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- 'As good an imitation of Monte Carlo as the law allows.'
- A Bargain in the Ghezireh Gardens
- A Dancing-Girl
- A Daughter of the Nile
- A Dealer in Antiquities
- A Descendant of the Prophet
- A Guardian of the Temple
- A Karnak Beggar
A Karnak Beggar - A Luxor Dancing-girl
- A Peddler
- A Son of the Desert
- A supposed monumental head of Sesostris
The most renowned monarch that ever reigned over Egypt was Sesostris. The date of his reign is not precisely known; but there is a carving in stone, lately found in Egypt among the ruins of an ancient city. which is more than three thousand years old, and supposed to be a portrait of him. It is doubtless the oldest portrait in existence. This king formed the design of conquering the world, and set out from Egypt with more than a million of foot soldiers, twenty-four thousand horsemen, and twenty-seven thousand armed chariots. His ambitious projects were partially successful. He made great conquests, and wherever he went he caused marble pillars to be erected, and inscriptions to be engraved on them, so that future ages might not forget his renown. The following was the inscription on most of the pillars: - SESOSTRIS, KING OF KINGS, HAS CONQUERED THIS TERRITORY BY HIS ARMS. But the marble pillars have long ago crumbled into dust, or been buried under the earth; and the history of Sesostris is so obscure, that some writers have even doubted whether he made any conquest's at all. - A Syce
A stranger is impressed during his first days in Cairo with the spectacle of runners in front of carriages to warn people to get out of the way. These fellows have a picturesque dress and muscular legs, and their duty is to clear the way, by keeping a few yards in advance and warning people that a carriage is coming. An appendage of this sort is called a syce, and formerly it was necessary that he should be a native born Egyptian, but at present a Nubian may aspire to the position, and it is not unusual to see syces of the complexion of charcoal in front of elegant carriages. - Akhnaton and his Wife and Children
In his capacity as Pharaoh and “son of God,” Akhnaton demanded and received a very considerable amount of ceremonial homage; but he never blinded himself to the fact that he was primarily but a simple man. He most sincerely wished that his private life should be a worthy example to his subjects, and he earnestly desired that it should be observed in all its naturalness and simplicity. He did his utmost to elevate the position of women and the sanctity of the family by displaying to the world the ideal conditions of his own married life. He made a point of caressing his wife in public, putting his arm around her neck in the sight of all men. As we have seen, one of his forms of oath was, “As my heart is happy in the Queen and her children....” He spoke of his wife always as “Mistress of his happiness, ... at hearing whose voice the King rejoices.” “Lady of grace” was she, “great of love” and “fair of face.” Every wish that she expressed, declared Akhnaton, was executed by him. Even on the most ceremonious occasions the queen sat beside her husband and held his hand, while their children frolicked around them; for such things pleased that gentle father more than the savour of burnt-offerings. It is seldom that the Pharaoh is represented in the reliefs without his family; and, in opposition to all tradition, the queen is shown upon the same scale of size and importance as that of her husband. Akhnaton’s devotion to his children is very marked, and he taught his disciples to believe that God was the father, the mother, the nurse, and the friend of the young. Thus, though “son of God,” Akhnaton preached the beauty of the human family, and laid stress on the sanctity of marriage and parenthood. - Akhnaton and Nefertiti with their three Daughters
The charm of family life, and the sanctity of the relationship of husband and wife, parents and children, seems to have been an important point of doctrine to him. He urged his nobles, also, to give their attention to their families; and in the tomb of Panehesy, for example, one may see representations of that personage sitting with his wife and his three daughters around him. - Akhnaton driving with his Wife and Daughter
Akhnaton driving with his Wife and Daughter - All, the Pilot
- Amun-Ra
First among these gods of the Egyptians was Ra, the Sun, or Amun-Ra, the Great Sun, whose warmth ripened their harvests, but whose scorching rays made his power felt as much as an enemy as a friend. - An Artist in the Mouskie
- An Assiût Donkey
- An Assuan Beggar
- An Egyptian Eunuch
An Egyptian Eunuch - An Egyptian Funeral Cortege
