Battle of Kadesh: Ramses II's Military and the Wars of the Hittites.

Relations with the Hittites on Egypt's Syrian frontier were far from friendly during the first part of Ramses' reign. In Seti's time, Egypt had kept her influence on the southern Phoenician coastline ports while the Hittites retained the northern city of Kadesh. In Year 4 of Ramses' reign, however, there was a revolt in the Levant and in the spring of Year 5 (1275 BC) the new king was forced to mobilize his army.
Ramses gathered together one of the greatest forces of Egyptian troops ever seen, 20,000 men basically in four divisions of 5000 each, named respectively after the gods Amun, Re, Ptah and Seth.

Following virtually in Tuthmosis Ill's footsteps of some 200 years earlier, ramses moved up through the Gaza Strip and was few miles from Kadesh in early May. With such a large army, plus all the necessary ancillary elements of baggage trains and camp followers progress was slow and extended over a vast area. Two spies captured and interrogated on the approach to Kadesh indicated that the Hittite army was over 100 miles to the north. ramses therefore moved forward confidently with the first division, Amun, crossed the river Orontes and camped to the west of Kadesh, a city that had created strong defences by diverting water through a canal from the river, making the city virtually an island. ramses' complacency was soon shaken, however, when a forward patrol captured two more spies who

Ramses II

The upper half of a black granite
 seated statue of Ramses II wearing
the Blue or War Crown (khepresh).
 Discovered by Drovetti, it is probably
 the finest existing portrait of  the king.
 Turin Museum.

Ramses II, who acceded to power at the age of 25, can rightly be said to merit his popular title, 'Ramses the Great'. During his long reign of 67 years, everything was done on a grand scale. No other pharaoh constructed so many temples or erected so many colossal statues and obelisks. No other pharaoh sired so many children. Ramses' 'victory' over the Hittites at Kadesh was celebrated in one of the most repeated Egyptian texts ever put on record. By the time he died, aged more than 90, he had set his stamp indelibly on the face of Egypt.

As a young prince, Ramses was imbued with the military tradition established by his grandfather, after whom he was named. From his earliest years all hopes for the new dynasty were pinned on him. At the age of ten he was recognized as 'Eldest King's Son' by title (despite there being no other, his elder brother having died long before), and by his mid-teens he is found associated with Seti as a diminutive figure in the reliefs of the Libyan campaigns at Karnak. Ramses was allowed to participate in Seti's subsequent campaigns against the Hittites in Syria. The young prince rode well in harness alongside his experienced father, learning his trade of statecraft. Ramses is often found referred to in inscriptions, overseeing the cutting of obelisks from the granite quarries at Aswan, involved in Seti's great building projects, and also inaugurating his own (smaller) temple to Osiris at Abydos. Many inscriptions of up-and-coming young men attest to Seti's keen and acute eye in spotting the high flyers, who were to grow up alongside Ramses and serve him well in his turn (although he outlived most of them).

Second Pylon, Great Hypo-style Hall

Luxor, Egypt.

We return to the great court of the temple and proceed towards the second pylon, the pylon of Ramses II, The center section was originally restored by the Ptolemies. It is now being reconstructed after the removal of the blocks from Akhenaten's Sun Temple to Aten which were used as filling for the core. Just before the pylon is a small vestibule flanked by two large statues. The one on the left, in red granite, is of Panejem, son-in-law of the high priest.

This is the statue already mentioned as having been found under the second pylon.

The Great Hypostyle Hall, fruit of Egypt' s power and wealth and one of the most massive of human creations, covers an area of

4,983 square metres. To support the roof 134 columns were arranged in sixteen rows. The double row of central columns leading from the doorway of the second pylon eastwards towards the sanctuary is higher than the others. The smooth-shafted central columns are twenty-one meters high and are topped with calyx capitals large enough to hold one hundred standing men. The somewhat squat side columns have bud capitals and the discrepancy in height is made up by square pillars between the steps of the roof. The space between these pillars once held windows and served to light the entire hall, revealing that the walls, the shafts of the columns, the architrave and infact every available space was covered with inscriptions and reliefs. It has been stated in almost every description of this hall to date, but must nevertheless be repelled here, that the whole of the cathedral of Notre Dame in Paris could he comfortably accommodated within its walls.

