e, were of course seen from
afar off, both during our walk and in ascending and descending the
river. As is the case in nearly all other Egyptian buildings, the effect
at a distance is anything but picturesque. From want of objects of
comparison, the impression of great size is not produced; and nothing
can be meaner in outline than two towers like truncated pyramids,
pierced with small, square windows at irregular intervals. On a nearer
approach, however, the surface-ornament begins to appear; and the
central doorway, overhung by a rich and painted cornice, presents itself
in its really grand proportions, but crushed, as it were, by the vast
size of the twin towers, which now seem magnified into mountains. At
Edfou the effect of this surprise is partly injured by the
circumstances: first, the accumulation of huts through which you
approach; and second, that of mounds of dirt which have risen nearly to
the height of the doorway. However, when you come to the summit of these
mounds, almost on a level with the lintel, and look down between the
enormous jambs into a kind of valley formed by the great court, with its
wonderful portico and belt of columns, it is difficult to conceive a
more imposing scene.

The walls on all sides were covered with gigantic figures, quite
wonderful to behold in their serene ugliness; but awakening no more
human sympathy than the singular figures we saw on the Chinese-patterned
plate stuck over the doorway in Nubia. The exaggeration that is usually
indulged in with reference to Egyptian art is such, that if we were to
attempt to describe these sculptured ornaments according to our own
impressions, we should run the risk of being accused of caricature. We
do not mean on this temple only, but on all the temples of Egypt. Now
and then a face of beautiful expression, though still with heavy
features, is met with; but in general both countenance and figure are
flat, out of proportion, and stiff in drawing, whilst the highest effort
of colouring consists of one uniform layer, without tints or gradation.
Perhaps amidst the many thousand subjects found in tombs and temples
between Philoe and Cairo, one or two may be treated with nearly as much
skill as was exhibited by the Italian painters before the time of
Cimabue--except that scarcely an attempt even is made at grouping or
composition. Nor must it be supposed that the Egyptian school was in
course of development. They seem to have arrived at the hi