The portion of Karnak here modelled is taken from the Hall of Columns, commenced by Osirei the First, and completed by his son, Rameses the Great, a most illustrious monarch, whose deeds are frequently recorded, and whose statue is found in many parts of Egypt, and who flourished during the twelfth century before Christ. Before entering the temple, we stay to notice the representations of animals and birds on the frieze above the columns, which is the dedication of the temple to the gods. Entering between the columns, on the lower part of which is the name of Rameses the Great, and, in the middle, a representation of the three principal divinities of Thebes receiving offerings from King Osirei; and, after thoroughly examining this interesting restoration, we return again into the outer court. The visitor who wishes to realise to himself the actual condition of the principal Egyptian temples and wall-sculptures of Karnak and Kalabshee, can do so by inspecting the splendid collection of French photographs of these ancient works of art in the Gallery immediately over this court, or by consulting the works of Champollion and Sir Gardner Wilkinson in the Reading Room of the Library. Regaining the Nave, a few steps, directed to the left, bring us to [Illustration: TOMB OF BENI HASSAN.] THE GREEK COURT.[6] Architecture and sculpture have here made a stride. We have noted even in Egypt the advance from early rude effort to a consistent gigantic system of art, which grew under the shadow of a stern hierarchical religion. We step at once from the gloom into the sunshine of Greek art. The overwhelming grandeur of Egypt, with its austere conventionalities, is exchanged for true simplicity, great beauty, and ideality. Just proportions, truth, grace of form, and appropriate ornament, characterised Greek architecture. The fundamental principles of construction, as will readily be seen, were the same in Greece as in Egypt, but improved, added to, and perfected. The architecture of both countries was columnar; but, compare the Greek columns before us with those which we just now saw in Egypt, taken from the tomb of Beni Hassan: the latter are simple, rude, ill-proportioned, and with slight pretension to beauty, whilst, in the former, the simplicity still prevailing, the rudeness and heaviness have departed, the pillars taper gracefully, and are finely proportioned and elegant, though of great strength. The specimen of Greek architecture before us is from the later period of the first order, namely, the Doric; and the court is taken, in part, from the Temple of Jupiter at Nemea, which was built about 400 years B.C., still within the verge of the highest period of Greek Art. Passing along the front, we notice on the frieze above the columns the names of the principal Greek cities and colonies. [6] See “Handbook to the Greek Court,” by George Scharf, jun.; also, “An Apology for the Colouring of the Greek Court,” by Owen Jones.