,illustration ,,egyptian ,,decorative ,,art ,a ,,course ,,of ,,lectures ,,delivered ,,at ,,the ,,royal ,,institution ,,by ,w4 ,m4 ,,flinders ,,petrie1 ,d4,c4,l4 ,,edwards ,,professor ,,of ,,egyptology1 ,,university ,,college1 ,,london ,,second ,,edition ,,methuen ,,co41 ,,ltd4 #cf ,,essex ,,street1 ,w4,c4 ,,london ,first ,published ,october #ahie ,second ,edition #aibj ,,contents ,,chapter ,i ,,sources ,,of ,,decoration ,,page ,,egyptian ,,taste ,,for ,,decoration #a ,,decorative ,,writing ,,of ,,hieroglyphs #c ,,origin ,,of ,,patterns #e ,,probability ,,of ,,copying #f ,,geometrical ,,ornament #i ,,natural ,,ornament #aj ,,structural ,,ornament #aj ,,symbolic ,,ornament #aa ,,chapter ,,ii ,,geometrical ,,decoration ,,the ,,line ,,and ,,zigzag #ab ,,the ,,spot #ae ,,the ,,wave #af ,,the ,,spiral #ag ,,the ,,continuous ,,spiral #ba ,,spiral ,,surface ,,patterns #bh ,,quadruple ,,spirals #ca ,,frets #ce ,,greek ,,spirals #ch ,,spiral ,,borders #dj ,,chequers #dd ,,stitch ,,patterns #df ,,circles #dg ,,chapter ,,iii ,,natural ,,decoration ,,feathers #ej ,,rosettes #ef ,,disc ,,and ,,spot ,,patterns #fj ,,lotus ,,flower #fb ,,lotus ,,borders #fd ,,lotus ,,plant #ff ,,lotus ,,development #fh ,,lotus1 ,,assyrian ,,and ,,greek #gb ,,lotus ,,with ,,pendant #gc ,,papyrus #ge ,,lotus ,,and ,,papyrus ,,columns #gf ,,the ,,palm #gh ,,the ,,vine #gi ,,the ,,convolvulus #ha ,,the ,,thistle #hb ,,garlands #hb ,,captives #he ,,the ,,ibex #hg ,,birds #hg ,,stars #hh ,,graining ,,and ,,marbling #hi ,,chapter ,,iv ,,structural ,,decoration ,,structural ,,forms ,,surviving #ia ,,rope ,,pattern #ib ,,basket-,,work #ic ,,wooden ,,framing #id ,,panelling #ie ,,sloping ,,walls #if ,,torus ,,roll #ig ,,palm ,,cornice #ih ,,papyrus ,,cornice #aja ,,binding ,,patterns #ajc ,,chapter ,v ,,symbolic ,,decoration ,,the ,,uraeus #ajg ,,the ,,disc ,,and ,,wings #ajh ,,the ,,horns #aaj ,,the ,,vulture #aaa ,,the ,,scarab #aaa ,,the ,,lion #aab ,,the ,,goddess ,,maat #aad ,,the ,,goddess ,,hathor #aad ,,the ,,god ,,bes #aae ,,hieroglyph ,,symbols #aaf ,,captives #abb ,,index #abc ,,abbreviations ,c4 ,m4 ,champollion1 ,monuments4 ,duem4 ,duemichen ,hist4 ,inschr4 ,f4 ,p4 coll4 ,flinders ,petrie collection4 ,goodyear4 ,grammar of the lotus4 ,h4 ,s4 ,historical ,scarabs 7,petrie74 ,i4 ,illahun 7,petrie7 ,k4 ,kahun 7,petrie74 ,l4 ,d4 ,lepsius ,denkmaler4 ,p4 and ,c4 ,perrot and ,chipiez1 ,egypt4 ,p4 and ,c4 ,ass4 ,perrot and ,chipiez1 ,assyria4 ,p4 ,i4 ,petrie1 ,illahun4 ,p4 ,m4 ,petrie1 ,medum4 ,p4 or ,prisse4 ,prisse1 ,art2 numbers refer to numbering in ,edwards ,library copy1 plates being issued unnumbered4 ,p4 ,mon4 ,prisse1 ,monuments4 ,r4 ,c4 ,rosellini1 ,mon4 ,civili4 ,r4 ,s4 ,rosellini1 ,mon4 ,storici4 ,schuck4 ,schuckhardt's1 ,schliemann4 ,t4 ,a4 ,tell el ,amarna 7,petrie74 ,tanis4 ,tanis 7,petrie7 ,w4 ,m4 ,c4 ,wilkinson1 ,manners and ,customs4 ,the shading of the figures is according to heraldic colours3 red1 blue1 green1 _/_/ purple1 yellow ,,chapter ,i ,,the ,,sources ,,of ,,decoration ,in dealing with the subject of decorative art in ,egypt1 it is needful to begin by setting some bounds to a study which might be made to embrace almost every example of ancient work known to us in that land4 ,the ,egyptian treatment of everything great and small was so strongly decorative that it is hard to exclude an overwhelming variety of considerations4 ,but here it is proposed to limit our view to the historical development of the various motives or elements of decoration4 ,the larger questions of the sthetic scheme of design1 of the meaning of ornament--symbolic or religious1 of the value and effect of colour1 of the relations of parts1 we can but glance at occasionally in passing2 in another branch1 the historical connection of ,egyptian design with that of other countries1 the prospect is so tempting and so valuable1 that we may linger a little at each of these bye-ways to note where the turning occurs and to what it leads4 ,as ,i have said1 all ,egyptian design was strongly decorative4 ,the love of form and of drawing was perhaps a greater force with the ,egyptians than with any other people4 ,the early ,babylonians and the ,chinese had1 like the ,egyptians1 a pictorial writing2 but step by step they soon dropped the picture altogether in favour of the easier abbreviation of it4 ,the ,egyptian1 on the contrary1 never lost sight of his original picture2 and however much his current hand altered1 yet for four or five thousand years he still maintained his true hieroglyphic pictures4 ,they were modified by taste and fashion1 even in some cases their origin was forgotten1 yet the artistic form was there to the very end4 ,but the hieroglyphs were not only a writing1 they were a decoration in themselves4 ,their position was ruled by their effect as a frieze1 like the beautiful tile borders of ,cufic inscription on ,arab architecture2 and