I20 A History of Art in Ancient Egypt, birds, fishes and quadrupeds, and with those composite forms which have been created by himself to represent his gods. Intaglio and bas=relief often lend their help to the ornament. Images and explanatory inscriptions are sometimes cut in the stone, sometimes modelled in slight relief; but in either case all figures are distinguished by their proper colour as well as by the carved or modelled outlines. It will thus be seen that Egyptian decoration is distinguished by the intimate and constant alliance of two elements which are often separated in that of other races. The first is the employ- ment of colour to give variety to surfaces and to distinguish different members of the architecture by the opposition of tones. The second is the employment of colour for the representation of life, for which purpose every surface is seized upon, whether the face of a wall, or the round shaft of a column. The decorator is not satisfied to use colour to g-ive force to the lines of a buildino- and to increase its general effect ; he also makes use of it to interpret, to multiply, and to immortalize the ideas which float through his own brain. A building thus ornamented presents us with a series of pictures embodied in its own constitution. From cornice to foundation, upon wall and column, it is covered with an unending series of wall paintings, which, like a gorgeous tapestry, envelop and embellish it without hiding any of the details of its construction. The polychromatic decoration of the Egyptians is to be explained, like that of the Assyrians, of the Greeks, of the Italians, and of all other southern nations, by the quality and quantity of their daylight and the way in which it affected their visual organs. The more intense the light, the more pleasure does the eye receive from strength and variety of colour. The science of optics gives us an explanation of this fact, but at present we are concerned only with the fact itself, which is a matter of daily experience. It is notorious that the colours of birds and butterflies, and of the petals of flowers, become brighter and gayer in exact proportion as we near the equator and leave the pole ; ^ the same rule holds good ' We here speak of the fauna as a whole, disregarding particular genera and species. It may be said that some particular plant which is to be found both in France and Norway, is much brighter in colour when it grows in the neighbourhood of the pole than in our temperate climate, but this apparent exception only confirms the rule which we have laid down. The plant whose whole season of bloom is
