First let me describe the general plan of a temple; it is usually approached by a series of gateways called pylons or pro-pylons, two lofty towers with overhanging cornices, between which is the gate itself, and by whose terrace they are connected. Between these different pylons is generally a pro-naos, or avenue of sphinxes, which, on either side, face the causeway which leads to the final gate which gives entrance to the temple proper. In front of the pylons were flag-staffs, and the lofty obelisks (one of which now adorns the Thames Embankment) inscribed with deeply-cut hieroglyphic writing glorifying the King, whose colossal statues were often placed between them. Each of the gateways, and the walls of the temple itself, are covered with inscriptions, which give it a very rich effect, their strong shadows and reflected lights breaking up the plain surface of the walls in a most decorative way, and giving colour to their otherwise plain exterior. Another point worth notice is that this succession of gateways becomes gradually larger and more ornate, so that those entering are impressed with a growing sense of wonder and admiration, which is not lessened on their return when the diminishing size of the towers serves to accentuate the idea of distance and immensity. One of the striking features in the structure of these buildings is that while the inside walls of tower or temple are perpendicular, the outside walls are sloping. This was intended to give stability to the structure, which in modern buildings is imparted by their buttresses; but in the case of the temples it has a further value in that it adds greatly to the feeling of massive dignity which was the main principle of their design. Entering the temple we find an open courtyard surrounded by a covered colonnade, the pillars often being made in the form of statues of its founder. This court, which is usually large, and open to the sky, was designed to accommodate the large concourse of people which would so often assemble to witness some gorgeous temple service, and beyond, through the gloomy but impressive hypostyle[7] hall, lay the shrine of the god or goddess to whom the temple was dedicated and the dark corridors and chambers in which the priests conducted their mystic rites. [Footnote 7: One with a roof supported by columns.] In a peculiar way the temple of Dendereh impresses with a sense of mystic dignity, for though the pylons and obelisks have gone, and its outside precincts are smothered in a mass of Roman débris, the hypostyle hall which we enter is perhaps more impressive than any other interior in Egypt. The massive stone roof, decorated with illumination and its celebrated zodiac, is supported by eighteen huge columns, each capped by the head of the goddess Hathor, to whom the temple is dedicated, while columns and walls alike are covered with decorative inscriptions.