footstool, she bended forward and touched my hand with her jewelled
right hand, which I reverently raised to my lips and forehead. She
would not suffer me to kneel, but made me stand on one side of her,
while Remeses stood on her right, and proceeded to ask me a variety of
questions. She uttered her interrogatories with grace and benignity.
She expressed her gratification at seeing me at her court--trusted I
would find Egypt so agreeable that I should remain a long time her
guest--asked after your health and welfare, and desired me to convey
to you the expression of her esteem for you, and her desire that the
friendly relations now existing between the two courts may be
strengthened by my visit. She was also pleased to say, that every
opportunity should be afforded me for seeing Egypt, and that if I
desired to visit Karnac and Luxor, and the temples and cities of the
Thebaïd, she would furnish me with galleys.
To all this exceeding kindness and courtesy, my dear mother, I
returned, as you may be sure, appropriate acknowledgments; and after
some further conversation, in which Prince Remeses took part, the
audience terminated: but only to introduce a spectacle, such as I had
no conception was in reserve--the review of her army of chariots and
horsemen, on the parade of the palace.
But I must reserve my description of this scene to a subsequent
letter. Till then, I remain,
Royal and dear mother,
Your faithful
SESOSTRIS.
LETTER V.
CITY OF THE SUN.
MY EVER BELOVED AND ROYAL MOTHER:
In my last letter I described to you, as well as the feebleness of
language would admit, my presentation to the Queen Amense, and the
splendors of her court and palace. In Syria we have no approach to
this Egyptian magnificence, unless it is to be found in Tadmor, the
city of the Euphrates country, which travellers call a single temple
the size of a city! The peculiarity of Egyptian architecture is very
striking. It has an air of ponderous majesty--being, in all its
proportions, colossal. Yet this massive aspect is relieved by shaping
the stone and marble in the most graceful lines, and enriching with
sculpture, either in relief or intaglio, the immense surfaces of their
gigantic columns and enormous propyla. In all the temples and palaces
I have yet seen here, two species of column chiefly prevail--one of
which, this being the most ancient style, is fluted and composed of a
single shaft, with a capital in the shape of an opening pomegranate,
the reflexed edge being an imitation of the opened flower of the
lotus, and presenting a graceful object to the eye. The other column,
introduced by the present dynasty, is always colossal; but its
massiveness is relieved by being striated, which gives the mass the
appearance of being composed of united stems, and increased by
horizontal belts or bands cut in the stone, which seem to tie them
together under the capital and in the middle. Just above the square or
round plinth, the base of the shaft itself is rounded and adorned with
leaves, which gives it the appearance of growing up from the plinth.
You can judge of the combined grandeur and grace of such columns, dear
mother, by imagining several buds of the rose of Palestine set like
cups, one upon the other, and upon the top of all a lotus-flower, and
the whole magnified to ninety or a hundred feet in height, and
converted into Syene stone.
On the abacus of the columns, which form so prominent and universal a
feature in Egyptian architecture, rests a broad but simple architrave,
usually sculptured with hieroglyphics illustrating subjects connected
with the deity of the temple, or the occupant of the palace which they
adorn. The upper edge of it is often occupied by a row of the sacred
serpent, _uræus_. The boldness and breadth of the cornice supplies the
want of a pediment--flat roofs being used in this country, when used
at all, where rain is scarcely known, and where snow was never seen.
The porticos and façades present double and triple rows of columns,
but seldom are they found on the sides or around the temples, as at
Damascus and Tadmor. The circular arenas in the city, which I have
described in a former letter, were not temples but colonnades, and
these column-inclosed squares are the introduction of Queen Amense,
and are only found at On. Usually the great lines of Egyptian edifices
are straight, and their temples are quadrangles, with avenues of
mighty columns extending from pylon to pylon in a succession of inner
courts--these series of vast and magnificent vestibules sometimes
extending half a mile, their avenues bordered by sphinxes and columns
alternately, until the great fane of the temple, to which they are the
approach, is reached.
For columns, I have seen in the temple of the sacred ox--MNEVIS,
colossal figures of Osiris, or of sovereigns with the attributes of
Osiris. These Osiride pillars are often thirty feet in height. Upon my
mind they produce an unpleasing effect. The impression is as if the
god was brought into the service of man as a slave, to uphold his
temples, though I believe they do not bear any portion of the
superincumbent weight. But one cannot behold a row of these mighty men
of stone without an emotion of awe. The general tone of the temples
and palaces betrays the pyramid as their type. The walls sloping on
the outside as if the lower section of a pyramid, give to the edifices
of Egypt that expression of self-reposing and immovable stability
which belongs to the pyramidal form. The whole effect is in the
highest degree sublime, and at once subdues and elevates my mind as I
gaze. The scale of architecture is so vast, that even the innumerable
sculptured objects by which walls, columns, and entablatures are
covered, do not interfere with the grandeur of the whole effect.
