Tantah, from the railway station,—for the train does not stop long enough to allow travellers to visit the town,—has an animated and picturesque aspect. Amid the houses in the Arab style with their look-outs and their awnings, rise buildings in that Oriental-Italian style dear to persons of progress and of modern ideas, painted in soft colours, ochre, salmon, or sky-blue; flat-roofed clay huts; over all, the minarets of the mosque, the white cupolas of a few tombs, and the inevitable fig trees and palms rising above the low garden walls. Between the town and the station stretches waste ground, a sort of fair-ground, on which are camps, huts of reed or of date-palm branches, tents formed of old rags of cloth and sometimes of the linen of an unrolled turban. The inhabitants of these frail dwellings cook in the open air. The coffee is made, a cup at a time, in a small brass kettle, and on plates of tin are cooked the thin doora cakes. The fuel is camel's-dung. The fellahs suck eagerly the sweetish juice of the sugar-cane cut into short pieces, and the slices of watermelon show within the green skin their ripe, rosy, flesh, spotted with black seeds. Women, as graceful as statues, come and go, holding the end of their veil between their teeth so as to conceal one half of the face, and bearing on their heads Theban jars or copper vases; while the men, squatting on the ground or on small carpets, their knees up to their chins, forming an acute angle like the legs of locusts, in an attitude which no European could assume, and recalling the judges of Amenti ranged in rows one behind another on the papyri of funeral rituals, preserve that dreamy immobility so dear to Orientals when they have nothing to do; for to move about merely for exercise, as Christians do, strikes them as utter folly.

Dromedaries, alone or grouped in circles, kneeling under their burdens, stretch out their long legs on the sand, motionless in the burning sun. Asses, some of which are daintily harnessed, with saddles of red morocco rising in a boss on the withers, and with headstalls adorned with tufts, and others with an old carpet for a saddle-cloth, were waiting for the travellers who were to stop at Tantah to bear them from the station to the town. The donkey drivers, clothed in short blue and white tunics, bare-armed and bare-legged, their heads covered with a fez, a wand in their hand, and resembling the slender figures of shepherds or youths which are so exquisitely drawn on the bodies of Greek vases, stood near their animals in an indolent attitude, which they abandoned as soon as a chance customer came their way. Then they indulged in mad gesticulations, guttural cries, and fought with each other until the unfortunate tourist ran the risk of being torn to pieces or stripped of the best part of his garments. Tawny, wandering dogs with jackal ears, fallen indeed from their old position, and forgetting apparently that they counted Anubis, the dog-headed Anubis latrator, among their ancestors, passed in and out among the groups, but without taking the least interest in what was going on.

The bonds which in Europe unite the dog to man do not exist in the East; its social instinct has not been developed, its sympathies have not been appealed to; it has no master, and lives in a savage state. No services are asked of it, and it is not cared for; it has no home and dwells in holes which it makes, unless it stays in some open tomb; no one feeds it; it hunts for itself, gorging on dead bodies and unnamable debris. There is a proverb which says that wolves do not eat each other; Eastern dogs are less scrupulous; they readily devour their sick, wounded, or dead companions. It seemed strange to me to see dogs which did not make any advances to me, and did not seek to be caressed, but maintained a proud and melancholy reserve.

Little girls in blue gowns and little negroes in white tunics came up to the carriages, offering pastry, cakes, bitter oranges, lemons, and apples,—yes, apples. Eastern people seem to be very fond of that acid Northern fruit which, along with wretched, granulous pears, forms part of every dessert, at which of course one never gets either pomegranates, or bananas, or dates, or oranges, or purple figs, or any native fruits, which are no doubt left to the common people.

