withstood the ravages of time. Fifty of the sphinxes remain, and there is evidence that the original number was six hundred. [Illustration: GATEWAY AT KARNAK.] All who have visited this scene describe the impression as superior to that made by any earthly object. Says Denon, “The whole French army, on coming in sight of it, stood still, struck as it were with an electric shock.” Belzoni says: “The sublimest ideas derived from the most magnificent specimens of modern architecture, cannot equal those imparted by a sight of these ruins. I appeared to be entering a city of departed giants, and I seemed alone in the midst of all that was most sacred in the world. The forest of enormous columns adorned all round with beautiful figures and various ornaments, the high portals seen at a distance from the openings to this vast labyrinth of edifices, the various groups of ruins in the adjoining temples——these had such an effect as to separate me in imagination from the rest of mortals, and make me seem unconscious whether I was on earth or some other planet.” And Karnak, like all Nile scenes, is said to be finer by moonlight than sunlight. But you must go protected, for the wild beast does not hesitate to make a lair of the caverns amid these ruins. Human vanity needs no sadder commentary. This temple was the acme of old Egyptian art. Its mass was not the work of one king, but of many. It therefore measures taste, wealth and architectural vigor better than a book. But its founder, Thutmes III., left similar monuments to his power. They have been traced in Nubia, in the island of Elephantine, in various cities of northern Egypt, and even in Mesopotamia. [Illustration: A MUMMY.] In Central Thebes you meet with ruins of the home palace or dwelling place of Rameses III. The king’s chamber can be traced by the character of the sculptures. You see in these the king attended by the ladies of his harem. They are giving him lotus flowers and waving fans before him. In one picture he sits with a favorite at a game of draughts. His arm is extended holding a piece in the act of moving. And so the various domestic scenes of the old monarch appear, reproducing for us, after a period of 3500 years, quite a history of how things went on in the palaces of royalty upon the Nile.