Scarabs Part 2

[20] Historical Scarabs. A series of Drawings from the Princ.i.p.al Collections. Arranged chronologically, by W.M. Flinders Petrie, author of, Pyramids and Temples of Gizeh, etc. London, D. Nutt, 1889.

[21] I have generally used in this work the ordinary well known forms of the Egyptian proper names, such as Rameses, Thotmes, Amen-hotep, etc., instead of the more unusual, but more correct and learned, names: Ra-messu, Tehuti-mes, Amen-hetep, etc. The dates are based on those of Dr. Heinrich Brugsch-Bey.

[22] Ten Years Digging in Egypt, etc., by W.M. Flinders Petrie.

London, 1892, p. 45.

III.

METHOD, PERIOD AND ANTIQUITY, OF ENGRAVING THE SCARAB AND OTHER FORMS. USE OF RINGS. MENTION OF, AND OF ENGRAVING AND SEALING, IN THE OLD TESTAMENT. USE OF CYLINDER SIGNETS BY THE EGYPTIANS.

RELATIONS WITH MESOPOTAMIA. CARVING OF DIORITE AND OTHER HARD STONE. THE EGYPTIANS DID NOT BORROW THEIR ENGRAVING AND THE SCARAB, FROM MESOPOTAMIA. DISUSE OF SCARABS.

The art of the lapidary is a.s.serted in the Book of Enoch, to have been taught to mankind by the angel Azazel,[23] chief of the angels who took to themselves wives from among the daughters of men. The most ancient method consisted, in obtaining a flat surface by rubbing or sc.r.a.ping, with corundum or other hard and wearing stone, the stone to be engraved. If a very hard stone, the incising or cutting was done by drilling, wearing and polis.h.i.+ng, through attrition, by means of a wooden or metal point, kept in connection with a silicious sand or corundum, by the medium of oil or water; and also, by the use of the punch and of the wheel. The Greek artists likely used powdered emery and copper drills. Bronze and iron drills, and those of other metals may have been used at a very early period. Pliny says, corundum was used in the form of a splinter fixed in an iron style. The ancients also appear at a very early period, to have used diamond dust and oil, and diamond splinters, framed in iron.

It has been shown by recent investigations, that the Ancient Egyptians, before the building of the Great Pyramid; cut diorite, syenite and other very hard stone, by means of saws, some of them nine feet long, having jeweled teeth inserted; and that they excavated the centre of large blocks of hard stones for use as sarcophagi, etc., by means of tubular or circular hollow drills, the cutting surface of which was armed with jewels. They then took out the core and broke down the part.i.tions between the drilled holes, with the chisel and hammer, and thus made large excavations in the block of hard stone.

They also used lathes at a most archaic period in cutting diorite and other hard stones.[24] They also used the bow-drill,[25] They also may have known and used boort.

As early as the first Theban Dynasty, the XIIth Egyptian (2466-2266 B.C.,) the Dynasty in which lived the Amen-em-hats and the Usertsens, the great early art period of the Egyptian empire,[26] the Egyptians engraved on amethyst, jasper and rock crystal, and at that early period did some of the most beautiful work remaining to us of their glyptography. The signets however were not always in scarab form, they were sometimes squares or parallelograms.[27]

There is now in the Museum of the Louvre in Paris, France, the finest old cameo in the world. It is of the reign of Amen-em-hat IIIrd of the XIIth Dynasty, (2300 B.C.) This was the first Theban Dynasty and is a very rare period for Egyptian cameo work, as they then usually incised their engraving on precious stones and did not engrave them in relief.[28] The stone is a square sardonyx and is engraved in relief, with great fineness on one side, with a figure the name of which can be read _Ha-ro-bes_, the other side is incised and has the figure of a pharaoh killing a prisoner, whom he holds by the beard, with a mace; the cartouch reads, _Ra-en-ma_, i.e., Amen-em-hat IIIrd. The intaglio work on this side is not equal to that in cameo, on the other.

There is yet in existence the signet ring of the celebrated Queen Hatshepsu (_circa_ 1600-1566 B.C.) It is made of fine turquoise, cut in the form of a scarab, perforated longitudinally and hung on a swivel. On the under side is engraved the family name of the Queen.[29] There also exists the signet ring of Amen-hotep IInd, (1566-1533 B.C.,) having inserted in it a fine green glazed scarab.[30]

The description of the working and engraving of precious stones in the VIIth century before our era, is given in Ezekiel[31] where addressing the king of Tyre, he says: "Thou art covered with precious stones of all kinds, with the ruby, emerald, diamond, hyacinth, onyx, jasper, sapphire, carbuncle, sardonyx and gold. _The wheels and drills of the lapidaries_, were prepared in thy service for the day in which thou wert created."

