Egypt as Seen by Non-Egyptians Vivant Denon, the First European
Explorer in the Egyptian Desert
Forty editions of his book, entitled “A journey in Lower Egypt” in the 19 Century, were published.
A tribute should be paid to Vivant Denon for being the first to present, to both France and Europe a true and honest image of Egypt and its civilization. He was so infatuated by the Egyptian architecture that he corrected the widespread claim in Europe that “The ancient Egyptian architecture represented only the very early stage of art”. Moreover, Denon was the first European traveller to take the risk and step into the Egyptian desert to explore and depict the monuments of Upper Egypt. All travellers since Herodotus and over two thousand years would rather stay in their boats or get into the Egyptian desert for only a few hours not sufficient to discover its monumental treasures.
In addition, he was the only scientist in the French Expedition to Egypt to have the chance to see the monuments of Upper Egypt. He, even, discovered “Habu” Temple in al-Quarna village.
An Expedition of Scientists
As Bonaparte started his preparations of the French Expedition to Egypt, an idea sprang into his mind to select an elite galaxy of scientists, artists, researchers and scholars to accompany him in his campaign. So, he assigned the chemistry scientist Bertolait to select that host of scientists of whom some were chosen while more than one hundred scientist voluntarily joined the group as they believed in the efficiency of their commander.
Before sailing to Egypt, Baron Dominique Vivant Denon, the artist, painter and man-of-letters, succeeded to get Bonaparte's approval to allow him to accompany the Expedition. Once he reached Alexandria, he devoted himself to write down all his observations.
A True Image
Denon had a distinguished role in presenting a true image of Egypt at the end of the 18th Century when he published his book “A Journey to Upper and Lower Egypt during the Military Operations of General Bonaparte”. This book was printed in Paris in (1802) and forty editions were issued during the 19th Century.
This book, including a comprehensive atlas of paintings was richer and more instructive than all the preceeding English and French publications.
Denon's book comprised the gist of his observations over thirteen months. Through his paintings which amounted to more than three hundred and twenty five, he unveiled for the first time the masterpieces of the Egyptian civilization for both France and Europe.
When Denon started recording his impressions, he described Alexandria as a “sad city”. This impression may be a result of the circumstances of the French Expedition. Then, Denon accompanied General Meno to Rosetta where he seized the opportunity to attend and witness Abu-Quir maritime battle.
Depicting the Landmarks of Cairo
After securing the Delta, Denon proceeded to Cairo to join the membership of the Egyptian Scientific Institute set up by Bonaparte on the twentieth of August, 1798. Then, he joined the scientists heading for the Pyramids.
After this tour in which he saw and drew the Pyramids and the Sphinx, he thought it better to wander in the streets and alleys of Cairo to depict el-Azbakeia district, the Citadel and the shrines of Mamelukes. Denon's infatuation with painting overwhelmed his duties at the Scientific Academy. However, he could successfully prepare a detailed research on the ancient columns which were found thrown beside the fence surrounding the water barrages. This scientific research, which he was assigned by the Academy to prepare included a lot of paintings of water barrages, shrines of holy men, the district of Old Cairo, Bolaq, the garden of the Scientific Academy, beside a painting of one the Bedwins' raids.
A Mission in Upper Egypt
Denon's predominating idea was to find his way southward to witness the monuments of Upper Egypt. He actually got a real chance when Bonaparte assigned General Deziée to invade Upper Egypt where the latter allowed Denon to accompany him in his campaign. At the beginning, Denon recieved an improper treatment from the soldiers due to their jealousy of the scientists close to the commander-in-chief in addition to the traditional hatred of the military men towards the civilians as they find them a heavy burden during the battles of the Expedition. Yet, this treatment improved when they noticed Denon's courage, simplicity and cheerful nature. Since then, his relationship with officers and soldiers turned to be one of purity and cordiality which helped him later to carry out his mission more easily.
Pharaonic Art, Absolute Epitome of Arts
Denon paid no attention to the Greek monuments in Egypt, while he was infatuated by the Pharaonic architectural style at first sight. That urged him to say, “I don't think the Greeks added anything new; nothing more magnificent than what I see and nothing is more refined or simpler than these few lines that constitute the Egyptian architecture. The Egyptians never imitated other nations; they were keen on drawing simple lines void of unnecessary ornaments. Thus, their architecture design reached the top of accuracy and simplicity. Lines have their holy spirit. Pharaonic art has been marked by pure genuinty. Thus, if an observer gets very close, he would view this design as fraught with unnecessary ornaments while on the contrary he would see the true image free from complications if he gets at a distance.
As Deziée's brigade headed for the south to chase the Mamelukes, Denon accompanied them, passing by Menflout, Assiut and Sohag where he drew the two famous Copts' monasteries “The Red” and “The White”. Thereupon, they reached Gerga where they spent three weeks waiting for ships to reinforce them with supplies, ammunition and war materials. After being engaged in some battles, the Expedition reached Dandara where Hathour Temple inspired Denon to record his enthusiastic infatuation of the great Egyptian art. He dedicated three of his most wonderful paintings, in his atlas, for Dandara Temple.
