Chapter 43
These few words had to be given, in pa.s.sing, to an hypothesis which has found much favour since the days of Champollion, but we hasten to resume our methodical a.n.a.lysis of the Egyptian orders, and to cla.s.s them by the varieties of their proportions and by the ever-increasing complication of their ornaments.
[Ill.u.s.tration: FIG. 74.--Polygonal column with a flat vertical band.]
[Ill.u.s.tration: FIG. 75.--Polygonal pier with mask of Hathor; from Lepsius.]
At Beni-Ha.s.san and elsewhere we find pillars with two or four flat vertical bands dividing their flutes into as many groups. These bands are covered with incised inscriptions. Sometimes, as at Kalabche (Fig.
74), there are four flat bands inclosing five flutes between each pair. Such an arrangement accentuates the difference between these so-called proto-doric pillars and the Greek doric column. They take away from the proper character of the pillar, the inscribed tablet becomes the most important member of the composition, and the shaft to which it is attached seems to have been made for its display. In the Greek order, on the other hand, we always find the structural requirements brought into absolute harmony with those of the aesthetic sentiment; every line of every detail is necessary both to builder and artist.
A later variety of this type is found in a pillar in which the vertical band is interrupted to make room for a mask of Hathor, which is placed immediately below the abacus (Fig. 75). We find it in a temple situated eastwards of El-Kab, dating, according to Lepsius, from the eighteenth dynasty.
After the eleventh dynasty we find monolithic rock-cut supports at Beni-Ha.s.san, which, although side by side with true polygonal piers, are columns in the strictest sense of the word; that is to say, their vertical section offers curvilinear forms, and they are provided with capitals. Singularly enough, they are so far from being a development from the pier that they do not even distantly resemble it. They may fairly be compared, however, with a type of column which we have already noticed in speaking of the ephemeral wooden or metal architecture whose forms have been preserved for us in the bas-reliefs of the Ancient Empire (see Fig. 54).[97]
[97] MARIETTE has shown this clearly in his _Voyage dans la Haute-egypte_ (p. 52). "This light column or shaft was not abandoned, it reappeared in stone... it reappeared to give birth to the great f.a.ggot-shaped column which rivalled the pier in size, solidity, and weight. This column, with its capital in the shape of a lotus-bud or flower, is seen in its full development at Karnak, at Luxor, and in the first temple of the New Empire."
[Ill.u.s.tration: FIG. 76.--Column from Beni-Ha.s.san; from Lepsius.]
The shaft is formed of four bold vertical ribs, cruciform in plan, and bound together at the top by narrow fillets. The re-entering angles between the ribs are deep. The horizontal section of the capital is similar to that of the shaft, from which it seems to burst; it then gradually tapers to the top, where it meets the usual quadrangular abacus (Fig. 76).
If four stems of lotus, each ending in an unopened bud, be tied together immediately beneath the point where the stem joins the bud, something bearing a rude resemblance to this column will be formed, and to the imitation of such a f.a.ggot its origin has often been attributed. The fillets which surround the shaft at its summit represent the cord wound several times round the stalks, the reeds which fill up the upper parts of the hollows between the ribs are meant for the ends of the knots.
Not far from the remains of the labyrinth some columns formed upon a similar principle have been discovered. Their shafts are composed of eight vertical ribs, which are triangular on plan like stalks of papyrus. The lower part of the shaft has a bold swell. It springs from a corona of leaves and tapers as it rises. The stalks are tied at the top with from three to five bands, the ends hanging down between the ribs. The buds which form the capital are also surrounded with leaves at their base.
The number of its parts and their complicated arrangement, the leaves painted upon it and its general proportions, show that this column was the product of an art much more advanced than that of Beni-Ha.s.san.
Between the first and second Theban empires the form of the column underwent a development similar to that which we have already described in the case of the pier. Its surface became less incoherently irregular; its horizontal section betrayed a constantly increasing tendency towards a circular form. Moreover, like the edifices of which it formed a part, as it increased in size it turned its back upon its monolithic origin and became a carefully constructed succession of horizontal courses.
Thus we arrive, under the New Empire, at a column of which we find several varieties in the buildings at Thebes. Its proportions are various, and so are the methods in which it is capped and decorated.
The variant which preserves most resemblance to the column from Beni-Ha.s.san is found at Luxor (Fig. 77)[98]. It is f.a.ggot-shaped like its prototype, but the natural origin of its forms is much less clearly marked. The capital recalls a bunch of lotus-buds in a very slight degree, the stems are not frankly detached one from another and the ligatures are repeated in unmeaning fas.h.i.+on. We feel that with the pa.s.sage of time the original combination has lost its early significance.
[98] EBERS, _L'egypte_, p. 185.
