Great Sphinx of Giza - Images Over The Centuries

Images Over The Centuries

In the last 700 years there have been a proliferation of travellers and reports from Lower Egypt, unlike Upper Egypt, which was seldom reported from prior to the mid-18th century. Alexandria, Rosetta, Damietta, Cairo and the Giza Pyramids are described repeatedly, but not necessarily comprehensively. Many accounts, by no means all by people who had actually seen it, were published and widely read. These include those of George Sandys, André Thévet, Athanasius Kircher, Balthasar de Monconys, Jean de Thévenot, John Greaves, Johann Michael Vansleb, Benoît de Maillet, Cornelis de Bruijn, Paul Lucas, Richard Pococke, Frederic Louis Norden and others. But there is an even larger crowd of more anonymous people who wrote obscure and little-read works, sometimes only unpublished manuscripts in libraries or private collections, including Henry Castela, Hans Ludwig von Lichtenstein, Michael Heberer von Bretten, Wilhelm von Boldensele, Pierre Belon du Mans, Vincent Stochove, Christophe Harant, Gilles Fermanel, Robert Fauvel, Jean Palerne Foresien, Willian Lithgow, Joos van Ghistele, etc.

Over the centuries, writers and scholars have recorded their impressions and reactions upon seeing the Sphinx. The vast majority were concerned with a general description, often including a mixture of science, romance and mystique. A typical description of the Sphinx by tourists and leisure travelers throughout the 19th and 20th century was made by John Lawson Stoddard;

It is the antiquity of the Sphinx which thrills us as we look upon it, for in itself it has no charms. The desert's waves have risen to its breast, as if to wrap the monster in a winding-sheet of gold. The face and head have been mutilated by Moslem fanatics. The mouth, the beauty of whose lips was once admired, is now expressionless. Yet grand in its loneliness, – veiled in the mystery of unnamed ages, – the relic of Egyptian antiquity stands solemn and silent in the presence of the awful desert – symbol of eternity. Here it disputes with Time the empire of the past; forever gazing on and on into a future which will still be distant when we, like all who have preceded us and looked upon its face, have lived our little lives and disappeared. John L. Stoddard's Lectures (1898) 2, 111.

From the 16th century far into the 19th century, observers repeatedly noted that the Sphinx has the face, neck and breast of a woman. Examples included Johannes Helferich (1579), George Sandys (1615), Johann Michael Vansleb (1677), Benoît de Maillet (1735) and Elliot Warburton (1844).

Most early Western images were book illustrations in print form, elaborated by a professional engraver from either previous images available or some original drawing or sketch supplied by an author, and usually now lost. Seven years after visiting Giza, André Thévet (Cosmographie de Levant, 1556) described the Sphinx as "the head of a colossus, caused to be made by Isis, daughter of Inachus, then so beloved of Jupiter". He, or his artist and engraver, pictured it as a curly-haired monster with a grassy dog collar. Athanasius Kircher (who never visited Egypt) depicted the Sphinx as a Roman statue, reflecting his ability to conceptualize (Turris Babel, 1679). Johannes Helferich's (1579) Sphinx is a pinched-face, round-breasted woman with a straight haired wig; the only edge over Thevet is that the hair suggests the flaring lappets of the headdress. George Sandys stated that the Sphinx was a harlot; Balthasar de Monconys interpreted the headdress as a kind of hairnet, while François de La Boullaye-Le Gouz's Sphinx had a rounded hairdo with bulky collar.

Richard Pococke's Sphinx was an adoption of Cornelis de Bruijn's drawing of 1698, featuring only minor changes, but is closer to the actual appearance of the Sphinx than anything previous. The print versions of Norden's careful drawings for his Voyage d'Egypte et de Nubie, 1755 are the first to clearly show that the nose was missing. However from the time of the Napoleonic invasion of Egypt onwards, a number of accurate images were widely available in Europe, and copied by others.

The Disney film Aladdin attributes the Sphinx's broken nose to a stonemason who accidentally chipped it off after being distracted by Aladdin and Jasmine flying past on their magic carpet during the song "A Whole New World". In the cartoon book Asterix and Cleopatra, Obelix climbs up the face of the Sphinx and accidentally knocks the nose off.

In 2008, the film 10,000 BC showed a supposed original Sphinx with a lion's head. Before the film, the theory was presented on earlier documentary films about the origin of the Sphinx.