In the early part of his reign, Rameses was engaged in more than one warlike enterprise, but none ever created so much excitement, or so fascinated the popular imagination as that of the first campaign by the Orontes at Kadesh, which was celebrated with such true poetic licence in Pentaur’s epic song. Never, indeed, were the records of any sovereign’s life and victories so blazoned abroad as those of King Rameses; the walls of the temples in Egypt and in Nubia are covered with inscriptions, paintings, and sculptures belonging to this reign. One while we see him in what appears most inglorious warfare—trampling down a crowd of negroes, who are represented as pigmies, and over whom he is driving his chariot of war. Some have escaped, and are flying in hot haste towards their homes, represented by the little huts like bee-hives, such as are still common in Africa. A little child rushes forward to greet them, but the mother stands still, holding up her hands in an attitude of despair; a little farther off another negress is seen with a pot over the fire, which she is carefully watching that it may be ready for the returning soldier. She does not yet see the boy who is even at that moment running up to bring the fatal news. At another time the king is seen seated upon his throne in state receiving the negro tribute—giraffes, oxen, ostriches, and several monkeys appear in the drawing. Or he is receiving prisoners brought in by his generals, whilst Semem-kheftu-ef, the ‘Tearer to pieces of his enemies,’ is lying quietly at the foot of the throne. On the walls of the colossal temple of Abu-simbel in Nubia, is a whole series of tableaux pertaining to the life of Rameses II. There is one striking bas-relief representing three of his sons following him in a headlong charge upon the battle-field. The three princes speed on, each in his chariot, side by side, and each of them is attended by a charioteer, who carries a large shield for their defence. But Rameses himself is alone, in the forefront. Not even a charioteer stands beside him. The reins are fastened round his waist, whilst he bends the bow firmly with his hands. Above his head flies the hawk, the bird of Ra, ensign of the protection of the god. In another bas-relief, he is pausing for a moment, and checking his steeds. Semem-kheftu-ef is running by his side like a dog. [Illustration: Vincent Brooks-Day & Son, Lith. HALL IN THE GREAT TEMPLE AT IPSAMBUL.]