of
the
at
Museum, and that this

study would to some extent
Cairo
Fig.
20
Pottery Figure of
A Lion.
modifs' the conclusions arrived

at
We
'
have already observed the frequent occurrence of figures
animals
of
by several scholars.
in
the
primitive
period,
and with what perfection
Weill, Hieraconpolls et les origines dc V Egypt, in the Kcvuc archcologir/ne,

ii. p. 123.
QuiBELL, Hierakonpolis, i. pi. xxxi-\.-xli. and p. 1 ii. p. 44.
Borchardt, Ueber lUis Alter des Sphinx bci Gise/i, in the Sitziingsberichte
der koniglich p^retissischcn Akadcmie dcr W'isscnschaftcn zu Berlin, xxxw 897,
'
i(/)2,
PP- 752-755^
Borchardt, Uebcr das Alter der Chefrenstatnen,
(igyptisclie
Sprache ttnd Alterthiutiskunde, xxxvi. 1898, pp.
in tlie Zeitschri/t filr
1-18.
270
the character of each kind of animal he repre-
the artist sci/,cd
Beside
sented.
given on Fig.
the
was found enable
it
hesitation
figures of the
according to Dr. Petric and

the
at
Ramasseum,
and
the
who
those
Better
figures
lion
Ouibell, been found at Koptos,
?vlr.
attribute
any
than
this
The
Abydos."-
at
between
Ouibell
Hierakonpolis
the
which decorate a table of offerings
Museum, adds a powerful argument
the Cairo
at
dynasty.'
fourth
the
material and technique have,
Medinet Habu, and
at
comparison made by Mr.

lion
precedes
same
in
any serious
to be assigned without
which
period
the
to
Fragments of
it
The circumstances
red potter}-.
in
is
Hierakonpolis yielded a
excavations at
145, the
magnificent figure of a lion
which
an illustration of which
ivory dog,
fine
statue
lion
Fig.
description,
203
which
to appreciate the vigour with
to
the
support of
archaic
enable
will
this
in
the
piece of
fine
period.-'
reader
work has
been executed.
We
have thus rapidly passed
ments which can be attributed

the
primitive
fourth
Egyptians
to
from
review the principal monu-
in
contemporary
those
Before attempting
dynasty.
movement
in
the
from
examine
some idea of
primitive Egypt dancing, music, and
we should
evidence which enables us to gain
the arts of
with
draw conclusions
to
the collected results of our researches,

the
which separates
period
the
briefly
least
at
poetry.
But before closing

of reproducing
figure,
here
discovered
this
chapter
cannot
resist
the pleasure
three views of the head of a small ivory
during
the
winter
902-3
at
Abydos, and
which gives us a portrait of King Cheops, the builder of the

Great Pyramid at Gizeh
an
article
published
in
'
(Fig. 204).
1901
"
As M. Maspero
Barely
six years
history could penetrate no further than the age
wrote, in
ago Egyptian
when the Great
QuiBELL
&: Green, Hierakonpolis, ii. pi. xhii. and p. 45.

Petrie, Koptos, pi. V. and p. 5. See Ouibell, Hierakonpolis, i. pp. 11, 12.
' BoRCH.ARDT,
Wiedemann, Co77iptc rendu of
loc. cit. xxxvi. p. 5, fig. 3.
Ouibell, Hierakonpolis, i., in the Oy-ientalisiische Littcraturzeitiing, iii. 1900,
'
col.
333; Zur Nagada Periode, ib. col. 85.

Petrie, Abydos, pi. xiii. xiv. and p. 30.
Tlie
Ten Temples of Abydos, ia
Harper's Monthly Magazine, No. 642, November 1903,
fig. 6,
ajid pp. 839, 840.
THE EARLIEST PHARAOXIC MOXUAIEXTS.

Pyramids were
pose
live
their
built.
The
between
bulk
plane of the world
and the remote distance of bygone ages.
hid the primitive
dynasties
a short time ago appeared
ma\'
Colossi of Gizch appeared to inter-
the
the excavator has suddenly
now be
regarded
271
made
in
.
which we
The
from our view."
That which only
to be the starting point of
with
pick of
a breach in the obstacle which
certainty
as
the
result
a world,
of
the
evolution of an entire civilization.

'
Maspero, Lcs premiers temps de riiistoire d'Egyptc d'apres

The Lotus, Alexandria, No. 4, July 1901, p. 1S5.
rccentes, in
Ics dccoitvertcs
CHAPTER
VI.
DAXCING, MUSIC, AXD POETRY.

the origin of
IX sculpture
we
general!}-
ourselves
have found a
magical.
arts of
same
us to the
purpose which was
result.
to
We
must not
complete
and
instances.
t)-pical
An
old historian of
Madagascar informs us
that, "
not day and
night
own
take food in their
houses.
and neither
dance,
to
.
While the
women and
are at the wars, and until their return, the
cease
and
be sufficient to quote some
will
it
painting,
movement dancing,
long delay necessar}'
the
detailed demonstration of this
men
decoration,
utilitarian
study of the
leads
music, and poetr\'

afford
the arts of repose
lie
girls
down nor
The\- believe that by dancing
they impart strength, courage, and good fortune to their husbands.
This custom they observe ver\' religiously."
among the Thompson River Indians of British

Columbia, while the men were on the war-path the women per"
Similarly,
formed dances at frequent intervals.
Those dances were believed
The
to secure the success of the expedition.

their
knives,
sticks
with
Throwing the
off the
dancers flourished
threw long sharp-pointed sticks forward, or drew
hooked
ends
sticks forward
repeatedly
backward
and
forward.
was symbolic of piercing or fighting
supposed enemy, and drawing them back was s}'mbolic of
drawing their men from danger.
The
stick
with
end was the one supposed to be the best adapted

purpose.
The women
alwa\-s pointed their
Frazer, The Golden Bough,

addenda p. 465.
lb.
i.
i.
for
hooked
the latter
weapons toward the
enemies' countr}-."'
this
p. 31.
DANCING, MUSIC, AND POETRY.

Lucien observes
which there
in
"
You cannot
not dancing.
is
/J
mystery
find a single ancient

.
This much
men know,
all
that most people say of the revcalers of the mysteries that they
'
dance them out
"
'
(iôp-yêladaL
Clemens of Alexandria uses
:.
own
the
same terms when speaking of
So
closeh- connected are mv'steries with
his
"appalling revelations."
dancing amons; savaees,
when Mr. Orpen asked Oing, the Bushman hunter, about

some doctrines in which Qing was not initiated, he said, " Only
that,
men
the initiated
We
know
of that dance
must also keep
these things."^
mind the animal dances of Australia,

and the dances performed at funerals among most savage nations."-^
These dances are almost invariably accompanied by very
primitive
give
musical
rhythm
in
Some
instruments.
to the
wood
etc.,
broadh", one might say that

vibration
a buzzing
or
they are intended
a hissing, in
we
must quote
Bushmen,' and, above
bow,
the
all,
the
"
the
^vra
As an
are intended
to
the celebration of ceremonies
Another characteristic
the
'
chief
accompanied on
drive
is
"
or
"
away
is
and
Schwirrholz,"
Occasionally
so wide.'
the sistrum
is
b\'
instance of
Kaffirs
the
during
spirits
evil
one of these.
that in certain parts of Africa
his
expeditions
band of
New
York, and
by
Lang, Myth, Ritual, ajtd Religion, new edition, London,
Bombay,
-
is
fact
of
bull-roarer
the geographical distribution of which
the instruments
Speaking
produce
to
which the primitive mind
would see something sacred or mysterious.