The change becomes still more striking when we turn to another column from the New Empire, from Medinet-Abou (Fig. 78). The lotiform type may still be recognised, but the shaft is no longer f.a.ggot-shaped, except in a rudimentary fas.h.i.+on and over a very small part of its surface. There is a ligature just below the capital, but the latter is encircled by a smooth band and is decorated with the uraeus; the bottom of the slightly tapering shaft springs from an encircling band of painted leaves.
[Ill.u.s.tration: FIG. 77.--Column at Luxor; _Description_, vol. iii., pl. 8.]
[Ill.u.s.tration: FIG. 78.--Column at Medinet-Abou:; _Description_, vol.
ii., pl. 4.]
Side by side with the type which we have just described
[99] We shall call attention, however, to a hypogeum at Gizeh, which is numbered 81 in Lepsius's map of that tomb-field. As at Beni-Ha.s.san the chamber is preceded by a portico. In Lepsius's drawing (vol. i. pl. 27, fig. 1), the columns of this portico are campaniform.
The proportions and general appearance of the shaft vary greatly. In the first court at Medinet-Abou it is short and stumpy, and the capital alone has received a few ornaments in relief.
In the Great Hall at Karnak, on the other hand, it is taller, more graceful in form and richer in decoration than in any other Egyptian building (Fig. 80). To give an idea of the colossal dimensions of these columns we need only repeat the often-made a.s.sertion that a hundred men can sit upon the upper surface of their capitals, which measure no less than 70 feet in circ.u.mference.
[Ill.u.s.tration: FIG. 79.--Column at Medinet-Abou; _Description_, vol.
ii., pl. 6.]
The shafts of both these columns diminish gradually from base to summit. The diminution is so slight that it is hardly perceptible by the eye. In the hypostyle hall of the Ramesseum (Fig. 81), on the other hand, it tapers rapidly. The columns in the central aisle come, by their proportions, midway between the thick-set type of Medinet-Abou and the lofty shafts of Karnak. Their lower parts have the bulbous form which we have already noticed in speaking of the lotiform type of column. The painted and sculptured ornament, although not so rich as that of Karnak, covers about one half of the whole surface.
We may cite, as showing interesting variations upon the campaniform type, the column of Soleb, dating from the eighteenth dynasty (Fig.
82), and that of Thothmes, from Karnak (Fig. 83). The capital of the former seems to have been suggested by a bunch of palm leaves arranged about a central post. In curving outwards the extremity of each leaf forms a lobe, which is shown in the plan (Fig. 82). The architect here made free use of the forms occurring in nature, but in the Ptolemaic temples we find the palm tree copied in a far more literal fas.h.i.+on.
There are capitals at Esneh composed of palm branches grouped in stages about the central shaft and copied leaf for leaf. Sometimes, as at Philae, we even find date cl.u.s.ters mingled with the leaves.
[Ill.u.s.tration: FIG. 80.--Column from the Great Hall at Karnak; _Description_, iii. 30.]
[Ill.u.s.tration: FIG. 81.--Column from the Hypostyle Hall of the Ramesseum; from h.o.r.eau.]
The other capital to which we have alluded as occurring in the work of Thothmes at Karnak, is shaped like a suspended bell. The upper part of the shaft swells slightly so as to coincide with the outer rim of the bell; it is encircled with fillets below which is cut a vertical band of hieroglyphs. The capital is decorated with leaves growing downwards and on the whole it may be taken as showing the companiform type reversed.
[Ill.u.s.tration: FIG. 82.--Column of Soleb; from Lepsius, part i., pl.
117.]
[Ill.u.s.tration: FIG. 83.--Column of Thothmes at Karnak; from Lepsius, part i., pl. 81.]
In this comparison between the different forms which were successively given to the Egyptian column, we might, if we had chosen, have included other varieties; and yet we do not think we have omitted any that are of importance. We have figured them to one scale so that their relative proportions can be at once grasped, and we have now to a.n.a.lyse the methods in which they were allied with their supports and superstructures. For that purpose we shall have to reproduce several of the piers and columns already mentioned and figured, on a larger scale and in perspective instead of elevation. We count upon these reproductions to show the individual characteristics of the Egyptian orders and the origin of their peculiar physiognomy.
When the architects of the New Empire made use of the square pier without giving it either capital or base, they covered it with bas-reliefs and inscriptions. Thus adorned it could be used without incongruity in rich and elaborate compositions. The truth of this statement may be seen from the adjoining reproduction of an angle from the peristyle of the Elephantine temple (Fig. 84).[100]
[100] See also p. 396, Vol. I., and Fig. 230.
The firm and simple lines of the pier contrast well with the modest projection of the stylobate and the bolder profile of the cornice, and help, with the double base, to give dignity and solidity to the encircling portico.
