A lighthouse was a necessity. The coast of Egypt is, in its western section, both flat and rocky, 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 mechanics and keepers were housed, and its mass was threaded by a spiral ascent, probably by a double spiral. There may have been hydraulic machinery in the central well for raising the fuel to the top; otherwise we must imagine a procession of donkeys who cease not night and day to circumambulate the spirals with loads of wood upon their backs. The story ended in a cornice and in statues of Tritons: here too, in great letters of lead, was a Greek inscription mentioning the architect: “Sostratus of Cnidus, son of Dexiphanes, to the Saviour Gods: for sailors”—an inscription which, despite its simplicity, bore a double meaning. The Saviour Gods were the Dioscuri, but a courtly observer could refer them to Ptolemy Soter and his wife, whose worship their son was then promoting. For the building of the lighthouse (279 B.C.) was connected with an elaborate dynastic propaganda known as the “As-good-as-Olympic Games,” and with a mammoth pageant which passed through the streets of Alexandria, regardless of imagination and expense. Nothing could be seen in the pageant, neither elephants nor camels nor dances of wild men, nor allegorical females upon a car, nor eggs that opened and disclosed the Dioscuri; and the inscription on the first story of the Pharos was a subtle echo of its appeal.

The second story was octagonal and entirely filled by the ascending spirals. The third story was circular. Then came the lantern. The lantern is a puzzle, because a bonfire and delicate scientific instruments appear to have shared its narrow area. Visitors speak, for instance, of a mysterious “mirror” up there, which was even more wonderful than the building itself. Why didn’t this mirror crack, and what was it? A polished steel reflector for the fire at night or for heliography by day? Some writers describe it as made of finely wrought glass or transparent stone, and declare that when they sat under it they could see ships at sea that were invisible to the naked eye. A telescope? Is it conceivable that the Alexandrian school of mathematics and mechanics discovered the lens and that their discovery was lost and forgotten when the Pharos fell? It is possible: the discoveries of Aristarchus were forgotten, and Galileo persecuted for reviving them. It is certain that the lighthouse was equipped with every scientific improvement known to the age, that it was the outward expression of the studies pursued in the Museum across the straits, and that its architect could have consulted not only Aristarchus, but Eratosthenes, Apollonius of Perga, and Euclid.

Standing on the lantern, at the height of five hundred feet above the ground, a statue of Poseidon struck the pious note, and gave a Greek air to Africa seen from the sea. Other works of art are also reported: for example, a statue whose finger followed the diurnal course of the sun, a second statue who gave out with varying and melodious voices the various hours of the day, and a third who shouted an alarm as soon as a hostile flotilla set sail from any foreign port. This last must belong to an even more remarkable building, the Pharos of legend, which we will measure in a moment. The lighthouse was the key of the Alexandrian defences, and Cæsar occupied it before attacking the city. It was also the pivot of a signalling system that stretched along the coast. Fifteen miles to the west, on a ridge among masses of marigolds, the little watch-tower of Abousir is still standing, and it reproduces, in its three stories, the arrangements of Sostratus.