“Mr. Weigall is one of the best living authorities on Upper Egypt,” said the _Athenæum_, “and his delightful books are justly admired.” “He is a scholar,” said the _Times_, “deeply versed in Egyptian archæology and history and himself a partner in many discoveries.... He is an idealist gifted with insight and sympathy.” The _Observer_ described him as “a scholar who has let learning quicken and not dull his wits”; and the _Pall Mall Gazette_ spoke of him as “the key to one of the richest storehouses the world contains.” “He makes the sights, the sounds, the very air of the Egyptian deserts visit the senses of his readers with a keenness that is almost painful,” wrote the _Westminster Gazette_. “He is the scholar-sportsman,” said the _Times_ again, “gifted with a fine sensitiveness to the mystery and romance of ancient things.” In 1914, after receiving high honours from various governments, and when his administrative work and his writings had brought him to a position of eminence, he suffered a breakdown in health, due to his exertions in Egypt; and he was obliged to resign and to return to England. Here, during his convalescence, he occupied his spare time by painting designs for stage scenery; and from 1915 to 1918 many of the leading spectacular productions at the chief London theatres owed their success to his art. As in the case of his historical writings, so in that of this hobby, his work was received with unanimous praise. We read of a ballet of his at the Alhambra as being “one of the most beautiful stage pictures ever seen”; of a scene at the Palace Theatre “so exquisite as to make a success of the production without anything else” (_Tatler_); of another scene for which “there is no measure of praise too high” (_Sunday Times_); and so on throughout the entire Press. Mr. Weigall, however, having deeply influenced the whole art of stage decoration in this country by introducing bold simplicity of design and pure colour and light effects, did not long continue to spend his time in this manner; and with the return of health he resumed his archæological work and set himself to the long task of preparing material for works on Egyptian art and history, and on comparative ethics, which are not yet completed. Meanwhile, and perhaps to some extent as a means of livelihood, he wrote three novels: _Madeline of the Desert_ (1920), _The Dweller in the Desert_ (1921), entitled _Burning Sands_ in the United States, and _Bedouin Love_ (1922). These books, again hailed with high tributes from the Press, have attained great popularity and have passed through many editions. From time to time he also wrote the lyrics for songs which have obtained wide appreciation, and he was the author of various little sketches, both dramatic and comic, which have been seen upon the London stage.