. Architecture, classic and early Christian . Fig. 28.—Fanciful Coiu.mn phom PaISIED DjECOSAIIOIC at TH£BEi. These features are almost invariable from the earliest tothe latest period of the style. This cavetto was generallyenriched, over the doorways, Avith an ornament repre-senting a circular boss with a wing at each side of it.(Fig. 29). One other feature of Egyptian architecture Avhich waspeculiar to it must be mentioned; namely, the obelisk. D 2 36 AXCIENT ARCIIITECTUltE. Obelisks were nearly always erected ia pairs in frontof the pylons of the temples, and added to the dignity ofthe enti

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. Architecture, classic and early Christian . Fig. 28.—Fanciful Coiu.mn phom PaISIED DjECOSAIIOIC at TH£BEi. These features are almost invariable from the earliest tothe latest period of the style. This cavetto was generallyenriched, over the doorways, Avith an ornament repre-senting a circular boss with a wing at each side of it.(Fig. 29). One other feature of Egyptian architecture Avhich waspeculiar to it must be mentioned; namely, the obelisk. D 2 36 AXCIENT ARCIIITECTUltE. Obelisks were nearly always erected ia pairs in frontof the pylons of the temples, and added to the dignity ofthe entiance. They were invariably monoliths, slightlytapering in outline, carved with the most perfect accuracy;they must have existed originally in very large numbers, ^^ot a few of these have been transported to Europe, andat least twelve are standing in Kome, one is in Paris, andone in London.. Fig. 29.—Caow.NiSG CoB.NiCB and Bjsao. The most striking features, and the most artistic, in thedecoration of Egyptian buildings, are the mural paintingsand sculptured pictures, which are found in the most lavishprofusion, and which exhibit the highest .skill in conven-tionalising the human figure and other objects.* Tombsand temples, columns and obelisks are completely coveredwith graphic representations of peaceful home ])ursuiis, Avarlike expeditions and battle scenes, and—though nottill a late period—descriptions of ritual and mythologicaldelineations of the supposed spirit-world which the soulhas entered after death. These pictures, together with the * Couventionalisiug may be dcscibed as representing apart only of thevisible qualities or features of au object, omitting the remaiuder or veryslightly indicating them. A black si honette portrait is aa extremeinstance of convention, as it displays absolutely nothing but the outlineof a profile. For decorative purposes it is alm