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us will not hold good, inasmuch as the balance on the back of each course would almost pre

serve the opening without any arch at all.

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76. THE FORM AND DISPOSITION of the Egyptian temple seem to have been founded on immutable rules. The only points wherein they differ from one another are in the number of their subdivisions and their extent, as the city for which they served was more or less rich. Unlike the temples of the Greeks and Romans, whose parts were governed by the adoption of one of the orders, and whose whole, taken in at a single glance, could be measured from any one of its parts, those of Egypt were an assemblage of porticoes, courts, vestibules, galleries, apartments, communicating with each other, and surrounded with walls. Strabo, in his 17th book, thus describes the temples in question. "At the entrance of the consecrated spot the ground is paved to the width of 100 ft. (λe@pov) or less, and in length three or four times its width, and in some places even more. This is called the court (pouos, course); thus Callimachus uses the words

Fig. 49.

ARCH AT THEBES.

Ο δρομος ἱερος ούτος Ανουβιδος.

Throughout the whole length beyond this on each side of the width are placed sphinxes of stone, 20 cubits or more distant from one another, one row being on the right, and the other on the left. Beyond the sphinxes is a great vestibule (πporuλov), then a further one, and beyond this anether. The number, however, of the sphinxes, as of the vestibules, is not always the same, but varies according to the length and breadth of the course. Beyond

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the vestibules (TроTUλaia) is the temple (vews), having a very large porch (πpovaos), which is worthy to be recorded. The chapel (onkos) is small, and without a statue; or. if there be one, it is not of human form, but that of some beast. The porch on each side has a wing (TTEрa); these consist of two walls as high as the temple itself, distant from each other at the bottom a little more than the width of the foundations of the temple, then they incline towards each other, rising to the height of 50 or 60 cubits. These walls are sculptured with large figures, similar to those which are to be seen in the works of the Etruscans and ancient Greeks." This account is not at all exaggerated, as we shall immediately show by the introduction in this place of the plan, section, and elevation of the celebrated temple at Apollinopolis Magna, between Thebes and the first cataract, which, though, as we learn from the deciphering in these days, the hieroglyphics upon it are not of the time of the Pharaohs, seems admirably calculated to give the reader almost all the information necessary for understanding the subject. This will, moreover, so much more fully explain it than words, that we shall not need to do more than afterwards come to some recital of the details.

77. This edifice, seated near Edfoo, about twenty miles south of Thebes, is one of the largest in Egypt, and is comparatively in good preservation. Its form is rectangular, and its general dimensions 450 ft. by 140 ft. (fig. 50.) In the centre of one of the short sides is the entrance, which consists of two buildings, each 100 ft. long, and 32 ft. in width; both pyramidal in form, and Fig. 50. PLAN OF TEMPLE AT APOLLINOPOLIS MAGA. lying in the same direction, but separated by a passage 20 ft. in width, with a doorway at each extremity. This passage conducts us to a quadrangle 140 ft. long, and 120 ft. wide, flanked by twelve columns on each side, and eight more on the entrance side, all standing a few feet within the walls, and thus forming a colonnade round three sides covered by a flat roof. A view of a portion of it is given in fig. 54. At the further end of the quadrangle (which rises by corded steps) opposite to the entrance, is a portico extending the whole breadth of the quadrangle, and 45 ft. in depth. It has three ranks of columns, containing six in each rank, is covered by a flat roof, and is enclosed by walls on three sides, the fourth, or that opposite the entrance,

being open. This is, however, closed breast high by a species of pedestals half inserted in the columns, and in the central intercolumniation a doorway is constructed with piers, over which are a lintel and cornice cut through. From this portico a doorway leads to an inner vestibule, in which are three ranks of four columns each, smaller than those first described, but distributed in the same way. Beyond this, in Cousin's plan, are sundry apartments, with staircases and passages, whereof the smaller central one

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may here add, that there is so little difference between the earlier and later specimens of Egyptian architecture, that though, as we have hinted, this is of the latter, it

