Read Ebook: Predecessors of Cleopatra by North Leigh Davis G A Georgina A Illustrator

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The envoys had a small guard of soldiers, but all included did not number more than two hundred and ten men.

The voyagers were met with a friendly welcome and returned with stores of treasures. The inhabitants of Punt lived in little round shaped huts, built on stages and reached by ladders, all under the shade of spreading palms. A picture on the wall of the temple shows the prince of the land Parihu by name, with his wife, Ati or Aty, the latter fat and ungainly , with a donkey to ride upon, followed by two sons and a young daughter, the last giving promise of rivaling her mother in rotundity of outline. Gold, spices, ivory, incense bearing trees, to the number of thirty-one, precious gums, used in the service of the temple, and various animals were brought back to Egypt as a result of this most successful journey. The return was celebrated by a high festival in the temple. Hatshepsut or Hatasu appeared in fullest royal attire, adorned in the richest manner, a helmet on her head, a spotted leopard skin covering her shoulders and her limbs "perfumed like fresh dew." She offered incense to the god Amen, as his priestess, bearing two bowls full and weighing out gold with her own hand. This was before the sacred boat of Amen Ra, with a ram's head at each end, and carried by high priests, also in leopard skins. The Naka, or incense bearing trees, were borne in tubs, and the weights for weighing the precious metals were gold rings in the shape of recumbent oxen.

Later, as was his iconoclastic wont, Rameses II destroyed some of these pictures and inscriptions and inserted his own name.

Although the name of Tahutmes II, husband and co-ruler with the queen, is not specially mentioned in connection with this great expedition, he shared in the after festival. He, too, designated by his court name of King Menkhefer-ka-ra, offered incense in the boat of Amen, carried on the shoulders of men. "Thus," says Miss Edwards, "to the sound of trumpets and drums, with waving of green boughs and shouts of triumph, and followed by an ever gathering crowd, the great procession takes its way between avenues of sphinxes, past obelisks and pylons, and up one magnificent flight of steps after another till the topmost terrace of the Great Temple is reached, where the Queen herself welcomed them to the presence of Hathor, the Beautiful, the Lady of the Western Mountain, the Goddess Regent of the Land of Punt."

At what period is not exactly known, but of course earlier than this, since he is believed to have designed the beautiful temple of Deir el Bahri, the queen called to her assistance the services of the architect Senmut, whose statue is in the Berlin Museum. He, it is implied, usurped the place in Hatasu's affection which rightfully belonged to her husband, but of this it is not possible to speak with any degree of certainty or authority. We only know that he was a man of great ability in his own line, of intelligent mind and skillful hand, and was highly appreciated by her majesty. In an inscription in the Berlin Museum he says his lady ruler made him "great in both countries" and "chief of the chiefs" in the whole of Egypt. The buildings which the queen and he erected are said to be among the most tasteful, complete and brilliant in the land. He was of lowly birth, and therefore his position was the more surprising. He appears to have occupied in the queen's counsels something of the place of Disraeli to Queen Victoria, whose Jewish origin made his occupancy of the position he gained remarkable. After Senmut's death Hatasu raised to him a stone memorial as a token of gratitude, with his portrait in black granite and in an attitude of repose. On his shoulder were the short but significant words, "there was not found in writing his ancestors." He is also introduced in an inscription, as himself speaking, where he used the male pronoun "he" in mentioning the queen refers to his own services and ends with styling her "the lord of the country, the King of Makara."

Senmut was evidently the chief counsellor and favorite of Hatshepsut, but there was also another highly regarded officer who shared with or succeeded him in the queen's favor and good graces. This was a certain Aahmes, who had also served her father, Thothmes, or Tahutmes I, and whose tomb was discovered by Brugsch, and bears this inscription, "I was during my existence in the favor of the king, and was rewarded by His Holiness, and a divine woman gave me further reward, the defunct great queen Makara , because I brought up her daughter, the great queen's daughter, the defunct Nofrerura." It is of course plain that he survived the queen, but we do not know whether he met with equal favor at the hand of her successor. Possibly the mother's heart, little given to tenderness, may have had an especial softness towards this "nurse" or tutor of her dead child, her father's trusted servant and perhaps, on that very account, hers also.

