11114] on the Mortuary Chapels of the Theban Nobles 169 



iin historical and biogTaphical, partly of a statistical nature — such as the 

 representation of the foreigners bringing tribute, or the Grand 

 Vizier presiding in the law courts, or the foreign secretary transacting 

 business in the foreign office, or a high official superintending the 

 transport of an obelisk, the overseer of the armoury superintending 

 the manufacture of arms, or the overseer of the treasury checking 

 the weighing out of gold, eiectrum, and silver, and superintending 

 the metal workers, or the many high officials connected with the 

 temples of Egypt in their corresponding functions — provide us with 

 a valuable and much more authoritative material than the grandilo- 

 quent texts and scenes with which the kings represented their exploits 

 on the temple walls. 



The close intercourse with Asia Minor and tlie Mediterranean 

 Islands and the large influx of prisoners of war from the successful 

 campaigns in these countries, did much to colour and affect Egyptian 

 life and art. The acquisition of the Assyrian language, then the 

 language of diplomacy, and the inter-marriage of Egyptian reigning 

 families with those of the countries of Asia Minor, still further 

 strengthened this connection. x\ll these factors have got to be taken 

 into account if a true appreciation of Egyptian culture and Egyptian 

 art is to be arrived at ; and when we consider how in a later age the 

 great philosophers for whom Greece was famous spent many years of 

 study in Egypt, and frequently acknowledged their indebtedness for 

 the knowledge gained there, we may assume that it was during these 

 dynasties and under the influence of the men whose mortuary chapels 

 we are studying that this knowledge first took definite shape. A 

 close study of the art and sculpture of this period should enable us, 

 by the examination of the large amount of material now at our 

 disposal, to find a personal equation of this great art period which 

 hitherto has been strangely lacking. To those of us who have been 

 brought up in the study of the individuality of the world's great 

 artists, it must appear both strange and disquieting that a great art 

 epoch of the world should have existed without disclosing any distinc- 

 tive personal touch, and I trust that subsequent study will disclose 

 the necessary clues. 



The colour photographs, of which some have been taken direct by 

 Mr. Mellor and myself, and others are reproductions of faithful copies 

 made hj Mrs. Davies and Mr. Lindon Smith of the scenes in these 

 <iiapels, will give an idea of the perfection at which this art has 

 arrived. 



We are yet far from fully understanding and appreciating the 

 wonderful heritage which has been preserved for us in these chapels. 

 Hence, whilst we should be filled with gratitude that notwithstanding 

 the vicissitudes of time, so many of these relics of the past should 

 have survived to our day for our reverent care and study, the more 

 should we be imbued with the feeling that it is a duty we owe to 



