lie in the plane thus defined by two traces at the ends (P.M. VIII.). Metal-Work.-Copper was wrought into pins, a couple of inches long, with loop heads, as early as the oldest prehistoric graves, before the use of weaving, and while pottery was scarcely developed. The use of harpoons and small chisels of copper next arose, then broad flaying knives, needles and adzes, lastly the axe when the metal was commoner. On these prehistoric tools, when in fine condition, the original highly-polished surface remains. It shows no trace of grinding lines or attrition, nor yet of the blows of a hammer. Probably it was thus highly finished by beating between polished stone hammers which were almost flat on the face. Most likely the forms of the tools were cast to begin with, and then finished and polished by fine hammering. A series of moulds for casting in the XIIth Dynasty show that the forms were carved out in thick pieces of pottery, and then lined with fine ashy clay. The mould was single, so that one side of the tool was the open face of metal. As early as the pyramid times solid casting by cire perdue was already used for figures: but the copper statues of Pepi and his son seem, by their thinness and the piecing together of the parts, to have been entirely hammered out. The portraiture in such hammer work is amazingly life-like. By the time of the XIIth Dynasty, and perhaps earlier, cire perdue casting over an ash core became usual. This was carried out most skilfully, the metal being often not th in. thick, and the core truly centred in the mould. Casting bronze over iron rods was also done, to gain more stiffness for thin parts. In gold work the earliest jewelry, that of King Zer of the Ist Dynasty, shows a perfect mastery of working hollow balls with minute threading holes, and of soldering with no trace of excess nor difference of colour. Thin wire was hammered out, but there is no ancient instance of drawn wire. Castings were not trimmed by filing or grinding, but by small chisels and hammering (P.R.T. ii. 17). In the XIIth Dynasty the soldering of the thin cells for the cloisonnée inlaid pectorals, on to the base plate, is a marvellous piece of delicacy; every cell has to be perfectly true in form, and yet all soldered, apparently simultaneously, as the heat could not be applied to successive portions (M.D. i.). Such work was kept up in the XVIIIth and XXVIth | Dynasties. There is nothing distinctive in later jewelry different from Greek and Roman work elsewhere. Glaze and Glass.-From almost the beginning of the prehistoric age there are glazed pottery beads found in the graves: and glazing on amulets of quartz or other stones begins in the middle of the prehistoric. Apparently then glazing went together with the working of the copper ores, and probably accidental slags in the smelting gave the first idea of using glaze intentionally. The development of glazing at the beginning of the dynasties was sudden and effective. Large tiles, a foot in length, were glazed completely all over, and used to line the walls of rooms; they were retained in place by deep dovetails and ties of copper wire. Figures of glazed ware became abundant; a kind of visiting card was made with the figure of a man and his titles to present in temples which he visited; and glazed ornaments and toggles for fastening dresses were common (P. Ab. ii.). Further, besides thus using glaze on a large scale, differently coloured glazes were used, and even fused together. A piece of a large tile, and part of a glazed vase, have the royal titles and name of Menes, originally in violet inlay in green glaze. There was no further advance in the art until the great variety of colours came into use about 4000 years later. In the XIIth Dynasty a very thin smooth glaze was used, which became rather thicker in the XVIIIth. The most brilliant age of glazes was under Amenophis III. and his son Akhenaton. Various colours were used; beside the old green and blue, there were purple, violet, red, yellow and white. And a profusion of forms is shown by the moulds and actual examples, for necklaces, decorations, inlay in stone and applied reliefs on vases. Under Seti II. cartouches of the king in violet and white glaze are common; and under Rameses III. there were vases with relief figures, with painted figures, and tiles with coloured reliefs of captives of many races. The latter development of glazing was in thin delicate apple-green ware with low relief designs, which seem to have originated under Greek influence at Naucratis. The Roman glaze is thick and coarse, but usually of a brilliant Prussian blue, with dark purple and apple-green; and high reliefs of