pass unnoticed among their immediate circle, and that they
enjoyed in their day the reputation of being the most skilful
and the most gifted in their craft. Fame was not lacking to them,
at least in their lifetime, and among those who surrounded them,
but when their generation had passed away, the admiration of
the new races was poured out on the Pharaohs or the rich men
who had employed them ; the memory of the bold craftsman who
dared to design and execute the speos of Abu Simbel was not
handed down with his work as was that of Ictinus with the
Parthenon. It was thus that, ignorant of the ambition of immor-
tality by fame, the action of which is so powerful among the
moderns, the Egyptian masters were for the most part content to
observe conscientiously, as they would have done in any ordinary
calling, the rules which the teachings of their predecessors had
assured them were necessaiy to the well-being of souls human
and divine. When by chance any were born whose inventive
minds rebelled against the half technical, half religious education
299
ART IN EGYPT
of the workshop, their efforts towards progress or reform had
no serious results. Might it not well be that by changing some-
thing in the recognised processes, they would compromise the
salvation of their models? In doubt, the crowd stood aloof from
them, and held prudently to the old customs; I have described
above how an attempt at picturesque painting failed in the
Theban necropolis under the Twenty-first or Twenty-second
Dynasty, and yet painting was of all the arts that which tended
at the time to dissociate itself most from the useful. By refusing
thus to modify the themes and types of an earlier age save in
details, Egypt gave her art that character of uniformity which
strikes us. The personal temperament of the individual is reveal-
ed only by almost imperceptible shades of handling, and the
majority of visitors carry away with them from museums and
ruins the sense of a collective impersonality, slightly varied here
and there according to time and place by the greater or lesser
degree of skill in the executant. They do not understand what
an amount of natural talent and acquired science the unknown
authors of great temples and fine sculpture expended, to make
themselves more than mere skilful craftsmen.
I am far from asserting that religious utility was the sole
consideration here; it was the main one, that which after having
inspired the dawning arts, governed their developments to the
last, and had I leisure, I should like to show how its influence
appears in every direction, not only in the major arts but in
industry. Not that the Egyptians were conscious of it each time
that it determined a momentary progress or decadence among
them, but that, by instinct and by routine, they followed the
incline on which they had been launched at the beginning of
their history. Other antique nations were influenced by it as
well as they, and throughout the world, in Assyria, in Chaldaea,
in Asia Minor, in Syria, architecture, sculpture, and painting
were, as in Egypt, means for ensuring to gods and men together
with eternal life, prosperity before and after death; but whereas
in Greece the desire for pure beauty soon triumphed , Egypt,
falling behind more and more in her archaic methods of thought,
ended by becoming incapable, I will not say of adopting the
nobler conceptions that were growing up around her, but of
realising their value. The divorce between her inveterate routine
and the enterprising spirit of the new world was so profound
when Christianity rose before her, that she could offer it nothing
it could adapt to its needs, even with many alterations of artistic
expression. The western arts lent it their basilicas, their statues,
300
CONCLUSION
their bas-reliefs, their frescoes, and it readily evolved from these
forms suitable to its ideas and its beliefs. But as for Eg-ypt,
how could the Christ find an abode in those dark and massive
temples, where every line, every chamber, every decorative motive,
every accessory of furniture , would have recalled dogmas and
practices he reprobated? How could his priests and people
nave metamorphosed into images of their saints and prophets,
or reconciled with their hopes of immortality those bestial or
half-human statues, and those pictures, the elements and compo-
sition of which they declared to have been governed throughout
antiquity by the most impure of demons? There was in a Ju-
piter enough beauty, independent of all religious faith, to enable
an artist, stripping it of its heathen trappings, to make it the
Christian conception of the one God ; but to what person or
what incarnation would it have been possible to assimilate the
cold, inanimate figures of an Amon , a Ptah, an Osiris, even
when their characteristic insignia and attitudes were taken from
them? The demands of utility, which had made them what they
were, had riveted them by bonds so numerous and so solid to
the dying creed, that they had no choice but to depart with it.
