lofty towers with overhanging cornices, between which is the gate
itself, and by whose terrace they are connected. Between these
different pylons is generally a pro-naos, or avenue of sphinxes,
which, on either side, face the causeway which leads to the final gate
which gives entrance to the temple proper. In front of the pylons were
flag-staffs, and the lofty obelisks (one of which now adorns the
Thames Embankment) inscribed with deeply-cut hieroglyphic writing
glorifying the King, whose colossal statues were often placed between
them.

Each of the gateways, and the walls of the temple itself, are covered
with inscriptions, which give it a very rich effect, their strong
shadows and reflected lights breaking up the plain surface of the
walls in a most decorative way, and giving colour to their otherwise
plain exterior. Another point worth notice is that this succession of
gateways becomes gradually larger and more ornate, so that those
entering are impressed with a growing sense of wonder and admiration,
which is not lessened on their return when the diminishing size of the
towers serves to accentuate the idea of distance and immensity.

One of the striking features in the structure of these buildings is
that while the inside walls of tower or temple are perpendicular, the
outside walls are sloping. This was intended to give stability to the
structure, which in modern buildings is imparted by their buttresses;
but in the case of the temples it has a further value in that it adds
greatly to the feeling of massive dignity which was the main principle
of their design.

Entering the temple we find an open courtyard surrounded by a covered
colonnade, the pillars often being made in the form of statues of its