wreaths, and sometimes figures, are common. Though glaze begins so early, the use of the glassy matter by itself does not occur till the XVIIIth Dynasty; the earlier reputed examples are of stone or frit. The first glass is black and white under Tethmosis (Tahutmes) III. It was not fused at a high point, but kept in a pasty state when working. The main use of it was for small vases; these were formed upon a core of sandy paste, which was modelled on a copper rod, the rod being the core for the neck. Round this core threads of glass were wound of various colours; the whole could be reset in the furnace to soften it for moulding the foot or neck, or attaching handles, or dragging the surface into various patterns. The colours under later kings were as varied as those of the glazes. Glass was also wheel-cut in patterns and shapes under Akhenaton. In later times the main work was in mosaics of extreme delicacy. Glass rods were piled together to form a pattern in cross-section. The whole was then heated until it perfectly adhered, and the mass was drawn out lengthways so as to render the design far more minute, and to increase the total length for cutting up. The rod was then sliced across, and the pieces used for inlaying. Another use of coloured glass was for cutting in the shapes of hieroglyphs for inlaying in wooden coffins to form inscriptions. Glass amulets were also commonly placed upon Ptolemaic mummies. Blown glass vessels are not known until late Greek and Roman times, when they were of much the same manufacture as glass elsewhere. The supposed figures of glass-blowers in early scenes are really those of smiths, blowing their fires by means of reeds tipped with clay. The variegated glass beads belonging to Italy were greatly used in Egypt in Roman times, and are like those found elsewhere. A distinctively late Egyptian use of glass was for weights and vase-stamps, to receive an impress stating the amount of the weight or measure. The vase-stamps often state the name of the contents (always seeds or fruits), probably not to show what was in them, but to show for what kind of seed the vessel was a true measure. These measure stamps bear names dating them from A.D. 680 to about 950. The large weights of ounces and pounds are disks or cuboid blocks; they are dated from 720 to 785 for the lesser, and to A.D. 915 for larger, weights. The greater number are, however, small weights for testing gold and silver coins of later caliphs from A.D. 952 to 1171. The system was not, however, Arab, as there are a few Roman vasestamps and weights. Of other medieval glass may be noted the splendid glass vases for lamps, with Arab inscriptions fused in colours on the outsides. No enamelling was ever done by Egyptians, and the few rare examples are all of Roman age due to foreign work. The manufacture of glass is shown by examples in the XVIIIth Dynasty. The blue or green colour was made by fritting together silica, lime, alkaline carbonate and copper carbonate; the latter varied from 3% in delicate blues to 20% in deep purple blues. The silica was needed quite pure from iron, in order to get the rich blues, and was obtained from calcined quartz pebbles; ordinary sand will only make a green frit. These materials were heated in pans in the furnace so as to combine in a pasty, half-fused condition. The coloured frit thus formed was used as paint in a wet state, and also used to dissolve in glass or to fuse over a surface in glazing. The brown tints often seen in glazed objects are almost always the result of the decomposition of green glazes containing iron. The blue glazes, on the other hand, fade into white. The essential colouring materials are, for blue, copper; green, copper and iron; purple, cobalt; red, haematite; white, tin. An entirely clear colourless glass was made in the XVIIIth Dynasty, but coloured glass was mainly used. After fusing a panful of coloured glass, it was sampled by taking pinches out with tongs; when perfectly combined it was left to cool in the pan, as with modern optical glass. When cold the pan was chipped away, and the cake of glass broken up into convenient pieces, free of sediment and of scum. A broken lump would then be heated to softness in the furnace; rolled out under a bar of metal, held diagonally across the roll; and when reduced to a rod of a quarter of an inch thick, it was heated and pulled out into even rods about an eighth of an inch thick. These were used to wind round glass vases, to form lips, handles, &c.; and to twist together for spiral patterns Glass tube was similarly drawn out. Beads were made by winding thin threads of glass on copper wires, and the greater contraction of the copper freed the bead when cold. The coiling of beads can always be detected by (1) the little tails left at the ends, (2) the streaks, (3) the bubbles, seen with a magnifier. Roman glass beads are always drawn out, and nicked off hot, with striation lengthways; except the large opaque variegated beads which are coiled. Modern Venetian beads are similarly coiled. In the XXIIIrd Dynasty beads of a rich transparent Prussian blue glass were made, until the XXVIth. About the same time the eyed beads, with white and brown eyes in a blue mass, also came in (P.A. 25-27, Plate XIII.). Pottery (see fig. 112).