one perfectly at rest. For then the spirit feels: "This is the
meaning of it all."

One of the means which the Egyptian architects used to create this sense
of approach is very simple, but perfectly effective. It consisted
only in making each hall on a very slightly higher level than the one
preceding it, and the sanctuary, which is narrow and mysteriously dark
on the highest level of all. Each time one takes an upward step, or
walks up a little incline of stone, the body seems to convey to the soul
a deeper message of reverence and awe. In no other temple is this sense
of approach to the heart of a thing so acute as it is when one walks in
Edfu. In no other temple, when the sanctuary is reached, has one such a
strong consciousness of being indeed within a sacred heart.

The color of Edfu is a pale and delicate brown, warm in the strong
sunshine, but seldom glowing. Its first doorway is extraordinarily
high, and is narrow, but very deep, with a roof showing traces of that
delicious clear blue-green which is like a thin cry of joy rising up in
the solemn temples of Egypt. A small sphinx keeps watch on the right,
just where the guardian stands; this guardian, the gift of the past,
squat, even fat, with a very perfect face of a determined and handsome
man. In the court, upon a pedestal, stands a big bird, and near it is
another bird, or rather half of a bird, leaning forward, and very much
defaced. And in this great courtyard there are swarms of living birds,
twittering in the sunshine. Through the doorway between the towers one
sees a glimpse of a native village with the cupolas of a mosque.

I stood and looked at the cupolas for a moment. Then I turned, and
forgot for a time the life of the world without--that men, perhaps, were
praying beneath those cupolas, or praising the Moslem's God. For when I
turned, I felt, as I have said, as if all the worship of the world must
be concentrated here. Standing far down the open court, in the full
sunshine, I could see into the first hypostyle hall, but beyond only a
darkness--a darkness which led me on, in which the further chambers of
the house divine were hidden. As I went on slowly, the perfection of
the plan of the dead architects was gradually revealed to me, when the
darkness gave up its secrets; when I saw not clearly, but dimly, the
long way between the columns, the noble columns themselves, the gradual,
slight upward slope--graduated by genius; there is no other word--w