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tions of the domestic life and rural economy of the Egyptians, and near which is the last pyramid within the limits of Egypt Southwards the Temple of Edfou (Apollinopolis Magna), and the remains of Ombi, with a Temple still nearly perfect. Lastly, in the extreme limits of Egypt adjoining Nubia, are the ruins of Elephantina and the island of Philæ, containing a wonderful collection of monuments, grouped together within a very limited space.

Passing Philæ, the traveller enters the province of Nubia, divided into Upper and Lower Nubia, and hardly less distinguished than Egypt itself for the magnificence and grandeur of its ruined temples. It has, indeed, been suspected that Egyptian arts and civilization descended the Nile from Nubia, and there are not wanting indications confirmatory of this supposition in the peculiar character of the Nubian monuments, many of which are gigantic carvings upon the face of the rock itself, pointing to a very remote antiquity for their execution. The principal ruins in Lower Nubia are those of Wady Sivah (the Oasis of Ammon), the rock-cut temples of Ipsambul, Derri, and Girscheh, and the singularly perfect and uninjured temple of Dandour. Of these the colossal works at Ipsambul may be considered to vie in magnificence with the grandest works at Karnak and Luxor.

Upper Nubia commences at the Second cataract of the Nile, in Lat. 21° 50', at a place called Wady Halfa, and contains many remains of the highest interest. Of these the principal are those at Semneh, Amara, Soleb, Sesche, or Sasef, on the island of Tumbus, and at Mount Barkal. Mount Barkal is perhaps the most remarkable, from its peculiar isolated character and the number of monuments grouped upon it. It was in its immediate neighbourhood that Lord Prudhoe (now the Duke of Northumberland) procured the colossal granite lions in the Museum,' which belong to a very early period of Egyptian art.

Beyond Mount Barkal are several small pyramids, and at a place called Nourri there is a considerable group of them; and in the Desert, about six leagues East of the Nile, are the ruins of Naga, containing some curious sculptured remains. Lastly, and also in the Desert, nine leagues South of Shendy, is Al-Meçaourah, with its vast collection of ruins, consisting of eight small Temples

1 Egyptian Saloon, Nos, 1 and 34.

connected by galleries and terraces with a great number of chambers, probably the site of the ancient Ammonium, the original seat of the oracle of Jupiter Ammon, from which the Religious colonies, which carried civilization, arts, and religion from Ethiopia to the Delta, are believed to have issued. Al-Meçaourah itself probably represents the position of Meroe, the ancient capital of Æthiopia.

EGYPTIAN SALOON.

WITH this brief introduction, we proceed to the Egyptian Saloon, as containing the most important records of ancient Egyptian Art. For convenience of reference and description we group the various objects in this room under the following heads:

1. STATUES AND FRAGMENTS OF KINGS.

2. STATUES AND FRAGMENTS OF DEITIES.
3. REPRESENTATIONS OF ANIMALS.

4. SARCOPHAGI.

5. OBELISKS.

6. INSCRIBED SLABS.

7. SEPULCHRAL TABLETS.

1. STATUES AND FRAGMENTS OF KINGS.

On entering the Egyptian Saloon, the spectator will observe a row of colossal subjects on each side of the central passage, of which the first which claims especial attention is—

No. 19, commonly called the HEAD OF MEMNON, the most celebrated monument of Egyptian art in any European collection, whether we consider its history, its colossal proportions, or the style of its sculpture. It is carved in a piece of fine granite, the lower portion of a dark, the upper of a salmon colour, and when complete represented the monarch seated on a throne, with his hand upon his knees. He wears on his head a modius, decorated with a disk and uræi, and has a collar round his neck. His right arm has a hole drilled in it, apparently for blasting, and his left appears to have been blown off by the same process, probably to render it lighter for transportation. On his back are perpendicular lines of Hieroglyphics, the upper portions of which are tolerably well preserved, and record the gifts of power and dominion, length of years, &c. by the God Amen-Ra, to the King Rameses II.

It appears, on close examination, that this colossal fragment has been coloured, probably in early times, traces of red paint existing on the face and modius, and of other colours upon the claft.

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