The art of Egypt, like its literature, its science, its current civi-
lisation , was one with its religion; the blow which struck at
the one struck at the others and crushed them.
It died completely, and the world lost sight of it; for some
fifteen centuries, nothing was known of it, save that classical
writers described it as marvellous, and that rare travellers had
seen some gigantic remains of it in the neighbourhood of Cairo,
Or in the deserts of the Thebaid. The draughtsmen and scholars
of the French expedition having brought it to light again some
hundred years ago, it has reconquered that place in the esteem
of the present generation from which the neglect of former ages
had dethroned it. To tell the truth, it is not, and I fear it never
will be , one of those arts which fire the student at first sight.
Some of the works it has bequeathed us command instant admir-
ation , and a first glance suffices to enable us to understand
them as easily as the finest works of Greece or Rome. The
merits of the rest are not at once apparent; we can only grasp
them after patient study, and they must be pointed out to people
who have not time to discover them for themselves. Is not this
the same in literature, and are there not poets, Pindar, for
instance, whose verses are the delight only of a chosen few?
Their beauty is as real as when thev were first composed , but
the long commentary they require before yielding their charm
301
ART IN EGYPT
has obscured it to the eyes of the multitude. Artists and men
of letters, who were disconcerted at first by Egyptian sculpture
and painting, have recovered from their stupefaction; they take
an extreme pleasure in appreciating them, and it is primarily of
them I have been thinking in writing these pages. It is not to
be supposed that professional Egyptologists and critics will endorse
without considerable reserve all the opinions and judgments they
will have read in them ; but should they reject them all , they
will nevertheless , I hope , have gained something. For is not
this, in fact, the first time that an attempt has been made to
relate in a consecutive fashion the history of an art as extinct
as the races of monsters we find imbedded in the lower strata
of our globe? By studying closely the vicissitudes of its existence,
its hesitations, its progress, its failures, its recoveries, and its
long agony, they will learn to recognise more precisely than
they have hitherto done some of the principles which regulate
the incubation, the birth, the efflorescence and the death of the
arts of other nations.
302
INDEX
INDEX
References lo Illustrations are indicated hy an
Aah-hotcp. 204.
Aahmcs. 148. 170*.
Aahmcs-Ncfert-ari, 179.
Aat-tcha-Munt. see Medinet-
Habu.
Abai. 265.
Abahuda. 143.
Abu'i-hoi. 192.
Abuni. the soldier. 20. 20*.
Abu-Roash. 38. 83.
Abu-Simbcl. 144. 189. 190. 191.
208. 299: Esplanade before
great Specs at. 139*; Fa-
cade of great Speos at, 1 39* ;
Facade of little Specs at,
138*.
Abusir. 45. 48. 57. 62.
Abydos, 3. 4. 6. 7. 19.60.77,91.
99. 101. 102. 110. 112. 114.
153. 154. 162. 187 190. 2?9;
School of. 24. 105.
itdicula en Terrace cf Temple of
Hathor. 219*.
j^gean peoples. 1 25.
Afai. Hypogeum of. 37
African mud architecture, 28.
28*.
Agathodemons. 286.
Aha. Tablet of. 3.
Ahmessids. 139. 163. 169. 171.
176. 177, 194. 218. 262.
Akhmim. 37. 60. 240. 275. 285.
Akoris. Temple of. 257.
Alexander the Great. 228.
Alexander II.. 223.259.
Alexander Aigos. 239. 248*. 255.
Alexandria. 254. 257. 265. 266,
273. 275. 284.
Alexandria Museum. 264.
Amada. 132-135; Facade of
Temple of. 131*.
Amasis. 129. 204. 237.240. 289.
Amelineau, 7.