this
struck in cadence,
which simph' serve to supplement the clapping
Others have a somewhat different origin.
of hands. ^
to
movements, and most frequently they consist
of instrum.ents of percussion, of sonorous
tambourines,
intended
of these are
1899, p. 272.
See, for e.\ample, Kingsley,
Mary
H., Travels in
ll'est
Africa, London,
1900, p. 331^
See, on this subject, the book
Leipzic,
and
by Bucher, Arbeit and Rytlimus, 2nd
De.niker, Les races et les peuples de la terre,

fig.
ed.
1S99.
figs.
70,
71,
pp.
250 251,
135, p, 495-
* Frazer,
The Golden Bough, iii. p. 424, note.
Lang, loc. cit. p. 272.
Cook, A. B., Les Galets pcints du Mas dÂzil, in VAntln-opologie, xiv. 1903,
ScHURTZ, Urgeschichte der Kiiltur, Leipsic, 1900, p. 50 et seq.
pp. 657-659.
and
p. 512.
i3
274
"
musicians.
rings,
Each performer,
bangs, or rattles on
regardless of the discordance, blows
his
own
account, interpreting a very
short air which forms the dominant note in this direful din."
Fetish
men
There
is
acquired
are often very skilled musicians.
no doubt that both music and dancing very rapidly

pleasurable
use in
The
magical purposes.
arts
in
we meet with
what
is
no doubt
to
their
utilitarian
rhay not be
in
possible
to
the special instances
determine
precisely
the object of the musicians or dancers.
is
L nder various aspects we have already had occasion

dancing scenes.
to
duced on Fig.
The
her head.
the
in
and
as to the magical character
although
origin,
tiieir
it
addition
various examples which have just been
quoted show that there

of these
5,
pieces of
first
the
Tukh
to refer
statuette repro-
where the dancer has both arms raised above
women
decorated vases have shown us figures of
same position
panied by
may mention
They are sometimes accom-
(Figs. 91, 94).
men who appear
wood together
to beat time to the
a species
dance by clapping
Two
of castanettes (Fig. 92}.
female figures from the painted tomb of Hierakonpolis, also, by

the position of their arms, suggest these dancers (Fig.
At
funerals
the
dancing
execute dances, accompanied by lamentations
to
Professor
of the
Erman, we examine the representations
Ancient Empire, we
162;.
men and women were emplo\'ed
shall at
and
once recognize that
persisted long after the rise of Pharaonic Egypt.-
if,
with
the tombs
in
this
The
custom
terracotta
show the same funerary

in Egypt
the earliest times must certainly be of a nature to modify
an important extent the conclusions in a recent work by
figures discovered
in
the Greek tombs
dancers and mourners, and the appearance of this type

in
to
M.
Collignon.-^
Notes analytiques siir Ics collections etlinographiqiics die Mtisce

{Annates du Miiscc du Congo, Ethnograpliie et anthropologic, Serie
'
fasc.
-
i.
Congovol.
i.
pp. 17, 18.
Erm.-\n,
Life
always present
deceased."
^
dit
iii.),
p.
'
Dancers were almost
245 ct seq.
is, the feast held in honour of the
that
P. 246.
CoLLiGNO.x,
Revue des
Ancient Egypt,
Feast of Eternity
in
at the
De
Vorigi7ic
du
type des pleureiiscs dans I'art grec, in the
etitdes grecques, xvi. 1903, pp. 299-322.

On
the
earliest
monuments
of
275
Egypt we have
They are
Pharaonic
observed several instances of these religious dancers.

to be seen
maces
on the Hierakonpolis
on the plaque of King Den (Fig.
and
1S6 to 188;
(Figs.
190), to
which the monuments
of the Pharaonic age afford numerous parallels.
Without waiting
the
in
two
bas-reliefs
these
of
to describe the scenes
Pharaonic
of
representations
Egypt,
should
it
for
me
that
hold
our
a series of
men
to
moment
dancing
funerary
of
appears
attention.
tomb of Anta,
In the
dancing, holding
their
205. D.\ncers
Fig.
gazelles'
in
in
Deshasheh,^ there
at
hands short curved
fro.m
the Tomb of Anta,
heads (Fig. 205}.
Dr.
Petrie-
.\t
is
sticks,
which end
Desh.vsheh.
has
compared with
these accessories of dancing certain fragments of decorated ivory
found
at
Hierakonpolis, two specimens of which are
109 among remains of personal property and
Fig.
fact
which lends very special interest
to this scene
Pyramid texts mention the people of the Tuat,
The determination
of this
name
instrument which terminates
an
is
in
f-^
shown
is
composed of an arm
the head of a
in
furniture.
that the
-^''
holdino-
gazelle.
We
whether the dancers of Deshasheh were

not also people of the Tuat, and whether in the Egyptian period
ma\', therefore, question
and
'
Petrie,
In OuiBELL, Hierakonpolis,
Maspero, La Pyratnidc dn roi Pcpi
pp. 148,
1.
Desliaslicli, pi.
245.
xii.
i.
p. 8.
p. 7.
/.,
in tlie
Rccueil de iravaiix,
vii.
1SS6,
2/6
the
task
funerary dances
performing
of
The people
them.
Tuat are
of the
was not reserved
for
the inhabitants of the Tuat,
one of the underworlds of Egyptian
mythology
and
^
;
that
in
we should be witnessing the dance of inhabitants of that

mysterious region.
In the Tuat we are inclined to recognize the
modern name of the oasis of Tuat, which is situated, it is true,
case
the north-west extremity of the African
at
a unique example of tribes
not
times
ancient
were
close
in
M. Lefebure,- several
to
migrations no
less
conclusion
to
have
to
be drawn
dead
of
from these remarks would be
the Tuat may originally have
the
Land
the
eighteenth dynasty
We
Manes.^
Isle
field
of reeds,
Double and
of the
must remember that
Libyan dances were
been
perfectly with
fit
M. Maspero's researches as to the Great Oasis, the
and those of M. de Chassinat on the
el
traces
left
etc.).
a real and actual country, and this result would
Deir
in
considerable (Macae and Ma.xyes, Berbers and
that the region of the
of the
is
According
Egypt.
with
appear
Barabras, Xumidians and Nobadae,
The
This
now extremely remote, who
contact
tribes
continent.
as late as
portrayed
still
at
Bahari.^
I find in a recent work a strange piece of information, related by a traveller,

which had not hitherto been given to the world, and which therefore may be of
some importance. Writing of his visit to the royal tombs at Thebes, the author
says
"Tous ces corridors sont remplis de peintures, de reliefs, qui representent
ce qu'il y a dans les livres de Thades {sic), dans le Touat, ou, si vous le voulez,
plus simplement dans I'enfer.
La premiere fois que j'ai oui parler de Touat,
c'etait a Tunis
je voyais un Touareg dont la presence causait un veritable
evenement, meme parmi les indigenes. Sa figure, completement voilee par una
etoffe noire tres epaisse, sa mise, son manteau d'un brun fonce causaient un vrai
rassemblement. Ouelqu'un du pays me dit
C'est un Touareg, c'est un diable
vomi par I'enfer dont il porte le nom
Touareg vient de Touat, qui veut dire
'
'
Je conte cette anecdote qui m'a paru curieuse, sans

responsable de cette etymologic, et je reviens au.x Egyptiens."
enfer.'
,chelles
du Levant, Impressions d'un Franâis,
me faire lediteur
Baron du Gabe,
Paris, 1902, p. 84.
Private letter of January 25th, 1903.
Le nom antique de la Grande Oasis et les idees qui s'y

Etudes de fnylhologie et d'archeologie cgypticnnes, ii. [Bibliothique egyptologique, ii.), pp. 421-427. Les Hypogees royaux de Thebes, ib. p. 12
et seq.
Chassinat, Ca et la, iii. in the Recueil de travaux relatifs a la philologie
^
Maspero,
G.,
rattachc7it, in the
et
a Varchcologie cgyptienties et assyricnnes, .xvii. 1895, p. 53.

* Naville,
The Temple of Deir el Bahari, iv. pi. xc. and
that in other festivals the dancing
is
done
also
p. 2
" It is curious
by these Africans, the Tamahu, as
if
DAXCIXG, MUSIC, AND POETRY
277
numerous representations of dances observed and

one which shows women
described "by Professor Erman, there is
reserved for the
whose clothing is merely a loin-cloth, a garment
Among
the
men, and whose hair

of
dressed in imitation of the white crown
is
The dance executed by them
Upper Egypt.i
is
called
"
under
scene
simply a somewhat burlesque copy of the
vanquished
a
of
head
the
of the king raising his mace to strike
great palette of Xar-Mer.
barbarian, such as we observed on the
the
dance, says Professor Erman, is taken from
the
feet,"
and
The name
is
of this
saying of the king,
which
is
on inscriptions accompanying
"
bound
nations
all
beneath his
ordinarily given
this scene, that
together are struck
down
feet."
This curious dance should apparently be

compared with the similar scene on the
painted
tomb
Hierakonpolis
of
162;,
(P"ig.
and we thus acquire one more example of

times
traditions uninterrupted from prehistoric
to the twelfth
down
dy nasty
.-
Fig. 206.
Professor Erman remarks that music conaccompaniments

sisted almost exclusively of
We
to dances.
Under
Ancient
the
KONPOLIS.
Ashmolean Museum,
have just mentioned the scene
players
of castanette
Oxford.
vase.
on a prehistoric
Empire we
Steatite
FiGCRE FROM HlERA-
observe
likewise
flutes
and
funerary or religious
harps as musical instruments presenting a
there was found
Hierakonpolis^
In the excavations at
character.
a
Below the mouth
seated figure in steatite (Fig. 206).
small
that art, like the Hungarian gipsies in

they had some national propensity to
La politique rehgieusc des Grecs
Lekebure,
addition,
in
See,
times."
modern
de geographic d' Alger et de
Socicte
la
de
Bulletin
en Libye (extract from the
caractere
trimestres, 1902), Algiers, 1902, vi., Le
4th
and
3rd
Nord,
du
VAfriqne
de la religion libycnite, cote orgiaque, pp. 30-34dances are

