CATACOMBS OF KOM ES CHOGAFA.
Through the turnstile (5 piastres) is modern asphalt laid down to preserve the subterraneans from wet. Left, four fine sarcophagi of purplish granite. Above, the original level of the hill, which has been cut down by quarrying and excavations; in its slopes are some cemented passages, antique but uninteresting. On the top of the hill, a mosaic of black and white stones, much broken away. The entrance to the catacombs is down the larger of the two glassed well-shafts.
The Catacombs of Kom es Chogafa (“Hill of Tiles”) are the most important in the city and unique anywhere: nothing quite like them has been discovered. They are unique both for their plan and for their decorations which so curiously blend classical and Egyptian designs; only in Alexandria could such a blend occur. Their size, their picturesque vistas, their eerie sculptures, are most impressive, especially on a first visit. Afterwards their spell fades for they are odd rather than beautiful, and they express religiosity rather than religion. Date—about the 2nd cent., A.D. when the old faiths began to merge and melt. Name of occupants—unknown. There is a theory that they began as a family vault which was developed by a burial syndicate. They were only discovered in 1900.
The scheme should be grasped before descending; there are three stories, the lowest is under water. (See Plan p. [148]).
Kom es Chogafa - Plan of Chief Chambers
First Story .............
Second Story _________
A Well Staircase
B Vestibule
C Rotunda
D Banquet Hall
E Staircase
F Vestibule
G i ii iii Central Tomb
H Passage
I Tomb Chamber
J Gallery
K Square Well
L Hall of Caracalla
M Gallery of Painted Tomb
The Staircase (A) is lit from a well, down which the dead bodies were lowered by ropes.—It ends at the Vestibule (B). Here are two semi-circular niches, each fitted with a bench and elegantly vaulted with a shell—a classical motive unknown to the art of ancient Egypt. Close by is the Rotunda (C): in its centre is a well, upon whose parapet stand 8 pillars, supporting a domed roof. A circular passage runs round the well.—Left from the Rotunda is the Banquet Hall (D), where the friends and relatives ate ceremonially in memory of the dead. It is a gloomy scene. Here, cut out of the limestone, are the three couches where they reclined upon mattresses; the table in the middle has disappeared; it was probably of wood. Pillars support the roof.—From the Rotunda a Staircase (E) goes down to the second story; the amazing Central Tomb is now revealed; weird effects can be got by adjusting the electric lights. The Staircase is roofed by a shell ornament; half-way down, it divides on each side a thing that looks like a prompter’s box; this masks yet another staircase that descends to the third story, now under water.
THE CENTRAL TOMB.
In the Vestibule (F) the Egyptian note predominates. In front, two fine columns with ornate capitals and two pilaster with square papyrus capitals—the four supporting a cornice adorned with the winged Sun (Ra), and guardian falcons. Inside the Vestibule, to right and left, are white limestone statues of a man and woman—the proprietor and his wife, perhaps. On the further wall the religious and artistic confusion increases. Two terrific bearded serpents guard the entrance to the Tomb Chamber, and each not only enfolds the pine-cone of Dionysus and the serpent-wand of Hermes, but also wears the double crown of Upper and Lower Egypt. Above each serpent is a Medusa in a round shield. Over the lintel of the inner door is the winged Sun and a frieze of snakes.
The Tomb Chamber (G) contains three large sarcophagi, all cut out of the rock. They are classical in style—decorated with festoons of fruit or flowers, Medusa Heads, Ox skulls, &c. The lids do not take off; the mummies would have been pushed in from the passage behind (see below). But as a matter of fact none of three sarcophagi have ever been occupied; it is part of the queerness of Kom es Chogafa that its vast and elaborate apparatus for mourning should culminate in a void.