Digitized by the Internet Archive

in 2013

http://archive.org/details/archaeologicals07egyp
56Q
Beni Hasan IV. Frontispiece.

Scale 1:2. BIRDS IN ACACIA (Tomb 3).

 ARCHAEOLOGICAL SURVEY OF EGYPT
Edited by F. Ll. GRIFFITH.

r SEVENTH MEMOIR

BENI HASAN
PART IV.

ZOOLOGICAL AND OTHER DETAILS

FROM FACSIMILES BY

HOWARD CARTER, M. W. BLACKDEN, PERCY BROWN and PERCY BUCKMAN

WITH DESCRIPTIONS BY THE EDITOR

TWENTY-ONE COLOURED PLATES, AND SIX IN OUTLINE.

SPECIAL PUBLICATION OF THE EGYPT EXPLORATION FUND

LONDON
SOLD AT
The OFFICES OF THE EGYPT EXPLORATION FUND, 37, Great Russell Street, W.C.
and at 59, Temple Street, Boston, Mass., U.S.A.
and by KEGAN PAUL, TRENCH, TRUBNER & CO., Paternoster House, Charing Cross Road, W.C.
B. QUAR1TCH, 15, Piccadilly, W. ASHER & Co., 13, Bedford Street, Covent Garden, W.C.
;

1900
 LONDON :

PRINTED BY GILBERT AND RIV1NGTON, LIMITED,

ST. John's house, clerkenwei.l.

 EGYPT EXPLORATION FUND.
president.
SIE JOHN EVANS, K.C.B., D.C.L., LL.D. F.R.S.

lDicc=fl>resiocnts.

Sir E. Maunde Thompson, K.C.B., D.C.L., The Rev. W C. Winslow, D.D., D.C.L.
LL.D. (U.S.A.).

Lt. - General Sir Francis Grenfell, The Hon. Chas. L. Hutchinson (U.S.A.),
G.C.M.G., G.C.B. Prof. G. Maspero, D.C.L. (France).
The Eev. Prof. A. H. Sayce, M.A., LL.D. Prof. Ad. Erman, Ph.D. (Germany).

Charles Dudley Warner, Esq., L.H.D., Josiah Mullens, Esq. (Australia).

LL.D. (U.S.A.). M. Charles Hentsch (Switzerland).

1bon. ^Treasurers.

H. A. Grueber, Esq., F.S.A. F. C. Foster, Esq. (Boston, U.S.A.

1bon. Secretaries.

J. S. Cotton, Esq., M.A. The Rev. W. C. Winslow, D.D. (Boston, U.S.A.).

/Iftembers of Committee.

T. H. Baylis, Esq., M.A., Q.C., V.D. Francis Wm. Percival, Esq., M.A., F.S.A.
Miss M. Brodrick, Ph.D. (for Boston). Prof. W. M. F. Petrie, D.C.L., LL.D.
Somers Clarke, Esq., F.S.A. (for Chicago).
W. E. Crum, Esq., M.A. F. G. Hilton Price, Esq., F.S.A.
Arthur John Evans, Esq., M.A., F.S.A. Mrs. Cornelius Stevenson, Sc.D. (for
F. Ll. Griffith, Esq., M.A., F.S.A. Pennsylvania).
Mrs. F. Ll. Griffith. Mrs. Tirard.
T. Farmer Hall, Esq. The Rev. H. G. Tomkins, M.A.
John Horniman, Esq., M.P. Emanuel M. Underdown, Esq., Q.C.
F. G. Kenyon, Esq., M.A., Litt.D. Sir Hermann Weber, Esq., M.D.
Mrs. McClure. E. Towri Whyte, Esq., F.S.A.
The Rev. W. MacGregor, M.A. Major-General Sir Charles W. Wilson,
A. S. Murray, Esq., LL.D., F.S.A. K.C.B., K.C.M.G., F.R.S.
The Marquis of Northampton.
 LIST OF PLATES
(WITH REFERENCES TO THE PAGES ON WHICH THEY ARE DESCRIBED).

Plate PAGE
Plate PAGE
Birds in acacia, XV. Spinning thread. Tomb 3.
I. Frontispiece.
[H.C] 4
Tomb 3. [M.W.B.] .
1

XVI. Harpist and revolving fan (?).

II. Slughi hound. Tomb 2. [H.C.] 1-2
Tomb 2. [M.W.B.] . . 4-5
III. Dog. Tomb 17. [P. Buckman] 2
XVII. Censers. Tomb 2. [M.AV.B.] . 5
IV. Short-legged hound. Tomb 3.
Tomb

V. Cat
[P. Buckman]
on papyrus. Tomb 3.
XVIII. Miscellaneous subjects.
[M.W.B.] .... 2.

XIX. Glass (?) vases. Tomb 2. [H.C.

[H.C.] . . • • •

andM.W.B.] . . . 5-6
VI. Hoopoe in sont-bush. Tomb 3.

XX. Metal-working and Pot-making.

[H.C.]
Tomb 2. [H.C and P.E.N.] 6-7
VII. Shrike in sont-bush. Tomb 3.