Tahutmes I had continued the building of Thebes and set up his two granite obelisks. Tahutmes II and Hatshepsut continued building at Karnak, the temple having been in existence, it is said, as far back as the Eleventh Dynasty. So gigantic was the scale on which these architectural works were undertaken that one life seldom saw their completion. Like the coral reef the temples grew and were added to, monarch after monarch of succeeding generations taking a share in the general design.

Tahutmes I had raised at Karnak two obelisks seventy feet in height, his daughter's far outdid them, for hers were the loftiest then known in Egypt, a flawless block of red granite or rose quartz, rising 108 or 109 feet into the air. This was erected in the sixteenth year of her reign and after the death of her husband, which took place some dozen or more years after that of his father. Probably the ceremonial mourning was observed for him, but the heart of Hatshepsut was hard and cold and even if we exonerate her from the implication of being directly concerned in his decease, which stands "not proven," there seems little doubt that she rejoiced to be comparatively free and hold the reins of power exclusively in her own hands. Nothing seemed missing from her life or her pursuits, which she followed with renewed energy and appeared more constantly than ever in male attire, the short kilt and sandals, the war helmet and even perhaps, as in her reproduction, a beard. Architecture was evidently of great interest to her as to many of her predecessors and obelisks and temples still, after the lapse of centuries, bear witness to her power and skill.

In an inscription on part of the rock-cut temple of Speos Artemidos, south Beni-hasan, reciting her re-establishment of Egyptian power and worship after destruction by the Hyksos, Hatshepsut says: "The abode of the mistress of Qes was fallen in ruin, the earth had covered her beautiful sanctuary and children played over her temple--I cleared and rebuilt it anew--I restored that which was in ruins and I completed that which was left unfinished. For there had been Amu in the midst of the Delta and in Hanar and the foreign hoardes of their number had destroyed the ancient works. They reigned ignorant of the god Ra."

The temple of Deir-el-Bahri or "Dayre-el-Bahari," its present Arabic name, was perhaps the greatest work of Hatshepsut's life and enough of the ruins still remained for the clever French architect, M. Brune, to reconstruct its plan for us. The site was one that would have been chosen by the Greeks for a theatre, but the Egyptian dedicated it to what he deemed a higher object, the worship of the gods. Situated on a green plain, near the tombs of the kings of the Twelfth Dynasty, it was a magnificent natural amphitheatre on the shore of the river and, terrace by terrace, rose from the edge of the water to its steep background of golden brown rock, in which the inner temple, the "holy of holies," was excavated. Of its structure Senmut or Sen-Maut was the presiding genius. The name "Dayre-el-Bahari" means North church, or monastery, and was, of course, applied to it in later times from the ruins of an old monastery which was yet young and modern beside the original erection. An avenue of sphinxes connected the landing for boats with the four terraces. These were supported by earth-works and stone and guarded by hawk-headed figures, in marble, bearing the uraeus. Columns also supported it, some of them polygonal in shape, with the head of the goddess Hathor as a capitol, and were later restored and kept in order till the time of the Ptolemies. "This temple," says one writer, "was a splendid specimen of Egyptian Art history, whether we consider the treatment of the stone or the richness of the colored decorations," and it was unique in design and differed from all others. In the inner recesses of the rock-cut chambers was a picture of the queen, representing her as sucking the milk of the sacred cow, the incarnation of the goddess Hathor, thereby intimating her divine origin.

Her cartouch, which may be seen in Baedaker and other works, seems comparatively simple, beside the more elaborate ones of other monarchs. It is a circle with a dot in the centre, a small seated female figure, wearing the plumes of a goddess and below two right angles joined. The three hieroglyphic signs are explained to mean "Ma, the sitting figure of the goddess of Truth, Law and Justice; Ka, represented by the hieroglyphic of the uplifted arms and signifying Life, and the sun's disk, representing Ra, the supreme solar god of the universe."