The whistle of the engine sounded, and we were again carried away through that very humid and very green Delta. However, as we advanced there showed on the horizon lines of rosy land from which vegetable life was wholly absent. The sand of the desert advances with its waves, as sterile as those of the sea, eternally disturbed by the winds and beating upon the islet of cultivated earth surrounded and stormed by dusty foam, as upon a reef which it endeavours to cover up. In Egypt, whatever lies above the level of the flood is smitten with death. There is no transition; where stops Osiris, Typhon begins; here luxuriant vegetation, there not a blade of grass, not a bit of moss, not a single one of the adventurous plants which grow in solitary and lonely places,—nothing but ground-up sandstone without any mixture of loam. But if a drop of Nile water falls upon it, straightway the barren sand is covered with verdure. These strips of pale salmon-colour form a pleasant contrast with the rich tints of the great plain of verdure spread out before us.

Soon we came upon another arm of the Nile, the Phatnitic branch, which flows into the sea near Damietta. It is crossed by the railway, and on the other side lie the ruins of ancient Athrebys, over which has been built a fellahin village. The train sped along, and soon on the right, above the line of green, turning almost black in the dazzling light, showed in the azure distance the triangular silhouette of the pyramids of Cheops and Chephren, appearing, from where I first beheld them, like a single mountain with a piece taken out of the summit. The marvellous clearness of the atmosphere made them appear nearer, and had I not been aware of the real distance I should have found it difficult to estimate it correctly. It is quite natural to catch sight of the pyramids as one approaches Cairo; it is to be expected and it is expected, yet the sight causes extraordinary emotion and surprise. It is impossible to describe the effect produced by that vaporous outline so faint that it almost melts into the colour of the sky, and that, if one had not been forewarned, it might escape notice. Neither years nor barbarians have been able to overthrow these artificial mountains, the most gigantic monuments, except, perhaps, the Tower of Babel, ever raised by man. For five thousand years they have been standing there,—almost as old as the world, according to the biblical account. Even our own civilisation, with its powerful methods of destruction, could scarcely manage to tear them down. The pyramids have seen ages and dynasties flow by like billows of sand, and the colossal Sphinx with its noseless face ever smiles at their feet with its ironical and mysterious smile. Even after they were opened they kept their secret, and yielded up but the bones of oxen by the side of an empty sarcophagus. Eyes that have been closed so long that Europe, perchance, had not emerged from the flood when those eyes beheld the light, gazed upon them from where I am; they are contemporaneous with vanished empires, with strange races of men since swept from the surface of the earth; they have beheld civilisations that we know nothing of; heard spoken the tongues which men seek to make out in hieroglyphics, known manners which would appear to us as strange as a dream. They have been there so long that the stars have changed their places, and they belong to a past so prodigiously fabulous that behind them the dawn of the world seems to shine.

While these thoughts flashed through my mind we were rapidly approaching Cairo,—Cairo, of which I had talked so often with poor Gerard de Nerval, with Gustave Flaubert, and Maxime Du Camp, whose tales had excited my curiosity to the highest pitch. In the case of cities which one has desired to see from childhood, and which one has long inhabited in dreams, one is apt to conceive a fantastic notion which it is very difficult to efface, even in presence of reality. The sight of an engraving, of a picture, often forms a starting-point. My Cairo, built out of the materials of the "Thousand and One Nights," centred around the Ezbekiyeh Place, the strange painting of which Marilhat had sent from Egypt to one of the first exhibitions which followed the Revolution of July. Unless I am mistaken, it was his first picture, and whatever the perfection which he afterwards attained, I do not believe that he ever painted a work fuller of life, more individual, and more striking. It made a deep and curious impression upon me; I went time and again to see it; I could not take my eyes off it, and it exercised upon me a sort of nostalgic fascination. It was from that painting that my dreams started upon fantastic trips through the narrow streets of ancient Cairo once traversed by Caliph Haroun al Raschid and his faithful vizier Jaffier, under the disguise of slaves or common people. My admiration for the painting was so well known that Marilhat's family gave me, after the death of the famous artist, the pencil sketch of the subject made on the spot, and which he had used as a study for the finished work.

And now we had arrived. A great mob of carriages, asses, donkey drivers, porters, guides, dragomans, rioted in front of the railway station, which is at Boulah, a short distance from old Cairo. When we had recovered our luggage, and I had been installed with my friend in a handsome open carriage preceded by a sais, it was with secret delight that I heard the Egyptian providence which watched over us in its Nizam uniform and its magenta fez, call out to the coachman, "Hotel Shepheard, Ezbekiyeh Place." I was going to lodge in my dream.



