Voyage dans la Basse et Haute Egypte : Planche 118 (Hiéroglyphes, bas-reliefs et obélisques).<br />

Original print folio, taken from Travels in Upper and Lower Egypt Vivant Denon. Board decorated with an engraving subdivided into eight figures, and described by the author: No.1 The eastern face of the obelisk which was before the temple of Luxor (see Plate L, No. 1). I should desiré have time to draw the four sides which differ between them, except for the First figures of the summit, which is probably a kind of protocol of the dedication of the monument; I thought it would be advantageous to have this inscription to add further to those that we have that are obelisks in Rome and elsewhere. The work of these is such a franchise, we must believe that the Egyptians had a particular caliber tools for cutting granite; whole sculpture is hollow and relief, two inches deep, and a wonderful conservation. No.2 This fragment is the torso of a colossal statue, in white marble, placed inside one of the gates of the great temple of Karnak; He has the distinction of having a belt in which is going dagger in Eastern way: I put at the bottom the small inscription on the medallion that adorns this belt. No.3 Registration taken on the doorpost of a small temple in black granite monolith, which are the remains to Apollinopolis parva or Kus. This fragment, if we can read it, the usage of these small shrines; the letter A indicates the beginning of registration, which extends in a straight line to the letter B, and continues with the letter C to a D, No. 3a that the monument is broken; perfection of these hieroglyphics is such, either by the drawing style; either by the precision of the execution, that, but we thought it only fragment in Egypt, there would be no reason to doubt that the nation that was formerly inhabited had not known the arts, and do had turned their perfection in a high degree. No. 4 An inscription found at Thebes on a fragmented statue. No.5 A major figure in low relief on the ceiling of the room where the celestial planisphere, in the small apartment which is on the great temple of Tentyra (see map, board CXXX, No. 1); this figure takes all the diameter of the ceiling of this room; though fragmented as we can see, it still offers a good rolling contour and well proportioned; his feet, preserved, are the most beautiful style; it has no attribute, except a necklace, I have often seen in the figures of Isis; Curly hair is shaped corkscrew; the two side entries are accurate. No. 6 A monumental inscription, engraved deeply and carefully on the rock of granite is from the island of Philée (see the view, board LXXII, No. 3, and the situation in the card, letter L board LXX). There were several species of these entries; the few that were only run; others who were monumental, like these engraved nearly an inch deep: these inscriptions were probably consecrations or dedications. This extraordinary rock that nature had given the form of a gigantic siege, and to which we had added the job of a staircase into the mass, was perhaps dedicated to the five deities whose images are plotted above registration. No. 7 A similar entry as above, engraved on the upper arm of the Colossus reversed, which is near the Memnoniura at Thebes (see Plate XLII, No. 5, and board XLV, No. 2). This inscription, which is carved an inch deep, and has more than 4 feet tall, is no more effect on the total mass of such a gigantic figure number tattooed on the arm of someone alive. If it were possible to read this dedication, it can be all questions aplaniroit and leveroit all doubts about the situation of statues, palaces, tombs, and temples of Memnon and Ossimandue. Light foxing, marginal tear, otherwise good condition. Published for the first time in two volumes, an atlas of engravings, Didot, in 1802, the 'Journey to the Lower and Upper Egypt proved so successful that it was translated in 1803 into English and German, and a few years later in Dutch and Italian, among others. Almost all boards are designed by Denon, who also engraved himself a few, including portraits of the inhabitants of Egypt, who still kept the freshness of sketches taken on the spot (our 104-111 ). Two dozen writers have also collaborated on the creation of which Baltard, Galen, Reville and other etchings. Dominique Vivant, Baron Denon says Vivant Denon, born in Givry January 4, 1747 and died in Paris April 27, 1825, is a writer, author, diplomat and French administrator. At the invitation of Bonaparte, he joined the expedition to Egypt in shipping from May 14, 1798 on the frigate "La Juno." Protected by French troops, he had the opportunity to travel the country in all directions in order to gather the material that was the basis for his artistic work and the most important literary. It supports in particular General Desaix in Upper Egypt, which he refers to numerous sketches, ink wash and other drawings in pen, black chalk, or chalk. He draws constantly, usually on his knee, standing or on horseback, and sometimes even under enemy fire. After a journey of 13 months during which he draws thousands of drawings, Vivant Denon returned to France with Bonaparte, and became the first artist to publish the story of the expedition. The 141 boards that accompany his diary retrace its entire journey from the coast of Corsica to the pharaonic monuments of Upper Egypt. Bonaparte then appointed Director General of the Central Museum of the Republic, which became the Napoleon Museum and the Royal Louvre and arts administrator. In 1805, Vivant Denon revival project of the Vendome column, which had been suspended in 1803 then organizes expeditions across Europe to raise imperial works of art which are plundered to be carried away to the Louvre. In 1814, Louis XVIII confirmed as head of the Louvre, one wing of which still bears his name today. It is considered a great precursor of museology, art history and Egyptology.