THE MASTABAS OF THE NECROPOLIS OF MEMPHIS.
The space over which the monuments which we propose to describe are spread, is on the left bank of the Nile, and extends from Abou-Roash to Dashour; it is thus, in all probability, the largest cemetery in the world, being more than fifteen miles in length, and of an average width of from two to two and a half miles.[161] It was, in a word, the burial-place for Memphis and its suburbs, and Memphis seems to have been the largest city of Egypt, and to have boasted an antiquity which only Thinis could rival. Excavations have failed, apparently, to confirm the assertion of Strabo, who describes the early capital of Egypt as reaching to the foot of the Libyan chain. On the contrary, it seems to have been confined between the canal which is called the Bahr Yussef and the Nile. It would thus have formed a very long and rather narrow city, close upon the river, of which the site may still be traced by the more or less barren hillocks strewn with blocks of granite and fragments of walls, which crop up from the plain between Gizeh and Chinbab. For forty centuries there was a continual procession of corpses from Memphis itself, and probably from towns on the other side of the Nile, such as Heliopolis, to the plateau which lies along the foot of the Libyan chain. The formation of this plateau makes it peculiarly well adapted for the purpose to which it was put. It consists of a thick bed of soft limestone, covered by a layer of sand which varies in depth from many yards to a few feet according to the inequalities of the ground beneath it.
It was easy, therefore, either to lay bare the rock and to construct the tomb upon it, or to dig the mummy pits in its substance, and the winds might be trusted to quickly cover the grave with sand which would protect it when made. The same sand covered the coffinless corpse of the pauper with its kindly particles. Age after age the dead were interred by millions in this great haven of rest. At first there was plenty of room, and the corpses were strewn somewhat thinly in the sand,[162] but with time economy of space had to be practised, until at last bodies were squeezed into the narrowest spaces between older inhabitants. Sometimes these new comers even intruded into the tombs of those who had gone before them, and that without always troubling themselves to conceal their usurpation by effacing the name of the rightful owner.[163]
The number of tombs was increased to a prodigious extent by the non-employment of those family tombs which, as we shall see, were made use of by the Phœnicians, the Greeks, and the Etruscans. The Egyptian sepulchre was a personal appanage. The husband and father of a family admitted into it only his wife and such of their children as died young. The son, when he in turn became the head of a family, built a tomb for himself. Each generation, each human couple marked their passage through the world by the erection of a new tomb.
All the mastabas belong to the period of the Memphite empire. Those who built them were able to give free play to their fancies, and to develop the structure, both above and below ground, both in arrangement and in decoration, to any extent they pleased. We may therefore look upon them as the freest, the most spontaneous, and the most complete expression of the ideas formed by the men of that remote age concerning death and the life beyond the grave.
The mastabas of Sakkarah will receive most of our attention, and in describing them we shall often have occasion to quote the words of Mariette.[164] Those which are to be found in the more northern part of the necropolis, in the neighbourhood of the Great Pyramid, differ only in unimportant details from those at Sakkarah. The general appearance now presented by these monuments may be guessed from the sketch which M. Bourgoin has sent us of the tomb of Sabou ([Fig. 106]). The other mastabas figured by us have all been more or less restored.
"The mastaba is a massive structure, rectangular on plan, with four faces of plain walling, each being inclined at a stated angle towards their common centre. This inclination has led some people to assert that it is nothing more than an unfinished pyramid. Such an idea is refuted, however, by the fact that the divergence from the perpendicular is in some cases so slight that, were the walls prolonged upwards, their ridges, or arêtes, would not meet for some eight or nine hundred yards. The mastaba might be more justly compared to the space comprised between two horizontal sections of an obelisk, supposing the obelisk to have an oblong base.
Fig. 106.—Actual condition of a mastaba.
The tomb of Sabou. Drawn by Bourgoin.
