348 THE HOLY LAND. 
^viil' <^^v^s near to the Pyramids. WinMrnanns 
*■ - V ' account of the art of paiutmg among the 
antient Egyptians may therefore possibly serve 
to illustrate the method used by Syrian or 
Greek artists in preparing and laying on the 
colours for these paintings, which preserve 
their original freshness in a very remarkable 
manner '. 
Leaving the mountain where all these sepul- 
chres are hewn, and regaining the road which 
conducts towards the east, into the Valley of 
Jehosaphat, we passed the Fountain 6"f/o«, and a 
o//"r,'a!!d white mulberry-tree which is supposed to mark 
sakRogd. |-}je spot where the Oak Rogel stood \ Hence 
(l) " Les couleurs sont en d^trempe, et plus ou moins d^lay^es avee 
de Teau de colle, ou chargee de gomtne : elles sont toutes employees 
pures et sans nifilanc^e. On en compte six: le blanc, le noir, le bleu, 
le rouge, le jaune, et le vert. Le rouge et le bleu, qui dominent le 
plus, paroisseut broy^s assez grossi^rement. Le blanc, compost de 
ceruse ordinaire, fait I'enduit de la toile des momies, et forme ce que 
nos peintres appellent I'rmpression, sur laquelle ils appliquent les 
couleurs Les couleurs, ainsi que la dorure, ont con- 
serve leur fralcheur pendant quelques milliers d'ann^es." Histoire de 
I'Art, par fFinkdmann, torn. I. /'/'. 191, 192. Paris, Jn 2 de la 
Repuliujue. 
(2) The author mentions this tree merely from its importance as a 
land-mark. Pococke seemed aware that "the Sepulchres of the 
Kings" (mentioned 2 Chron.wi. 20) might be situated somewhere near 
this spot ; for he says, " Near this Pool (Silon), at a white mulberry- 
tree, they say Isiuah was sawn asunder, by the order of Manasseh ; an d 
here it is to be supposed he was buried, under the Oak Rogel. It is- 
FROBA BL£. 
