The Egyptian collection, purchased from the Drexel Institute, includes over seven hundred objects, ranging from sculpture and painting to furniture and utensils of daily life. It affords an adequate illustration of the conditions under which art flourished in the ancient land of the Nile, and of the characteristic forms of art expression which were evolved to meet these conditions.

After monumental architecture, the system of decoration evolved by the Egyptians is perhaps their greatest contribution to the world's art. A few characteristics of Egyptian painting and sculpture may be noted. Color is used in flat areas without gradation and effects of light and shade. [pg 23] In drawing, outline is the principal mode of representation. Various conventions originating in the primitive stages of art, such as the representation of the human body with head and legs in profile and the shoulder to the front, became traditional and were continued with little change throughout later periods. These conventions, however, did not prevent the artist in the more vigorous periods of Egyptian art from noting with great keenness of observation many truths of nature. This curious conflict between realistic observation and conventional means of representation is characteristic of Egyptian art. In free-standing sculpture, the variety of postures was limited to a few unvarying poses. On the whole, in the figurative arts, types and subjects remain unchanged throughout Egyptian history, although from time to time the informing spirit was different.

This immutable character of Egyptian art is thoroughly consonant with the idea of duration which was so strongly a controlling factor in Egyptian life. We cannot consider here the manifold ramifications of Egyptian religious belief, but one central tenet—that existence continued after death—must receive some attention, since this belief in the after-world explains many features that might otherwise be puzzling. The tomb, for example, was thought of as the real dwelling house, “the eternal house of the dead”; the houses of the living were merely “wayside inns.” As a result, domestic architecture was inconsequential; all efforts were concentrated on the construction and decoration of tombs and temples.

The mummy is enclosed in a cartonnage, made of many layers of linen held together by plaster, elaborately decorated by inscriptions and figures of the gods. The anthropoid coffin is made of wood, and is also richly decorated. Tesha was the daughter of the Doorkeeper of the Golden House (or Treasury) of Amon at Thebes.

It was believed that man was composed of different entities each having its separate life and function. First, there was the body itself; then, the Ka or double—the ethereal projection of the individual, corresponding in a way to our ghost. Two other elements were the Ba or soul and the Khu or luminous spark from the divine fire. Each of these elements was in itself perishable. Left to themselves, they would hasten to dissolution, and the man, as an entity, would be annihilated. This catastrophe, however, could be averted through the piety of the survivors. The decomposition of the body could be prevented, or at least suspended, by the process of embalming; prayers and offerings saved the other elements from the second death and secured for them all that was necessary for the prolongation of their existence. The influence upon the arts of these religious beliefs is interesting to note. Scenes of harvesting, hunting, and similar episodes connected with the offering of food were painted or carved upon the tomb walls, generally for an utilitarian purpose. Through the recitation of prayers and magic formulae, the pictured semblances of food became reality and saved the hungry Ka from annihilation in case actual offerings should fail him. In the same way, portrait statues were placed in tombs to provide a semblance of the deceased to which the Ka could return were the actual body destroyed. These instances are perhaps sufficient to show us how closely art was related to religion in ancient Egypt.

The exterior of this wooden coffin is decorated with figures of gods and minor divinities in shrines, alternating with invocations to various divinities. The most interesting scene is that next the foot on the right side, showing the goddess Hathor in the form of a cow. Beside her is a suggestion of the Theban cliffs and the open door of her shrine, which was hewn in the mountain side. This very shrine was discovered on February 7, 1906, and in it intact was a life-size cult statue of Hathor as a cow. Hathor was supposed to receive the setting sun and to welcome the dead on the brink of the next world. The decoration of the interior of the coffin is bolder and more highly colored than the exterior. On the floor may be noted the large standing figure of Osiris of Busiris. Various divinities are represented surrounding him. On the sides of the coffin are three registers containing each three mummiform figures with human or animal heads; at the top is the soul of the deceased, represented as a human-headed bird. This coffin doubtless comes from Thebes. The absence of the cover makes it impossible to determine the ownership. The coffin was perhaps originally decorated in advance for a woman's burial, and held in stock for any burial. In one place, however, a man's titles are given, although the name is not recorded, so that possibly, before the decoration of the coffin was completed, it was adapted to the use of a man.

Standing figure of a woman, carved in wood, with traces of painting; found at Deir; a fine example of carving in Dynasty XII. An inscription on the base may be read: “Funerary offerings, beef, fowl (?), things (?), good and pure for the honorable Kai.” Doubtless a portrait statue. The pose, with one foot advanced and the arms held stiffly at the sides, is a familiar one in Egyptian art. Note costume details: the thick wig and the tight dress supported by two shoulder straps.

This bronze statuette represents the Goddess Neith wearing the crown of Lower Egypt; probably of the Saite period. An excellent example of votive bronzes, of which there is a considerable number in the collection. These statuettes probably served as votive or propitiatory offerings; that is to say, they were offered at shrines in gratitude for favors experienced or in the hope of winning favors to come.

Fragment of the funerary papyrus of the Priest of Amon, Jekhonsefonkh; part of a scroll buried with the deceased for his instruction in the afterworld; Dynasty XXI.

Ushabti, Dynasty XIX (?), part of the burial equipment of “The Lady of the House, the Chantress of Amon, Aay.” Ushabtiu were placed in the tomb to answer for the deceased when called upon to labor in the afterworld. The inscription reads: “To illuminate the Osiris, the Lady of the House, Aay, beatified in peace. He says: O this ushabti, if one be drafted to do all the labors which are performed in the underworld—the Osiris, the Lady of the House, Aay, beatified, in peace—to cultivate the fields, to irrigate the banks, to carry the sand of the east to the west, behold, there will be smitten down ...” Here the text, which is part of Chapter VI of the Book of the Dead, breaks off because the available space was filled. It omits final instructions to the ushabti to reply, should the deceased be drafted, “Behold, here am I!” and thereupon relieve the deceased Lady of the House of the onerous task of laboring in the fields.

Cover of a canopic jar used in the burial to contain the human viscera; if not earlier than the Empire period, to which it is attributed, it represents the genius Amset.

From left to right: spherical vase, Early Dynastic; kohl jar used to contain antimony or other preparations for the eyes, Dynasty XII or XVIII; the three vessels following are of the Empire period, Dynasty XVIII-XIX.

Bronze mirror, originally highly polished, probably of the Ptolemaic period. Note the lotus column serving as handle and the two sacred falcons at the side of the handle.

The sacred falcon below is a charm or amulet of the XII or XVIII Dynasty in polished gray stone.

Heart scarab, Dynasty XX or later. Inscription is a prayer from the Book of the Dead, adjuring the heart, over which the scarab was placed, not to bear false witness against the deceased at the time of judgment. The Horus eye is a beautiful piece of faience inlaid with stone and glass, probably of Dynasty XIX.