EZBEKIYEH SQUARE

A few minutes later the carriage stopped before the steps of the Hotel Shepheard, which has a sort of veranda provided with chairs and sofas for the convenience of travellers who desire to enjoy the cool air. We were received cordially, and given a fine room, very high-ceiled, with two beds provided with mosquito-nets, and a window looking out upon the Ezbekiyeh Square.

I did not expect to find Marilhat's painting before me, unchanged, and merely enlarged to the proportions of reality. The accounts of tourists who had recently returned from Egypt had made me aware that the Ezbekiyeh no longer looked the same as formerly, when the waters of the Nile turned it into a lake in times of flood, and when it still preserved its true Arab character.

Huge mimosas and sycamores fill up the centre of the square with domes of foliage so intensely green that it looks almost black. On the left rises a row of houses, among which are to be seen, side by side with the newer buildings, old Arab dwellings more or less modernised. A great number of moucharabiehs had disappeared. There remains a sufficient number of them, however, to preserve the Oriental character of this side of the square.

Above the trees on the other side of the square, higher than the line of the roofs, are seen four or five minarets, the shafts of which, built in courses alternately blue and red, stand out against the azure sky. On the right the scarps of Mokattam, of a rosy gray, show their bare sides, on which no vegetation is apparent. The trees of the square conceal the newer buildings, and thus my dream was not too much upset.

Being an invalid, I had to be somewhat careful, and required two or three days of complete rest. If the reader is fond of travel, he will understand how great was my desire to begin exploring that labyrinth of picturesque streets in which swarms a vari-coloured crowd, but it was out of the question for the time being. I thought that Cairo, more complaisant in this respect than the mountain to the prophet, would come to me if I could not go to it, and as a matter of fact, Cairo was polite enough to do so.

While my luckier companions started to visit the city, I settled myself on the veranda. It was the best place I could have chosen, for even leaving out the people on the Square, the veranda roof sheltered many curious characters. There were dragomans, most of them Greeks or Copts, wearing the fez and a short, braided jacket and full trousers; cavasses richly costumed in oriental fashion, scimetar on the hip, kandjar in the belt, and silver-topped cane in the hand; native servants in white drawers and blue or pink gowns; little negroes, bare-armed and bare-legged, dressed in short tunics striped with brilliant colours; dealers selling kuffiyehs, gandouras, and oriental stuffs manufactured in Lyons, photographic views of Egypt and of Cairo, or pictures of national types,—to say nothing of the travellers themselves, who, having come from all parts of the world, certainly deserved to be looked at.

Opposite the hotel, on the other side of the road, stood in the shade of the mimosas the carriages placed at the disposal of the invited guests by the splendid hospitality of the Khedive. An inspector, blind in one eye, with a turban rolled around his head and wearing a long blue caftan, called them up and gave the drivers the orders of the travellers. There also stood the battalion of donkey drivers with their long-eared steeds. I am told that there are no less than eighty thousand donkeys in Cairo. That number does not seem to be exaggerated. There are donkeys at every corner, around every mosque, and in the most deserted places there suddenly appear from behind a wall a donkey driver and a donkey that place themselves at your service. These asses are very pretty, spirited, and bright-tempered; they have not the piteous look and the air of melancholy resignation of the asses of our own country, which are ill fed, beaten, and contemned. You feel that they think as much of themselves as other animals do, and that they are not the whole day long a butt for stupid jokes. Perhaps they are aware that Homer compared Ajax to an ass, a comparison which is ridiculous in the West; and they also remember that one of their ancestors bore Miriam, the Virgin Mother of Issa, under the sycamore of Matarieh. Their coat varies from dark-brown to white, through all the shades of dun and gray. Some have white stars and fetlocks. The handsomest are clipped with ingenious coquetry so as to make around the legs patterns which make them look as if they were wearing open-worked stockings. When they are white, the end of the tail and the mane are dyed with henna. Of course this is only in the case of thorough-bred animals, of the aristocracy of the asinine race, and is not indulged in with the common herd.

