. A history of art in ancient Egypt . Fig. 88.—Man and his w ife in the style of the 5th dynasty. Calcareous stone. From the Louvre, from all indiscreet curiosity. Other effigies were placed in thechambers of the tomb or the courts in front of it. Finally, weknow that persons of consideration obtained from the king per-mission to erect statues in the temples, where they were protectedby the sanctity of the place and the vigilance of the priests.^ ^ Maspero, Confcrefice, p. 381. ?^ Maspero, Notes siir differentes Points de Grammaire et dHistoire, p. 155. (Inthe Recueil de Travaiix relatifs a la
. A history of art in ancient Egypt . Fig. 88.—Man and his w ife in the style of the 5th dynasty. Calcareous stone. From the Louvre, from all indiscreet curiosity. Other effigies were placed in thechambers of the tomb or the courts in front of it. Finally, weknow that persons of consideration obtained from the king per-mission to erect statues in the temples, where they were protectedby the sanctity of the place and the vigilance of the priests.^ ^ Maspero, Confcrefice, p. 381. ?^ Maspero, Notes siir differentes Points de Grammaire et dHistoire, p. 155. (Inthe Recueil de Travaiix relatifs a la Philologie et a F Anheologie Egyptieiuie etAssyrienne, vol. i.) Sepulchral Architecture. 139 From the point of view of the ancient Egyptians such precau-tions were by no means futile. Many of these effigies have comedown to us safely through fifty or sixty centuries and have foundan asylum in our museums where they have nothing to fear butthe slow effects of climate and time. Those which remain intact.
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Keywords: ., bookcentury1800, bookdecade1880, bookpublisherlondo, bookyear1883