Masterpieces of Thebes
Few days later, the army reached the west bank of Thebes which was a remote city where treasures were still hidden. Even, the ruins of Thebes appeared as a fearful phantom before which the French soldiers lost their power. Yet, when they got closer, their fear turned into deep admiration that made them clap their hands and perform their military salute along with drumbeats as if they realized their utmost objective.
On his part, Denon depicted all what he saw in Thebes with the help of the soldiers who willingly stretched their legs as a table for him to lean on and continue his paintings. Others surrounded him to protect him from the hot sun. Thus, he felt proud for the soldiers' true sympathy and great help.
However, in view of the circumstances of the expedition Deziée decieded to head for Armant and pursue his march towards the south. Consequently, Denon had no enough time to pursue his mission. As soon as the expedition arrived at Essna, Denon felt motivated by his great infatuation to draw a vivid picture of himself while standing in front of the ruined gate.
The Monuments of Luxor and Aswan
Denon accompanied the expedition to Edfu and then to Aswan where he dedicated himself to draw the waterfalls there and depict the rural scenes in Nubia. Afterwards, he accompanied the army to Alphantine and Pheiala islands. On his way back, he pursued his march with the expedition till he arrived at Qena.
Yet, due to many skirmishes between the soldiers and the civilians, Denon couldn't but pay a very flying visit to the Valley of kings. While he was in the chambers of Ramses III tomb, he was alarmed by the horn for horses to hurry up.
So, he asked the commander to wait for twenty minutes to draw such an impressive painting of a girl dressed in a white robe, playing on eleven-string-harp. He was overwhelmed by those treasures which he could not leave without drawing. Hence, he went through the tomb accompanied by a couple of soldiers carrying candles for him to spotlight the paintings he liked to draw.
While walking, he tripped on a foot of a mummy that he drew in a very special picture and described it by saying, “Undoubtedly, this foot is of such a delicate elegant and able-bodied girl in the prime of her life. Her straight thumb, little finger and ring finger in addition to her delicate curves clearly reflect her noble origin. Her soft feet have neither been scratched of painful walking nor snicked by rough shoes. Furthermore, she liked to colour her nails with henna in the way the Egyptian women still do nowadays, as they colour their nails, hands and feet with henna.” This painting of the foot that Denon described inspired the French traveller and author Theophle Gautier later to write his famous story “Foot of the Mummy”.
Natural Innocence
As General Bia returned to al-Quarna village, Denon seized the opportunity of the armistice to recognize the components of the ancient graveyard in the heart of the mountain. He found charm and wonder in that new art style at the tombs of the nobles where he faced small engraved paintings of fascinating natural scenes. Moreover, he noticed that paintings of people were cavernously engraved which made him change his previous opinion that hollow engravements could only be performed in metals.
Furthermore, he was highly motivated by this spontaneity and pure innocence crystalized in those wall paintings and consequently he enthusiastically embarked upon depicting those funny scenes of folkloric joys such as games, music and dancing after he realized the difference between the traditional clerical style of the tombs of kings as contrasting to the liberal style of the tombs of nobles.
On top of Denon's achievements during his stay in al-Quarna comes the discovery of “Habu” city. After this remarkable success, he headed for Cairo in July 1799 to show all his paintings and drawings to the members of the Scientific Academy who did not have the opportunity to visit Upper Egypt.
All scientists were overwhelmed when they saw the paintings that Denon drew under very hard circumstances. He even explained to them, “I drew most of these paintings on my knees or on horseback as I could not get an even table to use for drawing over one whole year. Thus, I could not find any other way to finish my paintings. Denon excelled in those simple spontaneous paintings which were more inspiring than most of other paintings.
In view of such hard circumstances, his paintings seemed to lack full accuracy which characterizes the “Description of Egypt” book. Yet, all Denon's paintings were charming and expressive due to the elaborate comments that Denon added to them. However, his paintings were more artful than all the preceeding engraved paintings whose painters bragged about by the end of the 18th Century. His literary painting in which he described Egypt was even more comprehensive than Volney's and more objective than Savary's.
A Survey of Habits and Traditions
Other than Denon's paintings of Pharaonic Egypt, he presented drawings of Egypt's Coptic and Islamic views, the Egyptian customs and traditions during the expedition, besides the graves of holy men, sultans and Mamelukes. Furthermore, Denon was keen to paint mosques, funerals, festivals, assemblies of Sheikhs, pastoral scenes, costumes and different hair styles. Through his paintings, Denon presented portraits of Greek monks, Coptic priests and Jewish merchants. Thus, his book comprised the best collection of engraved paintings about Egypt ever known in Europe at the end of the 18th Century.
Bonaparte was overwhelmed by all Denon's drawings and thus asked him to accompany his march towards the Delta and picture the events of Abu-Quir maritime battle where he defeated the Turkish army, led by Mustafa Pasha, on 11th of July, 1799. Thereupon, Denon accompanied Bonaparte in his journey back to France on the twenty third of August, 1799.
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