CLEOPATRA and CÆSARION (Dendera).
Crowning of CÆSAR AUGUSTUS (Philæ).
Ethiopian matters from MEROE.
This, or a similar selection of representations, as large as the number of wall divisions will allow, carried out in the strictly classical Egyptian style, and with the rich mass of colours of the original, would give, better than anything else could, an idea to the spectator of Egyptian art on a large scale; the matter would present itself for his decision, and their study would assimilate well with the small and single original monuments. For except the graves that we are now taking down, and which offer only the simplest things, no monument is large enough to give an idea of Egyptian temples and wall-paintings in general, in which a grandeur and a power of composition are often to be found, and a feeling for general harmony of arrangement and division of the whole, which will highly astonish the attentive. Such a selection of the most beautiful and most characteristic in large, easily examined pictures, would perhaps, conduce more than anything else, to procure a larger public for Egyptological science, and, at the same time, produce the inestimable advantage of obviating all malicious criticisms of the paintings as modern compositions; for every hasty critic could be referred to the originals, the highly important place of which, in the early history of the human race, cannot be taken from them by any peevish feuilletonist. Each would be told, that he must first study the originals, ere he dare venture on pronouncing upon the faithful copies; for if our young artists of three years’ practice are employed, I am sure that little can be objected to their works with reference to classicality of style. The novelty of the thought, and the large and complete effect, could certainly not fail to produce considerable impression on the learned and unlearned public, and clever men, and above all his Majesty, would at once be satisfied with the arrangement, without thinking of the execution. To this would finally be added the proportionately very unexpensive execution, from the extreme simplicity of the draught and painting, as all the cost of artistical composition has already been borne by the ancient Egyptians themselves.
The painting must begin, according to the Egyptian custom, at a certain height (which is also convenient for our purpose), and must rest upon a high band running underneath, the colour of which must resemble simple wood or stone. The high walls must also be divided into several sections one above another, and in the frieze, the whole series of the Egyptian Pharaohs, or even only their cartouches must be depicted. The ceilings in the ante-chambers could be blue with golden stars, the usual manner of denoting the Egyptian heaven, and in the historical saloons, the long rows of wide-winged vultures, the symbol of victory, with which most of the ceilings of the temples and palaces are ornamented in an incomparably magnificent manner. Finally, a certain profusion of hieroglyphical inscriptions might not be wanting, as they are so intimately connected with all the Egyptian representations, and make a splendid effect in gay colours. For the doors and middle stripes of the ceilings, modern hieroglyphical inscriptions might easily be composed, which would refer, after the ancient Egyptian manner, to the munificence of the king, to the place and time, and to the aim of the buildings. How glorious would be the two Egyptian orders of columns in their simplicity and rich colours in the midst of all!
For the ante-rooms, at last, another idea might be realized. One could here paint on the walls views of the present Egyptian localities, in order to give the person coming in, some idea of the country, and of the condition of the buildings whence the antiquities around him were taken. These views might also be historically arranged, according to the principal place of the different epochs; yet that historical knowledge would here have to be taken for granted, which we are now seeking to diffuse. Therefore a geographical arrangement would probably be the most agreeable to the purpose, and should probably comprehend views of Alexandria, Cairo, the Pyramids of Gizeh, Siut, Benihassan, Abydos, Karnak, Qurna, Cataracts of Assuan, Korusko, Wadi Halfa, Sedeïnga, Semneh, Dongola, Barkal, Meroe, Chartûm, Sennâr, and Sarbut el Châdem, in Arabia Petræa.
Beside all this, there might be a very rich, highly-interesting, and at the same time useful selection of articles and occupations of private life in the other spaces, all copied from the larger originals, by which in an equally inviting as certain manner, the comprehension of the collected antiquities relating to domestic life, can be made more easy in every way.
LETTER XXXVII.
Jaffa.
October 7, 1845.
The taking down the tombs proceeded quickly; but as was to be expected, the transport and embarkment caused our greatest hindrance. Also the exportation of the whole of the monuments required a particular permission from the Viceroy. I set off, consequently, on the 29th August to Alexandria, in order to take leave of Mohammed Ali, and to obtain at the same time an official termination to our mission.