In the temple at APOLL1NOPOLIS (or Edfou), which, next to Thebes, is the largest edifice in Upper Egypt, the two moles at the entrance arc nearly in contact; the door-way is higher than in any other temple; it opens into a vast court, surrounded by columns, in form of a peristyle ; the lodging for the priests were behind the peristyle. The portico is formed of six columns in front, and three deep ; some of the capitals have three rows of leaves approaching to the Corinthian. The interior dis tribution is similar to Tentyra. This edifice is 500 feet in length, and is constructed of fine sandstone.
The entrance to Latopolis, as will be seen, (Plate CXLVIII.), is exceedingly fine. It consists of 24 ele gant columns, whose capitals vary as to decoration, hut are each of masterly execution; being an evidence of the improved state of sculpture ; and that, if unfettered by monastic regulations, the artists would have risen to su perior excellence. It is also worthy of remark, that in a small temple on the right bank of the Nile, a gallery passes round it in the thickness of the wall; a circum stance, which points out an origin or coincidence with sacred edifices of more modern times, in the western world.
At HERMOPOL1S, there still exists a magnificent por tico, consisting of 12 columns in two rows, each eight feet diameter, and standing at the distance of one dia meter from each other, excepting in the middle, which is more. The length of this portico is 120 feet, and the height 60 feet. Each of the columns represents a bundle of the lotus tied together.
There appears to have been a considerable difference in the form of the ground plans of the Egyptian edifices. The entrance to Luxor is composed of two obelisks, which at present rise 70 feet above the surface of the ground, and are understood to be about 30 below it; two colossal statues of black granite, each 38 feet high; and two great moles or masses of building, of an oblong plan, and tapering sides, 55 feet high, and covered with hieroglyphics. And so closely are these large masses crowded together, that from the front of the moles to that of the obelisks, the distance is only 14 paces. The edifices at Karnac, Philee, and Hermopolis, have also large moles at their entrances, and the doorways are be tween their moles. To these succeed courts with peri styles, or covered passages, which lead to the grand por ticos. In these instances, the number and magnitude of the parts appeared to have been chiefly had in view ; but at Tentyra and Latopolis, there does not appear to have been any of these great objects at the entrance ; it leads immediately into a beautiful portico, characterised by richness and perfection of workmanship. In some of these edifices, the sanctuary is placed at the extremity from the entrance; and, in others, it has courts and halls on each side of it. Whether these differences in ar rangement arose from a gradual change of style, or whe ther each form was peculiar to the deity or purpose to which it was appropriated, it is now impossible to deter mine; but the perfection of the workmanship at Tentyra. Latopolis, and Apollinopolis, is incontrovertible evidence of an improved state of the arts.
In the outlines and decoration of their columns, the changes have also been very considerable. In the sim plest, as those at the entrance of the tombs at Silsilis, (see Plate CXLIX.) they consist of representations of bundles of reeds bound together near the top with a cord, which is wound several times round them, having a square stone laid on their top, forming. what is now known by the term abacus ; and the part between this stone and the cord binding, apparently crushed down by the incumbent weight, so as to bulge out a little beyond the surface of the part which is firmly bound. The first change from this simple mode seems to have been to in troduce mere bindings or belts in various parts of the shaft; and in the divisions between them, to represent alternately reeds and hieroglyphics. The bulged part
near the top was also decorated by reeds and hierogly phics, and sometimes by triangular flutings. Afterwards, this upper part was formed into elegant vase-shapes, de corated with the stalks, leaves, buds, and blossoms, of the lotus or lily of the Nile ; and, occasionally, leaves of the palm, vine, papyrus, and date were introduced. (Sec Plate CL. Fig. 1, 3, 4, 5, 6.) At Tentyra, each capital is composed of four heads of the goddess Isis; and here the abacus, instead of being a plain square thin stone, projecting beyond the surface of the shaft, (as at Silsilis), is of a cubical form, only equal to the diameter of the column, and decorated with hieroglyphics, as was the whole surface of the shaft. (See Plate CL. Fig. 2.) At Tentyra, the shaft was continued, of equal diameter, quite down to the ground; but at Latopolis, and several other places, it was made narrower, just at the bottom, and was placed upon a square or rounded plinth. At the Memnonium, in place of columns, human figures are introduced, as they were afterwards by the Greeks, who pretended to have invented and named them Caryatides. (See Plate CXLIX. Fig. 2.) In the general facades, the shapes remained nearly the same; the extremities of the space in which the front row of columns of the portico was placed, were termi nated by perpendicular lines; but at the extremities of the facade, the lines at the external angles were always tapering. Upon each angle there was an astragal, or large bead, which returned horizontally along the top of the lintel or architrave; this architrave at Tentyra is three-fourths, and at Latopolis two-thirds of the diame ter of the column. The general crowning member of the facade is always a very large cavetto, having a com paratively small projection, and decorated with vertical flutings or reeds; and, frequently, in this member, and sometimes on the architrave, over the entrance doorway, were sculptured the wing, globe, and serpent. The whole of the walls, externally and internally, were co vered with hieroglyphics; and, it appears probable, that the general mass of building was first constructed, and the sculptures performed afterwards. The progress of the art of sculpture is very evident, from the different states in which it was found, being, 1st, A simple out line, cut very deep. 2d, Figures in very low relief, and of rude execution. 3d, Figures very bold and perfect, as at Tentyra; and, 4th, A sort of ornament, adopted by the Greeks and Romans, and known, in modern times, by the name of abarasque; but in no instance did any of those hieroglyphics or ornaments interfere with the outlines of the building, all of which have been care fully preserved; and this circumstance alone, tends, in no small degree, to produce that imposing effect so pe culiar to Egyptian architecture.
It has already been observed, that amongst the ancient Egyptians, the sepulchre or tomb was considered their everlasting dwelling, and that the trouble and expcnce bestowed upon it, and upon preserving the bodies of their relations, occupied much of the time and attention of the living. Near principal cities are regularly found exten sive ranges of tombs. In Upper Egypt, they were form ed by excavations in the sides of the adjacent rocky moun tains, (see Plate CXLIX.), into extensive galleries and balls, with smaller apartments for sarcophagi and mum mies; and these, in many instances, were decorated with columns, sculptures and paintings, executed in the most masterly manner, and forming a striking contrast with the rudeness of the surrounding rocky desert. They were also disposed in successive gradations, evidently suited to the different ranks of society. But partaking more of the nature of sculpture than architecture, and also forming so extensive and interesting a subject of discussion, they require to be treated separately, which can be done with most oronrietv tinder the word SEYUL