DOI Page / Citation link:
https://doi.org/10.11588/diglit.4860#0079
The yield of
the marshes
Fishing from
the shore
Fishing from
boats
TWO RAMESSIDE TOMBS
of view is assumed that all objects are seen against a broad expanse of
water, and this, being treated as a light blue surface with angular black
ripples, has a very decorative effect, making a strong contrast with the
gold ground of the land scenes above it. It is, in effect, the extension to
a narrow strip of water of the treatment accorded under the old regime
to broader sheets when rites were being performed upon them.1
On the north wall (Plate XXXVII) a commonplace scene has been
made fresh by a novel style and coloring, and by the introduction of
trees, drawn with the increased naturalism of the later period, when a
greater love of nature was abroad or art was made to harmonize better
with perceived truth. The drawing in of the seine is depicted in the
center of the picture. Though there is no great vigor in the action, the
monotony of the design is broken by the juxtaposition of a solemn
old man and a vivacious young fellow with a shock-head of hair, by the
turning of heads in lively encouragement or reproach, and by the figure
of the naked boy who seizes the fish one by one, as the net emerges
from the water. The fish are pitched into a heap,2 and men and women
pack them in bags and carry them off to where "the fisherman Nia"
and a comrade sit, cleaning them on sloping boards. Three varieties of
trees are shown, whether with accurate portrayal or no does not matter,
for their spreading and supple branches, their hacked trunks, and their
sparse or thick foliage are rendered with such a happy blending of arti-
ficiality and truth that they could scarcely be bettered. Two of them,
with willow-like leaves, bear green pods (black at a later stage), like
those of the mimosa. A tree with similar leaf, but without fruit (perhaps
a tamarisk), has been given a light bluish green foliage which well re-
flects the subdued verdancy of a torrid land (Plate XXXIX).3
On the east wall the same incident is repeated (Plate XXX), but
in this case, the net is gathered in from two boats, which are drawn to-
'E.g., in Tombs 5i (PI. XVI), 87, 100.
2 The artist, being baffled by the thought of the wriggling mass, left it looking like a pale blue sack on the
ground.
3 The end of the scene, torn from the wall when the breach was made in it (p. 35), was found by me in
pieces, lying face down in the last inch of dirt (PI. XL, 3).
60
the marshes
Fishing from
the shore
Fishing from
boats
TWO RAMESSIDE TOMBS
of view is assumed that all objects are seen against a broad expanse of
water, and this, being treated as a light blue surface with angular black
ripples, has a very decorative effect, making a strong contrast with the
gold ground of the land scenes above it. It is, in effect, the extension to
a narrow strip of water of the treatment accorded under the old regime
to broader sheets when rites were being performed upon them.1
On the north wall (Plate XXXVII) a commonplace scene has been
made fresh by a novel style and coloring, and by the introduction of
trees, drawn with the increased naturalism of the later period, when a
greater love of nature was abroad or art was made to harmonize better
with perceived truth. The drawing in of the seine is depicted in the
center of the picture. Though there is no great vigor in the action, the
monotony of the design is broken by the juxtaposition of a solemn
old man and a vivacious young fellow with a shock-head of hair, by the
turning of heads in lively encouragement or reproach, and by the figure
of the naked boy who seizes the fish one by one, as the net emerges
from the water. The fish are pitched into a heap,2 and men and women
pack them in bags and carry them off to where "the fisherman Nia"
and a comrade sit, cleaning them on sloping boards. Three varieties of
trees are shown, whether with accurate portrayal or no does not matter,
for their spreading and supple branches, their hacked trunks, and their
sparse or thick foliage are rendered with such a happy blending of arti-
ficiality and truth that they could scarcely be bettered. Two of them,
with willow-like leaves, bear green pods (black at a later stage), like
those of the mimosa. A tree with similar leaf, but without fruit (perhaps
a tamarisk), has been given a light bluish green foliage which well re-
flects the subdued verdancy of a torrid land (Plate XXXIX).3
On the east wall the same incident is repeated (Plate XXX), but
in this case, the net is gathered in from two boats, which are drawn to-
'E.g., in Tombs 5i (PI. XVI), 87, 100.
2 The artist, being baffled by the thought of the wriggling mass, left it looking like a pale blue sack on the
ground.
3 The end of the scene, torn from the wall when the breach was made in it (p. 35), was found by me in
pieces, lying face down in the last inch of dirt (PI. XL, 3).
60