Amenemhat III.. 116. 118. 120;
Statue of. 115*; Statuette
of. 115*.
Amenartas. 223. 238*. 248, 299;
and Amon. 283. 285*.
Amenemhat. 100. 110. 124. 133.
205. 254.
Ameni. 101.
Amenophis the Scribe. 168*. 176.
Amenophis, son of Hapu. 167*.
176. 240. 254. 297; Colos-
sal Statue of. 247*.
Amenophis I.. 139, 150; Statue
of. 160*.
Amenophis II.. 150. 172. 173.
180. 199. 204; and the Ser-
pent Maritsakro, 158*;
Wooden Statuette of. 195*.
Amenophis III.. 130. 131. 134.
140. 150. 156. 173. 176.
180. 181. 184.200.219.239.
240. 278. 299; Statue of
Amenophis III. in Assyrieoi
Dress. 166*; and Queen
Thi. 166*.
Amenophis IV.. 139. 181, 184.
195. 283; Cast of Head of.
174*; Head of Canopic Jar
of. 172*. 181 ; and his Queen,
173*; with the Queen and
their Children. 174*. 183;
Statuette of. 172*.
Amentit. 57.
Amon or Amen. 138. 151, 167.
184-187.201.218.219.239.
246. 247. 249. 256. 265. 268.
279.292.299.301; Bust of.
175*; Temple of. 259; with
Amenartas. 283. 285*; with
Candace. 254*; with Mut,
178*.
Amon-Ra. 1 14.
Amorrhaeans. 165.
Amulets. 198. 281, 291, 292;
golden. 295*.
Animals in Egyptian Art. 173-
175. 278.
Anisakha. 84. 304
Ankh-Hapi, 266.
Ankhmara. 71; Dancers in
Tomb of. 69*.
Ankhnasnufiabri. 238*. 248.
Anonymity of Egyptian artists,
66. 298-300.
Anonymous Statue. 1 12*.
Antaeus and Isis. 265, 272*.
Antef dynasty, 113. 114.
305
INDEX
Antef. Prince. 113.
Antonines, the, 53. 274.
Antoninus Pius, 231.
Anubis, 152. 267. 279. 286;
Bronze Statuette of. 284*.
Apis. 267. 279; Statuette of.
283*.
Apries. 278, 283; Sphinx of. 276.
Arabs. 289.
Archaic Statuette. 78*.
Architecture. 125.
Argo Isle of. 256.
Arm of a Chair in form of a fe-
line Animal, 195*.
Asasif. 148. 265
Ashu. 57.
Asia. 206: Minor. 125, 300.
Assuan, 27. 230. 239. 240.
Assyria. 206. 289. 300.
Asytlt. 234.
Athens Museum, 277.
Atlantes. 155; at Medinet-Habu,
124*; of the Ramesseum.
127*.
Atlas of Thothmes I., Head of,
161*. 170.
Atonor Aten. 182, 184.
Augustus, 241. 242. 261. 262.
B.
Bakers. 88*.
Barsanti. 278.
Bas-relief. 179-181; at Abusir.
57; in Alexandria Museum,
264; from Chapel of Sahu-
Ra, 59*; of the Cow Ha-
thor, 165*; at Daklceh, 270;
at Edfu, 265*; of Macrinus
and Diadumenianus, 261,
268*; of Maharrakah, 270*;
Memphite, 190*; in the
Memnonium of Scti I. at
Abydos, 180*; of Psamme-
tiknufisashmu, 263, 266,
271*. 272*; of Seneferu.
58*; of Seti I., 179*; at
Sinai, 22*; in the Temple of
Ombos, 267*; in the Tem-
ple of the Thcban Ptah,
264*; in the Tomb of Mck-
hu. 61*; from Tomb of
Menthuhetcp. Ill*; of the
time of Domitian, 267*; of
Zanufi. 271*.
Bast (goddess). 278; temple of,
280.
