Dr. E. A. W. Budge, the learned Keeper of the Egyptian and Assyrian antiquities in the British Museum, says he believes that a series of carvings on the walls of the Temple of Edfû, represent the invaders in prehistoric times, who made their way into Egypt, from a country in the East, by way of the Red Sea.... In later times the indigenous priesthoods merged the legendary history of the deified king of the "Blacksmiths" is that of Horus, the god of heaven in the earliest times, and in that of Râ which belonged to a later period. The mythical story of Horus conquering Nubia and Egypt, with which Dr. Budge thinks the true story of incursion was blended, contains the significant assertions that the warriors of Horus, the "Blacksmiths," were armed with weapons of metal, and chains, and were expert builders. According to the Theosophical records the _Great_ Pyramid was built long before the fifth millennium B. C. There are many mysteries connected with that most stupendous work of man which have not yet been suspected by the Egyptologists, not the least of which is the problem of its date and its builder; but, so far as they go, the stories of Horus' invasion and M. Capart's luminous suggestions as to the origin of the Dynastic Egyptian civilization, are not inconsistent with the account of Kullûka-Bhatta; and in the light of the new discoveries of one or more prehistoric civilizations in the Nile Valley, it looks as if the teachings of Theosophy were being vindicated in a way that was not dreamed of by archaeologists in the days when H. P. Blavatsky opened a small window into the mysterious past of glorious Egypt. THE SCOPE OF ART: by R. W. Machell A writer in a London weekly (_Black and White_) makes one or two points in reference to art that are worthy of notice. He says that it is nonsense to talk of art elevating the people, because it is itself the index of their condition. This is just one of those simple fallacies that contain a sufficient amount of the truth to make them misleading. Art is not an index of the condition of the people, but only of a very small part of the people; it would be more true to say that the popular appreciation of art is such an index; but it is not true to say or to imply that the condition of the people governs its range or scope. We are constantly met by the experience of art that is unappreciated by the people in whose midst it appears.