We inquired of the Chaous how far the channel continued to wind into the heart of the rock, and what it eventually led to; but he could only inform us that its length had never been ascertained, and that it was known to be the haunt of demons and fairies, as the Arabs of the place (he said) could testify! It would have been useless to assert our disbelief of this statement, that is, of the latter part of it; and having satisfied ourselves by examining this mysterious passage, as far as the day-light extended, and ascertaining that it continued still farther into the mountain, we determined to take an early opportunity of bringing lights and exploring it to the end, and proceeded to examine the other parts of the excavation. On one side of the cascade are two excavated chambers, or rather one chamber divided into two compartments; and in the farther division is a second basin, sunk below the level of the chamber, which appears to have originally communicated with the stream by means of a small aperture in the rock just above it; but no water at present finds its way through this opening, and the basin would be dry were it not for the rain which washes into it from without during the winter season. It is probable that this reservoir was originally devoted to the service of the priests who had the charge of the sacred stream, in the performance of their religious ceremonies. Nearly opposite to it is what appears to have been the principal entrance; and we found here a tablet, broken in two pieces, which seems to have fallen from over the doorway, and near it the fragment of a fluted, engaged column. On the tablet is sculptured three female figures, joining hands as if performing a sacred dance: the mode of executing the draperies in this bas-relief would seem to point it out as belonging to a very early period; and the difference of style between it and another bas-relief which we found near it, representing a female figure crowning a term, will be obvious on a reference to the plates of the two performances given. The last-mentioned tablet is of white marble, in excellent style, and finished with all the delicacy and taste of the most refined periods: the upper part of it appeared at first sight to be naked, but on a more attentive inspection it was found to be covered with what is evidently intended for a light, transparent, drapery, the few folds of which are very slightly, though very clearly defined, and result with great propriety as well as simplicity from the easy and graceful action of the figure. As the tablet has lain for ages with its face towards the ground, the polish still remains very conspicuously upon its surface; and contributes to give an additional air of finish to this tasteful and interesting performance.