we never see in ,egypt the barbarous cutting of an inscription across figure sculptures as is so common in ,assyria4 ,the arrangement of the groups of hieroglyphs was also ruled by their decorative effect4 ,signs were often transposed in order to group them more harmoniously together in a graceful scheme2 and many sounds had two different signs1 one tall1 another wide1 which could be used indifferently 7at least in later times7 so as to combine better with the forms which adjoined them4 ,in short1 the ,egyptian with true decorative instinct clung to his pictorial writing1 modified it to adapt it to his designs1 and was rewarded by having the most beautiful writing that ever existed1 and one which excited and gave scope to his artistic tastes on every monument4 ,this is but one illustration of the inherent power for design and decoration which made the ,egyptian the father of the world's ornament4 ,in other directions we see the same ability4 ,in the adaptation of the scenes of peace or of war to the gigantic wall surfaces of the pylons and temples2 in the grand situations chosen for the buildings1 from the platform of cliffs for the pyramids at ,gizeh1 to the graceful island of ,phil2 in the profusion of ornament on the small objects of daily life1 which yet never appear inappropriate until a debased period2--in all these different manners the ,egyptian showed a variety of capacity in design and decoration which has not been exceeded by any other people4 ,the question of the origination of patterns at one or more centres has been as disputed as the origination of man himself from one or more stocks4 ,probably some patterns may have been re-invented in different ages and countries2 but1 as yet1 we have far less evidence of re-invention than we have of copying4 ,it is easy to pre-suppose a repeated invention of designs1 but we are concerned with what has been1 and not with what might have been4 ,practically it is very difficult1 or almost impossible1 to point out decoration which is proved to have originated independently1 and not to have been copied from the ,egyptian stock4 ,the influences of the modes of work in weaving and basket-work have had much to do with the uniformity of patterns in different countries2 apparently starting from different motives1 the patterns when subject to the same structural influences have resulted in very similar ornaments4 ,this complicates the question undoubtedly2 and until we have much more research on the history of design1 and an abundance of dated examples1 it will be unsafe to dogmatise one way or the other4 ,so far1 however1 as evidence at present goes1 it may be said that--in the ,old ,world at least--there is a presumption that all the ornament of the types of ,egyptian designs is lineally descended from those designs4 ,mr4 ,goodyear has brought so much evidence for this1 that--whether we agree with all his views or not--his facts are reasonably convincing on the general descent of classic ornament from ,egyptian1 and of ,indian and ,mohammedan from the classical1 and even of ,eastern ,asian design from the ,mohammedan sources4 ,a good illustration of the penetrating effect of design is seen in a most interesting work on the prehistoric bronzes of ,minusinsk in ,central ,asia1 near the sources of the ,yenesei river1 and equidistant from ,russia and from ,china1 from the ,arctic ,ocean and from the ,bay of ,bengal4 ,here in the very heart of ,asia we might look for some original design4 ,but yet it is easy to see the mingled influences of the surrounding lands1 and to lay one's finger on one thing that might be ,norse1 on another that might be ,chinese1 or another ,persian4 ,if1 then1 the tastes of countries distant one or two thousand miles in different directions can be seen moulding an art across half a continent1 how much more readily can we credit the descent of design along the well-known historical lines of intercourse4 ,the same thing on a lesser scale is seen in the recent publication of the prehistoric bronzes of ,upper ,bavaria2 in these the designs are partly ,italic1 partly ,mykenaean4 ,if forms were readily re-invented again and again independently1 why should we not find in ,bavaria some of the ,persian or ,chinese types8 ,nothing of the kind is seen1 but the forms and decoration are distinctly those of the two countries from which the ancient makers presumably obtained their arts and civilisation4 ,yet again1 to come to historical times1 the elegant use of the angle of a third of a right angle so generally in ,arab art1 is very distinct and characteristic4 ,yet if patterns were continually re-invented1 how is it that no one else hit on this simple element for thousands of years8 ,the very fact that the locality and date of an object of unknown origin can be so closely predicted by its style and feeling in design1 is the best proof how