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| Two Egyptian Porphyry Vases. The Cataracts of the Nile and the Ruins of Thebes (Zwey Ägyptische Porphyr Vasen. Die Cataracten des Nilus und die Ruinen von Theben). From Entwurf einer historischen Architektur ("A Plan of Historical Architecture") |
During the late eighteenth century, European intellectual life was marked by an intense engagement with history as a systematic and comparative discipline. Architecture, in particular, became a privileged medium through which historical knowledge could be organized and transmitted. Pattern books and architectural atlases proliferated, offering engraved plates that cataloged buildings, ornaments, and artifacts from across civilizations.
Georg Christian Freundt's book, Entwurf einer historischen Architektur, belongs squarely within this tradition. Meant to be a historical survey of architectural orders, decorative motifs, and structural precedents it presents Egyptian, Greek, Roman, and later European forms, which are assembled into a visual archive intended to educate taste and guide contemporary practice.
Within the Freundt's compendium is included engraved plates of artifacts, urns, vases, and ornamental objects from past ancient civilizations. The engraving of the two porphyry vases reflects this ambition: to isolate exemplary objects while embedding them within a carefully staged historical landscape.
In the eighteenth‑century European imagination, Egypt functioned as both historical origin and symbolic foundation. Long before the advent of modern Egyptology, Egypt as a land and a culture, was re-imagined through classical authors, biblical narratives, travelers’ reports, and artistic speculation. It was believed to be the cradle of architecture, geometry, and sacred knowledge.
The urn engraving capitalizes on this perception. The ruins of Thebes and the cataracts of the Nile do not aim at topographical accuracy; instead, they evoke a mythic Egypt - a place of monumental beginnings. By situating the vases within this setting, the image asserts Egyptian material culture as a source of enduring authority, preceding and legitimizing later architectural traditions.
*The Ruins of Thebes - Thebes, once the monumental capital of ancient Egypt during the Middle (c. 2040 - 1750 BCE) and New Kingdom (c. 1550 - 1070 BCE) periods, is today known through its vast and evocative ruins spread along the east and west banks of the Nile near modern Luxor. Temples, pylons, colossi, and tomb complexes - most notably Karnak and Luxor - testify to centuries of religious, political, and architectural ambition. In antiquity and later European imagination, the ruins of Thebes came to symbolize both the zenith of imperial order and the inevitability of decline, standing as enduring witnesses to humanity’s attempt to render permanence from stone within a world governed by time.
*The Cataracts of the Nile - The Nile River contains several stretches of powerful, fast-flowing rapids known historically as the (Six) Cataracts of the Nile, formed where the river passes over shallow beds of granite and broken rock, creating strong currents, islets, and turbulent channels. Concentrated primarily in southern Egypt and Sudan, these cataracts long served as natural boundaries and serious navigational hazards in antiquity, shaping trade routes, political frontiers, and cultural exchange along the river. In the ancient imagination, the cataracts symbolized both the life-giving force and untamed power of the Nile - locations where order yielded briefly to chaos before the river resumed its steady, sustaining flow.
The choice of porphyry is significant. In antiquity, porphyry was among the most valued stones, prized for its durability, rarity, and imperial associations. Roman emperors reserved it for monuments, sarcophagi, and symbols of sovereign power. In neoclassical representation, porphyry thus functioned as a visual shorthand for permanence and legitimacy.
By depicting Egyptian vases carved from porphyry, the engraving subtly aligns Egyptian civilization with imperial continuity. The material bridges temporal gaps, suggesting an unbroken lineage of authority from ancient Egypt through Rome and into modern Europe. The vases become more than decorative objects; they serve as material witnesses to civilizational endurance.
The composition of the engraving reflects neoclassical ideals of balance, clarity, and rational order. The two vases flank the scene, anchoring the foreground with monumental weight. Their differing forms - one more elaborately ornamented, the other more vertically restrained - invite comparison without disrupting symmetry.
Between them unfolds a layered spatial recession: terrace, cascading water, middle‑distance ruins, and distant horizon. This ordered progression mirrors Enlightenment conceptions of history as intelligible and structured rather than chaotic. Even ruin is rendered legible, subordinated to compositional harmony.
The inclusion of seated human figures introduces a crucial interpretive dimension. These figures are not laborers or worshippers but observers and interlocutors. One gestures toward the ruins, directing attention and modeling interpretation.
They function as stand‑ins for the viewer - embodying Enlightenment ideals of contemplation, instruction, and rational discourse. Antiquity is not encountered as an overwhelming or mystical force but as something to be studied, discussed, and understood. The past becomes accessible through reasoned observation.
The plate is executed as a copper engraving, the dominant medium for architectural illustration in the period. Fine cross‑hatching creates tonal depth, while precise line work ensures clarity when printed at varying scales.
