Great Temple qfCarnac in Thebes. 61 



tations. Then follows a series of figures. — The Egyptian con- 

 queror having his winged concomitant hovering above him, 

 his standard and sacred tor is in his car, and in the act of 

 drawing his bow on the enemy. His horses are scampering 

 over, and treading on the foe. The fugitives are hurled 

 down precipices pell-mell, or hastening to their strong-holds, 

 while he drives furiously over the dead, the dying, and the 

 wounded. The enemy are pierced in all parts by his uner- 

 ring darts. Some, who have already reached their fortress, 

 and climbed or ascended the wall, draw up others with arrows 

 sticking in their backs, or assist their wounded comrades to 

 save the remains of life, nearly extinguished by the hero's 

 missiles ; others are so grievously wounded, that, unable to 

 make further efforts, they fall, pierced in every part, while 

 endeavouring to scramble up. Those who have been fortu- 

 nate enough to gain the inside of the fortress, are supplicating 

 the mercy of the hero, and signify their surrender by extend- 

 ed arms, uplifted hands, and bent posture. The arms of the 

 hero are the bow and quiver — those of the enemy the lance and 

 javelin. The enemy wear a tight green dress, reaching to the 

 middle, and below a red dress, reaching not quite to the 

 knee. On the pannel above, is a groupe of prisoners — some 

 are felling trees with axes — some assisting, others at a little 

 distance, with ropes round the trees, to prevent their falling 

 too suddenly. The hero returning from the chace, and hav- 

 ing descended from his car, which is turned the other way, 

 approaches them. The chief of the enemy, indicated by his 

 larger size, (but comparatively small to the hero) turns to re- 

 ceive him. The enemy's chief is represented in a submissive atti- 

 tude, crouched, and supplicating for himself and his people. 

 The hero having his reins in his left hand, holds out his right 

 to the chief, as if in token of granting his prayer. The beards 

 of the prisoners have been allowed to grow. In the scene 

 described, the enemy are on foot. Following the wall to the 

 westward, we see the hero of colossal size, with his people re- 

 presented small in comparison, putting the enemy to flight ; 

 they are drest as in the last scene, but are now in chariots. 

 They are falling headlong in all directions. 



The sculptor next gives us proofs of the athletic strength 



n 



