ARCHITECTURAL CHARACTER

- A primitive architecture of MUD or PUDDLED CLAY and BUNDLES OF REEDS

changed to STONE and GRANITE.
- It was composed of BUNDLES OF REEDS bound together and placed vertically in
the ground at INTERVALS, the angles being of greater strength. Joining these
reeds, AT THE TOP, were laid horizontally other bundles, which bound the HEADS
OF THE UPRIGHTS TOGETHER.
- The origin of the characteristic CORNICE, is held due to the pressure of the CLAY, of
which the PRIMITIVE ROOFS were constructed, on the UPRIGHT REEDS, which
formed the framework of the walls.
- This formed the SLIGHTLY PROJECTING CORNICE, the reeds keeping the
RAMMED CLAY in a projecting position and allowing the curve to be terminated
by a FLAT FILLET which gave the LEVEL OF THE TERRACE.
- The JAMBS and LINTELS of the doors and windows were MADE OF REEDS in the
humbler dwellings and of PALM TRUNKS in those of more pretension.
- PROTOTYPE of the construction of an Egyptian wall, the form of which is more
suitable to a STRUCTURE OF RUSHES overlaid with MUD or PUDDLED CLAY than
to one consisting of LARGE STONES.
- Important point remains—the BATTER or SLOPE given to the walls.
VIOLLET-LE-DUC’S THEORIES of the origin do not point to the INFLUENCE OF
THE MATERIAL, and this feature is alleged by him to have been introduced at a
later stage, having promulgated by A ROYAL DECREE.
- Custom derived from the PYRAMIDS, which were undisturbed by earthquakes.

INTERNAL ARCHITECTURAL FEATURES

- Distinct REMINISCENCE OF THE PRIMITIVE REEDS tied together at intervals,

crowned with the LOTUS BUD, is found in the LATER GRANITE AND COLUMN
CAPITAL.
- THEBAN KINGDOM, examples in stone of CAPITALS AND COLUMNS derived from
TIMBER AND REED originals are frequent.
- At Beni-Hasan, PILLARS represent a bundle of four reeds or lotus stalks bound
together near the top and bulging ABOVE THE LIGATURE, so as to form a
CAPITAL, in IMITATION OF A LOTUS BUD.
- Originally employed in WOODEN ARCHITECTURE ONLY, and the roof which it
supports, in this instance represents a LIGHT WOODEN CONSTRUCTION having the
slight slope necessary in the dry Egyptian climate.
- This type of column was largely used in later Egyptian times in a more substantial
lithic form, and in conjunction with the hollow-formed capital bell type, of which the
earliest example appeared in the eighteenth dynasty.
- Although materials changed, the forms of the early reed and clay construction were
adhered to ; and the endeavour of the conservative Egyptian was to reproduce in stone
and granite, superimposed in layers, the appearance assumed in the early reed and
mud type.