"The major axis of the rectangle upon which these structures are planned, always runs due north and south, and at the pyramids of Gizeh, the necropolis of the west, they are arranged upon a symmetrical plan so as to resemble a chess board on which all the squares are strictly oriented.[165] The more carefully built mastabas are oriented according to the true astronomical north. All the others show the same intention, and, in those instances where an error of a few degrees is to be discovered, it is to be clearly attributed to carelessness on the part of the builder, a common fault in these tombs, and not to a difference of intention. We often find that the northern face is not strictly parallel to the southern, nor that on the west to that on the east.
Fig. 107.—Three mastabas at Gizeh.
Perspective view, after the plan of Lepsius.
(Denkmæler, vol. i. pl. 24.)
"Although not varying much from true orientation, the mastabas of Sakkarah are not arranged with the symmetry which distinguishes those on the south and west of the Great Pyramid.[166] They are sprinkled about in a rather haphazard fashion. Here we find them well interspaced and there actually placed one upon another. It follows that the chess-board arrangement which is so conspicuous at Gizeh is not here to be noticed. Even at Sakkarah there were streets between the rows of tombs, but they are so irregularly placed, and they are often so narrow, many of them being nothing more than blind alleys, that the inexperienced visitor may well fancy himself in a maze.
"The Sakkarah mastabas are built either of stone or brick.
"The mastabas of stone are of two kinds: those of a very hard blue siliceous limestone and those of a softer chalky limestone which is found upon the spot. This latter stone was used for the Stepped Pyramid. The tombs upon which it was used seem to be much the oldest in the necropolis; they are also the least rich and important.
Fig. 108.—Restoration of part of the Necropolis of Gizeh.
"Our general notion of Egyptian architecture would lead us to look for the use of huge stones in these mastabas, and, in fact, certain important monuments, such as the Mastabat-el-Faraoun, and parts of important monuments, such as the Temple of the Sphinx and the passages and chambers of the greater pyramids, were constructed of very large blocks. But the Sakkarah architects were more modest. Apart from the ceilings, architraves and other places where big stones were necessary, the blocks are of an average height of about half a yard, with a proportionate length and thickness.
"The brick-built sepulchres are of two kinds also. The more elaborate are of black brick, while a yellowish brick is used for the others. The yellow bricks are a mixture of sand and pebbles with a little clay; the black bricks are of earth and straw. The former are always small (8·8 in. x 4·4 in. x 2·8 in.); the latter are comparatively large (15·2 in. x 7·2 in. x 5·6 in.). Both kinds are dried simply in the sun. The yellow bricks seem to be the more ancient. Their employment begins and ends with the Ancient Empire. The black bricks, on the other hand, appear for the first time about midway through the fourth dynasty. At first they were rarely employed, but under the eighteenth dynasty and those which followed it, they came to be exclusively used."
Fig. 109.—The Mastabat-el-Faraoun.
All these mastabas, whether of brick or stone, betray an amount of negligence in their construction which is astonishing. Considering the ideas which the Egyptians had formed of a future life, the chief preoccupation of their architects should have been to give a stability to their sepulchres which would have insured their perpetuity, and, with it, that of the deposit committed to their charge. The whole of our description will be pervaded by accounts of the minute precautions devised to that end. "Now these mastabas are constructed with care on their outsides alone. The core of their walls is composed of sand, of rubbish, of blocks of stone mingled with the flakes struck off by the masons, and all this in most cases without any cement to give it coherence. The mastabas of Sakkarah are not homogeneous constructions of masonry and cement, like the pyramids and most of the mastabas of Gizeh. They are confused heaps of ill assorted materials, which would collapse but for the retaining strength of their covering of solid stone.
"At Sakkarah the outward faces of the mastaba are not smooth. Each successive course is slightly set back from the one below it. At Gizeh the walls form a smooth plane gently inclined from the perpendicular.
"There are mastabas of all sizes. That of Sabou measures 172 feet by 84; that of Ha-ar, 149 by 74; that of Ra-en-ma 169 by 81, and that of Hapi no more than 25 ft. 6 in. by 19 ft. 6 in. In height they vary less. The highest are not more than from 26 to 30 ft. high, the smallest about 12."
Fig. 110.—Entrance to a Mastaba at Sakkarah. Mariette.
