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- Sarcophagus
- Osiris
There was a third class of gods, who were spoken of as if they had once been mortal and had lived upon earth. These were Osiris, the husband of Isis; and their sone Horus, so named from Chori (Strong); and Anubis, Nephtthys, and the wicked Typhon, who put Osiris to death. Osiris, like Pthah is bandage as a mummy. - Inundation
- Sistra
A framework with loose metal bars inserted, sometimes with metal rings added, shaken by the hand. - twenty-one string harp
- Egyptian Water Carriers filling their jars
Everywhere through Egypt water is filtered in large jars, some of them holding nearly a barrel, and it is carried on the heads of women in lesser jars that contain from four to six gallons. - The King Sargon and his Grand Vizier
- 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 - Hoeing
- Salem Ghesiri Dragoman
- 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. - Elegant Sledge-Hearse
A very showy affair is found in the next illustra-tion, rivaling the mourning equipages of modern times. Among other figures appear emblems of stability and security on the side panels. In this instance the undertaker removed a portion of the paneling so as to expose the head of the mummy-case. It would seem from this, that the modern practice of showing a coffin through a glass side is of great antiquity. Indeed, we seldom find anything new that has not an antiquarian origin, thus verifying the words of the wise man, "There is no new thing under the sun." - Anou or Dagon
- Statue of Nebo
- 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. - 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. - The suite of Sargon
- Harps, pipe, and flute, from an ancient tomb near the Pyramids
- Egyptian Sledge-Hearse
In one instance, as in the figure, taken from a tomb in Thebes, — an attendant is shown, pouring some kind of a liquid from a jar upon the ground, over which the sledge is drawn, to facilitate its progress. Examples of this nature are frequently seen in Egyptian bass-reliefs, depicting the removal of heavy loads. On this sledge-hearse the mummy-case, enclosing the corpse, is distinctly observed. With characteristic tenderness, two females steady the mummy as it moves along over the rough surface of the ground; the priest, meanwhile, mounted in front, scroll in hand, recites a panegyric, or perhaps delivers a funeral oration in honor of the dead. - A Guardian of the Temple
- Wagon and Boat, from a mummy bandage
A singular instance of the wagon and funeral-boat in combination has been found on the bandage of a mummy, now preserved in the collection of S. d'Athanasi. It is supposed by some modern authors that Herodotus, in speaking of the religious ceremonies in honor of Mars, as performed in the city of Pampremis, refers to this vehicle. Among other things, he tells us that the priests placed an image in a wooden temple, gilded all over, which they carried to a sacred dwelling; "then the few who were left about the image draw a four-wheeled carriage containing the temple and the image." - The Sheik of the Pyramids
- Villa of an Egyptian Noble
The Egyptians excelled in architecture, and the greatest of their buildings were the pyramids. As to whether or not there was much invention devoted to those works, it is virtually impossible now to know. The probability seems to be that they could not have been produced without the promptings of the inventor, but that the progress was a slow and gradual march. It seems that there was a long series of many small inventions that made short steps, and not a few basic inventions that proceeded by great leaps. - The suite of Sargon 2
- Mummy
- 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. - Ouah-ab-ra
- 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. - Gallery in the Great Pyramid
The Great Gallery is also of curious construction. Extending for a distance of one hundred and fifty feet, and rising at an angle of 26° 18', it has a width of five feet at the base and a height of above thirty feet. The side walls are formed of seven layers of stone, each projecting a few inches over that below it. The gallery thus gradually contracts towards the top, which has a width of four feet only, and is covered in with stones that reach across it, and rest on the walls at either side. The exact object of so lofty a gallery has not been ascertained; but it must have helped to keep the air of the interior pure and sweet, by increasing the space through which it had to circulate. - His Highness Prince Mahomet Ali, Cairo, February 14, 1898
His Highness Prince Mahomet Ali, Cairo, February 14, 1898 - Assyrian inscription
- Shopping
- Head of Neco
