are
almost always circular in plan, but the shaft is sometimes channelled.
They are for the most part of sturdy proportions, but great grace and
elegance are shown in the profile given to shafts and capitals. The
design of the capitals especially is full of variety, and admirably
adapts forms obtained from the vegetable kingdom. The general effect
of the Egyptian column, wherever it is used, is that it appears to
have, as it really has, a great deal more strength than is required.
The fact that the abacus (the square block of stone introduced between
the moulded part of the capital and what it carries) is often smaller
in width than the diameter of the column aids very much to produce
this effect.

_Ornaments._

Mouldings are very rarely employed; in fact, the large bead running up
the angles of the pylons, &c., and a heavy hollow moulding doing duty
as a cornice, are all that are usually met with. Sculpture and carving
occur occasionally, and are freely introduced in later works, where we
sometimes find statues incorporated into the design of the fronts of
temples. Decoration in colour, in the shape of hieroglyphic
inscriptions and paintings of all sorts, was profusely employed (Figs.
27-30), and is executed with a truth of drawing and a beauty of
colouring that have never been surpassed. As has been pointed out,
almost every object drawn is partly conventionalised, in the most
skilful manner, so as to make it fit its place as a piece of a
decorative system.

_Architectural Character._

This is gloomy, and to a certain extent forbidding, owing to the heavy
walls and piers and columns, and the great masses supported by them;
but when in its freshness and quite uninjured by decay or violence,
the exquisite colouring of the walls and ceilings and columns must
have added a great deal of beauty: this must have very much diminished
the oppressive effect inseparable from such massive construction and
from the gloomy darkness of many portions of the buildings. It is also
noteworthy that the expenditure of materials and labour is greater in
proportion to the effect attained than in any other style. The
pyramids are the most conspicuous example of this prodigality. Before
condemning this as a defect in the style, it must be remembered that a
stability which should defy enemies, earthquakes, and the tooth of
time, was far more aimed at than architectural character; and that,
had any mode of construction less lavish of m