The roof of the mastaba is a plain surface without irregularity of any kind; but the soil above it is sprinkled with vases buried at a slight depth. These vases are pretty evenly distributed, but they are rather more numerous in that part of the soil which covers the ceilings of the chambers, a circumstance of which Mariette often made use to guide him in his excavations. Like all the vases of this epoch, those which are found upon the roof of the mastabas are roughly made, pointed at the bottom and without handles. They each contain a thin film of yellow clay deposited by the water with which they were filled. They were placed in their curious position under the notion that the water which they contained would quench the thirst of the dead man below. The mouths of the jars were covered with flat stones, and the water would last long enough to satisfy at least the immediate necessities of the inhabitant of the tomb.
"The principal face of the mastaba is turned to the east. In four cases out of five the entrance to its chambers, when there is one, is found upon this face. The general arrangement is, almost always, as follows: 1. At a few metres distance from the north-eastern angle we come upon a quadrangular niche or recess, very high and very narrow, in the depths of which those long vertical grooves which distinguish the steles of this epoch are carved upon the actual masonry of the tomb. For this recess an unimportant stele, with or without inscription, is occasionally substituted, or (2) we find, at a few metres distance from the south-eastern angle, either a deeper, larger, and more carefully built recess, in the depths of which a monolithic stele of white limestone covered with hieroglyphs is placed; or a regular architectural façade in miniature with a door in the centre. When the recess is found near the southern angle of the eastern face, the tomb begins and ends there. It has no internal chamber, or rather, the recess acts as substitute for one. But when, instead of the niche or recess, we meet with a door, we then know that we have come upon a regularly completed tomb. The name of its proprietor is often carved upon the lintel. Several of these lintels, of a peculiar shape, are to be seen in the Louvre.
Fig. 111.—Lintel of the tomb of Teta, 6th dynasty. Louvre.
"Next after the eastern face, in relative importance, comes that which is turned to the north. When the entrance is in the northern wall the door is invariably at the back of a kind of vestibule, in front of which are two monolithic columns, without base or capital, supporting the architrave which, in turn, supports the roof.
"Still more seldom than in the northern face, the entrance is occasionally found upon that which is turned to the south. This exceptional arrangement is, in most instances, caused by some local circumstance which may readily be perceived. When the entrance is on the south its arrangement is sometimes the one, sometimes the other, of the two which we have described.
"As for the western face, we have no evidence that it ever played any more ambitious rôle than that of completing the inclosure. It is always destitute of both openings and ornaments."
We have thus explored, with Mariette, the outside of the mastaba. We have described its form and general aspect, we have noticed the materials of which it was constructed, the principles upon which it was oriented, and its average size. We have explained, too, how this single type of sepulchre was repeated many thousands of times with but slight variations, until, upon the plateau between Memphis and the desert there gradually arose a metropolis of the dead more populous than that of the living. It remains to describe the contents of those huge blocks of masonry. We shall begin by visiting the chambers planned by the architect in the building itself; we shall afterwards penetrate, by the paths which modern curiosity has established through the débris of ages and the depths of the soil, to those recesses of the tomb which were meant to be for ever inaccessible.
The interior of a mastaba is composed of three parts—the chamber, the serdab, and the well. The last-named of the three is the only part which is never wanting. Many of the mastabas are, in fact, solid. In them the chamber is in a very rudimentary condition, being represented merely by one of those external niches which Mariette has described. This arrangement was the earliest, and, as long as the mastaba continued to be built, the less ambitious tenants of the necropolis were contented to reproduce it. But in these pages, as in a natural history, it is important to study the species when fully developed and provided with all its organs. When we have clearly established a general type nothing is more easy than to recognise and point out its variations. It suffices to say here that some tombs are wanting in one, some in another of those constituent parts whose meaning and uses we shall attempt to determine, and that, in a few, they are of an unaccustomed importance.
It is natural that we should first turn our attention to the chamber. This was a kind of neutral ground upon which the quick and the dead could meet, the former to present, the latter to receive the funeral offerings.
