A History of Art in Ancient Egypt Volume II Part 10

The papyrus belongs to the family of _Cyperaceae_, which is still represented in Egypt by several species, but the famous plant which received the early writings of mankind, the _Papyrus antiquorum_ of the botanist, has also practically disappeared from Egypt, where it is only to be found in a few private gardens. The ancients made it an object of special care. It was cultivated in the Sebennitic nome, its roots being grown in shallow water. Strabo gave a sufficiently accurate idea of its appearance when he described it as a "peeled wand surmounted by a plume of feathers."[112] This green plume or bouquet is by no means without elegance (Fig. 98). According to Theophrastus the plant attained to a height of ten cubits, or about sixteen feet.[113] This may, however, be an exaggeration. The finest plants that I could find in the gardens of Alexandria did not reach ten feet.

Their stems were as thick as a stout broom-handle and sharply triangular in section.

[112] STRABO, xvii. 1, 15.

[113] Strabo only speaks of ten feet, which would agree better with modern experience.

The reed-brakes which occur so frequently in the paintings consist of different varieties of the papyrus (Fig. 8, Vol. I.). The uses to which the plant could be put were very numerous. The root was used for fuel and other purposes. The lower part of the stalk furnished a sweet and aromatic food substance, which was chewed either raw or boiled, for the sake of the juice.[114] Veils, mats, sandals, &c., were made from the bark; candle and torch wicks from the bark; baskets and even boats from the stalk.[115] As for the processes by which the precious fabric which the Greeks called ???? was obtained they will be found fully described in the paper of Dureau de-la-Malle _Sur le Papyrus et la Fabrication du Papier_.[116] Our word _paper_ is derived from _papyrus_, and forms a slight but everlasting monument to the great services rendered to civilization by the inventive genius of the Egyptians. The importation of the papyrus, which followed the establishment of direct relations between Greece and Egypt in the time of the Sait princes,[117] exercised the greatest influence upon the development of Greek thought. It created prose composition, and with it history, philosophy, and science.

[114] DIODORUS, i. 80.

[115] PIERRET, _Dictionnaire d'Archeologie egyptienne_, see _Papyrus_. Upon the different varieties of papyrus, see also WILKINSON, vol. ii. p. 121; pp. 179-189; and EBERS, _aegypten_, pp. 126, 127.

[116] _Memoires de l'Academie des Inscriptions_, vol. xix. p.

140, with one plate.

[117] EGGER, _Des Origines de la Prose dans la Litterature Grecque_. (_Memoires de Litterature Ancienne_, xi.)

The two plants which we have mentioned were so specially reverenced by the Egyptians that they const.i.tuted them severally into the signs by which the two great divisions of the country were indicated in their writings. The _papyrus_ was the emblem of the Delta, in whose lazy waters it luxuriated, and the lotus that of the Thebad.[118]

[118] MASPERO, _Histoire Ancienne_, p. 8.

Besides this testimony to their importance, the careful descriptions left by the ancient travellers in Egypt, Herodotus and Strabo, also show the estimation in which these two plants were held by the Egyptians; the palm alone could contest their well-earned supremacy.

It is easy, then, to understand how the artist and ornamentist were led to make use of their graceful forms. We have already pointed out many instances of such employment, and we are far from underrating its importance, but we have yet to explain the method followed, and the kind and degree of imitation which the Egyptian artist allowed himself.

The lotus especially has been found everywhere by writers upon Egypt.[119] The pointed leaves painted upon the lower parts of columns have been recognized as imitations of "those scaly leaves which surround the point where the stem of the lotus, the papyrus, and many other aquatic plants, merges in the root." According to this theory the ligneous stem which rises from a depth beneath the water of, perhaps, six feet, and carries the large open flower at its top, was the prototype of the Egyptian column. The bulbous form with which so many shafts are endowed at the base, would be another feature taken directly from nature. The leaves, properly speaking, which spread around the flower, are found about and below the capital, while the capital itself is nothing else, we are told, than the flower, sometimes fully opened, sometimes while yet in the bud. When the shaft is smooth it represents a single stem, when it is grooved, it means a f.a.ggot of stems tied together by a cord.

[119] _Description de l'egypte_; _Hist. Naturelle_, vol. ii. p.

311. _Antiquites_, vol. i. _Description generale de Thebes_, p.

133: "Who can doubt that they wished to imitate the lotus in its entirety? The shaft of the column is the stem, the capital the flower, and, still more obviously, the lower part of the column seems to us an exact representation of that of the lotus and of plants in general."

