Voyage dans la Basse et Haute Egypte : Planche 125. (Reproduction d'un manuscrit de momie et bas-reliefs).<br /><br />

Original print folio untrimmed extracted Travellers in Lower and Upper Egypt Vivant Denon. Board decorated with an engraving subdivided into several figures, and described by the author: A manuscript No.1 canvas or strip mummy found in a yard of the store curiosities of the Academy of Sciences; it consists of a series of nineteen pages separated and framed with many labels: the first has a title written in red; the first word of each column is written with the same color; the ball of the first vignette, No. 1, feems to be the sun; it is colored red; what comes out is probably a beam of light, alternately composed of red blood cells, blood cells and black; Then come pages, where the thumbnails are birds I have not figured that one of the pages of writing, because all would have required a large space without adding any interest in printmaking as it does have not found a way to read the manuscript; it is enough to see a few to satisfy curiosity, and where others exist if we succeed in being able to read; until now the tables have a particular interest; as here, monolithic temples 13, 17 and 18, which clearly show that these species monuments were used to hold the sacred birds, as I thought when I found avois the first again in his place in the temple of Philée (see the map of this island, board LXX, No. 22, the figure I have drawn apart, pl. XLI, No. 1, and the newspaper, tom. II, page 94). No. 2 is a hawk with a human head, a figure before him in an attitude of admiration. No.3 A hawk on a cage. No.4 A hawk on a slab. No.5 A Lapwing bird very multiplied in Egypt, and of which there is number of species. No. 6 A lady of Numidia. No.7 A snake man's head. No. 8 The consecration of a lotus flower. No 9.A same dedication to a head coming out of the lotus plant. No. 10 A man kneeling in front of three deities that seem the same. No. 11 A crow perched on a wide semicircle marked points, which can be stars; what pourroit be the emblem of the night. No. 12 A boat on the water. No.13 A small monolith temple; two hawks outside the temple, placed on the stylobate; a figure of seated man holding a stick, which seems to be their guardian; the seat, very elegant, consists of a body of animal, his legs, his thighs, and tail. No. 14 A figure, I always thought it to be that of the earth, and placed embedded in a slab; a sharp instrument seems to divide into two parts. No. 15 A man in wolf's head, with room to a deity in the form of term; he wears the same time hand over part of the generation of this deity. No. 16 A sacrifice; under the altar are vessels of holy water. No. 17 A figure in awe of a tabernacle or temple monolith, the door is closed; the door is a trellis. No. 18 A monolith temple, a figure opens the door and has to eat the bird that is locked. No. 19 The same vignette as No. 10 after that just four tables one above the other and take the whole diameter of the manuscript: one from above is a boat; the second, a man on his knees makes an offering of four vases, and other things I do not know how to name, in a seated divinity; the third, another offering to two figures who appear to be two gods; the fourth is half torn. Alongside are four other tables, which are not complete, Because at this point the tape was torn: one from above is an offering of the thigh of an animal three squatting deities, of which the middle is red ; a boat driven by a man crouching, holding an oar with both hands, and in the same attitude still practiced in Egypt; The second table is a harvest maturity, a man cut with a sickle; another man who treats a plant that is no longer of corn, but rice or doura: in the third, a man who plows; he holds the horn of the plow, and supports the foot on the shares; the plow is pulled by an ox; there are very badly drawn trees, between which are two figures of the earth; the first band is highly degraded. The last line at the bottom of the print, are reliefs taken in small monuments that are near the pyramids of Gizeh, representing various actions privacy, a series of rural occupations, transport their produce to market towns, fishing, hunting, etc. It may be noted that when the figures are no longer hieroglyphic or emblematic sculpture loses its stiffness poses; movement indicates that the action perfectly, and often a very graceful manner, as can be seen, letter D, the group that gazelle nursing her baby. Light foxing mainly marginal, 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.