Many memorials of this great queen, spite of the efforts made to destroy them, remain to us. The ruins of the temple, the great obelisks, one of which is still standing, various statues and statuettes, many sun-dried brick with her cartouch and that of her father, some of which can be seen in our own Metropolitan Museum in New York, a cabinet in wood and ivory, her standard, her signet ring in turquoise and gold, in the possession of an English gentleman, and, most interesting of all perhaps, the remains of her throne chair, now in the British Museum. It is made of a dark wood, not natural to Egypt, and probably from the land of Punt. The legs are decorated with ucilisks in gold, and the carven hoof of some animal. The other parts are ornamented with hieroglyphics in gold and silver and one fragmentary royal oval in which the name of Hatasu appears and thereby identifies the owner of the throne.

Thus ends in comparative mystery, darkness and silence this brilliant life, of which we were long in ignorance.

Says Curtis in his charming "Nile Notes": "The history of Eastern life is embroidered to our youngest eyes in that airy arabesque--an Eastern book cannot be written without a dash of the Arabian Nights--the East throughout hath that fine flavor."

MAUT-A-MUA.

He "took to wife" in the old Eastern phrase, Hatasu-Meri, daughter of the great Hatshepsut and his own near relative, but our knowledge of her is extremely limited. She evidently did not inherit her mother's characteristics and possibly did not live any great length of time. Or if her husband transferred to her any portion of the dislike which he so evidently bore her mother he may have purposely kept her in the background, but in any case she cannot be looked upon as an assertive character. Her second name is given as Meri or Merira and there is a picture of her on a throne behind, not beside, her husband. She is, however, attired as a goddess, with whip, ankh and tall plumes. This is at Medinet Habu; again she is spoken of as Meryt-ra Hatshepset, mother of Amenophis II, and a scene in a tomb represents her, accompanied by her son. A female sphinx representing her with her husband's name inscribed was found in the temple of Isis and is now in the Baracco collection at Rome and casts are at Turin and Berlin. One inscription, and possibly more, remain, however, speaking of her as "beloved consort," or some other form expressing a degree of affection, but at this late period it is impossible to determine whether it was the usual conventional phrase or had some foundation in truth. She lived and died, but whether her life was a long and happy one or short and sorrowful we cannot tell.

Dreams seem to have borne a special art in the family history. The queen also had a noted dream. It was said that she was sleeping in the most beautiful room in the palace and awoke and saw her husband by her side. Then a few moments after the figure of the god Amen appeared and, when she cried out in alarm, he predicted the birth of her son and vanished in clouds of sweet perfume. Hence the young king was considered in a sense the son of the god. Mautamua is elsewhere called a princess of Mitanni and seems to have been won with difficulty by the young Egyptian prince or kin. One of the tablets found says: "When the father of Nimmuriya sent to Artotama my grandfather and asked for his daughter to wife, my grandfather refused his request, and though he sent the fifth time and the sixth time he would not give her to him. It was only after he had sent the seventh time that he gave her to him, being compelled for many reasons." This was among the noted collection of the Tel-el-Amarna tablets and is believed by late authorities to refer to Queen Maut-amua, who is also spoken of as the divine wife and mother.

As the goddess Safekh was the patron deity of libraries we may judge that the king had intellectual tastes, though we know him to have been something of an athlete and a great sportsman. Indeed, it was to this last that he owed his wife, for it was on a hunting expedition that he encountered and fell in love with her. Queen Maut-amua and her daughter-in-law, Ti or Thi, were associated much together, as were Queen Aahotep and her daughter-in-law, Nefertari-Aahmes, though not so generally considered divinities as were the founders of the race.

Maut-a-mua must have been a woman of intellect, capacity and attraction since she was her son's guardian, and probably regent, and his attachment to her seems to have been strong and enduring. She lived many years after her husband, whose reign was brief, lasting not more than eight or nine years.

