Ascending the Nile, the traveller finds the valley, which had contracted above Thebes to very narrow limits, once more begin to widen, and the adjoining hills to retire. In a recess, about a mile from the river, stands the village of Herment, on the ruins of a city to which the Greeks gave the name of Hermonthis. A temple of moderate dimensions, but peculiar in its plan, and distinguished only by the beauty of its columns and sculptures, is still remaining. There is no trace of a propylon; but the walls of the pronaos are standing, though in many places much dilapidated. The cella is pretty entire, and covered with sculptures and hieroglyphics; for a description of which we must refer the reader to the authentic pages of Travels along the Mediterranean. We are assured that these works are well executed, and indicate a more ancient date than most of the temples in Egypt; and yet stones, bearing hieroglyphics, are found here placed in an inverted position, and thereby supplying ground for a reasonable conjecture that they had been brought from the ruins of edifices still older than the one in which they are now incorporated. Esneh, the ancient Latopolis, is the next place which invites the attention of the scientific tourist. It is worthy of notice chiefly on account of a temple, the portico of which has been pronounced by Denon to be the purest fragment of Egyptian architecture, and one of the most perfect monuments of antiquity. It consists of eight columns with broad capitals, differing from each other in the ornament that they bear; in one it is the vine, in another the ivy, in a third the palm-leaf. The parts behind the portico are trivial and negligent as to their decorations. The sanctuary is totally destroyed; but, from what remains of the outer wall, there seems to have been an exterior gallery quite round the temple. The pronaos has still twenty-four columns, six rows with four in each. Various devices, resembling those at Dendera, appear on the ceiling between the columns; and in the space which separates the last row from the wall on each side, are represented the twelve signs of the zodiac, or perhaps certain astrological emblems denoting the influence of the heavenly bodies. The vicinity of Esneh, on both sides of the river, exhibits the remains of many buildings of which the history and the object have been long concealed in that darkness which still hangs over the former condition of Upper Egypt. Vestiges of primeval paganism can be traced, mingled with the more recent institutions of Christianity, but both now so much defaced by the ravages of civil war that the most diligent research fails to be rewarded with any adequate degree of success. The grottos of Eleithias, a town somewhat farther south and on the eastern side of the Nile, are extremely interesting, inasmuch as they represent, in the paintings with which the walls are decorated, many of the pursuits and habits that illustrate the private life of the ancient Egyptians. In this respect they are more important than even the splendid sepulchres of Thebes; the ornaments in the latter being confined to the higher ceremonies of religion, or to the shadowing forth of those physical mysteries to which their pious rites are supposed to have had an immediate reference. The great French work, and the less pretending volume of Mr Hamilton, supply a very particular description of the works of art at Eleithias. In the largest of the grottos visited by our countryman, there are three statues the size of life, representing a wealthy rustic with his two wives. One side of the wall is occupied with the picture of a feast, at which the master and mistress are seated together on a chair, richly dressed, a favourite monkey at their feet is regaling itself on a basket of grapes. A servant, part of whose livery is the skin of a leopard, appears to introduce the guests, who are sitting in rows of men and women, each with a lotus in the hand. To some of these the attendants are presenting bowls and dishes, according to the usage which still prevails in many parts of the East. Behind the visitors are tables covered with sundry kinds of food; while the banquet is enlivened by the presence of musicians and dancers. One woman is playing on a harp; another on a double flute; three others are dancing in the style of those females known at Cairo under the name of Almeh; and a small figure, apart, is performing similar motions with a sword in each hand. The master is then represented walking, attended by his servants, who, among other things, are carrying a chair, a water-jar, and a mat, to visit his labourers at work: And accordingly the artist has here depicted the mode of hoeing, ploughing, sowing, and rolling; of reaping the corn and gathering it in; of winnowing the grain, and the carriage of it to the granary; and, finally, the embarkation of bread or biscuit on board the Djerms. The farm-yard is next seen crowded with oxen, cows, sheep, goats, asses, mules, and other animals. Again, we see the vintage and the process of making wine; after which, the mode of catching and salting fish R |