4. THE ROYAL FAMILY VISIT THE TEMPLE.
When Meryra had been installed, the king and royal family made a formal visit to the temple at the time of sunset, and this is likewise represented in the High Priest’s tomb. For the first time in the history of Egypt one is permitted to see the Pharaoh as he drove through the streets of the capital in his chariot. No king before Akhnaton had allowed an artist to represent him in aught but celestial poses; but out of his love for truth and reality Akhnaton had dispensed with this convention, and encouraged the regarding of himself as a mortal man. On this occasion we see him standing in his gorgeously decorated chariot, reins and whip in hand, himself driving the two spirited horses, the coloured ostrich plumes on whose heads nod and toss as the superb animals prance along. The queen, also driving her own chariot, follows close behind; and after her again come the princesses, heading a noble group of chariots belonging to the court officials and ladies-in-waiting, these being driven by charioteers. The shining harness, the dancing red and blue plumes of the horses, the many-coloured robes, the feathered standards of the nobles, the fluttering ribbons, all go to make the cavalcade a sight to bring the townspeople running from their houses. A guard of soldiers, armed with spears, shields, battle-axes, bows, and clubs, races along on foot in front of the royal party to clear the road. Here, besides Egyptians, are bearded Asiatics from the king’s Syrian dominions, befeathered negroes from the Mazoi tribes of Nubia, and Libyans from the west, wearing the plaited side-lock of hair hanging from their heads.
The party is seen to be nearing the temple, and Meryra stands before the gateway ready to greet his lord. Four men kneel near him holding aloft the coloured ostrich-plume fans, which will be wafted to and fro above the king’s head when he has alighted from his chariot; and others kneel, lifting their hands in reverent salutation. Great bulls, fattened like the prize cattle of modern times, are led forth, garlands of flowers thrown around their huge necks, and bouquets of flowers fastened between their horns. These are attended by grooms, also bearing bunches of flowers. Two groups of female musicians, clad in flowing robes, wave their arms and beat upon tambourines.
The temple, which will be described later, is this day garlanded with flowers, and every altar is heaped high with offerings. Now the king has entered the building, and a further scene shows the royal family worshipping at the high altar, which is piled up with offerings of joints of meat, geese, vegetables, fruit, and flowers, surmounted by bronze bowls filled with burning oil. Akhnaton and Nefertiti stand before the altar, each with the right arm raised in the act of sprinkling the fragrant gums of Araby upon the flames. The upper part of the king’s body is bare, but from his waist depends a graceful skirt of fine linen, ornamented with sash-like ribbons of a red material, which flutter about his bare legs. The queen’s robe covers the whole of her body, but is so transparent that one can see her fair form with almost the distinctness of nudity. A red sash is bound round her waist, and the two ends fall almost to the ground. Neither of the two wears any jewels; and the simplicity of the soft, flowing robes, with their bright-red sashes, is extremely marked. Two little princesses stand behind the king and queen, each shaking from a systrum a note of praise to God. Meryra, accompanied by an assistant, stands bowing before the king, and near by another priest burns some sweet-smelling incense. Not far away there sits a group of eight blind musicians,—fat elderly men, who clap their hands and sing to the accompaniment of a seven-stringed harp, giving praise to the sunlight which they cannot see, but yet can feel as “the heat which is in Aton” penetrates into their bones.
In still another series of reliefs we are shown a scene representing the reward of Meryra by Akhnaton on some occasion when he had been particularly successful in collecting the yearly dues of the temple from the estates on the opposite bank of the river. The ceremony took place in the granary buildings at the edge of the water. One sees a group of boats moored at the quay, and on the shore are several cattle-pens filled with lowing cattle. The granaries are stored with all manner of good things, and Meryra stands triumphant in front of them as the king addresses him.
“Let the Superintendent of the Treasury of the Jewels take Meryra,” says Akhnaton, “and hang gold on his neck at the front, and gold on his feet, because of his obedience to the teaching of Pharaoh;” and immediately the attendants literally heap the gold collars and necklaces one above the other upon the High Priest’s neck. Scribes write down a rapid summary of the events; the attendants and fan-bearers bow low; and Meryra is conducted back to his village with music and with dancing, while Akhnaton returns to his palace, and, no doubt, sinks exhausted on to his cushions.