Battle of Kadesh. in Ramesseum.
155*, 165.
Beh-bet. 257.
Beket. 105. 109.
Ben-ha. 292.
Beni-hasan. 101, 103, 106, 108,
110, 182.
Beni-Mohammed, 60.
Berlin Museum, 87, 201. 247.
252.
Bersheh. 101. 106.
Bes(god), 202, 219. 232.
Betchau, see Ncter-baiu.
Bet-el-Wali, 113, 190; Hemi-
speos of, 137*.
Bet-Khallaf, 7, 38, 39; Plan of
Tomb at, 8*; Tomb, 8*.
Birket-el-Kurun, 96.
Biban-el-Muluk. 149, 153.
Blue enamel Head, 284*.
Blunted Pyramid, 100.
Boat, sacred or solar, 46.
Boat of Queen Aah-hetep, 207.
Book of the Dead, 66, 216.
Bosco Reale, 291.
Box for Cosmetics, 197*, 198*.
Bracelets from Abydos, 2*.
Bracelets of Rameses II., 209*.
Brawl on the Water, 68*.
Brewer, 71*.
Brick Boat of Ra-en-user, 46,
50*.
Bronze Statues, Two, 75*.
Brooch of Khamuasit, 210*.
Brussels Museum, 80.
Bubastis. 118, 129,202,214,217.
240.278-281.
Bull lassoed by the King, 56*.
Bust of a Statue, 246.
Byzantines, 289.
Caesar, 215, 233. 242. 256. 259.
261. 265. 288; Statue rc-
carved as a, 255*.
Cairo. Museum of. 22. 51.71.79.
81. 86. 87, 88. 90. 92. 118.
119, 170, 173, 176. 181. 185.
187, 192. 194, 199.201.206!
247 250. 254. 256. 258. 263.
266. 268. 276. 278. 279. 283.
285. 288. 297. 299.
Camel, terra-cotta. 286*.
Candacc. Queen, 256. 292.
Canopic jars. 181.
306
Capitals. 97. 103. 232: bell.
shaped. 129; lotus. 129;
palm-leaf. 129; Hathor. 97.
224*. 228. 237; irregular.
129.
Caracalla, 256.
Caramania, 77. 273.
Cartonnages, 270-273.
Cat, Bronze, 282*.
Cat watching for Prey, 106*.
Catafalque, 287, 288; of Akh-
mim, 290.
Cataracts. 143, 215.
Chairs, 200; "Empire" Chair,
196*.
Chaldaea, 300.
Champollion, 103, 190, 276.
Chapel of Apis, 146; of Cheops,
44; of Chephren, plan, 48*;
of the Cow Hathor, 164*;
of Mekhu, 38. 43*; of Ra-
en-user. 49*; of Sabni. 38,
43*; of Sahu-Ra. plan. 49*.
Chapels, sepulchral. 146, 147.
Chassinat. 83, 201.
Cheops. 26, 41, 62, 77; in ivory,
74*.
Chephren, 47; the aged, 70*;
alabaster, 79*; the Great,
79*; Pyramid of. 41. 299;
Statue of. 81-84.
Chinese artists. 69.
Christianity destructive to Egyp-
tian Art. 246. 276. 286. 301.
Clandius. 241.
Clasp for Necklace in form of a
Boat. 293*.
Cleopatra. 258.
Coffin of Akhmim. 278*; of Ta-
taharsiasi. 275; of Wardan,
275.
Coffins. 199.271.272.
Column of the Ambulatory at
Karnak. 129*; of Ra-en-
uscr. 54*; of Shepses-Ptah,
53*.
Colossi. 191. 192. 256. 257.276;
at Abu Simbel. 185*. 191;
of the Ramesseum, 192; of
Luxor. 132*.
Colossus of Argo. Crowned,
254*; of the Roman period,
256*.
Columns. 127. 235-238; lotJ-
form. 49; palmiform, 53.