The use of the signet ring is frequently mentioned in the Old Testament.[32] There, are also the phrases, "Sealed up in a bag;"[33]

"A book that is sealed;"[34] "Written evidence sealed;"[35] "Sealed with clay;"[36] "Sealing with the signet of the king."[37] There are also many places referring to the use of seals in the New Testament.

In Genesis, we find Thamar asking from Judah, his seal, seal string and staff; in pledge.[38] In the same book, but referring to a much later period,[39] Pharaoh takes his signet ring, in which was likely set a scarab, from his hand and puts it on the hand of Joseph, so as to confer sovereign authority upon him.[40]

In Exodus,[41] mention is made of the engraving of _Shoham_ stones as a signet, i.e., in intaglio, as done by Betzaleel for the ephod of the High Priest, and for his breastplate, engraved in the same way; these were hard precious stones. We do not know with certainty the names of these stones in English. The Hebrew names of those on the first row of the ephod, are; _odem_, _piteda_, _bareketh_; second row, _nophesh_, _saphir_, _yahlome_; third row, _lesheme_, _shevo_, _a'halama_; fourth and last row, _tars.h.i.+sh_, _shokam_, _yoshphe_.

Some archaeologists argue, that the original form of the Egyptian seal was that of a cylinder, and from thence would deduce, that the Egyptians, or at the least Egyptian art, came from Mesopotamia. I would now say, that I do not believe that fact can be correctly deduced, from the cylindrical form sometimes used in Egypt. The cylinder perforated is only a form of the bead, and beads were one of the earliest forms of decoration and ornament, used by primitive man.

The earliest shape of genuine seals known and used in Egypt, is that in the scarab form and that form is peculiarly Egyptian; cylinders however were sometimes used by that people in early times. The Egyptians at a time, to us beyond all positive history, took advantage of and used the intaglio seal, so as to secure, by its impression, the authenticity of personal acts whether done by the sovereign, his chancellor, or his treasurer, or by private individuals; and they sometimes made use of signets of a cylindrical form, which they applied upon clay or wax, but such were not frequently used in Egypt.

The cartouch of the earliest known king, Mena, (4400 B.C.,) is in the form of the outline of the under side of the scarab.

It was because of its shape, the oval, ellipse, or ring form of the line around the cartouch, it not having an end; that the pharaohs, always having in mind immortality, have placed their names within that form. The incised oval capable of producing millions of impressions, would also be thought of as an emblem of reproduction, renewment and eternity.

Indeed in all the different epochs of its greatness, we will find used in Egypt, a few cylinders of hard stone upon which are well engraved cartouches. There is one in serpentine in the National Library of Paris bearing the name of Khufu or Kheops, of the IVth Dynasty, (3733 B.C.,) builder of the Great Pyramid at Gizeh. They have been found of soapstone made in the period of the IVth Dynasty, and of schist enameled green, of the periods of Amen-em-hat Ist, Amen-em-hat IInd and of Sovkhotpu IIIrd, pharaohs of the XIIth and XIIIth Dynasties.

These were royal cylinders. After the XVIIIth Dynasty such are very rare in that form.

"The cylinders," says a very learned writer upon Oriental Glyptic Art; "whatever may be their material, have never shown the mark of a foreign influence upon the soil of Egypt. Nevertheless the relations of Egypt and Chaldea date from the very highest antiquity."[42]

Scarabs became unfas.h.i.+onable in Egypt in the XIIth Dynasty and cylinders were largely used. They were used by the Usertsens and the Amen-em-has, but after the XIIth Dynasty cylinders are rare in Egypt.

The shape of the cartouch does not appear to have been changed.