-The earliest style of pottery is entirely hand made, without any rotary motion; the form being built up with a flat stick inside and the hand outside, and finally scraped and burnished in a vertical direction. The necks of vases were the first part finished with rotation, at the middle and close of the prehistoric age. Fully turned forms occur in the Ist Dynasty; but as late as the XIIth Dynasty the lower part of small vases is usually trimmed with a knife. In the earlier part of the prehistoric age there was a soft brown ware with haematite facing, highly burnished. This was burnt. mouth-down in the oven, and the ashes on the ground reduced the red haematite to black magnetic oxide of iron; some traces of carbonyl in the ash helped to rearrange the magnetite as a brilliant mirror-like surface of intense black. The lower range of jars in the oven had then black tops, while the upper ranges were entirely red. A favourite decoration was by lines of white clay slip, in crossing patterns, figures of animals, and, rarely, This is exactly of the modern Kabyle style in Algeria, and entirely disappeared from Egypt very early in the prehistoric age. Being entirely hand made, various oval, doubled and even square forms were readily shaped. men. The later prehistoric age is marked by entirely different pottery, of a hard pink-brown ware, often with white specks in it, without any applied facing beyond an occasional pink wash, and no polishing. It is decorated with designs in red line, imitating cordage and marbling, and drawings of plants, ostriches and ships. The older red polished ware still survived in a coarse and degraded character, and both kinds together were carried on into the next age (P.D.P.). The early dynastic pottery not only shows the decadent end of the earlier forms, but also new styles, such as grand jars of 2 or 3 ft. high which were slung in cordage, and which have imitation lines of cordage marked on them. Large ring-stands also were brought in, to support jars, so that the damp surfaces should not touch the dusty ground. The pyramid times show the great jars reduced to short rough pots, while a variety of forms of bowls are the most usual types (P.R.T.; P.D.; P. Desh.) In the XIIth Dynasty a hard thin drab ware was common, like the modern qulleh water flasks. Drop-shaped jars with spherical bases are typical, and scrabbled patterns of incised lines. Large jars of light brown pottery were made for storing liquids and grain, with narrow necks which just admit the hand (P.K.). The XVIIIth Dynasty used a rather softer ware, decorated at first with a red edge or band around the top, and under Tethmosis (Tahutmes) III. black and red lines were usual. Under Amenophis III. blue frit paint was freely used, in lines and bands around vases; it spread to large surfaces under Amenophis IV., and continued in a poor style into the Ramesside age. In the latter part of the XVIIIth and the XIXth Dynasties a thick hard light pottery, with white specks and a polished drab-white facing, was generally used for all fine purposes. The XIXth and XXth Dynasties only show a degradation of the types of the XVIIIth; and even through to the XXVth Dynasty there is no new movement (P.K.; P.I; P.A.; P.S.T.). The XXVIth Dynasty was largely influenced by Greek amphorae imported with wine and oil. The native pottery is of a very fine paste, smooth and thin, but poor in forms. Cylindrical cups, and jars with cylindrical necks and no brim, are typical. The small necks and trivial handles begin now, and are very common in Ptolemaic times (P.T. ii.). The great period of Roman pottery is marked by the ribbing on the outsides. The amphorae began to be ribbed about A.D. 150, and then ribbing extended to all the forms. The ware is generally rather rough, thick and brown for the amphorae, thin and red for smaller vessels. At the Constantine age a new style begins, of hard pink ware, neatly made, and often with 'start-patterns" made by a vibrating tool while the vessel rotated: this was mainly used for bowls and cups (P.E.). Of the later pottery of Arab times we have no precise knowledge. The abbreviations used above refer to the following sources of information: 66 M.D. Morgan, Dahshur; P.A. Petrie, Tell el Amarna; P. Ab. P.D. P. Desh. P.D.P. Abydos; Dendereh; Deshasheh; Diospolis Parva; Ehnasya; P.E. P.I. Illahun; Monuments.