e, which consisted of a very large cavetto, or hollow moulding,
surmounted by a fillet. These features are almost invariable from the
earliest to the latest period of the style. This cavetto was generally
enriched, over the doorways, with an ornament representing a circular
boss with a wing at each side of it (Fig. 29).

One other feature of Egyptian architecture which was peculiar to it
must be mentioned; namely, the obelisk. Obelisks were nearly always
erected in pairs in front of the pylons of the temples, and added to
the dignity of the entrance. They were invariably monoliths, slightly
tapering in outline, carved with the most perfect accuracy; they must
have existed originally in very large numbers. Not a few of these have
been transported to Europe, and at least twelve are standing in Rome,
one is in Paris, and one in London.

[Illustration: FIG. 29.--CROWNING CORNICE AND BEAD.]

The most striking features, and the most artistic, in the decoration
of Egyptian buildings, are the mural paintings and sculptured
pictures, which are found in the most lavish profusion, and which
exhibit the highest skill in conventionalising the human figure and
other objects.[3] Tombs and temples, columns and obelisks are
completely covered with graphic representations of peaceful home
pursuits, warlike expeditions and battle scenes, and--though not till
a late period--descriptions of ritual and mythological delineations of
the supposed spirit-world which the soul has entered after death.
These pictures, together with the hieroglyphic inscriptions--which
are in themselves a series of pictures--not only relieve the bare wall
surface, but, what is far more important, enable us to realise the
kind of existence which was led by this ancient people; and as in
nearly every case the cartouche (or symbol representing the name) of
the monarch under whose reign the building was erected was added, we
should be able to fix the dates of the buildings with exactness, were
the chronology of the kings made out beyond doubt.

The following description of the manner in which the Egyptian
paintings and sculptures were executed--from the pen of Owen
Jones--will be read with interest:--"The wall was first chiselled as
smooth as possible, the imperfections of the stone were filled up with
cement or plaster, and the whole was rubbed smooth and covered with a
coloured wash; lines were then ruled perpendicularly and horizontally
with red colour, forming