When the pier is honoured with a capital, that capital does not in the least resemble those of the column proper. Being, in its essence, a vertical section of wall, it is treated as such, and given for crown a capital composed exactly in the same fas.h.i.+on as the cornice which crowns every Egyptian wall. Between this quasi-capital and the architrave a low abacus is introduced (Fig. 85).
The figure on page 109, represents one of the seven osiride piers in the first court of the temple at Medinet-Abou. The pier at the back of the statue is slightly wider than the base upon which the latter stands. At each side of the Pharaoh one of his children stands sculptured in very high relief, almost in the round. Without in any way compromising the dignity of the colossus the sculptor has bent his head slightly backwards so as to obtain a natural support for his lofty and complicated head-dress. Thanks to this artifice the head-dress in question is securely allied to the ma.s.sive pier behind it without the intervention of any unsightly thicknesses of stone, and the expression of the whole glypto-architectural group is rendered more forcible and more suggestive of that strength in repose which is the characteristic of Egyptian architecture.[101]
[101] There is no pier at Medinet-Abou in so perfect a condition as that figured by us. In order to complete our restoration, for so it is, we had the use of drawings which had been made long ago and of excellent photographs, and by combining one figure with another we obtained all the details necessary.
The next ill.u.s.tration (Fig. 87) shows the upper part of a polygonal column with a hathoric capital of the oldest and most simple form. In later ages, during the Sait dynasties, the mask of the G.o.ddess was repeated upon the four sides of the column, and sometimes superimposed upon a bell-shaped capital. In this instance, where there is but one mask, the vertical band of hieroglyphs below it serves to show that the face where it occurs is the princ.i.p.al one.
[Ill.u.s.tration: FIG. 84.--Corner pier from the temple at Elephantine; from the elevation in the _Description_, i. 36.]
This capital is one of the most singular achievements of Egyptian art.
Why, out of all the mult.i.tude of Egyptian G.o.ds and G.o.ddesses, was Hathor alone selected for such a distinction? What is the meaning of the small naos or shrine upon her head? The explanation is still uncertain. Perhaps it is to be found in the simple fact that the word Hathor means the dwelling of Horus. This capital is found in the tombs as well as in the temples. We reproduce (Fig. 88) a hathoric pier from the tomb of a certain Nefer-Hotep who lived under the eighteenth dynasty; it is now in the museum at Boulak. The anterior face displays the mask of Hathor over the symbol _tet_, which has been interpreted to mean _steadfastness_ or _stability_.[102] A rich collar hangs down upon her breast.
[102] See PIERRET, _Dictionnaire d'Archeologie egyptienne_.
[Ill.u.s.tration: FIG. 85.--Pier with capital, Karnak; from the elevation of Prisse.]
On a column in the speos of Kalabche we find the band of hieroglyphs repeated upon four faces (Fig. 89). The flutes of this column are unusually numerous and closely s.p.a.ced, and it therefore approaches the true cylindrical form. The abacus, however, which overhangs the shaft at every point, still serves to recall the monolithic pier and the tablet which was reserved at its summit when its angles were first struck off in order to give freer pa.s.sage to the light.
The f.a.ggot-shaped column (Fig. 90) is not to be explained by any theory of development from the pier. We have reproduced its upper and lower extremities, together with the entablature and flat roof which it supports. The extreme nakedness of the base given by the Egyptians to their columns is a curious feature. Shaft and capital may be carved into various shapes and adorned with the most brilliant colours, but the base is always perfectly bare and simple. Between one column and another there is no difference in this respect except in size. The only attempt at ornamentation ever found is a narrow band of hieroglyphs engraved, as at the Ramesseum, round its circ.u.mference (Fig. 91). On the other hand, the lower part of the shaft is always richly decorated. The princ.i.p.al element in this decoration is the circlet of leaves which are found both in the f.a.ggot-shaped columns and in those whose shafts are smooth. In the latter, however, the ornament is carried farther than in the former. Slender shoots are introduced between the larger leaves, which mount up the shaft and burst into leaf at the top. Above these, again, come the royal ovals, surmounted by the solar disk between two uraeus serpents.
In the upper part of the column of Thothmes (Fig. 90), the pendants which fill the re-entering angles and the four rings at the top of the shaft, the pointed leaves and other ornaments of the capital, are rendered conspicuous by being painted in colours, yellow and blue, which will be found reproduced in Prisse's plate. We should have liked to give one of these columns with all its coloured decorations, but we hesitated to do so because we were not satisfied with the accuracy as to tone and tint of those coloured plates which had been introduced into previous works. And we wished to give no coloured reproductions except those made expressly from the monuments themselves, as in the case of the tomb from the Ancient Empire whose painted decorations are produced in plates xiii. and xiv.
It will be observed that in this case the abacus does not extend beyond the architrave, as it does in the Doric order of the Greeks.