We have now studied buildings in sufficient number to become familiar with the _Egyptian Gorge_. As early as the Ancient Empire the architects of Egypt had invented this form of cornice, and used it happily upon their massive structures. It is composed of three elements, which are always arranged in the same order. In the first place there is the circular moulding or torus with a carved ribbon twisting about it. This moulding occurs at the edge where two faces meet in most Egyptian buildings. It serves to give firmness and accent to the angles and, when used at the top of the wall, to mark the point where the wall ends and the cornice begins. Above this there is a hollow curve with perpendicular grooves, which, again, is surmounted by a plain fillet which makes a sharp line against the sky. In all this there is a skilful opposition of hollows to flat surfaces, of deep shadow to brilliant and unbroken sunlight, which marks the upward determination of the great masses upon which it is used in the most effective manner. [Illustration: FIG. 133.--Pluteus in the intercolumniations of the portico in the second court of the Ramesseum.] Although the Egyptian architect repeated this cornice continually, he contrived to give it variety of effect by modifying its proportions, and by introducing different kinds of ornaments. In the pylons, for instance, we often find that the cornice of the doorway was both deeper and of bolder projection than those upon the two masses of the pylon itself (Fig. 134). It was generally ornamented with the winged globe, an emblem which was afterwards appropriated by the nations which became connected with Egypt. [Illustration: FIG. 134.--Doorway, Luxor. _Description_, iii. 6.] This emblem in its full development was formed of the solar disk supported on each side by the _uræus_, the serpent which meant royalty. The sun was thus designated as the greatest of kings, the king who mounted up into space, enlightening and vivifying the upper and lower country at one and the same time. The disk and its supporters were flanked by the two wide stretching wings with rounded, fan-shaped extremities, which symbolized the untiring activity of the sun in making its daily journey from one extremity of the firmament to the other. Egyptologists tell us that the group as a whole signifies the triumph of right over wrong, the victory of Horus over Set. An inscription at Edfou tells us that, after the victory, Thoth ordered that this emblem should be carved over every doorway in Egypt, and, in fact, there are very few lintels without it.[130] It first appears at about the time of the twelfth dynasty, according to Mariette, but its form was at first more simple. There were no _uræi_, and the wings were shorter, and pendent instead of outstretched.[131] Towards the eighteenth dynasty it took the shape in which it is figured in our illustrations, and became thenceforward the Egyptian symbol _par excellence_.