The internal effect was of mystery, doubtless due to the comparative absence of light, and to the many columns necessary to carry the roofings. The columns which were mostly employed in the interiors, were squat and stunted in proportion, being from four to seven diameters in height, with capitals of the Lotus, Papyrus or Hathor variety. Mouldings were of the simplest character and sparsely used, and the decoration included renderings of the Lotus and Papyrus plants, either painted or incised in stone with the addition of colour. [Illustration: No. 10. Longitudinal section and half plan of Egyptian Temple.] Egyptian architecture may be generally described as monumental, while the ornament was apparently inspired by religious feeling and desire for symbolic expression, rather than by more æsthetic considerations. In Egyptian Art ornament is subordinated to the architecture, and the employment of wall pictures and of inscriptions in the hieroglyphic character, added considerably to the decorative effect. In the wall pictures the figures were depicted in silhouette, in conventional attitudes, the head and limbs being displayed in severe profile, while the torso is represented in full front view. The methods of expression were painting, or incised in outline on stone, invariably filled in with colour, the effect in both being of flatness, with little suggestion of modelling or rotundity, the various features being defined by local colour. [Illustration: No. 11. Entrance Façade of Egyptian Temple.] Though much of the Egyptian work was in the round, and evident of great sculptural ability and appreciation of form, yet generally their decorative work may be described as a colour style, rather than one in which light and shade were important factors. [Illustration: No. 12. Egyptian Capital from Philae.] With regard to the domestic life, the examples of furniture in the British Museum convey some idea, and these bear a remarkable similarity to forms with which we are familiar at the present day, both in detail and construction, which is simple and direct, with mortise and tenon joints. Turning was frequently employed, and, in the decoration of furniture, inlays of ivory, ebony and glass, the Egyptians being expert workers in both glass and enamels. [Illustration: No. 13. Egyptian Furniture. A. Stand Inlaid. B. Ebony seat inlaid with ivory. C. Folding stool. D. Ebony box inlaid with porcelain and ivory. ] Illustrations taken from bas reliefs and wall painting give a good idea of the furniture, which is often depicted as gilded. The Egyptian couch was straight like an ottoman. Sometimes the couch took the form of an animal with the head and tail at either end, and the legs and feet carved to complete the effect. _Chaldean_