[H.C.] XXI. Architectural Decorations.

Tombs 3, 23. [J.E.N.] . 7
VIII. Heron on papyrus stem. Tomb
3. [H.C.] XXII. Pigeon traps, &c. Tombs 2, 17

(outline) . . • ?
IX. Sacred ibis on papyrus. Tomb
Tomb

X.
3. [H.C.]

Spoonbill. Tomb
.

3. [H.C.] .
XXIII. Military
(outline)
weapons.
.... 2
7-8

Tomb
XL Cormorant on papyrus.
3. [H.C.] .
Tomb XXIV. Military
(outline)
weapons.
.... 2
8

XXV. Tools, implements, ceremonial

XII. Wild ducks. Tomb 3. [H.C.].
objects. Tombs 2, 3 (outline) 8

XIII. Degij bird, kapu bird. Tomb 15.

Tomb XXVI. Vases, glass (?) and pottery.

Harpoon and
[H.C] .... reel. 3.
Tombs 2, 3 (outline) . 5, 8-9

Tomb XXVII. Sandal-making, sawing, weigh ng i

XIV. Servants of the Ka. • 2.

3-4 in scales. Tomb 2 (outline) . 9

[M.W.B.J .
 BENI HASAN
PART IV.

The tomb of Chnemhetep, from which so Pl. I. Frontispiece. In the main chamber of

many of the facsimiles here published are the tomb of Chnemhetep (Tomb 3), over the

derived, is very inadequately represented in door into the shrine, is a painted scene in which

the plates of Beni Hasan I. It would be an Chnemhetep seated behind a screen is depicted

enormous labour to trace or otherwise copy moment when he closes a clap-net

at the over a

these scenes accurately. Oil was used by some number of wild fowl. On either side of the

of the early copyists to bring out the colours, pool in which the net is laid is an acacia bush
and this process has not only injured them but in full flower, with birds perched on the

eventually caused them to be hidden under a branches. A general idea of this scene is given

coat of tenacious dirt and dust. Thus, while by the coloured drawing in L. I)., ii. 130, but

the Avork in the other tombs at Beni Hasan was the outline in B.H. I., xxxiii., shows little even

carefully traced, and the outlines from them as of the general features. In the present plate

published in B.H. I. and II. are trustworthy, for we have the bush on the right hand side com-

this splendid tomb we were obliged to fall back plete : upon it are a redstart, two Nubian
upon the very imperfect small-scale copies of Hay shrikes (Lanius Nubicus)— one of them with
and Lepsius, and construct from them rough out- wings outstretched— and a turtle dove, perhaps
lines for publication. Messrs. Carter, Blackden Turtur Shaiyii. On the water are ducks, and
and others have, however, made some careful the brown wing of another duck is visible as it
coloured drawings of details, and it is to be rises. Water is indicated behind the tree, and
hoped that their example will be followed by on the top left is the rope of the net. Below is
future workers, for the paintings are of quite the coloured band which frames the door.

exceptional importance, and though so much M. W. Blacblen, 1891.

obscured are still in fair preservation. The
plates in the present volume are all from Pls. H. to IV. illustrate three extreme varieties
of domesticated dogs. In PI. is a greyhound,
coloured drawings of the size of the original, ii.

the last six plates having been produced with which may be compared with the Nubian grey-

the kind help of Miss A. A. Pirie from traced hound, or slnghl, still used in the chase of the

copies of the coloured drawings. antelope. It is one of two greyhounds pictured

 BENI HASAN.

in the tomb of Amenemhat (Tomb 2, not The Avild cat of Egypt is Fells choms, which
Tomb 3 as stated on the plate). It has prick has a broad tail. Fells maniculata, with a lone-
ears and a sharply coiled tail like a pug round tapering tail, is found only far south, though
; it
its neck is a broad collar. The dog represented may have strayed to the Delta, when Egypt was
with it (B.H. I., xiii.) has short lop ears and a now
wilder than it is. At any rate, the animal
short upturned tail. Howard Garter. figured in this plate has the long tapering tail
of the maniculata, from which latter our
Pl. III. (B.H. II., xiv.). A strongly- built domestic breeds are supposed to be derived, and
hound, coloured grey and tan, the tail ending Dr. Anderson thinks the present example really
curiously in a white knob, which, according to
figures a domestic cat. In New Kingdom pictures
Professor Ray Lankester, must have been arti- tame cats are often shown accompanying the
ficially produced, if it ever existed. This is sportsman but this animal seems to be indepen-
;

