In conclusion, I may observe that the fragments, when carefully examined, show no trace of having been broken by a hammer; the statue was not destroyed by the hand of man, the case with a certain number of the monuments at Karnak. The great earthquake of the year 27 B.C., which put the temple of Amon almost into the condition in which we see it, brought down the ceilings of the halls; all the objects underneath were injured by the blocks or architraves then violently thrown to the ground and crushed under the weight of the ruins. Our Harmhabi did not escape the common lot: it needed Mariette’s great patience to restore the little we possess of him.

THE COLOSSUS OF RAMSES II AT BEDRECHEÎN[72]

Egyptian Art — Part 66

Ramses II, Sesostris, having restored the portions of the great temple of Phtah at Memphis, which bordered the sacred lake on the west and south, had colossi erected in front of the doors, destined to perpetuate his memory and his features for all “who should come after him on the earth, priests, magicians, scribes,” and who should recite a prayer to the gods on his behalf. The sacristans appointed as guides to the profane, and the dragomans who act as showmen of the wonders of Egypt, never fail to draw the tourist’s attention to these statues; it gives them an opportunity to relate some amusing story like those collected by Herodotus and transmitted to us by him as authentic history. One day Darius I wished to consecrate his image in the neighbourhood, but the high priest opposed his purpose: “Sesostris,” he said, “has conquered all the nations that obey you, and the Scythians to boot, on whom you never succeeded in inflicting much harm. There is then no reason why your monument should be placed by the side of that of a Pharaoh whom you have neither surpassed nor equalled!” When Memphis fell and became Christian, the fame of the colossi died away. When it perished and its temple of Phtah was dismantled stone by stone to serve for the building of Cairo, they were thrown down, and for the most part cut up into grindstones, whence they passed into the lime-kiln. One of them, however, thrown from its pedestal and lying face downwards on the ground, was covered with rubbish, and preserved from destruction by that happy chance. Brought to light by Caviglia at the beginning of the nineteenth century, it had the good luck to please travellers, and owed it to them to have escaped the mania for destruction that possesses the fellahs.

Egyptian Art — Part 66