FOOTNOTES
[1] From the Journal des Savants, 1908, pp. 1–17.
[2] F.W. von Bissing, “Denkmäler Ægyptischer Skulptur.” Text, 4to; portfolio of plates, fol.; Bruckmann, Munich, 1906–8.
[3] It may also be asked if the stele of the King-Serpent is an original or a restoration of the time of Setouî I.
[4] Bissing, II. Plate with the name of King Athotis, note 6.
[5] I even noted the existence of one of these tails in wood in the Marseilles Museum (Catalogue, p. 92, No. 279).
[6] Musée Egyptien, vol. ii., Pl. IX-X and pp. 25–30.
[7] Ibid., vol. ii., Pl. XV, pp. 41–45.
[8] Maspero, Guide to the Cairo Museum, 1906, pp. 156–7, No. 550.
[9] Revue de l’Art Ancien et Moderne, 1906, vol. x., pp. 241–52, 337–48; cf. Chap. X. of the present volume.
[10] Musée Egyptien, vol. ii., pp. 90–2.
[11] From the Revue de l’Art ancien et moderne, 1912, vol. xxxi., pp. 241–54.
[12] It is mentioned for the first time in Emmanuel de Rougé’s Catalogue, 1855, under No. 6; it is placed on the mantelpiece in the “Salle civile.”
[13] See good examples in Mariette, “Karnak,” Pl. VIII.
[14] This is no longer true since the discovery of the favissa at Karnak. The Cairo Museum possesses some hundreds of statues of private individuals from the Theban temple of Amon (1912).
[15] Mariette, “Sur les tombes de l’Ancien Empire qu’on trouve à Saqqarah,” 1912, pp. 8–9.
[16] On this theory see Lepage-Renouf, “On the True Sense of an important Egyptian Word,” in the Transactions of the Society of Biblical Archæology, vol. iv., pp. 494–508, and Maspero, “Mémoires du Congrès des Orientalistes de Lyon,” vol. i., and Bulletin de l’Association scientifique de France (1878), No. 594, pp. 373–84.
[17] One of the Egyptian festivals of the dead.
[18] For complete translation of the contract see the Transactions of the Society of Biblical Archæology, vol. vii., pp. 1–9.
[19] The Skhemka group was catalogued for the first time by E. de Rougé, “Notice sommaire des Monuments égyptiens,” 1855, pp. 50–51, under the number S. 102. The other two statues of the same person possessed by the Museum are both entered under the number S.103. One is in granite, the other in painted limestone.
[20] There are exceptions only in the middle of the XVIIIth Dynasty, when men and women, and especially women, are painted light pink or flesh colour.
[21] The pretty painted bas-relief of the tomb of Seti I in the Louvre (E. de Rougé, “Notice des principaux monuments,” p. 35, B. 7) shows in large the arrangement of the glass beads on the stuff.
[22] Cf., e.g., Lepsius, “Denkmäler,” ii., 47b, 74e, where the woman crouching in front of her husband puts her arm round his leg.
[23] Here are some references to plates in Lepsius where the husband and wife are represented side by side in different positions. The woman of low stature crouches behind her seated husband (“Denkmäler,” ii., 71b); the wife and husband, both of heroic stature, are seated on the same armchair, and the wife puts her right arm round her husband’s neck (“Denkmäler,” ii., 10b, 24, 25b, 41b, 42a-b, 75a, etc.); the wife of low stature stands in front of her husband, who is of heroic stature (“Denkmäler,” ii., 38b); she stands behind him and puts her arm round his left arm (“Denkmäler,” ii., 27, 33a), or she puts her arm round his waist (“Denkmäler,” ii., 38a); and lastly, the husband and wife, of the same stature, are standing, the wife behind her husband and putting her arm round his neck (“Denkmäler,” ii., 13, 20–1, 29b, 32, 34b, 40b, 43b, 46, 58a, 59b), or separated from him (“Denkmäler,” ii., 73, etc.).
[24] Thus in Lepsius (“Denkmäler,” ii., 74e), where the noble Senotmhît, surnamed Mihi, is seated, of heroic stature, while his wife, Khontkaous, is represented crouching and of low stature, although she is a legitimate daughter of the king. In another part of the tomb (Lepsius, “Denkmäler,” ii., 73) the same persons are represented standing side by side and of heroic stature, while their children are of ordinary stature.
[25] See the preceding chapter, [pp. 55–59].
[26] See Chapter III, [p. 51].
[27] We know now (1912) that the figures described by Mariette as mourners are cooks, who held the spit in one hand and with the other protected their faces from the heat of the brazier where the chickens were roasting.
[28] In examining the eye of the Cheîkh-el-Beled closely, I found that there was no silver nail in it, but that the luminous spangle was produced by a scrap of polished ebony placed under the crystal; it should be the same with the eyes of the Crouching Scribe.
[29] Cf. [pp. 55–59].
