Stanley in Africa

A few miles further on in this bewildering region of solid rock bluffs, immense quarries, deep sculptured caverns, you come to Thebes itself, “City of the hundred gates,” lying on both sides of the Nile, the reports of whose power and splendor we would regard as fabulous, were its majestic ruins not there still to corroborate every glowing account. Whatever of Egyptian art is older than that of the Theban era lacked the beauty which moves to admiration. Beginning with the Theban kings of the twelfth dynasty, the harmonious form of beauty united with truth and nobleness meets the eye of the beholder as well in buildings as in statues. The great labyrinth and the excavation for the artificial lake Mœris, at Alexandria, were made during this period. In Tanis, at the mouth of the Nile, was erected a temple whose inscriptions show not only the manners of the country with great historic accuracy, but tell the tale of frequent trade with the people from Arabia and Canaan.

The site of Thebes is an immense amphitheatre with the Nile in the centre. At first you see only a confusion of portals, obelisks and columns peeping through or towering above the palm trees. Gradually you are able to distinguish objects, and the first that strikes you is the ruins of Luxor on the eastern bank. They overlook the Arab village at their base, and consist of a long row of columns and the huge gateway of the Temple of Luxor. The columns are those of an immense portico, and by them stood two beautiful obelisks, one of which is now in the Place de la Concorde, Paris. The columns are monoliths, fully ten feet in diameter, and many of them in a perfect state. All are covered with inscriptions of various signification. This temple was built by Rameses II., and is therefore not one of the oldest in Egypt, though not the least interesting. On the westward or opposite side of the Nile is Memnon and the temple home of Rameses II. There is little or nothing of the temple there, but twin colossal statues stand in lonely desolation on the plain, and these once guarded the temple entrance. One is perfect, the other broken. Both measured sixty-four feet in height. They are sitting giants carved from solid stone. They represented King Amenhotep, in whose honor the temple was built. At their feet are small sitting statues, one of his wife Thi, the other of his mother Mutem-ua, each carved out of red sandstone mixed with white quartz, and each a marvellous exhibition of skill in treating the hardest and most brittle materials. They stand twenty-two feet apart. The northern, or broken one, is that which the Greeks and Romans celebrated in poetry and prose as the “vocal statue of Memnon.” Its legs are covered with inscriptions of Greek, Roman, Phœnician and Egyptian travelers, written to assure the reader that they had really visited the place or had heard the musical tones of Memnon at the rising of the sun.

In the year 27 B.C. the upper part of this statue was removed from its place and thrown down by an earthquake. From that time on, tourists began to mutilate it by cutting into it their befitting or unbefitting remarks. The assurances that they had heard Memnon sing or ring ceased under the reign of Septimius Severus who completed the wanting upper part of the body as well as he could with blocks of stone piled up and fastened together. It is a well known fact that split or cracked rocks, after cooling during the night, at the rising of the sun or as soon as the stone becomes warm, may emit a prolonged ringing note. After the statue was restored in the manner above described, the sound, if ever it emitted any, naturally ceased. The crack was covered by the masonry.

The story of the architect of this temple is told in the hieroglyphics. That part which relates to these two memorable statues tells how he conceived them without any order from the king, cut them out of solid rock, and employed eight ships to move them from the quarries down the Nile to Memphis. Even in our highly cultivated age, with all its inventions and machines which enable us by the help of steam to raise and transport the heaviest weights, the shipment and erection of the mammoth statues of Memnon remain an insoluble riddle. Verily the architect, Amenhotep the son of Hapoo, must have been not only a wise but a specially ingenious man of his time.

Back of the Memnon Statues and the ruins of the “Palace Temple,” which they guarded, and 500 yards nearer the Lybian desert, stood the Rameseion. It was both palace and temple. It is finely situated on the lowest grade of the hills as they begin to ascend from the plain, and its various parts occupy a series of terraces, one rising above the other in a singularly impressive and majestic fashion. Its outer gateway is grandly massive. Sculptures embellish it, very quaint and vivid. It formed the entrance to the first court, whose walls are destroyed. Some picturesque Ramessid columns remain, however; and at their foot lie the fragments of the hugest statue that was ever fashioned by Egyptian sculptor. It was a fitting ornament for a city of giants; such an effigy as might have embellished a palace built and inhabited by Titans. Unhappily, it is broken from the middle; but when entire it must have weighed about 887 tons, and measured 22 feet 4 inches across the shoulders, and 14 feet 4 inches from the neck to the elbow. The toes are from 2 to 3 feet long. The whole mass is composed of Syene granite; and it is offered as a problem to engineers and contractors of the present day, – How were nearly 900 tons of granite conveyed some hundreds of miles from Syene to Thebes? It is equally difficult to imagine how, in a country not afflicted by earthquakes, so colossal a monument was overthrown.