The early Egyptian is said to have had a fine forehead, small, aquiline nose and a well-formed chin. The picture preserved of Queen Maut-a-mua, with the royal asp above her forehead, gives a long, slightly aquiline nose and a small, well-shaped chin. It is rather startling, in turning to her daughter-in-law, Ti, to find this face repeated in a sort of caricature, devoid of beauty. As in most cases, doctors differ as to the amount of reliance that can be placed upon the verisimilitude of the portraits and statues of these various kings and queens that have come down to us. Some authorities maintain that there existed an ideal conventional type, to which the actual bore little or no resemblance, and point out how each is but the modification of the other. Some again claim for them considerable authenticity. Perhaps a middle ground may come nearest to the truth. The conventional type no doubt dominated the painter's or sculptor's mind. But when the statues are proved to have been executed in the lifetime of the original it seems likely that some resemblance was aimed at, and the differences that exist go to show this. Also in many cases they belonged to the same family, and may well have had features common to all; as in later times the Hapsburgh jaw was handed down from generation to generation. How hard we have found it to reconcile the picture in the various galleries with the reputation of the charming, beautiful and unhappy Mary Stuart, Queen of Scots, and yet doubtless there was a resemblance. How often, too, the photograph of a near and dear friend has an utterly unfamiliar aspect. So that we may fairly admit that even in these ancient times statues and pictures a suggestion of the original may remain to us.

He is best known to us, and his fame rests chiefly on the marvellous colossi which he erected, "the grandest the world has ever seen." They are sixty feet high, and when they wore the crown of an Egyptian king, which has since been destroyed, towered seventy feet into the air, a solid block of sandstone. Miss Martineau, a traveller of comparatively modern times, thus describes the impression they made upon her. "There they sit, together yet apart, in the midst of the plain, serene and vigilant, still keeping their untired watch over the lapse of ages and the eclipse of Europe. I can never believe that anything else so majestic as this pair has been conceived of by the imagination of Art, nothing certainly, even in Nature, ever affected me so unspeakably. The pair, sitting alone amid the expanse of verdure, with islands of ruins behind them, grow more striking to us every day. The impression of sublime tranquility which they convey, when seen from distant points, is confirmed by a nearer approach. There they sit, keeping watch, hands on knees, gazing straight forward, seeming, though so much of the face is gone, to be looking over to the monumental piles on the other side of the river, which became gorgeous temples after these throne seats were placed here--the most immovable thrones that have ever been established on the earth."

It is rarely that the name of an Egyptian sculptor is preserved, but this case is an exception. An inscription records his name and his naturally proud and exultant feelings at the completion of his work. He was called Amen-hotep or Amen-hept, and thus speaks: "I immortalized the name of the king and no one has done the like of me in my works. I executed two portrait statues of the king, astonishing for their breadth and height, their completed form dwarfed the temple tower; forty cubits was their measure: they were cut in the splendid sandstone mountain, on either side the eastern and the western, I caused to be built lightships whereon the statues were carried up the river; they were emplaced in their sublime temple; they will last as long as heaven. A joyful event was it when they were landed at Thebes and raised up in their place."

The stone is of a yellowish brown color and very difficult to work. Both statues represent the king and stood before a temple which he built, but of which the veriest fragments remain. We are reminded somewhat by the sculptor's triumphant paean of the good Un'e, who was minister to Pepi VI and so exulted in his work and position. Fond as Amenophis was of both his mother and his foreign wife, for whose pleasure and diversion he constructed a great lake, neither of them sit beside him or share the honor of so majestic a statue, as we might suppose, especially as regards his wife, would have been the case; he immortalizes himself alone. Two figures of queens, Maut-a-mua and Ti, are, however sculptured at the base of the statues; they measure eighteen feet in height, but appear small beside the colossi. Says one visitor, the surface of the statues was originally beautifully polished. The thrones on which they are seated are covered with sculptures; the god Hapi is weaving together the lotus lily and papyrus plant, implying the rule of the monarch over Upper and Lower Egypt.

Says our own Curtis, who has written so charmingly of his Egyptian experiences: "Yearly comes the Nile humbly to his feet, and leaving them pays homage. Then receding slowly leaves water plants wreathed around the throne, on which he is sculptured as a good genius harvesting the lotus, and brings a hundred travellers to perpetuate the homage. These sublime sketches in stone are an artist's work. In those earlier days Art was not content with the grace of Nature, but coped with its proportions. Vain attempts, but glorious!" The fact of this musical note being heard from "the darling of the dawn" is recorded on the base of the statue, and is mentioned by Strabo, the elder Pliny and many others. Sandy beaches sometimes emit musical sounds and something in the structure of the rock, warmed by the rays of the rising sun, may have caused the sounds to be heard, or they may have been produced by artificial means, at the instance of the priests, striving to impress the people. The true origin of the mystery was never discovered, though its existence seems well attested, and eventually the sounds ceased, probably as the result of an earthquake or the restoration of the figures which was undertaken by a later king. Another theory lays the injury of the statues at the door of Cambyses, who was credited with all possible crimes, and a sculptured inscription reads: "I wrote after having heard Memnon. Cambyses has wounded me. A stone cut into the image of the sun-king. I had once the sweet voice of Memnon, but Cambyses has deprived me of the accents which express joy and grief."