Commodus, 256,
Concert. 90*.
Cook, 87,
INDEX
Coptic Monaitcry. 151.
Coptos. 1 13.
(opts. 230.
Cow of Dcr-cl-Bahari. 163*, 174.
175: of Saklcarah. 244*.
250. 251; turning to her
Calf. 66*. Sec also Hathor.
Crouching Figure holding a Di-
vinity, 156*.
Dabud. Temple of. 231*. 242.
Dagger of Amasis, 206*.
Dahshur. 26. 33. 38. 41.62. 100.
III. 120. 122.
Dakhleh. Temple of. 216'. 230.
Dakkeh. Temple of. 232*. 242.
262.
Daninos, 276. 288.
Daressy. 202.
Darius I.. 223.
Daughter of Rameses II., 184*.
Daughters of Amenophis IV.,
153*. 163.
Decadence of Egyptian Art, 259.
Decoration of Interiors. 50-56:
in Palace at Medinet-Habu,
146': of tombs and temples,
51-73: in Tomb-chamber
of Rameses V., 141*: in
Tomb of Kom-es-Shugafa.
273*.
Decorative Art in Egypt, 162-
166.
Delta. 19. 24, 36 162, 195. 213.
220.240 256.251.265.278.
281,285: School of the. 54.
Denderah. 36. 60. 113. 224, 225.
228.229.232-234,238.261.
DendOr, 242. 243.
Dcr-el-Bahari. 99. 113, 114, 129,
148, 149, 151-153, 174, 179.
231. 237. 299: Esplanade
at. 142*; General View of.
142*.
Der-el-Medinet, 148, 230, 240;
Fagade of Temple at. 221*:
Pronaos of Temple at, 222*.
Der-el-Melak. 37.
Derr, 144, 189, 219.
Deshasheh, Scene in a Siege at,
107*, 108.
Diadem of Khnemit. 1 23*.
Diadumcnianus. 261. 268*.
Didufnya. Statue of. 81*, 83.
Dimch. 274.
Dish of Hatiyai, 202*.
Dodccaschoenus. 242.
Dog. tcrra-cotta. 289*.
Domitian. 231. 261.
Double or Ka. 10. 17.20,31,32.
37. 38, 41, 73, 77, 86, 89,
253, 254.
DouA/e-Statues, 168, 200. 201.
250.
Drah-Abu'l-Nckkah. 148.
DuJ^a/Cappanagc). 15.
Dwarf of Gizch. 82*.
Dwarf Khncmu-hetep, 82*.
Elarring of Rameses XII.. 208*.
Elarrings of Seti I.. 208*.
Edfu, 15.224.227.228.233,236,
238, 240. 242. 258, 261;
Nomes bringing offerings,
14*.
Edgar. 292.
Edinburgh Museum. 287.
Egypt. Lower. 53, 272; Middle,
96. 100. 101. 240, 281:
Upper, 36, 38, 53. 96. 239,
274.
Egyptian Fleet, at Der-el-Ba-
hari, 170.
El-Amarna. 158. 163. 181-185.
El-Armarna. 195: Wall in Tomb
at. 173*.
Elephant, terra-cotta, 286'.
Elephantine. 60. 129, 130, 132.
194. 237; Chapels at. 38:
East Temple at (section).
130'; a Prince of. 61*.
El-Kab, 36. 131, 194.
El-Kalaa. 230.
Ellahun. 100.
Enamelled Chamber of King
Zoser. 92*.
Enneas, 227, 228, 243, 246.
Ergamenes. 242.
Ej-ment. 113.
Eshmunen, 280. 285.
Esneh, 225, 238. 240, 245.
Ethiopia. 24. 126.206,218.242.
245.261.
Ethiopian King, Head of an.
269*.
Ethiopian Pyramid, plan and
elevation, 235.
Ethiopian Statues of Souls, 255.
Eucrgetes il., 261.