[30] This article was published in two slightly different forms in the Gazette des Beaux-Arts, 3rd period, 1893, vol. ix., pp. 265–70, and in the Monuments Piot, 1894, vol. i., pp. 1–6: I have combined them for this volume.
[31] The statue is described in the “Visitor’s Guide to the Cairo Museum,” 2nd edition, 1912, p. 58, No. 142.
[32] Maspero, “Visitor’s Guide,” 2nd edition, 1912, pp. 57–8, No. 141.
[34] Cf. what has already been said regarding statues of private individuals erected by the favour of the Pharaoh, [p. 40].
[35] Maspero, “Visitor’s Guide to the Boulaq Museum,” p. 28, and now “Visitor’s Guide to the Cairo Museum,” 2nd edition, 1912, p. 73, No. 227.
[36] The expression is borrowed from a letter of the Papyrus Anastasis, No. 3. Its position in the Egyptian context leads me to believe that it was an often-quoted proverb. The idea is repeated in different forms in the scribes’ correspondence: “Work, or you will be beaten.” “When the scribe reaches the age of manhood, his back is broken by the blows he has received.”
[37] Mariette, “Notice des principaux monuments du Musée de Boulaq,” 6th edition, 1876, p. 235, No. 769: “Memphis. Saqqarah—limestone II, 1 foot 2 inches—kneeling figure. His hands crossed on his legs. His eyes are of mosaic work and formed of several stones curiously combined.” The statue of the kneeling scribe figures in a group in Plate XX of Mariette’s work, “Album du Musée de Boulaq,” containing 40 plates, photographed by MM. Délié and Béchard, with explanatory text edited by Auguste Mariette-Bey. Cairo, Mourès et Cie, 1871, fol.
[38] Mariette, “Notice des principaux monuments du Musée de Boulaq,” 6th edition, 1876, p. 216, No. 582. The Boulaq Museum possesses a second statue of the same person (ibid., p. 93, No. 28), but of a less fine execution than the statue No. 582. Cf. what is said of the two statues on [pp. 70–73] of this volume.
[39] Mariette, “Notice,” p. 217: “The sum of the qualities, and study of the inscriptions on the base of the monument, leave no doubt as to the epoch to which it belongs. Rânofir evidently lived under the Ancient Empire. His titles bring him near the Vth Dynasty.” The study of the inscriptions leads me to be more certain than Mariette was. Rânofir undoubtedly lived at the end of the Vth Dynasty.
[40] See [pp. 60–65].
[41] He is a cook, as I mentioned on [p. 61], [note 27].
[44] See the curious study of Dr. Parrot, “Sur l’origine d’une des formes du dieu Phtah,” in the “Recueil de travaux relatifs à la philologie et à l’archéologie égyptiennes et assyriennes,” vol. ii., pp. 129–33.
[45] Published in the Revue de l’Art ancien et moderne, 1906, vol. xx., pp. 247–52, 337–48.
[46] See [pp. 50–51].
[47] See, e.g., the stelæ described or referred to in Maspero, “Guide to the Cairo Museum,” 1903, pp. 73–5, 94–5, 96, etc.
[48] Already published in the Musée Egyptien, vol. ii., Pl. IX-X, pp. 25–30.
[49] The head was reproduced by Rougé-Banville, “Album photographique,” Nos. 111–12; cf. Mariette, “Monuments divers,” Pl. XXI, a, b, c, and p. 299; the whole is reproduced in the Musée Egyptien, vol. ii., Pl. XIII, and pp. 34–5.
[50] See article on this group by Legrain in the Musée Egyptien, vol. ii., pp. 1–14 and Pl. I-IV.
[51] The head of the Pharaoh, which was stolen at the moment of discovery, has been found since this article appeared, and purchased by the Cairo Museum, 1912.
[52] Published in the Revue de l’Art ancien et moderne, 1907, vol. xxii., pp. 5–18.
[53] She is noted in the “Livre d’entrée” under No. 38575 and the chapel under No. 38576.
[54] Naville, “Das Thebanische Todtenbuch,” vol. i., Pl. CCXXII.
[55] It comes from Tell Tmai, and is entered in the “Livre d’entrée” under No. 38930, and in the “Guide to the Museum,” 3rd English edition, under No. 461, p. 164.
[56] No. 38932 in the “Livre d’entrée”; cf. “Notice des principaux monuments du Musée de Gizeh,” 1893, p. 86, and No. 683 of Borchardt’s unpublished catalogue. The monument comes from Saqqarah.
[57] “Guide to the Cairo Museum,” 3rd edition, pp. 331–33, No. 1020; “Livre d’entrée,” No. 38927.
[58] “Guide to the Cairo Museum,” 3rd edition, p. 330, Nos. 1018, 1019; “Livre d’entrée,” Nos. 38928, 38929.
[59] See the Revue, 1906, vol. xx., pp. 241–52, and pp. 337–46; and [pp. 90–105] of the present volume.
