Golden Hawks 314. Ægis 315. Necklace 316. Osiris, Isis, and Horus 317, 318. Rings 319, 320. Ear-rings 321. Ivory Plaque 322. Ivory Castanet 323. Fragment of an Ivory Castanet 324. Workman splitting a piece of wood 325. Joiner making a bed 326. Coffer for sepulchral statuettes 327, 328. Chairs 329-331. Perfume spoons 332-334. Walking-stick handles 335. Wooden pin or peg 336. Hathoric capital A HISTORY OF ART IN ANCIENT EGYPT CHAPTER I. CIVIL AND MILITARY ARCHITECTURE. § 1.--_The Graphic Processes employed by the Egyptians in their representations of Buildings._ We have seen that sepulchral and religious architecture are represented in Egypt by numerous and well preserved monuments. It is not so in the case of civil and military architecture. Of these, time has spared but very few remains and all that the ancient historians tell us on the subject amounts to very little. Our best aids in the endeavour to fill up this lacuna are the pictures and bas-reliefs of the tombs, in which store-houses, granaries, houses and villas of the Pharaonic period are often figured. It is not always easy, however, to trace the actual conformation and arrangement of those buildings through the conventionalities employed by the artists, and we must therefore begin by attempting to understand the ideas with which the Egyptians made the representations in question. Their idea was to show all at a single glance; to combine in one view matters which could only be seen in reality from many successive points, such as all the façades of a building, with its external aspect and internal arrangements. This notion may be compared to that which recommends itself to a young child when, in drawing a profile, he insists upon giving it two ears, because when he looks at a front face he sees two ears standing out beyond either cheek. In these days when we wish to represent an architectural building exhaustively, we do it in geometrical fashion, giving _plans_, _elevations_, and _sections_. To get a plan we make a horizontal section at any determined height, which gives us the thickness of the walls and the area of the spaces which they inclose. An elevation shows us one of the faces of the building in all its details, while the transverse or longitudinal section allows us to lay the whole of the structural arrangements open to the spectator. Plan, elevation, and section, are three different things by the comparison of which a just idea of the whole building and of the connection of its various parts may be formed. The Egyptians seem to have had a dim perception of these three separate processes, but they failed to distinguish clearly between them, and in their paintings they employed them in the most _naïve_ fashion, combining all three into one figure without any clear indication of the points of junction.