The wonders of the world

by John Loraine Abbott

ABYDOS, AND THE TEMPLE OF MEMNON.

Abydos was the reputed burial-place of Osiris, one of the most sacred gods of ancient Egypt. According to Strabo, it formerly held the next rank to Thebes, and judging from its ruins, Wilkinson thinks it yielded to few cities in upper Egypt in size and magnificence. Going toward it from Girgeh, says Thompson, “we came upon a mound of sand and dust, and broken bricks and pottery, strewed over with bleaching human bones, and ascending this for several rods, and to an elevation of about sixty feet, we came out upon the massive blocks of stone that form the roof of the old temple-palace of Memnon. Here, crawling upon our hands and knees, we got under the roof far enough to see that it covers two large halls supported by rows of massive columns, whose capitals are in the form of the lotus bud, still distinctly preserved. The walls, as far as could be seen, are covered with sculptures, among which the ibis frequently recurs; there are also ceremonial processions and battle scenes, such as are usually depicted in the sculptures of Egyptian temples. No doubt, if this temple should be excavated, it would be one of the most remarkable monuments in Egypt. It dates back nearly fourteen hundred years before Christ. The formation of the roof was peculiar. Large blocks of stone were laid endwise from one row of columns to the other, and then an arch was hollowed out of this solid masonry, still leaving a roof two feet in thickness at its center. The stones were so nicely adjusted, that they fitted closely without cement. The ceiling was studded with stars, and with sculptures beautifully colored. I have not seen in Egypt more exquisite workmanship. Yet the visitor is doomed to disappointment through the great difficulty of access to the temple, in consequence of the drifting in of the sand from the desert and the neighboring mountains. Near by is another temple, also inaccessible, the temple of Osiris, built by the great Remeses, and enriched with alabaster walls, some fragments of which may yet be found. The neighboring mountains are filled with tombs, some of which are nearly four thousand years old. Everything indicates that here was the site of a great city, a city of wealth, population and power, enriched with trophies of conquest and monuments of religion. But these buried temples alone remain, and the Arabs, who now squat in their rags upon the top of the splendid sanctuary of Osiris, have given to the place the expressive name of ‘The Buried.’”

THE TEMPLES OF ABOU SIMBEL.

Passing up the Nile to about latitude twenty-two degrees, on its west side, nearly up to the second cataract, we come to the temples of Abou Simbel. Reaching the bank of the river about midnight, the traveler we have so often quoted tells us: “As I was awakened from a deep sleep by the shock of the boat striking the shore, I saw a huge wall of rock before me, against which six enormous statues leaned as they looked from deep niches cut in its front. Their solemn faces were touched by the moon, which shone full on the cliff, and only their feet were wrapped in shadow. The lines of deep-cut hieroglyphics over the portal of this rocky temple were also filled with shadow, and painted legibly on the gray, moonlit rock. Below them yawned the door, a square of complete darkness. A little to the left, over a long drift of sand that sloped from the summit of the cliff nearly to the water’s edge, peered the mitered head of a statue of still more colossal proportions. I gazed on this broad, dim, and wonderful picture for a moment, so awed by its majesty that I did not ask myself where nor what it was. This is some grand Egyptian dream, was my first thought, and I closed my eyes for a few seconds, to see whether it would vanish. But it stood fast and silent as ever, and I knew it to be Abou Simbel. My servants all slept, and the raïs and boys noiselessly moored the boat to the shore, and then lay down and slept also. Still I lay, and the great statues looked solemnly down upon me, and the moon painted their kingly nomens and banners with yet darker distinctness on the gray rock. In the morning, I found that we lay at the foot of the smaller temple. I quietly waited for my cup of coffee, for the morning reality was infinitely less grand than my vision of the night. I then climbed to the door and entered. The interior is not large nor imposing, after one has seen the temples of Egypt. The exterior, however, is on such a colossal scale, that, notwithstanding the want of proportion in the different statues, the effect is very striking. The largest ones are about thirty-five feet high, and not identical, as are those of the great temple. One, who stands with one leg advanced, while he holds a sword with the handle pressed against his breast, is executed with much more spirit than is usually met with in statues of this period. The sculptures of the interior are interesting, and being of the time of Remeses the Great, whose history they illustrate, are executed with much skill and labor. The head of the goddess Athor, on the face of the columns in the hall, is much less beautiful than that of the same goddess at Dendera. It is, in fact, almost broad and distorted enough to represent the genius Typhon.