Such was the Rameseion. It looked towards the east, facing the magnificent temple at Karnak. Its propylon, or gateway, in the days of its glory, was in itself a structure of the highest architectural grandeur, and the portion still extant measures 234 feet in length. The principal edifice was about 600 feet in length and 200 feet in breadth, with upwards of 160 columns, each 30 feet in height. A wall of brick enclosed it; and a dromos, fully 1600 feet long, and composed of two hundred sphinxes, led in a northwesterly direction to a temple or fortress, sheltered among the Libyan hills.

This period of temple building and ornamentation which makes Thebes as conspicuous in Egyptian history as pyramid building had made Memphis, extended over several dynasties, and practically ended with the twentieth (1200 B.C. to 1133 B.C.) which embraced the long line of Rameses, except Rameses I. and II. This was the time of the Hebrew captivity and of the Exodus.

The most illustrious of all these kings – the Alexander the Great of Egyptian history – was Thutmes III., who reigned for 53 years, and carried Egyptian power into the heart of Africa as well as Asia. Countless memorials of his reign exist in papyrus rolls, on temple walls, in tombs and even on beetles and other ornaments. These conquests of his brought to Egypt countless prisoners of every race who, according to the old custom, found employment in the public works. It was principally to the great public edifices, and among those especially to the enlarged buildings of the temple at Amon (Ape) near Karnak, that these foreigners were forced to devote their time.

Though Karnak is several miles further up the Nile, and on the same side as Luxor, it is in the same splendid natural amphitheatre, and is a part of the grand temple system of Thebes and its suburbs. Let us visit its magnificent ruins before stopping to look in upon Thebes proper.

The Karnak ruins surpass in imposing grandeur all others in Egypt and the world. The central hall of the Grand Temple is a nearly complete ruin, but a room has been found which contained a stone tablet on which Thutmes III. is represented as giving recognition to his fifty-six royal predecessors. This valuable historic tablet has been carried away and is now in Paris. This temple was 1108 feet long and 300 wide. But this temple was only a part of the gorgeous edifice. On three sides were other temples, a long way off, yet connected with the central one by avenues whose sides were lined with statuary, mostly sphinxes. Many of the latter are yet in place, and are slowly crumbling to ruin. Two colossal statues at the door of the temple now lie prostrate. Across the entire ruins appear fragments of architecture, trunks of broken columns, mutilated statues, obelisks, some fallen others majestically erect, immense halls whose roofs are supported by forests of columns, and portals, surpassing all former or later structures. Yet when the plan is studied and understood, its regularity appears wonderful and the beholder is lost in admiration. Here are two obelisks, one 69 feet high, the other 91 feet, the latter the highest in Egypt, and adorned with sculptures of perfect execution. One hundred and thirty-four columns of solid stone, each seventy feet high and eleven in diameter, supported the main hall of the temple which was 329 feet by 170 feet. The steps to the door are 40 feet long and 10 wide. The sculptures were adorned with colors, which have withstood the ravages of time. Fifty of the sphinxes remain, and there is evidence that the original number was six hundred.

All who have visited this scene describe the impression as superior to that made by any earthly object. Says Denon, “The whole French army, on coming in sight of it, stood still, struck as it were with an electric shock.” Belzoni says: “The sublimest ideas derived from the most magnificent specimens of modern architecture, cannot equal those imparted by a sight of these ruins. I appeared to be entering a city of departed giants, and I seemed alone in the midst of all that was most sacred in the world. The forest of enormous columns adorned all round with beautiful figures and various ornaments, the high portals seen at a distance from the openings to this vast labyrinth of edifices, the various groups of ruins in the adjoining temples – these had such an effect as to separate me in imagination from the rest of mortals, and make me seem unconscious whether I was on earth or some other planet.”

