The Pharaoh reached his palace, situated a short distance from the parade ground on the left bank of the Nile. In the bluish transparency of the night the mighty edifice loomed more colossal still, and its huge outlines stood out with terrifying and sombre vigour against the purple background of the Libyan chain. The feeling of absolute power was conveyed by that mighty, immovable mass, upon which eternity itself could make no more impression than a drop of water on marble. A vast court surrounded by thick walls, adorned at their summits with deeply cut mouldings, lay in front of the palace. At the end of the court rose two high columns with palm-leaf capitals, marking the entrance to a second court. Behind these columns rose a giant pylon, consisting of two huge masses enclosing a monumental gate, intended rather for colossi of granite than for mere flesh and blood. Beyond these propylÆa, and filling the end of a third court, the palace proper appeared in its formidable majesty. Two buildings projected squarely forward, like the bastions of a fortress, exhibiting on their faces low bassi-relievi of vast size, which represented, in the consecrated manner, the victorious Pharaoh scourging his enemies and trampling them under foot; immense pages of history carved with a chisel on colossal stone books which the most distant posterity was yet to read. These buildings rose much higher than the pylons. The cornices, curving outwards and topped with great stones so arranged as to form battlements, showed superbly against the crest of the Libyan Mountains, which formed the background of the picture.

The faÇade of the palace connected these buildings and filled up the whole of the intervening space. Above its giant gateway, flanked with sphinxes, showed three rows of square windows, through which streamed the light from the interior and which formed upon the dark wall a sort of luminous checker-board. From the first story projected balconies, supported by statues of crouching prisoners.

The officers of the king's household, the eunuchs, the servants, and the slaves, informed of the approach of His Majesty by the blare of the trumpets and the roll of the drums, had proceeded to meet him, and waited, kneeling and prostrate, in the court paved with great stone slabs. Captives, of the despised race of Scheto, bore urns filled with salt and olive oil, in which was dipped a wick, the flame of which crackled bright and clear. These men stood ranged in line from the basalt gate to the entrance of the first court, motionless like bronze lamp-bearers.

Soon the head of the procession entered the pylon and the bugles and the drums sounded with a din which, repeated by the echoes, drove the sleeping ibises from the entablatures. The bearers stopped at the gate in the faÇade between the two pavilions; slaves brought a footstool with several steps and placed it by the side of the litter. The Pharaoh rose with majestic slowness and stood for a few moments perfectly motionless. Thus standing on a pedestal of shoulders, he soared above all heads and appeared to be twelve cubits high. Strangely lighted, half by the rising moon, half by the light of the lamps, in a costume in which gold and enamels sparkled intermittently, he resembled Osiris, or Typhon rather. He descended the steps as if he were a statue, and at last entered the palace.

A first inner court, framed in by a row of huge pillars covered with hieroglyphs, that bore a frieze ending in volutes, was slowly crossed by the Pharaoh in the midst of a crowd of prostrate slaves and maids.

Then appeared another court surrounded by a covered cloister, and short columns, the capitals of which were formed of a cube of hard sandstone, on which rested the massive architrave. The imprint of indestructibility marked the straight lines and the geometric forms of this architecture built with pieces of mountains. The pillars and the columns seemed to strike firmly into the ground in order to upbear the weight of the mighty stones placed on the cubes of their capitals, the walls to slope inwards so as to have a firmer foundation, and the stones to join together so as to form but one block; but polychromous decorations and bassi-relievi hollowed out and enriched with more brilliant tints added, in the daytime, lightness and richness to these vast masses, which when night had fallen, recovered all their imposing effect.

Under the cornice, in the Egyptian style, the unchanging lines of which formed against the sky a vast parallelogram of deep azure, quivered, in the intermittent breath of the breeze, lighted lamps placed at short distances apart. The fish-pond in the centre of the court mingled, as it reflected them, their red flashes with the blue gleams of the moon. Rows of shrubs planted around the basin gave out a faint, sweet perfume. At the back opened the gate of the harem and of the private apartments, which were decorated with peculiar magnificence.

Below the ceiling ran a frieze of urÆus snakes, standing on their tails and swelling their hoods. On the entablature of the door, in the hollow of the cornice, the mystic globe outspread its vast, imbricated wings; pillars ranged in symmetrical lines supported heavy sandstone blocks forming soffits, the blue ground of which was studded with golden stars. On the walls vast pictures, carved in low, flat relief and coloured with the most brilliant tints, represented the usual scenes of the harem and of home life. The Pharaoh was seen on his throne, gravely playing at draughts with one of his women who stood nude before him, her head bound with a broad band from which rose a mass of lotus flowers. In another the Pharaoh, without parting with any of his sovereign and sacerdotal impassibility, stretched out his hand and touched the chin of a young maid dressed in a collar and bracelet, who held out to him a bouquet of flowers. Elsewhere he was seen undecided and smiling, as if he had slyly put off making a choice, in the midst of the young queens, who strove to overcome his gravity by all sorts of caressing and graceful coquetries.

