The Pillar of Fire; or, Israel in Bondage

by J. H. Ingraham

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.

We now retired into the palace, it being past noon, and were conducted towards the reception-rooms of the royal banquet-hall by the grand-chamberlain. At the door we were received by the chief butler, while the other officers of the royal household stood in a line, bending low as the queen and her guests passed in. We consisted, besides her majesty, the prince and myself, of the ambassador from Chaldea, the king's messenger from the Court of Chederlaomer III., in whose country, three hundred years and more ago, the famous battle of Sodom was fought; the ambassador from the kingdom of Assyria; the young Prince of Tarshish; the Duke Chilmed of Sheba, and the Dukes Javan and Tubal; the Lord of Mesech, and the Prince of Midian. Besides these was a great and wise prince from the land of Uz, near the country of Prince Abram, the Mesopotamian. He was accompanied by two friends, philosophers and men of note, Zophar of Naamath, and Lord Eliphaz of Teman. This lord of Uz came into Egypt with a great retinue and train of servants, for he is a man of vast possessions. He had heard of the wisdom and power of Amense, and had come with his own merchants to visit her court. He is also an eminently wise man, a worshipper of the one Deity, as was the ancient king Abram. He is of venerable and majestic aspect, is learned in all the wisdom of Chaldea and Arabia, and seeks to add thereto the lore of Egypt. Besides this distinguished prince, there are other philosophers of note and name. In such noble company, dear mother, was it my fortunate lot to fall. Truly, to come into Egypt is to see the whole world!

The queen, after entering the ante-room, retired to the right, where her ladies-in-waiting received her and escorted her to her own apartments to prepare for the banquet, which had been delayed by the review. Remeses leading the way, with me by his side, we came to the outer room, where handsomely dressed pages offered us scented water in ewers of gold, to lave our fingers, removed our sandals, and in foot-pans of gold washed our feet, beginning with Remeses. They then dried them with perfumed napkins of the softest linen fringed with threads of gold, and placed upon them sandals of crimson cloth, embroidered with flowers. Our upper garments were removed by Nubian servants, and replaced by a banquet-vesture, more or less rich according to our rank. Thus refreshed, we entered a beautiful reception-room containing the most elegant articles of furniture. Here every one of us was presented by the chief gardener of the palace with a lotus-flower, to be held in the hand during the entertainment. As we moved about, admiring the beauty of the rooms and the furniture, and such objects of luxury and art as were intended to gratify the tastes of guests, there were several arrivals of generals, and officers of the chariot legion, and other divisions of the army of Lower Egypt, who had been summoned to the banquet. Among these I recognized some of the superbly uniformed officers who had lined the avenue of the grand approach to the throne—for you will recollect that I said it was an army of officers, soldiers of this rank alone being permitted to do the honors of the palace on the reception of princes or foreign ambassadors.

There were, also, nobles, and distinguished citizens, Egyptian gentlemen of worth and condition, that entitled them to the honor of dining at the palace. From a window I witnessed the arrival of these. They came in elegant pleasure-chariots, attended by a number of servants. One of these footmen came forward to announce to the chief porter his master's name; others took the reins, for the Egyptian lord prefers to drive himself in the streets; another, who held above his head, standing behind him, a large parasol of gorgeous plumes, alighted, carried it still above him as he crossed to the portico of the palace.

Several aged persons arrived in palanquins exquisitely carved and painted, and borne by slaves. Two or three arrived on foot, an attendant holding a shield or large fan above them. Water was brought also for their feet, but not in golden foot-bowls, and robes and sandals were distributed according to rank.

At length, for these polite Egyptians (as well as ourselves) regard it as a want of good-breeding to sit down to table immediately on arriving, the music, which had played all the while the guests were arriving, ceased, and the chief butler announced the moment of the banquet. At the same instant the queen entered the apartment, and, after receiving the salutations of us all, was escorted by Remeses to the banquet-hall. As we entered, a company of musicians, stationed near the door, struck up one of the favorite airs of the country, playing upon tambourines, cymbals, double-pipes, flutes which rested on the floor, guitars, lyres, and instruments unknown to me. The music was full of harmony, and, to my ear, novel, from the number of strange instruments. This continued until we had been seated according to rank, my place being to the left of the queen, Remeses sitting at her right. There were four ladies of rank also near the queen, along the table, which I may mention was of polished silver.

When we had taken our places the loud music ceased, and seven minstrels, who stood by as many harps behind the queen, commenced playing a beautiful air, accompanying it by their voices. The melody was full of richness and sweetness. While this was performing, servants approached, and from exquisite porcelain vases poured sweet-scented ointment upon our heads. Then entered from the gardens, into which the banquet-room opened on two sides, as many beautiful maidens, bearing necklaces of fresh flowers which they had just gathered, and cast them over our shoulders.

Having received these tokens of welcome, a train of servants presented us wine in one-handled goblets. That of Remeses, and mine own, was of gold and jewelled. The others were of silver or agate. The queen's was presented to her in a single crystal, and that of the ladies in small, delicate vases of some precious metal. The health of the queen, and of the prince, and others present, was drunk, while music regaled our senses. Remeses, who acted as ruler of the feast, pledged me to drink thy health, my dear mother, which was responded to by all the company; the Prince of Uz remarking, that the fame of your virtues and the wisdom of your reign had reached his country. You may judge how my heart swelled with pride and joy at this testimony to your excellencies, O my noble and royal mother, from so dignified a source, in the presence of such a company of witnesses! Until the dinner was served up, various songs and performances were introduced, and at the close of the banquet there were the wonderful dances of Arabian girls, exhibitions of buffoonery, games, and feats of agility by jugglers. I regret to say, that some of the guests retired overcome with wine, and had to be borne on the shoulders of their servants to their homes; while two of the ladies were freer with their little crystal goblets than was seeming for their sex. The queen scarce touched the wine to her lips, while Remeses preserved the severest temperance. After the banquet, Remeses accompanied me to apartments in the palace, which he said were for the future to be my abode. Here, taking leave of him, I commenced this letter, which I now close, assuring you of my filial love and reverence.

Sesostris.