A History of Art in Ancient Egypt Volume II Part 1

A History of Art in Ancient Egypt.

Vol. II.

by Georges Perrot and Charles Chipiez.

CHAPTER I.

CIVIL AND MILITARY ARCHITECTURE.

-- 1.--_The Graphic Processes employed by the Egyptians in their representations of Buildings._

We have seen that sepulchral and religious architecture are represented in Egypt by numerous and well preserved monuments. It is not so in the case of civil and military architecture. Of these, time has spared but very few remains and all that the ancient historians tell us on the subject amounts to very little. Our best aids in the endeavour to fill up this lacuna are the pictures and bas-reliefs of the tombs, in which store-houses, granaries, houses and villas of the Pharaonic period are often figured.

It is not always easy, however, to trace the actual conformation and arrangement of those buildings through the conventionalities employed by the artists, and we must therefore begin by attempting to understand the ideas with which the Egyptians made the representations in question. Their idea was to show all at a single glance; to combine in one view matters which could only be seen in reality from many successive points, such as all the facades of a building, with its external aspect and internal arrangements. This notion may be compared to that which recommends itself to a young child when, in drawing a profile, he insists upon giving it two ears, because when he looks at a front face he sees two ears standing out beyond either cheek.

In these days when we wish to represent an architectural building exhaustively, we do it in geometrical fas.h.i.+on, giving _plans_, _elevations_, and _sections_. To get a plan we make a horizontal section at any determined height, which gives us the thickness of the walls and the area of the s.p.a.ces which they inclose. An elevation shows us one of the faces of the building in all its details, while the transverse or longitudinal section allows us to lay the whole of the structural arrangements open to the spectator. Plan, elevation, and section, are three different things by the comparison of which a just idea of the whole building and of the connection of its various parts may be formed.

The Egyptians seem to have had a dim perception of these three separate processes, but they failed to distinguish clearly between them, and in their paintings they employed them in the most _nave_ fas.h.i.+on, combining all three into one figure without any clear indication of the points of junction.

Let us take as an example a representation of a house from a Theban tomb (Fig. 1), and attempt to discover what the artist meant to show us. In the left-hand part of the picture there is no difficulty. In the lower stage we see the external door by which the inclosure surrounding the house is entered; in the two upper divisions there are the trees and climbing plants of the garden. It is when we turn to the house, which occupies two-thirds of the field, that our embarra.s.sments begin. The following explanation is perhaps the best--that, with an artistic license which is not rare in such works, the painter has shown us all the four sides of the building at once. He has spread them out, one after the other, on the wall which he had to decorate.

This process may be compared to our method of flattening upon a plane surface the figures which surround a Greek vase, but in modern works of archaeology it is customary to give a sketch of the real form beside the flat projection. No such help is given by the Egyptian painter and we are forced to conjecture the shapes of his buildings as best we can. In this case he was attempting to represent an oblong building.

The door by which the procession defiling across the garden is about to enter, is in one of the narrow sides. It is inclosed by the two high shafts between which a woman seems to be awaiting on the threshold the arrival of the guests. On the right we have one of the lateral faces; it is pierced at one angle by a low door, above which are two windows and above them again an open story or terrace with slender columns supporting the roof. Still further to the right, at the extremity of the picture, the second narrow facade is slightly indicated by its angle column and a portal, which appears to be sketched in profile. Want of s.p.a.ce alone seems to have prevented the artist from giving as much detail to this portion of his work as to the rest. The left wing, that which is contiguous to the garden, remains to be considered. Those who agree with our interpretation of the artist's aims, will look upon this as the second lateral facade.

It presents some difficulty, however, because it shows none of the plain walls which inclose the rest of the building and exclude the eye of the spectator; its walls are left out and leave the interior of the house completely open.

[Ill.u.s.tration: FIG. 1.--House; from Champollion, pl. 174.]

It may be said that this part of the picture represents an awning or veranda in front of the house. But, in that case, how are we to explain the objects which are arranged at the top of it--jars, loaves of bread, and other house-keeping necessaries? It cannot be a veranda with a granary on the top of it. Such a store-room would have to be carefully closed if its contents were to be safe-guarded from the effects of heat, light, and insects. It would therefore be necessary to suppose that the Egyptian painter made use of an artistic license not unknown in our own days, and suppressed the wall of the store-room in order to display the wealth of the establishment. By this means he has given us a longitudinal section of the building very near the external wall. There is no trace of an open story above. The latter seems to have existed only on that side of the house which was in shade during the day and exposed after nightfall to the refres.h.i.+ng breezes from the north.

