1786.b.33, 1(31)

Genre: Archaeological Photography

View looking across the river from the west, towards the Temple of Amun-Kamutef on the far bank, surrounded by modern buildings and with boats moored at the riverbank. Douglas' commentary bemoans the condition of the site at this time, for which later Egyptian building was by no means solely responsible: 'Unlike most of the temples of Egypt which preserve their ancient character, and which consequently give them their greatest charm and interest, Luxor is surrounded, partly covered, and in great measure filled by native mud houses. If these were swept away and the sand and rubbish removed down to the original level of the Temple, Luxor would again appear as one of the most remarkable and interesting remains in Egypt...The front of the propyleon towers were elaborately sculptured with representations of battle scenes. The whole of these, however, obelisks, statues and towers have been buried to a depth of some twenty feet by the accumulation of drifted sand and rubbish. The great area, within the entrance, is now filled by the mosque [the minarets of which can be seen on the left] and native houses; among these may still be seen the rows of pillars which surrounded it, and the head and part of the bust of a colossal figure. Behind this, again, is the grand colonnade...Beyond this the different parts of the original Temple are so filled up with modern houses, as to be with difficulty made out. Mustapha Aga [see print 33] the British and American Vice-Consul has fitted up some of the chambers for himself and his harem. One large one has been fitted up for the American Missionary, the Revd. Mr. Lansing and his wife. Others have been fitted up and added to for the French Vice-Consul, some are used as stables, and one in the adytum or sanctuary contained two very fine pigs, the property of the French Vice-Consul. It is a pity to see so magnificent a specimen of an Egyptian Temple so obscured by moderns, particularly the British and French; it is the greater pity as Luxor, perhaps more than any other Temple, shows the gradual decadence of art from the time of the 18th dynasty to the late Roman period...'