"The interior of a mastaba may be divided into several 'chambers' (there are three in the tomb of Ti), but generally there is only one. It is entered by the door in the middle of the façade.
"These chambers have, as a rule, to depend upon the door for light, but there are a few instances in which they are lighted from openings in the roof. A remarkable example of the latter arrangement is to be seen in the tomb of Ti, where the innermost chamber, which otherwise would be in complete darkness, is lighted from the roof.
"The chamber is sometimes quite bare, sometimes covered with sculptures and paintings such as those whose character and meaning we have already pointed out. At its further end, and always facing eastwards, stands the inscribed tablet or stele. There are some chambers in which the walls are bare and the stele engraved, but there are none where the walls are carved and the stele plain."
Fig. 112.—Plan of the tomb of Ti.
Figs. 113, 114.—Mastaba at Sakkarah, from Prisse.
In the tomb of Ptah-Hotep, of which we reproduce the principal side, the stele proper is on the left, but the figures and the funerary inscriptions cover all the central part of the richly decorated wall ([Fig. 115]).
We see, then, that the stele is the one indispensable part of this complicated whole. It was, in fact, upon the formula with which it was inscribed, that the Egyptians depended for those magical agencies by which Osiris became the active medium of transmission between the living and the dead.
"At the foot of the stele there was often a table for offerings, in granite, alabaster, or limestone. This was laid flat upon the ground ([Fig. 92]).
Fig. 115.—Western wall in the chamber of the tomb of Ptah-Hotep,
5th dynasty.
Drawn by Bourgoin.
"As a rule this was the only piece of furniture in the chamber; but occasionally we find, on each side of the stele and always placed upon the ground, either two small limestone obelisks, or two objects in that material resembling table legs hollowed out at the top for the reception of offerings."
This chamber was left open to every comer. The entrance was in fact left without a door. To this rule Mariette found but two exceptions in the many hundreds of tombs which he examined.[167]
"Not far from the chamber, oftener on the south than the north, and oftener on the north than the west, a passage in the masonry, high, narrow, and built of very large stones, is found. The workmen employed upon the excavations christened it the serdab, or corridor, and their name has been generally adopted."[168] In Figs. 116-119 we give the plan and three sections of a mastaba at Gizeh which has four serdabs.
"Sometimes the serdab has no communication with the other parts of the mastaba, it is entirely walled in, but in other instances there is a narrow quadrangular opening, a sort of pipe or conduit, which unites the serdab with the chamber. It is so small that the hand can only be introduced into it with difficulty.[169]
"The use of the serdab is revealed by the objects which have been found in it; it was to hold one or more statues of the deceased. The Egyptians believed these statues to be the most certain guarantees, always with the exception of the mummy itself, of a future life for the dead. Hidden from sight in their dark prison, they were protected from all violence, while they were separated only by a few stones from the chamber where the friends and relations met together, and the conduit by which the intervening wall was often pierced, allowed the smell of fruit and incense and the smoke of burnt fat to come to their nostrils.[170]
Fig. 116.—Plan of a mastaba with four Serdabs. (Lepsius, i., pl. 24.)
Fig. 117.—Longitudinal section of the same mastaba.
"No inscriptions have been found in a serdab except those upon the statues. And no objects other than statues have ever been found in a serdab." So that the function of the serdab was to afford a safe and final asylum to the statues. These were, no doubt, to be found in other situations also, because, not to mention the numerous bas-reliefs upon which the figure of the deceased appeared in the chamber or in the niche which sometimes took its place, he was sometimes portrayed in high relief, and of full life size, in the public hall of the tomb.[171] Sometimes, also, we find a statue in one of those front courts which, especially at the time of the fourth dynasty, seem to have been in great favour. But this court, as well as the chamber, was open to every chance passer by, and the statues which they both contained were in continual danger from careless or malicious hands. It was to guard against such chances as these that the inventive architects of Egypt contrived a safe retreat in the heart of the massive structure which should provide a reserve of statues against every contingency. When all those which were exposed to accident should have perished, these would still survive and would furnish to the double the material support, the tangible body, to which that phantom was obliged to attach himself unless he wished to perish entirely.
