It often happens that we see two persons who do the same work and are situated in the same way in the world who are very different in their manner; one is light-hearted and happy, the other heavy and sad. If you can find out the truth, it will result that the sad one is matter-of-fact, and has no imagination--he can only think of his work and what concerns him personally; but the merry one would surprise you if you could read his thoughts--if you could know the distances they have passed over, and what a vast difference there is between his thought and his work. So while it is natural for almost every one to exclaim joyfully at the beauty of pictures, and to enjoy looking at them simply, I wish my readers to think of their uses also, and understand the benefits that may be derived from them. I have only hinted at a few of these uses, but many others will occur to you. When pictures are composed of beautiful colors, such as we usually think of when we speak of the art of painting, the greatest charm of pictures is reached, and all civilized people have admired and encouraged this art. It is true that the remains of ancient art now existing are principally those of architecture or sculpture, yet there are a sufficient number of pictures in color to prove how old the art of painting is. EGYPT. Egyptian painting is principally found on the walls of temples and tombs, upon columns and cornices, and on small articles found in burial places. There is no doubt that it was used as a decoration; but it was also intended to be useful, and was so employed as to tell the history of the country;--its wars, with their conquests and triumphs, and the lives of the kings, and many other stories, are just as distinctly told by pictures as by the hieroglyphics or Egyptian writings. We can scarcely say that Egyptian painting is beautiful; but it certainly is very interesting. [Illustration: FIG. 2.--KING RAMESSES II. AND HIS SONS STORMING A FORTRESS. _From Abousimbel._] The Egyptians had three kinds of painting: one on flat surfaces, a second on bas-reliefs, or designs a little raised and then colored, and a third on designs in _intaglio_, or hollowed out from the flat surface and the colors applied to the figures thus cut out. They had no knowledge of what we call perspective, that is, the art of representing a variety of objects on one flat surface, and making them appear to be at different distances from us--and you will see from the illustrations given here that their drawing and their manner of expressing the meaning of what they painted were very crude. As far as the pictorial effect is concerned, there is very little difference between the three modes of Egyptian painting; their general appearance is very nearly the same.