-The principal monuments that are yet remaining to illustrate the art and history of Egypt may be best taken in historical order. Of the prehistoric age there are many rock carvings, associated with others of later periods: they principally remain on the sandstone rocks about Silsila, and their age is shown by the figures of ostriches which were extinct in later times. One painted tomb was found at Nekhen (Hieraconpolis), now in the Cairo Museum; the brick walls were colour-washed and covered with irregular groups of men, animals and ships, painted with red, black and green. The cemeteries otherwise only contain graves, cut in gravel or brick lined, and formerly roofed with poles and brushwood. The Ist to IIIrd Dynasties have left at Abydos large forts of brickwork, remains of two successive temples, and the royal tombs (see ABYDOS). Elsewhere are but few other monuments; at Wadi Maghāra in Sinai is a rock sculpture of Semerkhet of the Ist Dynasty in perfect state, at Gīza is a group of tombs of a prince and retinue of the Ist Dynasty, and at Giza and Bet Khallaf are two large brick mastabas with extensive passages closed by trap-doors, of kings of the IIIrd Dynasty. The main structure of this age is the step-pyramid of Sakkara, which is a mastaba tomb with eleven successive coats of masonry, enlarging it to about 350 by 390 ft. and 200 ft. high. In the interior is sunk in the rock a chamber 24 X 23 ft. and 77 ft. high, with a granite sepulchre built in the floor of it, and various passages and chambers branching from it. The doorway of one room (now in Berlin Museum) was decorated with polychrome glazed tiles with the name of King Neterkhet. The complex original work and various alterations of it need thorough study, but it is now closed and research is forbidden. The IVth to VIth Dynasties are best known by the series of pyramids (see PYRAMID) in the region of Memphis. Beyond these tombs, and the temples attached to them, there are very few fixed monuments; of Cheops and Pepi I. there are temple foundations at Abydos (q.v.), and a few blocks on other sites; of Neuserre (Raenuser) there is a sun temple at Abusir; and of several kings there were tablets in Sinai, now in the Cairo Museum. A few tablets of the IXth Dynasty have been found at Sakkāra, and a tomb of a prince at Assiut. Of the XIth Dynasty is the terrace-temple of Menthotp III. recently excavated at Thebes: also foundations of this king and of Sankhkerē at Abydos. In the XIIth Dynasty there is the celebrated red granite obelisk of Heliopolis, one of a pair erected by Senwosri (Senusert) I. in front of his temple which has now vanished. Another large obelisk of red granite, 41 ft. high, remains in the Fayum. The most important pictorial tombs of Beni Hasan belong to this age; the great princes appear to have largely quarried stone for their palaces, and to have cut the quarry in the form of a regular chamber, which served for the tomb chapel. These great rock chambers were covered with paintings, which show a large range of the daily life and civilization. The pyramids and temples of Senwosri II. and III. and Amenemhē III. remain at Illahūn, Dahshur and Hawara. The latter was the celebrated Labyrinth, which has been entirely quarried away, so that only banks of chips and a few blocks remain. At the first of these sites is the most perfect early town, of which hundreds of houses still remain. Of Senwosri III. there are the forts and temples above the second cataract at Semna and Kumma. Of the Hyksos age there are the scanty remains of a great fortified camp at Tell el-Yehudia. In the XVIIIth to XXth Dynasties we reach the great period of monuments. Of Amāsis (Aahmes) and Amenophis I. there are but fragments left in later buildings; and of the latter a great quantity of sculpture has been recovered at Karnak. | The great temple of Karnak had existed since the XIth Dynasty or earlier, but the existing structure was begun under Tethmosis (Tahutmes) I., and two of the great pylons and one obelisk of his remain in place. He also built the simple and dignified temple of Medinet Habu at Thebes, which was afterward overshadowed by the grandiose work of Rameses III. The next generation-Tethmōsis II. and Hatshepsut-added to their father's work; they also built another pylon and some of the existing chambers at Karnak, set up the great obelisks there and carved some colossi. The