here of these Nilotic explorations superfluous, beyond mentioning
that four of the most ancient tombs discovered at Memphis by Lep-
sius, independently of his vast collection of other materials, were
taken to pieces on the spot, with the utmost care, and became rebuilt
into the Royal Museum at Berlin.
Invited by Chevalier Lepsius to visit,288 and inspect personally, antiquarian
treasures endeared by a lifetime’s Egyptian associations, Mr.
Gliddon was at once so struck with the ethnographic importance of
these sepulchral bas-reliefs, that he solicited paper-impressions of a few
heads for the joint and future studies of Dr. Morton and himself; and,
on the 10th of May, 1849, he had the gratification of assisting Chevalier
Lepsius to make numerous estampages ; while, to insure perfection
and authenticity, the paper was stamped upon the sculptures by the
Chevalier’s own hands.
One singular fact, illustrative of the superior antiquity of these
tombs of pyramidal magnates to any heretofore described by Egyptologists,
may here be mentioned. Laid bare, through excavation, at
a depth of many feet below the rocky surface, and emptied of the
sand with which they had become refilled since their desecration by
unknown hands (probably Saracenic) centuries ago, the relievos presented
themselves in colors so vivid as to appear 1 fresh and perfect,
as if painted only yesterday;” but, despite every precaution, on
removing each slab into the open air, the painted stucco-superficies
fell off—leaving, however, the uninjured low-relief (about the sixth
of an inch) sculpture to endure long as time shall respect the
Berlin Museum. Now, in the dry climate of Memphis, Egyptian
colors known to range from 2500 to 4000 years old, where not exposed
to the dew, or to the Etesian winds, still adhere on the wall of tombs
in their pristine freshness and brilliancy. -Well, therefore, is an antiquity
of at least 5300 years for these now colorless relievos (imperiously
demanded also by their hieroglyphical and other conditions)
corroborated by their exceptional friability. With his wonted foresight,
Lepsius had caused the colored sculptures to be copied by his
draughtsmen, in situ, before removal; and in the DenJcmaler,*9 their
gorgeous paintings may still be admired.
On the writer’s (G. R. G.’s) return to London, these estampages,
after being outlined, were transferred upon tracing-paper by his
wife’s accurate pencil, in duplicate, for Dr. Morton and himself.
The originals, as acknowledged by the Doctor in a foregoing letter
(p. 232, ante), were duly passed on to his cabinet, where their inspection
completed that revulsion of earlier views toward which his progressive
studies had long been leading. The second copy, shaded
and colored in imitation of the limestone originals, has often embel