A History of Art in Ancient Egypt, Vol. 2 (of 2)Perrot, Georges
History
A History of Art in Ancient Egypt, Vol. 2 (of 2)
Perrot, Georges
Art -- Egypt -- History; Egypt -- Antiquities
We should not have looked for a palace in such a situation. We may add
that the site of the pavilion is not large enough to accommodate the
household of a king. It is closely circumscribed by the temple of
Thothmes and its propylæa on the right, and by that of Rameses at the
back, so that its dimensions would have seemed even more insignificant
than they are in comparison with those gigantic fabrics. The greatest
width of the pavilion is not more than about 80 feet and its greatest
depth than 72, and the small court which almost cuts the building into
two parts (see Fig. 6) occupies a good third of the surface inclosed
by these measurements. Taken altogether, the three stories could not
have contained more than about ten chambers, some of which were rather
closets than anything more ambitious. In spite of the comparative
simplicity of modern domestic arrangements a middle-class family of
our day would be cramped in such a dwelling. How then could a Pharaoh,
with the swarm of idlers who surrounded him, attempt to take up his
residence in it?
What, then, are we to call the little edifice which stands in front of
the temple of Rameses II.? Is it a temple raised by the conqueror in
his own honour? If we examine the bas-reliefs which decorate it both
within and without, we shall see that it thoroughly deserves the name
of _Pavillon Royal_ which the French savants gave to it. The
personality of Rameses fills it from roof to basement. In the interior
we find him at home, in his harem, among his wives and children. Here
one of his daughters brings him flowers of which he tastes the scent;
there we see him playing draughts with another daughter, or receiving
fruit from the hands of a third, whose chin he playfully caresses.
Upon the external walls there are battle scenes. Aided by his father,
Amen, Rameses overthrows his enemies. With wonderful technical
precision the sculptor has given to each figure its distinguishing
costume, weapons, and features. The triumph of the king is complete;
none of his adversaries can stand before him.
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