The sounds are said by some authorities to have been heard during a period of two hundred and twenty years. Travellers in ancient times were very fond of scribbling their names on monuments, which should be held in more respect, and a number of these, including some of their remarks and silly verses, have been found on the base of the statue and refer to the sounds. At the time of their erection the level of the Nile was evidently different from that of the present day for its waters, as Curtis has said, now occasionally leave the feet of the giant pair.

Probably then, or later, the queen participated in the favorite amusement of her husband, not wanting in courage for the perils or hardships involved, nor did she shrink as a more sensitive female of later times might have done from what was painful, cruel or revolting in the death throes of the mighty beast.

Scarabs, so often used by the Egyptians to record events which they considered of importance, have been found, bearing such inscriptions as this: "Amenhotep, prince of Thebes, giver of life, and royal spouse Thi. In respect of lions, brought Majesty his from shooting his own, beginning from year first to year tenth, lions fierce 102."

Melville has graphically described the setting forth of a royal hunt, in another ancient kingdom, which, in some particulars at least, may reproduce the Egyptian pageant. "A queen and all her glittering train defiled from the lofty porches of Babylon the Great, with tramp of horses and ring of bridle, with steady footfalls of warriors, curled, bearded, erect and formidable, with ponderous tread of stately elephants, gorgeous in trappings of scarlet, pearl and gold, with stealthy gait of meek-eyed camels, plodding patient with their burdens in the rear. Scouring into the waste before that jewelled troop of wild asses bruised and broke the shoots of wormwood beneath their flying hoofs, till the hot air was laden with an aromatic smell, the ostrich spread her scant and tufted wings to scud before the wind, tall, swift, ungainly, in a cloud of yellow dust; the fleet gazelle, with beating heart and head, tucked back, sprang forward like an arrow from the bow, never to pause nor stint in her terror-stricken flight, till man and horse, game and hunter were left hopelessly behind--far down beyond the unbroken level of the horizon. But the monarch of the desert, the grim and lordly lion, sought no refuge in flight, accepted no compromise of retreat. Driven from his covert he might move slowly and sullenly away, but it was to turn in savage wrath on the eager horseman who approached too near, or the daring archer who ventured to bend his bow within point-blank distance of such an enemy. Nevertheless, even the fiercest of their kind must yield before man, the conqueror of beasts, before woman, the conqueror of man, and on the shaft which drank his life blood and transfixed the lion from side to side was graven the royal tiara of a monarch's mate."

Scarabs were engraved in honor of the union and part of a scarab gives the record "Amenhetep, prince of Thebes, giver of life and royal spouse mighty lady Thi, living one--the name of father her Tuaa or Juaa, the name of mother her Thuau, the wife to wit of the king powerful. Frontier his South is as far as Kerei, land of Nubia, frontier North is as far as Netharina ." Part of another reads, "A wonderful thing they brought to Majesty his, life, strength, health, the daughter of the prince of Mesopotamia, Sotharna. Kirkipa and the chiefs of women her 300 + 10 + 7." The mummies of her parents have been recently found.

Queen Tyi was attended as the scarab notes, by three hundred and seventeen women, which would of course imply a force of male protectors as well. A very precious bride. This may recall the story in the Talmud about Abraham, who on approaching Egypt locked Sarah in a chest to hide her dangerous beauty. The custom officers asked if he carried clothes. He answered, "I will pay for clothes." Then they raised their demand, "Thou carriest gold?" To this he also agreed and further to the price of the finest silks and precious stones. Finding they could name nothing of greater value than he held his treasure they at last insisted that he should open the box and the tale ends "the whole of Egypt was illuminated with the lustre of Sarah's beauty." Whether Queen Tyi's beauty thus surprised and delighted the people of her new home we can only surmise, but at least she was deemed precious enough to be well served and guarded.