F.
False Doors. 31-33: of Atoti.
37*: of Mcrcruka. 37*; of
Neferseshcm-Ptah. 38*.
False Pyramid at MeJu.-n. 44*.
Fayum. the. 36. 100. 110. 124.
261. 273 275. 285.
Female Figure, 58*.
Ferlini, 292.
Figure of a Queen or Goddess at
two different Stages. 262*.
Figurines of Animals. 3*.
Finished Figure of a King. 263*.
Fortress of Kom - el - Ahmar
(plan). 4*.
Fortresses. 159, 160.
France. 2. 279.
French Expedition. 230, 301.
Frontality, Law of, 73.
Furniture, 286, 287.
Garf-Huscn. 138*. 144.
Garstang, 7; Hemi-speos.
Gebel-Barkal, 173.
Gebel-Silsileh, Chapel at, 135*.
142.
Geese of MeJum, 51. 55*.
German excavations. 45.
Gizeh. 33, 38, 45, 62, 80, 114.
216; corner of Necropolis
at, 30*.
Goblet of Zakazik. 203*.
Gold Jars of Zakazik. 204*.
Graeco-Egyptian Sculpture. 255.
262. 265.
Greece. 161. 174, 301.
Greeks. 253, 273, 289.
Grooved Facade of Thinite For-
tresses. 4*.
Grotesque Figures in Bronze,
288*.
Grotesque Head. Terra-cotta,
287*.
Grotesque. Terra-cotta, 287.
Grotesque Slave bearing a Jar.
159.
307
INDEX
Grotesques. 285.
Group of Persons standing
sitting, 17*.
H.
Habi Sadu (festival). 79.
Hadrian. 231.241.261.
Hapu. 240. 297; the dwarf , 19*.
20.
Hapsefai. 101.
Harmachis, 268.
Harmin. 195; Mourners in
Tomb of, 191*; Offering-
bearers in Tomb of. 191*.
Harpocrates. 286; with Osiris
and Amon. 283*.
Hathor. 22, 83, 152, 168, 174-
175, 228, 240; and Ameno-
phis. Temple of, 221*, 230;
Chapel of, 230; Columns.
219*; Cow. 250. 251, 268;
Cow at Sakkarah, 244*;
heads, 145. 231; Pillars.
131. See also under Capi-
ta's and Cow.
Hatiyai. 202.
Hatshepset. Queen, 130. 150.
151. 173, 179.
Hawara, 100, 116. 274.
Hawk's Head, Golden, 94*.
Head in the Louvre, 85*.
Head of a Colossal royal Statue,
117*.
Head of a Man, 169*.
Head of a Statue. 246*. 259*.
Hebt. 223; East Facade of Tem-
ple. 215.
Heliopolis. 19. 44. 54. 61, 97.
Heptanomis, 275.
Heracleopolis, 60, 104, 110, 194,
240.
Hermonthis, 231.
Hermopolis, 60. 96, 162, 182,
194.240,285; School of, 24,
106 103.
Heru-em-heb. 139. 143. 150.
184 187. 199; Head of a
Statue of, 178*; Wooden
Statuette of, 195*.
Hcr-Heru. 218.
Hcsi. Wooden panels of. 59. 60*.
Hicraconpolis, 4, 6, 7, 78.
Hicrasycaminos, 262.
Hittitcs. 165.
Holy Mountain, 218.
Horbet, 278.
Horus,21,32, 112, 153,155,168,
222, 227-229, 246, 250, 266,
267, 278, 279, 283, 292;
Alexandrian, 250*; Bronze,
281*;asaChild. 243*; with
the Crocodiles. 257*; Tem-
ple of. at Edffl (plan). 216*.
224. 225; Court and porti-
coes of Temple of. 217*;
Pronaos and Terraces of
Temple of. 218*; Pylon of
Temple of. 217.
Humorous Episode. 65*.
