The Greatest Empires & Civilizations of the Ancient East: Egypt, Babylon, The Kings of Israel and Judah, Assyria, Media, Chaldea, Persia, Parthia & Sasanian Empire. George Rawlinson

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СКАЧАТЬ Seti's works was his pillared hall at Karnak, the most splendid single chamber that has ever been built by any architect, and, even in its ruins, one of the grandest sights that the world contains. Seti's hall is three hundred and thirty feet long, by one hundred and seventy feet broad, having thus an internal area of fifty-six thousand square feet, and covers, together with its walls and pylons, an area of eighty-eight thousand such feet, or a larger space than that covered by the Dom of Cologne, the largest of all the cathedrals north of the Alps. It was supported by one hundred and sixty-four massive stone columns, which were divided into three groups—twelve central ones, each sixty-six feet high and thirty-three feet in circumference, formed the main avenue down its midst; while on either side, two groups of sixty-one columns, each forty-two feet high and twenty-seven round, supported the huge wings of the chamber, arranged in seven rows of seven each, and two rows of six. The whole was roofed over with solid blocks of stone, the lighting being, as in the far smaller hall of Thothmes III., by means of a clerestory. The roof and pillars and walls were everywhere covered with painted bas-reliefs and hieroglyphics, giving great richness of effect, and constituting the whole building the most magnificent on which the eye of man has ever rested. Fergusson, the best modern authority on architecture, says of it: "No language can convey an idea of its beauty, and no artist has yet been able to reproduce its form so as to convey to those who have not seen it an idea of its grandeur. The mass of its central piers, illumined by a flood of light from the clerestory, and the smaller pillars of the wings gradually fading into obscurity, are so arranged and lighted as to convey an idea of infinite space; at the same time the beauty and massiveness of the forms, and the brilliancy of their coloured decorations, all combine to stamp this as the greatest of man's architectural works, but such a one as it would be impossible to reproduce, except in such a climate, and in that individual style, in which and for which it was created."24

As Seti constructed the most wonderful of all the palatial buildings which Egypt produced, so he also constructed what is, on the whole, the most wonderful of the tombs. The pyramids impose upon us by their enormity, and astonish by the engineering skill shown in their execution; but they embody a single simple idea; they have no complication of parts, no elaboration of ornament; they are taken in at a glance; they do not gradually unfold themselves, or furnish a succession of surprises. But it is otherwise with the rock-tombs, whereof Seti's is the most magnificent The rock-tombs are "gorgeous palaces, hewn out of the rock, and painted with all the decorations that could have been seen in palaces." They contain a succession of passages, chambers, corridors, staircases, and pillared halls, each further removed from the entrance than the last, and all covered with an infinite variety of the most finished and brilliant paintings. The tomb of Seti contains three pillared halls, respectively twenty-seven feet by twenty-five, twenty-eight feet by twenty-seven, and forty-three feet by seventeen and a half; a large saloon with an arched roof, thirty feet by twenty-seven; six smaller chambers of different sizes; three staircases, and two long corridors. The whole series of apartments, from end to end of the tomb, is continuously ornamented with painted bas-reliefs. "The idea is that of conducting the king to the world of death. The further you advance into the tomb, the deeper you become involved in endless processions of jackal-headed gods, and monstrous forms of genii, good and evil; and the goddess of Justice, with her single ostrich feather; and barges carrying mummies, raised aloft over the sacred lake; and mummies themselves; and, more than all, everlasting convolutions of serpents in every possible form and attitude—human-legged, human-headed, crowned, entwining mummies, enwreathing or embraced by processions, extending down whole galleries, so that meeting the head of a serpent at the top of a staircase, you have to descend to its very end before you reach his tail. At last you arrive at the close of all—the vaulted hall, in the centre of which lies the immense alabaster sarcophagus, which ought to contain the body of the king. Here the processions, above, below, and around, reach their highest pitch—meandering round and round—white, and black, and red, and blue—legs and arms and wings spreading in enormous forms over the ceilings; and below lies the sarcophagus itself."25

The greatest of the works of Ramesses are of a different description, and are indicative of that inordinate vanity which is the leading feature of his character. They are colossal images of himself. Four of these, each seventy feet in height, form the façade of the marvellous rock-temple of Ipsambul—"the finest of its class known to exist anywhere"—and constitute one of the most impressive sights which the world has to offer. There stands the Great King, four times repeated, silent, majestic, superhuman—with features marked by profound repose and tranquillity, touched perhaps with a little scorn, looking out eternally on the grey-white Nubian waste, which stretches far away to a dim and distant horizon. Here, as you sit on the deep pure sand, you seem to see the monarch, who did so much, who reigned so long, who covered, not only Egypt, but Nubia and Ethiopia with his memorials. "You can look at his features inch by inch, see them not only magnified to tenfold their original size, so that ear and mouth and nose, and every link of his collar, and every line of his skin, sinks into you with the weight of a mountain; but those features are repeated exactly the same three times over—four times they once were, but the upper part of the fourth statue is gone. Look at them as they emerge—the two northern figures—from the sand which reaches up to their throats; the southernmost, as he sits unbroken, and revealed from the top of his royal helmet to the toe of his enormous foot"26 Look at them, and remember that you have here portrait-statues of one of the greatest of the kings of the Old World, of the world that was "old" when Greece and Rome were either unborn or in their swaddling clothes; portrait-statues, moreover, of the king who, if either tradition or chronology can be depended on, was the actual great oppressor of Israel—the king who sought the life of Moses—the king from whom Moses fled, and until whose death he did not dare to return out of the land of Midian.

According to the almost unanimous voice of those most conversant with Egyptian antiquities, the "great oppressor" of the Hebrews was this Ramesses. Seti may have been the originator of the scheme for crushing them by hard usage, but, as the oppression lasted close upon eighty years (Ex. ii, I; vii. 7), it must have covered at least two reigns, so that, if it began under Seti, it must have continued under his son and successor. The bricks found at Tel-el-Maskoutah show Ramesses as the main builder of Pithom (Pa-Tum), and the very name indicates that he was the main builder of Raamses (Pa-Ramessu). We must thus ascribe to him, at any rate, the great bulk of that severe and cruel affliction, which provoked Moses (Ex. ii, 12), which made Israel "sigh" and "groan" (ib. 23, 24), and on which God looked down with compassion (ib. iii. 7). It was he especially who "made their lives bitter in mortar, and in brick, and in all manner of service in the field"—service which was "with rigour." Ramesses was a builder on the most extensive scale. Without producing any single edifice so perfect as the "Pillared Hall of Seti," he was indefatigable in his constructive efforts, and no Egyptian king came up to him in this respect. The monuments show that he erected his buildings chiefly by forced labour, and that those employed on them were chiefly foreigners. Some have thought that the Hebrews are distinctly mentioned as employed by him on his constructions under the term "Aperu," or "Aperiu"; but this view is not generally accepted. Still, "the name is so often used for foreign bondsmen engaged in the very work of the Hebrews, and especially during the oppression, that it is hard not to believe it to be a general term in which they are included, though it does not actually describe them."27

       HEAD OF SETI

       BUST OF RAMESSES II.

The physiognomies of Seti I. and Ramesses II., as represented on the sculptures,28 offer a curious contrast Seti's face is thoroughly African, strong, fierce, prognathous, with depressed nose, thick lips, and a heavy chin. The face of Ramesses is Asiatic. He has a good forehead, a large, well-formed, slightly aquiline СКАЧАТЬ