The plan is most simple: In the middle (A) is a great hall in shape of the letter T, adorned with sixteen square pillars 16 feet in height; at the north-west corner of this hall is a narrow passage on an inclined plane (B), by which the building is now entered;25 at the south-west corner is a recess (C) which contains six niches, in pairs one over the other. A long gallery opening at each end into a square chamber, now filled with rubbish (E), completes the plan. Without any main door, without windows, and entered through a passage too long to admit the light of day, the building can only have received light and air through slanting air-slits in the roofing, of which traces are yet visible on the tops of the walls (e, e) on each side of the main hall26. Inscriptions, bas-reliefs, paintings, such as we are accustomed to find everywhere in Egypt, are all wanting; and yet these bare walls produce as great an impression upon the spectator as the most richly decorated temples of Thebes. Not only grandeur but sublimity has been achieved in the mere juxtaposition of blocks of granite and alabaster, by means of purity of line and exactness of proportion.

      Some few scattered ruins in Nubia, the Fayûm, and Sinai, do not suffice to prove whether the temples of the Twelfth Dynasty merited the praises lavished on them in contemporary inscriptions or not. Those of the Theban kings, of the Ptolemies, and of the Caesars which are yet standing are in some cases nearly perfect, while almost all are easy of restoration to those who conscientiously study them upon the spot. At first sight, they seem to present an infinite variety as to arrangement; but on a closer view they are found to conform to a single type. We will begin with the sanctuary. This is a low, small, obscure, rectangular chamber, inaccessible to all save Pharaoh and the priests. As a rule it contained neither statue nor emblem, but only the sacred bark, or a tabernacle of painted wood placed upon a pedestal. A niche in the wall, or an isolated shrine formed of a single block of stone, received on certain days the statue, or inanimate symbol of the local god, or the living animal, or the image of the animal, sacred to that god. A temple must necessarily contain this one chamber; and if it contained but this one chamber, it would be no less a temple than the most complex buildings. Very rarely, however, especially in large towns, was the service of the gods thus limited to the strictly necessary. Around the sanctuary, or "divine house," was grouped a series of chambers in which sacrificial and ceremonial objects were stored, as flowers, perfumes, stuffs, and precious vessels. In advance of this block of buildings were next built one or more halls supported on columns; and in advance of these came a courtyard, where the priests and devotees assembled. This courtyard was surrounded by a colonnade to which the public had access, and was entered through a gateway flanked by two towers, in front of which were placed statues, or obelisks; the whole being surrounded by an enclosure wall of brickwork, and approached through an avenue of sphinxes. Every Pharaoh was free to erect a hall still more sumptuous in front of those which his predecessors had built; and what he did, others might do after him. Thus, successive series of chambers and courts, of pylons and porticoes, were added reign after reign to the original nucleus; and–vanity or piety prompting the work–the temple continued to increase in every direction, till space or means had failed.

      The most simple temples were sometimes the most beautiful. This was the case as regards the sanctuaries erected by Amenhotep III. in the island of Elephantine, which were figured by the members of the French expedition at the end of the last century, and destroyed by the Turkish governor of Asûan in 1822. The best preserved, namely, the south temple (fig. 75), consisted of but a single chamber of sandstone, 14 feet high, 31 feet wide, and 39 feet long. The walls, which were straight, and crowned with the usual cornice, rested on a platform of masonry some 8 feet above the ground. This platform was surrounded by a parapet wall, breast high. All around the temple ran a colonnade, the sides each consisting of seven square pillars, without capital or base, and the two façades, front and back, being supported by two columns with the lotus-bud capital.

      Fig 75.–South Temple of Amenhotep III. at Elephantine.

      Both pillars and columns rose direct from the parapet; except on the east front, where a flight of ten or twelve steps, enclosed between two walls of the same height as the platform, led up to the cella. The two columns at the head of the steps were wider apart than those of the opposite face, and through the space thus opened was seen a richly- decorated door. A second door opened at the other end, beneath the portico. Later, in Roman times, this feature was utilised in altering the building. The inter-columnar space at the end was filled up, and thus was obtained a second hall, rough and bare, but useful for the purposes of the temple service. These Elephantine sanctuaries bring to mind the peripteral temples of the Greeks, and this resemblance to one of the most familiar forms of classical architecture explains perhaps the boundless admiration with which they were regarded by the French savants. Those of Mesheikh, of El Kab, and of Sharonah are somewhat more elaborate.

      Fig 76.–Plan of temple of Amenhotep III., at El Kab.

      The building at El Kab is in three divisions (fig. 76); first, a hall of four columns (A); next, a chamber (B) supported by four Hathor-headed pillars; and in the end wall, opposite the door, a niche (C), approached by four steps. Of these small oratories the most complete model now remaining belongs to the Ptolemaic period; namely, the temple of Hathor at Deir el Medineh (fig. 77). Its length is just double its breadth. The walls are built with a batter inclining inwards,27 and are externally bare, save at the door, which is framed in a projecting border covered with finely- sculptured scenes. The interior is in three parts: A portico (B), supported by two lotus flower columns; a pronaos (C), reached by a flight of four steps, and separated from the portico by a wall which connects the two lotus flower columns with two Hathor-headed pilasters in antis; lastly, the sanctuary (D), flanked by two small chambers (E, E), which are lighted by square openings cut in the ceiling.

      Fig 77.–Plan of temple of Hathor, Deir el Medineh.

      The ascent to the terrace is by way of a staircase, very ingeniously placed in the south corner of the portico, and furnished with a beautiful open window (F). This is merely a temple in miniature; but the parts, though small, are so well proportioned that it would be impossible to conceive anything more delicate or graceful.

      We cannot say as much for the temple which the Pharaohs of the Twentieth Dynasty erected to the south of Karnak, in honour of the god Khonsû (fig. 78); but if the style is not irreproachable, the plan is nevertheless so clear, that one is tempted to accept it as the type of an Egyptian temple, in preference to others more elegant or majestic. On analysis, it resolves itself into two parts separated by a thick wall (A, A). In the centre of the lesser division is the Holy of Holies (B), open at both ends and isolated from the rest of the building by a surrounding passage (C) 10 feet in width. To the right and left of this sanctuary are small dark chambers (D, D), and behind it is a hall of four columns (E), from which open seven other chambers (F, F). Such was the house of the god, having no communication with the adjoining parts, except by two doors (G) in the southern wall (A, A).

      Fig 78.–Plan of temple of Khonsû, Karnak.

      These opened into a wide and shallow hypostyle hall (H), divided into nave and aisles. The nave is supported by four lotus-flower columns, 23 feet in height; the aisles each contain two lotus-bud columns 18 feet high. The roof of the nave is, therefore, 5 feet higher than that of the sides. This elevation was made use of for lighting purposes, the clerestory being fitted with stone gratings, which admitted the daylight. The court (I) was square, and surrounded by a double colonnade entered by way of four side- gates and a great central gateway flanked by two quadrangular towers with sloping fronts. This

---

Скачать книгу