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 and ships needed a landmark to show them where Alexandria lay, and a guide through the reefs that block her harbours. Pharos was the obvious site, because it stood in front of the city; and on Pharos the eastern promontory, because it commanded the more important of the two harbours—the Royal. But it is not clear whether a divine madness also seized the builders, whether they deliberately winged engineering with poetry, and tried to add a wonder to the world. At all events they succeeded, and the arts combined with science to praise their triumph. Just as the Parthenon had been identified with Athens, and St. Peter's was to be identified with Rome, so, to the imagination of contemporaries, "The Pharos" became Alexandria and Alexandria the Pharos. Never, in the history of architecture, has a secular building been thus worshipped and taken on a spiritual life of its own. It beaconed to the imagination, not only to ships, and long after its light was extinguished memories of it glowed in the minds of men. Perhaps it was merely very large; reconstructions strike a chill, and the minaret, its modern descendant, is not supremely beautiful. Something very large to which people got used a—Liberty Statue, an Eiffel Tower? The possibility must be faced, and is not excluded by the ecstasies of the poets.

The lighthouse was made of local limestone, of marble, and of reddish-purple granite from Assouan. It stood in a colonnaded court that covered most of the promontory. There were four stories. The bottom story was over two hundred feet high, square, pierced with many windows. In it were the rooms (estimated at three hundred) where the B