David Roberts set out from Cairo for the Holy Land on 7 February 1839, with a small caravan including servants in Arabian and Turkish dress
General View of Suez. David Roberts set out from Cairo for the Holy Land.
Category: Genre
Scene on the Quay of Suez (Egypt) and its future significance.
It is perhaps too early to predict the future importance of the relatively quiet quay of Suez, the direct passage between Europe and Asia through the Red Sea.
Approach to Mount Sinai. Wady Barah. Men resting their camels.
Men resting their camels and smoking by the approach to Mount Sinai. This View is taken from the Encampment at Wady Barah of the Artist and his party.
Travelers at the wells of Moses, or Eyun Musa
Travelers at the wells of Moses, or Eyun Musa, on the eastern side of the Gulf of Suez.
Greek Embroidery. Portion of a rich Fermeli, or upper jacket.
Portion of a rich fermeli, or upper jacket, which was included in a complete suit of elaborate Palikar costume.
Highland Harp known as the the Lamont Harp or Clàrsach Lumanach.
THE Highland Harp, known as the Clàrsach Lumanach, or Lamont Harp brought from Argyllshire by a daughter of the Lamont family in 1464.
Convent of St. Catherine with Mount Horeb, Egypt.
The convent of St. Catherine. “The front of Mount Horeb rose like a wall before us, and one can approach quite to the foot, and touch the Mount.”
The convent of St. Catherine Mount Sinai looking towards
The Artist has taken the Sketch about due South of the Convent, looking upon the track which he pursued from the presumed Plain of the Israelite Encampment.
Ascent to the summit of Mount Sinai.
Journey to Mount Sinai. The path to the summit of Mount Sinai leads through a gorge in the southwest. One of the Monks of the Convent stationed himself there in prayer.
Ascent of the lower range of Mount Sinai, 1839.
This Sketch gives a portion of the Israelite march to Sinai. The foot of the Pass before us, called by the Arabs Nukb Hâwy (Windy Pass).