The Romance of a Mummy and Egypt: The Works of Theophile Gautier, Volume 5Gautier, Théophile
General
The Romance of a Mummy and Egypt: The Works of Theophile Gautier, Volume 5
Gautier, Théophile
Egypt -- Antiquities -- Fiction; Egypt -- Description and travel
A cry of admiration was uttered at the same time by Rumphius and
Evandale at the sight of the marvel. Never did a Greek or Roman statue
present a more beautiful appearance. The peculiar characteristics of
the Egyptian ideal gave indeed to this lovely body, so miraculously
preserved, a slenderness and a grace lacking in antique marbles,--the
long hands, the high-bred, narrow feet, the nails shining like agate,
the slender waist, the shape of the breasts, small and turned up like a
sandal beneath the veil which enveloped it, the slightly protruding
contour of the hip, the roundness of the thigh, the somewhat long leg
recalling the slender grace of the musicians and dancers represented on
the frescoes of funeral repasts in the Thebes hypogea. It was a shape
still childish in its gracefulness, yet possessing already all the
perfections of a woman which Egyptian art expresses with such tender
suavity, whether it paints the walls of the passages with a brush, or
whether it patiently carves the hard basalt.
As a general rule mummies which have been filled with bitumen and natron
resemble black simulacra carved in ebony; corruption cannot attack them,
but the appearance of life is wholly lacking; the bodies have not
returned to the dust whence they came, but they have been petrified in a
hideous shape, which one cannot contemplate without disgust and terror.
In this case, the body, carefully prepared by surer, longer, and more
costly processes, had preserved the elasticity of the flesh, the grain
of the skin, and almost its natural colour. The skin, of a light brown,
had the golden tint of a new Florentine bronze, and the amber, warm tone
which is admired in the paintings of Giorgione and Titian covered with a
smoky varnish, was not very different from what must have been the
complexion of the young Egyptian during her lifetime. She seemed to be
asleep rather than dead. The eyelids, still fringed with their long
lashes, allowed eyes lustrous with the humid gleam of life to shine
between their lines of antimony. One could have sworn they were about to
shake off, as a light dream, their sleep of thirty centuries. The nose,
delicate and fine, preserved its pure outline; no depression deformed
the cheeks, which were as round as the side of a vase; the mouth,
coloured with a faint blush, had preserved its imperceptible lines, and
on the lips, voluptuously moulded, fluttered a melancholy and mysterious
smile, full of gentleness, sadness, and charm,--that tender and resigned
smile which pouts so prettily the lips of the adorable heads which
surmount the Canopean vases in the Louvre.
Public-domain text, read in full here on John Shaqi.
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