About half a mile north of El Gourni, are the magnificent, stupendous sepulchres, of Thebes. The mountains of the Thebaid come close behind the town; they are not run in upon one another like ridges, but stand insulated upon their bases; so that you can get round each of them. A hundred of these, it is said, are excavated into sepulchral, and a variety of other apartments. I went through seven of them with a great deal of fatigue. It is a solitary place; and my guides, either from a natural impatience and distaste that these people have at such employments, or, that their fears of the banditti that live in the caverns of the mountains were real, importuned me to return to the boat, even before I had begun my search, or got into the mountains where are the many large apartments of which I was in quest.
In the first one of these I entered is the prodigious sarcophagus, some say of Menes, others of Osimandyas; possibly of neither. It is sixteen feet high, ten long, and six broad, of one piece of red-granite; and, as such, is, I suppose, the finest vase in the world. Its cover is still upon it, (broken on one side,) and it has a figure in relief on the outside. It is not probably the tomb of Osimandyas, because, Diodorus[120] says, that it was ten stadia from the tomb of the kings; whereas this is one among them.
There have been some ornaments at the outer-pillars, or outer-entry, which have been broken and thrown down. Thence you descend through an inclined passage, I suppose, about twenty feet broad; I speak only by guess, for I did not measure. The side-walls, as well as the roof of this passage, are covered with a coat of stucco, of a finer and more equal grain, or surface, than any I ever saw in Europe. I found my black-lead pencil little more worn by it than by writing upon paper.
Upon the left-hand side is the crocodile seizing upon the apis, and plunging him into the water. On the right-hand is the [121]scarabæus thebaicus, or the thebaic beetle, the first animal that is seen alive after the Nile retires from the land; and therefore thought to be an emblem of the resurrection. My own conjecture is, that the apis was the emblem of the arable land of Egypt; the crocodile, the typhon, or cacodæmon, the type of an over-abundant Nile; that the scarabæus was the land which had been overflowed, and from which the water had soon retired, and has nothing to do with the resurrection or immortality, neither of which at that time were in contemplation.
Farther forward on the right-hand of the entry, the pannels, or compartments, were still formed in stucco, but, in place of figures in relief, they were painted in fresco. I dare say this was the case on the left-hand of the passage, as well as the right. But the first discovery was so unexpected, and I had flattered myself that I should be so far master of my own time, as to see the whole at my leisure, that I was rivetted, as it were, to the spot by the first sight of these paintings, and I could proceed no further.
In one pannel were several musical instruments strowed upon the ground, chiefly of the hautboy kind, with a mouth-piece of reed. There were also some simple pipes or flutes. With them were several jars apparently of potter-ware, which, having their mouths covered with parchment or skin, and being braced on their sides like a drum, were probably the instrument called the tabor, or[122]tabret, beat upon by the hands, coupled in earliest ages with the harp, and preserved still in Abyssinia, though its companion, the last-mentioned instrument, is no longer known there.
In three following pannels were painted, in fresco, three harps, which merited the utmost attention, whether we consider the elegance of these instruments in their form, and the detail of their parts as they are here clearly expressed, or confine ourselves to the reflection that necessarily follows, to how great perfection music must have arrived, before an artist could have produced so complete an instrument as either of these.
As the first harp seemed to be the most perfect, and least spoiled, I immediately attached myself to this, and desired my clerk to take upon him the charge of the second. In this way, by sketching exactly, and loosely, I hoped to have made myself master of all the paintings in that cave, perhaps to have extended my researches to others, though, in the sequel, I found myself miserably deceived.
My first drawing was that of a man playing upon a harp; he was standing, and the instrument being broad, and flat at the base, probably for that purpose, supported itself easily with a very little inclination upon his arm; his head is close shaved, his eye-brows black, without beard or mustachoes. He has on him a loose shirt, like what they wear at this day in Nubia (only it is not blue) with loose sleeves, and arms and neck bare. It seemed to be thick muslin, or cotton cloth, and long-ways through it is a crimson stripe about one-eighth of an inch broad; a proof, if this is Egyptian manufacture, that they understood at that time how to dye cotton, crimson, an art found out in Britain only a very few years ago. If this is the fabric of India, still it proves the antiquity of the commerce between the two countries, and the introduction of Indian manufactures into Egypt.