Their harness consists of a headstall adorned with tresses, tufts of silk and wool, sometimes coral beads or copper plates, and of a morocco saddle, usually red, rising up in front to prevent falls, but without any cantle. The saddle is placed upon a piece of carpet or striped stuff, and is fastened by a broad girth which passes diagonally under the animal's tail like a crupper-strap; another girth fastens the saddle-cloth, and two short stirrups flap against the animal's sides. The harness is more or less rich according to the means of the donkey driver and the rank of his customers, but I am speaking merely of asses which stand for hire. No one in Cairo considers it undignified to ride an ass,—old men, grown men, dignitaries, townspeople, all use them. Women ride astride, a fashion which in no wise compromises their modesty, thanks to the enormous folds of their broad trousers which almost completely conceal their feet. They often carry before them, placed upon the saddle-bow, a small, half-nude, child which they steady with one hand while with the other they hold the bridle. It is usually women of importance who indulge in this luxury, for the poor fellahin women have no other means of locomotion than their little feet. These beauties, as we may suppose them to be, since they are masked more closely than society ladies at the Opera ball, wear over their garments a habbarah, a sort of black taffeta sack, which fills with air and swells in the most ungraceful fashion if the animal's pace is quickened.

In the East a rider, whether on horseback or on an ass, is always accompanied by two or three footmen. One runs on ahead with a wand in his hand to clear the way, the second holds the animal's bridle, and the third hangs on by its tail, or at least puts his hand on the crupper. Sometimes there is a fourth who flits about and stirs up the animal with a switch. Every minute Decamp's "Turkish Patrol," that startling painting which made such a sensation in the Exhibition of 1831, passed before me, amid a cloud of dust, and made me smile; but no one appeared to notice the comicality of the situation: a stout man dressed in white with a broad belt around his waist, perched on a little ass and followed by three or four poor devils, thin and tanned, with hungry mien, who through excess of zeal and in hope of backshish, seem to carry along the rider and his steed.

I must be forgiven all this information about the asses and their drivers, but these occupy so large a space in life at Cairo that they are entitled to the importance which they really possess.



ANCIENT EGYPT

The solemn title must not terrify the reader. M. Ernest Feydeau's book is, in spite of its title, most attractive reading. In his case science does not mean weariness, as happens too often. The author of "Funeral Customs and Sepulture among the Ancient Nations" desired to be understood of all, and everybody may profit by his long and careful researches. He has not sealed his work with seven seals, as if it were an apocalyptic volume, to be understood by adepts only; he has sought clearness, distinctness, colour, and he has given to archaeology the plastic form which it almost always lacks. What is the use of heaping together materials in disorder, stones which are not made to form part of a building, colours which are not turned into pictures? What does the public, for whom, after all, books are meant, get out of so many obscure works, cryptic dissertations, deep researches, with which learned authors seem to mask entrances, as the ancient Egyptians—the comparison is a proper one here—masked the entrances to their tombs and their mummy pits so that no one might penetrate into them? What is the use of carving in darkness endless panels of hieroglyphs which no eye is to behold and the key to which one keeps for one's self? M. Ernest Feydeau is bold enough to desire to be an artist as well as a scholar; for picturesqueness in no wise detracts from accuracy, though erudites generally affect to believe the contrary. Did not Augustin Thierry draw his intensely living, animated, dramatic, and yet thoroughly true "Stories of the Merovingian Times" from the colourless, diffuse, ill-composed history of Gregory of Tours? Did not Sauval's unreadable work become "Notre-Dame de Paris" in Victor Hugo's hands? Did not Walter Scott, by his novels, Shakespeare by his dramas, render the greatest services to history by giving life to dead chronicles, by putting into flesh and blood heroes on whom forgetfulness had scattered its dust in the solitude of libraries? Does any one suppose that the chroniclers of the future will not consult Balzac to advantage, and look upon his work as a precious mine of documents? How great would be the interest excited by a similar account, domestic, intimate and familiar, by a Greek or a Roman author? We can have some idea of this from the fragments of Petronius and the Tales of Apuleius, which tell us more about life in the days of antiquity than the gravest writers, who often forget men while dwelling upon facts.