Neco, the son of Psamatik I., from the moment that he ascended the throne, resolved to make the bold stroke for empire from which his father had held back. Regarding his mercenary army as a sufficient land force, he concentrated his energies on the enlargement and improvement of his navy, which was weak in numbers and of antiquated construction. Naval architecture had recently made great strides, first by the inventiveness of the Phœnicians, who introduced the bireme, and then by the skill of the Greeks, who, improving on the hint furnished them, constructed the trireme. Neco, by the help of Greek artificers, built two fleets, both composed of triremes, one in the ports which opened on the Red Sea, the other in those upon the Mediterranean. He then, with the object of uniting the two fleets into one, when occasion should require, made an attempt to re-open the canal between the Nile and the Red Sea, which had been originally constructed by Seti I. and Ramesses II., but had been allowed to fall into disrepair. The Nile mud and the desert sand had combined to silt it up. - An Egyptian Eunuch
An Egyptian Eunuch - Ploughing
- Egyptian Female Costume
Egyptian Female Costume - A Dancing-Girl
- Vivid scenes of ancient life depicted by contemporary artists
The walls of the tombs in Egypt form a great picture gallery of the vanished life of that country and are invaluable to the historian. This fragment from the British Museum shows how vividly the domestic figures were realised. - The Slipper Bazaar, Cairo, January 22, 1898
- Rameses the Great
- Egyptian Ship on Red Sea, 1250 B.C
Because it developed in the comparatively warm and tranquil waters of the eastern Mediterranean, the Red Sea, the Persian Gulf, and the western horn of the Indian Ocean, the shipping of the ancient world retained throughout certain characteristics that make it differ very widely from the ocean-going sailing shipping, with its vast spread of canvas, of the last four hundred years. “The Mediterranean,” says Mr. Torr, “is a sea where a vessel with sails may lie becalmed for days together, while a vessel with oars would easily be traversing the smooth waters, with coasts and islands everywhere at hand to give her shelter in case of storm. In that sea, therefore, oars became the characteristic instruments of navigation, and the arrangement of oars the chief problem in shipbuilding. And so long as the Mediterranean nations dominated Western Europe, vessels of the southern type were built upon the northern coasts, though there generally was wind enough here for sails and too much wave for oars.... The art of rowing can first be discerned upon the Nile. Boats with oars are represented in the earliest pictorial monuments of Egypt, dating from about 2500 B.C.; - Sewn Sleeveless Kalasiris
Sewn Sleeveless Kalasiris - Egyptian Queen
Egyptian queen - Egyptian Social Types (From Tombs)
Egyptian Social Types (From Tombs) - The Art of Akhnaton compared with Archaic Art
1. The head of Akhnaton. From a contemporary drawing. 2. The head of a king. From an archaic statuette found by Professor Petrie at Abydos. 3. The head of Akhnaton. From a contemporary drawing. 4. The head of a prince. From an archaic tablet found by Professor Petrie at Abydos. 5. An archaic statuette found by Professor Petrie at Diospolis, showing the large thighs found in the art of Akhnaton. - Our Christmas Dinner, Esneh, December 23
- Head of Nefertari-Aahmes
Aahmes, in contracting his marriage with the Ethiopian princess, to whom he gave the name of Nefertari-Aahmes—or "the good companion of Aahmes"—was, we may be tolerably sure, bent on obtaining a contingent of those stalwart troops whose modern representatives are either the Blacks of the Soudan or the Gallas of the highlands of Abyssinia. - A Daughter of the Nile
- The Artist Auta
There are only two artists of the period who are known by name. The one was a certain Auta, who is represented in a relief dating from some eight years after the change in the art had taken place. It is a significant fact that this personage held the post of master-artist to Queen Tiy; and it is possible that in him and his patron we have the originators of the movement. The king, however, was now old enough to take an active interest in such matters; and the other artist who is known by name, a certain Bek, definitely states that the king himself taught him. Thus there is reason to suppose that the young Pharaoh’s own hand is to be traced in the new canons, although they were instituted when he was but fifteen years old - The Pyramids of Gizeh
- Egyptian king
Egyptian king - 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. - The Present Situation
- On the Road to Cairo
- 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. - Egyptians’ Early Use of Wine
- 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. - Girl with goat
- Burning of Incense
The conventional Egyptian representation of the burning of incense and the pouring of libations