Pl. 22.
| From a Drawing by L. Bandoni. | Printed by C. Hullmandel. |
TEMPLE partly excavated out of the Rock GIBEL EL BIRKEL.
Published by Longman, Rees & Co. April 6th. 1835.
The next room is 51 feet long and 56 feet wide, and was ornamented with a row of five columns on each side, the diameter of which is 4 feet 2 inches, and they rest on circular bases: the latter are on pedestals. On each side of this room was a gallery, in one of which there now remain two columns. It seems to me probable, from the space between the last-described room and the sanctuary (see [Plan]), that a gallery crossed the temple at the end of the third room, out of which there were probably three outlets. Those at the sides would lead into small chapels, and the centre one into the sanctuary. As I have no authority, however, for this supposition, I have not marked it in my plan; but the reader who has studied the construction of Egyptian edifices will perceive its probability.
The sanctuary is, fortunately, in better preservation: its width is about 16 feet, the length uncertain. The wall which enclosed it could only have been of a certain height, perhaps a few feet, as, immediately behind it, on each side, are four columns, the diameter of which is 4 feet. Near the extremity of the sanctuary is a beautiful granite altar, which I found almost entirely covered with rubbish, and got it cleared. The device is very elegant, representing four kings, or, rather, four representations of the same king, Tirhaka, supporting the Egyptian entablature; and the base of the altar is also tastefully ornamented. Between the figures are four ovals: two containing the phonetic name of Tirhaka, accompanied with the titles of Son of Phre, or Pharaoh, the Sun, always living. The other two ovals contain the prænomen of the king Sun, very beneficent; above which is the title King, and below it the hieroglyphics signifying eternal life, or always living. There is a line of hieroglyphics round the figures, containing a dedication of the buildings to his father Amun Ra, &c. On the east side is a subject, not uncommon in Egypt, of the two divinities of the Nile, supporting with cords a pedestal, over which is the name of the king. I copied the hieroglyphics of this tablet. On the west side of the altar is a subject exactly similar to the east, but very much defaced and broken.[26] Behind the sanctuary is a room or inner sanctuary, 37 feet long by 21 feet 6 inches wide. A door leads out of it, on the western side, into two small rooms. To the west of the altar, before described, is a much larger one of basalt, 8 feet 6 inches square. There are no figures on this altar, but some hieroglyphics, all of which I have copied: they contain the name and titles of King Pepi, or, as Rossellini, perhaps more correctly, calls him, Pionchei. The name of this king I found also on the walls; but, on the capital of the column which is still remaining there is an oval almost resembling the prænomen of Amunneith, or, according to Mr. Wilkinson, Amun m gori III. If it be the same, I must candidly state that this is very probably an Egyptian, and not an Ethiopian, edifice; for the name on the columns is generally that of the builder of the temple. There are other rooms (as will be seen by my [plan]), which I have not attempted to describe, being almost quite unintelligible.
The appearance of this temple, at a distance, is very picturesque; but there is little in the detail to interest the traveller; its architectural ornaments and sculpture being entirely destroyed, except the one column already mentioned, and it, too, is considerably injured, and off the perpendicular. To the architect, this temple is interesting, as its plan can almost be fully traced. The mere painter, seeking only the picturesque, would find few advantageous points of view. But to me these ruins were deeply interesting, since, accustomed as I am to Egyptian edifices, I found sufficient, even in the little that remains, to understand perfectly what it has been. I easily restored, in my conception, the lofty propylons, the splendid courts, surrounded with the most chaste forms of Egyptian columns; the porticoes, sanctuaries, statues, and avenues of sphinxes;—every part enriched by the art of the painter and sculptor;—the walls and propylons covered with the representations of mythological mysteries, military exploits, and animated battle-scenes, which form the chefs d’œuvre of Egyptian art. I could trace, also, the portraits of the heroes, hieroglyphical tablets, containing the history of the scenes, and displaying the king’s piety and munificence in his offerings to the gods. Thus, I restored the temple in my imagination; and, indeed, there was good authority for all that I have enumerated. Were I to refer to a period still more remote, and, filling up the vague, and not sufficiently explicit authority of the historians, describe the bronze, gold, silver, ivory, ebony, and precious stones, with which it was, perhaps, adorned; the Oriental magnificence which was most probably displayed; the mysterious ceremonies of the most mysterious of religions; the sacrifices and burnt-offerings; the deceiving oracles, the crafty priesthood, and the ignorant multitude gazing, with superstitious awe, at their imposing functions,—I might then be accused of rambling into the regions of fancy; for, unfortunately, there are no sufficient records yet to enter into this subject: but if the study of hieroglyphics is still continued, the veil of Isis may, perhaps, be raised. The Arabs have carried away a great part of the materials of this temple; and, in a short time, the little that is remaining of this, the Selinunte of Ethiopian edifices, will be entirely buried by the sand which is daily drifted in upon it from the desert.
Pl. 23.