And Karnak, like all Nile scenes, is said to be finer by moonlight than sunlight. But you must go protected, for the wild beast does not hesitate to make a lair of the caverns amid these ruins. Human vanity needs no sadder commentary.

This temple was the acme of old Egyptian art. Its mass was not the work of one king, but of many. It therefore measures taste, wealth and architectural vigor better than a book. But its founder, Thutmes III., left similar monuments to his power. They have been traced in Nubia, in the island of Elephantine, in various cities of northern Egypt, and even in Mesopotamia.

In Central Thebes you meet with ruins of the home palace or dwelling place of Rameses III. The king’s chamber can be traced by the character of the sculptures. You see in these the king attended by the ladies of his harem. They are giving him lotus flowers and waving fans before him. In one picture he sits with a favorite at a game of draughts. His arm is extended holding a piece in the act of moving. And so the various domestic scenes of the old monarch appear, reproducing for us, after a period of 3500 years, quite a history of how things went on in the palaces of royalty upon the Nile.

The tombs of Thebes surpass all others in number, extent and splendor. They are back toward the desert in the rocky chain which bounds it. Here are subterranean works which almost rival the pyramids in wonder. Entrance galleries cut into the solid rock lead to distant central chambers where are deposited the sarcophagi which contained the bodies of the dead. The walls everywhere, and the sarcophagi, or stone coffins, are elaborately sculptured with family histories, prayers, and all the ornaments which formed the pride of the living. Festivals, agricultural operations, commercial transactions, hunts, bullfights, fishing and fowling scenes, vineyards, ornamental grounds, form the subject of these varied, interesting and truly historic sketches. The chambers and passages which run in various directions contain mummies in that wonderful state of preservation which the Egyptians alone had the art of securing. They are found wrapped in successive folds of linen, saturated with bitumen, so as to preserve to the present the form and even the features of the dead. Alas! how these sacred resting places have been desecrated. The sarcophagi have been broken and carried away, and the mummified remains that rested securely in their niches for thousands of years have been dragged out to gratify the curiosity of sight seers in all quarters of the globe.

Beyond Thebes, the Nile enters a narrow sand-stone gorge. But just before you enter this you pass the very wonderful temple of Edfou, in almost a perfect state of preservation, further testimonial to the wealth, power and art of those old Theban kings. Entering the gorge, the rocks overhang the river for miles on miles. You are now in the midst of the sandstone quarries whence were drawn the material for many a statue and temple. At the head of the gorge is Assouan, trading point for the Soudan and Central Africa. It is the ancient Syene, and is the real quarrying ground of Egypt. The red granite from the steps of Syene is in the pyramids and all the mighty monuments of the Nile valley. Entering the vast quarries here, you can see a large obelisk not entirely detached from the solid rock, lying just as it was left by the workmen thousands of years ago. There are also half finished monuments of other forms still adhering to their mother rock, and a monstrous sarcophagus which had for some reason been discarded ere it was quite finished.

In the river opposite Assouan is the Island of Elephantine or “Isle of Flowers,” on which are the ruins of two temples of the Theban period. Three miles above is the first cataract of the Nile, which was reckoned as the boundary of Upper Egypt.

You are now 580 miles south of Cairo and 730 from the Mediterranean, on the borders of Nubia. Assouan is a border town now, with 4000 people, but in the time of old Theban kings, Syene was not on the margin of their empire and glory, nor did the wonders of the Nile valley cease here. A short way above Assouan is the beautiful island of Philæ, the turning point of tourists on the Nile, crowned with its temples, colonnades and palms and set in a framework of majestic rocks and purple mountains. The island was especially dedicated to the worship of Isis, and her temple is yet one of the most beautiful of Egyptian ruins, as much of the impressive coloring of the interior remains uninjured. The ruins of no less than eight distinct temples exist here, some of which are as late as the Roman occupation of Egypt.

One hundred and twenty miles above, or south of, the first cataract of the Nile, thirty-six miles north of the last, and quite within the borders of Nubia, the traveller, struck hitherto with the impoverished aspect of the country, suddenly pauses with astonishment and admiration before a range of colossal statues carved out of the rocky side of a hill of limestone, the base of which is washed by the famous river.

For centuries the drifting sands of the desert had accumulated over the architectural wonders of Ipsambul, and no sign of them was visible except the head of one gigantic statue.