As Professor Wiedemann remarks to me, these
in reality
panto-
of theatrical representations.
germ
egyptiennc en
See Benedite, Un gucrrier lihyen, figurine
da
Musec
au
bronze incrusted-argent,conservee
^'^'^^V'^
'^"l^^T!!lTll
(Fondation
et Belles Lettres
Memoires publies par rAcademie des Inscriptions
mimes, the
2
Piot),
3
first
\lso later
ix.
1903, p. \zietsrq.
QuiBE^L
&
Gkee.v, Hierakonpolis,
...
li.
pi. xlviu./',
r
column.
left-hand
,
a hole
pierced
is
be
and a
harpist.^
funerary purpose
the
If
probable that the figure was that of
is
it
off near the bod)',
compared to the stone figures of the

belonging to the Aegean period, which represent
Greek islands
a flutist
may
This
flutist.
KGVPT.
IX
now broken
the two arms,
were outstretched, and

a
art
PRIMITIX'P:
278
questioned, a painted scene at Beni
On
proof (Fig. 207;.
Hasan
were
instruments
musical
of these
might be quoted
the side of the stela, which
is
in
form
in the
of a door representing the entrance intended for the use of the soul,
various people are
pla\-
as an
bringing
The two lower
offerings.
by women engaged
are occupied
on the harp, while three others clap their hands
accompaniment
to the singing; behind, a
a sistrum, while another

certainh- intended
performed
for
wom.an
cadence
is
shaking
away
the
may
evil spirits,
instrument which accompanies
deceased.
It
it.
must have produced
It
many
In
countries an
same character
The
presence of
in
a kind of
instrument
" bull-roarer,"
ethnologists term a
the
order
in
consists of a kind of small
is
in
Egyptian apparatus.
as our
is
suggest a similar use for the other
board attached to a stem, which revolves

performer.
This
songs and music of a religious character,
sistrum, an instrument used at ceremonies of the cult

to drive
Two
in
using a strange instrument.
is
honour of
in
registers
musical performance.
in a
a handle held b\- the
deep buzzing sound.

use which
This
is
of the
what English
is
and Germans a
"
Schwirrholz,"
The
"
Schwirrholz,"
terms which have no exact French equivalent.
says Professor Schurtz,^ consists of a long, thinnish piece of wood,

'
Vart
&
Perrot
f?iyce}iiett,
Chipiez, Histoire
and
pp. 760-762,
lie
fig.
I'afi da/is Vantiqiiite,
357, 358.
vi.,
La
Grece primitive,
Koehler, Prcehistorisches von den
griechischen Inseln,
in the Mittheiliingen dcr kaise/'lich deiitschen archeologischen

Athcnische Abteilimg, ix. 1884, pp. 156-162, and pi. vi. See a stone
sarcophagus with painted scenes, discovered by Paribeiii, near Phrestus, in
Instituts,
YLaro. Altkretische Kultstiitten^ in the

p.
130,
note
I.
''
Hinter
communicated by M.
J.
dem
Archiv fiir Reiigioniuissenschaftcn,
Opfertisch steht ein Flutenblaser.''
de Mot.)
Here
the Attic lecythi, where harpists and
ceremonies.
See Pottier, Etude sur
is
vii.
1904,
(Information
already the origin of the paintings of
flutists
are represented in their funerary
blancs attiqties a representations

fnneraires {Bibliotheque des ccolcs franraiscs d'Athi'ncs et de Rome, fasc. x.x.x),
les Iccytlics
Paris, 1883, specially pp. 73, 74.

-'
Beni Hasan,
pi. xii.
iv. pi. xvi. and p. 5.
ScHURTZ, Urgeschichtc der Kitltiir, Leipzic,
i.
'
1900, p. 50.

which
or
either
is
of
like
ornaments.
painted
means
shaped
which
it
or decorated ,\vith
fish,
string
fastened
is
whirled round
is
279
the
in
to
air,
the
engraved
end,
by
producing a
buzzing noise.
We
add
must
Fig.
object
the
that
thus
described
is
ne\-er
Musical Instruments, fro.m a P.aixting at Beni H.\san.
207.
emplo\-ed as an amusement, or to respond to any musical requirements.
The
tribes
natural in the
in
the
feasts
who
booming
for
the
use
it
it
consider there
prodiices,
dead, or
onlv the initiated have access.
in
and
other
it
is
something super-
is
principalh' used
ceremonies
to
which
28o
am
at
much
very
Hasan
Heni
inclined
the instrament
see in
to
instrument analogous
musical
depicted
this
to
"
bull-
roarer."
W'e must also briefly notice the use of music, in general, for
accompanying and regulating work done in combination. At the
day
present
regulating the
to give a
we still preserve this use for stimulating and

march of soldiers. The Greeks made use of it
Also
rhythmic swing to collective work.
in
reference
we can cite a group in terracotta from Bceotia,

published by M. Pottier, who refers to the careful studies of
Bucher on " work and rhythm."
As an accompaniment to dancing and music the human voice
Thus the
forced to submit to the obligations of rhythm.
is
to
point
this
incantations
funerary songs
or
people,
primitive
of
habitually
by repetitions and assonances, are actual poems.
characterized
The meaning
of these
is
generally extremely obscure, and the
songs of savages which have been noted are not of a
various
nature to give
us
very high idea of the poetic instinct of
primitive people.
On
Empire there
several
are
inscribed
the
monuments
songs which vary
of the Ancient
onl}' slightly
from
these rudimentary poetic efforts.

It
would be
translated
hazardous to attempt to assign a prehistoric

Nevertheless, M.
Eg\'ptian songs.
origin to these
Maspero has
from the Pyramid texts several incantations against
serpents, to which he does not hesitate to assign a \-ery remote

antiquity.
He
prayers and
with
what
Egyptian.
thus
writes
addressed to
of formulas
Many
of
and
serpent
the
terror
"The number of
venomous animals show
on the subject
them are
the
written
in
scorpion
inspired
the
a language and with
combinations of signs which do not appear to ha\e been completely
understood, even
two Pepi.
'
aux
C APART,
For
J.,
my
part,
Sur deux
by the
I
scribes
under
believe that they belong to the
xiii.
Pottier, Les Sujets de genre dans les figurines archaiques de terrc

the Bulletin de corrcspondance hellcnit/ice, xxiv. 1900, pp. 519, 520, and
ii7id
most
recents fclati/s aux anciens liieroglypJies et

Jigurees de I'Agypte, in the Bulletin de la Societe
Bucher, Arbeit
the
livres
attcienties representations
d' anthropologie de Bruxelles, xx. 1901-2, Brussels, 1903, p.
in
Unas and
Rythmics, 2nd ed. Leipzic, 1899.
cuite,
pi. ix.

ancient
ritual,
and that they date back
Some
Mena.
to
281
time before the
them are evidently cadenced, and were

probably originally the songs of snake-charmers
all of them
may be included, more or less, in the class of what with us is
called gibberish.
'The serpent entwines; it is the serpent that
reign of
of
twines round the
from
the
Cometh
womb
forth
castrated!
Oh, thou that art on thyself, who issuest
calf.
of the
from
thee
may
have now studied
thou hast devoured that which
serpent
Here
Fall, slave!'
from which the others
We
earth
be judged
in
succession
"
have, therefore,
arrived at
the
down
lie
the classes of objects
all
which ethnologists have attributed an
to
descendest,
that
one of the most comprehensible,
is
artistic character.
conclusion
of our
stud}',
We
and
it
only remains for us briefly to sum up the general results which
appear to us to flow from

'
en
it.
Maspero, Pre7)iier rapport a lÎnstitiit dgyptiett sur Ics fouillcs cxccutees

Egypte de iSSi a iSSj, in the Etudes de mythologie et d' archco log ic
cgyptieimes,
i.
{Bibliotheque
cgyptieniie d'aprcs les
cgyptologiquc,
pyramides de
de rhistoire des religions,
reproduced word for word.
xii.
1885,
la
i.),
pp.
V' et de la
pp.
125,
126,
153,
VP
154.
La
religion
dynastic, in the
Revue
where the same passage
is
282
CHAPTER
VH.
CONCL US IONS.
draw general conclusions from the foregoing
to me that there are two different orders
attempting
IX study,
appears
to
it
which we must take into consideration. In the first

in the second and this it is which
general ethnology
of ideas
place,
has more special interest for us
we
find
From
coveries
at the
it
of Egyptian art as
origin
of the fourth dynasty.
the ethnological point of view the results of the dis-
show that
the artistic
are closely allied
with those
of the last few years appear to
manifestations
of other
the
commencement
Egypt
of primitive
nations
which have been observed
at
an equal stage
In applying to the primitive inhabitants of the
of civilization.
and methods of M. Grosse, in Lcs Debuts

nothing which forces us to modify these theories
Nile Valley the theories
de I'Art, there
is
and methods, at any rate in their main outlines.
In
my
opinion
the evidence of these Egyptian discoveries enables us to establish
the
utilitarian
together
is
in
origin
of those
under the term
almost every case confused
with a magical, purpose.