Fig. 118.—Transverse section through the chamber.
These precautions were not ill conceived. The serdab kept efficient guard over its deposit; the museum of Boulak contains at least a hundred statues from the ancient empire which were found at Sakkarah, and nine-tenths of them were found in the serdabs.
Fig. 119.—Transverse section through the serdabs.
We have now described all those parts of the tomb which were above ground. We have not been content with visiting the chamber only, which was freely left open, we have penetrated into the farthest recesses, and have discovered those secrets of the massive walls which their constructor thought to hide for ever from the eye of man. But even yet we have not arrived at the actual place of burial; we shall reach it, however, through our third internal division, the well or pit.
"The well is an artificial excavation, square or rectangular in plan, never round, at the bottom of which is the chamber in which the mummy is deposited.
"To arrive at the opening of the well, we must mount to the platform, or roof, of the mastaba ([Fig. 122]). As there was never any staircase to a mastaba either within or without, it will be seen that the well must have been a very inaccessible part of the tomb." In one single instance, namely, in the tomb of Ti, the well is sunk from the floor of the largest of the internal chambers, but whether it opened upon the roof or upon the floor of the chamber, it was always closed with the utmost care by means of a large flat stone.
Fig. 120.—Figures in high relief, from a mastaba at Gizeh,
5th dynasty (from Lepsius).
"The well is generally situated upon the major axis of the mastaba, and, as a rule, nearer to the north than to the south. Its depth varies, but, on an average, it is about forty feet. Now and then, however, it has a depth of sixty-five or even eighty feet. As the well begins at the platform and ends in the rock-carved mummy chamber, it follows that it passes vertically first through the mastaba, secondly through the rock upon which the mastaba is founded. The built part of the well is carefully constructed of large and perfect stones, and in this we find one of the distinguishing characteristics of the tombs of the ancient empire." In the tomb of Ti the well takes the form of an inclined plain like a passage in the pyramids. In the common form of well the mummy pit could only be reached by means of ropes.
"When the bottom of the well is reached a gaping passage is seen in the rock which forms its southern wall. This passage, which is not high enough to allow one to walk upright, does not run quite parallel to the axis of the mastaba. It is directed obliquely towards the south-east, like the chamber above. Suddenly it becomes enlarged into a small cavern, which is the mortuary chamber properly speaking, that is to say, the room with a view to which the whole structure has been planned and to which all its other parts are but accessories.
"This mortuary chamber is vertically under the public hall above, so that the survivors who came together in the latter for the funeral ceremonies had the corpse of the deceased under their feet, at a distance which varied according to the depth of the well."
Fig. 121.—The upper chamber,
well, and mummy chamber.[172]
The mortuary chambers are large and carefully built, but generally without ornament or inscription. Of all those explored by him Mariette found but one which had its walls ornamented; in the middle of its decorations, which he does not describe, he contrived to make out a few phrases which seemed to belong to the Ritual of the Dead.
The sarcophagus was placed in one corner of the chamber. It was generally of fine limestone, sometimes of red granite, and on a few occasions of opaque black basalt. It was rectangular on plan with a round-topped lid squared at the angles.
Mariette found none at Sakkarah with inscriptions. On the other hand we find them upon the sarcophagus at Khoo-foo-Ankh, which was discovered at Gizeh and belongs to the fourth dynasty ([Figs. 123], [124]).
"The Egyptians did not always trust to the mere size and weight of the lid for the secure closing of the sarcophagus. The under-side of the cover is made with a rebate at its edge which fits into a corresponding groove on the upper edge of the sarcophagus, and the two edges were bound still more tightly together by a very hard cement. Finally, as if all these precautions were not enough, wooden bolts were affixed to the under-side of the lid which fitted into slots in the sarcophagus and helped to render the two inseparable."
Fig. 122.—Double mastaba at Gizeh, transverse section
(from Lepsius, t. i., pl. 22).
