Here we find very early operations in the way of canals, dikes, and great public edifices, so bold in conception and thorough in execution as to fill our greatest engineers of these days with astonishment.

The quarrying, conveyance, cutting, jointing, and polishing of the enormous blocks in the interior of the Great Pyramid alone are the marvel of the foremost stone-workers of our century.
As regards architecture, we find not only the pyramids, which date from the very earliest period of Egyptian history, and which are to this hour the wonder of the world for size, for boldness, for exactness, and for skilful contrivance, but also the temples, with long ranges of colossal columns wrought in polished granite, with wonderful beauty of ornamentation, with architraves and roofs vast in size and exquisite in adjustment, which by their proportions tax the imagination, and lead the beholder to ask whether all this can be real.
As to sculpture, we have not only the great Sphinx of Gizeh, so marvellous in its boldness and dignity, dating from the very first period of Egyptian history, but we have ranges of sphinxes, heroic statues, and bas-reliefs, showing that even in the early ages this branch of art had reached an amazing development.
As regards the perfection of these, Lubke, the most eminent German authority on plastic art, referring to the early works in the tombs about Memphis, declares that, "as monuments of the period of the fourth dynasty, they are an evidence of the high perfection to which the sculpture of the Egyptians had attained." Brugsch declares that "every artistic production of those early days, whether picture, writing, or sculpture, bears the stamp of the highest perfection in art." Maspero, the most eminent French authority in this field, while expressing his belief that the Sphinx was sculptured even before the time of Mena, declares that "the art which conceived and carved this prodigious statue was a finished art--an art which had attained self-mastery and was sure of its effects"; while, among the more eminent English authorities, Sayce tells us that "art is at its best in the age of the pyramid-builders," and Sir James Fergusson declares, "We are startled to find Egyptian art nearly as perfect in the oldest periods as in any of the later." The evidence as to the high development of Egyptian sculpture in the earlier dynasties becomes every day more overwhelming.

What exquisite genius the early Egyptian sculptors showed in their lesser statues is known to all who have seen those most precious specimens in the museum at Cairo, which were wrought before the conventional type was adopted in obedience to religious considerations.
In decorative and especially in ceramic art, as early as the fourth and fifth dynasties, we have vases, cups, and other vessels showing exquisite beauty of outline and a general sense of form almost if not quite equal to Etruscan and Grecian work of the best periods.
Take, next, astronomy.

Going back to the very earliest period of Egyptian civilization, we find that the four sides of the Great Pyramid are adjusted to the cardinal points with the utmost precision.

"The day of the equinox can be taken by observing the sun set across the face of the pyramid, and the neighbouring Arabs adjust their astronomical dates by its shadow." Yet this is but one out of many facts which prove that the Egyptians, at the earliest period of which their monuments exist, had arrived at knowledge and skill only acquired by long ages of observation and thought.