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will convey a pretty correct knowledge of all. The general appearance of the temple is given in fig. 53., and a view of the interior in fig. 54. The plan of the Egyptian temple is always uniform, symmetrical, and rectangular. Its most brilliant feature is the great number of columns employed, in which is displayed a prodigality unapproached by any other nation. This, however, was induced by the necessity for employing blocks of stone for the ceilings or roofs. The greatest irregularity occurring in any of the plans known, is in that at the island of Philae (see fig. 55. ), and it

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is very evident that the cause was the shape of the ground on which it is placed. The in

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tercolumniations were very small, rarely exceeding a diameter, or one diameter and a half of the column. We know of no specimens of peripteral temples similar to those of Greece, that is, those in which the cell is surrounded by columns. In the elevations of those of Egypt, the spirit and character of their architecture is more particularly

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developed. But they are monotonous. The repetition of the same forms is carried to the utmost pitch of tolerance. The pyramidal form prevails in all the combinations, whether in walls, doors, general masses, or details. In considering the principal parts of the elevations, the first feature that presents itself is the column, which we will notice without its attendant base and capital. If it were possible to establish a system relative to their invention and subsequent perfection, we might easily arrange them in distinct classes, principally as respects their decoration; but as far as regards general form, the Egyptian column may be reduced to two varieties, the circular and polygonal. The first are of two sorts. Some are found quite plain or smooth, but ornamented with hieroglyphics (see fig. 56.). Some

Fig. 56.

COLUMNS

are composed with ranges of horizontal circles, and look like an assemblage of bundles
of rods tied together at intervals. The only difference among those
columns which are circular and plain is in their having hierogly-
phics, or not. Of the second sort there are many varieties, of which
we here present three specimens (fig. 57.). They have the appear-
ance of being bound together by hoops, like barrels. These are usually
in three rows with four or five divisions in each; but these arrange-
ments seem to have been subject to no certain laws. The species of
columns in question is certainly curious, and appears based upon the
imitation of stems of trees bound together, so as out of a number to
form one strong post. It seems scarcely possible that they could
have had their origin in mere whim or caprice. Many polygonal
columns are to be found in Egypt. Some square specimens are to
be seen in the grottos at Thebes cut out of the rock itself. Simi-
lar examples occur at the entrance of the sanctuary of a temple in the same city. Hexa-
gonal ones are described by Norden, and Pococke mentions one of a
form triangular on the plan. We do not at present remember any
fluted specimen, except in the tombs of Beni-Hassan, of which a
representation will be given in the section on Grecian architecture.
Their character is shortness and thickness. They vary from three to
eleven feet in diameter, the last dimension being the largest diameter
that Pococke observed, as in height the tallest was forty feet. Such
were some of those he measured at Carnak and Luxor, but this he gives only as an ap-
proximation from the circumstance of so much of them being buried in the earth.
78. Pilasters, properly so called, are not found in Egyptian architecture.
the column, when it appears, is extremely simple in its form. Among the representations
in Denon's work is one in which the base is in the shape of an inverted ogee.
to a column of one of the buildings at Tentyra,

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Fig. 57. BILANTS.

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The base of

It belongs 79. In their capitals, the Egyptians exhibited great variety of form. They may, however, be reduced to three species, the square, the vase-formed, and the swelled. The first (fig. 58.) is nothing more than a simple abacus, merely placed on the top of the shaft of the column, to which it is not joined by the intervention of any moulding. This abacus is, however, sometimes high enough to admit of a head being sculptured thereon, as in the annexed block. It does not appear, as in Grecian architecture, that in that of Egypt differently proportioned and formed columns had different capitals assigned to them. The notion of imparting expression to architecture by a choice of forms of different nature, and more or less complicated according to the character of an order, was unknown in Egypt. It was an architectural language which the people knew not. The vase-shaped capital (fig. 59.) Fig. 58. CAPITAL is variously modified: sometimes it occurs quite plain; in other cases it is differently decorated, of which we here give two examples. It certainly has all the appear