This picture presents us, then, with a peculiar kind of elevation; an elevation which, by projection, shows three sides of the house and hints at a fourth. Representations which are still more conventionalized than this are to be found in many places. The most curious of these are to be found in the ruins of the capital of Amenophis IV., near the village of Tell-el-Amarna. It was in that city that the heretical prince in question inaugurated the wors.h.i.+p of the solar disc, which was represented as darting rays terminating in an open hand (see Fig. 2). Among these ruins we find, upon the sculptured walls of subterranean chambers, representations of royal and princely villas, where elegant pavilions are surrounded by vast offices and dependencies, by gardens and pieces of ornamental water, the whole being inclosed by a crenellated wall. These representations were called by Prisse _plans cavaliers_, a vague term which hardly gives a fair idea of the process, which deserves to be a.n.a.lysed and explained.

[Ill.u.s.tration: FIG. 2.--The adoration of the solar disk by Amenophis IV.; from Prisse.]

They are, as a fact, plans, but plans made upon a very different principle from those of our day. Certain elements, such as walls, are indicated by simple lines varying in thickness, just as they might be in a modern plan, giving such a result as would be obtained by a horizontal section. But this is the exception. The houses, the trees, and everything with any considerable height, are shown in projection, as they might appear to the eye of a bird flying over them if they had been overthrown by some considerate earthquake, which had laid them flat without doing them any other injury. As a rule all objects so treated are projected in one and the same direction, but here and there exceptions to this are found. In a country villa figured upon one of the tombs at Thebes (Fig. 3), one row of trees, that upon the right, is projected at right angles to all the others. The reason for this change in the artist's system is easily seen. Unless he had placed his trees in the fas.h.i.+on shown in the cut, he would not have been able to give a true idea of their number and of the shade which they were calculated to afford.

[Ill.u.s.tration: FIG. 3.--Egyptian plan of a villa; from Wilkinson, vol.

i. p. 377.]

The process which we have just described is the dominant process in Egyptian figuration. Here and there, as in Fig. 1, it is combined with the vertical section. This combination is conspicuous in the plan found at Tell-el-Amarna, from which we have restored the larger of the two villas which we ill.u.s.trate farther on. In this plan, as in the case of the Theban house figured on page 3, the artist has been careful to show that there was no want of provision in the house; the wall of the store-room is omitted, and the interior, with its rows of amphorae, is thrown open to our inspection.

No scale is given in any of these plans, so that we are unable to determine either the extent of ground occupied by the buildings and their annexes, or their absolute height. But s.p.a.ces and heights seem to have been kept in just proportion. The Egyptian draughtsman was prepared for the execution of such a task by education and the traditions of his art, and his eye seems to have been trustworthy.

Accustomed as we are to accuracy and exact.i.tude in such matters, these Egyptian plans disconcert us at first by their mixture of conscience and carelessness, artlessness and skill, by their simultaneous employment of methods which are contradictory in principle. In the end, however, we arrive at a complete understanding with the Egyptian draughtsman, and we are enabled to transcribe into our own language that which he has painfully written with the limited means at his command. In the two restorations of an Egyptian house which we have attempted, there is no arrangement of any importance that is not to be found in the original plan.

-- 2. _The Palace._

Their tombs and temples give us a great idea of the taste and wealth of the Egyptian monarchs. We are tempted to believe that their palaces, by their extent and the luxury of their decoration, must have been worthy of the tombs which they prepared for their own occupation, and the temples which they erected in honour of the G.o.ds to whom, as they believed, they owed their glory and prosperity. The imagination places the great sovereigns who constructed the pyramids, the rock tombs of Thebes, the temples of Luxor and Karnak, in splendid palaces constructed of the finest materials which their country afforded.