from the tomb of Chety (Tomb 17), where it

dent of him. Still, it must be remembered that
appears with several other dogs. Percy Bud-man. the domestic cat is very apt to stray and hunt
for itself; moreover, even if the artist was
Pl. IV. (B.H. I., xxx.). A more remark-
still attempting to portray a wild cat, he may have
able variety, a dachshund bitch, the type fully
thought the house-cat a sufficiently good model.
developed. In the original, on the N. wall of Howard Carter. (Note that in the drawing the
Tomb shown along with a male animal
3, it is
papyrus is greener, the dark outlines are black,
of the same kind and a greyhound accompanying
and the greys throughout are darker.)
their master, Chnemhetep. Percy Buckman.
The fact that these well-marked breeds of Pls. VI., VII. The sont bush on the opposite
dogs existed as far back as 2000 b.c. may lead side of the pool to that in the Frontispiece
to interesting speculations as to the period furnishes the subjects of these two plates.
and manner of their development. Does their The hoopoe (Pl. vi.) on one of the lower
specialization really date
from the time Avhen branches, is fairly true to nature, though the
human beings began to employ them intelli- Egyptian artist has not made the most of the
gently for special work? Or had the breeds crest, nor has the tail any such tendency to fork
already attained their main distinctive
features as is indicated by his drawing. Howard Garter ;
by a process of natural selection before
man slightly reduced in plate.
began to exercise his influence upon the race ? Far better, and indeed the best figure in the
whole collection, is that of the red-backed shrike
Pl. V. (B.H. I., xxxiv.). In the tomb of in Pl. vii. ; even an ornithologist could criticise
Chnemhetep, on either side of the doorway
over only details. Howard Carter ; full size.
which the birds in the sont bushes are
figured,
is a much larger sporting scene. In the one Pls. VIII. to XL (B.H. I., xxxiv.). The birds
Chnemhetep harpoons two fish (B.H. xxxiv.),
I., here shown are all either perched on or Hying
in the other he is casting the throw-stick at over the papyrus stems in the harpooning scene
birds in the papyrus marshes
(ib., xxxii.). In from the tomb of Chnemhetep. In Pl. viii. is
the former scene are sundry small
animals, genet- some kind of heron standing on a flowering head
cats and the like, climbing the
papyrus stems of papyrus. The latter is as usual convention-
in search of their prey, the
young birds in the alized to an inverted bell-shape, with a regular
nests. On a stem of papyrus, which bends hard outline. Howard Garter; scale in plate,
beneath its weight, sits the cat here figured.
about 2:3.
 ;

ZOOLOGICAL AND OTHER DETAILS.

figure of a sacred ibis; here claim to be good. The colouring is very un-
Pl. IX. The
shown as common wild birds
one of the of satisfactory.

Figs. 2 are examples from this series. The

Egypt, but now unknown there, though said to 1,

Mr. Bowdler Sharpe inclined to take for

breed at Wady Halfeh and to be common in first, is

This very faithful a painted snipe. In the Egyptian label it is thus

the latitude of Khartoum.
representation recalls the description of Hero-
Howard Garter.
described
" Its name
ffl

is
^^S^ljr
degyt, '
the hider
52
^^
' ;
its
i,

call
(?)

(?)

dotus, ii. cap. 76.

is . .
." The other bird, which resembles a
called h'pw, " the concealer.' Howard
Pl. X. A spoonbill, flying downwards, bittern, is '

Carter scale 1:2.

perhaps endeavouring to scare the cat from its ;

noticeable Figs. 3, 4 (B.H. I., xxxiv.). In the harpoon-

young. The yellow legs are a
ing scene already referred to, Chnemhetep's
mistake ; they should have been coloured black.
instrument is a bident with long shaft. In
Howard Carter.
fig. 4, the barbed heads, with the lashing, are
a shown transfixing the heads of the big fish
Pl. XI. From the outline, evidently :

may indicate metal. In the same

cormorant; but here again the Egyptian was their colour

much at fault in his colouring, the glossy green- scene an attendant holds a spare harpoon and a
The white reel of cord, fig. 3, which is evidently meant to
black being rendered by a brown.
revolve in The
handle. reel itself is the
under parts may be intended to indicate the its

little cormorant, which, according to Shelley sign <j> wd, meaning "cord" (cf. Ptahhetep I.,

296, p. 33), and the handle resembles

s=a,
(Birds of Egypt, p. 295), is common amongst fig.

Qurn. In hierogly- the alphabetic phonogram for 0. Howard

the reeds of the Birket el

phics this bird is the word-sign for

c
q,
" enter," Carter; scale 1:3 (not 2 : 3).

for some reason as yet unknown : perhaps on

name Pi, XIV. (B.H. I.,xvii.). In the great scene
account of its neat and ready diving its

of offerings to Amenemhat on the S. wall

may have been "the cnterer." In printed
of Tomb 2, in the right-hand top corner, is
hieroglyphic type the bird is rendered "Ig^ .

a representation of the priests engaged. They

Howard Carter; scale about 2:3.
are placed in two short rows, of which one is

given. Over each person is a short

Pi, XII. No. 1 (B.H. I., xxxiii. ?) seems to here

be intended for a common wild duck. Howard inscription. The first man is the hn-h\ "servant
No. 2 (B.H. xxxiii.); of the lea," to whom was entrusted the business
Carter; scale 5:8. I.,

group from the wild fowl netted by Chnemhetep of seeing that these services were carried out
for the deceased. His action is described as
apparently the ruddy sheldrake, Tadorna rutila,
which is very common on the lakes of Lower dtft qbh yn hn-k\ "giving cold water by the