obelisks are exquisitely cut in red granite, each sign being sawn in shape by copper tools fed with emery, and the whole finished with a perfection of pro- | portion and delicacy not seen on other granite work. One obelisk being overthrown and broken we can examine the minute treatment of the upper part, which was nearly a hundred feet from the ground. The principal monument of this period is the temple of Deir el Bahri, the funeral temple of Hatshepsut, on which she recorded the principal event of her reign, the expedition to Punt. The erasures of her name by Tethmosis III., and reinsertions of names under later kings, the military scenes, and the religious groups showing the sacred kine of Hathor, all add to the interest of the remarkable temple. It stands on three successive terraces, rising to the base of the high limestone cliffs behind it. The rock-cut shrine at Speos Artemidos, and the temple of Serabit in Sinai are the only other large monuments of this queen yet remaining. Tethmosis III. was one of the great builders of Egypt, and much remains of his work, at about forty different sites. The great temple of Karnak was largely built by him; most of the remaining chambers are his, including the beautiful botanical walls showing foreign plants. Of his work at Heliopolis there remain the obelisks of London and New York; and from Elephantine is the obelisk at Sion House. On the Nubian sites his work may still be seen at Amada, Ellesia, Ibrim, Semna and in Sinai at Serabit el Khādem. Of Amenophis II. and Tethmosis IV. there are no large monuments, they being mainly known by additions at Karnak. The well known stele of the sphinx was cut by the latter king, to commemorate his dream there and his clearing of the sphinx from sand. Amenophis III. has left several large buildings of his magnificent reign. At Karnak the temple had a new front added as a great pylon, which was later used as the back of the hall of columns by Seti I. But three new temples at Karnak, that of Month (Mentu), of Mut and a smaller one, all are due to this reign, as well as the long avenue of sphinxes before the temple of Khons; these indicate that the present Ramesside temple of Khons has superseded an earlier one of this king. The great temple of Luxor was built to record the | divine origin of the king as son of Ammon; and on the western side of Thebes the funerary temple of Amenophis was an immense pile, of which the two colossi of the Theban plain still stand before the front of the site, where yet lies a vast tablet of sandstone 30 ft. high. The other principal buildings are the temples of Sedenga and of Sōlib in Nubia. Akhenaton has been so consistently eclipsed by the later kings who destroyed his work, that the painted pavement and the rock tablets of Tell el Amarna are the only monuments of his still in position, beside a few small inscriptions. Harmahib (Horemheb) resumed the work at Karnak, erecting two great pylons and a long avenue of sphinxes. The rock temple at Silsila and a shrine at Jebel Adda are also his. In the XIXth Dynasty the great age of building continued, and the remains are less destroyed than the earlier temples, because there were subsequently fewer unscrupulous rulers to quarry them away. Seti I. greatly extended the national temple of Karnak by his immense hall of columns added in front of the pylon of Amenophis III. His funerary temple at Kurna is also in a fairly complete condition. The temple of Abydos is celebrated owing to its completeness, and the perfect condition of its sculptures, which render it one of the most interesting buildings as an artistic monument; and the variety of religious subjects adds to its importance. The very long reign and vanity of Rameses II. have combined to leave his name at over sixty sites, more widely spread than that of any other king. Yet very few great monuments were originated by him; even the Ramesseum, his funerary temple, was begun by his father. Additions, appropriations of earlier works and scattered inscriptions are what mark this reign. The principal remaining buildings are part of a court at Memphis, the second temple at Abydos, and the six Nubian temples of Bēt el-Wali, Jerf Husein, Wadi es-Sebua, Derr, and the grandest of all-the rock-cut temple of Abu Simbel, with its neighbouring temple of Hathor. Mineptah has left few original works; the Osireum at Abydos is the only one of which much remains, his funerary temple having been destroyed as completely as he destroyed that of Amenophis III. The celebrated Israel stele from this temple in his principal inscription. The rock shrines at Silsila are of small importance. There is no noticeable monument