d civilization.
Huge, massive, aloof from the world, their temples and tombs and ruins
remain. Research has given us the key to their religion, so we
understand much of the meaning of their wall-paintings and the buildings
themselves. The belief of the Egyptian that life was a short passage and
his house a mere stopping-place on the way to the tomb, which was to be
his permanent dwelling-place, explains the great care and labor spent on
the pyramids, chapels, and rock sepulchers. They embalmed the dead for
all eternity and put statues and images in the tombs to keep the mummy
company. Colossal figures of their gods and goddesses guarded the tombs
and temples, and still remain looking out over the desert with their
strange, inscrutable Egyptian eyes. The people had technical skill which
has never been surpassed, but the great size of the pyramids and temples
and sphinxes gives one the feeling of despotism rather than
civilization; of mass and permanency and the wonder of man's achievement
rather than beauty, but they personify the mystery and power of ancient
Egypt.

The columns of the temples were massive, those of Karnak being seventy
feet high, with capitals of lotus flowers and buds strictly
conventionalized. The walls were covered with hieroglyphics and
paintings. Perspective was never used, and figures were painted side
view except for the eye and shoulder. In the tombs have been found many
household belongings, beautiful gold and silver work, beside the
offerings put there to appease the gods. Chairs have been found, which,
humorous as it may sound, are certainly the ancestors of Empire chairs
made thousands of years later. This is explained by the influence of
Napoleon's Egyptian campaign, but there is something in common between
the two times so far apart, of ambition and pride, of grandeur and
colossal enterprise.

Greece may well be called the Mother of Beauty, for with the Greeks came
the dawn of a higher civilization, a striving for harmony of line and
proportion, an ideal clear, high and persistent. When the Dorians from
the northern part of Greece built their simple, beautiful temples to
their gods and goddesses they gave the impetus to the movement which
brought forth the highest art the world has known. Traces of Egyptian
influence are to be found in the earliest temples, but the Greeks soon
rose to their own great heights. The Doric column was thick, about six
diameters in height, fluted, growing smal