As for the designs traced within lines which cross each other at regular intervals, they can be nothing but drawings squared for transferring purposes. _Squaring_ is the usual process employed by artists when they wish to repeat a figure in different dimensions from those of the original. Having divided the latter by horizontal and perpendicular lines cutting each other at regular intervals, they go through the same operation upon the blank surface to which the figure is to be transferred, making the lines equal in number to those upon the original, but the resulting squares larger if the copy is to be larger, smaller if it is to be smaller, than that original. Egyptian decorators often made use of this process for the transference of sketches upon papyrus, stone, or wood, to the wall. Of this practice we give two examples. The first is an elaborate composition in which several modifications and corrections of lines and attitudes may be traced (Fig. 258); the second is an isolated figure (Fig. 259). In each case the figures extend vertically over nineteen squares. The first dates from the eighteenth, the second from the nineteenth dynasty.[316] [316] PRISSE, _Histoire de l'Art Égyptien_. [Illustration: FIG. 258.--Design transferred by squaring. From Prisse.] The same device is sometimes made use of to transfer heads, and even animals, from a small sketch to the wall. In the tomb of Amenophis III., in the Bab-el-Molouk, there is a fine portrait of a prince thus squared;[317] at Beni-Hassan we find a cow and an antelope treated in the same fashion.[318] [317] LEPSIUS, _Denkmæler_, part iii. pl. 70. [318] _Ibid._ plate 152. Traces of another and yet more simple process are to be found. Before drawing the figures in his bas-reliefs the artist sometimes marked in red on the walls the vertical and horizontal lines which would give the poise of the body, the height of the shoulders and armpits, and of the lower edge of the drawers. The positions of secondary anatomical points were marked upon these lines, and the whole formed a rough guide for the hand of the designer.[319] [319] PRISSE, _Histoire de l'Art Égyptien_, text, p. 123. LEPSIUS, _Denkmæler_, pl. 65. The fact that these lines and squares are only found upon a small number of paintings and bas-reliefs does not prove that their employment was in any way exceptional. It is probable that one of the two processes was generally used, but that the colour spread both upon figures and ground hides their traces. The few pictures in which they are now to be traced were never completed.