No traveler seems to have inquired what this solitary landmark meant; whether it indicated the site of a city, a palace, or a tomb; until, in 1717, the enthusiastic Belzoni undertook the work of excavation. His toil was well rewarded; for it brought to light a magnificent specimen of the highest Egyptian art; a specimen which, with Champollion, we may confidently attribute to the palmiest epoch of Pharaonic civilization.

Every voyager who visits Ipsambul seems inspired with more than ordinary feelings of admiration.

Here, exclaims Eliot Warburton, the daring genius of Ethiopian architecture ventured to enter into rivalry with Nature’s greatness, and found her material in the very mountains that seemed to bid defiance to her efforts.

You can conceive nothing more singular and impressive, says Mrs. Romer, than the façade of the Great Temple; for it is both a temple and a cave. Ipsambul, remarks Sir F. Henniker, is the ne plus ultra of Egyptian labor; and in itself an ample recompense for the labor of a voyage up the Nile. There is no temple, of either Dendera, Thebes, or Philæ, which can be put in competition with it; and one may well be contented to finish one’s travels with having seen the noblest monument of antiquity in Nubia and Egypt.

There are two temples at Ipsambul – one much larger than the other; but each has a speos, or cavern, hewn out of the solid rock. Let us first visit the more considerable, consecrated by Rameses II. to the sun-god Phrah, or Osiris, whose statue is placed above the entrance door. An area of 187 feet wide by 86 feet high is excavated from the mountain, the sides being perfectly smooth, except where ornamented by relievos. The façade consists of four colossal statues of Rameses II. seated, each 65 feet high, two on either side of the gateway. From the shoulder to the tiara they measure 15 feet 6 inches; the ears are 3 feet 6 inches long; the face 7 feet; the beard 5 feet 6 inches; the shoulders 25 feet 4 inches across. The moulding of each stony countenance is exquisite.

The beauty of the curves is surprising in stone; the rounding of the muscles and the flowing lines of the neck and face are executed with great fidelity.

Between the legs of these gigantic Ramessids are placed four statues of greatly inferior dimensions; mere pigmies compared with their colossal neighbors, and yet considerably larger than ordinary human size. The doorway is twenty feet high. On either side are carved some huge hieroglyphical reliefs, while the whole façade is finished by a cornice and row of quaintly carved figures underneath a frieze of 21 monkeys, each eight feet high and six feet across the shoulders. Passing the doorway you enter a vast and gloomy hall. Here is a vast and mysterious aisle whose pillars are eight colossal giants on whom the rays of heaven never shone. They stand erect, with hands across their stony breasts; figures of the all-conquering Rameses, whose mitre-shaped head dresses, each wearing in front the serpent, emblem of royal power, nearly touch the roof. They are all perfectly alike; all carry the crosier and flail; every face is characterized by a deep and solemn expression. How different from the grotesque and often unclean monsters which embody the Hindoo conception of Divine attributes! They are the very types of conscious power, of calm and passionless intellect; as far removed from the petty things of earth as the stars from the worm that crawls beneath the sod.

These images of the great king are supported against enormous pillars, cut out of the solid rock; and behind them run two gorgeous galleries, whose walls are covered with historical bas-reliefs of battle and victory, of conquering warriors, bleeding victims, fugitives, cities besieged, long trains of soldiers and captives, numerous companies of chariots, all combined in a picture of great beauty and impressive effect.

This entrance chamber is 57 feet by 52 feet. It opens into a cellar 35 feet long, 251⁄2 feet wide and 22 feet high, and is supported in the centre by four pillars each three feet square. Its walls are embellished by fine hieroglyphs in an excellent state of preservation. Behind is a smaller chamber where, upon thrones of rock, are seated the three divinities of the Egyptian trinity Ammon-Ra, Phrah and Phtah, accompanied by Rameses the Great, here admitted on an equality with them. On either side of the outer entrance are doors leading to rooms hewn out of solid rock. They are six in number and each is profusely ornamented with lamps, vases, piles of cakes and fruits and other offerings to the Gods. The lotus is painted in every stage of its growth, and the boat is a frequent symbol. These bas-reliefs seem to have been covered with a stucco which was painted in various colors. The ground color of the ceiling is blue and covered with symbolic birds. Well may Champollion exclaim: “The temple of Ipsambul is in itself worthy a journey to Nubia;” or Lenormant say, “It is the most gigantic conception ever begotten by the genius of the Pharaohs.” It is a temple of Rameses II., of the nineteenth Theban dynasty, who figures as the Sesostris of the Greeks.