[Ill.u.s.tration: FIG. 98.--Papyrus plant, drawn in the gardens of the Luxembourg, Paris, by M. Saint-Elme Gautier.]

Others make similar claims for the papyrus. They refuse to admit that the whole of the Egyptian orders were founded upon the lotus. Mariette allowed that the capitals which we have called lotiform were copied from that plant, but he contended that the bell-shaped capital was freely copied from the plume of its rival. He proposed that this latter capital should be called _papyriform_, and to my objections, which were founded upon the composition of a head of papyrus, he answered that the Egyptians neglected what may be called internal details, and were contented with rendering the outward contours. In support of his idea, he called attention to the fact that some of the f.a.ggot-shaped columns present triangular sections, like that of the papyrus stem.

In spite of this latter fact, Mariette did not convert me to his opinion. The columns in which this triangular section is found are not crowned by an open flower. The profiles of their capitals resemble that of a truncated bud, a form which cannot possibly be obtained from the papyrus, and they seem, therefore, to combine characteristics taken from two different plants. His explanation of the campaniform capital seems still less admissable. It is impossible to allow that in the tuft of slender filaments gracefully yielding to the wind, which is figured on page 127, we have the prototype of those inverted bells of stone, whose uninterrupted contours express so much strength and amplitude. No less difficult is it to discover the first idea of those st.u.r.dy shafts which seem so well proportioned to the mighty architraves which they have to support, in the slender stalk of the famous water plant. The hypostyle halls may be compared to palm groves, to forests of pine, of oak, or of beech. In such a comparison there would be nothing surprising, but the papyrus, with its attenuated proportions and yielding frame, would seem to be, of all vegetables, the least likely to have inspired the architects of Karnak and Luxor.

The lotus seems to us to have no more right than the papyrus to be considered the unique origin of the forms which we are considering.

All those resemblances, of which so much has been made, sink to very little when they are closely examined. It requires more than good will to recognize the formless _folioles_ which cl.u.s.ter round the base of the stalk in those large and well-shaped triangular leaves with parallel ribs, which decorate the bases of Egyptian columns. Moreover, these leaves reappear in other places, such as capitals, in which, if this explanation of their origin is to be accepted, they could have no place. They frequently occur, also, at the foot of a wall. As for the true circular leaf of the lotus, it is not to be found, except, perhaps in a few Ptolemaic capitals. Its stem, concealed almost entirely by the muddy water, is very slender, and is hardly more suggestive than that of the papyrus of a ma.s.sive stone column. The bulbous form of the lower part of the shaft would be a constant form if it were an imitation of nature, whereas it is, in fact, exceptional. With the capitals, however, it is different. Those which are to be found at Thebes are referred, by common consent, to the lotus-bud. And yet, perhaps, they resemble any other bud as much as that of the lotus. It is, however, when they are fully open, that one flower is easily distinguishable from another by the shape and number of their petals, as well as by the variety of their colours. Like babies in their cradles, unopened buds are strangely alike. But seeing the place occupied by the lotus in the minds of the Egyptians, in their wooden architecture and painted decorations, it is natural enough to believe that it gave them their first hint for the capital in question; we have, therefore, not hesitated to use the epithet lotiform which has been consecrated to it by custom.

As for the campaniform capital we find it difficult to allow that it represents the open flower of the lotus. From a certain distance it no doubt resembles the general lines of some flowers, but those belong to the family of the _Campanulaceae_ rather than to that of the nymphaeaceae. The profile of this inverted bell, however, does not seem to have been suggested by the wish to imitate any flower whatever, least of all that of the lotus. The capitals at Soleb and Sesebi (Figs. 82 and 93) embody careful imitations of, at least, the general shapes and curves of date-tree branches. Here there is nothing of the kind. There is not the slightest indication of the elongated and crowded petals of the lotus. Both at Karnak and at the Ramesseum, the latter may be easily recognised among the stalks of papyrus and other freely imitated flowers, but _upon_ the columns and not in their shapes. Both base and capital were ornamented with leaves and flowers.

Their contours have been gently indicated with a pointed instrument and then filled in with brilliant colours, which help to relieve them from their ground. The whole decoration is superficial; it is not embodied in the column and has no effect upon its general form and character.

The following explanation of the resemblances which do undoubtedly exist between certain details of Egyptian architecture and the forms of some of the national plants, is the most probable. The stalks of the lotus and the papyrus are too weak and slender ever to have been used as supports by themselves, but it is quite possible that on _fete_ days, they were used to decorate pillars and posts of more substantial construction, being bound round them like the outer sticks of a f.a.ggot. This fas.h.i.+on has its modern ill.u.s.tration in the Italian habit of draping the columns of a church with cloth or velvet on special occasions, and in the French custom of draping houses with garlands and white cloth for the procession of the _Fete Dieu_.