continuous is the history and evolution of ornament1 and how little new invention has to do with it--in short1 how difficult it is to man to be really original4 ,now we can see a source for most of our familiar elements of design in the decoration which was used in ,egypt long before any example that is known to us outside of that land4 ,and it is to ,egypt then that we are logically bound to look as the origin of these motives4 ,if1 then1 we seek the source of most of the various elements of the decoration which covers our walls1 our floors1 our dishes1 our book-covers1 and even our railway stations1 we must begin by studying ,egypt4 ,as our object is the history and evolution of the various elements of decoration1 we may classify these elements under four divisions4 ,there is the simplest geometrical ornament of lines and spirals and curves1 and of surfaces divided by these into squares and circles4 ,there is the natural ornament of copying feathers1 flowers1 plants1 and animals4 ,there is structural ornament which results from the structural necessities of building and of manufacture3 these often result in the perpetuation of defects or copies of defects1 like the circle stamped in the plain end of meat tins which is made to imitate the circular patch soldered on to the other end1 so trying to establish a balance of appearance4 ,many architectural devices and difficulties are perpetuated for us in this way long after the original purpose has passed away2 such as the cylindrical bosses projecting from the walls in ,moslem architecture1 which imitate the projecting ends of pillars torn from ruins and built into the wall1 though rather too long for the position4 ,the origin and the imitation can be seen side by side at ,jerusalem4 ,structural ornament is therefore often of the greatest historical value as pointing to a condition of things that has since vanished4 ,lastly1 there is symbolic ornament4 ,some now claim most decoration as having some symbolic or religious meaning2 of that ,i shall say nothing1 as it is but an hypothesis4 ,but there is no question of the symbolical intention of many constantly repeated ornaments in ,egyptian work1 as the globe and wings1 the scarab1 or the various hieroglyphs with well-known meanings which are interwoven into many designs4 ,,chapter ,,ii ,,geometrical ,,decoration ,the ,line4 ,one of the simplest and the earliest kinds of ornament that we find is the zigzag line1 which occurs on the oldest tombs1 #djjj ,b4,c4 ,so simple is this1 that it might be supposed that every possible variety of it would be soon played out4 ,yet1 strange to say1 two of the simplest modifications are not found till a couple of thousand years after the plain zigzag had been used4 ,the wavy line in curves instead of angular waves is not found till the ,x,v,i,i,ith dynasty1 or about #aejj ,b4,c42 while the zigzag with spots in the spaces is equally late1 and is generally foreign to ,egypt4 ,illustration3 #a4--,,vi4 dyn41 ,l4,d41 ,,ii4 #ih4 ,illustration3 #b4--;,,iv4 dyn41 ,mery1 ,louvre4 ,illustration3 #c4--,v4 dyn41 ,ptah-hotep1 ,perrot ,,xiii4 ,the plain repeated zigzag line is used down to late times1 but generally with variety in colour to give it interest4 ,from the earliest times this was symmetrically doubled1 so as to give a row of squares with parallel borders2 or with repeated zigzag borders in alternate light and dark colours4 ,this same type lasted onward to the ,x,i,xth dynasty 7belt ,ramessu ,,ii4 ,c4,m4,x471 and is found1 with the addition of spots in the outer angles1 in the foreign dress of ,shekh ,absha1 at ,benihasan1 in the ,x,i,ith dynasty4 ,illustration3 #d4--,prisse1 ,art4 #hd4 ,illustration3 #e4--,l4,d41 ,,ii4 #acj4 ,a later stage was to repeat the squares with varieties of colour2 and also to introduce details into the squares1 and so make them compound patterns1 as in the ,x,v,i,ith dynasty at ,el ,kab1 where the sequence of the blue1 green1 and red lines makes a brilliant effect from these simple elements4 ,not only a square1 but also a hexagon1 was worked into the same design4 ,this1 from the nature of it1 suggests a rush-work screen1 and probably it was plaited with rushes in three directions1 and hence the production of this particular angle4 ,the previous zigzag patterns all suggest weaving2 and in some in ,ptah-hotep's tomb 7,vth dyn47 closely woven and complex zigzag patterns are shown which are evidently copied from textiles1 as we shall see further on in the chequer patterns4 ,illustration3 #f4--,,xii4 dyn4 ,amu dress4 ,illustration3 #g4--,,xviii41 ,keft dress4 ,c4,m4 cxcl4 ,illustration3 #h4--,,xx4 ,vase1 ,c4,m4 cclix4 ,the use of spots for filling in corners was foreign to the ,egyptian4 ,we first find it in the garments of the ,amu1 or people of northern ,arabia1 in the ,x,i,ith dynasty4 ,till then a spot is never seen1 except for the centre of a square2 