Impelled by this idea, the earlier visitors to Egypt saw palaces everywhere. They called everything which was imposing in size a palace, except the pyramids and the subterranean excavations. The authors of the _Description de l'egypte_ thought that Karnak and Luxor, Medinet-Abou, and Gournah, were royal dwellings. Such t.i.tles as the Palace of Menephtah, applied to the temple of Seti, at Gournah, have been handed down to our day, and are to be found in works of quite recent date, such as Fergusson's _History of Architecture_.[1]

[1] FERGUSSON (in vol. i. p. 118, of his _History of Architecture in all Countries_, etc.) proposes that Karnak should be called a _Palace-Temple_, or _Temple-Palace_.

Since the time of Champollion, a more attentive study of the existing remains, and especially of the inscriptions which they bear, has dissipated that error; egyptologists are now in accord as to the religious character of the great Theban buildings on either bank of the river. But while admitting this, there are some archaeologists who have not been able to clear their minds entirely of an idea which was so long dominant. They contend that the royal habitation must have been an annexe to the temple, and both at Karnak and Luxor they seek to find it in those ill-preserved chambers which may be traced behind the sanctuaries. There the king must have had his dwelling, and his life must have been pa.s.sed in the courts and hypostyle halls.[2]

[2] DU BARRY DE MERVAL, _etudes sur l'Architecture egyptienne_ (1875), p. 271.

[Ill.u.s.tration: FIG. 4.--Part of the plan of a house and its offices, figured in a tomb at Tell-el-Amarna; from Prisse.]

Among all the inscriptions which have been discovered in the chambers in question there is not one which supports such an hypothesis.

Neither in the remains of Egyptian literature, nor in the works of the Greek historians, is there a pa.s.sage to be found which tends to show that the king lived in the temple or its dependencies, or that his palace was within the sacred inclosure at all.

There is another argument which is, perhaps, even more conclusive than that from the silence of the texts. How can we believe that the kings of such a pleasure-loving and light-hearted race as the ancient Egyptians took up their residence in quarters so dark and so rigidly inclosed. Their dispositions cannot have differed very greatly from those of their subjects, and no phrase is more often repeated in the texts than this: _to live a happy day_. The palace must have been a pleasant dwelling, a place of repose; and nothing could be better fitted for such a purpose than the light and s.p.a.cious edifices which lay outside the city, in the midst of large and shady gardens, upon the banks of the Nile itself, or of one of those ca.n.a.ls which carried its waters to the borders of the desert. From their high balconies, galleries, or covered terraces, the eye could roam freely over the neighbouring plantations, over the course of the river and the fields which it irrigated, and out to the mountains which shut in the horizon. The windows were large, and movable blinds, which may be distinguished in some of the paintings, allowed the chambers to be either thrown open to the breeze or darkened from the noonday sun, as occasion arose. That shelter which is so grateful in all hot climates was also to be found outside, in the broad shadows cast by the sycamores and planes which grew around artificial basins garnished with the brilliant flowers of the lotus, in the shadows of the spring foliage hanging upon the trellised fruit-trees, or in the open kiosques which were reared here and there upon the banks of the lakes.

There, behind the shelter of walls and hedges, and among his wives and children, the king could taste some of the joys of domesticity. In such a retreat a Thothmes or a Rameses could abandon himself to the simple joy of living, and might forget for a time both the fatigues of yesterday and the cares of to-morrow; as the modern Egyptians would say, he could enjoy his _kief_.

In such architecture as this, in which everything was designed to serve the pleasures of the moment, there was no necessity for stone.

The solidity and durability of limestone, sandstone, and granite, were required in the tomb, the eternal dwelling, or for the temples, the homes of the G.o.ds. But the palace was no more than a pleasure marquee, it required no material more durable than wood or brick. Painters and sculptors were charged to cover its walls with lively colours and smiling images; it was their business to decorate the stucco of the walls, the planks of acacia, and the slender columns of cedar and palmwood with the most brilliant hues on their palettes and with gold.

The ornamentation was as lavish as in the tombs, although in the latter case it had a much better chance of duration. The palaces of the Egyptian sovereigns were worthy of their wealth and power, but the comparative slightness of their materials led to their early disappearance, and no trace of them is left upon the soil of Egypt.

During the whole period of which we have any record, the East has changed but little, in spite of the apparent diversity between the successive races, empires, and religions which have prevailed in it.

