Ra and Thoth, – the hawk and ibis, – squatted face to face in successive pairs; another, the royal cartouches, guarded by hawks with expanded wings; a third, the emblem of duration or permanency; while on the one over the door are strips of hieroglyphics. The thrones of gods and kings have a compartment left in the lower corner of the massive seat, to be filled up with devices. Sometimes this is done – sometimes not. In this adytum the compartment is occupied by the device taken from much older monuments, and seen now on the pedestals of the Pair at Thebes, – the water-plants of the god Nilus which are bound up to support the royal throne.
There was enough of colour left here to show us how materially the effect of the sculpture was made to depend upon it. The difference in the clearness of the devices is wonderful when they are seen in a mass, and when each compartment or side of a chamber is marked off by broad bands of deep colour. The supplying of details, and yet more of perspective, by painting, gives a totally different character to the sculptures; which difference ought to be allowed for where the colours have disappeared. I am not speaking here of the goodness or badness of the taste which united painting and sculpture in the old Egyptian monuments. I am only pointing out that it was the Egyptian method of representation: and that their works cannot therefore be judged of by the mere outlines. The colours remaining in this chamber are a brilliant blue, a pale clear green (which survives everywhere and is beautiful), and a dull red, – deeper for the garments, lighter for the skins.
This chamber is completely cased, except the entrance, with more modern building. It is shut in, roof and all, as if it had been pushed into a box. The old doorway, also the work of Ergamun, is built round by a later devotee. The chambers erected by the Ptolemies have some modern decorations mixed in with the ancient symbols, – such as the olive-wreath, a harp of a different make from the old Egyptian, and the Greek caduceus, instead of the native one.
Some yet more modern occupants have sadly spoiled this temple. The Christians might very naturally feel that they could not go to worship till they had shut out from their eyesight the symbols of the old faith: and we therefore should not be hard upon them for plastering over the walls. We should forgive them all the more readily because such plastering is an admirable method of preserving the old sculptures. But the Christians must have their saints all about them: and there they are, dim, but obvious enough, – with huge wry faces, and flaring glories over their heads. Some of the sculptures which have been restored, and some which appear never to have been plastered, look beautiful beside these daubs.
In the portico of this temple we first saw an instance of the more modern, the Greek, way of at once enclosing and lighting the entrance to a temple – by intercolumnar screens and doorway; called now a portico in antis. I do not remember seeing this in any of the ancient buildings, while it is found at Philae, Dendara, Isna, and other Ptolemaic erections. It has its beauty and convenience, but it does not seem to suit the primitive Egyptian style, where the walls were relieved of their deadness by sculpture, but, I think, never by breaks.
There are some Greek inscriptions on different parts of this temple, and two certainly which are not Greek. Whether they are Coptic, or the more ancient Egyptian Enchorial writing, it is not for me to say. The outside of the temple is unfinished, and fragments of substantial stone wall about it appear like work left, rather than demolished. Within one of these walls I found a passage, a not uncommon discovery among the massive buildings, which might thus conveniently communicate by a safe and concealed method.
This was our Work before breakfast. Another temple was ready for us after dinner – that of the ancient Tutzis, now Garf Hoseyn.
I walked on shore for a few minutes, while dinner was hastened, and saw some agricultural proceedings which were amusing to a stranger. Two or three donkeys were bringing down dust and sand from the desert, across a pretty wide tract of cultivated land, to qualify the richness of the Nile mud. Their panniers were mere frail-baskets; and when they were emptied, the wind (which was strong) carried away a good proportion of the contents; and the rest looked such a mere sprinkling that I admired the patience which could procure enough for a whole field. But carts are not known so high up the Nile, nor panniers worthy of the name. We had moored just under a sakia, whose creak was most melancholy. This creak is the sweetest and most heart-stirring music in the world to the Nile peasant; just as the Alp-horn is to the Swiss. It tells of provision, property, wonted occupation, home, the beautiful Nile, and beloved oxen. Any song would be charming with such a burden. But to us it was a mere dismal creak; and when it goes on in the night, as happens under a thrifty proprietor, I am told it is like a human wail, or the cry of a tortured animal. So much for the operation of the same sound through different ideas! The shed of this sakia was really pretty: – inhabited by a sleek ox and a sprightly boy-driver; shaded by a roof of millet-stalks, and hung over with white convolvulus and the purple bean of this region. Our Dongola sailor caught up a little romping boy from among his companions, and brought him on board by force. The terror of the child was as great as if we had been ogres. I could not have conceived anything like it, and should be glad to know what it was that he feared. His worst moment of panic seemed to be when we offered him good things to eat; though his companions on shore were by that time calling out to him to take what we offered. His captor forced some raisins into his mouth; and his change from terror to doubt, and from doubt to relish when he began to taste his dose, was amusing to see. Raisins were not a bribe to detain him, however; he was off like a shot, the moment he was released. I suppose his adventure will be a family anecdote for many generations to come.
The first view of the temple from a distance is very striking, – its area pillars standing forth from the rock, like the outworks of the Entrance gate of a mountain. This temple is of the time of the great Ramases, and is dedicated to Phthah, – the god of Artisan Intellect and Lord of Truth:53 – not the god of Truth, which had its own representative deity; but the possessor of truth, by which he did his creative works. He is the efficient creator, working in reality and by fundamental principles, and not by accommodation or artifice. The scarabaeus was sacred to him (though not exclusively) and the frog: the latter as signifying the embryo of the human species; the former, as some say, because the beetle prepares a ball of earth, and there deposits its eggs, and thus presents an image of the globe and its preparation for inhabitancy. However this may be, here we have the creative god, the son of Kneph, the ordaining deity, at whose command he framed the universe. It may be remembered that this was the deity to whom, according to tradition, the first temple was raised in Egypt; – when Menes, having redeemed the site of Memphis from the waters, began the city there, and built the great temple of Phthah, renowned for so many ages afterwards. – Memphis and this Garf Hoseyn formerly bore the same name, derived from their deity: – viz., Phthahei or Thyphthah. His temple has been found by some travellers as imposing as any on the Nile. It has been compared even with Aboo-Simbil. This must be owing, I think, to the singular crowding of the colossi within a narrow space; and perhaps also to the hoary, blackened aspect of this antique speos. The impression cannot possibly arise from any beauty or true grandeur in the work, – to which the inspiration of the god seems to have been sadly wanting. We saw nothing ruder than this temple; which yet is grand in its way.
The whole of it is within the rock except the area. The area has four columns in front, and four Osirides. These colossi are round-faced and ugly, and have lost their helmets, and some their heads. One head lies topsy-turvy, the placid expression of the face contrasting strangely with the agony of its position. The colossi do not hold the crosier and flagellum in their crossed hands, as usual; but both in the right hand, while the left arm hangs by the side. On the remnant of the wall of the area are some faint traces of sculpture, and two niches, containing three figures each. – The striking moment to the visitor is that of entering the rock. He finds himself among six Osirides which look enormous from standing very near each other; – themselves and the square pillars behind them seeming to fill up half the hall. These figures are, after all, only eighteen feet high: and of most clumsy workmanship; – with short, thick legs, short, ill-shaped feet, and more bulk than grandeur throughout. I observed here, as at Aboo-Simbil, that the wide separation between the great toe and the next seems to tell of the habitual use of sandals.
In the walls of the aisles behind the Osirides are eight niches, each containing three figures in high relief. In every niche the figures are represented, I think, in the same attitude,