but the ,amu dresses are covered with spots in every space1 and even along the bars and stripes of colour4 ,the same is seen on the later dresses of the ,amu in the ,x,i,xth dynasty1 and also in the dress of the ,phnicians1 or ,keft people4 ,it recurs on the foreign vases probably brought in from the ,aegean2 and it is only found in ,egyptian products during the ,x,v,i,i,ith dynasty1 when foreign fashions prevailed1 though it is but rare then4 ,hence we may fairly set aside this use of spots as a foreign or ,asiatic element1 akin to the filling in of spaces on early ,greek vases with rosettes and other small ornaments4 ,illustration3 #i4--,,xviii41 ,p4 ,i4 xvii4 #g4 ,illustration3 #aj4--,,xviii4 ,vase1 ,r4,c4 lvii4 ,the zigzag line only became changed into a rounded wavy line in the later time of the ,x,v,i,i,ith dynasty4 ,this probably results from the earlier patterns being all direct copies of textiles which maintained rectilinear patterns2 but when the same came to be used on pottery 7as above71 or on metal work 7shield border1 ,l4,d4 iii4 #fd71 then curves were readily introduced4 ,on a golden bowl repeated waves are shown1 deepened so as to receive further figures4 ,the ,spiral4 ,the spiral1 or scroll1 is one of the greatest elements of ,egyptian decoration2 it is only second to the lotus in importance1 and shares with that the origination of a great part of the ornament of the world4 ,the source of the spiral and its meaning are alike uncertain4 ,it has been attributed to a development of the lotus pattern2 but it is known in every variety of treatment without any trace of connection with the lotus4 ,it has been said to represent the wanderings of the soul2 why1 or how1 is not specified2 nor why some souls should wander in circular spirals1 others in oval spirals1 some in spirals with ends1 others in spirals that are endless4 ,and what a soul was supposed to do when on the track of a triple diverging spiral1 how it could go two ways at once1 or which line it was to take--all these difficulties suggest that the theorist's soul was on a remarkable spiral4 ,illustration3 #aa4--;,f4,p4 coll4 ,illustration3 #ab4--;,f4,p4 ,illustration3 #ac4--;,f4,p4 ,the subject of spirals fall into two groups4 ,the older group by far are the scarabs1 which contain spirals on a limited and small field2 the other group are those continuous patterns on ceilings1 furniture1 c41 which are capable of indefinite extension by repetition4 ,as the scarabs are far the older examples1 there is a presumption that spirals may have even originated on scarab designs2 and the hesitating and simple manner of the oldest instances on scarabs indeed seems as if the engravers were merely filling a space1 and not copying any well-known pattern4 ,the earliest that can be certainly dated is one of ,assa1 of the ,vth dynasty1 on which a bordering line is interrupted at the ends and turned in to fill the space on either side of the name4 ,from the cramped way in which this is done1 and the want of uniformity in the spirals1 it seems as if no regular pattern were in view1 but only the need of avoiding an unsightly gap in the design4 ,we next see spirals used in the same way to fill up at the sides of the inscription on the scarabs of ,pepy1 without any attempt to connect them into a continuous pattern2 and on the scarabs of ,maabra1 probably soon after1 the same loose spirals are seen thrown in to fill up4 ,in none of these cases is the ornament anything but the means of supplementing the required inscription2 nothing is arranged for the sake of it1 and it is treated as a mere afterthought4 ,nor is it until the ,x,i,ith dynasty that any continuous spiral design can be dated4 ,for over a thousand years1 then1 the spiral is only to be found as an accessory on scarabs1 a fact which strongly suggests that it originated in this manner4 ,before describing spirals further1 it is needful to settle some definite names for their varieties4 ,where the lines are coiled closely in a circular curve1 as in ,assa's scarab1 they may be termed coils2 where lengthened out1 as in ,pepy's1 we may term them hooks2 where lengthy in the body between the turns1 as in ,maabra's1 they are rather links4 ,where the line is broken at each spiral1 as in all the above1 it is a chain of spirals2 but where the same line is maintained unbroken throughout it is a continuous spiral1 and these are found in all varieties of coils1 hooks1 or links4 ,sometimes the continuous line has separate ends1 but more usually it is endless1 returning into itself4 ,these terms will suffice to distinguish the varieties1 and enable us to speak of a spiral with definiteness4 ,illustration3 #ad4--,louvre4 ,illustration3 #ae4--;,ghizeh4 ,these detached spirals continued in use in the ,x,i,ith dynasty1 generally as loose links1 often not hooking together1 as in this of ,usertesen ,,ii4 ,in