It need not be inferred from what we have written that all bodies were hidden away in the tomb. On the contrary, many were consumed on the funeral pile, some were buried in the earth, while others again, after they had come from the embalmer's shop, were kept in the house for years, until finally they were deposited in the catacombs. The mourning for a good king lasted the space of seventy days, during which the people sang hymns commemorating his virtues, reading their garments, and covering their heads with mud and dust, some three hundred persons of both sexes coming together twice each day to publicly sing a funeral dirge, the entire nation abstaining from meat and other dainties during the whole time. On the last day of mourning, or in some instances many months afterward, the time for sepulture arrived. Supposing that an embalmed king is to be laid away, perhaps in a tomb on which a lifetime of preparation has been bestowed, the body is now brought out from the closet, where it has been carefully stored since the funeral ceremonies were performed, and given to the undertaker, who comes with a sledge-hearse, as shown in the engraving. The several figures are thus arranged: in the center appear the sacred cows, decked with elegant blankets and ornamental head and neck gear, which last (of a peculiar pattern) is found attached to the heads of all female animals, in Egyptian bass-reliefs, drag-ropes in this case being fastened to the horns, evidently " more for ornament than use," two attendants furnishing the motive-power, while the third acts as conductor. In the foreground are four more representatives of the genus homo. First, we notice the priest, as indicated by the peculiarity of his dress. He appears in the act of anointing the dead body with sacred oil, or some other liquid, from a vessel of peculiar shape. Just in front of the priest, squatting near the earth, we find a mercenary mourner, her hair disheveled, her breasts exposed, and her hands fixed in the position most expressive of grief, no doubt crying as sincerely as in hired mourning it has ever been done. Around the third figure centers the greatest interest, since it represents the dead dressed in cerements for the tomb, to which the body is now about to be carried. The fourth, supporting the corpse in a leaning position, represents an attendant, who, in all probability, officiates both as priest and undertaker. - An Egyptian Stamp for impressing Bricks
In old Egypt, bricks were impressed by the same method of stamping [as the Assyrians], but not to such an extent as they were in old Assyria. . The cuts annexed represent the face and back of an old Egyptian stamp discovered in a tomb of Thebes. The stamp is five inches long, two and one-quarter inches broad, and half an inch thick, and is fitted to an arched handle. The characters are engraved below the surface of the wood, so that an impression taken from the stamp on the clay would show the engraved characters in relief. The inscription on the stamp has been translated, Amenoph, beloved of truth. Amenoph is supposed, by some authorities, to have been the king of Egypt at the period of the exodus of the Israelites. The characters on the Egyptian and Babylonian bricks are much more neatly executed than would seem necessary for inscriptions on so common a material as clay. - An Example of the Friendly Relations between Syria and Egypt
In the twelfth year of his reign, the tribute of the vassal kingdoms reached such a high value that a particular record was made of it, and scenes showing its reception were sculptured in the tombs of Huya and Meryra II. An inscription beside the scene in the tomb of Huya reads thus:— Year twelve, the second month of winter, the eighth day.... The King ... and the Queen ... living for ever and ever, made a public appearance on the great palanquin of gold, to receive the tribute of Syria and Ethiopia, and of the west and the east. All the countries were collected at one time, and also the islands in the midst of the sea; bringing offerings to the King when he was on the great throne of the City of the Horizon of Aton, in order to receive the imposts of every land and granting them [in return] the breath of life. - Ancient Egyptian Cithara
- Ancient Egypt’s strange books and pictorial records, made of papyrus
Papyrus, a tall, graceful, sedgy plant, supplied the favourite writing material of the ancient world, and many priceless records of antiquity are preserved to us in papyri. The pith of the plant was pressed flat and thin and joined with others to form strips, on which records were written or painted. The above is a photograph of a piece of Egyptian papyrus, showing both hieroglyphics and picture-writing. The oldest piece of papyrus dates back to B.C. 3500. - Anou or Dagon
- Anubis
Anubis has the head of a dog or a jackal, or is represented as the animal a jackal. He never takes a foremost place among the gods, but usually stands at the attendant or servant of Osiris. - Asiatic Cithara
- Assurbanipal at the chase.
