The Captain invited Sean and Emily into the cockpit as a birthday treat after we landed in Narita (with tighter security it is no longer possible to do this during the flight). (KT)

We set up my marble light sculpture "Book of Light" (which I sent from Japan before we left for Lebanon) for Phillida and Christopher. Thank you both, your purchase of my sculpture sponsored our particiaption in the Rachana International Sculpture Symposium in Lebanon and has given us the most wonderful research opportunity. Thank you also for having us to stay for the last 3 days.

This morning we said goodbye to Phillida and her family and set off for Heathrow to meet Emily, Sean and Ann chan arriving from Edinburgh. Great to see them again after 3 weeks. Then the four of us flew back to Japan.

Went to hear our friend Barbara singing with the Helen Chadwick Group in a concert for the Mayors Summer Festival in Trafalgar Square (Barbara told us this was on after we met up with her, Lucy and John for a meal last night).

The new dome roof of the Great Court at the British Museum works wonderfully well. We were hoping to study Lebanese, Syrian and Egyptian rooms to follow up on the last few weeks, but ran out of time and only managed flying glances before being bustled out as the last visitors. (KT)

But instead of being satisfied by this incredible visit we are now determined to go back to these sites, and long to explore Luxor and more of Egypt.

No one knows exactly what they were used for, but possibly to carry the dead king along the Nile to his tomb.

Much more interesting was the Mortuary Temple next to the Sphynx. We spent ages examining the huge blocks used in its construction which appear to have been set on top of eachother and then carved back to create perfect planes, sometimes turning corners to make stronger structures with shapes and irregualr sizes I recognise from photographs of Machu Picchu in the Andes, and was not expecting in Giza. Occasional blocks of polished black or red granite are set into the limestone walls which were probably also highly polished. The proportions of the blocks and the space created between them and impressive pillars are stunning. Must have been gorgeous when it was still used to receive funeral barges directly from the Nile.

The guides here were enchanting and despite limited common language made their best efforts to explain things to us without the constant requests for "Baaksheesh" that are so obvious in most tourist sites.

Soon discovered that the best way to deal with endless hands extended for backsheesh was to offer my own hand back in a handshake. Egyptian people are very hospitable and have a lovely sense of humour so this was usually well received. But the poverty is so extreme that we are rich by comparsion and I tried to get hold of small denomination notes to be able to give something at least sometimes.

Rather like Kata`s sculptures in reverse.

Inside several mastabahs we saw the most incredible reliefs. It appears as if some of them were finished in a hurry, and we noticed that teams of craftsmen evidently went through the complex of rooms following the process through as we could see different stages of work in reverse order from the last room: drawing in red ochre, rough carving of the outline, carving of the form within the line, fine finishing, and painting. A wonderful chance for us (2 stone sculptors) to study their techniques. (KT)

Explored the Cairo Museum 3,000 years worth of Egyptian art (only part of the collection is on display but still far to much to see in a lifetime let alone one morning). Wonderful to see and touch so many gorgeous pieces up close without the high security which surrounds them exhibited outside Egypt. I nearly fell into a wooden crate in the middle of one corridor to find myself nose to nose with the Bust of Akhenaten which had just arrived back from Japan.

Tutankhamun`a treasures. the beautifully crafted mask is surprisingly roughly finished on the inside. Exquisite jewelry among the 1,700 grave goods.

By evening Claire we were delighted to get back to Claire`s house to sit down with a cool drink. But after feeding us she pushed us back out to see the "Sound and Light Show" at Giza. Disney would have been proud of the cheezy commentary, but the site`s dignity survived more than intact and the lighting did provide some incredible impressions.

Exciting to see Giza for the first time - we will go back to see it on horse back on Friday, and on foot on Sunday.

At the Sayyidna El-Husayan mosque , thinking of the date, I made a silent appeal for religious tolerance and peace just in case any one up there might have been listening. (KT)

We all spent the day discussing ideas (KT)

From left: Mariano, Yves, Kate, Alfred, Fabrizio and Kata

Amazing what you can do in 10 days when all you have to concentrate on is sculpture!

In the evening we all gave a slide talk on our work. (KT)

After seeing so many wonderful sites in the blazing sun we were delighted to sit down in a fresh cool restaurant next to a rushing water fall, and then be presented with a feast.

I did not realise til after we left Aanjar that is the site of a rare example of Umayyad (the first great dynasty of Arab Muslim rulers based in Damascus) architecture circa AD 705. I do not think I would have sat there enjoying the nargileh if I had known what was so close by, but also do not think that any of us could have walked another step.

Tonight Mariano cooked us all a delicious seafood paella.

Mariano is so confident working in stone (he brought most of his own tools with him, and has worked with similar material in Spain), and today I was really impressed watching him teaching a woman and her two young children the basics of stone carving and letting them have a go on his nearly finished sculpture - apparently unconcerned that they might smash one of the perfectly cut fine edges he has carved.

By contrast he seemed nervous about his Paella working with different tools and materials than he is used to.

Although he insisted that he did not need any assistants, Kata was determined to get his chance of the "quality control" study method. And like last night`s Japanese meal it became an international culture event with everyone coming along to watch even if they were not allowed to help.

Before becoming a sculptor 40 years ago Mariano spent several years as a professional soccer player in the French second division, so speaks fluent French. Kata says that he could not understand a word of what Mariano was saying (and is not even sure if he was speaking French or Spanish) but somehow as Mariano just keeps talking as if there is no language barrier, and they understand eachother`s very well.

Although sculpture is a non verbal language, the work by Lebanese, Moroccan and Syrian sculptors we have met here has a different visual vocabulary and form despite common international influences.

This new Arabic context combined with watching the 3 other European artists and Kata working on their sculptures while I work on my own is fascinating. (KT)

Marcel (who always drives us up from the hotel to the working site) did not turn up until we managed to get him on the telephone to discover that he thought we were having a day off as it is Sunday. By the time we got up to Rachana the antique crane was already moving sculpture. Mariano jumped out of the mini van as soon as it had nearly stopped with his heart evidently in his mouth at seeing his sculpture swinging in the breeze. The Lebanese limestone is wonderful material - very soft to cut and carve, but a fine strong grain which can hold intricate form. Mariano who is a fantastic technician was horrified at the way they were handling his piece, but it was fine.

In the evening there was a feast in Anachar`s garden for his wife Elma and son`s birthday party. Idyllic garden setting surrounded by candles, sculpture, and tables laden with good food and drink.

Even with the crane there, Basbous style seems to be why use a machine if you can do it manually. (KT)