Other panels represented female musicians and dancers, women bathing, flooded with perfumes and massaged by slaves,—the poses so elegant, the forms so youthfully suave, and the outlines so pure, that no art has ever surpassed them.

Rich and complicated ornamental designs, admirably carried out in harmonious green, blue, red, yellow, and white, covered the spaces left empty. On cartouches and bands in the shape of stelÆ were inscribed the titles of the Pharaoh and inscriptions in his honour.

On the shafts of the huge columns were decorative or symbolical figures wearing the pschent, armed with the tau, following each other in procession, and whose eyes, showing full upon a side face, seemed to look inquisitively into the hall. Lines of perpendicular hieroglyphs separated the zones of personages. Among the green leaves carved on the drum of the capital, buds and lotus flowers stood out in their natural colours, imitating baskets of bloom.

Between each pair of columns an elegant table of cedar bore on its platform a bronze cup filled with scented oil, from which the cotton wicks drew an odoriferous light. Groups of tall vases, bound together with wreaths, alternated with the lamps and held at the foot of each pillar sheaves of golden grain mingled with field grasses and balsamic plants.

In the centre of the hall a round porphyry table, the disc of which was supported by the statue of a captive, disappeared under heaped-up urns, vases, flagons, and pots, whence rose a forest of gigantic artificial flowers; for real flowers would have appeared mean in the centre of that vast hall, and nature had to be proportioned to the mighty work of man. These enormous calyxes were of the most brilliant golden yellow, azure, and purple.

At the back rose the throne, or chair, of the Pharaoh, the feet of which, curiously crossed and bound by encircling ribbing, had in their re-entering angles four statuettes of barbaric Asiatic or African prisoners recognisable by their beards and their dress. These figures, their elbows tied behind their backs, and kneeling in constrained attitudes, their bodies bowed, bore upon their humbled heads the cushion, checkered with gold, red, and black, on which sat their conqueror. Faces of chimerical animals from whose mouths fell, instead of a tongue, a long red tuft, adorned the crossbars of the throne.

On either side of it were ranged, for the princes, less splendid, though still extremely elegant and charmingly fanciful chairs; for the Egyptians are no less clever at carving cedar, cypress, and sycamore wood, in gilding, colouring, and inlaying it with enamels, than in cutting in the Philoe or SyÊnÉ quarries monstrous granite blocks for the palaces of the Pharaohs and the sanctuaries of the gods.

The King crossed the hall with a slow, majestic step, without his painted eyelids having once moved; nothing indicated that he heard the cries of love that welcomed him, or that he perceived the human beings kneeling or prostrate, whose brows were touched by the folds of the calasiris that fell around his feet. He sat down, placing his ankles close together and his hands on his knees in the solemn attitude of the gods.

The young princes, handsome as women, took their seats to the right and left of their father. The servants took off their enamelled necklaces, their belts, and their swords, poured flagons of scent upon their hair, rubbed their arms with aromatic oils, and presented them with wreaths of flowers, cool, perfumed collars, odorous luxuries better suited to the festival than the heavy richness of gold, of precious stones and pearls, which, for the matter of that, harmonise admirably with flowers.

Lovely nude slaves, whose slender forms showed the graceful transition from childhood to youth, their hips circled with a narrow belt that concealed none of their charms, lotus flowers in their hair, flagons of wavy alabaster in their hands, timidly pressed around the Pharaoh and poured palm oil over his shoulders, his arms, and his torso, polished like jasper. Other maids waved around his head broad fans of painted ostrich-feathers on long ivory or sandal-wood handles, that, as they were warmed by their small hands, gave forth a delightful odour. Others placed before the Pharaoh stalks of nymphoea that bloomed like the cup of the censers. All these attentions were rendered with a deep devotion, and a sort of respectful awe, as if to a divine, immortal personage, called down by pity from the superior zones to the vile tribe of men; for the king is the Son of the gods, the favoured of PhrÉ, the protÉgÉ of Ammon Ra.