“The front of the great temple is not parallel to that of the other, nor does it face the river, which here flows in a north-east course. The line of the cliff is broken between the two, so that the figures of the great Remeses, seated on each side of the door, look to the east, the direction of the line of the face being nearly north. Through the gap in front, the sands have poured down from the desert behind, almost wholly filling up the space between the two cliffs; and though since the temple was first opened, in 1817, it has been cleared nearly to the base more than once, the rapid accumulation of sand has again almost closed the entrance. The southern colossus is only buried about half-way to the knee, but of the two northern ones there is little else to be seen except the heads. Obscured as is the effect of this grand front, it is still without parallel in the world. I had not thought it possible that in statues of such enormous magnitude there could be such singular beauty of expression. The face of Remeses, the same in each, is undoubtedly a portrait, as it resembles the faces of the statues in the interior, and those of the king in other places. Besides, there is an individuality in some of the features which is too marked to represent any general type of the Egyptian head. The fullness of the drooping eyelid, which yet does not cover the large, oblong Egyptian eye; the nose, at first slightly inclining to the aquiline, but curving to the round, broad nostrils; the generous breadth of the calm lips, and the placid, serene expression of the face, are worthy of the conqueror of Africa and the builder of Karnak and Medeenet Abou. The statue next the door, on the southern side, has been shivered to the throne on which it is seated, and the fragments are not to be seen, except a few which lie upon the knees. The great doorway of the temple is so choked up with sand, that I was obliged to creep in on my knees. The sun by this time had risen exactly to the only point where it can illumine the interior; and the rays, taking a more yellow hue from the rock and sand on which they fell, shone down the long drift between the double row of colossal statues, and lighted up the entrance to the second hall of the temple. I sat down in the sand, awed and half frightened by the singular appearance of the place. The sunshine, falling obliquely on the sands, struck a dim reflection against the sculptured roof, and even lighted up the furthest recesses of the grand hall sufficiently to show its imposing dimensions. Eight square pillars, four on either side of the central aisle, seem to uphold the roof, and on their inner sides, facing each other, are eight statues of the king. The features of all are preserved, and have something of the grace and serenity, though not the majesty, of the great statues outside. They look into each other’s eyes, with an eternal question on their fixed countenances, but none can give answer. There was something so stern and strange in these eight faces, that I felt a shudder of fear creep over me. The strong arms are all crossed on their breasts, and the hands hold various sacred and regal symbols, conspicuous among which is something resembling a flail, which one sees often in Egyptian sculpture. I thought of a marvelous story I once read, in which a genie, armed with a brazen flail, stands at the entrance of an enchanted castle, crushing with the stroke of his terrible weapon all who come to seek the treasure within. For a moment the childish faith in the supernatural was as strong as ever, and I looked at the gloomy entrance beyond, wishing to enter, but fearing the stony flails of the terrible Remesi on either hand. The faces were once partially colored, and the black eyeball, still remaining on the blank eye of stone, gives them an expression of stupor, of death in life, which accounted to me for the nervous shock I experienced on entering.

