In the Valley of the Kings (21 page)

Apparently, Legrain had practiced his indiscretions in a side chapel of Karnak, the three-thousand-year-old temple to the lion-headed goddess Sekhmet. It was a small structure with a tiny opening in the granite ceiling shedding a dim light on the goddess with her enigmatic smile. Cracks could be seen near her shoulders where her statue was restored. Two basket boys had died during its excavation (buried by a sudden cave-in), and their father, blaming Sekhmet, vented his rage on her image.

Chanting before the goddess, Legrain had recited the ancient spells as if he were a priest of the goddess, while two visiting Frenchwomen kissed her feet.

In a letter dated March 1911, Maspero wrote to Legrain: “Everyone—natives and foreigners—ridicules both you who indulge yourself daily in these eccentricities and the Department that allows you to do so.”

But mad or sane, Legrain managed to stay at his post and perform valuable restoration work. The young Oxford-trained archaeologist Edward Ayrton was not as fortunate. Joseph Lindon Smith, a painter of archaeological scenes, remembered that “Ayrton was not popular at night. By consensus, his cot was placed a long distance away from the rest of us. He had dreadful nightmares in which he shrieked in fluent Chinese.” The Chinese was incidental (Ayrton was brought up in the East by a diplomat father), but the nightmares were perhaps a sign of what was to come. Eventually Ayrton quit Egypt, his nerves overstrained and his personality warped. In a letter to a friend, Smith related that at the opening of Pharaoh Horemheb’s tomb, “Ayrton had suddenly gone mad…. We think he has gone off his head really.”

Following this, Ayrton left Egypt, unable to bear the solitude of the sites, worn out by the intense pressure of his patron, Theodore Davis, to find royal tombs, and unable to descend any longer into the underground passages. Ayrton died soon afterward in Ceylon during a hunting expedition—the circumstances of the young man’s death being, it goes without saying, suspicious to some, perfectly normal to others.

In an essay entitled “The Malevolence of Ancient Spirits,” Arthur Weigall cataloged a long list of strange incidents—of mummies being removed from houses where desperately sick children then recover, of mummified animals bursting as their live counterparts suddenly appeared nearby, and so on—incidents that the skeptical may dismiss as coincidence or hearsay.

One story, however, was especially noteworthy in that it needs no supernatural sanction. With or without sorcery, it reveals the way the daily work of the diggers had the potential to induce a kind of madness: “We were engaged in clearing out a vertical tomb-shaft,” Weigall recalled, “which had been cut through the rock underlying the sandy surface of the desert…. At sunset I gave the order to stop work for the night, and I was about to set out on my walk back to the camp when the foreman came to tell me that a mummied hand had been laid bare, and it was evident that we were about to come upon an interred body.

“By lamplight, therefore, the work was continued; and presently we had uncovered the sand-dried body of an old woman, who by her posture appeared to have met with a violent death. It was evident that this did not represent the original burial in the tomb, the bottom of the shaft not yet having been reached; and I conjectured that the corpse before us had been thrown from above at some more recent date—perhaps in Roman times [that is,
30 BC-AD 342
, considered recent by Egyptian standards]—when the shaft was but half full of debris, and in course of time had become buried by blown sand and natural falls of rock.

“The workmen were now waiting for their evening meal, but I was anxious to examine the body and its surroundings carefully. I therefore sent all but one of the men back to the camp, and descended into the shaft by means of a rope ladder, carrying with me a hurricane lamp to light my search. In the flickering rays of the lamp … the old woman lay upon her back, her arms outstretched upwards, as though they had stiffened thus in some convulsion, the fingers being locked together. Her legs were thrust outwards rigidly, and the toes were cramped and bent. The features of the face were well preserved, as was the whole body; and long black hair descended to her bony shoulders in a tangled mass. Her mouth was wide open, the two rows of teeth gleaming savagely in the uncertain light, and the hollow eye-sockets seemed to stare upwards,
as though fixed upon some object of horror…. [Despite the passage of thousands of years, the faces of mummies are often extraordinarily expressive. One has only to compare the peaceful, dignified expression on the face of Seti I with the agonized features of Pharaoh Se’qe’enre, who died of horrible wounds in battle.]