So the bond was sealed between the royal lovers and away from her own land journeyed the newly elected queen. A woman with a fair face and figure, a heart keenly responsive to human affections, with a deep-seated faith in the religion of her fore-fathers, worshippers of the sun, and, perhaps even at that early period, a quiet determination that she would win her husband and his people from what she must have deemed the error of their ways, their worship of so many gods under the form of beasts and birds, introduce a purer, simpler religion among them. Something of the spirit of Joan of Arc may have animated her; something of the religious fervor of an Ursula and her eleven thousand virgins as the one girded herself for battle and the other took up her pious pilgrimage.

We know less of the formalities necessary for the conclusion of a royal marriage among the Egyptians than we do of their funeral rites and ceremonies. The latter as ushering them into a new and higher existence were deemed the more important and of greater concern to both the present generation and to posterity, especially the latter, and its records and momentoes tell the story a thousand times, but we may take for granted that many observances, both civil and religious, marked the union of man and woman, in particular those of nobles and kings. Some authorities have questioned Queen Tyi's claim to royal birth, but the retinue of attendants and servants that accompanied her leave little doubt that she was a princess of note.

This bridal train may recall another of later times, that of Henrietta Maria of France, as she journeyed to meet her future husband, Charles I of England. She, too, was attended by a large retinue: she, too, held strongly a different faith and more or less, on that account, awakened the prejudices of her new subjects, and she, too, was involved in a revolution, partly religious in character. But here the parallel ends, for the one remained in possession of her power, while the other was driven from her throne and became an exile.

The influence of the new queen was soon perceived in the institution, by the king, of a religious festival in honor of the sun's disk. Many of the people may have been charmed to have anything like another holiday, with its attendant pageants and observances, added to their list, but there can be little doubt that it awakened the suspicion of the priests, who jealously guarded the ancient faith and beheld with disfavor anything that might involve less devotion to the numerous gods which they worshipped and of whose interests they were the guardians, and any change that might minimize their influence or deplete the resources in the treasuries of the temples.

Queen Tyi seems not to have been popular. She was a foreigner, which in itself often awakens an antagonistic feeling, amusingly illustrated in the story of the English laborer who when told that a passer by was a stranger exclaimed, "Eave alf a brick at im'." She held a different faith and in all probability the priests with a consciousness of her latent or expressed views and principles used their great influence quietly to set the people against her and this dislike was transferred to her son.

But to her husband she was ever a first consideration. The records give an account of an enterprise which he early undertook for her pleasure. This was the construction of a large artificial lake on which she might sail or row at will. Again the scarabs chronicle this tribute of connubial tenderness, and again we see the queen's religious views considered. It begins as usual with an ascription to the gods. "Under the majesty of Horus the golden, mighty of valor, full power, diademed with law establisher of laws, pacifier of the two lands. Horus, the golden, mighty of valor, smiter of foreign lands. Ordered majesty his the oaking of a lake for the royal spouse, mighty lady Thi. Length its cubits 3000-6000, breadth its cubits 600. Made majesty his festival of the entrance of the waters on month third of sowing day sixteenth. Sailed majesty in his boat 'Atenneferu' 'Disk of beauties' or 'the most beautiful disk.'" He sailed across to inaugurate the opening and perhaps to show her that all was safe and well and then doubtless the queen held sway over it, permitting only such as she chose to share the pleasure with her and perhaps making it a mark of special favor when she did so. The Egyptians held many of their religious festivals on the Nile and this lake may have been specially devoted to such religious observances as the queen wished to hold in honor of the celestial god whom she worshipped. The place selected for this feat of engineering skill was near the town of Tarucha.

TYI .

