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One of them still stands at Karnak, the tallest obelisk in the temple there; while the other great shaft has fallen, and lies broken, close to its companion.
As for the town, they were capable of making themselves acquainted with that, its hotels and curiosity-shops, when there was nothing more important on hand. Next was to come Karnak, the "father of temples," once connected with the younger temple at Luxor as if by a long jewelled necklace of ram-headed sphinxes.
It is useless to attempt a detailed description of this architecture; and it is so unlike anything else in the world, that, like Karnak and Baalbec, those only know the Alhambra who see it. When you can weave stone, and hang your halls with marble tapestry, you may rival it. It is nothing to me that these ornaments are stucco; to sculpture them in marble is only the work of the hands.
War, however, broke out again under Rameses the Third, but certainly against another power, and it would appear a naval power. Returning victorious, the third Rameses added a temple to Karnak, and raised the temple and the palace of Medcenet Habu. Here closes the most interesting period of Egyptian history.
Finally, the Ptolemies, faithful to the traditions of the native monarchy, threw themselves into the work; but their labours were interrupted by revolts at Thebes, and the earthquake of the year 27 B.C. destroyed part of the temple, so that the pylon remained for ever unfinished. The history of Karnak is identical with that of all the great Egyptian temples.
Queen Hatshepsut has left other memorials of her greatness besides the temple with its story of her voyage. She has told us how one day she was sitting in her palace, and thinking of her Creator, when the thought came into her mind to rear two great obelisks before the Temple of Amen at Karnak.
We know that the Egyptians did build in this very way, and the system has been revived by M. Legrain for his work at Karnak, where still exist the remains of the actual mounds and ramps by which the great western pylon was erected in Ptolemaïc times. Work carried on in this way is slow and expensive, but it is eminently suited to the country and understood by the people.
Behind the mass of people rose the deep and brooding forest, before them extended the boundless sea, above them spread the starry firmament. The tribes did not step beyond the last avenue of Karnak. They left a wide space between themselves and the altar. The large crowd remained silent. At the feet of the sacrificial stones rose three pyres.
The name of the city survives, at a spot just three miles north of the lake of Riblah. The battle itself I have described from the Epos of Pentaur, the national epic of Egypt. It ends with these words: "This was written and made by the scribe Pentaur." It was so highly esteemed that it is engraved in stone twice at Luqsor, and once at Karnak.
They were, at all events, symbols of divine instincts, and for this reason a deep interest rises in the modern mind in the contemplation of their proportions and expression. The figures marked 41-45 are two more specimens of Pasht, who appears to have been the most popular subject for the Egyptian sculptor's chisel; these are erect figures, holding lotus sceptres, and are both from Karnak.
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