If, however, you examine it more closely, there appears, particularly in
the thousands of figures in bas-relief, a considerable divergence. The
poses are the same indeed, and so too are the traditional gestures. But
the exquisite grace of line is gone, as well as the hieratic calm of the
expressions and the smiles. In the Egyptian art of the best periods the
slender figures are as pure as the flowers they hold in their hands;
their muscles may be indicated in a precise and skilful manner, but they
remain, for all that, immaterial. The god Amen himself, the procreator,
drawn often with an absolute crudity, would seem chaste compared with
the hosts of this temple. For here, on the contrary, the figures might
be those of living people, palpitating and voluptuous, who had posed
themselves for sport in these consecrated attitudes. The throat of the
beautiful goddess, her hips, her unveiled nakedness, are portrayed with
a searching and lingering realism; the flesh seems almost to quiver.
She and her spouse, the beautiful Horus, son of Iris, contemplate
each other, naked, one before the other, and their laughing eyes are
intoxicated with love.
Around the holy of holies is a number of halls, in deep shadow and
massive as so many fortresses. They were used formerly for mysterious
and complicated rites, and in them, as everywhere else, there is no
corner of the wall but is overloaded with figures and hieroglyphs. Bats
are asleep in the blue ceilings, where the winged discs, painted in
fresco, look like flights of birds; and the hornets of the neighbouring
fields have built their nests there in hundreds, so that they hang like
stalactites.
Several staircases lead to the vast terraces formed by the great
roofs of the temple--staircases narrow, stifling and dimly lighted by
loopholes that reveal the heart-breaking thickness of the walls. And
here again are the inevitable rows of figures, carved on all the walls,
in the same familiar attitudes; they mount with us as we ascend, making
all the time the self-same signs one to another.
Public-domain text, read in full here on John Shaqi.
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