valuable evidence, as
from
their
most
This
Egypt
enter on the
domain of
or
until
in
historical
But
special conclusions,
rather
affords us
follow the development of
rudimentary form,
they constitute an actual body of doctrine.
we
purpose
utilitarian
with a religious,
In this respect
we can
which we group
manifestations,
" resthetic.''
at
this
most
beliefs,
times
point
and these require
to be exhibited methodically.
At the beginning of this book we showed that at the commencement of the fourth dynasty Egypt had already developed
her language, writing, administration, cults, ceremonies, were

constituted.
Another
fact
which
struck
us
forcibly
all
was the
COXCLUSIOXS.
extreme realism of the
face
us
Egypt with
into
"
which brought
artistic productions, a realism
face with
to
283
alternative
this
was imported
either art
the other manifestations of civilized
all
"
Minerva issuing armed from the brain of Jupiter
was the
previous
of several
slow and
of a
result
come
of the last few years
to
our
aid.
Is
petent pens
give
The
but
categorical
task of replying shall be
am
certainly
will
appears to
us to
to
left
if
In the
We
shall
distinguish in the formation of art, as of the entire
many
references,
commencement
the
mind
the
at
it
will
probably
civilization
contributions from different sources.
Nevertheless, without feeling obliged to give
graphical
the
meantime,
ever arrived at
is
it
not be absolutely on one side or the other.
of the Eg}"ptians,
on
decide
more com-
wc should await
question,
this
the solution
that
discoveries
which are now being carried on, and which
occupy several years longer.
me
it
inclined to think that, before attempting to
answers to
result of excavations
else
the evidence which
they have brought to light sufficient to allow

this question
the
that
is
it
or
evolution, the work
progressive
Here
centuries.
life
should
like
of art in Egypt, as
present time.
sketch
to
it
numerous
the
biblio-
problem of
presents itself to m\-
do not attempt
to
conceal
the
hypothetical character of this outline, which can only be definitely
shown when the origins of Egyptian civilization are completel}'

known and, unfortunatel}', that day is yet far distant.
If we ask anthropologists to what race we should assign the
earliest
very
inhabitants
of the valley of the
commencement meet with
Nile,
we
shall
at
the
a divergence of opinions and a
multitude of contradictions.
I'rom the pal.tolithic period, Egypt
or, rather,
the cleft in the
north-east plateau of Africa, which later was to be partially
by the
allu\-ial
deposits of the Nile
nomadic huntsmen.
The
flints
was
filled
inhabited by tribes of
which formed their
tools
have
been found cither simply utilized by them or chipped into shape.
some of those rude graffiti found on

the rocks, which afford, as wc have alread\' said, such striking
analogies with the graffiti of South Oran, may be their work.
It
We
is
also
ma\"
possible
well
that
suppose that there was originally a population
284
composed
towards
black
of
Libyan
were settled on
to
these
neolithic
brilliant
At
in detail
analogies which
this
the historic
us,
it
the
of
came
into the valle\-
from
from the
and whose productions we have been
throughout the course of
we have had
this book.
occasion
to
insist
on the
has been thought might be established between
Egyptian
earliest
earliest
borders
Libyan people that we should attribute the

civilization which the prehistoric cemeteries
times
different
from
back
have made known to

studying
creep
"
themselves
perhaps
They would
west or south-west."
is
Mediterranean
the
who
and
continent,
Southern Europe.
It
white races, which
by the
south
the
antiquity
which were insensibly driven
races,
civilization
Many
period.
and that of the Libyans of
of these must have been driven out
and greater numbers, again, must by degrees have

become "Egyptianized" by the Pharaonic invaders entering from
of Egypt,
Under the
another country.
the Libyans on the threshold

at
An
war with them.
of the sixth dynasty

the oases
as
the Nile.
The
far
frequently find
of Egypt, and the earliest kings
account of a journey undertaken at the time
tells
as
we
earliest dynasties
us that the Libyans were established in
the neighbourhood of the
cataract of
first
string of oases extending along the valley of the
Nile to the plateau of Barca remained entirely in the possession
of the Libyans until the time of the twelfth dynasty.
This primitive Libyan civilization of the Nile Valley was

quently
in
communication with the Mediterranean
civilization,
perhaps actually by means of this route along the oases.
Greek
traditions,
referring
to
the
of
relations
Cyrcnaica, need only a passing reference

the maritime nations attacked Egypt,
it
at
fre-
The
Greece and the

later
times,
when
was through the Libyan
frontier that they penetrated into the country.
This fact
is
of itself sufficient to explain the
intercourse so
between the Egyptian primitive civilizaand the Aegean civilization. The relations between these
frequently established
tion
countries diminish after the

'
p. 19.
conquest of the valley of the
Maspero, Histoirc ancic/me des peuplcs de
I'Orient, 6di ed. Paris,
Nile
1904,
CONXLUSIONS.
by
Pharaohs
the
which confirm
facts
when they again
dynast}',
Evans has
Mr.
occur frequently.
twelfth
the
until
285
noticed
These relations also explain the presence

black incised pottery and
have studied
If
we
follow
"
the
alphabetiform
Egypt of the
marks which we
in
"
earlier chapter.
as
we have
by Dr.
originated
as
an
in
Petrie,
brilliant archaeologist, in
hitherto
we
done
the
are forced
sequence dates
agree with that
to
recognizing a decadence in the primiti\"e
civilization
towards the end of the prehistoric period.
not seem
to
We
see
in
me
be any difficulty
to
in
There does
accounting
for
this.
period of trouble and insecurity
the result of the
it
numerous
Crete
in
this theory.^
which accompanies the arrival of bands of invading foreigners.
Were
these invasions sudden, or the result of a gradual
which
tion
many
continued
infiltra-
years, not to say centuries
Did
in\-aders arrive by one single road, or did they come,

some by the Isthmus of Suez, others by the Upper Nile, or, again,
by the desert which separates the Red Sea from the valley
Did the invaders all belong to one and the
of the Nile?
these
same group of
sprang perhaps from one

for centuries
These
am, however,
but which had
race,
are questions
without further evidence than

I
they form part of groups which
did
nations, or
disposed
we
possess.
to
believe
of successive groups, relatively few in
Egypt by
different
publication that
the
texts
have occupied
later.
It
religious
is
vvas
of a
Egypt
in
which,
have
invasions
frequent
in
number, penetrating into

already
E. de Rouge,
said
another
in
that there
are in
Ann, which must

the same manner as the Hyksos did
great
probably to
conceptions
Heliopolis,
believe, with
traces
routes.
been separated
which cannot be answered
the
called
tribe
them that we should
that
had
according to
for
their
attribute
centre
tradition
the
related
those
town of
by
Pliny,"
founded by the Arabs.
Petrie, Methods and Aims in Archceology, London, 1904, p. 163 ct seq.

Professor
Maspero, Histoire ancicnne des peuples de V Orient, p. 16.
Wiedemann writes: "Nach einer spiiten Notiz war Heliopolis eine Griindung der
'
Araber, worunter an der betreffenden Stelle ein semitischer

ist,
dieser
Angabe kunnte sehr wohl
ein richtiger
Stamm
zu verstehen
Kern zu Grunde
liegen,
und
PRmiTIVE ART
286
It
probably also to
is
decadence
in
prehistoric
period should
invasion
this
primitive
the
IX EGYPT.
followed
their footsteps
we have seen
that there
Egypt
analogies
between
vinced certain
and
nothing;
is
was a
tain the belief that there
primitive
historical
in
we
have
sudden cleavage, between
On
Egypt.
that
the
contrary,
the}-
have con-
Pharaonic civilization
that the
that,
which permits us to enter-
them are so numerr)us
writers
the
times
several
Further than
P'gypt.
hiatus, a
Pharaonic
that
These industries did
be attributed.
however, entirely disappear, and
not,
Aiuc
of the
towards the close of the
industries
is
only a
de\elopmcnt of that of primitive Egypt.

think, rather, that
the
to
They are
and sweep away from
Egyptians.
a slow infiltration
periods of
It
its
clearly
is
the
of
At
appears
On
as
in
people,
Nile
possesses
of
which has been recognized
at
Valle)-
Foreigners have
ha\'e
changed the
ne\'er
of
both
in
its
environments.
the
that
principle
this
to
regard
to
art
and
this
it
is
we have
there
is
their
new element which
which requires explanation.