As the reign and influence of Queen Hatasu or Hatshepsut included, in part as those of her father and two brothers, so did that of Queen Tyi those of husband and son. The fair young girl who had left her own country with high hopes and aspirations had crystallized into the determined woman, who bent all the energies of a strong nature to the accomplishment of her wishes and purposes. The religion of her fore-fathers was no longer kept in the background. She inspired her son with the zeal of an apostle or a fanatic, as we may choose to consider it, and the king devoted his life to upturning the old order of things and an endeavor to establish the new. His father had shown much deference to his wife's religious faith. In the new festival, instituted in his honor, that of the Solar Disk, on the 16th of Athyr , a prominent place had been assigned in the procession to the boat of the sun "Aten-ne-fru." He also put the disk on the head of his crlo-sphinxes and on the statues of the goddesses Pasht and Sekhet; but all this was, in a measure, tentative.

It remained for Amenophis IV, who was by early writers numbered among the Stranger kings, till his true paternity was discovered and now styled himself "Akhenaten" of "Khu-n-aten," Worshipper of the to proclaim openly his mother's faith. It has been suggested that his aim was to provide a god visible to all the people of his extensive empire, and who could be worshipped in common by all, or jealousy between the priests of Heliopolis and those of Thebes may have been another ingredient in the mixed and vexed problem. Beside his father's great temple at Luxor he erected a sanctuary of the sun, and in various places the name of Amon was obliterated.

As the character of this prince has afforded historians much ground for speculation, so do the presentments that remain of him. No cartoon in Punch could more ludicrously caricature the human face than do the pictures that are preserved of King Khu-n-aten. Yet in their ghastly ugliness they still retain the conventional type. Many writers seem to consider them as reliable as other likenesses, and attribute the protruding lips and attenuated mis-shapen proportions to heredity, some ancestor of negro blood, or the results of ill health. Others offer no explanation. It seems impossible that any reigning king should have permitted such portraits of himself to remain to posterity. He was the son of handsome parents. It is possible that the conventional type was considered so beautiful that no deviation which yet preserved the general outline could mar it? Or perchance is there another solution. The king forced upon the country a religion abhorrent to the priests, to the majority of the people, and to his successors, who soon returned to the polytheistic faith and worship of earlier centuries, and who might well have taken pleasure in caricaturing and handing down to their descendants a garbled picture of the hated monarch, iconoclast as he seemed to them, reformer as he doubtless appeared in the eyes of his mother and all the converts to the worship of the sun. The slanting forehead, the long thin nose, the protruding, flexible mouth, the serpent-like neck and the ungainly proportions of the figure are little calculated to attract admiration.

Says Curtis, "the old Egyptian artist was as sure of his hand and eye as the French artist who cut his pupil's paper with his thumb nail to indicate that the line should run so and not otherwise. The coloring is rude and inexpressive, the drawing of the human figure conventional, for the church or the priests ordained how the human form should be drawn. Later the church and priests ordained how the human form should be governed. Yet, O sumptuous scarlet queen sitting on seven hills, you were generous to art, while you were wronging nature."

Queen Tyi appears to have remained in Thebes while the king and his wife went to superintend the building of the temple, palaces, etc., of the new city which Khu-n-aten had resolved to build and make his royal residence. Angry blood rose between him, his priests and his people, but he was dictator, he would no longer dwell among them, but in a new and richly adorned city, worthy of the faith which he held, and whose building should equal or surpass older monuments. He issued a command to obliterate from the tombs of his ancestors the names of the god Amon and the goddess Mut. This fanned the smouldering discontent into flames and open rebellion broke out. Against Amon the king seemed to hold a particular spite, and around the shrine of this god priests and followers mustered their forces.

But although the king abandoned Thebes, he retained his power and was not overthrown. No council of priests or people brought him to trial, sent him into exile, or took his life. Nor in turn does he seem to have been severe or vengeful. No records remain, as is frequently the case in such instances, of barbarous punishments or cruel executions being meted out to the offenders. For the time being, if for that only, he was absolute and carried his point. He could afford to be generous.