The river and the ca.n.a.ls of Egypt offered all the elements for such a decoration. The lotus and papyrus stems would be attached to the column which they decorated, at the top and bottom. The leaves at the roots would lie about its base, those round the flower and the flower itself would droop gracefully beneath the architrave, would embrace and enlarge the capital when it existed, or supply its place when there was none. The eyes of a people with so keen a perception of beauty as the Egyptians could not be insensible to the charm of a column thus crowned with the verdure of green leaves, with the splendour of the open flower and with the graceful forms of the still undeveloped bud. It is probable enough that the architect, when he began to feel the necessity for embellis.h.i.+ng the bare surface of his column, took this temporary and often-renewed decoration for his model.

The first attempt to imitate these natural forms would be made in wood and metal, substances which would lend themselves to the unpractised moulder more readily than stone, but in time the difficulties of the latter material would be overcome. The deep vertical grooves cut in the shaft would afford a rough imitation of the round stems of the lotus and the triangular ones of the papyrus. The circular belts at the top would suggest the cords by which they were tied to the shaft.

The leaves and flowers painted upon the lowest part of the shaft and upon the capital, may be compared to permanent chromatic shadows of the bouquets of colour and verdure which had once hidden those members. Finally, the artist found in the swelling sides of the bud and the hollow curves of the corolla those flowing lines which he desired for the proper completion of his column.

This hypothesis seems to leave no point unexplained, and it receives additional probability from a detail which can hardly be satisfactorily accounted for by the advocates of the rival theory. We mean the cube of stone which is interposed as a kind of abacus between the capital and the architrave. If we refer the general lines to those of a plain column bound about with flowering stalks, there is no difficulty. The abacus then represents the rigid column behind the decoration, raising its summit above the drooping heads of lotus and papyrus, and visibly doing its duty as a support. Its effect may not be very happy, but its _raison d'etre_ is complete. On the other hand its existence is quite inexplicable, if we are to look upon the column as a reproduction in stone, a kind of petrifaction of a single stem.

To what, in that case, does this heavy stone die correspond? To those who believe the capital to be the representation of a single flower with its circlet of graceful petals, its presence must seem nothing less than an outrage.

In their light structures only do we find the Egyptians frankly imitating flowers and half-opened buds (Figs. 57, 63, and 64), but even there the imitation is far from literal. The petals in a single "bloom" are often of different colours, some blue, some yellow, others again red or pink, a mixture which is not to be found in nature. The Egyptian decorator thought only of decoration. He used his tints capriciously from the botanist's point of view, but he often reproduced the forms of Egyptian plants with considerable fidelity, especially those splendid lotus-flowers which occupied so large a part in his affections long before the poets of India sang their praise. In fas.h.i.+oning slender shafts which had little weight to support, the artist could give the reins to his fancy, he could mould his metal plates or his precious timber into the semblance of any natural form that pleased his eye, and the types thus created would, of course, be present in the minds of the first architects who attempted to decorate rock-cut tombs or temples and constructed buildings. We affirm again, however, that neither the stone column of the Egyptians, nor that of the Greeks, in its most complete and dignified form, resulted from the servile imitation, nor even from the intelligent interpretation of living nature.

The column was an abstract creation of plastic genius. Its forms were determined by the natural properties of the material employed, by structural necessities, and by a desire for beauty of proportion.

Different peoples have had different ideas as to what const.i.tutes this beauty; they have had their secret instincts and individual preferences. The artist, too, who wishes to ornament a column, is sure to borrow motives from any particular form of art or industry in which the race to which he belongs may have earned distinction. In some cases, therefore, his work may resemble carved wood, in others chased or beaten metal. He will also be influenced, to some extent, by the features and characteristic forms of the plants and animals peculiar to his country. But wherever a race is endowed with a true instinct for art, its architects will succeed in creating for stone architecture an appropriate style of its own. The exigencies of the material differ from those of metal or wood. Its unbending rigidity places a great gulf between it and the elasticity and perpetual mobility which characterize organic life. The Egyptian architects saw from the first that this difference, or rather contrast, would have to be reckoned with. They understood perfectly well that the shaft which was to support a ma.s.sive roof of stone must not be a copy of those slender stems of lotus or papyrus which bend before the wind, or float upon the lazy waters of the ca.n.a.ls. The phrase _column-plant_ or _plant-column_, which has sometimes been used in connection with the columns of Luxor and Karnak, is a contradiction in terms.