Moreover, the heaviness which would adhere to such massive edifices in
Syria, disappears when they are seen through the crystalline medium of
this Egyptian atmosphere.
There is another peculiarity, my dear mother, of Egyptian
architecture, which no one can contemplate without an increasing
impression of awe. I allude to the dromos, or double row of
sphinxes--figures of which I have already spoken, and of which we have
no idea in Syria, though an Assyrian noble whom I met in Sidon,
described to me reposing colossi with majestic heads of kings and
bodies of lions, as guarding the approach to the temples of the gods
of his country. Such mysterious compounds of the human form with a
lion or a ram, denoting the union of intellect with strength, are to
be encountered here before every temple. These avenues of sphinxes, in
profound repose and with a grave and serious aspect, are usually
entered through a lofty gateway or pylon, before which are seated
gigantic figures of gods, or stand obelisks of granite, placed in
pairs, and richly and elaborately sculptured with hieroglyphics.
Through such a gateway and avenue, I approached the city of On. A day
or two ago I was in a temple dedicated to the god Horus, son of Osiris
and Isis. Upon the pylon was inscribed a sun, supported by two asps
with outspread wings--the emblem of Hor-hat, the good genius of
Egypt--and hence to be found everywhere represented. It is this which
is erroneously called, by some travellers, a winged globe. In the
entrance, this god was pictured with the head of a hawk (at once his
symbol and a type of the sun, from the piercing brightness of its
eye), as an actor in various scenes, both celestial and terrestrial,
such as hunting, sailing, and engaged in war against Typhon, and
others.
Passing these, I entered a spacious court, open to the sky and
surrounded by sculptured colonnades. Crossing this court, which
inferior priests were traversing or idly lounging in, I came to a
second propylon, the magnificent wings of which were divided into
numerous compartments, and sculptured ten stories high, with the most
exquisite art. This pylon, in the wings of which the priests lodge,
led into an open court one hundred paces long, through the centre of
which extended an avenue of twenty-four columns, sixty-six feet high
and twelve in diameter, and on each side of these were seven rows of
lesser columns, forty feet in height and nine in diameter. All these
presented sculptured surfaces, and the richest description of
capitals. A still more magnificent gateway, at the extremity of this
street of columns, conducted me into a vast hall with covered
cloisters on the sides, and a double row of colossal pillars running
down the centre. All the rest of the space was paved and adorned with
fountains, statues, and fruit and flower trees, growing from large
alabaster vases. Priests and worshippers moved in all directions
through this and the other courts. The walls of this grand hall were
decorated with battle-pieces--the triumphs of the Pharaohs in the
conquest of neighboring kingdoms--representations of offerings to the
gods, and of captive princes led at the wheels of chariots. I advanced
to another pylon, still loftier and more noble than the rest, and as I
looked back to the remote outer entrance, two thousand feet off, I
discovered that an artifice of architecture had been employed to
increase the apparent distance by diminishing the gateways in height,
as if by the effect of a lengthened perspective. The effect was all
that the architect could have desired.
The Egyptians apply colors freely to their architecture. This
peculiarity increases in a wonderful degree the richness and harmony
of the general effect. The cloudless sky of Egypt gives brilliancy to
all the colors of nature, and these imitated on the walls of temples
and palaces, have a beauty and splendor that must be seen to be
appreciated. Granite, serpentine stone, breccia, or basalt, whatever
be the material, its appearance, however elaborately polished, is by
the Egyptians enriched, as they believe, and as I begin to think, by
the pencil. The profusion with which they employ colors and sculpture
in their temples, palaces, and tombs, has no parallel on earth. In
Syria they are subsidiary to architecture. Here they are a part of it.
The sloping outer walls, the external surfaces,--ceiling, column, and
pylon,--are all covered with sculpture. Their sculptured bass-reliefs
unite the qualities of a cameo and an intaglio, the figure itself
rising from the broadly cut and deep outline of the design. Thus,
though the design is in relief, the figure does not project, and is
protected from injury. The colors which are laid on these are softened
by their retiring below the surface. Real bass-reliefs, however, exist
on the monuments of the age of Sesortasen I.
The adytum of the temple which I am describing so minutely, with
descriptions of the peculiarities of the architecture of the Egyptians
(knowing your architectural taste and curiosity about all such
subjects, my dear mother), was, unlike any of the halls I had
traversed, much smaller, and yet far more beautiful than any of them.