The women of the harem had risen from their prostrate attitude, and seated themselves on superb, carved and gilded chairs, with red-leather cushions filled with thistle-down. Thus ranged, they formed a line of graceful, smiling heads which a painter would have loved to reproduce. Some were dressed in tunics of white gauze with stripes alternately opaque and transparent, the narrow sleeves of which left bare the delicate, round arms covered with bracelets from the wrist to the elbow: others, bare to the waist, wore a skirt of pale lilac rayed with darker stripes, and covered with a fillet of little rose beads which showed in the diaper the cartouche of the Pharaoh traced on the stuff; others wore red skirts with black-pearl fillets; others again, draped in a tissue as light as woven air, as transparent as glass, wound the folds around them, and managed to show off coquettishly the shape of their lovely bosoms; others were enclosed in a sheath covered with blue, green, or red scales which moulded their forms accurately; and others again had their shoulders covered with a sort of pleated cape, and their fringed skirts were fastened below the breast with a scarf with long, floating ends.

The head-dresses were no less varied. Sometimes the plaited hair was spun out into curls; sometimes it was divided into three parts, one of which fell down the back and the other two on either side of the cheeks. Huge periwigs, closely curled, with numberless cords maintained transversely by golden threads, rows of enamels, or pearls, were put on like helmets over young and lovely faces, which sought of art an aid which their beauty did not need.

All these women held in their hands a flower of the blue or white lotus, and breathed amorously, with a fluttering of their nostrils, the penetrating odour which the broad calyx exhaled. A stalk of the same flower, springing from the back of their necks, bowed over their heads and showed its bud between their eyebrows darkened with antimony.

In front of them black or white slaves, with no other garment than a waist girdle, held out to them necklaces of flowers made of crocuses, the blooms of which, white outside, are yellow inside, purple safflowers, golden-yellow chrysanthemums, red-berried nightshade, myosotis whose flowers seemed made of blue enamel of the statues of Isis, and nepenthes whose intoxicating odour makes one forget everything, even the far-distant home.

These slaves were followed by others, who on the upturned palm of their right hands bore cups of silver or bronze full of wine, and in the left held napkins with which the guests wiped their lips.

The wines were drawn from amphorÆ of clay, glass, or metal held in elegant woven baskets placed on four-footed pedestals made of a light, supple wood interlaced in ingenious fashion. The baskets contained seven sorts of wines: date wine, palm wine, and wine of the grape, white, red, and green wines, new wine, Phoenician and Greek wines, and white Mareotis wine with a bouquet of violets.

The Pharaoh also took a cup from the hands of his cup-bearer standing near his throne, and put to his royal lips the strengthening drink.

Then sounded the harps, the lyres, the double flutes, the lutes, accompanying a song of triumph which choristers, ranged opposite the throne, one knee on the ground, accentuated as they beat time with the palms of their hands.

The repast began. The dishes, brought by Ethiopians from the vast kitchens of the palace, where a thousand slaves were busy preparing the feast in a fiery atmosphere, were placed on tables close by the guests. The dishes, of scented wood admirably carved, of bronze, of earthenware or porcelain enamelled in brilliant colours, held large pieces of beef, antelope legs, trussed geese, siluras from the Nile, dough drawn out into long tubes and rolled, cakes of sesamum and honey, green watermelons with rosy meat, pomegranates full of rubies, grapes the colour of amber or of amethyst. Wreaths of papyrus crowned these dishes with their green foliage. The cups were also wreathed in flowers, and in the centre of the table, amid a vast heap of golden-coloured bread stamped with designs and marked with hieroglyphs, rose a tall vase whence emerged, spraying as it fell, a vast sheaf of persolutas, myrtles, pomegranates, convolvulus, chrysanthemums, heliotropes, seriphiums, and periplocas, a mingling of colours and of scents. Under the tables, around the supporting pillar, were arranged pots of lotus. Flowers, flowers everywhere, even under the seats of the guests! The women wore them on their arms, round their necks, on their heads in the shape of bracelets, necklaces, and crowns; the lamps burned amid huge bouquets, the dishes disappeared under leaves, the wines sparkled amid violets and roses. It was a most characteristic, gigantic debauch of flowers, a colossal orgy of scents, unknown to other nations.

Slaves constantly brought from the gardens, which they plundered without diminishing their wealth, armfuls of rose laurel, of pomegranate, of lotus, to renew the flowers which had faded, while servants cast grains of nard and cinnamon upon the red-hot coals of the censers.

When the dishes and the boxes carved in the shape of birds, fishes, and chimeras, which held the sauces and condiments, had been cleared away, as well as the ivory, bronze, or wooden spatulÆ, and the bronze and flint knives, the guests washed their hands, and cups of wine and fermented drinks kept on passing around.