“Just as I was completing my search I felt a few drops of rain fall, and at the same time realised that the wind was howling and whistling above me. A rain storm in Upper Egypt is a very rare occurrence, and generally it is of a torrential character. If I left the body at the bottom of the shaft, I thought to myself, it would be soaked and destroyed; and since, as a specimen, it was well worth preserving, I decided to carry it to the surface, where there was a hut in which it could be sheltered…. I called out to the man whom I had told to wait for me on the surface, but received no reply. Either he had misunderstood me and gone home, or else the noise of the wind prevented my voice from reaching him. Large spots of rain were now falling, and there was no time for hesitation. I therefore lifted the body on to my back, the two outstretched arms passing over my shoulders and the linked fingers clutching, as it were, at my chest. I then began to climb up the rope ladder, and as I did so I noticed with something of a qualm that the old woman’s face was peeping at me over my right shoulder and her teeth seemed about to bite my right ear.

“I had climbed about half the distance when my foot dislodged a fragment of rock from the side of the shaft, and, as luck would have it, the stone fell right upon the lamp, smashing the glass and putting the light out. The darkness in which I found myself was intense, and now the wind began to buffet me and to hurl the sand into my face. With my right hand I felt for the woman’s head and shoulder, in order to hitch the body more firmly on to my back, but to my surprise my hand found nothing there. At the same moment I became conscious that the hideous face was grinning at me over my left shoulder, my movements, I suppose, having shifted it; and
without further delay, I blundered and scrambled to the top of the shaft in a kind of panic.

“No sooner had I reached the surface than I attempted to relieve myself of my burden. The wind was now screaming past me and the rain was falling fast. I put my left hand up to catch hold of the corpse’s shoulder, and to my dismay found that the head had slipped round once more to my right, and the face was peeping at me from that side. I tried to remove the arms from around my neck, but, with ever increasing horror, I found that the fingers had caught in my coat and seemed to be holding on to me. A few moments of struggle ensued, and at last the fingers released their grip. Thereupon the body swung round so that we stood face to face, the withered arms still around my neck and the teeth grinning at me through the darkness. A moment later I was free, and the body fell back from me, hovered a moment, as it were, in mid air, and suddenly disappeared from sight. It was then that I realised that we had been struggling at the very edge of the shaft, down which the old woman had now fallen, and near which some will say that she had been wildly detaining me.”

To this suggestion—that the murdered old woman was trying to drag Weigall into the pit into which she had been thrown so long before—Carter would have snorted his usual line: “Tommyrot!” Though he himself was a man of much imagination, it was just this kind of speculation he hated. And it was just this kind of speculation that would dog his footsteps from the moment he made his great discovery.

Again and again, he would be forced to refute occult theories about Tut’s tomb. He fought “the good fight,” citing authorities that ranged from chemists and scientists (who confirmed that the tomb contained no ancient poisons, powders, or deadly metals) to the pope (who declared that the excavation of Tut was not a blasphemous exhumation, but a resurrection).

If there was a single statement that sums up Carter’s position, it
was the one he made at the end of his career: “Imagination is a good servant, but it is a bad master.” Weigall fell under its spell and had a nervous breakdown. But Carter was conscious that it was he himself who summoned up whatever spirits inhabited the tombs. For him, they were part of the dreamlike interplay of light and shadow that made Egypt eternally intriguing.

This attitude was in evidence from the very beginning. Carter was sensitive to his surroundings; they worked on him, but he was never overwhelmed. In his abandoned autobiographical sketch, he described how he felt when he arrived at his first assignment: “The warm, dry and motionless atmosphere [of the tomb where he slept] made me conscious of a strange sensation as I lay somewhat bewildered in my new surroundings, endeavouring to sleep upon a roughly made palm-branch bedstead. That first night I watched from my bed the brilliant starry heavens visible through the doorway. I listened to the faint flutterings of the bats that flitted around our rock-chamber and, in imagination I called up strange spirits from the ancient dead until the first gleam of dawn when, from sheer fatigue I fell asleep.”