This technical precision served an epistemic purpose. Engravings were designed for circulation, study, and reuse. Their reproducibility allowed images like Two Egyptian Porphyry Vases to shape architectural education far beyond the original publication, embedding a standardized vision of antiquity into European visual culture.
From a modern perspective, the engraving occupies an ambiguous position between documentation and invention. It predates systematic archaeological excavation and therefore reflects conjectural reconstructions rather than empirical accuracy. Yet this imaginative quality is not a flaw within its original context.
For neoclassical audiences, the goal was not faithful reconstruction but historical coherence. The engraving synthesizes fragments - objects, ruins, landscape - into a persuasive narrative of origin and continuity. It presents history not as a series of ruptures but as a harmonized whole.
Because Entwurf einer historischen Architektur entered the public domain and circulated widely, its images became detached from their original scholarly framework. Plates like Two Egyptian Porphyry Vases reappeared as decorative prints, educational illustrations, and later as set dressing in film and television.
FYI. The appearance of the engraving in President Siebert’s office on The Big Bang Theory TV show exemplifies academic seriousness, institutional authority, and historical depth - qualities still culturally associated with neoclassical imagery.
Two Egyptian Porphyry Vases is not merely an image of ancient artifacts; it is a visual philosophy of history. Through material symbolism, compositional order, and Enlightenment spectatorship, the engraving articulates a vision in which the past is stable, instructive, and aesthetically unified.
Its continued resonance demonstrates how neoclassical representations of antiquity have shaped modern assumptions about knowledge, authority, and tradition. Even when encountered casually - as in a TV screen as a set-piece hung on a wall behind a desk - the engraving carries with it centuries of intellectual aspiration, quietly affirming the enduring power of historical imagination.
Rykwert, Joseph. The First Moderns: The Architects of the Eighteenth Century. MIT Press.
Vidler, Anthony. The Writing of the Walls. Princeton Architectural Press.
Marchand, Suzanne. Down from Olympus: Archaeology and Philhellenism in Germany. Princeton University Press.
Haskell, Francis. History and Its Images. Yale University Press.
Two Egyptian Vases
Two red stone vases stand
January 1, 2026
@copyright R.E. Slater Publications
all rights reserved
 |
| The ruins of Thebes before one of the Nile's cataracts |
We Were Not Made to Speak
We were not made to speak,
but to wait, watch, and listen.
Before your questions,
before words are spoken,
January 1, 2026
@copyright R.E. Slater Publications
all rights reserved
Stillness as Becoming
we are events extended in time.
Porphyry is not frozen identity,
but pressure remembering itself,
held by matter agreeing to cohere,
Nor is the river below us
they are alternating gestures
in the same cosmic sentence.
They were once processes completed,
released for duty, function, and flair.
Nothing around us escapes becoming -
not stone, not water, nor even memory.
remaining what we are long enough
January 1, 2026
@copyright R.E. Slater Publications
all rights reserved
What Remains
though it keeps returning.
though it learned how to wait.
which mistook duration for destiny.
is the space where they met -
and change did not rush to erase form.
motion learned reverence.
The vases did not survive history;
they participated in history,
holding together just long enough
for memory to find a body.
Nothing ever lies finished -
Even ruin continues.
Even stillness works.
And we explorers,
arriving late,
standing briefly,
looking longer than we expected -
become part of this interval too.
So the world continues apace:
not by triumph,
but by balance;
not by certainty,
but by offering shape
to whatever comes next.
by R.E. Slater
January 1, 2026
@copyright R.E. Slater Publications
all rights reserved
"Two Egyptian Red Porphyry Vases"
they are societies of occasions
that achieved sufficient coherence
to endure, and last.
Nor is porphyry mere inert matter
but a patterned experience
of pressure, heat, and mineral memory -
concresced into form and function,
through relation with world and viewer.
Nor is the river below mere flux;
it is creativity ever in motion,
a primordial advance against time
refusing finality.
Nor do the ruins signify decay -
but completed occasions,
their subjective aims fulfilled,
their objective immortality
proceeding forward as influence.
Nothing in Freundt's engraving stands alone.
Each element prehends the others:
- stone feels water,
- water shapes ruin,
- ruin instructs the eye,
- the eye becomes part of the event.
Even God is not absent here -
not as coercive Designer,
but as Lure towards harmony,
the persuasive aim
- that invites stone to hold,
- rivers to flow,
- and history to become
without demanding permanence.
What remains, then,
is not stasis,
but faithful repetition -
as an ongoing capacity of the world
to gather multiplicity
then release it again
for further evolving.
Nor does the engraving show eternity.
Rather, it performs it -
- as relational endurance,
- as beauty that survives
- not by stopping time
- but by ever moving with it.
January 1, 2026
@copyright R.E. Slater Publications
all rights reserved
