DOI Page / Citation link:
https://doi.org/10.11588/diglit.3350#0015
THE BRICKWORK
S
147 x 7"8 x 4-8
14-9 pi 5-3
15-6 7'3 $2
166 7-9 4-8
166 ? S ?
i6'o J70
\8'2
i6'2 7'6
16-8-1
i8-oi
8-0
?
5-4
17-0 8-5 5-6
i7'i 8'3 S'2
17-2 8'6 5-2
I7-4
17-5
175
17-6
17-5
i7'6
17-8
17-9
17-9
17-9
17-9
i8t
l8'2
8-4
8-2
8-4
8-5
9'1
8-4
8-s
8-4
87
8-8
8-9
9'1
89
5'3
5-4
5-2
5-i
6-o
57
4'5
5-6
5-o
Enclosure S. of old broadway.
North berm in fosse.
S.W. walls below tower (?).
Passage hall N. of Great Court.
Gate filling S. of old broadway.
W. side of old broadway, very fine
brick and joints.
E. of same. PI. XIII base.
E. of same, low.
Gate filling S. of old broadway.
East wall of Great Court, low.
Block across new broadway, late.
Kitchen.
Pit sides below S.W. tower, low.
Pit sides at E.N.E. corner, low.
N. wall inserted in same, low.
N. wall of Great Court, low.
Top E. wall of mandara, late.
W. wall of Great Court, low.
S. wall of Great Court.
N. wall of N.E. hall.
W. wall of Armour hall.
Building S. of palace, at A.
S. face of palace.
Pit side, W, in E.N.E. corner.
We can distinguish some parts as being probably
contemporary by the sizes of the bricks, such as the
I7'9 x 8-9 and the i8'i x 9'I ; and this gives some
presumption of relative age. But it is clear that the
same size might recur later, such as I7'6 x 8'4, which
must be far later than the other 17-5—17-9 bricks.
CHAPTER II
THE SCULPTURED PYLON.
11. Quite independently of the work on the
Apries palace a discovery of a different age was
made there, in the course of beginning part of the
clearance. At a much lower level, in the west end
of the fosse, heaps of some dozens of blocks of
limestone were found, each with one face sculptured.
They had evidently belonged to a large pylon,
intentionally taken down. It had been about 22 feet
high below its lintel, and 7 feet wide on each side.
Most of this has been recovered, and is shewn as a
whole in PI. IX, with the separate scenes in Pis. Ill
to VIII. In these plates I have drawn every part
which could be completed by copying from similar
figures and scenes of the pylon, all such restorations
being shewn by broken lines; but no mere guess
has been inserted as to the position of any part or
the existence of any figure. This completion of the
features that are certain is needful in order to see
the amount of uncertainty as to missing parts. The
drawings were all made on full-sized impressions,
and then reduced by photo-lithography. Mr. Griggs'
success in PI. IX is noteworthy.
12. The dating of this pylon is not fixed by any
inscription, and depends wholly on the style. The
judgment of style needs an intimate sense of the
work of each period, which can only come from
frequent drawing of absolute facsimiles. No man
knows form who has not drawn it, just as no man
knows colour who has not painted it. The drawing
of some two dozen square yards of this sculpture
has impressed me with the hopelessness of copying
the full delicacy of the outline, and that inimitable
quality is never found after the Xllth dynasty.
When the copyist is saturated with the quality of
the early work, all later styles of the XVIIIth or
XXVIth dynasties seem coarse and easy ; and the
XlXth or Ptolemaic work merely invites improve-
ment at every turn, and can scarcely be made worse.
What the actual refinements of the work are can
be seen in the photographs given in PI. II. The
faint low relief of the king's head, full of almost
imperceptible surface modelling, is finer than in any
later work ; and the controlled grace and dignity of
the profile are full of life. See also the fine work and
proportions of the hieroglyphs in figs. 3, 7. Note the
vigorous figure of a hawk, 5, which is of the same
work, and was found along with the pylon scenes,
though not actually joining them. Then compare
the poverty and stiffness of the hawk, 4, of the
XXVIth dynasty, also from the palace, but of the
work of Apries. As a question of artistic quality
alone, this work of the pylon could not be put after
the Xllth dynasty. We may note that in PI. II,
fig. 1 is drawn on PI. Ill, 2 on PL VI, 3 on PI. VII,
6 on PI. IV, and 7 on PL III.
On comparing this with earlier work, we do not
see here the noble boldness and directness of the Old
Kingdom. But an exact parallel to the very low and
delicate relief is seen in the temple scene of Amen-
emhat I, found at Koptos. Further, a parallel to the
nature and arrangement of these scenes is found in
the scene of Sankh-ka-ra from Elephantine (Recueil,
XXXI, 64), though that is coarser in execution. And
S
147 x 7"8 x 4-8
14-9 pi 5-3
15-6 7'3 $2
166 7-9 4-8
166 ? S ?
i6'o J70
\8'2
i6'2 7'6
16-8-1
i8-oi
8-0
?