Hardly less interesting is the Little Temple of Ipsambul, dedicated to Athor, or Isis, the Egyptian Venus, by the queen of Rameses the Great. Either side of its doorway is flanked by statues thirty feet high, sculptured in relief on the compact mass of rock, and standing erect with their arms by their sides. The centre figure of each three represents the queen as Isis, her face surmounted by a moon within a cow’s horns. The other images are intended for King Rameses himself. Beneath the right hand of each are smaller statues representing the three sons and three daughters of the king and queen.

A portion of the rock, measuring one hundred and eleven feet in length, has been excavated to make room for the façade of the temple. The devices begin on the northern side with an image of Rameses brandishing his falchion, as if about to strike.

Athor, behind him, lifts her hand in compassion for the victim; Osiris, in front, holds forth the great knife, as if to command the slaughter. He is seated there as the judge, and decides the fate of the peoples conquered by the Egyptian king. The next object is a colossal statue of about thirty feet high, wrought in a deep recess of the rock: it represents Athor standing, and two tall plumes spring from the middle of her head-dress, with the symbolic crescent on either side. Then comes a mass of hieroglyphics, and above them are seated the sun-god and the hawk-headed deity Anubis. On either side of the doorway, as you pass into the pronaos, offerings are presented to Athor, – who holds in her hand the lotus-headed sceptre, and is surrounded with a cloud of emblems and inscriptions. This hall is supported by six square pillars, all having the head of Athor on the front face of their capitals; the other three faces being occupied with sculptures, once richly painted, and still exhibiting traces of blue, red, and yellow coloring. The shafts are covered with hieroglyphs, and emblematical representations of Osiris, Athor, Kneph, and other deities.

If these sacred edifices inspire a feeling of awe in the spectator, while in ruin, what must their effect have been when their shrines contained their mystics’ images; when the open portals revealed their sculptures and the walls their glowing colors to the worshipping multitudes; when the roofs shone with azure and gold; when the colossal forms represented the deities in whom they reposed their faith; when processions of kings, nobles and priests marched along their torch lit aisles; when incense filled the air and the vaults resounded with the music of ten thousand voices; when every hieroglyph and emblem had a meaning to the kneeling votary, now forgotten or never known?

Numerous other Nubian temples bear witness to Egyptian prowess, wealth, patience and religious sentiment. That at Derr is cut out of the solid rock to a depth of 110 feet, and its grand entrance chamber is supported by six columns representing Osiris. It was built in honor of the great Rameses. At Ibrim are four rock temples, all of the time of the Theban kings. And so the traveler up the Nile, and into the domains of far off Nubia, is continually meeting with these vast rock temples, monuments of the Egyptian kings on the one hand, tombs of the nobility on the other, and worshiping halls for all.

Returning to Egypt and passing down the eastern arm of the Nile to Tanis, or Beni-Hassan, where the Hebrews and Arabs were wont to trade with the Egyptians, we find one of the oldest authentic monuments, except the pyramids, and certainly the most interesting to us. It is the tomb of a nobleman under Usurtasen II. B.C. 2366. The rich paintings on the walls of this tomb are of inestimable value as showing the arts, trades, and domestic, public and religious institutions of the Egyptians at this period. They are still more valuable in an historic view, for they relate to the arrival of a family of thirty-seven persons from the Hebrew or Semitic nation, who had come to fix their abode on the blessed banks of the Nile. The father of the family is represented as offering a gift to the king. Behind him are his companions, bearded men, armed with lances, bows and clubs. The women are dressed in the lively fashion of the Amu tribe, to which the family belongs. The children and asses are loaded with baggage. A companion of the party is standing by with a lyre of very old form. The gift of the father, or patriarch, was the paint of Midian, an article highly prized by the Egyptians. Many persons have been eager to associate this inscription, or sculpture, with the arrival of the sons of Jacob in Egypt, to implore the favor of Joseph; but it antedates that event so far that there can be no possible connection between them. It does show however that arrivals in Egypt from Arabia and Palestine, for purposes of trade and even permanent residence, were not confined by any means to the scriptural period.