- Assyrian inscription
- At Komombos
- At Lady Grenfell’s Masquerade Ball
- At Philæ
- At the Races, Khedival Sporting Club
- Athor
Other goddesses were attributes or feelings, made into persons, such as Athor the goddess of ove and Beauty. She has cow's horns, and sometimes a cow's head. - Beni-Hassan
- Binding and pulling grain in the Egypt of the pharaohs
Binding and pulling grain in the Egypt of the pharaohs - Boot-Blacks of Cairo
Boot-Blacks of Cairo - Bread Seller in the streets of Cairo
Bread Seller in the streets of Cairo - British Influence
- Bronze Cat
- Bruce's Harpers
- Burning of Incense
The conventional Egyptian representation of the burning of incense and the pouring of libations - Bust of Thothmes I, the first great Egyptian Conqueror
Thothmes I. was the grandson of the Aahmes who drove out the Hyksôs. He had thus hereditary claims to valour and military distinction. The Ethiopian blood which flowed in his veins through his grandmother, Nefertari-Aahmes, may have given him an additional touch of audacity, and certainly showed itself in his countenance, where the short depressed nose and the unduly thick lips are of the Cushite rather than of the Egyptian type. His father, Amen-hotep I., was a somewhat undistinguished prince; so that here, as so often, where superior talent runs in a family, it seems to have skipped a generation, and to have leapt from the grand-sire to the grandson. - Camel-back
- Chem
Another great god was their narrow valley, the country in which they lived, clearly divided from the yellow desert by the black Nile-mud, y which it is covered and made fertile, and hence called Chemi, the Black Land, or when made into a person, Chem, or Ham. He was the father of their race, called in the Bible, one of the sons of Noah, and considered by themselves the god of increase, the Priapus of the Greeks. Chem has a cap with two tall feathers like that of Amun-Ra, so large that it was necessary to give him a metal support to hold it on the head. His right arm is raises and holds a whip, his left arm is hid under his dress, which is the tight garment of the Egyptian women. - Christmas Night—“Auld Lang Syne.”
- Christmas, 1897
- Damsels singing to the Sound of Timbrels
The next natural step for the use of music would be that of victory and triumph. The first notice of this kind is the song of Miriam. And here we may rightly conjecture the introduction of an Egyptian, and therefore cultured element. " Miriam took a timbrel in her hand, and all the women went out after her with timbrels and with dances " (Exod. xv. 2o). - Dredges at work in the Suez Canal
Dredges at work in the Suez Canal - Egyptian
Among the ancient Egyptians very peculiar shaped caps were worn, like from Figures 1 to 7. Some of them would rise to a great height above the head, and then descend very low upon the chest in the shape of lappets. Those of the priests and of their attendants were often loaded with a profusion of symbolical decorations, composed of feathers, lotus leaves and other natural products. - Egyptian
- Egyptian 'Sakiyeh'
Another machine used for the same purpose [irrigation] is the sakiyeh, or draw-wheel. It consists of a horizontal axle, with a wheel at each end. One of these wheels overhangs the water of a river, a canal, or a well, and over it there passes a long, hanging loop of cords, to which a number of earthen pots are fastened. As the axle and the wheel go round, the pots on the cords are drawn over the wheel, and made to move in a circle like the buckets of a dredging-machine. The lower end of the loop of pots dips in the water, and each pot, as it passes through the water, is filled. It is then slowly drawn up by the turning wheel, and as it passes over the wheel, and is tilted over, it empties the water into a tank, or spout, and passes on downwards, empty, to the river again to take up a new supply. - Egyptian 'Shadoof'
The commonest of these machines is the shadoof. It is a sort of balance, with a weight at one end and a cord and bucket at the other. The arm of the balance rests upon a bar of wood, which is supported by two wooden posts, the whole resembling the horizontal bar of a gymnasium. The posts are about five feet high and two or three feet apart, and they are set up on the top of a bank, close to the edge, so that the end of the arm which bears the bucket may project over the water. This arm is made out of a slender branch of a tree, and is fastened to the horizontal bar by loops of cord. Its thicker end is loaded with a large, round ball of mud, while the other carries a long cord, or even a slender stick, at the end of which is the bucket, or bowl, in which the water is raised. - Egyptian bronze representing a flying man
In the Hall of the Gods, in the Egyptian Museum, there is a small bronze plaque of great antiquity, where we see in relief a man flying the two extended wings. It is true that we agree to consider this piece as a symbolic composition rather than as the representation of an aircraft. - Egyptian Cat
Egyptian Cat - Egyptian Crotola or Castanets
Egyptian Crotola or Castanets - Egyptian Drums
Egyptian Drums