Egypt and the Faiyum. Howard Carter ; scale hen-lea" and he is pouring water from a spouted

about 2:3. ewer (the symbol of cold water in hieroglyphics)

for the
into a bowl placed on a stand, probably

2 (B.H. II., iv.). On the washing of the hands. His dress is simply
Pi, XIII., figs. 1,

a short tunic, but he wears the wig and

artificial
N. wall of the tomb of Baqt a long series of

birds is displayed, and with them bats. One of beard usually assumed on ceremonial occasions.
Behind him the sem, a priest probably of high
these birds, °^S t^ [ !
'•'"•S the avocet, is easily is

rank, who leads the services. His dress is that

recognized by the peculiar formation of the
usually worn by this functionary, and is very
beak. Only the outlines of these figures can
 BENI HASAN.

remarkable. In addition to the short tunic he sem leading the recitation, the lectors following
is wrapped handsome leopard-skin, hung
in a while the offerings are brought in and the meal
over the left shoulder and held in place there enjoyed, and, finally, the departure of the
by a blue and red band passed under the right priests. M. W. BlacMen, 1891.
arm. The head of the animal falls on the
breast and the tail hangs between the legs of the Pl. XV. (B.II. I., xxix.). In the tomb of
man, who keeps the whole arrangement secure Chnemhetep part of the W. wall — especially in
by pulling the right hind leg round him and the two lower rows south of the door — occupied
is
grasping it with his left hand. On the shoulders with scenes of manufacturing. In the upper of
are two strings, the ends of a bow-knot, which is these two rows is a series of three scenes repre-
sometimes seen in the form ?=3 probably it senting the manufacture of textiles.
:
Begin-
served to retain the band on the shoulders. ning at the right there is first a girl " spin-
The strings pass through beads (?) and terminate ning," st ; next a woman msn, which is perhaps
in button-like objects q. The attitude is that " clearing the thread (?) " after it is spun, or
of a man declaiming, and his inscription reads drawing out the strands ready for spinning ; and
" Grace granted by the king
'
(?)
'
: the sem," lastly there are two women sht, " weaving."
the words being the commencement of the
first The spinner is the subject of the present picture,
Avell-known formula by which the deceased was and is probably a quite young girl Her hair is
enabled to enjoy abundant food and attendance. curiously arranged in two flaps. Apparently
Behind the sem stands a third priest, distin- she is working two spindles at once, one
guished from the /^-servant by a shoulder band dangling in the air, the other in her hand ready
of white linen, which starts from the tunic. to be spun : the strands are drawn from separate
This is the characteristic badge of the u kherheb vessels. Other instances of spinning with two
priests," or "lectors," who carried the roll, of spindles occur in B.H. II., xiii. but in El B. ;

the ritual and recited from it. The sem was xxvi., each girl has one spindle only.
I., The
apparently also a kherheb, but of a superior figure, though curiously drawn, is not un-
order. In the present instance the kherheb pleasing apart from the feet. Howard Carter.
carries the papyrus roll, and he too is reciting.
" Piling up offerings, Grace
'
(?) that the king Pl. XVI. (B.H. I., xii.). At the S. end of
granteth ' : the kherheb:' Below his right hand the W. wall of the tomb of Amenemhat is a
is written "It is pure "
— apparently a blessing scene representing a number of musicians per-
on the offerings. forming there are a male harpist, a female
;

In the second row of priests (in B.II. I., harpist, and below, three women clapping hands .

xvii.) we see three lectors with their bands and another holding a sistrum. The harpist is
and papyrus rolls, sitting and reciting :
" re- represented in this plate. Her harp, which is
citing spells of spiritualizing, by numerous (or seven-stringed, is as usual stoutly made, but is
'ordinary'?) lectors." Behind them another merely a curved piece of wood. It stretches the
kherheb walking away, but with
is his face probably by
strings a certain elasticity, but
always turned towards the deceased. He holds although of large the instrument
size, is without
in hishand a strip of linen (?), and his legend is any stem to fix the strain. It seems to be
" Removing the foot by the kherheb"
placed in a kind of shoe, to which it is also tied,
Altogether we have
two rows a con-in these in order that it may stand upright on a firm
cise resume of the scene of the Funeral Ritual— base, the performer kneeling while she plays.
the bringing water for washing before food, the The harpist is in the usual costume of Egyptian
 ; ;

ZOOLOGICAL AND OTHER DETAILS.

