In the neighbourhood of the great temple of Karnak are the ruins of a smaller temple appertaining to Amenophis III. “It was once adorned with elegant sculptures and two granite obelisks; but is now a confused heap of ruins, whose plan is with difficulty traced beneath its fallen walls.”[29] Of course, the obelisks are lost. The Temple of Luxor likewise owes its origin to Amenophis III.; and was extended, a century and a-half later, by Rameses II.; the latter monarch adding a magnificent hall, a propylon of vast dimensions, two colossal sitting statues of himself, a pair of beautiful obelisks, and an avenue of sphynxes nearly two miles in length, stretching away from Luxor to Karnak. Approaching the temple by the avenue of sphynxes, about 500 in number, we meet with the now solitary obelisk, its consort having been removed to Paris; next comes the majestic propylon, its entrance guarded by two helmeted colossal sitting statues of Rameses II., carved out of black granite, and half buried in the earth. Passing the portal, we enter the great Hall of Rameses, and, beyond that, reach the sanctuary of Amenophis. The obelisk bears the name of Rameses, and is remarkable for the beauty and depth of its carving—a circumstance which may possibly have influenced the French in their selection. Sir Gardner Wilkinson made a curious discovery with regard to the Paris obelisk, which he narrates as follows:—
“Being at Luxor when it was taken down, I observed beneath the lower end on which it stood the nomen and prenomen of Rameses II., and a slight fissure extending some distance up it; and what is very remarkable, the obelisk was cracked previous to its erection, and was secured by two wooden dove-tailed cramps. These, however, were destroyed by the moisture of the ground, in which the base had become accidentally buried.”
The hieroglyphs on its face, announce that “the lord of the world, guardian-sun of truth, approved of Phra; has built this edifice in honour of his father, Ammon-Ra, and has erected to him these two great obelisks of stone, in face of the House of Rameses, in the city of Ammon.”[30]
Besides the Luxor obelisks, numerous others are ascribed to Rameses II.—namely, the two small monoliths at Rome, one in the Piazza Rotunda in front of the Pantheon, the other at the Villa Mattei; as also the ten broken obelisks at San, on the field of Zoan: while two more bear the joint names of his father Seti and himself; for example, the beautiful column of the Piazza del Popolo, known as the Flaminian Obelisk, and that of the Trinita de Monti at Rome.
It is a curious fact in connexion with the history of obelisks, that two of the most stately—indeed, the next in height to that of St. John Lateran—should have been the work of a woman, Queen Hatasou, daughter of Thothmes I., and guardian for a while of Thothmes III. But when the reins of power fell into the hands of the latter, he seems to have treated his sister as an usurper, and to have obliterated her name from the monuments, while he substituted in its place the cartouche of his own; so that the work of Hatasou is usually ascribed to Thothmes III. We find a similar illustration in the relation between Rameses II. and his father, Seti I. Seti was distinguished in his early life as a warrior, but, unfortunately, was stricken with blindness; he thereupon resigned the throne to his son, and retired into solitude. By degrees he recovered his sight, and devoted the rest of his life to architecture and building. His cartouche is to be found amongst the magnificent ruins at Thebes; and he was the author of several obelisks: in the latter instance his name is associated with, and occasionally replaced by, that of his son. The son of the blind man, the great Sesostris, Rameses II., must be supposed to have encouraged this substitution, for he has obtained credit for much that was not really his own; and to such an extent has misconception been carried, that Rameses and Seti have been identified as one and the same person; while a younger son of Rameses, Menephtah, has been described as the son of the king who went blind. Another element of confusion is the Greek name—Sesostris, given to Rameses II. Rameses was celebrated as a victorious soldier; as also was his distinguished predecessor, Thothmes III. Sesostris is described by Herodotus as a great conqueror; and as this character applies equally to Thothmes and Rameses, these two kings, although 200 years apart in point of time, become awkwardly confounded with each other. It would be ungenerous to suppose that such a state of confusion was acceptable to Rameses and favoured his designs; or that it could have led him to adopt that association with the memory of Thothmes which is implied by the sculptures on the Thothmic obelisks: although it must be admitted that there certainly exist grounds for the suspicion. In this respect Rameses would almost seem to have been the victim of an idiosyncrasy. In fact, Rameses II. is accused of monopolising the reputation of all the great deeds enacted during more than 600 years, from the time of Thothmes II. to that of Shishonk, or, as he is named in the Bible, Shishak, the conqueror of Jerusalem.
Sacred scarabæi, or beetles. On the back of the thorax of the upper pair are engraven mythological figures and hieroglyphics; the middle scarab is furnished with wings like the winged orb; the lower one has human supporters. The scarabæus is the emblem of future being, or future existence, and is often introduced into the body of the mummy to take the place of the heart, which is embalmed separately. The four figures probably represent the four keepers to whom the heart is confided, and the hieroglyphics are verses from the Book of the Dead.
We have compared the village of Luxor to a crop of mushrooms overgrowing a mountain of architectural ruins; and so it would seem to be: the mud huts of the Arabs and Copts at first sheltered themselves under the massive walls, then crept up to the cornices and roofs, and in time, like swallows’ nests, stuccoed every hollow and niche where sufficient space could be obtained for a resting-place. Only that they were forbidden, they would have occupied the whole of the temples and their halls, hypostyle and hypæthral, and have left nothing visible but themselves. The inhabitants of these huts are poor and ragged; but, according to Lady Duff Gordon (who lived amongst them for a long time, and between whom and them a warm attachment subsisted, fostered by her own humanity and kindness), they are remarkable for cleanliness, both in their persons and in their huts. Luxor, however, is the great emporium of antiques, and an active manufacture of scarabæi or sacred beetles, of statuettes, and even of tablets, is carried on by the Arab traders. “It is the centre,” says M. Mariette, “of a commerce more or less legal, inasmuch as the rummaging of tombs is now prohibited by law. Nevertheless, it requires much judgment, and often that of the expert, to distinguish with certainty between the genuine and the fictitious.” Miss Edwards relates that she was once accidentally ushered into the workshop of a dealer, where she saw tools and appliances in number for the fabrication of these objects, so eagerly sought after by the traveller. On the arrival of the proprietor she was speedily shown out, but overheard the scoldings which were administered to the unfortunate help who had allowed her to enter. She illustrates the simplicity of these people by the following anecdote:—One day, being more than usually pestered by an Arab trader to buy his genuine antiques, she sharply replied, “I don’t like them: I prefer the modern ones.” “Bisallah!” exclaimed the pedlar, “then you will like these; for they were all manufactured by myself.”—“As for genuine scarabs of the highest antiquity,” says Miss Edwards, “they are turned out by the gross every season. Engraved, glazed, and administered to the turkeys in the form of boluses, they acquire, by the simple process of digestion, a degree of venerableness that is really charming.”
Under-surface of sacred scarabæi,
engraven with hieroglyphs.