The Egyptians made great use of wood. Under the Ancient Empire it furnished the material for all their lighter constructions, to which, by the help of colour, great variety and cheerfulness was imparted. Even in those early ages the cabinet-maker or joiner endeavoured to make his work artistic. Various articles of furniture had their feet carved into the shape of lions' paws, or the hoofs of oxen.[396] To judge from certain stone objects preserved in the mastabas, wood, which was comparatively easy to work, must have afforded the material for those skilfully-made and complex pieces of furniture whose forms are preserved for us by paintings from the Theban epoch.[397]
In these pictures the labours of the carpenter (Fig. [324]), and those of the cabinet-maker (Fig. [325]) are often represented. The specimens of furniture in our modern museums are mostly of a commonplace character, but they are interesting from the light they throw upon the methods of the Egyptian joiners (Fig. [326]). The richness and elaboration of Egyptian furniture under the great Theban dynasties can only be estimated from the paintings. We have already seen that their musical instruments were elaborately decorated; the harp of the famous minstrel figured on page [345] is entirely covered with incrustations, and its foot is ornamented with a bust of graceful design. In this luxurious age the arts of the cabinet-maker must have been carried to a great height. The interior of an ancient Egyptian house must have been very different from the bareness which greets a visitor to the modern East. Chairs with or without arms, tables of varied form, folding seats, foot-stools, brackets supporting vases of flowers, cabinets in which objects of value were locked up, filled the rooms. The upper classes of Egypt lived a life that was refined and elegant as well as civilized. A great lord of the time of a Thothmes or a Rameses was not content, like a Turkish bey or pacha, with a divan, a few carpets, and a mattress which, after being locked up in a cupboard during the day, is spread upon the floor for his accommodation at night. He had his bedstead, often inlaid with metal or ivory, and, like a modern European, he had other articles of furniture besides.
Fig. 324.—Workman splitting a piece of wood. Gournah. From Champollion.
Fig. 325.—Joiner making a bed. From Champollion.
Several pictures are extant in which Egyptian receptions—Egyptian salons—are represented. The company is not crouched upon the earth, in the modern Oriental fashion. Both men and women are seated upon chairs, some of which have cushioned seats and backs.[398]
Fig. 326.—Coffer for sepulchral statuettes. Louvre.
The elegance of these seats may be guessed from the two examples on the next page, one from the tomb of Rameses III. (Fig. [327]), the other from that of Chamhati (Fig. [328]). They are both royal chairs, or thrones. The smaller chair figures among a number of things presented by Chamhati to his master, Pharaoh, and we need feel no surprise that among the supports of both these pieces of furniture, those crouching prisoners which became about this time such a common motive in Egyptian ornament, are to be found. In the one example, they are incorporated with the carved members which support the seat, in the other they are inserted between the legs, which are shaped respectively like the fore and hind quarters of a lion. Each arm terminates in a lion's head. A crowned, winged, and hawk-headed uræus, some lotus-flowers, and a sphinx with a vanquished enemy beneath his paws, are carved upon either side of the chair. The scheme of decoration as a whole is a happy combination of æsthetic beauty with allusions to the power and success of the king.