of the dozen troubled years of the end of the dynasty. The XXth Dynasty opened with the great builder Rameses III. Probably he did not really exceed other kings in his activity; but as being the last of the building kings at the western side of Thebes, his temple has never been devastated for stone by the claims of later work. The whole building of Medinet Habu is about 500 ft. long and 160 wide, entirely the work of one reign. The sculptures of it are mainly occupied with the campaigns of the king against the Libyans, the Syrians and the negroes, and are of the greatest importance for the history of Egypt and of the Mediterranean lands. Another large work was the clearance and rebuilding of much of the city of Tell el Yehudia, the palace hall of which contained the celebrated coloured tiles with figures of captives. At Karnak three temples, to Ammon, Khonsu and Mut, all belong to this reign. The blighted reigns of the later Ramessides and the priest-kings did not leave a single great monument, and they are only known by usurpations of the work of others. The Tanite kings of the XXIst Dynasty rebuilt the temple of their capital, but did little else. The XXIInd Dynasty returned to monumental work. Sheshonk I. added a large wall at Karnak, covered with the record of his Judaean war. Osorkon (Uasarkon) I. built largely at Bubastis, and Osorkon II. added the great granite pylon there, covered with scenes of his festival; but at Thebes these kings only inscribed previous monuments. The Ethiopian (XXVth) dynasty built mainly in their capital under Mount Barkal, and Shabako and Tirhaka (Tahrak) also left chapels and a pylon at Thebes; and the latter added a great colonnade leading up to the temple of Karnak, of which one column is still standing. Of the Saite kings there are very few large monuments. Their work was mainly of limestone and built in the Delta, and hence it has been entirely swept away. The square fort of brick- | biographical. (5) Papyri concerning daily affairs which throw work at Daphnae (q.v.) was built by Psammetichus I. Of light on history; or which give historic detail, as the great Apries (Haa-ab-ra, Hophra) an obelisk and two monolith shrines papyrus of Rameses III., and the trials under Rameses X. are the principal remains. Of Amasis (Aahmes) II. five great (6) The added inscriptions on buildings by later restorers, and shrines are known; but the other kings of this age have only alterations of names for misappropriation. (7) The statues left minor works. The Persians kept up Egyptian monuments. which give the royal portraits, and sometimes historical facts. Darius I. quarried largely, and left a series of great granite (8) The ostraca, or rough notes of work accounts, and plans decrees along his Suez canal; he also built the great temple in drawn on pieces of limestone or pottery. (9) The scarabs the oasis of Kharga. bearing kings' names, which under the Hyksos and in some other dark periods, are our main source of information. (10) The miscellaneous small remains of toilet objects, ornaments, weapons, &c., many of which bear royal names. Every object and monument with a royal name will be found catalogued under each reign in Petrie's History of Egypt, 3 vols., the last editions of each being the fullest. (W. M. F. P.) of other ancient systems. Egyptians consisted of twelve months of thirty days each, with of h (ht) "inundation or verdure," pr.t The XXXth Dynasty renewed the period of great temples. Nekhtharheb built the temple of Behbēt, now a ruinous heap of immense blocks of granite. Beside other temples, now destroyed, he set up the great west pylon of Karnak, and the pylon at Kharga. Nekhtnebf built the Hathor temple and great pylon at Philae, and the east pylon of Karnak, beside temples elsewhere, now vanished. Religious building was continued under the Ptolemies and Romans; and though the royal impulse may not have been strong, yet the wealth of the land under good government supplied means for many places to rebuild their old shrines magnificently. In the Fayum the capital was dedicated to Queen Arsinoe, and doubtless Ptolemy rebuilt the temple, now destroyed. At Sharona are remains of a temple of Ptolemy I. Dendera is one of the most complete temples, giving a noble idea of the appearance of such work anciently. The body of the temple is of Ptolemy XIII., and was carved as late as the XVIth (Caesarion), and the great portico was in building from Augustus to Nero. At Coptos was a screen of the temple of Ptolemy I. (now at Oxford), and a chapel still remains of Ptolemy XIII. Karnak was largely decorated; a granite cella was built under Philip Arrhidaeus, covered with elaborate