Egypt -- Description and travel; Egypt -- History -- 19th century; Nile River -- Description and travel
Turning back presently his attention was arrested by some much mutilated
sculptures on the face of the rock, a few yards nearer the south
buttress of the temple, he had seen these sculptures before--so, indeed,
had I, when wandering about that first day in search of a point of
view--without especially remarking them. The relief was low, the
execution slight; and the surface so broken away that only a few
confused outlines remained.
The thing that now caught the painter’s eye, however, was a long crack
running transversely down the face of the rock. It was such a crack as
might have been caused, one would say, by blasting.
He stooped--cleared the sand away a little with his hand--observed that
the crack widened--poked in the point of his stick and found that it
penetrated to a depth of two or three feet. Even then it seemed to him
to stop, not because it encountered any obstacle, but because the crack
was not wide enough to admit the thick end of the stick.
This surprised him. No mere fault in the natural rock, he thought, would
go so deep. He scooped away a little more sand; and still the cleft
widened. He introduced the stick a second time. It was a long
palm-stick, like an alpenstock, and it measured about five feet in
length. When he probed the cleft with it this second time it went in
freely up to where he held it in his hand--that is to say, to a depth of
quite four feet.
Convinced now that there was some hidden cavity in the rock, he
carefully examined the surface. There were yet visible a few
hieroglyphic characters and part of two cartouches, as well as some
battered outlines of what had once been figures. The heads of these
figures were gone (the face of the rock, with whatever may have been
sculptured upon it, having come away bodily at this point), while from
the waist downward they were hidden under the sand. Only some hands and
arms, in short, could be made out.
They were the hands and arms, apparently, of four figures; two in the
center of the composition and two at the extremities. The two center
ones, which seemed to be back to back, probably represented gods; the
outer ones, worshipers.
All at once it flashed upon the painter that he had seen this kind of a
group many a time before--_and generally over a doorway_.
Feeling sure now that he was on the brink of a discovery he came back,
fetched away Salame and Mehemet Ali, and, without saying a syllable to
any one, set to work with these two to scrape away the sand at the spot
where the crack widened.
Meanwhile, the luncheon-bell having rung thrice, we concluded that the
painter had rambled off somewhere into the desert, and so sat down
without him. Toward the close of the meal, however, came a penciled
note, the contents of which ran as follows:
“Pray come immediately--I have found the entrance to a tomb. Please
send some sandwiches. A. M’C----.”
Public-domain text, read in full here on John Shaqi.
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