women. Behind her is an instrument carried this occurs, in front of the face of the fifth

by a dwarf woman, and which evidently re- figure from the left, is the outline sketch (see

volves in its handle, through which the shaft Fig. 2) of a face, skilfully drawn, but in very

passes. might be interpreted as a fan to

It different style from all else in the tomb. It is

keep the harpist cool but it seems rather to

; characteristic work of the XVIIIth Dynasty.
correspond to the sistruin in the row below and Evidently one of the scribes who visited the

to be a musical instrument. Perhaps it is a Beni Hasan tombs at that time and left their

kind of clapper. In the drawing we see the graffiti there (cf. B.H. I., xxxviii.) wished to

outline of the harpist's body, and that of the show how differently he would have drawn a
harp as Avell crossing her right arm, which, face ; certainly the contrast is great. Mr.

however, is in front of them both. Such slips Blackden's drawing follows carefully the pre-

are frequent even in the best Egyptian drawing. cise brush-lines of the artist, which are unfortu-

M. W. Blackden, 1891. nately run together in the printed copy. Fig. 3

(B.H. I., xvii.) shows vases on a table, from

Pl. XVII. (B.H. I., xvii., xviii.). The the right hand end of the offerings before

censers in the scenes of offerings in the tomb of Amenemhat. The vessels are round-bottomed,

Amenemhat are very fine examples of their and are placed apparently on boxes of coloured
kind. Each consists of a long white handle- clay or dough (?). One is stoppered with black

probably of ivory, as in Mr. Hilton Price's clay, and has blue lotuses twined round it

original specimen — varied by coating with other scale 1 : 2. M. W. Blachden, 1891.

substances, probably copper and gold. In the

hand is the bowl, or censer proper, and half- Pl. XIX. (B.H. I., xvii.). Vessels of glass (?)

way down the handle is a little box for the from the offerings to Amenemhat. These repre-

round dark balls of incense. The colouring of sentations are especially important, for it can

the flame, yellow or red with green tip for the scarcely be doubted that the originals of the

smoky top, is worth note. The mode of fasten- blue vessels with rippled lines were of glass.

ing the sliding lid of the little box by a tie Probably the artist meant to show them as

round two projecting knobs is clearly indicated. placed in deep cups of red pottery in order to

The name of the censer at least in the New— display them to better advantage ; that he

—
Kingdom was s-htpyt, meaning probably a made the lines of the glass vessels continuous

thing "which propitiates." M. W. Blackden, with those of the pottery is a detail which may
1801. be forgiven. The pottery cups stand on ring

stands, solid in the one case and of open Avork

Pl. XVIII. Miscellaneous subjects. In the in the other. Lotus flowers are placed in the

lower left hand corner of the scene of offerings mouth and in two small lateral spouts of each

to the wife of Amenemhat (B.H. I., xviii.) are of the glass vessels. 1. Howard Carter. 2.

two burning censers on upright stands a man ;

M. W. Blachden.
standing by holds a tray of offerings and a fan In Pl. xxvi. Figs. 1 and 2 are other examples

the latter is presumably intended to keep the of similar vessels, 1 being from the offerings to

charcoal alight, and is evidently a little work of Hetep, wife of Amenemhat (B.H. I., xviii.),

cunning binding (Fig. 1). In a corre- and 2, which is less detailed, from the offerings
art in
sponding place in the scene of offerings to to Clmemhetep in Tomb 3 (B.H. I., xxxv.).

{B.H. the same It is the coloration which most strongly

Amenemhat himself I., xvii.)

and in the same row in which suirirests that glass is the material of these
figure is seen,
 —

BENI HASAN.

vessels. But this impression is still further interior of these had to be carefully ground
continued by the peculiar form, the narrow until the surface was bright and smooth, and
rim, and the difference of colour in the rim of the contrast of this ground surface with the
one example, all tending to differentiate them natural lustre of the exterior is noticeable at a
from any representations of pottery. To the glance. Scenes, therefore, such as that in
idea that the vases may have been of some Figs. 1 and la are precluded by their date from
variegated stone the peculiar colouring of the being considered as representations of glass-
rim is an objection ; but in ancient glass the blowing. In tombs of the Old and Middle
rim is generally added in a separate piece, often Kingdoms they are very common ; and if blown.
of a different colour. The colours in the glass glass had existed then remains of it also
vessels at Tell el Amarna Avere very varied, but would be common, whereas such are really
blue was the commonest among them, as being unknown.
the most easily produced ; bands of different This scene is from the N. side of the W. wall
colour or shade on the body of the vase are
"
of Tomb 2, where — as usual — it is associated
readily drawn into regular waves by " combing with scenes of metal- weighing (cf. B.H. II.,
while the material is still viscid. Hitherto only vii., xiv.). Evidently it belongs to a series
beads and small objects are known of a period representing metal-working, and shows the
earlierthan the XVIIIth Dynasty, but by that blowing of the furnace to heat the metal
time such absolute perfection had been attained whether glass or other — sufficiently to render
in the manufacture of opaque glass that it is it Avorkable. The men are blowing through
only probable that vessels could be made of it hollow canes in primitive fashion, and to pro-
as early as the Xllth Dynasty. tect the ends of these feeble blow-pipes from the
fire each is tipped with a considerable mass of
Pl. XX. {B.H. L, xi., row 4). The repre- fire-clay ; the pale grey colour of this material
sentation in Figs. and la has often been
1 (like that of the Avails of the furnace) gives to
interpreted as glass-blowing, and indeed it is the instrument a particularly close resemblance
singularly suggestive of
manufacture, that to the tube of the glass-bloAver. Comparing the
except that the furnace seems inadequate. But scene with corresponding pictures from tombs
blown glass is a comparatively modern inven- of theXVIIIth Dynasty e.g. in the tomb of —
tion, and it is difficult to lay one's hand on any —
Rekhmara at Thebes we find a great improve-
specimen of it undoubtedly earlier than Roman ment introduced in furnace-blowing. Instead
times, though the discovery of the art spread so of depending on their lungs for the blast, the
rapidly that the Roman world soon became Avorkers have instituted belloAvs moved by the
littered with blown glass bottles. All dass feet, and the strong blast passes through a fixed
vessels of the fourth and fifth centuries b.c. reed into the furnace, Avhile the blow-pipe is
found in Greece and Italy, and all those of the used for finer Avork only.
XVIIIth and XlXth Dynasties found in Egypt In the XXVIth Dynasty the old represen-
were formed on moulds. The narrow mouthed tation was duly revived in the tomb paintings,
bottles still show in their interior the effect of like many other obsolete scenes of the Old
contact with the rough ashy surface of the Empire. Even at that time glass-bloAving was
mould. The
glass being opaque, the appear- probably quite unknoAvn. The date of its dis-
ance of the interior was immaterial, and mio-ht covery, marking a very important era in the
never be known until the bottles were broken. industry, requires investigation.
But with cups and bowls it was otherwise ; the Figs. 2, 2a. The pot-making on the Avheel is
 ZOOLOGICAL AND OTHER DETAILS.

