But the hieroglyphs were not only a writing, they were a decoration in themselves. Their position was ruled by their effect as a frieze, like the beautiful tile borders of Cufic inscription on Arab architecture; and we never see in Egypt the barbarous cutting of an inscription across figure sculptures as is so common in Assyria. The arrangement of the groups of hieroglyphs was also ruled by their decorative effect. Signs were often transposed in order to group them more harmoniously together in a graceful scheme; and many sounds had two different signs, one tall, another wide, which could be used indifferently (at least in later times) so as to combine better with the forms which adjoined them. In short, the Egyptian with true decorative instinct clung to his pictorial writing, modified it to adapt it to his designs, and was rewarded by having the most beautiful writing that ever existed, and one which excited and gave scope to his artistic tastes on every monument. This is but one illustration of the inherent power for design and decoration which made the Egyptian the father of the world’s ornament. In other directions we see the same ability. In the adaptation of the scenes of peace or of war to the gigantic wall surfaces of the pylons and temples; in the grand situations chosen for the buildings, from the platform of cliffs for the pyramids at Gizeh, to the graceful island of Philæ; in the profusion of ornament on the small objects of daily life, which yet never appear inappropriate until a debased period;—in all these different manners the Egyptian showed a variety of capacity in design and decoration which has not been exceeded by any other people.