Evening star., 1923-03-19
Tomb of King Tutar,khan,en
!. May Yield Ne,v Color Ideas
Scarlets, Yelloscs, Pinks and Grays on
+ Treasures Viii Be Analyzed
l. by Scientists.

to have been worn by the king as a
robe, but the kind of costume is not
indicated. The chased gold scarab
together constitute one of Tutankh-
amen's names, is unique. Tomb rob-
bers of ages ago probably stripped
other kings Of, their leweled pro-
nomens, or subtitles. This is one
further illustration of the importance
OF the discovery OF the tomb Of Tut
ankhamen. Its outer chambers were
robbed hastily and superficially soon
of robbers lost the secret OF the To-
cation OF this tomb, and IL has car
ried down through the centuries
wealth and variety of objects which
have been found in no other sep
ulchre.
Fine Art Shown on Box.
Another object is painted box,
one. of the most interesting objects
in the tomb. because of the excellence
of it's art. Elaborate composition was
unknown before the eighteenth dy-
nasty, to which Tutankhamen belong
ed. The artist has here made bold
and striking arrangement of many
interrelated figures. Tutankhamen is
indicated in his chariot riding down
an army of African enemies. tossed
into the air in all directions, and
slain by the kings arrows In spite
the conventions which hedge a king
are not distuI bed by the artist and,
even during the battles hottest mo-
ments. his attendants are shown fam
ming him.
Under the magnifying glass Dr.
Williams has read the four lines of
hieroglphs, three vertical and one
} horizontal, which she translates as
! follows:
THE good god. counterpart of Re.
nv 1,
The rising of Re. destroying
This land of wretched kush.
Commanding his arrows against
his enemies"
Discusses box In Detail
Discussing the box in detail. Mrs.
Williams said:
"On the lid are the hunting scenes.
Both in hunting and in battle. I'm the
eighteenth dynasty, the king is rep
resented riding in his chariot. draw
, ing his bow and arrows. These are
typical Egyptian scenes, archery. hav-
ing been much practiced and the very
effective compound bow having been
introduced before the time of Tut
ankhamen; less often the king is rep
resented welding a sickle-s shaped
sword or club: l do not recall any
battle scene in which he uses jave-
lin, but doubtless, like his courtiers.
he was wont to spear fish IS a sport.
| The melee, the fallen enemies, the
/ springing horse Of the king and the ar
rangement used to make the king the
central figure of one large composition
filling the entire area to be decorated
are in the new style which in Tutakh-
amens day was still something of A
novelty The retainers welding enor-
nous fans and the three rows--or regis
ter. as we call them-of figures behind
the king, are survivals Of the oder
style of decoration in which the entire
neld was divided in registers"
Designs Of 21OO b. c.
In another picture one end of the
painted casket is shown. with designs
which may be traced back to the early
fifth dynasty, about 2700 B. c.. where
they appear in temple reliefs The fig
ures on the left-hand side of the box are
carefully balanced by figures on the
right-hand half, exhibiting a symmetry
| OF which Egyptian designers were fond.
Tutankhamen is shown in the form of
sphinx. rampling on his enemies. one
black man of Ethiopia, the other an
,, Asiatic. The names Of -Tutankhamen
appear in the hieroeIyphs of the center:
| The faces of the two sphinxes might be
portraits Of him. The features in their
youth, freshness and intelligence resem-
BILE the images of Tutankhamen which
guarded the sepulchral chamber and the
face of the carved wooden statue found
| there which has been called a dummy
or mannikin. The youthful king Is
u
and with an elaborate headgear in his
role as a sphinx. The feathers on his
back are derived from the falcon, SYM
Dol Of the sun god. OF whom he was the
hovers the symbolic vulture of the south
with wings dropping in protection.
HicrogIyphs Are Rend.
Just in front Of the face of the
sphinx on the left is a vertical line of
writing, which Mrs. Williams reads
as follows: ''Tramping the chieftains
of wretched Kush under thy feet
The vertical line of hieroplyphs on
the left side of the picture is balanced
by similar line on the right, which
says:
"Trampling the chieftains of all
lands under thy soles Qiterally san
dals)."
This line describes the Asiatic,
whose mustached and bearded face
appears in each section of the pic
ture, crushed under a hind foot of the
sphinx. The Asiatic might be Semitic.
or, according to the theory of Weigall,
specifically an Israelite. Contrary to
most or to all other authorities, Wei
gall has argued that Tutankhamen
was the Pharoah of the persecution.
The artists idea, however, apparently
was to represent the Asiatic type. as
indicating the rest of the world or
'chieftains of all lands" A fact of
great interest, as has been shown re-
Gently. is that the Egyptians did not
come in contact with negroes, nor
represent them on their monuments,
until the eighteenth dynasty, for the
/ habitat of the blacks was well south
OF the fourth cataract of the Nile.
Some Drawings Unsuccessful.
Mrs. Williams pointed out, further,
that. although the artist had repre-
sented the face and body of the
sphinx admirably, he had been less
successful in treating the figures
trampled under foot. The negro face
and arms are shown vividly in con-
trast with the white robe and white
plume. but the head of the black man
on the left is drawn awkwardly as if
decapitated. The picture has to be
turned upside down for a good view
OF the features Of this man of Kush.
The black Kushite is painted more
skillfully in the picture on the right.
The Asiatic type Is represented awk-
wardly, the foot. raised above the
ground. being particularly failure.
The inevitable fan. seldom absent
from elaborate Egyptian pictures, is
shown above the back of each sphinx.
Behind the head, above the fan and
under the outstretched wing of the
vulture, are hieroglyphics referring
to the king. which say: Given
health, life. stability good fortune,
Used Earth COlors.
fsrryt-