The art of design, whether apparent in painting or sculpture, was used in Egypt, as must already have appeared, not to excite the imagination, but to inform the understanding. According to Clement of Alexandria, an Egyptian temple was “a writing,” addressing itself, like a volume, to the mind. Accordingly, their artists imitated nature only so far as to convey the intended idea clearly and precisely; generally they did not aim at beauty and grace. When, however, they wished to give a portrait of any particular individual, we find so exact a representation that the features of several of the Pharaohs may be easily recognized. But it is evident that they were ignorant of perspective, and that they did not feel the necessity of studying light and shade in the use of colors. Analogous to the practice of the Egyptians is that of the Chinese, in reference to the rooms of their dwellings, in our own day; for they are adorned with pictorial characters, conveying wise sayings and moral precepts; combining in the person of one artist the work of the scribe, the painter, and the engraver. Recent discoveries enable us to call up before the mind Nineveh, that “exceeding great city,” where the arts of life attained their utmost elevation. Passing a ponderous and richly-sculptured gate, we see, at certain distances within the walls, other gates flanked by towers adorned by sculptures, or gigantic figures, as winged bulls or lions. Lofty pyramidal structures arise, which served as watch-towers. Tents, often visible within the walls of Oriental cities, occupy open spaces. Other spaces, without the great public edifices, are covered by private houses, standing in the midst of gardens, and built at a distance from each other, or forming streets, which inclose gardens and even arable land, and stretch out to a vast extent. Distinguished from all other residences is a palatial edifice: its doorways are formed by gigantic winged lions or bulls, or by figures of guardian deities, and lead into apartments which again open into more distant halls. The pavement of these rooms is of sunburnt bricks, or alabaster slabs, of a color agreeable to the eye; and the ceilings are divided into square compartments, inlaid with ivory, adorned with gold, and richly painted with flowers. The tables, seats, and couches are made of metal and wood, some being inlaid with ivory; the legs of the chairs are tastefully carved, and terminate in the feet of a lion or the hoofs of a bull, made of gold, silver, or bronze.