A History of Art in Ancient Egypt, Vol. 1 (of 2)Perrot, Georges
History
A History of Art in Ancient Egypt, Vol. 1 (of 2)
Perrot, Georges
Art -- Egypt -- History; Egypt -- Antiquities
transitions, but we think the advocates of the new theory should have
begun by pointing them out if they exist.
There is another difficulty in their way. How is their system to
explain the position of the mummy-chamber in certain pyramids? Let us
take that of Cheops as an example. If its internal arrangements had
been fixed from the beginning, if the intention had been from the
first to place the mummy-chamber where we now find it, at about
one-third of the whole height, why should the builders have
complicated their task by imposing upon themselves these ever
difficult junctions? Would it not have been far better to build the
pyramid at once to the required height, leaving in its thickness the
necessary galleries? The same observation applies to the discharging
chambers above the mummy-chamber. The whole of these arrangements, the
high vestibule with its wonderful masonry, the chambers and the
structural voids above them, appear to have been conceived and carried
out at one time, and by the same brains and hands. Not a sign is to be
found of those more or less well-veiled transitions which are never
absent when the work of one time and one set of hands has to be united
with that of another. Or are we to believe that they commenced by
building a hill of stone composed of those different pyramids one
within another, and that they afterwards carved the necessary chambers
and corridors out of its mass? One of the heroes of Hoffmann, the
fantastic Crespel, made use indeed of some such method in giving doors
and windows to his newly-built house, but we may be sure that no
architect, either in Egypt or elsewhere, ever thought of employing it.
The disintegration to which it would lead may easily be imagined.
We may here call attention to a circumstance which justifies all our
reserves. There is but one pyramid which seems to have been built upon
a system which, though much less complicated, resembled that which we
are noticing in some degree, we mean the Stepped Pyramid of Sakkarah.
Now we find that the whole of the complicated net-work of chambers and
passages in that pyramid is cut out of the living rock beneath its
base, and that they are approached from without by subterranean
passages. The difficulty of deciding upon the position of the chambers
in advance, and of constructing the galleries through the various
slopes of the concentric masses which were to form the pyramid, was
thus avoided, and the builder was able to devote all his attention to
increasing the size of the monument, by multiplying those parallel
wedges disposed around a central core of which it is composed.
Public-domain text, read in full here on John Shaqi.
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