Before we pass on to the eastern portion of the
temple, which is mainly also the earlier portion, it is advisable to pass to
the out-side of the hall, in order to see the historical reliefs which are
carved on its south and north walls, and on the south wall of the pylon of
Ramses I . We shall take these reliefs in their historical order, beginning
with those of Seti I, which are on the north wall .
Leaving the hall by the door in the north-east corner,
we find on the east end of the north wall a representation of king Seti in the
Lebanon, where the Syrians are felling trees for him . Beneath, he is engaged
in battle with the Arabs of Southern Palestine, and drives them before him ;
the fortress Pe-Kanana is represented to the left, above, with fugitives being
assisted by its inhabitants to escape into it .
Turning the corner, we enter upon the main series, and
go westwards along the wall . The king fights with the Asiatics in front of
Yenoam . Their chariots and infantry flee before his attack . Yenoam,
surrounded with water, is in the background .
Next the king binds his captives, and marches his
chariot, dragging two rows of prisoners and their four chiefs behind him . He
leads his captives into the presence of Amûn, Mût and Khonsu, to whom he offers
a share of the loot .
In the lower row there is represented the triumphal
return of the king through Palestine . The Palestinian chiefs do him homage ;
he fights with the Beduin, who flee before him ; he makes his entry to the
frontier fortress of Egypt . This last scene is of considerable interest . The
king, in his chariot, is preceded and followed by the captives of his campaign
. He is advancing towards the canal which marks and defends the frontier, and
which is well-stocked with crocodiles . The canal is crossed by a bridge . With
a bridge-head at either end . Priests and nobles await their king with bouquets
of flowers .
Finally, the king offers his prisoners and his loot to
Amûn . On either side of the door in the middle of the north wall is a colossal
relief in which the king clubs his captives before Amûn, who offers him the
curios curved sword which Egyptian royalty affects .
The western series of the reliefs at the begins at the
west end of the wall and moves towards the door in the middle, both series thus
converging on the two colossal scenes of the sacrificial offering up of the
prisoners before Amûn . Seti fights against Kadesh in Galilee ( to be
distinguished from famous Kadesh on the Orontes ) . He has overthrown the
chariot of an enemy .In the background the city appears, and beneath it cattle
are driven away by their herdsman .
Seti, in the middle row of reliefs, fights against the
Libyans . He hold a Libyan chieftain beneath his bow ( note the single feather,
the characteristic mark, along with the side-lock, of the Libyan warriors ),
and is about to slay him with the curved sword .
Next, the king, on foot, is about to pierce a Libyan
chief with his lance . The Libyan sinks backwards as Seti forces him down by
grasping his uplifted right arm . Seti in his chariot drives before him two
rows of prisoners . He next presents his captives to the Theban triad . In the bottom
row of this series we have the campaign against the Hittites, with the earliest
Egyptian representations of the warriors of this redoubtable foe of Egypt . The
king shoots from his chariot against his enemies, who succumb, as in duty bound
. He leads his captives and two captured chariots by cords, and drives in front
of him two rows of prisoners . He consecrates his captives and loot to Amûn, Mὒt,
and Khonsu, who are here accompanied by Maet, The Goddess of Truth, as a
guarantee, one must suppose, of good faith, since he is dealing with such
enemies as the hitherto untried Hittites .
We
have here the largest illustration available from the period of five Empire
work of the Egyptian artist's capacity to carry out a series of great
battle-reliefs .
Part ( 12 ) .. The Great Temple Of Amen-Rê .. Coming SoOoOon .....
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