Fig. 106.—Plan of the Temple of Luxor. (P. & C.)
In regard to the scarcity of voids and narrow sloping doorways, the similarity in Egyptian buildings of every kind is very striking (Fig. 105). This absence of voids gives a dark and gloomy character to the buildings, when compared with the architecture of other countries. The horizontal element and solidity of construction impart a look of powerful strength and of deep repose to the Egyptian temple. Even the tall and slender obelisks placed in front of the mighty pylons have little, if any, effect in removing the horizontal appearance of the whole building. We give the ground plan, perspective view, and front elevation of the great Temple of Luxor, as a typical illustration of an Egyptian temple from restorations by Chipiez (Figs. 106, 107, and 108). Its construction is described by Champollion as the “Architecture of giants.”
This double-temple was the work of two kings. From the second pylon to the further end of the Temple is the portion built first, by the King Amenophis III. The other portion, from first to the second pylon, is the part built by Rameses II. The sanctuary is placed in the centre of a hall, surrounded by small chambers. It has two doors, one at either end, and on the axis of the building it has a vestibule in front and a hall beyond, supported by twelve columns. Another hall in front of the Naos (or interior apartment) is supported by thirty-two lofty columns. In front of this again is a large square open court. This court is connected to the larger front peristylar court by a grand and lofty gallery, similar to a hypostyle hall. It is 176 ft. long, enclosed and covered, and richly decorated like the hypostyle hall at Karnak (Fig. 96). Four colossal seated statues are in front of the first pylon, and two obelisks, one on each side of the door-way. Four large flagstaffs and a double row of sphinxes in front of the temple complete the accessories to this great edifice. The whole building and obelisks were covered over with bas-reliefs and inscriptions.
Fig. 107.—Bird’s-eye View of Luxor, as restored by Chipiez. (P. & C.)
Fig. 108.—Principal Façade of the Temple of Luxor, restored by Chipiez. (P. & C.)
Fig. 109.—Column of Thothmes III.; from the Ambulatory of Thothmes at Karnak. (P. & C.)
Fig. 110.—Column of the Hypostyle Hall of the Ramesseum; from Horeau. (P. & C.)
The typical Egyptian columns or supports are of two distinct and well-marked kinds, the lotus-headed and the campaniform or bell-shaped. The former is so called from its resemblance to a closed lotus-bud (Fig. 109), and the latter from its resemblance to a bell with the mouth uppermost (Fig. 110). An earlier and simpler form of column or support is the quadrangular pier (Fig. 111), and the next development is the tapering quadrangular pier (Fig. 112), both undecorated. Next we have the pier with a capital which, in profile, is a simple cavetto or “gorge,” and square abacus (Fig. 113).
Fig. 111.—Quadrangular Pier (P. & C.)
Fig. 112.—Tapering Quadrangular Pier. (P. & C.)
Between the abacus and the entablature or beam is a square thickness of stone; this is the great defect in the Egyptian orders, and distinguishes the latter from the Greek orders. This space between the abacus and the architrave is bad, both from a scientific and artistic point of view. It robs the capital of its legitimate appearance as a supporting member. This pier, with capital and the Hathoric pier (Fig. 114), with the head of the goddess Hathor, are both decorated.
Fig. 113.—Pier with Capital. (P. & C.)
Fig. 114.—Hathoric Pier. (P. & C.)
We next come to the octagonal (Fig. 115), and the sixteen-sided pillars (Fig. 116), which are almost Greek in their classic simplicity; the latter is fluted. All forms of Egyptian columns have either square slabs or circular discs as bases, on which the column rests. The two latter mentioned pillars are exceptional, and therefore not typical Egyptian, in having the abacus directly under the architrave; the sixteen-sided pillar is especially Doric-like in this respect, and also in its fluted shaft (Fig. 116).
Fig. 115.—Octagonal Pillar, Beni-Hassan. (P. & C.)
Fig. 116.—Sixteen-sided Pillar; Fluted. (P. & C.)
Fig. 117.—Osiride Pillar from Medinet-Abou. (P. & C.)
Fig. 118.—Column from Bas-Relief. (P. & C.)
The supports known as “Osiride” pillars are chiefly of the date of the Nineteenth Dynasty. They have a kind of analogy to the caryatid Grecian pillars, but are unlike them in respect that they do not support the entablature, as they are only placed in front of the quadrangular supporting pier for purposes of decoration, and are usually meant as representations of the kings who erected the temples they decorate, with a head-dress ornament consisting of the attributes of Osiris (Fig. 117).
Another variety of column has a fanciful combination of floral forms for its capital (Fig. 118). This and others of fanciful design are from the bas-reliefs and wall-paintings, and remind us of similar creations of the artist’s pencil, as seen in the Pompeian wall decorations.
The upper parts of the capital are developments from the calyx of the lotus, with the sepals curled outwards, and look very much like the first notions of the Greek Ionic capital, as indeed we shall find the Ionic volute to be a development of the lotus calyx more than anything else. An example of the faggot-shaped column, with its base, lotus-capital, and entablature, is given at Fig. 109. The ornamental parts of this column were painted in bright yellow and blue, and, as a rule, the sculptured ornament of the Egyptian columns, architrave, and cornices were relieved by the painter in bright colours.
Fig. 119.—Palm-Capital from Sesebi. (P. & C.)
The illustration at Fig. 119 is that of the palm-shaped capital from Sesebi. This type of capital is a frank imitation of a bunch of palm-leaves tied by the circular bands around the top of a column. A later development of the palm capital shows the bell shape with a more complicated decoration, and has the Hathor-headed abacus, surmounted by a Naos (Fig. 120).
Egyptian Ornament and Industrial Art.
Fig. 120.—Hathor-headed Campaniform Capitals, Temple of Neetanebo, at Philæ. (P. & C.)
A great part of Egyptian ornament and decoration is composed of symbolic forms, the remainder is made up of geometrical ornament, such as checkers, meanders, frets,