ABSTRACT
The archaeological publications of the 19th century which fed intellectual and creative interest in Ancient Egypt were the beneficiaries of the generous record of its material civilization left by pharaonic Egypt. The records published by Vivant Denon, and subsequently in much greater detail by his colleagues in the Description provided the first informative stimulus for artists to incorporate extensive images of ancient Egyptian architecture into their work. Interestingly, to at least one viewer in the earlier 19th century, the scale and superficial features of Egyptian architecture seemed to provide a visual analogy for the new industrial landscape. Jean-Lon Grme's The Prisoner' is typical of one category of 19th century painting in which pharaonic architecture is combined with the life of contemporary Egypt with a narrative purpose and to atmospheric effect. Cecil B. DeMille's 1923 film of The Ten Commandments from the sands of California, the encounter between archaeology and art seemed to have come full circle.
