Page:A History of Art in Ancient Egypt Vol 2.djvu/41

 The Palace. 2 1 should they, of their own free will, have built their dwellings close to those cliffs in the Libyan chain which give off at night the heat they have absorbed from the sun during the day ? The buildings of Medinet-Abou are immediately at the foot of the hill Goiirnet- el-Mourra'i, which detaches itself from the chain near the southern extremity of the Theban necropolis, and thrusts itself forward, like a cape into the sea, towards the outer limits of the cultivated ground. 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 propyl^a 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 measure- ments. 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 Pavilion 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, amongr his wives and children. Here one of his daughters brines 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.