I was never taken, caught up into an atmosphere, in Kom Ombos. I examined it with interest, but I did not feel a spell. Its grandeur is great, but it did not affect me as did the grandeur of Karnak. Its nobility cannot be questioned, but I did not stilly rejoice in it, as in the nobility of Luxor, or the free splendor of the Ramesseum. The oldest thing at Kom Ombos is a gateway of sandstone placed there by Thothmes III as a tribute to Sebek. The great temple is of a warm-brown color, a very rich and particularly beautiful brown, that soothes and almost comforts the eyes that have been for many days boldly assaulted by the sun. Upon the terrace platform above the river you face a low and ruined wall, on which there are some lively reliefs, beyond which is a large, open court containing a quantity of stunted, once big columns standing on big bases. Immediately before you the temple towers up, very gigantic, very majestic, with a stone pavement, walls on which still remain some traces of paintings, and really grand columns, enormous in size and in good formation. There are fine architraves, and some bits of roofing, but the greater part is open to the air. Through a doorway is a second hall containing columns much less noble, and beyond this one walks in ruin, among crumbled or partly destroyed chambers, broken statues, become mere slabs of granite and fallen blocks of stone. At the end is a wall, with a pavement bordering it, and a row of chambers that look like monkish cells, closed by small doors. At Kom Ombos there are two sanctuaries, one dedicated to Sebek, the other to Heru-ur, or Haroëris, a form of Horus in Egyptian called “the Elder,” which was worshiped with Sebek here by the admirers of crocodiles. Each of them contains a pedestal of granite upon which once rested a sacred bark bearing an image of the deity. [Illustration: TEMPLE OF KOM OMBOS. SCREEN WALL OF HYPOSTYLE HALL]