Prints

Small-Folio, hand-coloured lithograph titled ‘Ruins Temple in the Island of Bigge, Nubia’”, the original drawn by Scottish artist David Roberts (1794-1864) Royal Academy, and transposed to lithograph by Louis Haghe (1806-1885) and published in The Holy Land, Egypt and Nubia, Volume V, 1847. Notes: “This Temple is situated on an island close to that of Philae; owing to its greater elevation, it overlook that island and the Nile, and one of the finest points of view of the temples of Philae, from Bigge, is a scene which has already been given in this Work. Wilkinson considers that the Temple of Bigge is of great antiquity, from some granite remains and the inscriptions which they bear. The columns, however, which are seen in this sketch as part of the grand entrance, are evidently Ptolemaic, and have formed a portion of a previous portico. In advance of these, ascending from the river, once stood the flanking towers of the propylon, which commanded the outer court or dromos, of which that which now surrounds the arch was a portion; this may be traced by the sculpture which still exists. The arch is an addition of a later period; Wilkinson says, of the Christian era: it presents a singularly incongruous appearance in the midst of Egyptian architecture. The ruins are surrounded by a miserably mud built Arab village. The Temple of Bigge from its elevated situation, to which the approach was by a flight of steps, must have exhibited a noble appearance and produced a very striking effect. The present Temple appears to have been commenced by Euergetes I., and was dedicated by him to Athor; it was completed by the Caesars: but Wilkinson conjectures, from a red granite statue found there, that an edifice existed on Bigge as told as Thothmes III. Or Amunoph I., and that Bigge is the Baton of Seneca, in spite of the doubts expressed by other Egyptian antiquaries.” David Roberts Journal Scroll Down for further details

DESCRIPTION: A curiously wind-carved rock overhangs on the left side, atop is an ancient watchtower once used to safeguard the entrance to Petra. Around the rock, near the artist, is a caravan of people, camels, makeshift tents, and goods. NOTES:  Originally sketched on Feb. 5^th 1839 on a break as Roberts caravan approached Petra. Robert notes in his journal the guides had difficulty gaining access to the area as the local tribe was denying entry, and while they set about coming to a monetary agreement to allow safe passage he set down and recorded the view. (Ballantine/Roberts, pp. 120) Scroll Down for further details