66 Lieut.-Col. Straton cm the Temple of Ipsambid. 
him five oxen, who, in scampering off, seem, by their tails fly- 
ing in the air, to participate in the general panic. 
The hero appears transfixing with a spear a prisoner of dis- 
tinction, trampling others under foot, holding a number by the 
hair of the head with his left hand, while he prepares to strike 
off their heads with the right. A mulatto is seen, driving be- 
fore him a group of prisoners, four of which are black, four 
tawny, and four white. The features are characteristic of the 
different climates, and shew that the conquests of the hero had 
extended over various parts of the globe. 
From the different dimensions of the figures, we may infer, 
that the ancient Egyptians expressed strength and power by 
comparative size. Thus, the hero is immensely colossal, the 
chief of the enemy is very large, and the person who conducts 
the prisoners is large, while the prisoners themselves are pygmies. 
On another wall, the hero, grateful for his victories, makes 
offerings to a male deity painted hlaclc ^ ; and to Isis Lunata he 
offers incense, in token of his fartlier gratitude to Osiris Hierax. 
On the adjoining wall are rejoicings, chariot races, processions, 
&c. The hero and his people are distinguished from the enemy 
by the difference of costume, of chariots, of shields, &c. The hero 
is throughout a portrait, though his dresses are various. Some- 
times he has the short warlike dress and helmet, and at other 
times the long loose robe of ceremony, and high cap. 
On another pannel, we observed a chariot fight. The horses 
appear tumbling and confounded with men. Some horses are 
struck in the chest, others in the head, writhing in pain, — the 
equl exanimes ; — seven chariots on each side, two men and two 
horses to each. These representations are followed by presen- 
tations to Priapus. His type, and every visible part, is painted 
hlack. The hero is ultimately received among the gods, Osiris, 
Sothis, Isis Lunata, &c. and this apotheosis is represented both 
in statuary and in painting. 
We may here remark the great perfection attained at this 
early period in sculpture, statuary, and painting. The figures 
* This is the first instance in ascending the Nile of the deity being represented 
hlackf and is the only difference to be remarked in the Egyptian and Ethiopian 
mytholcgy. 