Husband and Wife seated, 72*;
standing, 72*; of unequal
Height, 73*.
Hyksos or Shepherd Kings, 1 1 7,
124, 125, 159, 171, 196.
Hypogea, 36, 37, 147-150. 215-
217.
Hypogeum of Ameni. 102*; of
Amenophis II., 141*; of
Khnemu-hetep, 101*; of
Kom-es-Shugafa (room in),
273*; of Paheri wall in,
188*; of Seti I. Sketch in.
148*.
Hypostyle Hall, the. 127. 128;
at Karnak, Clerestory, 1 18*.
and Transverse Section,
128*; in the Memnonium
of Seti I.*, 143; in theRa-
messeum, 127*.
Ibrim, 244.
Ictinus, 299.
Incrustation in green Enamel,
193*.
Infantry from Meir, 91*.
Influences, foreign, in Egyptian
minor arts, 197, 289.
Ionia, 289.
Isis (goddess), 231, 246, 251,
267, 279, 288, 292; and
Horus (relief), 262, 270;
statue of, 244*; in terra-
cotta, 290*; Temple of. 14*,
257*.
Isis, Queen, 161*, 171.
Italy, 279.
luaa, 181, 182, 195, 199; and
Thuaa, 200*.
Ivory, use of, 77; bas-relief, 74*
Feet of Bed and Stool, 2*
Mirror-handle. 205*.
Japanese Artists, 69.
Jewel-casket of Amenophis III.,
196*.
Jewelry, 92, 120-122. 200. 204-
206. 289-293; of Aah-he-
tep, 205*; from Dahshur.
121*.
Jug with Goat from Zakazik.
204*.
Ka-apiru, 32; see also Sheikh-
el-beled.
Kadesh, Battle of. 165. 166; re-
liefs. 155*. 189.
Kalabshah, 242. 262; plan of
temple. 232*.
Kames. 148.
Karnak. 97. 113. 116. 127. 129,
130, 133, 136, 139-141, 145,
171, 176, 179. 180. 187. 188.
208.214.218.220.222.223.
232. 234. 239. 240. 260;
Avenue of Rams at. 133*;
Court of the Temple of Ra-
meses III. at. 131*; Fa-
vissa, 191; Great Temple
of Amon, 95*; Ruins of
Propylaea of Tirhakah. 215;
Workshops at, 193.
Karomama, Queen, 276, 277.
280*.
Kartassi, 242, 243; Chapel in
Quarries of, 234*; Kiosk of,
233*.
Kasr-el-Aguz, 231.
Kasr-el-Shalauit, 231.
Kasr-es-Sayad. 37. 60.
Kasr-Ibrim, East Gate, 234*.
Kasr-Karun, 220*, 230.
Kau-el-Kebir. 37. 60, 240.
Kauit, Princess, 1 13.
Kha-cmhct, 181, 195.
Khamuasit, Prince, 200.
Khasakhmui. 76*.
Khayanu. 124.
Khcti. 105. 108. 109.
308
INDEX
Khncmit, 121; Crown of. 122';
Diadem of. 123*.
Khncmu. Chapt-I of. 132.
Khnemu-hctcp. 101: hypogcum
of. 101 ♦. 106. 107.
Khonsu(god). 15. 183. 186.218.
219: Bust of. 176*: Tem-
ple of. II'. 221. 224. 220.
232: TempL- at Thebes (sec-
tion). 132*. 135 137.
Khonsu. Temple of. 239.
Khu-cn-Aton. 201.
Khufu-cnekh. 27: Sarcophagus.
of. 27*.
Kiblah. 52. 53.
Kitchen. 89*.
Kneeling Figure carrying a
Triad. 157*.
Kneeling Man. 77'.
Kokome. 40.
Kom-cl-Ahmar. II'. 37. 79. 92;
Door-jamb in Temple of.
T.
Kom-cs-Sagha. 96: Temple of.