In an essay on the history of manners and customs which forms the introduction to his book, M. Ernest Feydeau has discussed this question of colour applied to science with much spirit, logic, and eloquence. He proves that it is possible, without falling into novel writing, without indulging in imaginativeness, and while preserving the gravity and the authority of history, to group around facts, by the intelligent reading of texts, by the study and the comparison of the monuments, the manners, the customs, the books of vanished races, to show man at a particular time, to put as a background to each event the landscape, the city, or the interior in which it occurred, and in the conqueror's hand the weapon which he really carried. Ideas have forms, events take place amid certain surroundings, individuals wear costumes which archaeology, properly understood, can restore to them. That is its proper task. History draws the outline with a graver, archaeology must fill it in with colour. Understood in this way, history makes the past present. The innovating archaeologist, by an apparently paradoxical inspiration, has asked of death the secret of life; he has studied the tomb, which has yielded up to him not only the mysteries of destruction, but the customs and the national life of all the nations of antiquity. The sepulchre has faithfully preserved what the memory of man has forgotten and what has been lost in scattered libraries. The tomb alone, opening its sombre lips, has replied to the questions of to-day; it knows what historians do not know; it is impartial, and has no interest in lying, apart from the innocent imposture of the epitaph. Each generation, as it sinks forever under the ground, after having lived and moved for a few moments on its surface, inscribes upon the walls of its funeral dwelling the true expression of its acts, its beliefs, its customs, its arts, its luxuries, its individuality, all that was seen then and that shall never again be seen, and then the hand of man rolls boulders, the desert heaps up sand, the waters of the stream deposit mud upon the forgotten entrance to the necropolis. The pits are filled up, the subterranean passages are effaced, the tombs sink and disappear under the dust of empires. A thousand, two thousand, three thousand, four thousand years pass by, and a lucky stroke of the pick reveals a whole nation within a coffin.

The ancients, differing in this respect from the moderns, spent their life in preparing their last dwelling. The history of their funerals contains, therefore, the germ of their whole history. But that history, full of intimate details, mysterious facts, and documents at times enigmatical, is not to be written like the other form of history which men are satisfied to repeat from age to age. It is amazing how many years the author had to spend in study and research in order to write his book, to bring together his materials, to analyse and to compare them.

After having clearly defined what he means by archaeology, the author enters upon his subject. Going back to the beginnings of the world, he depicts the amazement and the grief of man when for the first time he saw his fellow-man die. The entrance on earth of that unknown and terrible power which has since been called death is solemn and tragical. The body is lying there motionless and cold amid its brethren, who are amazed at the sleep which they cannot break, at the livid pallor and the stiffness of the limbs. Horror succeeds surprise when the signs of decomposition become visible. The body is concealed under leaves, under stones heaped up within caverns, and each one wonders with terror whether that death is an exceptional case, or whether the same fate awaits every one in a more or less distant future. Deaths become more numerous as the primitive family grows older, and at last the conviction comes that it is an inevitable fate. The remembrance of the ancestors, the apparition of their ghosts in the wonders of dreams, the anxiety as to the fate of the soul after the destruction of the body, give rise, along with the presentiment of another life, to the first idea of God. Death teaches eternity and proves irrefragably the existence of a power superior to that of man. The belief in metempsychosis, in the migration of the soul, in other spheres, in reward and punishment according to the works done by men in the flesh, arose among nations in accordance with the degree of civilisation which they had attained. Among the least civilised these doctrines exist in a state of confusion, remain vague, uncouth, surcharged with superstition and peculiarities. Nevertheless, everywhere the mystery of the tomb is venerated.