We know how vast an array of servants and followers Oriental royalty or grandees.h.i.+p involves. The _konak_ of the most insignificant bey or pacha shelters a whole army of servants, each one of whom does as little work as possible. The domestics of the Sultan at Constantinople, or of the Shah at Teheran, are to be counted by thousands. No one knows the exact number of eunuchs, cooks, grooms, and sweepers, of _atechdjis_, _cafedjis_, and _tchiboukdjis_, which their seraglios contain. Such a domestic establishment implies an extraordinary provision of lodgings of some sort, as well as an extensive acc.u.mulation of stores. Great storehouses were required where the more or less voluntary gifts of the people, the tributes in kind of conquered nations, and the crops produced by the huge estates attached to the Crown, could be warehoused. In the vast inclosures whose arrangements are preserved for us by the paintings at Tell-el-Amarna there was room for all these offices and granaries.

They were built round courtyards which were arranged in long succession on all four sides of the princ.i.p.al building in which the sovereign and his family dwelt. When, in the course of a long reign, the family of the king became very numerous (Rameses II. had a hundred and seventy children, fifty-nine of whom were sons), and it became necessary to provide accommodation for them in the royal dwelling, it was easy to encroach upon the surrounding country, and to extend both buildings and gardens at will.

Although the great inclosure at Karnak was s.p.a.cious enough for its purpose, the families of the Pharaohs would hardly have had elbow room in it. They would soon have felt the restraint of the high and impa.s.sable barriers insupportable, and the s.p.a.ce within them too narrow for their pursuits. The palaces of the East have always required wider and more flexible limits than these. If we examine their general aspect we shall find it the same from the banks of the Ganges to those of the Bosphorus. The climate, the harem, and the extreme subdivision of labour, gave, and still gives, a multiplex and diffuse character to royal and princely dwellings; memories of Susa and Persepolis, of Babylon and Nineveh, agree in this with the actual condition of the old palaces at Agra, Delhi, and Constantinople. They were not composed, like the modern palaces of the West, of a single h.o.m.ogeneous edifice which can be embraced at a glance; they in no way resembled the Tuileries or Versailles.[3] They consisted of many structures of unequal importance, built at different times and by different princes; their pavilions were separated by gardens and courts; they formed a kind of royal village or town, surrounded and guarded by a high wall. In that part of the interior nearest the entrance there were richly-decorated halls, in which the sovereign condescended to sit enthroned at stated times, to receive the homage of his subjects and of foreign amba.s.sadors. Around these chambers, which were open to a certain number of privileged individuals, swarmed a whole population of officers, soldiers, and servants of all kinds.

This part of the palace was a repet.i.tion on a far larger scale of the _selamlik_ of an Oriental dwelling. The _harem_ lay farther on, behind gates which were jealously guarded. In it the king pa.s.sed his time when he was not occupied with war, with the chase, or with the affairs of state. Between the buildings there was s.p.a.ce and air enough to allow of the king's remaining for months, or years if he chose, within the boundary walls of his palace; he could review his troops in the vast courtyards; he could ride, drive, or walk on foot in the shady gardens; he could bathe in the artificial lakes and bath-houses.

Sometimes even hunting-grounds were included within the outer walls.

[3] The contrast between the palaces of the East and Versailles is hardly so strong as M. Perrot seems to suggest. The curious a.s.semblage of buildings of different ages and styles which forms the eastern _facade_ of the dwelling of Louis XIV. does not greatly differ in essentials from the confused piles of Delhi or the old Seraglio.--ED.

These facilities and easy pleasures have always been a dangerous temptation for Oriental princes. A long list might be formed of those dynasties which, after beginning by a display of singular energy and resource, were at last enfeebled and overwhelmed in the pleasures of the palace. By those pleasures they became so completely enervated that at last a time came when the long descended heir of a line of conquerors was hurled from his throne by the slightest shock. The tragic history of Sardanapalus, which has inspired so many poets and historians, is a case in point. Modern criticism has attacked it ruthlessly; names, dates, and facts have all been placed in doubt; but even if the falsehood of every detail could be demonstrated, it would yet retain that superior kind of truth which springs from its general applicability--a truth in which the real value of the legend consists.

Almost all the royal dynasties of the East ended in a Sardanapalus, for he was nothing more than the victim of the sedentary and luxurious existence pa.s.sed in an Oriental palace.

