The canopy of Deir el Bahari was made for the Princess Isiemkheb, daughter of the High Priest Masahirti, wife of the High Priest Menkheperra, and mother of the High Priest Pinotem III.  The centrepiece, in shape an oblong square, is divided into three bands of sky-blue leather, now faded to pearl-grey.  The two side-pieces are sprinkled with yellow stars.  Upon the middle piece are rows of vultures, whose outspread wings protect the mummy.  Four other pieces covered with red and green chequers are attached to the ends and sides.  The longer pieces which hung over the sides are united to the centre-piece by an ornamental bordering.  On the right, scarabaei with extended wings alternate with the cartouches of King Pinotem II., and are surmounted by a lance-head frieze.  On the left side, the pattern is more complicated (fig. 273).  In the centre we see a bunch of lotus lilies flanked by royal cartouches.  Next come two antelopes, each kneeling upon a basket; then two bouquets of papyrus; then two more scarabaei, similar to those upon the other border.  The lance-head frieze finishes it above, as on the opposite side.  The technical process is very curious.  The hieroglyphs and figures were cut out from large pieces of leather; then, under the open spaces thus left, were sewn thongs of leather of whatever colour was required for those ornaments or hieroglyphs.  Finally, in order to hide the patchwork effect presented at the back, the whole was lined with long strips of white, or light yellow, leather.  Despite the difficulties of treatment which this work presented, the result is most remarkable.[75] The outlines of the gazelles, scarabaei, and flowers are as clean-cut and as elegant as if drawn with the pen upon a wall-surface or a page of papyrus.  The choice of subjects is happy, and the colours employed are both lively and harmonious.

[Illustration:  Fig. 274.—­Bark with cut leather sail; wall-painting tomb of Rameses III.]

The craftsmen who designed and executed the canopy of Isiemkheb had profited by a long experience of this system of decoration, and of the kind of patterns suitable to the material.  For my own part, I have not the slightest doubt that the cushions of chairs and royal couches, and the sails of funeral and sacred boats used for the transport of mummies and divine images, were most frequently made in leather-work.  The chequer-patterned sail represented in one of the boat subjects painted on the wall of a chamber in the tomb of Rameses III. (fig. 274), might be mistaken for one of the side pieces of the canopy at Gizeh.  The vultures and fantastic birds depicted upon the sails of another boat (fig. 275) are neither more strange nor more difficult to make in cut leather than the vultures and gazelles of Isiemkheb.

[Illustration:  Fig. 275.—­Bark with cut leather sail; wall-painting tomb of Rameses III.]