here shown of Chety (Tomb Pigeon traps, one closed

17).
readily intelligible: the man is

over a bird, the other open and a pigeon

flying
cut it off
having formed the bowl and about to
the scenes to it. Probably the trap consisted of two
from the mass with the string. In
unbaked wooden frames with nets, closing by a spring or
from which this figure is taken the
but the mechanism is not clear in the
always shown as grey, but pots taken
fall ;

pottery is
pictures, and no net is visible. The pigeon,
Figs. Howard
out of the furnace are red. 1, 2,
fairly well
2a, tracings by P. E. coloured white and pale grey, is
Carter, scale 1:2; la,
rendered. The coloured drawing by P. Bucl-
Newberry. Scale in plate about 1:5.
mun ;
scale about 1 : 2|

of the beautiful
Pl XXI. Illustrations
Tomb
Pl. XXIIL, Fig. 1 (B.H. L, xiv.).
decoration which is found, though in some cases
of Amenemhat. End of the long spear used by
very much debased, on the walls of the Beni
two men to destroy the battlements of a
fort.
The shrine of the tomb of
Hasan tombs. of unburnt
fresco Thefort is coloured dark, as built
Chnemhetep is panelled all round (in
clay or brick. As shown in the full scene the
sculpture) with elaborate false
alone without and it seems as if
top of the wall crenellated,
doorways, all of the same pattern. A good is

rectangular wooden balconies projected

from it
example given in this plate. Mr. J. E. New-
is
besieged better
of the pattern at intervals, thus affording the
berry notes that the setting out close to the
with its command of an enemy approaching
is very irregular. The wooden door made from
middle of each. wall. The attack with the spear is
bolts is represented in the Once the
behind the shelter of a large shield.
There perhaps no other decoration of this
is of the
frieze and battlements were destroyed the power
kind at Beni Hasan, but the cheker
of nearly all defencewould be considerably diminished, and
looped cords at the sides are typical The
the walls themselves could be sapped.
the plates in
the tombs, as may be seen from attacking
head of the weapon in the hand of the
11. H. I. The present illustration is taken
and II.
is white, the shaft black
perhaps the
shrine, party :

from the E. end of the N. wall of the end of a

to the white head is merely the sharpened
and shows the work from the floor- level colours may denote
pole, but the different
ceiling but the second and yellowish jj
;

differentmaterials. The coloured drawing by

cheker is from the S. wall. The base imitates
P. Brown scale, about 1 2|.
ceiling of the shrine
:

red speckled granite. The ;

(B.H. I., xiii,). Attendant on

"Tomb Fig. 2
has the same pattern as that marked
23,
Amenemhat, ill proportioned, carrying a large
detail at A." The features of
one of the most battle-axe of the usual form.
The ceiling of Tomb 23 is
this
the man are not clear, and in that respect
elaborate in the Beni Hasan group, Tombs 2

alone besides having tracing must not be considered a safe guide.

