THE LOWER PORTION OF EL KHASNE. 
This view partially gives the profile of El Khasne. The general architecture is Greek, 
but mingled with the luxurious fancy and exuberant decoration of Asia; the whole 
giving the impression of singular energy in the national taste, which could encounter 
- uch difficulties, yet surmount them with such success, and combine its triumph over 
ffie rudest forms of nature with such refinement of beauty. 
Four Corinthian columns, thirty-five feet in height and three in diameter, supporting 
an entablature or pediment richly ornamented, compose the portico. On each flank 
stands a pilaster, and in the space between it and the last column is a colossal equestrian 
group in alto relievo. The entablature is ornamented with vases, connected by festoons 
of flowers, and in the centre of the pediment stands an eagle with expanded wings. 
The superstructure is more fanciful. It consists of a small circular temple, surrounded 
with Corinthian pillars, and flanked by two smaller temples of the same order. On 
the centre one stands the urn from which the building derives its Arab name, the 
Treasure, as the natives imagine it to contain the gold of Pharaoh, and frequently fire 
at it, in the hope of fracturing the depository. All the friezes and capitals are very 
richly sculptured . 1 
The steps to the portico are broken, and covered with grass and wild flowers. 
One column has been thrown down, and the relievi and statues are much decayed; 
but such is the magnitude of its general scale, and such is its grace, that those defects 
scarcely strike the eye. The fine colour of the stone, which is a rich rose, and the 
singular preservation of its most delicate carvings, give it the appearance of having 
been erected but yesterday. 
If the Khasne owes some of its effect to the suddenness with which it bursts 
upon the sight, and the contrast which its fanciful design and the freshness of its 
colour form with the rugged and stern aspect of the surrounding precipices; yet are 
we not to regard even those circumstances as evincing the singular skill of the designers? 
The effect is described as fascinating. “ The idea of it,” says Robinson, “ was uppermost 
in my mind during the day and all the night. In the morning I returned, and beheld 
it with increased admiration. There it stands as it has stood for ages, in beauty and 
loneliness. Its rich roseate tints, as I bade it farewell, were lighted up and gilded by 
the beams of the morning sun, and I turned from it at length with an impression 
which will be effaced only by death .” 2 
The Artist’s farewell to the City touchingly and naturally expresses the influence 
of the scene :— 
“The Camels were loaded, and our caravan was in motion. I repeatedly turned 
Kinnear, Cairo, &c. 
3 Biblical Researches, ii. 519. 
