Though unable to preserve the Pharos the Arabs admired it, and speak, with their love of the marvellous, of a statue on it whose finger followed the diurnal course of the sun, of a second statue who gave out with varying and melodious voices the various hours of the day, and of a third who shouted an alarm as soon as a hostile flotilla set sail,. The first two statues may have existed; the Alexandrians loved such toys. And there is an element of truth in another Arab legend—that the building rested upon a “glass crab.” Some vitrious composition probably did form the foundation, and we know that “Cleopatra’s Needle” actually did rest on crabs of metal (p. 162); the oriental mind has confused the two monuments. The legend culminates in the visit to the Pharos of a cavalcade of horsemen who lose their way in the 300 rooms, and inadvertently riding into a crack in the glass crab’s back fall into the sea! But sometimes the lighthouse sheltered pleasanter adventures. The poet El Deraoui, for example, writes: A lofty platform guides the voyager by night, guides him with its light when the darkness of evening falls. Thither have I borne a garment of perfect pleasure among my friends, a garment adorned with the memory of beloved companions. On its height a dome enshadowed me, and thence I saw my friends like stars. I thought that the sea below me was a cloud, and that I had set up my tent in the midst of the heavens. Moreover “El Manarah,” as the Arabs called it, gave the name to, and became the model for, the “minaret.” There is no minaret in Alexandria that closely follows the Pharos, but at Cairo (e.g. at the Tombs of the Mamelukes) one can still see the square bottom story, the Octagon, the Round and the Summit that exactly reproduce the four-stage design of Sostratus. (3). FORT KAIT BEY.