The hypostyle hall was planned and begun by Ramses I and was continued by his son Seti I on a scale far surpassing Amenhotep Ill's unfinished hypostyle hall at Luxor. It was finally completed by Seti's son Ramses II. Although Seti I was responsible for the construction of the entire northern half of the hall and also the central aisle, and although Ramses II built only the southern portion, it is the latter who has secured credit for the greater part of the work.

The overall effect is awe-inspiring. Although some critics have commented on the less-than-elegant columns at the sides or on the fact that 'you can't see the trees for forest', its magnificence is indisputable. When Napoleon's learned entourage first saw it, the hall looked as though devastated by a hurricane. Leaning columns seemed on the verge of collapse, many were already prostrate and the flag-stones were littered with debris.

Only one single column (the first in the sixth row) bears the name of Ramses l, who started its construction in his brief two years reign. It may be noticed that the reliefs of Seti I (in the northern portion) are in flat relief and are somewhat more delicate than the deeper, more definite inscriptions of Ramses II (in the southern portion from the eleventh row). Most of the reliefs depict adoration of the Theban god. Rarnses Ill, Ramses IV, Ramses VI and Ramses XII all recorded their names.

On the outside of the hypostyle hall are some important historical reliefs . These are accessible from the exit at the side or from the central court . They are portrayals of Seti I's and Ramses II's military campaigns in Asia , the like of which had not been seen for two generations since the expansion of the empire under Thutmose III. There are over sixty meters of representations from the spectacular charges into the foe with arrows and chariots to the ultimate presentation of prisoners of war to Amon, Mut and Khonsu.

Ramses II's campaign was against the Hittites. It is depicted on the southern wall and contains the actual text of the treaty, the earliest surviving international non-aggression pact. According to the treaty each state, having equal, independent status, renounced all ideas of aggression against the other. It declared that peace should henceforth prevail between the two kings and all their dependents and reaffirmed earlier treaties existing between the two countries. A mutual defence alliance, co-operation in the humane treatment of disloyal subjects and also in the extradition of political refugees and immigrants, formed clauses of the pact.

It bore the title :

'The treaty which the great chief of Kheta , Khetasar .the valiant,  the son of Merasar, the great chief of Kheta, the valiant, the grandson of Seplel, the great chief of Kheta, the valiant, made, upon a silver tablet for Usermare-Setepnere (Ramses II), the great ruler of Egypt, the valiant, the son of Seti I, the great ruler of Egypt, the valiant; the grandson of Ramses l, the great ruler of Egypt, the valiant; the good treaty of peace and of brotherhood, setting peace between them forever,"

   Witnesses to the treaty were a thousand gods and goddesses of the land of the Hittites and a thousand gods and goddesses from the land of Egypt.

The battle scenes are similar to those on the first pylon of the temple of Luxor already described.

Seti I's battles took place in Lebanon, southern Palestine, and Syria, and are depicted on the northern wall. The series begins on the eastern wall where (in the upper row) Seti alights from his chariot in the wooded Lebanon. The Lebanese are obliged to cut down trees for the Pharaoh. In the lower row Seti is in battle with the bedouins of southern Palestine (to the right). He drives his chariot, drawn by two horses, whilst firing arrows at the enemv.

Confused heaps of dead and wounded lie on the ground. The fortress of Canaan, above the battlefield, is used as a hide out and the inhabitants assist fugitives to escape into it.

On the left hand section of the main wall is the battle in Syria. In the upper row the Pharaoh advances to the front line of the attack, shooting arrows that send the enemy, both charioteers and cavalry, fleeing in confusion . In the fortress which is surrounded by a moat the inhabitants are surprisingly carved full face as they

peer, from behind trees, Seti is also depicted binding captives, leading or dragging them. Two rows of captured Syrians are presented to Amon, Mut and Khonsu along with valuable booty.

In the lower row is a triumphal march through Palestine (left), a battle .with the bedouins .of southern Palestine and (right) the victorious march from Syria. The border between Asia and Africa is marked by a crocodile-infested canal bordered by reeds and linked by a bridge, At each end of this bridge is a for tified guardhouse and, on the home front, Seti is welcomed by groups of priests carrying garlanded flowers. Captives and booty are presented to Amon.

On the right-hand wall is the battle of Kadesh (in the top row), the battle against the Libyans (in the middle row), and the battle against the Hittites in northern Syria (in the lower row). The defenders of Kadesh are pierced by arrows. The Libyans, distinguished by a single plaited braid and feathers, are smitten with the sword. The Hittites, shot at by the charioted Pharaoh, take flight on foot, on horseback and in chariot. In the lower row, when Seti hands his captives and the captured vessels over to Amon, Mut and Khonsu, the goddess of truth is present.