It may be affirmed that no nation was so preoccupied with death as ancient Egypt. It is a strange sight to behold that people preparing its tomb from childhood, refusing to yield up its dust to the elements, and struggling against destruction with invincible obstinacy. Just as the layers of Nile mud have overlaid one another since the birth of time, the generations of Egypt are ranged in order at the bottom of the mummy pits of the hypogea and the pyramids of the necropolis, their bodies intact—for the worm of the tomb dare not attack them, repelled as it is by the bitter bituminous odours. But for the sacrilegious devastations of man, that dead people would be found complete, and its numberless multitudes might cover the earth. Imagination is staggered when it attempts to calculate the probable numbers; if Egyptian civilisation had lasted ten centuries longer, the dead would have ended by expelling the living from their native land. The necropolis would have invaded the city, and the stark mummies in their bandages would have stood up by the wall of the hearth.

You cannot have forgotten the marvellous chapter on "A Bird's-eye view of Paris," an amazing restoration by a poet, in which archaeology itself, in spite of the progress it has made, would find it difficult to discover a flaw. Well, what Victor Hugo has done for mediaeval Paris, M. Ernest Feydeau has attempted for the Thebes of the Pharaohs, and his restoration, as complete as it is possible for it to be, and which no historian had attempted, stands out before us as sharply as a plan in relief, and with all the perspective of a panorama. Thebes of the Hundred Gates, as Homer called it,—antiquity has told us nothing more about this ancestress of capitals; but M. Ernest Feydeau takes us walking with him through the city of Rameses; he shows us all its monuments, its temples, its palaces, the dwellings of the inhabitants, the gardens, the harbour, the fleet of vessels; he draws and colours the costumes of the people; he enters the harems, and shows us the travelling musicians, the dancers, the enslaved nations which built for the Egyptians, the soldiers manoeuvring on the parade ground, the processions of Ammon, the foreign peoples which come seeking refuge and corn, the caravans of thirty-five hundred years ago bringing in the tribute. Then he describes the colleges of priests, the quarters inhabited by the embalmers, the minutest details of the embalming processes, the funeral rites, the construction of the thousands of hypogea and mummy pits which are to receive the mummies. Finally he shows us, passing through the streets of that strange city, the funeral procession of a royal scribe upon its catafalque, drawn by oxen,—the numberless mourners, the hosts of servants bearing alms and offerings. I regret that the length of that passage does not allow of my quoting it in full and enabling the reader to mark the union of a beautiful style with scientific knowledge. Unquestionably no modern traveller has ever given a more picturesque description of any existing city, Constantinople, Rome, or Cairo. The artist seems to be seated upon the terrace of a palace, drawing and painting from nature as if he were a contemporary of Rameses, and as if the sands had not covered with their shroud, through which show a few gigantic ruins, the city forever vanished. And yet he indulges in no chance supposition, in no rash padding. Every detail he gives is supported by the most authentic documents. M. Ernest Feydeau put aside every doubtful piece of information and all that appeared susceptible of being interpreted in more than one way. He seems to have been anxious to forestall the suspicious mistrust of scholars, who object to having the dry results of erudition clothed in poetic language, and who do not believe that a treatise on archaeology can possibly be read with as much interest as a novel.

As I have said, the Egyptians have left us no books, and had they done so the art of deciphering hieroglyphics or even phonetic or demotic writing is not yet assured enough to allow of absolute trust being put in it. Happily the Egyptians performed a work of such mightiness that it amazes the beholder. By the side of the hieroglyphic inscriptions they carved on the walls of palaces and temples, on the sides of pylons, the faces of the corridors and the bays of funeral chambers, on the faces of the sarcophagi and on the stelae, on the covers and the interior cartonnages of the mummies,—in short, on every smooth surface of rock, whether sandstone or granite, basalt or porphyry, with an ineffaceable line coloured with tints that the long succession of ages has not faded,—scenes in which we find in detail the habits and customs and the ceremonies of the oldest civilisation in the world. It seems as if those strange and mysterious people, foreseeing the difficulty which posterity would experience in deciphering their hieroglyphics, intrusted their translation to drawing, and made the hypogea tell the secret kept by the papyri.