DECORATION

- Surface decorations on the later granite buildings, came from the “sgraffito” (incised
plaster) work on the earlier mud walls. Their flat surfaces, when plastered, provided an
admirable field for decoration and for instruction through the use of hieroglyphics.
- It consisted in not contravening the form adopted, but in clothing it with a kind of
drapery more or less rich, which never presented a projecting outline, contenting itself
with enveloping the geometric form as would an embroidered stuff or diapered
covering.
- Traditional forms were clung to and reproduced when the method of building which
suggested them had been replaced by other systems.
- Egyptian art proceeded on an uninterrupted line or course of tradition, and when
necessity dictated a change in the methods of construction, or in the materials, the
immutable form was not thereby affected, but was perpetuated in spite of novel
conditions.
- Principal remains of ancient Egyptian architecture are the Pyramids, or royal tombs of
the kings, and the temples, a contrast in this respect with Assyria, where the palaces of
the kings are the chief remains.
- The Egyptian wall-paintings, sculptures, jewellery, bronze implements and utensil,
which have been unearthed from their temples or tombs, show that the race had
attained to a high degree in art.
- These buildings were erected for eternity, all the remains having a character of
immense solidity, and usually of grand uniformity.
- THE PYRAMIDS
- Most extravagant of all ancient buildings
- Finishing and fitting such large masses of granite is remarkable, for many of the
blocks, perfectly squared, polished and fitted, are at least 20 feet long by 6 feet wide.
- Method of quarrying and of transportation for long distances by land and water, and
the raising of these blocks of stone into position, is even uncertain. M. Choisy has
theories.
- AC of the temples is striking and characteristic. The buildings decrease in height from
front to back, presenting a disconnected collection of various sized structures, often
built at different times, and thus forming a direct contrast to the harmonious whole of
a Greek temple, which is all comprised within one “order” of columns, and which is
both in appearance and reality, one building.
- AC of the tombs consists in the planning of their mysterious chambers and corridors,
which covered with paintings and hieroglyphics, producing an effect of gloom and
solemnity on the spectator
- Scant tree growth prevented the extensive use of wood as a building material, but because
fine clay was deposited by the floodwaters of the Nile, the ceramic arts developed early. Both
sun-dried and kiln-dried bricks were used extensively. Fine sandstone, limestone, and granite
were available for obelisks, sculpture, and decorative uses.
- A massive, static, and serene architecture emerged from primitive structures of clay and
reeds. The incised and flatly modeled surface adornment of the granite buildings was
apparently derived from mud wall ornamentation, and the slope given to the masonry walls
suggests a method employed originally to obtain stability in the mud walls. The Egyptians
developed post-and-lintel construction—the type exclusively used in their monumental
buildings—even though the use of the arch was developed during the dynasty of Snefru
(2780–2689 BC). Walls were immensely thick. Columns were confined to the halls and inner
courts. Roofs, invariably flat, suited to the lack of rain, were of huge stone blocks supported
by the external walls and the closely spaced columns.
- The massive sloping exterior walls, containing only a few small openings, as well as the
columns and piers that they concealed, were covered with hieroglyphic and pictorial carvings
in brilliant colors. Many motifs of Egyptian ornament are symbolic, such as the scarab, or
sacred beetle, the solar disk, and the vulture. Hieroglyphics were decoration as well as
records of historic events. Egyptian sculptors possessed the highest capacity for integrating
ornamentation and the essential forms of their buildings. From natural objects, such as palm
leaves, the papyrus plant, and the buds and flowers of the lotus, they developed
conventionalized motifs.
- All dwelling houses, built of timber or of sun-baked bricks, have disappeared; only temples
and tombs, constructed in durable materials, have survived. The belief in existence beyond
death resulted in sepulchral architecture of utmost impressiveness and permanence. Even
during periods of foreign rule Egyptian architecture clung to its native characteristics,
adopting almost no elements from other cultures.
- Scant tree growth prevented the extensive use of wood as a building material, but because
fine clay was deposited by the floodwaters of the Nile, the ceramic arts developed early. Both
sun-dried and kiln-dried bricks were used extensively. Fine sandstone, limestone, and granite
were available for obelisks, sculpture, and decorative uses.
- A massive, static, and serene architecture emerged from primitive structures of clay and
reeds. The incised and flatly modeled surface adornment of the granite buildings was
apparently derived from mud wall ornamentation, and the slope given to the masonry walls
suggests a method employed originally to obtain stability in the mud walls. The Egyptians
developed post-and-lintel construction—the type exclusively used in their monumental
buildings—even though the use of the arch was developed during the dynasty of Snefru
(2780–2689 BC). Walls were immensely thick. Columns were confined to the halls and inner
courts. Roofs, invariably flat, suited to the lack of rain, were of huge stone blocks supported
by the external walls and the closely spaced columns.
- The massive sloping exterior walls, containing only a few small openings, as well as the
columns and piers that they concealed, were covered with hieroglyphic and pictorial carvings
in brilliant colors. Many motifs of Egyptian ornament are symbolic, such as the scarab, or
sacred beetle, the solar disk, and the vulture. Hieroglyphics were decoration as well as
records of historic events. Egyptian sculptors possessed the highest capacity for integrating
ornamentation and the essential forms of their buildings. From natural objects, such as palm
leaves, the papyrus plant, and the buds and flowers of the lotus, they developed
conventionalized motifs.
- All dwelling houses, built of timber or of sun-baked bricks, have disappeared; only temples
and tombs, constructed in durable materials, have survived. The belief in existence beyond
death resulted in sepulchral architecture of utmost impressiveness and permanence. Even
during periods of foreign rule Egyptian architecture clung to its native characteristics,
adopting almost no elements from other cultures.