On each side of the doorway separating these two walls are colossal representations of Amon holding several rows of captured nations and cities by cords and presenting the sword of victory to Seti l. Seti raises his club against a band of foes whomhe dangles by the hair.

The Temple of Luxor Part III: Court of Ramses II, Colonnade

Luxor, Egypt

Passing through the entrance pylon we enter the Court of Ramse II, to the left of which the Fatimi Mosque of Abu eI Hagag stands In contrast to the solemn ruins of Pharonic Egypt. As recently as 1968 the local sheikhs, who claim that the tomb of the saint him self lies there, added an extension to the rear portion of the mosque, built, It will be seen, on ever weakening foundations, The height of the mosque above the stone court yard indicates the height to which the temple was buried in sand.

The court itself is surrounded by smooth-shafted papyrus columns with lotus-bud capitals, Standing colossi of Ramses II were placed between the first row of columns in the southern half. On each side of the doorway are a further two statues of the Pharaoh wrought in red and black granite. The one on the left has a fine statue of Queen Nefertari, his wife, carved near the Pharaoh 's right leg, On the throne is a representation of the two Niles binding the symbols of Upper and Lower Egypt: the lotus and papyrus

plants.

Adjoining the western tower of the entrance pylon is a raised platform comprising three chambers. This was the granite shrine originally built by ThutmoseIII and restored by Ramses II. The chambers were dedicated to Amon, Mut and the Moon God Khonsu. Four papyrus columns form a colonnade on the side facing the court.

The reliefs and inscriptions which adorn the walls of the court date from the reign of Ramses II. They represent sacrifices and hymns to the gods, and all Ramses II's family, his many wives and a horde of princes and princesses are depicted on the walls.

The Colonnade was built by Amenhotep III. In the early morning and towards sunset heavy shadows are cast between the seven pairs of columns and the interplay of light has long been exploited by photographers as it slams from heavy architrave to calyx capital sanddown the slender shafts of the columns. Though Amenhotep III conceived the idea of this colonnade, Tutankhamun, Harmhab, Seti I, Rames II and Seti II also recorded their names there. It was Tutankhamun however who had the walls embellished with the reliefs representing the Great New Year Festival, the Opel, when the god Amon visited his southern harem. The sacred barges were brought in splendid procession from Karnak to the Luxor temple, borne on the shoulders of white-robed priests from the temple to the river, and then towed upstream in a splendid and majestic procession. The festival took place at the height of the Nile flood and continued for twenty-four days of merry-making. Unhappily much of the relief work has been destroyed but there is still sufficient to take us back to what must have been not only a significant but a lavish religious celebration.

On the right-hand wall starting at are preparations tor fhe occasion, which include a rehearsal by dancing girls. The procession begins at the gate of the Karnak temple, which is complete with flagstaff sand from whence white-robed priests bear the sacred barge of Amon down to the water's edge. An enthusiastic audience claps hands in unison and at the boat in the water is being towed upstream by those onshore. A sacrifice of slaughtered animals is followed by a group of acrobats, and finally offerings are made to Amon, Mut and Khonsu at the Luxor temple.

On the opposite wall are scenes of the return procession, including sacrificial bulls being led to the scene accompanied by soldiers, standard-bearers, dancers and slaves who are roused to frenzy by the pomp, the barges floating downstream and the final sacrifice and offerings of flowers to Amon and Mut at the Karnak temple.

It is interesting to learn that Harmhab, the general,took advantage of the Opet to introduce himself to the populace as the next Pharaoh of Egypt at the beginning of the 19th Dynasty. Once he had been led through the streets by the priests and entered into the sacred precincts of Karnak, any question by the people as to why Amon of non-royal line age should become Pharaoh was stilled in advance. The occasion was too joyous to spoil with matters already decided by the high priestsof Amon. A fascinating cross-current in the tide of fate has led today's Muslim Moulid, celebrated each year during the month of Shaaban, closely to resemble the Opet. Muslim sheikhs emerge from the Mosque of Abu el Hagag bearing three small sailing boat swhich they place on carriages to traverse the city. The city is bedecked with flowers, and dancing and clapping greet the procession.