The most powerful of these Theban Kings, were those of the twelfth dynasty and on, beginning 2466 B.C., though Thebes can be traced back to the sixth dynasty as a city. It was a period in which strong monarchs ruled, and the arts were cultivated with magnificent results. Thebes was the capital, and on its temples and palaces the most enormous labor and expense were lavishly bestowed. And this not in Thebes alone, but in all the cities of Egypt; and they all make history too, impressive, invaluable history.
Siout owes its present importance to the caravan trade with Darfur and Nubia. Passing on toward Thebes, the river banks get more and more bluffy. You soon come to Dendera on the west bank. Its ruins are magnificent, and by many regarded
as the finest in Egypt. The portico of its ancient temple is inconceivably grand. Its length is 265 feet and height 60 feet. It is entirely covered with mystic, varied and fantastic sculptures, hieroglyphics, groups, figures of deities, sacred animals, processions of soldiers—in short the manners and mythology of all Egypt. The workmanship is elaborate and finished. The interior is no less beautiful. The roof contained a sculptured representation of the twelve signs of the Zodiac. It has been taken down and is now in the museum at Paris.
A few miles further on in this bewildering region of solid rock bluffs, immense quarries, deep sculptured caverns, you come to Thebes itself, “City of the hundred gates,” lying on both sides of the Nile, the reports of whose power and splendor we would regard as fabulous, were its majestic ruins not there still to corroborate every glowing account. Whatever of Egyptian art is older than that of the Theban era lacked the beauty which moves to admiration. Beginning with the Theban kings of the twelfth dynasty, the harmonious form of beauty united with truth and nobleness meets the eye of the beholder as well in buildings as in statues. The great labyrinth and the excavation for the artificial lake Mœris, at Alexandria, were made during this period. In Tanis, at the mouth of the Nile, was erected a temple whose inscriptions show not only the manners of the country with great historic accuracy, but tell the tale of frequent trade with the people from Arabia and Canaan.
The site of Thebes is an immense amphitheatre with the Nile in the centre. At first you see only a confusion of portals, obelisks and columns peeping through or towering above the palm trees. Gradually you are able to distinguish objects, and the first that strikes you is the ruins of Luxor on the eastern bank. They overlook the Arab village at their base, and consist of a long row of columns and the huge gateway of the Temple of Luxor. The columns are those of an immense portico, and by them stood two beautiful obelisks, one of which is now in the Place de la Concorde, Paris. The columns are monoliths, fully ten feet in diameter, and many of them in a perfect state. All are covered with inscriptions of various
signification. This temple was built by Rameses II., and is therefore not one of the oldest in Egypt, though not the least interesting. On the westward or opposite side of the Nile is Memnon and the temple home of Rameses II. There is little or nothing of the temple there, but twin colossal statues stand in lonely desolation on the plain, and these once guarded the temple entrance. One is perfect, the other broken. Both measured sixty-four feet in height. They are sitting giants carved from solid stone. They represented King Amenhotep, in whose honor the temple was built. At their feet are small sitting statues, one of his wife Thi, the other of his mother Mutem-ua, each carved out of red sandstone mixed with white quartz, and each a marvellous exhibition of skill in treating the hardest and most brittle materials. They stand twenty-two feet apart. The northern, or broken one, is that which the Greeks and Romans celebrated in poetry and prose as the “vocal statue of Memnon.” Its legs are covered with inscriptions of Greek, Roman, Phœnician and Egyptian travelers, written to assure the reader that they had really visited the place or had heard the musical tones of Memnon at the rising of the sun.
THE COLOSSI.
In the year 27 B.C. the upper part of this statue was removed from its place and thrown down by an earthquake. From that time on, tourists began to mutilate it by cutting into it their befitting or unbefitting remarks. The assurances that they had heard Memnon sing or ring ceased under the reign of Septimius Severus who completed the wanting upper part of the body as well as he could with blocks of stone piled up and fastened
together. It is a well known fact that split or cracked rocks, after cooling during the night, at the rising of the sun or as soon as the stone becomes warm, may emit a prolonged ringing note. After the statue was restored in the manner above described, the sound, if ever it emitted any, naturally ceased. The crack was covered by the masonry.