the ,x,v,i,i,ith dynasty this is still found as a general surface ornament on the boat covers of ,hatshepsut at ,deir al ,bahri and on the base of a ,kohl vase in the ,ghizeh ,museum4 ,illustration3 ,fig4 #af4 ,f4,p4 coll4 ,fig4 #ag4 ,but the spiral was developed1 apparently under ,usertesen ,i41 into a chain of coils1 which are drawn with great beauty and regularity4 ,such care indicates that the design was a novelty1 which was not yet stereotyped and reproduced as a matter of course4 ,in no later reign were spirals ever so beautifully and perfectly executed4 ,this type was revived under ,amenhotep ,,ii4 7,h4 ,s4 #ajig74 ,in about the ,x,i,ith dynasty it was combined with the lotus in perhaps the most perfect design that remains on any scarab--a continuous coil with flowers and buds in the spaces4 ,illustration3 #ah4--,turin4 ,illustration3 #ai4--;,f4,p4 ,but it was felt that the spirals all round occupied too much of the field1 so the top and bottom were left free for inscribing1 and the ornament was limited to the sides1 as in this chain of hook pattern of ,usertesen ,i4 ,this design1 with the line continued around the top as well as the base1 was the staple decoration of the private scarabs of the ,x,i,ith-,x,i,i,ith dynasties1 many of which are of great beauty4 ,both types are found1 but the hook pattern is more usual than the coils4 ,illustration3 ,fig4 #bj4 ,f4,p4 coll4 ,fig4 #ba4 ,illustration3 ,fig4 #bb4 ,f4,p4 coll4 ,fig4 #bc4 ,in the finest work1 however1 the line is made endless1 a single continuous line forming the whole pattern1 as in the endless hook pattern of ,setmes1 and the endless coil pattern of ,ptaherduen4 ,illustration3 #bd4--,paris4 ,illustration3 #be4--;,f4,p4 ,in the few spiral scarabs of later times the pattern is not only placed at the sides1 but is carried all round1 as we see in that of ,amenhotep ,i4 and one of ,ramessu ,,ii41 which latter is the latest spiral pattern known on scarabs4 ,illustration3 #bf4--;,f4,p4 coll4 ,the long links were seldom used in continuous patterns around scarabs1 as in this1 but were more usually employed for independent spiral patterns without any inscriptions4 ,illustration3 #bg4--;,f4,p4 coll4 ,illustration3 #bh4--,k4 x4 #ej4 ,illustration3 #bi4--;,i4 viii4 #fi4 ,illustration3 #cj4--,k4 x4 #bh4 ,illustration3 #ca4--,k4 x4 #dj4 ,after serving as adjuncts to inscriptions1 the spirals became elaborated as sole patterns4 ,these are at first a few simple coils1 as on one which1 from the side pattern1 can be dated to about the ,v,i,i,ith dynasty4 ,these1 when elaborated with more coils or links1 sometimes developed to great length4 ,illustration3 #cb4--,k4 x4 #ag4 ,illustration3 #cc4--;,f4,p4 ,illustration3 #cd4--;,i4 x4 #agf4 ,such patterns required but little ingenuity1 and it is rather in the design of continuous spirals that the ,egyptian showed his skill4 ,the problem was how to arrange a number of coils in a symmetrical system uniformly covering the surface of the scarab1 and yet to connect them in a true series4 ,this was done in various ways1 usually by introducing long loop lines around the edge4 ,one of the simplest type is-- ,in another a cross pattern is formed which is entirely of ,c coils1 like frequent patterns at ,mykenae4 ,illustration3 #ce4--;,f4,p4 ,illustration3 #cf4--;,f4,p4 ,illustration3 #cg4--;,f4,p4 ,others fill up by establishing a repeating pattern1 which might be indefinitely multiplied1 as -- and the difficulty is avoided on a large silver scarab of early date by shortening the links to allow of the connecting line passing the ends4 ,this difficulty of designing good covering patterns out of true continuous lines probably led to the evasion of introducing false links4 ,thus what would otherwise have been an opening in the middle was barred across4 ,illustration3 #ch4--;,i4 x4 #aeh4 ,illustration3 #ci4--,k4 x4 #bg4 ,illustration3 #dj4--,k4 x4 #dh4 ,illustration3 #da4--;,f4,p4 ,illustration3 #db4--;,f4,p4 ,some beautiful effects were obtained by this false barring1 which does not1 at first sight1 catch the eye1 as in these two examples4 ,illustration3 #dc4--;,f4,p4 ,in the latter1 two complete lop-sided spiral groups are joined by long false links around the outside4 ,another favourite device which often occurs is also compounded of lop-sided groups1 or rather of a cross group1 like ,fig4 #dc1 with four false links joining in the middle4 ,illustration3 #dd4--;,i4 x4 #add4 ,illustration3 #de4--;,i4 x4 #aee4 ,illustration3 #df4--;,f4,p4 ,illustration3 #dg4--,turin4 ,some other devices did not profess to cover the whole field1 as in ,figs4 #dd and #de2 and sometimes two separate lines of design were superposed1 a single element of the same design being found as late as ,tahutmes ,,iii4 ,the spiral had thus been greatly developed as a detached ornament for a small surface2 but in architecture and furniture it was required