Ancient Egypt

by George Rawlinson; Arthur Gilman

THE TWIN COLOSSI OF AMENHOTEP III, AT THEBES.

The design of erecting two such colossi must be attributed to the monarch himself, and we must estimate, from the magnificence of the design, the grandeur of his thoughts and the wonderful depth of his artistic imagination; but the skill to execute, the genius to express in stone such dignity, majesty, and repose as the statues possess, belongs to the first-rate sculptor, who turned the rough blocks of stone, hewn by the masons in a distant quarry, into the glorious statues that have looked down upon the plain for so many ages. The sculptors of Egyptian works are, in general, unknown; but, by good fortune, in this particular case, the name of the artist has remained on record, and he has himself given us an account of the feelings with which he saw them set up in the places where they still remain. The sculptor, who bore the same name as his royal master, i.e. Amenhotep or Amen-hept, declares in the exultation of his heart: "I immortalized the name of the king, and no one has done the like of me in my works. I executed two portrait-statues of the king, astonishing for their breadth and height; their completed form dwarfed the temple tower—forty cubits was their measure; they were cut in the splendid sandstone mountain on either side, the eastern and the western. I caused to be built eight ships, whereon the statues were carried up the river; they were emplaced in their sublime temple; they will last as long as heaven. A joyful event was it when they were landed at Thebes and raised up in their place."

A peculiar and curious interest attaches to one—the more eastern—of the two statues. It was known to the Romans of the early empire as "The Vocal Memnon," and formed one of the chief attractions which drew travellers to Egypt, from the fact, which is quite indisputable, that at that time, for two centuries or perhaps more, it emitted in the early morning a musical sound, which was regarded as a sort of standing miracle. The fact is mentioned by Strabo, Pliny the elder, Pausanias, Tacitus, Juvenal, Lucian, Philostratus, and others, and is recorded by a number of ear-witnesses on the lower part of the colossus itself in inscriptions which may be seen at the present day. Amenhotep, identified by the idle fancy of some Greek or Roman scholar with the Memnon of Homer, son of Tithonus and The Dawn, who led an army of Ethiopians to the assistance of Priam of Troy against the Greeks, was regarded as a god, and to hear the sound was not only to witness a miracle, but to receive an assurance of the god's favourable regard. For the statue did not emit a sound—the god did not speak—every day. Sometimes travellers had to depart disappointed altogether, sometimes they had to make a second, a third, or a fourth visit before hearing the desired voice. But still it was a frequent phenomenon; and a common soldier has recorded the fact on the base of the statue, that he heard it no fewer than thirteen times. The origin of the sound, the time when it began to be heard, and the circumstances under which it ceased, are all more or less doubtful. Some of those exceedingly clever persons who find priest-craft everywhere, think that the musical sound was the effect of human contrivance, and explain the whole matter to their entire satisfaction by "the jugglery of the priests." The priests either found a naturally vocal piece of rock, and intentionally made the statue out of it; or they cunningly introduced a pipe into the interior of the figure, by which they could make musical notes issue from the mouth at their pleasure. It is against this view that in the palmy days of the Egyptian hierarchy, the vocal character of the statue was entirely unknown; we have no evidence of the sound having been heard earlier than the time of Strabo (B.C. 25-10), when Egypt was in the possession of the Romans, and the priests had little influence. Moreover, the theory is disproved by the fact that, during the two centuries of the continuance of the marvel, there were occasions when Memnon was obstinately silent, though the priests must have been most anxious that he should speak, while there were others when he spoke freely, though they must have been perfectly indifferent. The wife of a prefect of Egypt made two visits to the spot to no purpose; and the Empress Sabina, wife of the Emperor Hadrian, was, on her first visit, also disappointed, so that "her venerable features were inflamed with anger." On the other hand, as already mentioned, a common Roman soldier heard the sound thirteen times.