The new capital was distant from both Memphis and Thebes, in middle Egypt, and received the name of Khu-a-ten, or as it is elsewhere given, Khuteteyn, "the horizon of the sun," the modern Tel-el-Amarna or El-Amarna, the extensive ruins of which may yet be seen on both banks of the Nile. Like Solomon in Scripture, the potentate summoned to his assistance both artists and artizans, and the work was pressed with all possible vigor and speed. First the temple, then the palaces and homes of the nobility, lastly, in the neighborhood, their tombs. It is said that a revolution in art proceeded side by side with that in religion, an attempt was made to discard the older traditions and approximate more nearly to nature, and the specimen of these attempts at realism, to be found in the tombs, are of great interest. To this fact some authorities attribute the singular and disagreeable portraits of the king before referred to.

How deeply Queen Tyi's heart was stirred and how keenly her feelings were concerned we may well conceive. The great enterprise was the development of her heart's desire and every aid in her power she must have lent to the king's assistance. Remaining in the old city she could no doubt expedite the sending of all sorts of supplies and materials required for the buildings and the private needs of her beloved son and his family.

Architecture and sculpture were ever important in the eyes of the Egyptian kings, and even the queens had their own sculptors and overseers of such work. Timber was scarce, quarries of sandstone and limestone numerous, hence the more enduring was the commoner material, which has preserved to posterity much that, had the ancient world been constructed of our more perishable wood and brick, in all probability would have utterly passed away. Some of the temples, as many of the tombs, of which those at Beni Hassan are an example, were in grottoes and caves, others stood alone in majestic grandeur; in all columns were used and the lotus was the prevailing ornament. Says Kendric, "As the columns of Beni Hassan gave rise to the Doric, so those which imitate plants and flowers appear to be the origin of the Corinthian. The Ionian volute is found in the columns of Persepolis, but in no Egyptian monument. It was probably of Assyrian origin, as it has been found in the remains of Nineveh."

An inscription at Telel-Amarna reads, "And for the first time the king gave the command to call together all the masons from the Island of Elephantine to the town of Samud and the chiefs and the leaders of the people to open a great quarry of the hard stone for the erection of the great obelisk of Har-makhu, by his name, as the god of light, who is as the sun's disk in Thebes. Thither came the great and noble lords and the chief of the fan-bearers, to superintend the cutting and shipping of the stone." Brugsch tells us that the stone quarry of Assoan and the cliffs of Silsilis on each side of the river furnished, the former rose and black granite, and the latter hard brown sandstone for this work. He also thinks that King Khu-n-aten designed to build in Thebes a gigantic pyramid of this same stone to the honor of his god.

Not far from the Nile, in the new city, rose the great temple of the sun. It was on a wide plain, the mountains rising behind it as says the same author, "like an encompassing wall." The king also bestowed great honor upon his chief overseers and helpers, who accepted the new faith and entered into the work with real or assumed enthusiasm.

One named Meri-ra or Mery-Re "dear to the sun" was high-priest or prophet, the Pharaoh bestowing upon him words of praise and commendation and investing him with that special kingly reward, a golden necklace. His tomb at Tel el Amarna is one of the most interesting and largest that have been found. It is supported by columns and on its walls are depicted many scenes giving portraits of the deceased and his wife, the king and queen making offerings to the sun, the princesses and others. And it is here that is found the picture of the bestowal of the golden necklace.

A certain Aahmes, one of the many, for this seems long to have been a favorite name in Egypt, was another highly valued assistant and among the sepulchral inscriptions found at Tel-el-Amarna was a prayer to the son written by him. Beginning with ascription, it reads, "Beautiful is thy setting thou son's disk of life, thou lord of lords and king of worlds," and ending with professions of devotion to the king, as his "divine benefactor," who had raised him to greatness, which naturally perhaps appears to have produced a very pleasing state of mind, for he concludes "the servant of the prince rejoices and is in a festive disposition every day."

At this time there were at least several grandchildren of Queen Tyi, as special houses were prepared for them in connection with the palace. We can therefore imagine the impatience with which the dowager queen awaited the time for her journey to the new city and rejoining her loved ones, and couriers were doubtless busy, passing back and forth, with orders and directions from the king, as well as messages of affection to his mother, which were returned in full measure. It seems almost as if it might be at his special desire that she remained in Thebes, to lend him, as before said, all the aid in her power towards the completion of his work and that he might have the satisfaction of welcoming her to his new capital in a nearly completed state. She may also have acted to some extent as regent in his absence.

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