So far as we can judge from the few human remains which have been gathered from these ancient tombs, the process of embalmment was then carried on in simple and elementary fashion, and it was this imperfection that the Egyptians attempted to neutralize, by the innumerable and complicated precautions which they took to insure that the corpse should not be disturbed in its envelope of stone. In later times, when the preparation of the mummy was better understood, they were not so careful to seal up the sarcophagus from the outer air.
"The furniture of the mummy chamber comprised neither statues, nor funerary statuettes, nor amulets of any kind. Sometimes a few ox bones bestrew the ground. Two or three large and pointed red vases, containing nothing but a thin deposit of clay, rest against the walls. Within the sarcophagus we find the same sobriety of sepulchral furniture. Beyond a wooden or alabaster pillow ([Fig. 105]) and half a dozen little drinking cups of alabaster, nothing has been found there but the mummy itself."
Fig. 123.—Sarcophagus of Khoo-foo-Ankh. Perspective after Bourgoin.
Red granite. Height 1·33 metres. Boulak.
These beef bones must be the remains of the quarters of meat which were placed in the tomb for the nourishment of the dead. No scene is more frequently represented upon the walls of the public chamber of the mastaba than the killing and flaying of victims for the funeral ceremonies ([Fig. 125]). Like those which are found upon the roof, the vases must have held water for the double. The pillow was placed under the head of the mummy, it was the one he had used during his life. As for the drinking cups, their use has not yet been determined, so far as we know.
"As soon as the mummy was in the sarcophagus, the sarcophagus sealed, and the various objects which we have described in place, the opening at the bottom of the well was walled up; the well itself was filled with stones, earth, and sand, and the dead was left to his eternal sleep."[173] These precautions make it no easy thing to reach the mummy chamber. To find the entrance to the well is the first difficulty, and when it is found, many hands and no little time are required to remove the rubbish with which it is filled. The only mechanical helps which the Egyptians have ever used in such work are those which we ourselves have seen in the hands of Mariette's labourers, namely, the wooden shovel and the little rush basket which is filled with a few handfuls of sand and pebbles, and then carried on the head to be emptied at a convenient distance. It may be guessed how many journeys to and fro have to be made before a few cubic yards of débris are cleared by such means as this!
Fig. 124.—Details of the Sarcophagus of Khoo-foo-Ankh.
We have so far followed Mariette, and have frequently had to make use of his ipsissima verba. To his pages and to the plates of the great work of Lepsius, we must refer those readers who are not contented with being told general rules but wish to know the exceptions also. We shall not go into all the changes which variety of taste and the progress of art introduced into the arrangement and decoration of Egyptian buildings; they do not affect the general statements which we have made. We shall not re-state the evidence which enabled Mariette to apportion the 142 painted and sculptured mastabas explored by him in 1869, to the first six dynasties. It is certain that those monuments form a chronological series extending over a space of from twelve to fifteen centuries, and that during the whole of that long period, the general character of Egyptian sepulchral architecture remained unchanged.
Fig. 125.—Bas-relief from Sakkarah. Boulak.
We should here, perhaps, in order to make our description complete, attempt to convey a true idea of the reliefs which cover the sides of the chamber, and of the statues which fill the serdab. We should, perhaps, by a judicious choice of examples, endeavour to estimate their style and composition; but we shall postpone all such examination until we come to treat of sculpture, and of the way in which the earliest Egyptian artists treated the human form. A didactic and analytic method is so far despotic that it compels us, in order to marshal our facts and to make them easily understood, to separate phenomena which are intimately connected, and to destroy the unity of natural groups. We have thus been driven to separate the figured decorations of the tomb from the architectural arrangements which enframe and support them; with the latter, alone, are we now concerned.
We may sum up the foregoing details by the following general description of the Egyptian tomb as it was established in the early ages of the national life, in those years when the national civilization put on the form and colour which it retained until the last days of antiquity.