as a continuous decoration on borders and on large surfaces4 ,hence its development was in many ways different1 and--so far as we know--later by a whole cycle of history than the development on the scarabs4 ,on those small objects it started in the ,vth dynasty1 became fully elaborated in the ,x,i,ith1 is common in the ,x,i,i,ith1 and only very occasionally found in the ,x,v,i,i,ith1 disappearing altogether in the ,x,i,xth4 ,on walls and furniture it is rare in the ,x,i,ith dynasty1 becomes usual in the ,x,v,i,i,ith1 flourishes in the ,x,i,xth and ,x,xth1 and is decadent in the ,x,x,v,ith4 ,illustration3 ,fig4 #dh4 ,the simplest form in which it is found is as a chequered pattern series of ,s spirals1 apparently on cloths thrown over boat cabins4 ,on ,hatshepsut's boat the spirals are close together 7,duem4 ,,xxi472 but rather later1 on the boat of ,neferhotep1 they are spread with chequers of red and blue between them 7,w4,m4,c4 lxvii474 ,illustration3 ,fig4 #di4 ,about the same period they appear as a continuous coil pattern in relief on the columns of the harim well at ,tell el ,amarna4 ,the spiral in relief being in yellow1 it probably was copied from a jewellery pattern in which a strip of gold was twisted into spirals1 and the spaces filled with squares of coloured stones or pastes1 judging from the analogy of the inlaid capitals4 ,this example being earlier than most of the spiral decorations of surfaces may thus open our eyes to the meaning of some such designs2 and1 in general1 a close continuous coil returning on itself may well be a copy of a strip of sheet metal1 doubled1 and rolled up4 ,illustration3 #ej4--,p4 #he4 ,i4 ,the next stage is where continuous lines of spiral patterns are placed side by side1 and other patterns developed in the spaces between them4 ,sometimes the intervening patterns become so complex as to overshadow the mere spirals1 as in the splendid ceiling of ,neferhotep1 in the ,x,v,i,i,ith dynasty4 ,and in this the far more complex quadruple spiral begins to appear1 as we shall see presently4 ,illustration3 #ea4--,p4 #he4 ,illustration3 #eb4--;,c4,m4 cclv4 ,the lines of spirals were not only placed parallel1 but were also crossed4 ,for some reason this type was never well developed1 but remained one of the coldest and most mechanical of all1 looking in the later stage of the ,x,x,v,ith dynasty like a most debased wall paper4 ,but the glory of ,egyptian line decoration was in the quadruple spiral1 of which the most elementary example is on a boat cover as late as the ,x,xth dynasty 7,ramessu ,,iv472 though it has passed through this stage long before that time--if indeed this may not be regarded as a degraded simplification of it4 ,it is also sometimes rhombic in plan4 ,illustration3 #ec4--,p4 #hf4 ,illustration3 #ed4--,x,i,ith dyn4 ,r4,c4 lxxii4 ,from this was developed a peculiar pattern by the omission of the lines which define the spirals1 thus reducing it to a system of rows of hollow-sided quadrangles without any apparent connection4 ,the main development of the quadruple spiral was with rosettes or lotus filling the hollow squares4 ,this became a stock subject with the ,egyptian1 and from thence a main pattern in other lands4 ,the filling in was either a flower pattern or a rosette1 which might be either a flower or a leather pattern1 as we shall notice further on4 ,illustration3 ,fig4 #ee4 ,illustration3 #ef4--,p4 #hf4 ,the insertion also became more complex1 four lotus flowers being placed in each angle of the hollow square2 and the spirals being more heavily developed1 in order to gain enough space for complexity in the squares between them4 ,such a system could hardly be carried further1 but reached its limits2 like the limit of size in the ,great ,hall of ,karnak1 where the columns occupy too large an area in proportion to the clear space4 ,illustration3 #eg4--,p4 #hc4 ,in another direction1 however1 the spiral blossomed further1 in the parallel lines of spiral pattern4 ,these became developed by introducing link lines so as to form a quintuple spiral1 which was further complicated by lotus flowers and buds in the hollows and recesses4 ,in this direction1 again1 the ,egyptians had reached the limit beyond which more detail would be merely confusing4 ,by careful use of colour to separate the various parts1 these complex patterns remain clear and pleasing in spite of their richness of detail4 ,the quadruple spiral had1 however1 another development1 of ,c links1 which is rather too formal to be beautiful1 and lacks the flamboyant grace of the chains of spirals4 ,still it has a simple dignity1 related to the scarab spirals rather than the flowing surface patterns4 ,this became formalised into a torturing kind of design1 which can only be described as 8cursedly ingenious40 ,by simplifying the previous pattern1 a wave was invented which was equal in each