By William C. Hayes
7 5/8 x 10 1/4", 399 pp + fold-out map at again, Harper & Brothers in cooperation with the Metropolitan Museum of artwork, 1953 first. half I of a 'background for the learn of the Egyptian Antiquities within the Metropolitan Museum of Art'. through William C Hayes.
Read or Download The Scepter of Egypt: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art From the Earliest Times to the End of the Middle Kingdom PDF
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Extra info for The Scepter of Egypt: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art From the Earliest Times to the End of the Middle Kingdom
A selection as “decorated” showing the degeneration of the form. H. 814- northern Predynastic culture. This class is com¬ 11 14 in. posed of jars of buff, gray, or pale pink pottery covered with elaborate red line decoration of a First and Second Dynasties. The degeneration of type distinct from that of the white-on-red decothe form is very clear in this class of jar and may rated jars of the southern culture. Nile scenes be followed step by step from the Middle Pre- with great many-oared ships (complete with dynastic period down into historic times.
Rate and valuable when the writers are describ¬ ing conditions which they themselves witnessed and almost worthless when they are merely re- 2- The Written Language o£ Ancient Egypt peating the pseudohistorical tales told to travel¬ ers by the contemporary Egyptian priests and The language spoken and written by the Egyptians of the dynastic period and, until the sixdragomans. , by their descendants the mentary documents of a historical nature which Copts is a composite tongue, closely related in its have survived from the dynastic period in Egypt, general structure to the Semitic languages of These include several small fragments of stone hither Asia but showing also affinities with the tables of annals compiled in the Fifth Dynasty, so-called “Hamitic” languages of East Africa.
Above the central circle, in the midst of the lions, appears a rough little repre¬ sentation of a palace facade surmounted by the 15 royal falcon of the “Follower of Horus,” that is, l\v 1 the king. The Horus name of the pharaoh, which we later find written in such panels, is omitted; but there can be no doubt regarding the royal significance of the motif, which for the next three thousand years heads the protocols of the kings of Egypt. 1 During the period in which the carved palettes 1 were being produced the long war between the i g A II.