carving; a great pylon was added to the temple of Khonsu by Ptolemy III.; the inner pylon of the Ammon-temple was carved by Ptolemy VI. and IX.; and pro) granite doorways were added to the temples of Month and Mut by Ptolemy II. At Luxor the entire cella was rebuilt by Alexander. At Medīnet Habū the temple of Tethmosis III. had a doorway built by Ptolemy X., and a forecourt by Antoninus. The smaller temple was built under Ptolemy X. and the emperors. South of Medinet Habū a small temple was built by Hadrian and Antoninus. At Esna the great temple was rebuilt and inscribed during a couple of centuries from Titus to Decius. At El Kab the temple dates from Ptolemy IX. and X. The great temple of Edfu, which has its enclosure walls and pylon complete, and is the most perfect example remaining, was gradually built during a century and a half from Ptolemy III. to XI. The monuments of Philae begin with the wall of Nekht-day of the first month of inundation, i.e. nominally the beginning nebf. Ptolemy II. began the great temple, and the temple of Arhesnofer (Arsenuphis) is due to Ptolemy IV., that of Asclepius to Ptolemy V., that of Hathor to Ptolemy VI., and the great colonnades belong to Ptolemy XIII. and Augustus. The beautiful little riverside temple, called the "kiosk,' was built by Augustus and inscribed by Trajan; and the latest building was the arch of Diocletian. Farther south, in Nubia, the temples of Dabōd and Dakka were built by the Ethiopian Ergamenes, contemporary of Ptolemy IV.; and the temple of Dendur is of Augustus. The latest building of the temple style is the White Monastery near Suhag. The external form is that of a great temple, with windows added along the top; while internally it was a Christian church. The modern dwellings in it have now been cleared out, and the interior admirably preserved and cleaned by a native Syrian architect. Beside the great monuments, which we have now noticed, the historical material is found on several other classes of remains. These are: (1) The royal tombs, which in the Vth, VIth, XVIIIth, XIXth and XXth Dynasties are fully inscribed; but as the texts are always religious and not historical, they are less important than many other remains. (2) The royal coffins and wrappings, which give information by the added graffiti recording their removals; (3) Royal tablets, which are of the highest value for history, as they often describe or imply historical 'events; (4) Private tombs and tablets, which are in many cases "seed-time," winter," and harvest," "summer," the == www smw (shôm) "five (days) over the year" being outside these seasons and the year itself, according to the Egyptian expression, and counted either at the beginning or at the end of the year. Ultimately the Egyptians gave names to the months taken from festivals celebrated in them, in order as follows:-Thoth, Paophi, Athyr, Choiak, Tõbi, Mechir, Phamenōth, Pharmüthi, Pachons, Payni, Epiphi, Mesore, the epagomenal days being then called "the short year." In Egypt the agricultural seasons depend more immediately on the Nile than on the solar movements; the first of the rise of the Nile, was the beginning of the year, and as the Nile commences to rise very regularly at about the date of the annual heliacal rising of the conspicuous dog-star Sothis (Sirius) (which itself follows extremely closely the slow retrogression of the Julian year), the primitive astronomers found in the heliacal rising of Sothis as observed at Memphis (on July 19 Julian) a very correct and useful starting-point for the seasonal year. But the year of 365 days lost one day in four years of the Sothic or Julian year, so that in 121 Egyptian years New Year's day fell a whole month too early according to the seasons, and in 1461 years a whole year was lost. This "Sothic period " era of 1460 years, during which the Egyptian New Year's day travelled all round the Sothic year, is recorded by Greek and Roman writers at least as early as the 1st century B.C. The epagomenal days appear on a monument of the Vth Dynasty and in the very ancient Pyramid texts. They were considered unlucky, and perhaps this accounts for the curious fact that, although they are named in journals and in festival lists, &c., where precise dating was needed, no known monument or legal document is dated in them. It is, however, quite possible that by the side of the year of 365 days a shorter year of 360 was employed for some purposes. Lunar months or 1 Ten-day periods as subdivisions of the month can be traced as far back as the Middle Kingdom. The day consisted of twentyfour hours, twelve of day (counted from sunrise to sunset) and twelve of night; it began at sunrise. |