[60] It was catalogued by Champollion in his “Notice descriptive des monuments égyptiens du Musée Charles X,” Paris, 1827, p. 55, No. 11.
[61] Published in the Revue de l’Art ancien et moderne, 1910, vol. xxviii., pp. 241–52.
[62] See [pp. 120–125].
[63] Mariette, “Notice des principaux monuments du Musée de Boulaq,” 6th edition, 1876, p. 300, No. 100 C.
[64] E. de Rougé, “Notice sommaire des monuments égyptiens,” 3rd edition, 1864, p. 34, A. 21. The British Museum possesses a replica of this statue.
[65] Mariette, “Notice,” 1st edition, 1864, p. 184, No. 17; and 6th edition, 1876, p. 92, No. 22.
[66] Mariette, “Notice,” 6th edition, p. 221, Nos. 638–48; Maspero, “Guide du Visiteur au Musée de Boulaq,” 1883, pp. 100–3.
[67] Mariette, “Notice,” 6th edition, p. 221, Nos. 649–51; Maspero, “Guide,” p. 101.
[68] Mariette, “Notice,” 6th edition, p. 221, Nos. 623–37.
[69] Mariette, “Notice,” 6th edition, pp. 212–13, No. 578; Maspero, “Guide,” p. 75, No. 396.
[70] Mariette, “Notice,” 6th edition, p. 239, No. 792.
[71] Maspero, “Letter to M. Gustave d’Eichtal on the circumstances of the history of Egypt which favoured the exodus of the Hebrew nation,” in the Comptes Rendus de l’Académie des Inscriptions et Belles-Lettres, 1873, pp. 37–8.
[72] Published in La Nature, 1892, vol. lix., pp. 161–3.
[73] Major Arthur Bagnold published an account of them, with three drawings by Wallis and a few sketches, “An account of the manner in which two Colossal Statues of Rameses II at Memphis were raised,” in the Proceedings of the Society of Biblical Archæology, vol. x., p. 452 et seq.
[74] I have related many examples of this belief in spirits inhabiting the ancient monuments in “Egypt: Ancient Sites and Modern Scenes,” 1910, chap. xv., p. 155. I have collected many more, and hope one day to have an opportunity of publishing them.
[75] Published in La Nature, 1894, vol. lxiii., pp. 230–4.
[76] Extract from the Revue de l’Art ancien et moderne, 1908, vol. xxiii., pp. 401–12, and vol. xxiv., pp. 29–38.
[77] Champollion, “Notice descriptive des monuments égyptiens du Musée Charles X,” 1827, 8vo, describes the object as follows: “85. Hard wood. A woman named Naï, standing, dressed in a long fringed tunic, hair plaited. The statuette was dedicated by her brother, Phtah-Maï, auditor of justice,” pp. 68–9. Now the little figure is numbered 37; it is in case A of the “Salle civile” (first shelf).
[78] Cf. E. de Rougé, “Notice des principaux monuments,” p. 82.
[79] Sokari (Σώχαρις of the fragment of Cratinus the Younger, “Fragm. Comicor. græcorum,” edition Didot) was the god of the dead at Memphis, as Osiris was at Abydos; so they were soon identified one with the other, Sokar-Osiri, and with Phtah, Phtah-Sokari, Phtah-Sokar-Osiri. Here the scribe, who first took the three sacred names as belonging to one same god whom he qualified as Prince of Eternity in the singular, later regarded them as belonging to three different gods, and used the plural pronoun, SE, variant of SEN: “to whom THEY give” instead of “to whom HE gives.”
[80] The figure to which it was fastened is reproduced in Leemans, “Egyptian Monuments in the Museum of Antiquities of Holland at Leyden,” Part I, Pl. XXIV; cf. Chabas, “Notice sommaire des papyrus égyptiens,” p. 19.
[81] The facsimile of the text is in Leemans, “Monuments,” Part II, Pl. CLXXXIII-CLXXXIV, and is translated and annotated in Maspero, “Etudes égyptiennes,” vol. i., pp. 145–59.
[82] Extract from the Revue de l’art ancien et moderne, 1905, vol. xvii, p. 403.
[83] See the Chapter on the little lady Touî, [pp. 183–189].
[84] Published in La Nature, 1895, vol. lii., pp. 211–14.
[85] “The Adventure of Satni-Khamois with the Mummies,” in G. Maspero, “Les contes populaires de l’Egypte ancienne,” 4th edition, p. 146.
[86] See [pp. 172–174].
[87] See Chapter XVIII, [pp. 172–177].
[88] Revue archéologique, April, 1861, vol. iii., 2nd series.
[89] Printed in the Revue de l’Art ancien et moderne, 1900, vol. viii., p. 353.
[91] See Chapter XVI., [p. 145].
[92] Published in the Revue de l’Art ancien et moderne, 1902, vol. xi., p. 377.
[93] See [Chapter X].
[94] Published in La Nature, 1890, vol. xxxv., pp. 273–4.
[95] See [pp. 212–213].