Egypt -- Description and travel; Egypt -- History -- 19th century; Nile River -- Description and travel
Who enters that gate crosses the threshold of the past, and leaves two
thousand years behind him. In these vast courts and storied halls all is
unchanged. Every pavement, every column, every stair, is in its place.
The roof, but for a few roofing-stones missing just over the sanctuary,
is not only uninjured, but in good repair. The hieroglyphic inscriptions
are as sharp and legible as the day they were cut. If here and there a
capital, or the face of a human-headed deity, has been mutilated, these
are blemishes which at first one scarcely observes, and which in no wise
mar the wonderful effect of the whole. We cross that great court-yard in
the full blaze of the morning sunlight. In the colonnades on either side
there is shade, and in the pillared portico beyond, a darkness as of
night; save where a patch of deep-blue sky burns through a square
opening in the roof, and is matched by a corresponding patch of blinding
light on the pavement below. Hence we pass on through a hall of columns,
two transverse corridors, a side chapel, a series of pitch-dark side
chambers, and a sanctuary. Outside all these, surrounding the actual
temple on three sides, runs an external corridor open to the sky, and
bounded by a superb wall full forty feet in height. When I have said
that the entrance-front, with its twin pylons and central doorway,
measures two hundred and fifty feet in width by one hundred and
twenty-five feet in height; that the first court-yard measures more than
one hundred and sixty feet in length by one hundred and forty in width;
that the entire length of the building is four hundred and fifty feet,
and that it covers an area of eighty thousand square feet, I have stated
facts of a kind which convey no more than a general idea of largeness to
the ordinary reader. Of the harmony of the proportions, of the amazing
size and strength of the individual parts, of the perfect workmanship,
of the fine grain and creamy amber of the stone, no description can do
more than suggest an indefinite notion.
Public-domain text, read in full here on John Shaqi.
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