PSAMMETICHUS. Amasis (Thebes). NECTANEBUS (Thebes). ALEXANDER. PHILIP ARIDÆUS (Thebes). PTOLEMÆUS PHILADELPHUS (Thebes). CLEOPATRA and CÆSARION (Dendera). Crowning of CÆSAR AUGUSTUS (Philæ). Ethiopian matters from MEROE. This, or a similar selection of representations, as large as the number of wall divisions will allow, carried out in the strictly classical Egyptian style, and with the rich mass of colours of the original, would give, better than anything else could, an idea to the spectator of Egyptian art on a large scale; the matter would present itself for his decision, and their study would assimilate well with the small and single original monuments. For except the graves that we are now taking down, and which offer only the simplest things, no monument is large enough to give an idea of Egyptian temples and wall-paintings in general, in which a grandeur and a power of composition are often to be found, and a feeling for general harmony of arrangement and division of the whole, which will highly astonish the attentive. Such a selection of the most beautiful and most characteristic in large, easily examined pictures, would perhaps, conduce more than anything else, to procure a larger public for Egyptological science, and, at the same time, produce the inestimable advantage of obviating all malicious criticisms of the paintings as modern compositions; for every hasty critic could be referred to the originals, the highly important place of which, in the early history of the human race, cannot be taken from them by any peevish feuilletonist. Each would be told, that he must first study the originals, ere he dare venture on pronouncing upon the faithful copies; for if our young artists of three years’ practice are employed, I am sure that little can be objected to their works with reference to classicality of style. The novelty of the thought, and the large and complete effect, could certainly not fail to produce considerable impression on the learned and unlearned public, and clever men, and above all his Majesty, would at once be satisfied with the arrangement, without thinking of the execution. To this would finally be added the proportionately very unexpensive execution, from the extreme simplicity of the draught and painting, as all the cost of artistical composition has already been borne by the ancient Egyptians themselves.