But why should we dwell upon these questions of origin? In the history of art, as in that of language, they are nearly always insoluble, especially when we have to do with a race who created all their artistic forms and idioms for themselves. The case is different when we have to do with a nation who came under the influence of an earlier civilization than their own. Then, and then only, can such an inquiry lead to useful results. The word origin is then a synonym for affiliation, and an inquiry is directed towards establis.h.i.+ng the method and the period in which the act of birth took place.

In our later volumes we shall have to go into such questions in detail, but in the case of Egypt we are spared that task. All that we mean by civilization had its origin in Egypt, so far, at least, as we can tell. It is the highest point in the stream to which we can mount.

Any attempt to determine the genesis of each particular aesthetic motive in a past so distant that a glance into its depths takes away our breath, would be a mere waste of time and ingenuity.

-- 6. _The Ordonnance of Egyptian Colonnades._

A French writer tells us that uniformity is sure to give birth to weariness sooner or later, and there are many people who would believe, if they thought about it, that his words exactly apply to the art of Egypt. The character which was given to it when its creations first became known to modern Europe clings to it still. Our museums are full of objects dating from the last centuries of the monarchy and even from the Greek and Roman period. A very slight study of Egyptian architecture is sufficient, however, to destroy such a prejudice, in spite of its convenience for those who are lazily disposed. The pier and column were extremely various in their types, as we have seen, and each type was divided into numerous species. The same variety is found in the arrangement, or ordonnance, of the columns, both in the interior and exterior of their buildings. We cannot prove this better than by placing a series of plans of hypostyle halls and porticos before the eye of the reader, accompanied by a few ill.u.s.trations in perspective which will suffice to show the freedom enjoyed by the Egyptian architect and the number of different arrangements which he could introduce into a single building.

The fullest development of Egyptian columnar architecture is to be found in their interiors.

[Ill.u.s.tration: FIG. 99.--Small chamber at Karnak.]

[Ill.u.s.tration: FIG. 100.--Apartment in the temple at Luxor.]

[Ill.u.s.tration: FIG. 101.--Hall of the temple at Abydos; _Description_, vol. ii. p. 41.]

The simplest arrangement is to be found in the small chambers where the roof is sustained by a single row of columns (Fig. 98). When the apartment was slightly larger it contained two rows, the s.p.a.ce between the rows being wider than that between the columns and the wall (Fig.

100). Sometimes in still larger halls we find three rows of columns separated from one another by equal s.p.a.ces in every direction (Fig.

101). Finally in those great chambers which are known as hypostyle halls, the number of columns seems to be practically unlimited. At Karnak there are a hundred and thirty-four (Fig. 102), at the Ramesseum forty-eight, at Medinet-Abou twenty-four.

[Ill.u.s.tration: FIG. 102.--Plan of part of the Hypostyle Hall at Karnak.]

The full effect of the hypostyle hall is to be seen at Karnak and at the Ramesseum. In those halls the central aisle is higher than the parts adjoining and is distinguished by a different type of column (Plate IV). It is more than probable that this happy arrangement was not confined to Thebes. We should no doubt have encountered it in more than one of the temples of Memphis and the Delta had they been preserved to our time. Its principle was reproduced in the propylaea of the acropolis at Athens, where the Ionic and Doric orders figured side by side.

[Ill.u.s.tration: FIG. 103.--Tomb at Sakkarah.]

[Ill.u.s.tration: FIG. 104.--Hall in the inner portion of the Great Temple at Karnak.]

In the ancient tombs at Sakkarah the quadrangular pier alone was used to support the roof (Fig. 103). In the Theban temples it was combined with the column. In the chamber called the ambulatory of Thothmes (J in Fig. 215, Vol. I.), at Karnak, a row of square piers surrounds an avenue of circular columns which to bear the roof (Fig. 104).

[Ill.u.s.tration: FIG. 105.--Portico of the first court at Medinet-Abou.]

[Ill.u.s.tration: FIG. 106.--Portico of the first court at Luxor.]

The external porticos are no less remarkable for variety of plan. At Medinet-Abou we find one consisting of only a single row of columns (Fig. 105). At Luxor the columns are doubled upon all four sides of the first court (Fig. 106), and upon two sides of the second; upon one side of the latter, the side nearest to the sanctuary, there are four rows of columns (Fig. 107).

[Ill.u.s.tration: FIG. 107.--The portico of the p.r.o.naos, Luxor.]

All these are within the external walls of the courts, but the peripteral portico, embracing the temple walls, like those of Greece, is also to be found in a few rare instances (Fig. 108); as, for example, in the small temple at Elephantine which we have already described.[120]