insisted
on the contrast between
and the royal monuments, between the
shown
in
beliefs.
Egypt, and
also
Pharaonic
continue the traditions
to
court and that of the people, between religious
tlie
is
the country which has always rapidlv'
moment, however,
several occasions
the private
higher civilization
of a
and has adapted them
result
and funerary
a given
it is
of the
soil
power
irresistibly influenced
primitive
religious
invaders,
Egyptians were
Pharaonic
point to be noted with regard to this
history.
its
Egyptian population
transformed
the
movements of nations who destroy

before them a whole civilization, but rather
absorbing the invader,

all
of
attributed
not the
power which the
strange
invasions
which had alreadv attained a certain degree
of development.
the
of
of groups of people
a population
into
phenomenon should be
this
character
actual
that
the
primitive
style of the
and profane
art.
Egyptians were not
acquainted with hieroglyphic writing, and that
it
suddenly made
Heliopolis und sein Sonnenkult einer vorhistorischen Semiteneinwanderung in
das Delta ihren Ursprung vevdanken."Oru'Htalisfisc/ie Littcraturzcittttig^ April,

19C4, col. 146, 147.
CON'CLUSIONS.
appearance thoroughly formed.
its
to an official
were brought into

stituted
In
these
cannot
intervene.
enter
and
anthropology
almost alone can
completel)'
con-
But from what
into
complicated
comparative
can merely say that
Pharaonic invaders came from
the
of writing,
pages
final
where
without,
attached
style
official
assert without hesitation.
country were they brought
controversy,
This
complicated system
this
country from
the
we may
this
and
religion,
2S7
from Yemen,
Asia, perhaps
and that they had common origin
philology
apparently
the ancient Chaldeans.
^vith
This theory would explain the analogies which are established
between the
more
One
the Nile Valley.
in
not
of c\'linders, wh'ch
use
especially, the
quickly
did
Pharaonic remains and those of Chaldea
earliest
fact
is
disappeared
very clear
fairly
the Semites
from Asia to the Nile Valley
pass direct
were
the>'
"Africanized" before penetrating into Egypt, properly so-called.
The
the African
map
fauna and
the
of
tion
character
represented
flora
which
of
taken up their abode before penetrating into
The two
coasts
of the
Red
hieroglyphs,
the
in
striking.
is
shows where the Semites must
of Africa
Nile.
by the examina-
been obtained
clearest proof of this has
glance at the
a time have
for
the
valley
of the
towards the southern
Sea,
end, resemble each other very considerably both in climate and
Any
in their productions.
at
occupy a
first
regions
the
languages,
and
which exists
affinity
One
country
they had
the
part
tribes leaving
of these
as
differing
abandoned.
the customs
Yemen would
little
as
on the
situated
regions,
by the name of Punt.

a
country,
foreign
Heuzey,
See
mentaircs
V l^gypte
not
did
land
apri-s
L.,
follow
it
it
Construction
dccouvcrtcs dc
primitive, in the
1899, pp. 53-56.
The Egyptians,
they called
les
the
close
between that country and the south of Arabia.

coast,
have been designated by the Egyptians of the
this
from
population,
study of the
Ethiopia shows
of
naturally
possible
Land
"
antcricurc
M. dc
Sarzec,
Revue d'assyriologic
Note contributed
writing the
in
to
name
of
the determinative sign of
with
the
appears
classical period
ct
by Mr. Otford.
of the
Our-Xhia,
viii.,
Gods," and
notes
coinplc-
Coniparaisons avcc
d'archcologic oricniulc,
v.
2,
288
from
derived
the origin of a
it
Also, the Egyptians at
ancient divinities.
with
relations
pacific
represented on
are
race
mixed
as
similar to the Egyptians in physical
is
The
type crossed with negro blood.
between Egypt and Punt

inhabitant of Punt
of an
inhabitants
its
and costume, while the other portion shows the same
type, beard,
tions
when
monuments, they appear
the
most
of their
times maintained
all
and
country,
this
superior race
the
number
certain
tomb
the
in
proof of the rela-
earliest
furnished
is
a representation
b\'
son
of a
Cheops
of
of
the fourth dynasty.^
drawn up towards the end of

dynasty, mentions enormous quantities of objects brought
list
the fifth
of
the temples,
to
gifts
from Punt.
The journey from Punt

road
B\'
was
it
Upper Nubia,
necessary
necessary,
first
of
all,
regions of
desert
the
at
present da\'.
Nile by
Red Sea
reach the
to
the valleys which extend
Wady Hammamat,
Koptos
the
from easy.
far
from
the
In historic times the route most frequently chosen
to the river.
Now
traverse
to
formidable journey even
By water it was
means of one of
was the
Egypt was very
to
is
which unites Kosseir and Koptos.
precisely the site where Professor Flinders Petrie
discovered what he considers to be the earliest remains that can
be attributed
route
to
is
to
the dynastic
long and dangerous.
hordes of
human
race
the
beings attempting
into the midst of tribes already civilized.
which induces
me
represent
to
statues of Min.
the
tumultuous
arrival
return
Semites had
for a
moment
made
long
to
invasion
this consideration
It is
in
dynastic Egyptians as a slow and progressive
To
This
could not have been accessible
It
Egypt
of
our former subject, the Egyptian
stay
on
African
soil
before
covering and following the route to the valley of the Nile.

in
the country occupied
Somalis,
reveal
by the
we may one day hope
the
history
the
infiltration.
Gallas, the Abyssinians,

to
dis-
There,
and the
discover remains which will
of the development of Pharaonic civilization
in the earliest periods of its evolution.
The
invaders brought
'
with
them hieroglyphic writing
Lepsius, Denkmiiler,
ii.
23.
illus-
CONCLUSIONS.
They
by them.
trating the language spoken
2S9
also
brought rehgious
conceptions which were already extrcmel\' developed, and which

constituted
classical
the
the
religion
official
Egypt
of
Their funerary beliefs differed
epoch.
the autochthones, so
and perhaps we may here
planation of the absence
in
the
find
ex-
the ro\'al tombs of representations
and of which
similar to those that corer the walls of mastabas,
wc have
the
at
from those of
at least, as the destin\- of the deceased
far,
was concerned
kings
of
basis
seen the protot\'pc in a prehistoric tomb.
Egyptian
ritual
constituted
is
the
in
same manner. RepreNar-Mer and on the
sentations, such as those on the palette of
plaques of the royal tombs of Abydos, show

already resembled
religious
and
s}-stem of art
that
and with
we
funerary
beliefs
already considerably advanced, and even
which contrasts
art,
far this ritual
which
is
some extent already
to
how
Connected with these
of later times.
in
hieratic
and
this
fixed.
ritual
This
is
find
the
official
such a striking manner with the naturalistic
art of the primitive people.
What was
contact of these two
the result of the
arrived at such dift'erent stages of development
art,
with such contradictory tendencies?
The answer
we have already
is
indicated,
duality
reminded us
We
of
in
of which
art
and inspired
to this question
us to
needless for
insist
of these two systems produced
Professor
Spiegelberg has again
manner by his recent publication.'

more widely the central power exerted
so clear a
shall find that the
influence the
it
The meeting
greatly on this point.

that
and
forms of
more
is
how it came about

mencement of the
the official art in favour.
that under the Ancient

fourth
dynasty the
We
Empire
private
its
can understand
at the
art
is
com-
still
so
and in some measure we shall even be

prepared to justify the remark made by Nestor THote, quoted
in the earlier pages of this book: "We know Egyptian art only
free
in
and
its
naturalistic,
decadence."
Spiegelberg, Gt'schichte der iigypthchcn Kiinst irti Abriss dargcstellt,

See Wiedem.a.nn, Whickelmann's L'rtheil nber die iigyptische
1903.
Kunst und die P?-ofnnkunst der alien Aegypter, in the JnJu-biicher dcs Vereiits
von Allertluimsfreunden ini Rhcinlandc, l.x.wii. 1S84 (separate reprint, p. 9
'
Leipsic,
et
seij.).
19
290
Our conclusions are as follows Egyptian art, as it is revealed

at the commencement of the fourth dynasty, appears to
be composed of various elements.
Primitive art, which had its
:
us
to
birth
of centuries,
influences
was
only to
object
their
nature with
represent
development
full
"
Like acts on
The second element
When
reaches
it
survive
religious
in
The
fidelity.
may
be found
in
by the great formula of imitative
like."
the art
is
of the Pharaonic Egyptians,
of which the earliest stages of evolution
express
of this
virtue
possible
serve
object
the funerary beliefs of the Egyptian
in
Empire, entirely dominated

magic,
to
foreign
the principal
art,
all
was intended
it
by
extent affected
This
?).
and magical, should by
utilitarian
funerary ideas which
small
Anu
(Aegean and
of which was
vcr\-
and developed during the course
the north of Africa
in
Egypt
it
is
still
completely elude
thoroughly fixed, and
conceptions of advanced
serves
us.
to
development, which
Egypt, with only very slight modifications, until the
close of the Pharaonic period.
The
struggle between these two forms of
upon each
influence that they exerted
we
official
struggles
in
and the
language and vulgar idioms.
these various
and the reciprocal
other, are similar to those
establish between the popular religion
between
art,
official
The
domains reaches back
religion,
story of the
to the
earliest
period of the Ancient Empire.

