columns were reared and lintels laid throughout the length and breadth of the “Land of Bondage.”  It is the key-note of all that architecture; and a brief examination into the principles of this, new birth of the Lotus, of the monumental straightening and stiffening of its graceful and easy lines, will afford some insight into the strange processes of the human mind, when it follows the grandest impulse of Love, and out of the material beauties of Nature creates a work of Art.

It is well known that the religion of the old Egyptians led them to regard this life as a mere temporary incident, an unimportant phase of their progress toward that larger and grander state imaged to them with mysterious sublimity in the idea of Death or Eternity.  In accordance with this belief, they expressed in their dwellings the sentiment of transitoriness and vicissitude, and in their tombs the immortality of calm repose.  And so their houses have crumbled into dust ages ago, but their tombs are eternal.  In all the relations of Life the sentiment of Death was present in some form or other.  The hallowed mummies of their ancestors were the most sacred mortgages of their debts, and to redeem them speedily was a point of the highest honor.  They had corpses at their feasts to remind them how transitory were the glory and happiness of the world, how eternal the tranquillity of Death.

Now, how was this prevailing idea expressed in their Art?  They looked around them and saw that all Organic Life was full of movement and wavy lines; their much-loved Lotus undulated and bent playfully to the solemn flow of the great Nile; the Ibis fluttered with continual motion; their own bodies were full of ever-changing curves; and their whole visible existence was unsteady, like the waves of the sea.  But when the temporary Life was changed, and “this mortal put on immortality,” their eyes and souls were filled with the utter stillness and repose of its external aspects; its features became rigid and fixed, and were settled to an everlasting and immutable calm; the vibrating grace of its lines departed, and their ever-varying complexity became simplified, and assumed the straightness and stiffness of Death.  So the straight line, the natural expression of eternal repose, in contradistinction to the wavy line, which represents the animal movements of Life, became the motive and spirit of their Art.  The anomaly of Death in Life was present in every development of the creative faculty, and no architectural feature could be so slight and unimportant as not to be thoroughly permeated with this sentiment.  The tender and graceful lines of the Lotus became sublime and monumental under the religious loyalty of Egyptian chisels; and these lines, whether grouped or single, in the severity of their fateful repose, in their stateliness and immobility, wherever found, are awful with the presence of a grand serious humanity long passed away from any other contact with living creatures.  The rendering of the human form, under this impulse of Art, produced results in which the idea of mutability was so overwhelmed in this grandeur of immortality, that we cry