Page 33 - The Sloughi Review - Issue 7

T H E S L O U G H I R E V I E W 3 3

Howard Carter had received intensive
training at the British Museum early on.
Lady Margaret Amherst noticed his
extraordinary artistic talents, which he was
allowed to perfect in practice. Among other

things, he learned to make accurate copies
of murals and reliefs.

Because of Florence Amherst's research,
she and Carter stayed in contact for years.

Through an economically difficult time he
could build a financial basis with the sale of
his drawings in Egypt to tourists. Through
his local knowledge and copies of Dog mummy, no "brush" on the tail © Kellen
depictions of smooth-coated or "weakly
feathered" sighthounds, he could decide On the original fresco at Rekhmire there is
which representations from which grave only a graphic element visible, hatching,

were best suited for Lady Florence. After which is also the hatching seen on the
various considerations, the representations inside of the hind leg of the dog with the
of Rekhmire's burial chamber seemed to "brush". This cannot be seen in Carter's
him the most suitable [15].
drawing. Also the color contrasts show on
the original fresco differently than the
So here we see the "brush" from which the black/white drawings suggests. Florence

Saluki breed lovers derive the ancestry of Amherst writes of the sighthounds from
the "Asian" types from the Middle East. As Nubia in her time, the "Shilluk", whose
you can see, in the case of the mummy, the color she so describes, as it can be seen on
authentic witness, no "brush" or even a the fresco (see below "greyhounds of the
"feathering" of the tail or any other part of Sudan").
the body can be seen.