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ance of having afforded the first hint for the
bell of the Corinthian capital. The third
or swelled capital is also found in many
varieties; but if the form be not founded
on that of the bud of a tree, we scarcely
know wherein its original type is to be

sought. Two examples of it are here appended.
80. The entablature, for such (however unlike it be to the same thing in the architecture

SHAYERINON SOMOXXTENT

The

of Greece) we suppose we must call the massive loading placed on the walls and columns of ancient Egypt, is very little subdivided. upper part of it, which we may call the cornice, projects considerably, having a large concave member, in some cases consisting of ornaments representing a series of reeds parallel to each other from top to bottom; in other cases in groups of three or six in a group, the intervals between them being sculptured with winged globes, as on the portico of the temple at Tentyra, given in fig. 60. Sculptures of animals, winged globes, and scarabæi, are the almost constant decorations placed on what may be called the architrave of the Egyptian temple. Of the winged globe, usually found on the centre of it, as also of the great concave cornice, fig. 61. is a representation.

Fig. 60.

ENTABLATURE.

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We close our observations on the cor-
nices of the Egyptian temple by request-
ing the reader, if he have the smallest
doubt on the common origin of the archi

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tectures of Egypt and Persepolis, to refer to fig. 26., where he will find a precisely similar use of the great cavetto which crowned the buildings of both countries. The writer who, in the Description Abrigée des Monumens de la Haute Egypt, has found that this great curve is borrowed from the bending leaves of the palm tree, has mistaken the elements of decoration for substantial constructive art, and has forgotten that the first object follows long after the latter. But we doubt if he really meant what his words import. The ceilings of Egypt are invariably monotonous. The non-use of the arch, whereon we have touched in a preceding page, and the blocks of stone which the country afforded, allowed little scope for display of varied form. In the colonnades of the country, architraves of stone rest on the columns (see fig. 54.), on which transversely are placed those which actually form the ceilings, just like the floor boards of a modern economical English building. On them are often found some of the most interesting representations that are in existence : we allude to those of the zodiacal constellations disposed circularly about the centre of the apartments in which they are placed. Though nothing has been deduced from these to satisfy us on the date of their continent buildings, they are not the less worthy of further investigation, which, however, it is not our province here to pursue. 81. The gates and portals of the Egyptian temples were either placed, as at Carnak

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and Luxor (figs. 62. and 63.), in masses of masonry, or between columns, as already noticed, inclined upwards, having generally a reed moulding round them, and the whole crowned with a large cavetto. They were plentifully covered with hieroglyphics; frequently fronted by a pair of obelisks; and on their sides were placed staircases of very simple construction, leading to platforms on their summits. It is now difficult to account for the extraordinary labour bestowed on these masses of masonry. More than pictorial effect must have been the motive. The reader will, by turning back to fig. 52, be equally surprised with ourselves when he contemplates, in the gateway at the Temple of Apollinopolis Magna, such The masses in these are always pyramidal, and bear great resemblance to the gates of modern fortifications. Sometimes they are extremely simple, and do not rise so high as the adjacent buildings which flank them. Their thickness is enormous, some of them extending to the extraordinary depth of fifty feet.

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vast efforts developed on so apparently minor a point.

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Fig. 63,

EGYPTIAN PORTAL AT CARNAK.

82. Windows were not frequently used. When they occur they are long small parallelograms, rarely ornamented, but splayed inside. Many of the apartments were without windows at all.

83. We have, in a previous page, alluded to the Pyramids; to which we here add, that. whatever might have been their purpose, it is certain that the form adopted in them. -one that, among other people, was devoted to the purposes of sepulture was of all architectural forms that calculated to ensure durability, and was, moreover, well suited to the views of a nation which took extraordinary means to preserve the body after life, and expended large sums on their tombs.