The cup-bearer drew with a long-handled ladle the dark wine and the transparent wine from two great, golden vases adorned with figures of horses and rams, which were held in equilibrium in front of the Pharaoh by means of tripods on which they were set.

Female musicians appeared—for the orchestra of male musicians had withdrawn. A wide gauze tunic covered their slender, youthful bodies, veiling them no more than the pure water of a pool conceals the form of the bather who plunges into it. Papyrus wreaths bound their thick hair and fell to the ground in long tendrils; lotus flowers bloomed on top of their heads; great golden rings sparkled in their ears, necklaces of enamel and pearl encircled their necks, and bracelets clanked and rattled on their wrists. One played on the harp, another on the lute, a third on the double flute, crossing her arms and using the right for the left flute and the left for the right flute; a fourth placed horizontally against her breast a five-stringed lyre; a fifth struck the onager-skin of a square drum; and a little girl seven or eight years of age, with flowers in her hair and a belt drawn tight around her, beat time by clapping her hands.

The dancers came in. They were slight, slender, and as lithe as serpents; their great eyes shone between the black lines of their lids, their pearly teeth between the red bars of their lips. Long curls floated down on their cheeks. Some wore full tunics striped white and blue, which floated around them like a mist; others wore mere pleated short skirts falling over the hips to the knees, which allowed their beautiful, slender legs and round muscular thighs to be easily seen. They first assumed poses of languid voluptuousness and indolent grace, then, waving branches of bloom and clinking castanets, shaped like the head of Hathor, striking tambourines with their little closed hands, or making the tanned skin of drums resound under their thumbs, they gave themselves up to swifter steps and to bolder postures; they pirouetted, they whirled with ever-increasing ardour. But the Pharaoh, thoughtful and dreamy, did not condescend to bestow a glance of satisfaction upon them; his fixed gaze did not even fall upon them.

They withdrew, blushing and confused, pressing their palpitating breasts with their hands.

Dwarfs with twisted feet, with swollen and deformed bodies, whose grimaces were fortunate enough at times to bring a smile to the majestic, stony face of the Pharaoh, were no more successful; their contortions did not bring a single smile to his lips, the corners of which remained obstinately fixed.

To the sound of strange music produced by triangular harps, sistra, castanets, cymbals, and bugles, Egyptian clowns wearing high, white mitres of ridiculous shape advanced, closing two fingers of their hand and stretching out the other three, repeating their grotesque gestures with automatic accuracy, and singing extravagant songs full of dissonances. His Majesty never changed countenance.

Women wearing a small helmet from which depended three long cords ending in a tassel, their wrists and ankles bound with black leather bands, and wearing close fitting drawers suspended by a single brace passed over their shoulders, performed tricks of strength and contortions each more surprising than another; posturing, throwing themselves back, bending their supple bodies like willow branches, and touching the ground with their necks without displacing their heels, supporting in that impossible attitude the weight of their companions; others juggled with a ball, two balls, three balls, before, behind, their arms crossed, astride of or standing upon the loins of one of the women of the company. One, indeed, the cleverest, put on blinkers like Tmei, the goddess of justice, and caught the globes in her hands without letting a single one fall. The Pharaoh was not moved by these marvels.

He cared no more either for the prowess of two combatants who, wearing a cestus on the left arm, fought with sticks. Men throwing at a block of wood knives which struck with miraculous accuracy the spot indicated did not interest him either. He even refused the draught-board which the lovely Twea, whom he looked upon usually with favour, presented to him as she offered herself as an adversary. In vain Amense, TaÏa, Hont-RechÉ ventured upon timid caresses. He rose and withdrew to his apartments without having uttered a word.

Motionless on the threshold stood the servant who, during the triumphal procession, had noticed the imperceptible gesture of His Majesty.

He said: "O King, loved of the gods! I left the procession, crossed the Nile on a light papyrus-bark and followed the vessel of the woman on whom your hawk glance deigned to fall. She is Tahoser, the daughter of the priest Petamounoph."

The Pharaoh smiled and said: "It is well. I give thee a chariot and its horses, a pectoral ornament of beads of lapis-lazuli and cornelian, with a golden circle weighing as much as the green basalt weight."

Meanwhile the sorrowing women pulled the flowers from their hair, tore their gauze robes, and sobbed, stretched out upon the polished stone floors which reflected, mirror-like, the image of their beautiful bodies, saying, "One of these accursed barbaric captives must have stolen our master's heart."

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