(B.H. L, vi.) and 3
about
The coloured drawing by 7'. Brown ;
scale
ceilings at all decorated. The plan and details

New- 1
:2i
E.
here given need no explanation. J.
From the battle
Fig. 3 (B.B. I., xvi.).
berry Jan. 1893. A foreigner,
tomb of Amenemhat.
',

scene°in the
a curved club or
(B.H. L, xvii., row 5). one of three, armed with
Pl. XXII., Fig. 1
hand of the man
throw-stick and a battle-axe ;

Two birds carried tied up in a bundle of reeds

Amenemhat. behind him holding a spear. The reddish
suspended from a yoke tomb of ;

people is remarkable,
colour of the hair in these
Scale in plate about 1 2^. :
contrasts with
From the tomb and the yellow flesh-tint strongly
Figs. 2, 3 (B.H. II., xiv.).
 BENI HASAN.

the red flesh-tint of the Egyptian men.

the hieroglyphic significance of the
See incense, and the T amulet (see Hieroglyphs,
club, Hiero- p. 60).
glyphs, p. 51. The coloured drawing by Howard Fig. 5 (B.H. I, xii.). The sistrum accom-
Carter scale 1 : 2^. panying the
musical instruments described
above in connexion with Pl. xvi. Evidently
XXIV,
I

Pl. Fig. 1 (B.H. xvi,

I., fifth row, it iswood; the base above the handle is
of
|

fifth figure from left). From S. side of E. wall carved into a grotesque mask of Hathor
in tomb (?), with
of Amenemhat, Dagger in sheath in peculiar curved projections, perhaps intended
girdle. The belt and fall of the white loin-cloth
for conventionalized horns of the
in front are black.
Hathor cow.
The rattle itself is in a short wooden frame, and
Fig. 2 (B.H. I„ xiii.). Bow and sheaf of consists perhaps of bars of metal to clash
arrows, held horizontally by attendant of together.
Amenemhat. The colouring of the bow— red Figs. 6, 7 (B.H. I, xi, row
outside, yellow
2). Mallet, and
inside— suggests that it may be chisel struck by it, in the hands of a car-
composite.
penter.
Fig. 3 (B.H. I, xi, row 2). Arrows, from a Fig. 8. White stone (?) for polishing or
scene of their manufacture on N. side
of W. planing Avood, worked by a carpenter.
wall in tomb of Amenemhat.
From
The heads are same scene as Figs. 6, 7.
dark grey and of a very peculiar form, the
The coloured drawings, Figs. 1, 6, 7 8
points resembling the barbed tang of
ordinary Howard Carter ; 4, Percy Brown ; 5, M. IV.
arrow-heads; possibly it was formed by a Blacleden. Scale 1 : 2.
crescent-shaped edge with the point added in
a
separate piece (?).
Pl. XXVI, Figs.
1, 2 (B.H. I, xviii, xxxv.).
Fig. 4 (B.H. I, xvi, row third
5, figure See above, description of Pl. xix. Glass
(?) vases.
from crossed by another spear).
left,
Spear Fig. 1 is footedon a lump of clay glass,
with knobbed butt and metal (?) head. Arm ;

of greenish blue with grey zig-zags, rim pale

man holding it, Indian red shaft, Venetian ;
greenish blue from W. end of S. wall in
red
:
tomb of
butt and point darker.
;
Amenemhat. Fig. 2 stands perhaps on a ring
Fig. 5 (B.H. I, xiv.). Spear with plain stand ;
round it are gourds and cucumbers,
butt the end perhaps merely sharpened
;
wood. coloured green. The glass, plain grey or bluish
Yellow, with blackish point. Held by second
;

the stand red from S. wall of tomb

figure from
:
of Chnem-
left, in 5th row on N side of hetep.
E. wall.
Fig. 3 (B.H. I, xvii.). Bowl, on ring stand
The coloured drawings, Figs. Howard
;
1, 3, 4, coloured pale blue, perhaps glazed the cover of
;

Garter, 1895 figs. 2, 5, P. Brown.

; Scale 1 : 2. basket-work, yellow, brown and black, with
loop. From E. end of S. wall in tomb of
Pl. XXV, Fig. 1 (B.H. I, xi, row 2). Adze Amenemhat.
in hand of carpenter, cutting wood.
(B.H I., xvii.). R ecj pottery cup on
Fig. 4
Figs. 2, 3 (B.H. I, xxix, row
2.). Sickles ring stand, stoppered perhaps with clay.
In the
set with separate teeth, probably flints.
Middle Kingdom the name of beer is often
Fig. 4 (B.H. I, xxxv, 5th row,
held by determined by or connected with this figure
third figure from left). Ceremonial apparatus— (e.g. Siut, Tomb ], B.H, I., xvii. offerings,
probably for the service of Opening the Mouth- col. 21 from right. it is the So presumably
consisting of a casket, balls and lumps of equivalent of a beer-bottle, stoppered to prevent
 ZOOLOGICAL AND OTHER DETAILS.

the spoiling of the contents. From same offer- Fig. 2 (ibid., 2nd row). Sawing wood. The
ings as Fig. 3. ancient artist has made the mistake of drawing

The coloured drawings: Fig. 1, Howard the outline of the saw as if visible through the
Carter-, fig. 2, P. Brown; tigs. 3, 4, M. W. wood.
Blaelcden. Scale of 1 — 3, 1 : 2. Fig. 3 (ibid., 3rd row). Weighing in a
balance. Probably no fixed Aveight is here
Pl. XXVIL, Fig. 1 (B.H. L, xi.). Leather- used, but two sets of metal objects are weighed
worker finishing a sandal. The sole is shown against each other. A box is at the foot of the

yellow, the edge and straps white. The sandal scales. The upright forms the hieroglyph wts,

is for the left foot ; the strap is fixed to the " support " : the pans may really be bags. The
sole in front in such a position that it would cross-beam was apparently fixed to an upright,
pass between the great toe and the second which itself hangs by a loop from the peg. The
toe, and is looped to go round the ankle. balance is told by a plummet, showing the
Note the peculiar form of the cutting tool. verticality of the upright.