I
do not attempt
to conceal
that these last pages
the fact
bear a decisive character very far removed from the uncertainties
which
in
reality
are
greatly before allowing

I
may
moment
arise,
b\'
them
to
in
crowds,
and
have hesitated
assume such a character.
hope
not incur severe blame, after having brought some modest
materials
a
present
to
in
the foot of the scaffolding,

a
if
have indulged
for
dream of a splendid palace which may one day
and of which perhaps they may form a part when
an architect of eenius.
utilized
NDEX
PAGE
Aahmes
Abadiych
Abydos
27
27, 12S
5, 12 1,
38, 42, 49, 57, 58, 68
.
6,
19,
no,
100, loi,
112, 117, 133, 134. 135
32
Aniorgos
Amulets
Ancient Empire
.156
49, 53, 73, 85, 192, 193
39, 42, 52, 53, 55
2,
2CO, 205, 219
136, 144, 146, 149, 153, 159, 160, 169
56, 58,
173, 176, 180, 182, 183, 185, 186, 18S
220, 237, 257, 259, 267, 277, 280, 289
242, 248, 251, 256, 257, 270, 289
Abyssiniaiis
.162,
Accessories of dancing
...
Administration
Aegean
and
civilization
Islands
period
Aegco-Crctan
(See Greek.)
Aftica.
.
art
Aha-Menes
.
Alawanyel/
2 84,
290
212
fantastic
indeterminate
,,
pet
19S
,,
sacred
-134
,,
with long necks
30.
Aloes
Alphabet, Libyan
116, 119,
Creto Aegean
287
155
210
194
60
145
A?nerica
.....
Amen'ean,
South,
of
European parentage
49, 50, 51
.129
71, 72, 78, 79,
no
189, 212, 232,
236
n7
153
Apu at
or
13,46, 285
Argar
Arms of
j-
chairs
Art
decorative
,,
,,
official
260
,,
of
Negro291
movement
64
1S5
136
65
59 et seq., 138
258, 264, 287, 289
154
154
220, 254
185 et seq., 220
Architecture
105, 134, 180, 255
Archa7igel
285
23c
257, 2S5, 290
Anubis
primitive
Anu
Apes
Arab
,,
185
132, 136,
(Bubalis)
21S
Alphabetiform" characters I45etseq.
no, 140
220
275
147
Antelope 21, 48, 69,

iij, n9, 140, 153,
Antelope (Addax)
146
Phoenician origin
IV
182
216
Anta
linear,
Amenophis
Ansai7'iyeh
149
6,
209
82,
....
Anklets
,,
234
(See Feline animals.)
Alligator
102
69, 136, 230, 232
,,
93, 96, 100, 174, 1S2, 199
....
....
....
....
edible
14
Amelineau
Animals, aquatic
,,
99,
236, 237, 268
27S
146,
M. 5-
176 et seq., 202, 203, 210
152,
domestic
52, 69, 71,
126, 129, 136, 138, 140
,,
Aleutians
Alexandria
Algeria
142,
41,
215, 216, 218, 219, 224, 229, 230,
Menes).
(see
Islands
.164
15, 144, 160, 169,
Animals 5, 21,
no, n2, n7,
275
282
165
40, 162, 248, 273,
4,
288
156,
Agathodemon
Alabaster
I,
....
.
British Central
,,
Andaman
190, 192, 193, 199, 200, 209, 212, 221
"
Amon-Ra
16,
272
9.
et seq.
292
Index.
h\DEX.
Bricks
British
Must
Brocatel
Bronze
293
INDEX.
J94
....
Colour
PAGE
213
60
26, 27,
Colionbia
PAGE
Decoration, geometrical
Combatants
the vases
magic
,,
Copts
Cords
Corpse
,,
lo/enges, half black,
"2 et seq.,
155
,,
translormatioii of an
41, 66,
1
45
217
40, 52,
63 64, Oi
239
218
Cow
188
Crescent
Crete
254
149, 164, 285
.146,
Creto-Acgcan (see Acgeo-Cretaii).
Crew
82,
11
112,
1,
117,
132, 140, 142, 153, 192, 209,
Cross-lined pottery
219
35, 108, 140
(See Pottery.)
Crown, White, of Upper Egypt
159
267, 277
of
Lower Egypt
144
164, 1S5
I, 282
....
CucutcHi
Cult
,,
animal
Dcir-cI-Bnhari
De Loii
De Morgan
27, 50, 160,
....
207, 209,
De Mot
.
Cylinders
136, 138, 151, 195,
Cynocephalus
(See Apes.)
Cyprus
59
Den Setui
sepui
Semti,
or
De Rouge
He-
or
203, 254, 275
....
.....
Dancers, male
female
,,
Dancing
17,
,,
139 et seq., 205

22, 63, 108, 109 et seq.
45
42
,,
hammered
247
,,
natural
186
,,
phitomorphic
,,
skeuomorphic
119,
69
48
250, 251, 274, 275

53, 211,
274
211, 218, 254, 270
.
.....
......
272, 273 et seq.
Danga Bohr
Davis
Decorated pottery
(See Pottery.)
Decoration
,,
140
60, 66, 112
50,
138
....
.
59,
113,
136
textile
,,
with the point
62, 74,
16,
59 et seq.
139
59
98
62, 138
zoomorphic
De Villenoisy
59- 74,
267
214
162
De Zelltner
i6o, 189
Di Dehetrio
Diiika
177
121
96
Diorite
DiospoUs
94,
131-
Discs
Divinities,
ubis,
.
223
108, 126
50
74
,,
.....
285
Dcshashch
58, 275
Designs
202
anthropomorphic
59
engraved on the vases 133
geometric 48,
194
284
Cyrenaica
DalicJiour
.210
De.niker
,,
36,
217
278
floral
276
154, 185
47, 112, 115, 134, igi
8,
5,
219, 220
CUMONT
Dagger
et seq.
.111
.172
.160
of the ear
,,
,,
(See Ceremonies.)
Curls
Deformity, anatomical
Denderah
199
122
174,
Crocodile 70,
,,
>,
64
26,
90, 91
Deer
243
;,
contracted
object by
74
.120
198
12,
64
^13
half white
37, 39, 40, 41
Congo
Copper
35.
(See Warriors.)
Combs
et seq.
form of a cord on
in
,,
British
,,
60
I;
i.
176
188, 201
157.
34. 35. 91
Egyptian (see
205
Amon, An-
Atum, Hekit, Horus,
Maat, Mahes, Mentu, Min,
INDEX.
^95
PACiE
Neith,
Nekhbet,
Osiris, Ptah, Sebek, Selkit,
Mut.
Sokaris,
Taurt,
Erm.vn
Thuerisi.
Dogs 95, 102,
Door
....
53,
sill
,,
bull
,,
83 et seq.. 232, 270

200, 266, 27.S
...
.
266
94, 95
195 et seq.
28
...
......
.
Dynasty
secj.,
176,
hair
I.
5,
17, 19, 30, 42, 49,
108,
88, 96,
[72 et
Dyeing the
Dyke
or socket
Double hammer
Duck
Dwarf
Thot,
146,
149, 168,
220
35,
36
250
57,
S5
169,
173
182, 203, 230, 251, 254, 257
Dynasty
II.
III.
IV.
5,
4,
I,
5,
25S,
96, 139, 237,
5,
255, 267
96, 151, 261, 267
18,
25,
28,
42, 93
264, 266, 270, 282

28S, 290
Dynasty V.
VI.
Ensigns of vessels
Equidce
(See Ass, Horse.
Es(/iti//uiiix
Ethiopia
European
Ev.\.NS
52,
Evolution of Clothing
Ex-votos
.
Fan
69
160
Faniliam
69
Feathers
39. 40,
bull's leg
with bird's head
serpent's head
,,
,,
serpent's neck
146,
XIX
55
226
......
14:
....
68,
88,
94,
105,
.....
132, 157, 188, 200, 211,
El Bershch
El Kab ox El Qab
Elephant
78, 82, 102, 140, 143, 202,
88,
207, 20S, 210,
Embroidery.
Enemy, vanquished
223,
57, 159, 223,