With respect to the time when, and the circumstances under which, the phenomenon first showed itself, all that can be said is, that the earliest literary witness to the fact is Strabo (about B.C. 25); that the earliest of the inscriptions on the base that can be dated belongs to the reign of Nero, and that it is at least questionable whether the sound ever issued from the stone before B.C. 27. In that year there was an earthquake which wrought great havoc at Thebes; and it is an acute suggestion, that it was this earthquake which at once shattered the upper part of the colossus, and so affected the remainder of the block of stone that it became vocal then for the first time. For centuries the figure remained a torso, and it was while a torso that it emitted the musical tone—

"Dimidio magicæ resonabant Memnone chordæ."

After a long interval of years, probably about A.D. 174, that restoration of the monument took place which is to be seen to the present day. Five blocks of stone, rudely shaped into a form like that of the unharmed colossus, were emplaced upon the torso, which was thus reconstructed. The intention was to do Memnon honour; but the effect was to strike him dumb. The peculiar condition of the stone, which the earthquake had superinduced, and which made it vocal, being changed by the new arrangement, the sound ceased, and has been heard no more.

It is a fact well known to scientific persons at the present day, that musical sounds are often given forth both by natural rocks and by quarried masses of stone, in consequence of a sudden change of temperature. Baron Humboldt, writing on the banks of the Oronooko, says: "The granite rock on which we lay is one of those where travellers have heard from time to time, towards sunrise, subterraneous sounds, resembling those of the organ. The missionaries call these stones loxas de musica. 'It is witchcraft,' said our young Indian pilot.... But the existence of a phenomenon that seems to depend on a certain state of the atmosphere cannot be denied. The shelves of rock are full of very narrow and deep crevices. They are heated during the day to about 50°. I often found their temperature during the night at 39°. It may easily be conceived that the difference of temperature between the subterraneous and the external air would attain its maximum about sunrise." Analogous phenomena occur among the sandstone rocks of El Nakous, in Arabia Petræa, near Mount Maladetta in the Pyrenees, and (perhaps) in the desert between Palestine and Egypt. "On the fifth day of my journey," says the accomplished author of 'Eothen.' "the sun growing fiercer and fiercer, ... as I drooped my head under his fire, and closed my eyes against the glare that surrounded me, I slowly fell asleep—for how many minutes or moments I cannot tell—but after a while I was gently awakened by a peal of church bells—my native bells—the innocent bells of Marlen that never before sent forth their music beyond the Blagdon hills! My first idea naturally was that I still remained fast under the power of a dream. I roused myself, and drew aside the silk that covered my eyes, and plunged my bare face into the light. Then at least I was well enough awakened, but still those old Marlen bells rang on, not ringing for joy, but properly, prosily, steadily, merrily ringing 'for church.' After a while the sound died away slowly; it happened that neither I nor any of my party had a watch to measure the exact time of its lasting; but it seemed to me that about ten minutes had passed before the bells ceased."[22] The gifted writer proceeds to give a metaphysical explanation of the phenomena; but it may be questioned whether he did not hear actual musical sounds, emitted by the rocks that lay beneath the sands over which he was moving.

And similar sounds have been heard when the stones that sent them forth were quarried blocks, no longer in a state of nature, but shaped by human tools, and employed in architecture. Three members of the French Expedition, MM. Jomard, Jollois, and Devilliers, were together in the granite cell which forms the centre of the palace-temple of Karnak, when, according to their own account, they "heard a sound, resembling that of a chord breaking, issue from the blocks at sunrise." Exactly the same comparison is employed by Pausanias to describe the sound that issued from "the vocal Memnon."

On the whole, we may conclude that the musical qualities of his remarkable colossus were unknown alike to the artist who sculptured the monument and to the king whom it represented. To them, in its purpose and object, it belonged, not to Music, but wholly to the sister art of Architecture. "The Pair" sat at one extremity of an avenue leading to one of the great palace-temples reared by Amenhotep III.—a palace-temple which is now a mere heap of sandstone, "a little roughness in the plain." The design of the king was, that this grand edifice should be approached by a dromos or paved way, eleven hundred feet long, which should be flanked on either side by nine similar statues, placed at regular intervals along the road, and all representing himself. The egotism of the monarch may perhaps be excused on account of the grandeur of his idea, which we nowhere else find repeated, avenues of sphinxes being common in Egypt, and avenues of sitting human life-size figures not unknown to Greece, but the history of art containing no other instance of an avenue of colossi.