“There is nothing in Egypt which can be likened to the great temple of Abou-Simbel. Karnak is grander, but its grandeur is human. This belongs rather to the superhuman fancies of the East—the halls of the Afrites—or to the realm of the dethroned Titans, of early Greek mythology. This impression is not diminished, on passing the second hall and corridor, and entering the adytum, or sacred chamber of the temple. There the granite altar yet stands in the center, before the undestroyed figures of the gods, who, seated side by side, calmly await the offerings of their worshipers. The peculiar individuality of each deity is strikingly shown in these large statues, and their attitude is much less constrained than in the sitting statues in the tombs of Thebes. These look as if they could rise, if they would. The walls are covered with sculptures of them and of the contemplar deities, in the grand, bold style of the age of Remeses. Some visitors had left a supply of dry palm-branches near the entrance, and of these I made torches, which blazed and crackled fiercely, flaring with a rich red light on the sculptured and painted walls. There was sufficient to enable me to examine all the smaller chambers, of which there are eight or nine, cut laterally into the rock, without any attempt at symmetry of form, or regularity of arrangement. Several of them have seats running around three sides, exactly like the divans in modern Egyptian houses. They were probably designed for the apartments of the priests or servants connected with the temple. The sculptures on the walls of the grand hall are, after those of Medeenet Abou, and on the exterior wall of Karnak, the most interesting I have seen in Egypt. On the end wall, on either side of the entrance, is a colossal bass-relief, representing Remeses slaying a group of captive kings, whom he holds by the hair of their heads. There are ten or twelve in each group, and the features, though they are not colored, exhibit the same distinction of race as I had previously remarked in Belzoni’s tomb, at Thebes. There is the negro, the Persian, the Jew, and one other form of countenance which I could not make out, all imploring with uplifted hands the mercy of the conqueror. On the southern wall, the distinction between the negro and the Egyptian is made still more obvious by the coloring of the figures. In fact, I see no reason whatever to doubt that the peculiar characteristics of the different races of men were as strongly marked in the days of Remeses as at present. The sculptures on the side walls of the temple represent the wars of Remeses, who, as at Medeenet Abou, stands in a chariot which two horses at full speed whirl into the ranks of the enemy. The king discharges his arrows against them, and directly in front of him a charioteer, mortally wounded, is hurled from his overthrown chariot. The groups are chiseled with great spirit and boldness; the figures of the king and his horses are full of life. Towering over all, as well by his superior proportions as by the majesty and courage of his attitude, Remeses stands erect and motionless amid the shock and jar and riot of battle. There is no exultation in his face; only the inflexible calmness of destiny. I spent some time contemplating these grand and remarkable memorials of the greatest age of Egypt, and left with my feeling for Egyptian art even stronger than before.”

THE RIVER NILE.

“With annual pomp,

Rich king of floods! o’erflows the swelling Nile!”—Thompson.

Though the river Nile is properly to be classified with the wonders of nature, rather than with those of art, yet as it is so intimately and constantly associated with the wonderful ruins that everywhere line its banks, it may be well to notice it before passing from the wonders of Egypt and of the regions south of it. This celebrated river, which divides Egypt into two parts, and passes on south through Nubia, Ethiopia, &c., is formed mainly by two streams, the Blue Nile and the White Nile. The Blue Nile, the sources of which were discovered by Bruce, rises near latitude eleven degrees north, in the mountains of Godjam, on the south-western frontier of Abyssinia, and flows with a winding course some eight hundred miles to Khartoum, where it unites with the western branch of the river, thus forming the main stream. The sources of the White Nile (so called from the light brown, muddy color of its waters, as the Blue is from the dark bluish-green of its stream) are as yet undiscovered. Twelve hundred miles above its junction, and thirty-three hundred above the Mediterranean, it is still a broad and powerful stream, of whose source even the tribes that dwell in those far off regions are ignorant. Taylor is confident, that when its hidden fountains shall at last be reached, and the problem of twenty centuries solved, the entire length of the Nile will be found to be not less than four thousand miles, and that it will take rank with the Mississippi and the Amazon, as one of the three great streams of the world. In some respects, he says, “there is a striking resemblance between the Nile and the former river. The Missouri is the true Mississippi, rolling the largest flood, and giving its color to the mingled streams. So the White Nile, which is broad and turbid, pollutes the clear blue flood that has usurped his name and dignity. In spite of what geographers may say, and they are still far from being united on the subject, the Blue Nile is not the true Nile. There, at the point of junction, his volume of water is greater, but he is fresh from the mountains and constantly fed by large, unfailing affluents, while the White Nile has rolled for more than a thousand miles on nearly a dead level, through a porous, alluvial soil, in which he loses more water than he brings with him.” The two rivers meet at right angles, but do not mingle their waters till they have rolled some eight or ten miles in their common bed. Both rivers are of about the same breadth at the point of confluence, but the current of the Blue branch is the strongest. On this account, the native boatmen speak of the Blue river as he, and of the White as she. And it is remarkable that the name Nile, which is never heard in Egypt, (where the river is called el-bahr, “the sea,”) is retained in Ethiopia, and there applied to the Blue Nile, probably for the same reason.