Such was not the case with the Egyptian temple. In those of small or moderate dimensions this unity and simplicity of plan exists to a certain extent. The peripteral temple of Elephantiné and even the temple of Khons may be given as instances of this; in them there is much with which the most exclusive philo-Greek can sympathize. The impression received from the ruins of Abydos or Gournah, still more from those of Karnak or Luxor, is very different. There we find several sanctuaries closely wedged together, all of the same size and decorated in the same fashion, in one place the architect has built seven in a row, and there was nothing to prevent him doubling the number if he had chosen to do so. In another we find a succession of courts, of hypostyle halls and chambers, of forests of columns. Sometimes it requires considerable search to pitch upon the sanctuary, which, again, is not the loftiest part of the building, being dominated by hypostyle hall and pylons.
When Egypt had arrived at the summit of her greatness and wished to erect temples to her gods which should be worthy both of herself and of them, she found herself obliged either to sacrifice the unity of the temple by dividing it up into distinct naves and sanctuaries, or to hide the main parts by the accessories in such a fashion that the sanctuary seems to be lost among the annexes which envelop it in front and rear. The vestibule and other subsidiary parts mask the real dwelling of the god. We are sometimes at a loss to decide the uses of all the chambers of so vast and complex a structure, because our knowledge of the circumstances of ancient Egyptian worship is still far from complete. It is significant that even among such an imposing pile of buildings as those of Karnak, egyptologists have found it impossible to agree as to the situation of the heart and organic centre of the whole. That centre exists; it existed before all those sumptuous additions of which it was the cause. But it would seem that its influence failed to make itself felt beyond a certain distance. The temple was enlarged by additions made at its two extremities, in the manner of an inorganic body, so that no limit could be logically assigned to its development. Karnak, as it was left by the Pharaohs and their successors, is the most colossal work of architecture which has come down to us from antiquity, and yet our imagination can give to it even greater dimensions than it actually possessed without injury to its artistic expression. If the worship of which it was the scene had endured a few centuries longer, it would have been easy to add new pylons, new courts, and new hypostyle halls to those already existing; but had the worship of Athene endured through as many ages as that of Ptah or Amen, it would have been impossible to make additions to the Parthenon as it left the hands of Ictinus and Phidias.
END OF VOL. I.
LONDON: R. CLAY, SONS, AND TAYLOR, PRINTERS.
FOOTNOTES:
[1] Page 92, Vol. I.
[2] Our national library at the British Museum is, perhaps, the only one which does not deserve this reproach.—Ed.
[3] Geschichte der bildenden Kunst, 2nd ed., corrected and augmented, with wood engravings in the text, 8 vols. 8vo. 1865-1873. The first edition consisted of 7 vols., and appeared between 1843 and 1864.