.
212, 246,
(See Barbarian, Captives, Prison

Engraving with the point
Ensigns
.121,
(See Standards.)
.
Festival of eternity
Heb-Sed
Fetish
,,
religious
,,
man
214
192
230
247
247
274
-54
90
134. 185
Fetishism
Field of battle
Ear (see Deformities).
and neck
149
276
Emblems
134
,,
162, 164, 176, 188, 190, 226,
i8,
form
51, 70, 99, 192,
97,
135
(See Ostrich.)
Feet of furniture,
Feline animals
268
150
El Ahaiwah
El Amrah 7,
long neck
XXII
Eagle
52
,,
....
196
....228
96,
287
156,285
146,
,,
149,
..
184,
Eancsii
34, 97, 146, 149, 150, 152
XVIII.
203, 25S, 266, 2S8
184, 190, 192, 193, 230, 247, 277, 285
,,
21, 23
Eyes, inlaid 99, 167, 168, 173, 174, 182

197, 260
painted
.213
284
Dynasty XIII.
145,
42, 58, 105, 139, 194
32, 97, 139, 194, 203,
XII.
176. 274, 277
.....
.
230
.211
figures
88, 210,
274
220
239
Figures (see Statuettes).
Fish 80, 102, III, 112,
154
296
INDEX.
297
PAGE
PAt.E
Hebert
Heb-Sed
Hedgehog
71,
Hekenen
Hekit.
Hcliopolis
Hemen
Ibe.K
^54
Ibis
in
Idols,
258
219
2S6
Illyria.
^57
Henna.
Herliaceous fibre
Hel'ZEY
226.
Hierako)ipolis
94, 99,
160
loi,
6,
8,
136,
134,
:35.
47
247
72, 90, 91
56,
54,
36
139,
157,
160
185, 186
163, 168, 169, 173, 183, 184,
189, 190, 191, 192, 200, 202, 205,
143
from
stone,
Islands
63,
113, 121, 148
Hieroglyplis, primitive
(See Magic formulae.)

Indian species of animals
Information
60, 65
Hilton Price
Hippopotamus
'35
(See Eyes,
inlaid.)
Inscriptions, hieroglyphic 136, 248,
112, 12S,
"O,
78,
pictographic
248
.....
(See Writing, Hieroglyphs.)

Insects
Instruments, magic horn
179- 195
103,
III,
1^2, 140, 142, 143, 152, 153
176 et seq., 209, 219
Hissarlik
Hoe
Holmes
Horn
149
238
Horse
ivory
,,
of music
Houses
5.
in relief
13, 192, 210,
Hyksos
....
Jackal
143,
1S9,
149
Jczus
69
on vases
214,
193,
117
Kaffirs
219
Kalnin
229,
247
1S4
Kano
Karia
49
13.
iu8,
121,
45
116
-73
152
40
146
Karnak
54, 217, 229,
283
Karnata
143, 214,
224
Kataiiifii
230
-54
232
Kabylcs
213, 214, 216

130,
275
27
24S
Jequier
Jewellery
135
184, 185
121
incised
of Apis
133,
loi,
168, 169, 172, 174, 180, 183,
Jackal, fantastic
,,
,,
83, 95,
164, 165
1-4. >25
,,
Huntsmen
Hyena
154
68
136, 155, 157, 159, 160, 162,
200, 221
drawn reversed
female, nude
lion
69. 71. 74, 76,
203
,,
56, 57,
27, 47, 50, 51, 52, 55
160, 161
,,
2l5
215,
Ivory box
Hunting
71
Irkutsk
Ivory
278
Isles
212, 217, 224, 237, 242, 248, 251, 270
190, 202,
figures,
Intichiuma
Greek
48, 49, 94, 175, 196
Horus
Human
196 et seq.
273, 278 et seq.
186, 188, 194, 195, 196, 198, 200, 203
Hottcntols
Intaglios of the
143
198
60
(See Equidae.)
Hosi
(?)
256
136
100,
32,
229, 243, 248
,,
102,
54
^57
,,
26
Inlaying
257, 287
14::
Initiation
142 et seq.
280
(See Writing, Inscriptions.)

Hill tribes
164
206
256, 258, 266, 268, 274, 275, 277
151, 203, 205, 208, 230, 23S, 246,
276
172,
6,
Incantations
208, 209, 212, 218, 226, 227, 228, 229
4, 85, 94, 99,
Greek
the
230, 234, 237, 239, 246, 248, 249, 254
Hieroglyphs
232
.78, S3, 132,
54, 55.
Khasakhmui
"9.
155.
70
246
198
105,
264 267
seq.
29S
INDEX.
PAGE
Khebs-to
Khesket
250
255
INDEX.
299
PAGE
Mantle
52, 55,
56 et
l63,
sec].,
Murtar.
H4
Mountains
Mourners
193
106
Miiiiicli
(See Cloak.)
Marble
blue.
,,
Margone
Mariette
"
Marks,
=.4. 17
alphabetilurm
,,
family
,,
geometric
"
146
31
pottery 33,
146
144 et
133,
set].,
203, 206
property
.15, 65, 139, 210
,,
tatoo- (see Tatooing).
,,
tribal
Marseilles
Mas
210
15, 31. 65,
-54
d'Azil
Maspero
163, 226, 250, 261, 270, 276,

121, 207,
Maxycs
Media
.
Mcdinct-Habii
Mcditcrra}ica}i
Mcdum
4,
.....
.
2, 3, 4,
48
264
35 et seq., 45, 109, iio, 117

139, 140
224,
243, 250, 256, 258, 267
274
Mena
ig, 88,
18,
179, 182
Meri-Neith
Mesopotamia
180,
Mutilation
T" et seq.
:74.
119,274
143
34
Muzzle
181, 242
Mycenae
6,
150, 194, ig5
(See Ornaments, Painting the body,

Tatooing.)
.....
MVRES
Mysteries
40
273
254
226
39, 88,
222
144,
16,
136,
Mincopies
.
154
Moba
55
of ostrich eggs
39
(See Fortified enclosure, Houses.)
.
Nekhbet
Nesa
l^'^,
28.39
.
Nile
52
285
276
Nobadae
Nofrit
North- Africa
NiDnidians
Nymphuea
.
of Tuat
Ochre, yellow
red
Okkord
.
Oil
Okapi
254
98,
Niam-Niam
Ohio
144
248
31,
Net
,.
49
257
260
47,
'
Neith
Oasis
219
207,
Nei^'-o-Libyan
54
160
14
.
246, 24g, 251, 254
jVegroid
Oars
et seq.
:8,
259, 277, 289
Navigation
Necklaces
29
226, 242
6
266
5,
Noubkhas
47.
Naples
Nubia
Nubian
Mexican statue
Models
27
220
30, 31
Mersekha
Mississipi
17,
281
Mentu
.5,
Nar-Mer
154 et seq., 201, 202, 203, 205, 211
Min
220
284
I go
121, 123, 126, 132, 136, 138,
Metal
32
217
Naga-ed-Dcr
.110
.270
40,
civilization
,,
Mestem
274, 275
Musicians
Mut
224
126, 131,
5,
ol priestess
280
210
276
or
2 17,
55, 104, 105, 135
Menes
Music
28, 29, 31, 42, 56, 128
....
.....
et seq.,
Mummy
206
163
17,
4,
Mast
Mastabas
Mats
Memphis
Men 26,
PAGE
242
142,
.
120, 207,
276
142
2og
284
276
21, 206, 213, 216
21, 48, 206, 213
243. 287
150, 276,
.
Oran, South
39
290
42
2S8
28
3-
154
27
112
205. 283
300
INDEX.
?02
PAGE
Sardinia
....
Sayce
Scarabaeus
Signature
203
Signs,
143
95 et seq., 136, 212, 213, 226
Sceptre
SCH.-\EFER
254
121, 153. 259.
264
Sistrum
Sketch
Skin or liide
-i/j.
278
273. 27S et seq.
112,
122,
132, 143
280
115
134
Sebek
219
Sedja
247
220
Sekhmet
Selkit
219
287
Semites
28
19, g(\ 98,
108, 144
193, 196, 28 5
164
122,
134, 140, 143. 152
154. -14, 280, 281
facing each other
Servants
Sethe
Seti
or
Sheath
144
30, 34, 40, 43, 56,
209
for projecting
body
51
Sag
of the
102
31,
Seto-n K.-\rr
Sga
67, 71
174 et seq., 220, 249, 255
-125
....
interlaced
on vase
(see
192
the lower part
Karnata).
Sheep, long-horned
Sheikh el Baled
117
....
.24,
45, 49. 11
39 47, 49. 223
glazed pottery
47
Shell
Shells
in
,,
,,
,,
metal
overlapping
47
98
Shepherd
Sheschonk
Ships
88,
69
Shields
Sicilv
226
Sheyk HamddeJi
I
145
12,
Serpents
Sinews of animals
Sea
Scfeth
121
[20
11,
Seciuence dates
35, 50, 115, 116,
Sepa
une.xplained
Simplification
192, 219, 238,
Seats
resembling S, N, Z,
,,
Sinai
,,
243
278
100,
tifinagh
203
60, 124
Scliwirrhnlz
.Scorpion
Libyan and
Silsileh
SciIWEI.NFURril
139
147
132
267
SCHURTZ
Scribe
149
15,
,,
206
55.
panther
203
55,
Skulls, of bulls, painted
56
194
(See Bucrania.)
Slate 49,
Slaves
]]
et seq
226, 228 et
138,
seq.,
267
18,
54
190
Sneferu
Sokaris
Sokar-khabiu
210,
.
Soldiers
217
28
40
(See Warriors.)
Soiiialiland
Song
Songs
115. 162
17
2 So,
281
Sorcerer
197,
Soi/dan
105,
198
106
Sojc/iag
Soul
South Kensington
Spain
39,
Sparrow-hawk
SpENXER & GiLLEN
Spiegelberg
.
197,
177, 182
190, 192
185,
194
143
119, 226, 254,
curved at top
Stake
Standard-bearers.
Standards
88,
(See Ensigns.)
Standards, animated
.
Star
216
289
114, 115
....
....
,,
215,
264,
41, 50. 71
Staff or stick
Stag
69
278
146, 148
Spirals
Spoons
Stacquez
52
257
213, 275
223, 232
223
259
230, 254
250,
08,
190,
238, 242, 246