This tomb, when complete, included (1) a built up part which, being raised well above the surface of the soil, was a conspicuous object in the landscape; and (2) a subterranean part cut in the living rock which was never more than a few feet below the surface of the sand. The constructed part inclosed a chamber which was sometimes internal and sometimes external, a chamber in which the relations of the deceased deposited the funeral offerings, and in which the priests officiated before the stele, to which the most conspicuous place was always given. Sometimes this chamber is nothing more than a recess in the façade, a mere frame for the stele. The structure also contains a retreat in its thickness where the statues of the deceased were walled up. The subterranean part is composed of the well and the mummy chamber. The well is sunk from different parts of the building; usually traversing its whole depth; it leads to the mummy chamber which is found at varying depths in the bowels of the earth.
Such are the constituent elements of the mastaba, that is to say, of those private tombs which were contemporary with the Pyramids. All over Egypt, in every one of the cemeteries, no matter where they are situated or what their date, the same elements are to be found, modified in certain particulars by the rank of the deceased, by the nature of the soil, by the size of the tomb, and by the changes of fashion, but always to be easily recognized. Of all these elements there is but one which does not persistently reappear in monuments other than the mastaba, and that is the serdab. This retreat for statues has not, as yet, been found in any of the royal tombs of the first six dynasties, neither has it been met with in the tombs of the two Theban empires, or of later epochs. And yet it was connected with one of the most vital hopes of the Egyptian religion. It fulfilled in the happiest manner, one of the conditions imposed upon the Egyptian architect by the strange conceptions of a future life which we have described. Why then do we, as a rule, find the serdab only in the mastabas of the Memphite necropolis? Its absence under the Theban princes is, perhaps to be explained by the progress made in the science of embalming. The heads of more than one mummy have now been exhibited in the cases of European museums for many years, and, in spite of the dampness of our climates, they still preserve their skin, their teeth and their hair ([Fig. 126]). When they had learnt the secret of preserving the body from corruption, so that after a long series of centuries it should be pretty much in the same condition as on the day after death, they did not indeed, cease to make those images which were supposed to guard the double from annihilation, but they attached less importance to their safety, and took less trouble to hide them. They considered that they had done enough for their preservation by putting them in the precincts of their tombs and temples, and so under the guardianship of their venerated religion.
As for the other parts of the tomb, a little attention will always suffice for their identification even in those sepulchres which differ most from the mastaba. In some instances we shall find the mummy chamber contrived in the upper structure, in others the whole tomb is cut in the living rock. Sometimes we find the chapel, as we may call the public chamber in which the miraculous nourishment of the double took place, more or less distantly separated from the mummy chamber; sometimes the well almost disappears, sometimes it ceases to be vertical and becomes a long corridor with but a gentle slope. As a rule all these variations are easily explained, and may be connected without difficulty with that primitive type which we have attempted to define by its most wide-spread and constant features.
Fig. 126.—Head of a Mummy. Louvre.
Another method of sepulture was made use of in the Ancient Empire, a method which afterwards came into general use in Egypt, we mean the hypogeum, or subterranean tomb. The Egyptian Commission has described several rock-cut tombs in the neighbourhood of the Pyramids, especially some which face the western slope of the Second Pyramid. Similar tombs are to be found near the pyramid of Mycerinus. Some of these sepulchral grottos declare their extreme antiquity by their imitations of wooden architecture;[174] others by their inscriptions dating from the fourth and fifth dynasties. We shall not dwell long upon these rock-cut tombs. They are generally composed of one or two small sculptured chambers, upon one of which the well opens which leads to the mummy chamber. We shall postpone their study to a later chapter, as the time of the Middle Empire affords us richer and more complete examples of them than the earlier period; but, indeed, the New Empire has left us the most important examples of this kind of sepulchre. We shall here content ourselves with pointing out that the architects of Memphis did not ignore the facilities offered by the easily cut limestone rocks, not only for construction of well and mummy chamber, but also for those open parts of the tomb where the funeral rites and the ceremonies of the Ritual of the Dead were performed. In the whole course of her long vitality Egypt did little more, either in art or religion, than develop, with variations, the themes presented to her by the generations which were ruled by her first six dynasties.