It was a square chamber, the ceiling of which was painted blue and
studded with stars, while the moon shone down, a shield of polished
silver, from the zenith point. Figures of vultures, hawks, and other
emblems, were placed upon columns around the hall, and separated only
by the winged asp-encircled sun. These figures were richly colored,
and the eyes of the birds glittered with diamonds set in them. Upon
the entablature around the hall were sculptured the twelve months. All
these, and the walls, were beautifully painted, with a harmony of
distribution and combination of their gorgeous colors singularly
pleasing to the eye. Hieroglyphics, traced in gold on blue panels,
recorded the virtues and deeds of Horus. The floor of this sumptuous
chamber represented the great circle of the sun through the twelve
constellations, and also the images of the seven planetary gods,
executed in the pavement with almost every variety of colored stone,
such as the emerald, amethyst, agate, lapis lazuli, root of emerald,
cornelian, greenstone, hæmatite, all interset with gold, silver, and
bronze. Nothing could be richer. A sun of pure gold was placed in the
centre of this wonderful zodiac, if I may so term it, for I do not
know whether it is a true planetary configuration which is represented
with a fixed date, or simply arbitrary, and executed as an ornament.
The Egyptians are, however, skilful astronomers, and have the skill
and learning to interpret and thus record the ages of the past by the
procession of the heavens.
On one side of this chamber of art and beauty, stood the monolith
which contained the shrine of the god. It was a rock of solid granite,
in which a recess was hollowed out, wherein sat the deity. Nothing
could be more majestic and simple. The Egyptians seem to delight in
contrasts. All the magnificence and architectural glory I have
described, directed the footsteps of the votary to a plain block of
stone, containing a statue of Syenite marble the size of a man. The
face is calm and majestic, and the eyes are fixed upon the worshipper
with a supernatural expression which awes him. The genius which had
erected the superb edifice of the god, had concentrated its power in
the face of the divinity. Though stone, it seemed above humanity; and
the soul of the god seemed dwelling in it, and giving its countenance
a divine energy.
But, my dear mother, I will not longer occupy your time with temples
and architecture. I have written of them sufficiently to give you an
idea of the land I sojourn in. But my descriptions will enable you to
form a more correct idea of such events as I may hereafter write
about, and enable you, when I relate scenes and actions, to conceive,
in a measure, the surrounding features and aspect of places. If I were
writing a volume "on Egypt," I would then visit and describe all her
magnificent temples, pyramids, obelisks, palaces, canals, lakes,
cities, and tombs, from Pelusium to the tower of Syene. But I know
that these would not interest you, after what I have written, and that
what is personal to myself and descriptive of the people, that is,
life and action, will be more agreeable for you to read (and for me to
write) than gorgeous pictures of architectural results. I shall,
therefore, for the future, only incidentally describe edifices
(unless, indeed, I give you a letter upon the mighty pyramids), and
devote my pen to scenes passing around me.
And in pursuance of this purpose, my dear mother, I will describe to
you the review of the army of chariots of iron, which followed my
presentation to the queen. I will not be so vain as to suffer you to
think that this superb spectacle was arranged purposely in honor of
your son; though had it been so, it could hardly have added to the
honors which that august and courteous lady has showered upon me; but
I feel that the distinction is due rather to the friendship which
Remeses entertains for me, than to any merit or claim of my own beyond
my simple rank.
The review in question was prepared for this day; and, in order that I
might witness it, the queen had graciously appointed the occasion for
my presentation to her. Although, in my account of that interview, I
spoke only of myself, yet there had been presented, just before I
entered the palace, several ambassadors, princes, and philosophers,
from various countries, including Arabia, Persia, Sheba, Javan,
Iberia, Abyssinia, and the isles of the sea. These had come to Egypt,
either to enter the schools of philosophy, to negotiate terms of
tribute or alliance, or to study the science of war, for which Egypt
has become eminent, even rivalling the mighty Philistine armies in
discipline, effect, and valor.
From the throne-room we passed out through a gateway, from which
descended steps to the parade, which was a vast square, capable of
holding one hundred thousand men; while the colonnades around it would
accommodate as many more spectators.
The queen did not descend the steps, but took her seat by a statue of
the god of war, upon a sort of throne beneath a canopy, supported by
six bearers, to shield her from the sun. But Remeses, leaving me by
the side of his royal mother, who was also surrounded by her guard,
and near whom stood the ambassadors and princes and philosophers,
received from an attendant a helmet of gold, which he put over his
silken bonnet, and from another a corselet of steel inlaid, mounted a
war-chariot in waiting, and, casting a glance around upon the field,
looked all at once the warrior-prince, which the heightened color of
his cheek and proud carriage of his head showed he felt himself to be.
