File:The dawn of civilization- Egypt and Chaldaea (1897) (14577047759).jpg

Identifier: dawnofcivilizati01masp (find matches)
Title: The dawn of civilization: Egypt and Chaldaea
Year: 1897 (1890s)
Authors: Maspero, G. (Gaston), 1846-1916
Subjects: Civilization
Publisher: London : S.P.C.K.
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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Text Appearing Before Image:
¹ W. Fl. PETRIE, Medum, pp. 18, 20, 21, pis. xix.-xxi.
² Maspeiîo, Études de Mythologie et d'Archéologie égyptiennes, vol. i. p. 173.
³ These mastabas were explored for the first time and described by MARIETTE, Les Mastabas de
l'Ancien Empire, pp. 468-482, and Monuments divers, pis. xvii.-xix.; cf. VILLIERS-STUART, Nile Gleanings,
pp. 27-39, and Egypt after the War, pp. 469-472. They have been excavated afresh by W. Fl. PETRIE,
Medum, 1892, who has carefully reproduced in colour the most interesting fragments of the decoration.
⁴ W. Fl. PETRIE, Medum, pp. 17,18. Professor Petrie has presented this mummy, the most ancient
specimen perhaps in existence, to the Anatomical Museum of the Royal College of Surgeons, London.
⁵ Mr. Spurrell has made, for Mr. Petrie, in a most complete manner, a chemical analysis and
technical study of these coloured pastes (Medum, pp. 28, 29).
⁶ Mr. Petrie has devoted to the hieroglyphs of these sepulchres a most searching examination,
and has reproduced a considerable number of them in the coloured plates which accompany his
volume (Medum, pp. 29-33).
⁷ See the head of Râhotpû at p. 347 of this History, where it serves as the initial vignette of this
chapter.
Text Appearing After Image:

THE PRINCESS NOFRIT

(Gizeh Museum)

KHEOPS, KHEPHREN, AND MYKERINOS. 363

they are to be seen in the Gîzeh Museum just as they were when they left
the hands of the workman.¹ Râhotpû was the son of a king, perhaps of Sno-
frûi : but in spite of his high origin, I find something humble and retiring in
his physiognomy. Nofrît, on the contrary, has an
imposing appearance : an indescribable air of reso-
lution and command invests her whole person, and
the sculptor has cleverly given expression to it.
She is represented in a robe with a pointed opening
in the front : the shoulders, the bosom, waist, and
hips, are shown under the material of the dress
with a purity and delicate grace which one does not
always find in more modern works of art. The wig,
secured on the forehead by a richly embroidered
band, frames with its somewhat heavy masses the
firm and rather plump face : the eyes are living,
the nostrils breathe, the mouth smiles and is about
to speak. The art of Egypt has at times been as
fully inspired ; it has never been more so than on
the day in which it produced the statue of Nofrît.

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