Drawn by Faucher-Gudin, from a photograph by Mons. de Mertens.
Amenôthes I. was venerated in the province of Kari, and Amenôthes III., when founding the fortress Hâît-Khâmmâît* in the neighbourhood of a Nubian village, on a spot now known as Soleb, built a temple there, of which he himself was the protecting genius.**
* The name signifies literally “the Citadel of Khâmmâît,”
and it is formed, as Lepsius recognised from the first, from
the name of the Sparrow-hawk Khâmmâît, “Mait rising as
Goddess,” which Amenôthes had assumed on his accession.
** Lepsius recognised the nature of the divinity worshipped
in this temple; the deified statue of the king, “his living
statue on earth,” which represented the god of the temple,
is there named “Nibmâûrî, lord of Nubia.” Thûtmosis III. had
already worked at Soleb.
The edifice was of considerable size, and the columns and walls remaining reveal an art as perfect as that shown in the best monuments at Thebes. It was approached by an avenue of ram-headed sphinxes, while colossal statues of lions and hawks, the sacred animals of the district, adorned the building. The sovereign condescended to preside in person at its dedication on one of his journeys to the southern part of his empire, and the mutilated pictures still visible on the façade show the order and detail of the ceremony observed on this occasion. The king, with the crown upon his head, stood before the centre gate, accompanied by the queen and his minister Amenôthes, the son of Hâpi, who was better acquainted than any other man of his time with the mysteries of the ritual.*
* On Amenôthes, the son of Hâpi, see p. 56 of the present
volume; it will be seen in the following chapter, in
connection with the Egyptian accounts of the Exodus, what
tradition made of him.
The king then struck the door twelve times with his mace of white stone, and when the approach to the first hall was opened, he repeated the operation at the threshold of the sanctuary previous to entering and placing his statue there. He deposited it on the painted and gilded wooden platform on which the gods were exhibited on feast-days, and enthroned beside it the other images which were thenceforth to constitute the local Ennead, after which he kindled the sacred fire before them. The queen, with the priests and nobles, all bearing torches, then passed through the halls, stopping from time to time to perform acts of purification, or to recite formulas to dispel evil spirits and pernicious influences; finally, a triumphal procession was formed, and the whole cortege returned to the palace, where a banquet brought the day’s festivities to a close.* It was Amenôthes III. himself, or rather one of his statues animated by his double, who occupied the chief place in the new building. Indeed, wherever we come across a temple in Nubia dedicated to a king, we find the homage of the inhabitants always offered to the image of the founder, which spoke to them in oracles. All the southern part of the country beyond the second cataract is full of traces of Amenôthes, and the evidence of the veneration shown to him would lead us to conclude that he played an important part in the organisation of the country. Sedeinga possessed a small temple under the patronage of his wife Tîi. The ruins of a sanctuary which he dedicated to Anion, the Sun-god, have been discovered at Gebel-Barkal; Amenôthes seems to have been the first to perceive the advantages offered by the site, and to have endeavoured to transform the barbarian village of Napata into a large Egyptian city. Some of the monuments with which he adorned Soleb were transported, in later times, to Gebel-Barkal, among them some rams and lions of rare beauty. They lie at rest with their paws crossed, the head erect, and their expression suggesting both power and repose.** As we descend the Nile, traces of the work of this king are less frequent, and their place is taken by those of his predecessors, as at Sai, at Semneh, at Wady Haifa, at Amada, at Ibrîm, and at Dakkeh. Distant traces of Amenôthes again appear in the neighbourhood of the first cataract, and in the island of Elephantine, which he endeavoured to restore to its ancient splendour.
* Thus the small temple of Sarrah, to the north of Wady
Haifa, is dedicated to “the living statue of Ramses II. in
the land of Nubia,” a statue to which his Majesty gave the
name of “Usirmârî Zosir-Shâfi.”
** One of the rams was removed from Gebel-Barkal by Lepsius,
and is now in the Berlin Museum, as well as the pedestal of
one of the hawks. Prisse has shown that these two monuments
originally adorned the temple of Soleb, and that they were
afterwards transported to Napata by an Ethiopian king, who
engraved his name on the pedestal of one of them.
Drawn by Faucher-Gudin, from one of the two lions of Gebel-
Barkal in the British Museum