DOI Page / Citation link:
https://doi.org/10.11588/diglit.6247#0090
( 82 )
N°.
570. Bust of Greek workmanship, said to have been found at Memphis, but parian marble.
1 14 inches high,
more probably it was found at Alexandria. 10 inches wide.
It was bought at the sale of Mr. Burton's antiquities in 1836, lot 394.
Probably a bust of Herodotus.
571. Head, in basso-relievo, of a goddess.
The style of work is that of the Roman period in Nubia.
572. Basso-relievo, representing the god Khem, perhaps the an of Scripture, Nubian sandstone.
the father of the African race, in the attitude peculiar to that gSS^
Egyptian god.
See stamped leather band, No. 526.
Behind this figure is that of a woman wearing the crown of Lower Egypt, but styled lady of
the two regions, probably the goddess Neith.
The style of the work is that practised in Nubia under the Roman emperors.
Nubian sandstone.
8 inches high,
5i wide.
573. Group, representing husband and wife sitting together in the prescribed
attitude of conjugal affection, the right arm of the woman placed on
the shoulder of the man, to signify her dependence on her husband.
The proportions of the figures and the expression of the countenances are remarkably agree-
able. To the quality of the stone in this instance is mainly to be attributed the perfect
condition of the colours with which this group is adorned. The positive red colour which
the ancient Egyptians always chose for the complexion of their own race may not impro-
bably be derived by this ancient people from some tradition respecting the complexion of
the first man, whose name signifies to be red or ruddy.
The hieroglyphics on the plinth and sides of the seat are in perfect preservation, but the legends
down the front of both figures, which undoubtedly contained the names of the persons
represented, have been anciently and purposely defaced. This circumstance is by no means
uncommon, although the act must have been considered a crime of no ordinary magnitude;
for if there were one idea more prominent in the ancient Egyptian mind than another, it
was the idea of transmitting to the latest posterity the memory of their existence. It is,
perhaps, to tthis all-prevailing idea in the section of the human family from which the
ancient Egyptians were directly descended, that is to be attributed that characteristic feature
of solidity and endurance peculiar to Egyptian architecture, and to Egyptian works of art
in general. The pyramids of Giza, those largest and most ancient structures in the world,
were clearly designed, with the same intention as that which, it is recorded, influenced the
builders of the Tower of Babel—" to make " to themselves " a name.'1
The style of the work is that of the 18th dynasty.
Sandstone of
Nubia.
18 inches, high,
22 inches wide.
N°.
570. Bust of Greek workmanship, said to have been found at Memphis, but parian marble.
1 14 inches high,
more probably it was found at Alexandria. 10 inches wide.
It was bought at the sale of Mr. Burton's antiquities in 1836, lot 394.
Probably a bust of Herodotus.
571. Head, in basso-relievo, of a goddess.
The style of work is that of the Roman period in Nubia.
572. Basso-relievo, representing the god Khem, perhaps the an of Scripture, Nubian sandstone.
the father of the African race, in the attitude peculiar to that gSS^
Egyptian god.
See stamped leather band, No. 526.
Behind this figure is that of a woman wearing the crown of Lower Egypt, but styled lady of
the two regions, probably the goddess Neith.
The style of the work is that practised in Nubia under the Roman emperors.
Nubian sandstone.
8 inches high,
5i wide.
573. Group, representing husband and wife sitting together in the prescribed
attitude of conjugal affection, the right arm of the woman placed on
the shoulder of the man, to signify her dependence on her husband.
The proportions of the figures and the expression of the countenances are remarkably agree-
able. To the quality of the stone in this instance is mainly to be attributed the perfect
condition of the colours with which this group is adorned. The positive red colour which
the ancient Egyptians always chose for the complexion of their own race may not impro-
bably be derived by this ancient people from some tradition respecting the complexion of
the first man, whose name signifies to be red or ruddy.
The hieroglyphics on the plinth and sides of the seat are in perfect preservation, but the legends
down the front of both figures, which undoubtedly contained the names of the persons
represented, have been anciently and purposely defaced. This circumstance is by no means
uncommon, although the act must have been considered a crime of no ordinary magnitude;
for if there were one idea more prominent in the ancient Egyptian mind than another, it
was the idea of transmitting to the latest posterity the memory of their existence. It is,
perhaps, to tthis all-prevailing idea in the section of the human family from which the
ancient Egyptians were directly descended, that is to be attributed that characteristic feature
of solidity and endurance peculiar to Egyptian architecture, and to Egyptian works of art
in general. The pyramids of Giza, those largest and most ancient structures in the world,
were clearly designed, with the same intention as that which, it is recorded, influenced the
builders of the Tower of Babel—" to make " to themselves " a name.'1
The style of the work is that of the 18th dynasty.
Sandstone of
Nubia.
18 inches, high,
22 inches wide.