There were not many sleepless nights after that. Very simply, he worked too hard to sit up listening to the bats—or to summon strange spirits. He was exhausted by the end of a day that was filled with difficult, practical tasks. Perhaps this was the element in his character that grounded him—his practical orientation. In reading the scores of inspection and excavation reports he filed over the years, one is struck by two facts: first, how good he was at what he did; and second, how often his work required purely technical skills.

To pick an example almost at random, take his
Report of Work Done in Upper Egypt, 1902–1903, Edfu Temple
(the most complete example of an ancient temple standing since antiquity). The report is typical in its precision, its specificity—and its misspelling: “Many of the roof slabs in this temple have long been cracked,
their excessive span having in the long course of centuries proved two
[sic]
great a strain on the sandstone of which they are made.

“May 1901. Temple strutted with timber until the necessary girders and stirrups could be obtained each stone slab pierced by a 0m.05 cent. boring machine. Iron stirrups passed through, though bolted below by a nut and plate and fixed above to iron girders etc.

“159 L.E. [Egyptian pounds] prices for girders, stirrups, timed and year wages to workmen freight and transport … etc.”

He may confuse the spelling of “two” and “too” (his letters and reports are filled with misspelled English words—next to Latin and French phrases, affectations picked up from his gentlemen colleagues). But he made no mistakes when it came to the technical side of his work. Or, for that matter, its artistic one. His drawings, watercolors, and paintings far surpass his colleagues’ work not only for accuracy, but in their feeling for ancient Egyptian line and color.

His portraits of the ancient royal Thutmoside family brought them to life. His studies of the temples and tombs were evocative and panoramic. And the details he captured were amazing: Beneath the weight of a crouching cat, we see the papyrus plant bend in the ancient swamps, birds fluttering overhead. A vulture carved in a temple wall, its wings outstretched, hovers over a modern bird perched in a crevice of the ruined wall. Row upon row of ancient workmen are recorded down to the last man, forty-two in a gang, with the foreman, arms outstretched, standing high above them.

He was not a great artist; connoisseurs (such as Thomas Hoving, director of the Metropolitan Museum of Art in the 1970s) may find fault with this or that aspect of his work. But for what it was meant to be, a record of the ancient ruins, it was wonderful.

It can be imagined, then, how such a man as Carter, someone possessed of artistic temperament as well as practical intelligence, could be driven to exasperation by a sensation-seeking public.
From the moment of Carnarvon’s death, he was barraged with questions from reporters dwelling on curses and ancient poisons and doom.

Tut’s mummy was found to have a scar from a healed lesion. As the medical report from the first autopsy reads: “On the left cheek, just in front of the earlobe, is a round depression which has slightly raised edges, the skin is discoloured. It is not possible to say what the nature of this lesion may have been….” Carnarvon was fatally bitten on his cheek as well—but on which one? By the time Dr. Derry performed the autopsy on Tut, no one could say for sure. Half a year earlier, Carnarvon had been buried in the hills overlooking Highclere (as a
Daily Express
reporter flew overhead, taking pictures of his widow, Almina—for once without her lover, Tiger—as she knelt beside the grave).

Undeterred, the tragic chorus crying, “The curse!” pointed to other “phenomena,” from the inexplicable to the ludicrous: Cairo’s lights suddenly went out as Lord Carnarvon died. They were always going out, it may be objected! Yes, but consider this, comes the believer’s imperturbable reply: All four Cairo districts were affected at once, an unusual occurrence. Moreover, one to which Lord Cromer drew attention by announcing that the engineer on duty could offer no explanation.

A Paris couturier (Léon Bakst) planned a showing of his “Isis collection” (designs à la Tut) and died the night before its opening.

Carnarvon’s private secretary, Sir Richard Bethel, aged forty-six, was found dead at his club. It was a punishment, proclaimed the famous psychic Cheiro, for his having taken objects from the tomb.

But even saying we accept the supernatural viewpoint, there is still another way of looking at events. For according to Egyptian beliefs, to be forgotten, to die and be consigned to oblivion, was a terrible fate. Ramesses II, perhaps the most megalomaniacal of the pharaohs, built monuments from one end of Egypt to the other.
Determined that his name should live forever, he covered them with cartouches carved so deeply in the stone that no one could usurp them. And even humbler Egyptians put great emphasis on being remembered, on their names echoing until the end of time.