But amidst the hieroglyphical symbols may still be recognised the traces of its origin, obscure it is true, but unmistakeable. It has been observed by travellers in Egypt, that Egyptian art bears quite a different character in the sepulchral tombs, to that which is observed on the great temples and palace temples of the kings. It is that in these sepulchral chambers, art could move somewhat more freely than it was permitted to do in those grand monumental edifices, which were raised under the immediate influence of the priesthood. Now it has been proved that in all the tombs, the ancient method of draping the walls, or rather of decorating them in the style of tapestry, was apparent in its greatest simplicity. It is observable, first in the character of the ornaments themselves, which consist of interlacings and gracefully varied knots, whilst these decorations borrowed from the weaver’s art, are almost banished from the temples and are replaced by symbolic figures and ornament. It may be recognised, in the second place, by the fact, that the paintings in the sepulchral tombs are generally enclosed with borders, as if to indicate that they represent suspended tapestry. Although this primitive type shows itself less positively in the temples, indications are nevertheless not wanting which remind us of it. The contemporary artists of the French expedition have already observed—and their discovery has been since then verified—that the monuments of Egypt, including even those executed in granite, have been covered with a complete coating of colour and varnish, over the _entire surface_. That indeed might be expected, for the hewn stonework of the Egyptian constructions, in spite of the neatness of its workmanship, is not laid in regular courses, which tends to prove that this irregularity, which contrasts with the symmetrical system of the decoration on it, was hidden beneath a coating which covered the whole mass. These monuments exhibit then the third transition step towards regular construction in hewn stone. The construction, though massive and real, is always hidden, and does not enter yet as an ornamental motive in the compositions of the architect. It is worthy of observation, that one of the mouldings of Egyptian architecture seems to be explained by the same ancient custom of encrusting brick buildings with stone slabs, which we have remarked on the Assyrian monuments. I allude to the torus moulding which encloses the external walls of edifices. It served to hide the joints of the slabs which covered the internal work.