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84. ORNAMENT or DECORATION may be considered under two heads, that which consists in objects foreign to the forms of the edifices themselves, such as statues, obelisks, &c.; and that which is actually affixed to them, such as the carving on the friezes, basreliefs, &c.

85. The former of these are remarkable for the size and beauty of the materials whereof they are composed. First for notice are their statues of colossal dimensions, which are mostly, if not always, in a sitting attitude. The two here given (fig. 64.) are from the Memnonium.

They are generally isolated, and placed on simple pedestals. The use of Caryatides, as

they are called, perhaps improperly, in Egyptian architecture, if we may judge from remains, does not appear to have been very frequent. In the tomb of Osymandyas, we find, according to Diodorus, that there was a peristylium, 400 feet square, supported by animals 16 cubits high, each in one stone, instead of columns. The same author (vol. i. f. 56. ed. Wesseling), speaking of Psammeticus, says, "Having now obtained the whole kingdom, he built a propylæum, on the east side of the temple, to the God at Memphis; which temple he encircled with a wall; and in this propylæum, instead of columns, substituted colossal statues 12 cubits in height." Statues of sphinxes in allies or avenues were used for ornamenting the dromos of their temples. Of this species of ornament the ruins of Thebes present a magnificent example. They were placed on plinths facing one another, and about ten feet apart. Examples of lions also occur. form of the Egyptian obelisks is too well known to need a description here. They have been alleged to be monuments consecrated to the sun. From the situation they often occupy, it is clear they were used neither as gnomons nor solar quadrants.

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Fig. 64

Fig. 65.

COLOSSAL STATUES FROM THE MEMNONIUM.

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86. Amongst the ornaments affixed to their buildings, or rather forming a part of them, the most frequent are hieroglyphics and bas-reliefs. The custom of cutting the former upon almost every building was, as we now find, for the purpose of record; but it is nevertheless to be considered as ornamental in effect. The figures that are sculptured on the walls of the temples are mostly in low relief, and are destitute of proportion; and, when in groups, are devoid of sentiment. Painting was another mode of decoration. The grottoes of the Thebaid, and other subterranean apartments, abound with pictures, not only of hieroglyphics, but of other subjects. the taste of all these, either in drawing, colouring, or composition, is not better than that of their sculpture. (See an example in fig. 65.) Yet in both these arts, from the precision with which they are cut and the uniformity of line and proportion they exhibit, a certain effect is produced which is not altogether displeasing.

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But

87. The nymphæa lotus, or water lily, seems to have been the type of much of the ornament used for the purpose of decoration. The leaf of the palm tree was another object of imitation, and is constantly found in the capitals of their columns. The use of the palm leaf in this situation may have been derived from a popular notion mentioned by Plutarch, (Symposiac. lib. vi. cap. 4.), that the palm tree rose under any weight that was placed upon it, and even in proportion to the degree of depression it experienced. This supposed peculiarity is also mentioned by Aulus Gellius (lib. iii. cap. 6.). The reed of the Nile, with its head, enters into some combinations of ornament, and moreover fashioned into bundles, seems to have been the type of some of the species of their columns. In their entablatures and elsewhere, animals of all sorts occasionally find a place as ornaments, even down to fishes, which occur in a frieze at Assouan; and, as we have before observed, there are few buildings of importance in which the winged globe does not appear as an orna

ment.

88. Some observations on the taste, style, and character of Egyptian architecture, will conclude this section. If the type was, as we imagine, derived from the early subterranean edifices of the people, whose customs allowed of no change or improvement, we cannot be surprised at the great monotony that exists in all their monuments. The absence of variety in their profiles, by means of projecting and re-entering parts, of the use of the arch, of the inclined roof, and of all deviation from those shades of different developments, which impart character to a work of art, generated the monotony, the subject of our complaint. It cannot be denied that in those arts which have nature for their model, the artists of Egypt never sought excellence in true representation. Now architecture is so allied to the other arts, that the principles by which they were guided in these latter were carried through in

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