5-4
17-0 8-5 5-6
i7'i 8'3 S'2
17-2 8'6 5-2
I7-4
17-5
175
17-6
17-5
i7'6
17-8
17-9
17-9
17-9
17-9
i8t
l8'2
8-4
8-2
8-4
8-5
9'1
8-4
8-s
8-4
87
8-8
8-9
9'1
89
5'3
5-4
5-2
5-i
6-o
57
4'5
5-6
5-o
Enclosure S. of old broadway.
North berm in fosse.
S.W. walls below tower (?).
Passage hall N. of Great Court.
Gate filling S. of old broadway.
W. side of old broadway, very fine
brick and joints.
E. of same. PI. XIII base.
E. of same, low.
Gate filling S. of old broadway.
East wall of Great Court, low.
Block across new broadway, late.
Kitchen.
Pit sides below S.W. tower, low.
Pit sides at E.N.E. corner, low.
N. wall inserted in same, low.
N. wall of Great Court, low.
Top E. wall of mandara, late.
W. wall of Great Court, low.
S. wall of Great Court.
N. wall of N.E. hall.
W. wall of Armour hall.
Building S. of palace, at A.
S. face of palace.
Pit side, W, in E.N.E. corner.
We can distinguish some parts as being probably
contemporary by the sizes of the bricks, such as the
I7'9 x 8-9 and the i8'i x 9'I ; and this gives some
presumption of relative age. But it is clear that the
same size might recur later, such as I7'6 x 8'4, which
must be far later than the other 17-5—17-9 bricks.
CHAPTER II
THE SCULPTURED PYLON.
11. Quite independently of the work on the
Apries palace a discovery of a different age was
made there, in the course of beginning part of the
clearance. At a much lower level, in the west end
of the fosse, heaps of some dozens of blocks of
limestone were found, each with one face sculptured.
They had evidently belonged to a large pylon,
intentionally taken down. It had been about 22 feet
high below its lintel, and 7 feet wide on each side.
Most of this has been recovered, and is shewn as a
whole in PI. IX, with the separate scenes in Pis. Ill
to VIII. In these plates I have drawn every part
which could be completed by copying from similar
figures and scenes of the pylon, all such restorations
being shewn by broken lines; but no mere guess
has been inserted as to the position of any part or
the existence of any figure. This completion of the
features that are certain is needful in order to see
the amount of uncertainty as to missing parts. The
drawings were all made on full-sized impressions,
and then reduced by photo-lithography. Mr. Griggs'
success in PI. IX is noteworthy.
12. The dating of this pylon is not fixed by any
inscription, and depends wholly on the style. The
judgment of style needs an intimate sense of the
work of each period, which can only come from
frequent drawing of absolute facsimiles. No man
knows form who has not drawn it, just as no man
knows colour who has not painted it. The drawing
of some two dozen square yards of this sculpture
has impressed me with the hopelessness of copying
the full delicacy of the outline, and that inimitable
quality is never found after the Xllth dynasty.
When the copyist is saturated with the quality of
the early work, all later styles of the XVIIIth or
XXVIth dynasties seem coarse and easy ; and the
XlXth or Ptolemaic work merely invites improve-
ment at every turn, and can scarcely be made worse.
What the actual refinements of the work are can
be seen in the photographs given in PI. II. The
faint low relief of the king's head, full of almost
imperceptible surface modelling, is finer than in any
later work ; and the controlled grace and dignity of
the profile are full of life. See also the fine work and
proportions of the hieroglyphs in figs. 3, 7. Note the
vigorous figure of a hawk, 5, which is of the same
work, and was found along with the pylon scenes,
though not actually joining them. Then compare
the poverty and stiffness of the hawk, 4, of the
XXVIth dynasty, also from the palace, but of the
work of Apries. As a question of artistic quality
alone, this work of the pylon could not be put after
the Xllth dynasty. We may note that in PI. II,
fig. 1 is drawn on PI. Ill, 2 on PL VI, 3 on PI. VII,
6 on PI. IV, and 7 on PL III.
On comparing this with earlier work, we do not
see here the noble boldness and directness of the Old
Kingdom. But an exact parallel to the very low and
delicate relief is seen in the temple scene of Amen-
emhat I, found at Koptos. Further, a parallel to the
nature and arrangement of these scenes is found in
the scene of Sankh-ka-ra from Elephantine (Recueil,
XXXI, 64), though that is coarser in execution. And