Royal ceremonies, triumphal entries, the payments of tribute, all the incidents of military life, of agriculture, sport, fishing, banqueting, dances, the intimate life of the harem, all is reproduced in these endless paintings, so clearly drawn, with the difference in races, variety of types, shape of chariots, of weapons, of arms, of furniture, of utensils, of food, of plants, still clearly visible to-day. A maker of musical instruments could certainly make a harp, a lyre, or a sistrum from the pattern of those upon which are playing the female musicians at the funeral repast represented in one of the tombs of the necropolis of Thebes. The model of a dog-cart in a plate of modern carriages is not drawn more accurately than the profile of the chariot seen in the funeral procession of the ecclesiastical scribe of Amenoph III, a king of the eighteenth dynasty.

The author has not confined himself to these purely material details. He has examined the funeral papyri which, more or less valuable, are found with each mummy; he has carefully studied the allegorical signs which represent the judgment of the soul, the good and evil deeds of which are weighed before Osiris and the forty-two judges, and thus he has mastered the mysterious beliefs of the Egyptians on the question of the future life. The soul, whether it was conducted to Amenti or driven into the infernal regions—that is, towards the West—by the dog-headed monkeys, who appear to have been a sort of daemons charged with the carrying out of sentences,—the soul was, nevertheless, not freed from all connection with the body; its relative immortality depended in some sort upon the integrity of the latter; the alteration, the deprivation of one of the limbs was supposed to be felt by the soul, the form of whose impalpable spectre would have been mutilated and could not have traversed, wanting a leg or an arm, the cycle of migrations or metempsychoses. Hence the religious care taken of the human remains, the infallible methods and the minute precautions of the embalmers, the perfect solidity and the secret location of the tombs, of which the priests alone possessed the plan, the constant thought of eternity in death which characterised in so striking a manner the ancient Egyptians and makes them a nation apart, incomprehensible to modern nations, which are generally so eager to give back to the earth and to cause to disappear the generations which have preceded them.

During his long and intimate acquaintance with Egypt, M. Ernest Feydeau, who is not only an archaeologist but also a poet, after he had sounded the mysteries of the old kingdom of the Pharaohs, became passionately attached to that art which the Greek ideal—which nevertheless is indebted to it for more than one lesson—has caused us to despise too much. He has understood, both as a painter and a sculptor, a beauty which is so different from our own standard and which is yet so real.

Hathor, the Egyptian Venus, seems to him as beautiful as the Venus of Milo. Without entirely sharing that feeling, I confess to admiring greatly the clean outline, so pure, so slender, and so full of life. In spite of the hieratic restrictions which did not allow the consecrated attitude to be varied, art shows out in more than one direction. There is a beauty of a strange and penetrating charm foreign to our own habits in the heads with their delicate profiles, their great eyes made larger by the use of antimony, the somewhat thick lips with their faint, dreamy pout, or their vague smile resembling that of the sphinx, in the rounded cheeks upon which hang broad discs of gold, in the brows shaded by lotus flowers, in the temples framed in by the narrow tresses of the hair, powdered with blue powder, which are shown in funeral processions. How youthful, how fresh, how pure are the tall, slender bodies, the swelling bosoms, the supple waists, the narrow hips of these dancers and musicians who beat time with their long, slender fingers and their long, narrow feet. The Etruscans themselves have never produced anything more light, more graceful, and more elegant upon the bodies of their finest vases, and in more than one famous Greek bas-relief can be recognised attitudes and gestures borrowed from the frescoes of the necropolis and the tombs of Egypt. It is from Egypt also that Greece took, while diminishing their huge size, its Doric and Ionic orders and its Corinthian capital, in which the acanthus takes the place of the lotus flower.



[Transcriber's Note:

The following spelling and punctuation errors have been corrected:

Page 9: " has been added before "I." ("I have a presentiment that) Page 46: ' was removed before "Amset." (the man's head of Amset) Page 232: A period was added after "foot." (would disdain to set foot.) Page 246: "Taia" changed to "Taia." (Twea, Taia, Amense,) Page 349: "forty-twa" changed to "forty-two." (Osiris and the forty-two judges,)

All other inconsistencies have been retained.]

THE END