Top row, N. side, W. wall in tomb of The coloured drawings by Howard Garter,

A.menemhat. 1895 ; scale about 1:3.

(
 Pl. II.
Beni Hasan IV.

CO
m
O
H
Q
Z
D
O
I
I
CD
D
_l
CO
 Pl. III.
Beni Hasan IV.

ts

CO

O
O
Q
 Pl. IV.
Beni Hasan IV.

CO
m
5
o
h
Q
Z
D
O
I
Q
LU
O
o
111

h
O
I
CO
 PL. V.
Beni Hasan IV.
 PL. VI.
Beni Hasan IV.

CO
m

I
GO

mi

H
z
o
CO

ID
o
Q.
O
O
X
 Pl. Vll.
Beni Hasan IV.

SHRIKE IN SONT-BUSH (Tomb 3).

Beni Hasan IV. PL. VIII.

HERON ON PAPYRUS-STEM (Tomb 3).

Beni Hasan IV. Pl. IX.

Scale 2:3. SACRED IBIS ON PAPYRUS (Tomb 3)

Beni Hasan IV. Pl. X.

Scale 2:3.

SPOONBILL (Tomb 3).

Beni Hasan IV. Pl. XI,

Scale 5:8. CORMORANT ON PAPYRUS (Tomb 3).

Beni Hasan IV. Pl. XII.

WILD DUCKS (Tomb 3).

 Pl. XIII.
Beni Hasan IV.

10

m
s
o
H
Q
-
mi

D
CL
<

CD

Q
Q£
CO
>-
O
111
Q
03

IN

to
Beni Hasan IV. Pt_. XIV.

<M
CD
5
O
I-

<
W
I
I-
U-
O
w
I-
z
<
>
en
W
CO

M.
Beni Hasan IV. Pl. XV.

Scale about 1 :2 SPINNING THREAD (Tomb 3).

Beni Hasan IV. Pl. XVI,

Scale 1 : 2. HARPIST AND REVOLVING FAN (Tomb 2).

Beimi Hasan IV. Pl. XVII.

CM
CD
2
O
I-

LU
CO
z
o

OB

fa
 Pl. XVlll.
Beni Hasan IV.

FAN FOR CENSER HEADS, DYN. XII AND DYN. XVlll.

AAAAAAA/SAA/^A/W\AAA/\AA/WV VVVVV\ZSZS

VASES ON TABLE

MISCELLANEOUS SUBJECTS (Tomb 2).

Beni Hasan IV. Pl. XIX.

CM
CO

CO
UJ
CO
<
>
CO
CO
<
_l
(D

<M
 Pl. XX.
Beni Hasan IV.
 —
Beni Hasan IV.

T~ ? "T T— T - T T

xxxx
X X
co
<N

CD

o
1-
o

<

I
H
D
o
0)
o
U.
o
u
N
W
or
LL
 PL. XXI.

CD

HI
Z
QC
I
CO
Li.

o
_)
_)
<

I
H
cc
o
z
z
o
z
o
<
o
o
LU
Q

/////////y/

=: ,

+ ++ j

1
•
!

. 1

<
CO
<N

~ CD
— *£
o
H
O
z
j
uj
O
u.

•o
o
z
<
_1
CL
Beni Hasan IV. Pl. XXII.

gree

(Tomb 2).

PIGEON TRAPS (Tomb 17), Etc.

 Beni Hasan IV. Pl. XXIII.

grey

dotskij red

MILITARY WEAPONS (Tomb 2).

Beni Hasan IV. PL. XXIV.

MILITARY WEAPONS (Tomb 2).

Beni Hasan IV. PL. XXV.

o
LU

CO
_l
O
o

co"
H
z
UJ

LU
_l
Q_
5
 PL. XXVI,
Beni Hasan IV.

3 VASES OF GLASS AND POTTERY.

Beni Hasan IV. Pl. XXVII.

yellow

SANDAL-MAKING, SAWING, WEIGHING IN THE SCALES.

BINDING SECT. JUL 2 6 1992

CIRCULATE AS MONOGRAPH
/

DT Egypt Exploration Society.

J] Archaeological Survey of
E326 Egypt *.
no. 7 Memoir ~>^

DO NOT REMOVE
PLEASE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

CIRCULATE AS MONOGRAPH