Rings came into fas.h.i.+on with Amen-hotep IIIrd and died out under Rameses IInd, the last king whose name we find on a bezel. I do not deny that relations existed from the most archaic periods between the people of Mesopotamia and those of Egypt, the discoveries of the magnificent sculpture in and beautifully incised writing on, green diorite; one of the hardest, toughest, and heaviest, stones known; found at Telloh by M. de Sarzec, which had to be brought in large blocks from the quarries of Sinai; take us back to the most remote period, in which we have any knowledge of the inhabitants of Lower Mesopotamia. One of the most wonderful ancient statues in existence is that of king Khaf-Ra of the IVth Dynasty, the Khephren of the Greek writers, builder of the second Great Pyramid of Gizeh, (_circa_ 3666 B.C.,) now in the Museum of Gizeh, Egypt. This statue, a full sized portrait-statue, is made of green diorite highly polished and is a magnificent work of Egyptian art. Its base is inscribed: "Image of the Golden Horus, Khephren, beautiful G.o.d, lord of diadems."[43] This shows, that the Egyptians worked the quarries of diorite at Sinai and sculptured in it, about 4000 B.C.[44] The figures found at Telloh are in a seated position, are sculptured in archaic Egyptian style, and are covered with beautifully incised writing.[45]

I also know from the cuneiform inscriptions, that relations existed between the First Empire of Chaldea and the pharaohs of the Great Pyramids of Gizeh, as early as the reign of the Chaldean king Naram-Sin; (_circa_ 3755 B.C.) Subsequent to the periods cited, there exist a number of historical facts showing the knowledge of each other, possessed by the inhabitants of the valley of the Nile and the people of Mesopotamia.[46]

The same specialist in Oriental glyptics, says: "The efforts of some learned men to discover traces of a reciprocal influence have been fruitless. The pyramids of Egypt have no affinity with those of Chaldea, the sculpture of Egypt does not resemble in anything that of Nineveh or Caleh; would the glyptic art have escaped that individual development which characterizes the two peoples? I think not; at least we have no proof of it."[47]

And a very erudite archaeologist of our day, Hodder M. Westropp, holds; that the a.s.syrian cylinders came into that country from Egypt and did not come from a.s.syria into Egypt.[48]

Scarabs went out of use under the so-called Heretic kings of the XVIIIth Dynasty. Some fine enamel work on other subjects was made in this period, showing that art had not degenerated, indeed the discoveries made in the ruins of Khuaten, the present town called Tell-el-Amarna, show remains of magnificent monuments sculptured in the period of the Heretic kings of Egypt, (_circa_ 1466-1400 B.C.)

The scarab became again in use in the time of Hor-em-heb and Sethi I., and rings again became fas.h.i.+onable in Egypt.

After the fall of the Ramessidian kings, the priestly Dynasty of Her-hor does not appear to have made use of them very largely. In the recent great discovery at Dayr-el-Baharee very few were found, and none bearing the name of Her-hor or his immediate family.

FOOTNOTES:

[23] The Book of Enoch, etc., by Rev. George H. Schodde, Ph.D.

Andover, 1882, pp. 67, 68.

[24] Ten Years Digging in Egypt, 1881-1891, by W.M. Flinders Petrie, etc. The Religious Tract Soc. London, 1892, pp. 19, 20, 26 _et seq._, 119.

[25] _Ibid._, p. 119.

[26] Egypt Under the Pharaohs, etc., by Heinrich Bragsch-Bey. London, 1891, p. 80 _et seq._

[27] M. Menant in, _Les Pierres Gravees de la Haute-Asie_. Paris, 1886, Part II., p. 193 _et seq._

[28] _Ibid._, p. 194.

[29] _Recueil de Travaux Relatifs la Philol. et l'Archeol.

egypt_, etc., _publie sous la direction de_ G. Maspero. Paris, 1888, Vol. X., p. 126.

[30] _Ibid._

[31] XXVIII., 13. Comp. De Luynes, _Numismatique des Satrapies_, p.

71. G. Perrot and C. Chipiez, _Histoire de l'Art Phenicie_, Vol. III., p. 632.

[32] I Kings, XXI., 8; Deut. x.x.xII., 34; Neh. IX., 38, XI., 1; Esth.

VIII., 8, 10.

[33] Job XIV., 17.

[34] Isa. XXIX., 11; Dan. IX., 24, XII., 49.

[35] Jer. XII., 10, x.x.xII., 11, 14, 44.

[36] Job x.x.xVIII., 14; Isa. VIII., 16.

[37] Dan. VI., 17; Esth. III., 12, VIII., 8, 10; I Kings, XXI., 8.

[38] Gen. x.x.xVIII., 18, 25, 26.