100, 121
55. 56,
121
Statues
120, 207,
210
,,
archaic
194
,,
royal
47
5,
32,
88,
.
258 et seq.
222 et seq,
266 et seq.
INDEX.
30:
PAGE
Statuettes 21 et seq., 30, 33, 38,
119, 155, 15S, x6o et seq., 270,
Steatite
70, loi, 191,
Steatopygy
Steixdorff
Stela
Stones 49,
76,
91,
TJiebcs
274
Thinis
277
(See Abydos.)
Thiti
127, 160 et seq.
57
56,
224, 226, 228, 248
8,
hard.
Thot
155, 176
...
49, 95, loS, 115, 139
sandstone
Stone-working
....
....
....
....
Stool
Stoppers
Strabo
Straw
Studs
,,
Tliracc
163
53
147
105
Tiger
214
47 et seq.
45. -10
Tiles
115
106,
57.
5^
285
21
...
origin
286
91
of divinity
,,
of the king
,,
religious
246
212
62.73
135
Timiliu
(See Libyans.)
Togo
Tombs.
55
206
et seq., 21S, 221
(See Graves.)
ToRR
207. 217
Torres Straits
Tortoise
Totem
Totemism.
Touaregs
45- 14;
Toupis
Table of offerings
270
Towers
Trap in shape of a wheel
Tablet, ivory
203
216
Taboo
Tails of animals
,230
54,
Tambourine
273
Tatooing
ô et seq.
among
the Greeks
34
164
Malta
at
decorative
et seq.
pre-Mycena:an Greece
in
Tchoiikiclils
16,
122, 131, 133,
255
Tripoli
Tuat
275, 276
2 et seq.,
Tusks
14
Uazu
Unas
3i
40
214, 216
Tunis
Turin
Turkey or pelican
70
224
15
Tribute
;o et seq.
Taurt
207
Tribal marks
Tiikh
276
28
117, iiS, 234, 238
Triangles
Troglodites
220
.210
medical
religious
Teeth
Trees
65
208, 215
114
Sy7ia
65
79. 94, 112
shell
31
15,
....
Symmetry
32
219
Tifinagh
or toggles for cloaks
Symbol
III
Thueris
96
34i 35
Syenite
Thread round the waist
for the ears
Suez
Sulphide of antimony
47
220
94
50,
for leather bottles
Sun worship,
of leather
Thothmes
et seq.,
264
264
27
Thongs
96
soft
,,
200, 258 et seq., 278

185, 186, 192, 266
,,
53, 173,
3"
35.
.
274
40
266
191
48, 198
.
29
280
Tehuti-hetep
48
26
Unger
17
Tel-el- A mama
V-
Unguents
49
Temples
Tendons
Terracotta
(See Pottery.)
Tettiges
221,253, 254
48
176, 189, 207,
274
University College (see London).
Urine
UrcBus.
Utensils for grinding paint
Uzait.
36
143
25.85
29
INDEX.
304
PAGE
PACE
Vaphio goblets
Vases, ivory
,,
pottery, black incised
-54
War
loi
Warriors
loS, 14.9
Water
151
black-topped I22etseq.
,,
,,
with
122
design in relief
et seq.
,,
,,
cross-lined
,,
,,
decorated
108, 140
Il3etseq.
202, 206,
,,
stones
108,
115
[4,
of fantastic forms
,,
,,
126
et seq.
.126
,,
,,
rough faced
white painted (red
140,
,,
stone
96
251
Vt'ihiaks
14,
sailing
(See Bark,
250
20S
Women
^1 J
V/adhnir
154
Volossovo
154
129
108,
112,
128,
2,
I I
177, 277, 285

37. 42
.
7.8
17,
217
200
214
34
2
21,
56,
37, 3S,
57,
119,
39.
40. 45,
51
127,
160
121,
211, 213, 220, 226
162, 175,
135- 139
4. 54,
sonorous
273
144
(See Castanettes.)
"Worshippers of Horus
Writing
[5,
66, 142
88,
142 et
Egyptian
hieroglyph
Vibration
74,
17, 32,
274, 277, 278
Wood
Flotilla.)
Von BissiNG
52
45, 46, 165
21
Wolters
164
213
206
Window
seq.,
Vaulting
222
55
140,
.
Wiedem.ann
Wigs
Wilkin
Wilkinson
et
fantastic forms
....
....
clay
198
paint
,,
97
loietseq.
cylindrical
,,
Vessel
White
267
Whip
seq.,
,,
148, 254,
Siiifuji
et
,,
Vegetable paste
Western
et seq., 201
,,
Veil
206
230
66
....
....
Wolf
108 et seq.
polished)
Weill
Werner, Alice
Wliite\va.sli
hard
of
tion
.....
...
of state
,,
274
in imita-
11
II
.120
.Ill
ripples
,,
99
54. 55-
Weapons
206
14.0,
217
.
I.
85,
4,
seq.,
primitive
,,
(See
Hieroglyphs,
282
288
^S'
Inscriptions,
Marks, Pictography, Signature.)
142, 144
Votive objects
66, 90 et
(See Maces, Palettes.)

Vulture
42
.
seq
Yellow
27,
Ycmoi
129, 14
j-
Z.XBOROWSKI
Wady-el-Sheikh
51
Zer
Hammamat
203, 288
Zigzag
Masarah
212, 254
Zippelius
Pnnled and
boHiui by Hazell,
Watson
li'
144-
205
.42, 49, 180, 182
206
287
>2,
Vimy, Ld., Luiidun and
'^lVYO.;.;c.;,,:.;sji-/
40, 109, III,
120
190,
203
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CAPART, Jean - Primitive.art - En.egypt.1905

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The

Institute of Fine Arts

New York University

Stephen Chan Library

THE EGYPTIAN ANTIijL'ITIES OF THE ROYAL MUSEUM, BRUSSELS

FROM THE REVISED

KING STREET, CO\'ENT GARDEN,

PRINTED AND BOUND BY

LONDON AND AYLESBURY.

TOKEN OF PROFO U N D. GR ATITU DE

was published as a separate volume,

without any modification of the text.

have been much gratified by the

prepared both to receive and to

Co. to issue an English translation of a revised

of English ethnologists, more especially of

of problems of the greatest importance for a study of the

that those points which ensured

French public may perhaps give the book the

appearance of a compilation, borrowed from the works of

materials have, to a large extent, been drawn from

from their pages

have gathered a large number of

of the greatest importance.

special gratitude to Protessor

with his habitual courtesy, has for

Egypt, gathered together

University College, London.

have received from him

at the yearly exhibition

Egypt Exploration Fund.

indebted to him for the lessons

nature to render any assistance to students,

instance to Professor Petrie that thanks are due.

Oxford have enabled me

of notes and of photographic reproduction.

and Mr. Bell

opportunity of thanking Mr. Evans

have been able

material from the Berlin

opportunity of offering them

Macgregor has enabled me

Manor House, Tamworth.

Exploration Fund, the editorial staff of the

German review Die

Umschait, and the Society of Biblical

London, have been good enough

several photograpliic reproductions at

also a pleasant duty to express

she has accomplished the task of translating this book.

ANALYTICAL TABLE OF CONTENTS.

Painting the Eyes

Ornamental and Decorati

Transformation of a Natural Design into a Geometrical

Transformation of a Useful Object into an Ornament

ANALYTICAL TABLE OF CONTENTS.

Luxury and Power

Maces and Sceptres

Stone Vases of Fantastic Form

Pottery copied from Plaited

Vases decorated with Figures

with Decoration inside

ANALYTICAL TABLE OF CONTENTS.