Thus, whether a soldier at the head of the hosts of Egypt, a
counsellor by the throne of his mother, a courtier among the nobles, a
philosopher in the Academies, he is perfect in all things. As a son,
he sets an example of devotion and filial respect to the young men of
the kingdom; as a man, his private character is pure from every vice
or folly--a worthy heir to the throne of the dominant kingdom of the
earth. The sight which the square presented surpasses my ability to
convey to your mind a just conception of. The vast area was one third
occupied by a division of chariots. The chariot corps constitutes a
very large and effective portion of the Egyptian army. Each car
contained two soldiers--for, from the position I occupied, my eyes
could take in the whole splendid scene--besides the charioteer. The
car on which Remeses stood was drawn by two horses, but without any
charioteer, the reins being fastened to an upright spear. His chariot
was inlaid with silver and gold. The sides and back were open, and the
base or floor of the car curved upward in front, serving as a
safeguard to the charioteer when one was required; but it now
supported his quiver of silver and bow-case of gilded leather, richly
ornamented with figures of lions. The spear-case, which was of bronze,
and fastened by chains of gold, pointed over his shoulder. Close to it
was an additional quiver containing Parthian arrows, while a mace of
iron and heavy sword, that reflected the sunlight, hung by thongs from
the rings of the spear-case. All the other chariots, which were
constructed of wood and iron handsomely painted, were similarly
accoutred, though less elegant in form and finish, and provided only
with a single quiver, bow, and spear. The housings upon the horses
were cuirasses of woven links of the finest steel, while gorgeous
feathers decked their heads.
No sooner had the prince leaped upon his chariot, than the Ethiopian
slaves, who held his two fiery steeds, sprung aside, releasing them in
the act, when they bounded into the air and dashed forward over the
plain. Remeses, immovable as a statue, let them fly before him until
he came in front of the drawn-up phalanx of chariots, when, at a
slight signal with his hands, the horses, whose eyes are wholly free
from shields or blinders, stopped full. These proved to be his
favorite chariot-horses, and had been trained to render perfect
obedience.
Now commenced a grand movement of the whole battalion. While Remeses
stood in his chariot, the van of the four thousand chariots, which
constituted the host, moved forward. In a few moments the whole body
was in motion. Dashing forward across the field, they swept round at
its extremity in vast curves, and came thundering on, to pass the
point where the queen sat. The ground shook with the roll of eight
thousand wheels and the fall of twice as many horse hoofs! It was a
magnificent sight, as, one hundred abreast, the column came on. The
head of it, led by the chief captains, passed our position like a
mighty river, the surface of which tossed with helmets, glittering
spears, bows, plumed heads of steeds, and gorgeous housings--a
dazzling, bewildering spectacle, full of sublimity and terrible power.
The splendor of the head-dresses and trappings of the steeds, mingling
with the shining cuirasses and steel weapons of the armed charioteers,
presented a scene I shall never cease to remember.
In the centre of the field of review stood Remeses, his eagle glance
reviewing their movements, with a few of his generals about him, each
in his own chariot. When this grand and imposing army had compassed
the square, they resumed their former position with a precision and
order marvellous to witness. Then followed evolutions by detachments
of chariots. Five hundred of them, divided into two equal bodies, took
position, one at each end of the parade, and, at a signal, charged
upon each other at a speed which, at first slow, increased each
moment. My heart leaped with excitement. I looked to see a very
battle, and to behold horses and charioteers overturned in tumultuous
confusion from the inevitable shock. But so well-drilled were they,
that the two lines, deploying as they drew nearer, passed through each
other in spaces measured by the eyes of the charioteers so nicely,
that in a moment they were rattling away, each to occupy the other's
vacated position. There was a general shout of applause from the tens
of thousands of spectators at this brilliant manœuvre. Other
displays of battle-charioteering took place, during which was
exhibited every evolution that war demands on the veritable field of
conflict.
This magnificent review occupied three hours, when it terminated by
all the generals, and chief captains, and leaders of cohorts and
legions, simultaneously detaching themselves from their several
commands, and one after another galloping at full speed, first around
the prince, saluting him, and then wheeling and turning in front of
the queen's pavilion, paying her military homage as they passed her,
by placing the left hand upon the breast, lowering the point of the
spear, and then raising it above their glittering helmets. The queen
rose, smiled, and returned the salute by a graceful wave of her hand.
This company of warrior chiefs excelled, in richness of armor and
apparel, and housings and head-dresses for their steeds, and in the
beauty of their war-chariots, all that had gone before. Returning to
their post, the trumpets of the whole army sounded, and this martial
array of chariots and horsemen moved all together across the parade,
at a rapid trot, and, defiling by fifties through a colossal pylon,
soon disappeared outside of the walls on their way to their camp.
Their retiring trumpets could be still heard dying away beyond the
gates, as Remeses rejoined us, alighting from his chariot after
loosing the reins of his steeds from about his body, to which he had
bound them during one part of the evolutions, in which he took the
lead of a charging legion in his own chariot, as ever without a
charioteer.