DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.4372#0176
160
leg, arm-chairs, chests, baskets, mats, slippers, water-jars, and
a very beautiful tiger's skin *.
In the next are different dresses with masks : as those of a
hawk and lioness, with large hoods to cover the neck; caps,
breastplates, scimitars, daggers in their cases, quivers, spears,
whips, maces, arrows, &c. &c.; two suits of armour, and several
coats of mail: also mystical animals; as an ibis, hawk, and fox,
each borne on a pole. These were probably portraits of objects
kept for religious processions and ceremonies; and the resemblance
between the dresses with hoods and those worn by the deities in
other groups on the walls of Egyptian monuments, gives great
room for supposing that all the monstrous appearances of deities
are only intended to represent their statues as thus marked-j-.
In another is a procession of people carrying fruits, flowers,
and animals; among which are wild geese, quails, and fish, as
if for a feast. The bearers have a fillet of lotus-stalks bound
round their temples. In another chamber are seen the most
common details of cooking meat and baking bread. A large
cauldron is on the fire, into which one is plunging a long crooked
fork, while another is adding fuel underneath. The head, heart
and leg of an ox are seen lying together; others are bringing
sheep and oxen to be slaughtered ; others jars ; one is hastening
with a tray of loaves to the oven. In another room are six large
boats in full sail. The linen sails arc of beautifully variegated
* From these paintings are taken a large part of the designs for Egyptian furniture
now so much sought after in London and Paris.
t Herodotus and Diodorus give different reasons for placing the skin of the ram's
head on the statue of the Ammonian Jupiter, or the Theban Osiris. It is equally diffi-
cult to explain the other disguises, under which the statues of the Egyptian gods were
exposed to view; but the important nature and peculiar sanctity of such masks are
amply exemplified by the Greek inscription on the Rosctta Stone: for which see
Appendix.
colours,
leg, arm-chairs, chests, baskets, mats, slippers, water-jars, and
a very beautiful tiger's skin *.
In the next are different dresses with masks : as those of a
hawk and lioness, with large hoods to cover the neck; caps,
breastplates, scimitars, daggers in their cases, quivers, spears,
whips, maces, arrows, &c. &c.; two suits of armour, and several
coats of mail: also mystical animals; as an ibis, hawk, and fox,
each borne on a pole. These were probably portraits of objects
kept for religious processions and ceremonies; and the resemblance
between the dresses with hoods and those worn by the deities in
other groups on the walls of Egyptian monuments, gives great
room for supposing that all the monstrous appearances of deities
are only intended to represent their statues as thus marked-j-.
In another is a procession of people carrying fruits, flowers,
and animals; among which are wild geese, quails, and fish, as
if for a feast. The bearers have a fillet of lotus-stalks bound
round their temples. In another chamber are seen the most
common details of cooking meat and baking bread. A large
cauldron is on the fire, into which one is plunging a long crooked
fork, while another is adding fuel underneath. The head, heart
and leg of an ox are seen lying together; others are bringing
sheep and oxen to be slaughtered ; others jars ; one is hastening
with a tray of loaves to the oven. In another room are six large
boats in full sail. The linen sails arc of beautifully variegated
* From these paintings are taken a large part of the designs for Egyptian furniture
now so much sought after in London and Paris.
t Herodotus and Diodorus give different reasons for placing the skin of the ram's
head on the statue of the Ammonian Jupiter, or the Theban Osiris. It is equally diffi-
cult to explain the other disguises, under which the statues of the Egyptian gods were
exposed to view; but the important nature and peculiar sanctity of such masks are
amply exemplified by the Greek inscription on the Rosctta Stone: for which see
Appendix.
colours,