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A History of Art in Ancient Egypt.

the rock. This curious arrangement should be studied upon the spot by some competent observer. As we do not know whether these curves exist upon each face or not, or whether they meet each other and penetrate deeply into the structure or not, we cannot say what their purpose may have been. But however this may be, they afford another argument against the notion that all the great pyramids were built round such a pyramidoid core as that represented by our Fig. 136. We fear that this system must be regarded merely as an intellectual plaything. The views of Lepsius as to the enlargement of the pyramid by the addition of parallel slices are worthy of more respect, and their truth seems to be demonstrated in the case of some pyramids. But these all belong to that category of monuments which have subterranean

Fig. 145.—Partial section of the Stepped Pyramid; from Minutoli.

chambers only. We have yet to learn that they were ever made use of in those pyramids which inclose the mummy-chamber and its avenues in their own substance. Variety is universal in that Egypt which has so often been described as the land of uniformity and immobility—no two of the pyramids resemble each other exactly.

We have yet to speak of two ancient monuments in which some would recognize unfinished pyramids, namely, the Pyramid of Meidoum and the Mastabat-el-Faraoun. We do not agree with this opinion, which has, however, been lately put forward, so far, at least, as the former monument is concerned.[1] These two

  1. Bædeker, Egypt, part i. 1878. The pages dealing with the monumental remains were edited in great part by Professor Ebers.