If we knew more about the internal history of Egypt, we should doubtless find that such phenomena were not singular in that country.

The Rammesides must have owed their fall and disappearance to it. The Egyptian palace cannot have differed very greatly from the type we have described, all the characteristic features of which are to be recognised in those edifices which have hitherto been called villas.[4] There was the same amplitude of lateral development. We have not s.p.a.ce to give a restoration of the most important of the "villas" figured at Tell-el-Amarna in its entirety; but we give enough (Fig. 4) to suggest the great a.s.semblage of buildings, which, when complete, must have covered a vast s.p.a.ce of ground (Fig. 5). By its variety, by its alternation of courts and gardens with buildings surrounded here by stone colonnades, there by lighter wooden verandahs, this palace evidently belongs to the same family as other Oriental palaces of later times. Within its wide _enceinte_ the sovereign could enjoy all the pleasures of the open country while living either in his capital or in its immediate neighbourhood; he could satisfy all his wishes and desires without moving from the spot.

[4] NESTOR L'HoTE--a fine connoisseur, who often divined facts which were not finally demonstrated until after his visit to Egypt--also received this impression from his examination of the remains at Tell-el-Amarna: "Details no less interesting make us acquainted with the general arrangement ... of the king's palaces, the porticos and propylaea by which they were approached, the inner chambers, the store-houses and offices, the courts, gardens, and artificial lakes; everything, in fact, which went to make up the royal dwelling-place." _Lettres ecrites d'egypte_ (in 1838-9; 8vo, 1840); pp. 64-65.

We have chosen for restoration that part of the royal dwelling which corresponds to what is called, in the East, the selamlik, and in the West, the reception-rooms. A structure stands before the entrance the purpose of which cannot readily be decided. It might be a reservoir for the use of the palace inmates, or it might be a guard-house; the question must be left open. Behind this structure there is a door between two towers with inclined walls, forming a kind of pylon. There is a narrower doorway near each angle. All three of these entrances open upon a vast rectangular court, which is inclosed laterally by two rows of chambers and at the back by a repet.i.tion of the front wall and three doorways already described. This courtyard incloses a smaller one, which is prefaced by a deep colonnaded portico, and incloses an open hall raised considerably above the level of the two courts. The steps by which this hall is reached are clearly shown upon the plan.

In the middle of it there is a small structure, which may be one of those tribune-like altars which are represented upon some of the bas-reliefs. Nestor L'Hote gives a sketch of one of these reliefs. It shows a man standing upon a dais with a pile of offerings before him.

The same writer describes some existing remains of a similar structure at Karnak: it is a quadrilateral block, to which access was obtained by an inclined plane.[5]

[5] _Lettres ecrites d'egypte_, p. 62. In some other plans from Tell-el-Amarna, given by Prisse, several of these altars are given upon a larger scale, showing the offerings with which they are heaped. One of them has a flight of steps leading up to it.

Perhaps the king accomplished some of the religious ceremonies which were among his duties at this point. In order to arrive at the altar from without, three successive gates and boundary walls had to be pa.s.sed, so that the safety of the sovereign was well guarded.

Upon the Egyptian plan, which forms a basis for these remarks, there is, on the right of the nest of buildings just described, another of more simple arrangement but of still larger extent. There is no apparent communication between the two; they are, indeed, separated by a grove of trees. In front of this second a.s.semblage of buildings there is the same rectangular structure of doubtful purpose, and the same quasi-pylon that we find before the first. Behind the pylon there is a court surrounded on three sides by a double row of apartments, some of which communicate directly with the court, others through an intervening portico. Doubtless, this court was the harem in which the king lived with his wives and children. Ranged round courts in its rear are storehouses, stables, cattle-stables, and other offices, with gardens again beyond them. The finest garden lies immediately behind the block of buildings first described, and is shown in our restoration (Fig. 5). Here and there rise light pavilions, whose wooden structure may be divined from the details given by the draughtsman. Colonnades, under which the crowds of servants and underlings could find shelter at night, pervade the whole building.

The domestic offices are partly shown in our figure. As to the reception halls (the part of the building which would now be called the _divan_), we find nothing that can be identified with them in any of the plans which we have inspected. But it must be remembered that the representations in question are greatly mutilated, and that hitherto they have only been reproduced and published in fragmentary fas.h.i.+on.