the Egyptian buildings show many curious forms of columns (Fig. 28), but we have no reason for thinking that these fantastic shapes were really executed in stone. [Illustration: FIG. 25.--PALM CAPITAL.] [Illustration: FIG. 26.--SCULPTURED CAPITAL.] [Illustration: FIG. 27.--ISIS CAPITAL FROM DENDERAH.] [Illustration: FIG. 28.--FANCIFUL COLUMN FROM PAINTED DECORATION AT THEBES.] Almost the only sculptured ornaments worked on the exteriors of buildings were the curious astragal or bead at all the angles, and the cornice, which consisted of a very large cavetto, or hollow moulding, surmounted by a fillet. These features are almost invariable from the earliest to the latest period of the style. This cavetto was generally enriched, over the doorways, with an ornament representing a circular boss with a wing at each side of it (Fig. 29). One other feature of Egyptian architecture which was peculiar to it must be mentioned; namely, the obelisk. Obelisks were nearly always erected in pairs in front of the pylons of the temples, and added to the dignity of the entrance. They were invariably monoliths, slightly tapering in outline, carved with the most perfect accuracy; they must have existed originally in very large numbers. Not a few of these have been transported to Europe, and at least twelve are standing in Rome, one is in Paris, and one in London. [Illustration: FIG. 29.--CROWNING CORNICE AND BEAD.] The most striking features, and the most artistic, in the decoration of Egyptian buildings, are the mural paintings and sculptured pictures, which are found in the most lavish profusion, and which exhibit the highest skill in conventionalising the human figure and other objects.[3] Tombs and temples, columns and obelisks are completely covered with graphic representations of peaceful home pursuits, warlike expeditions and battle scenes, and--though not till a late period--descriptions of ritual and mythological delineations of the supposed spirit-world which the soul has entered after death. These pictures, together with the hieroglyphic inscriptions--which are in themselves a series of pictures--not only relieve the bare wall surface, but, what is far more important, enable us to realise the kind of existence which was led by this ancient people; and as in nearly every case the cartouche (or symbol representing the name) of the monarch under whose reign the building was erected was added, we should be able to fix the dates of the buildings with exactness, were the chronology of the kings made out beyond doubt.