96*: Interior of Tcm:>b cf
96*.
Kom-es-Shugafa. 257. 266.
Kom-Ombo. 55. 224. 228. 229.
232. 233. 240. 257: Double
Court and Pronaos at, 220'.
Koseir-el-Amarna. 37.
Kurnah. 187: Fagade of sepul-
chral Temple. 144*.
Kurnct-Murrai. 148. 230.
Legrain. 116. I9|.
Libyan Chief struck aown by
Sahu-Ra. 56*.
Libyan Desert, 38.
Lion passant, 257*; seated,
258*.
Lion at Gebel-Barkal. 164*;
Bronze, time of Apries.
282*: of Kom-Ombo. 258';
of Sakkarah. 52*.
Lisht. 97. 100. III. 170.
London (British Museum), 22
169. 288.
Louvre. The. 57. 75. 80. 87, 119,
181.201.202.206.252.274.
276. 279.
Luxor. 138-140. 161. 165. 166.
192.208.214.219.220,221.
223. 231. 239. 259, 276;
Court of Amcnophis I M . at,
133*: Court of Ramcscs II.
at. 135*: Temple of Amcn-
ophis lU. at. 137*.
M.
Maat (goddess). 288.
Macrinus. 261; Bas-relief of,
268*.
Maharrakah. 242. 244. 262.
Maiptah. |95: Fragment from
Tomb of. 192*.
Mammisi. or Birth-house, 231.
232, 233, 241; at Edfd,
222'.
Man, Head and Bust of a, 253'.
Mariettc. 81. 117. 124. 180.243.
Maritsakro. 168. 173.
Mastaba. the. 29. 30, 31. 36. 37.
38. 41. 45.62. 98-100, 102.
215. 216: with hollow
Chamber and discharging
Arch. 42*: at Gizch. 30*,
and Shaft in same, 29*; of
Ka-apiru. Cell and Fore-
court. 34*: of Khabeuptah.
35*; of Menefer. Fagadc,
34*: of Mcreruka. 33. 36*.
37. 65. 73: of Nc cr-hetep.
Forecourt. 35*; of Ti. Por-
tico of. 36': of Zazamenckh
35*.
Masu. 278; Bronze Statuette of,
281*.
Mat-ka-Ra. Queen, 268
Medinet-Haba. 127. 130. 131.
134. 149. 155. 160. 161. 192^
219. 221. 223. 226. 230;
Facade of Temple of Ra-
mcses III. at. 146*; Migdol
of. 148*: Roman Temple
at, 221'; Second Court in
Temple of. 145*.
Mediterranean. 215.
Medam. 25. 33. 38. 45. 62. 80.
167: False Pyramid at. 40;
Geese of. 51, 72: Tomb at.
51: Statues of. 81.
Meir, 37: decorations at. 61;
Fat Men of. 62*: Lean Men
of. 62*: Soldiersof. 90. 91*.
Mekhu. 38.
Meks. 285.
Memnon-Colossi at Thebes.
167*. 176.
Memnonium, 153. 187. 188. 190;
of Scti I. at Abydos. plan.
143*.
Memphis. 19. 29, 37, 38. 95. 106.
114. 126. 148. 162. 189. 192.
216.254.265.273.276.278,
280, 285. 288. 2rt9.
Mcmphite Dynasties. 23.
Mcmphite School. 24. 26. 61. 79,
81, 105. 107. 108. no. 113,
213, 251. 254: contrasted
with Theban School. 115.
Memphitc Statue, 250*; Stat-
uette. 251.
Mencptah. 186, 189. 192. 220;
Bust of a Statue of. 187';
with two Ensigns, 156*.
Menes, 6. 23.
Menkhau-Heru, 57; Statue of.
57*: Statuette of. 82.
Mentcmhet. 241*. 248.
Mcnthu-hctcp. 99, 114, 115. 148,
152; in the Costum? of