That these kinds of representations were sometimes looked upon merely as ornamental, or as such as any deceased Egyptian might contemplate, while in the mummy state, with satisfaction, may be inferred from the fact, that it eventually became a common practice for an Egyptian to purchase, or to take possession of a tomb that had been sculptured and painted for others, and even used by them, with the intention of having it prepared for himself: though, probably, this would not have been done in the early period of Egyptianism, when it was proud and pure. He merely erased the name of the original occupant, and substituted for it his own. He did not feel that there was anything to render the pictures that had been designed by, and for, another, inappropriate to himself. We know, too, that the pictures were often those of trades it was impossible the deceased could have practised; still they were pictures of Egyptian life it would be pleasing to contemplate. We had rather contemplate an historical picture, a _tableau de genre_, or a landscape, but as they had no idea of such things, and as civilization was then young, and the simplest trade was regarded with pleasure for its utility, and as a proof of what is called progress, everybody was at that time of day pleased with its representation. Though we have entirely lost this feeling, I believe uneducated people would still, at the present day prefer, because it would be more intelligible to them, a picture representing the work of some trade to a landscape, or historical piece. Of course the delight an Egyptian felt in such representations did not in the least arise from his being uneducated, but from a difference in his way of thinking and feeling; and in a difference in what art could then achieve. In short, these representations were meant either for the living, or for the dead. In either case, to give pleasure, either to the beholder, or to the supposed beholder, must have been their object.