direction1 and four of these were crossed in a manner which nothing but bold colouring could make intelligible4 ,illustration3 #eh4--,p4 #he4 ,illustration3 #ei4--,p4 #hc4 ,illustration3 #fj4--,l4,d4 ,,ii4 #eg4 ,the fret patterns are all modifications of corresponding spirals4 ,the cause of such change is obviously the influence of weaving4 ,as early as the ,vth dynasty we find a fret of rhombic form in basket-work in the screen behind the figure of ,ptahbaunefer1 at ,gizeh4 ,the angles show that the plaiting was in three directions1 as we saw in the basket-work pattern at ,benihasan 7,fig4 #c74 ,but frets in general are very rare until a late period1 and they doubtless depend on the adaptation of spirals to textiles4 ,we see no trace of the fret in the ,mykenaean art1 the spiral there being figured on stone or metal1 while the women wore flounced dresses with scale pattern4 ,but in the pre-,persian age fret pattern weaving in borders was the standard design1 as we see on the coloured robes of the ,parthenon statues2 and immediately after that the stiffest of square frets swarms over ,greek art1 to the exclusion of the graceful spirals and scroll borders4 ,illustration3 #fa4--,p4 #hb4 ,illustration3 #fb4--,p4 #hc4 ,illustration3 #fc4--,p4 #hc4 ,the chains of links were copied in the fret pattern with no difference except in squaring up the curves4 ,the same is true of the quadruple spirals1 which appear likewise modified2 and this change seems to have led to another simplified form1 which is on the same idea as the torturing design 7,fig4 #ei71 but which is less ingenious1 and is still possible as an ornament4 ,illustration3 #fd4--,schuck4 #bef4 ,so far we have viewed only the course of ,egyptian design1 nor can we travel far outside of it within these pages4 ,moreover1 as it is dated before any other such decoration in other countries1 it is well to view its course as a whole without confusing it with the various fragments borrowed from it by other lands4 ,yet we may well turn now to see the beginning of the course of ,european decoration at ,mykenae1 and observe its close contact with that of ,egypt4 ,the spiral is the main element of prehistoric decoration in ,greece2 the parallel chains of links occur almost exactly as we have already seen them in the pattern of ,neferhotep1 but omitting the inner details added in the spaces4 ,illustration3 #fe4--,schuck4 #bij4 ,the quadruple spiral is splendidly shown in the ceiling of ,orchomenos1 with a lotus flower in each space2 also as a simpler form without any filling in of the squares on the grave stele 7,schuck4 #adf74 ,while even the ox head with a rosette between the horns1 in the grand quintuple spiral pattern 7,fig4 #eg71 is strangely paralleled by an ox head of silver with a large rosette on the forehead found at ,mykenae 7,schuck4 #bdh74 ,in observing these equivalents it must be noted that whole patterns with their detail are taken over complete from ,egypt4 ,there are none of the series of intermediate steps which we have traced in the mother country2 and where a simpler form occurs it is known to be later1 the grave steles being after the age of the great ceiling4 ,thus there is the surest sign of a borrowed art1 apart from the facts of the exact resemblances we have noted4 ,of course the ,mykenaean designs are mostly influenced by the taste of the race4 ,many of them are strongly ,european1 and might be of ,celtic or ,norse work1 as has been shown by ,mr4 ,arthur ,evans2 but the source of the designs lies in the two thousand years' start which ,egypt had before ,europe awoke4 ,illustration3 ,fig4 #ff4 ,illustration3 #fg4--,r4,c4 lvii4 ,illustration3 #fh4--,p4 #ig4 #aje4 ,illustration3 #fi4--,r4,c4 lxii4 ,a separate form of the spiral pattern is that used for borders1 otherwise called the wave or maeander1 which merged into the guilloche4 ,although the chain of coils on the scarab borders in the ,x,i,ith dynasty may be regarded as a wave border1 yet no example is known of this border on other objects until the ,x,v,i,i,ith dynasty4 ,at that time it appears as often on foreign objects as on ,egyptian1 and the only instance of the guilloche is on foreign dress4 ,hence this development of the spiral idea may well be due more to the ,aegean civilisation than to that of ,egypt4 ,this will agree with the occurrence of the guilloche on black pottery from ,kahun1 which class1 wherever it can be dated1 is found to belong to the ,x,i,ith-,x,i,i,ith dynasty4 ,the metal vases shown on the monuments of the ,x,v,i,i,ith-,x,xth dynasties are mostly foreign tributes1 and on them the wave border is common1 merging into a twisted rope border which is also found--though rarely--on scarabs of the ,middle ,kingdom4 ,illustration3 #gj4--,r4,c4 lvii4 ,illustration3 ,fig4 #ga4 ,illustration3 ,fig4 #gb4 ,in ,egyptian use this border is seldom found4 ,a box in the ,louvre had a line of long links2 and a scroll edge appears to the standard of ,ramessu ,,ii4 ,but more usually the scroll is associated with the lotus1 as in these-- ,illustration3 #gc4--,p4 #hi4 ,illustration3 #gd4--,p4 #hi4 ,the innumerable adaptations of this in ,greek and later designs are familiar enough to us4 ,the influence of weaving has been very great upon these wave borders4 ,as ,i have before noticed1 the woven borders1 reducing the pattern to a fret1 are shown on the pre-,persian statuary at ,athens1 and precede the most common and oft-repeated use of the fret or key pattern borders in ,greece1 and thence in all classical1 medival1 and modern times4 ,illustration3 #ge4--,r4,c4 cxxi4 ,illustration3 #gf4--,r4,c4 lxi4 ,illustration3 #gg4--,p4 #ajc4 ,another type of border1 which may be connected with this1 is found in the ,ramesside age4 ,as it occurs as stitching on leather1 and is well adapted to quilting or sewing bands together1 it may well have been derived from that2 but it is also found on metal work1 with which it does not seem to be connected by origin4 ,illustration3 #gh4--,p4 and ,c4 xiii4 ,the source of chequer patterns is unmistakably in plaiting and weaving4 ,on the oldest monuments the basket sign1 neb1 is chequered in different colours2 so are also the baskets of farm produce carried by the servants1 as shown in the tombs4 ,the modern ,nubian basket-work is well known for the many patterns which it bears like the ancient ,egyptian4 ,the chequer pattern is found in every period in ,egypt1 and is perhaps most common in the latest forms on the sides of thrones in the ,ptolemaic age4 ,in the ,old ,kingdom many varieties were in use4 ,the plain chequers of red or black with white1 the squares filled with black and red crosses on a green and yellow chequer2 or diagonal square patterns developed by lines of chequers1 which are often not square but elongated1 thus forming general and wide-spread patterns which attract the eye on large surfaces4 ,these are best seen in the tomb of ,ptah-hotep 7,p4 and ,c4 xiii47 and in that of ,peheniuka 7,l4,d4 ,i4 #da71 both of the ,vth dynasty1 ,sakkara4 ,illustration3 #gi4--,p4 and ,c4 xiii4 ,illustration3 #hj4--,l4,d4 ,i4 #da4 ,illustration3 #ha4--,l4,d4 ,,ii4 #acj4 ,in the ,middle ,kingdom we find chequers covered with bars of colour1 red and green1 at ,benihasan4 ,illustration3 #hb4--,p4 #ha4 ,under the empire chequers are less common owing to the greater development of more elaborate decoration4 ,a pleasing variety was formed by lengthening the squares1 a change doubtless copied from weaving1 where oblong squares serve to break the monotony of the pattern4 ,illustration3 #hc4--,l4,d4 iv4 #gg4 ,in later ages of the ,saitic and ,greek times the chequer is a common resource1 but is seldom treated with originality or grace1 and we do not find any new departure or advance in the mechanical execution of the later examples4 ,one slight novelty was the alternation of whole and divided squares of colour1 under ,claudius4 ,somewhat analogous are the net-work patterns4 ,they seem to be probably derived from stitch-pattern over dresses4 ,though found in the ,x,i,ith dynasty they are not usual until the ,x,v,i,i,ith dynasty1 and they are generally on the dresses of goddesses4 ,a simple example is on a horse-cloth of ,ramesside age1 which shows that these can hardly represent long beads1 but rather stitching or quilting4 ,a more elaborate form is on the dress of ,bast in the tomb of ,seti ,i41 in hexagons4 ,illustration3 #hd4--,r4,s4 lxxxii4 ,illustration3 #he4--;,c4,m4 ccxlii4 cccx4 ,but this design rose to importance when it was introduced as an architectural element in the decoration of columns at ,tell el ,amarna4 ,there it is coloured yellow1 and the spaces are alternate red and blue4 ,illustration3 ,fig4 #hf4 ,the ,egyptians never used circles freely in decoration2 no examples are known before the ,x,v,i,i,ith dynasty1 and but few then4 ,illustration3 #hg4--,p4 #gi4 ,illustration3 #hh4--,p4 #hd4 ,illustration3 #hi4--,p4 #hf4 ,the intersecting circles1 forming a kind of net-work1 are found in the ,x,v,i,i,ith dynasty in blue on a yellow ground2 and the same occurs in black on blue and red ground1 in later times 7,l4,d4 ,i4 #da74 ,besides the rosettes other patterns were introduced into the spaces1 which were coloured red and green alternately4 ,but the most beautiful type was with contiguous circles not intersecting1 and each containing four lotus flowers4 ,the circle1 however1 never became of importance1 probably because it was too stiff and mechanical for the ,egyptian1 who delighted in the waving spiral patterns and the unlimited variety of lotus developments4 ,it is remarkable that there is not a single example of the circle divided into six1 or with six segmental arms1 which is so common a motive in ,assyria and ,syria1 and which results so readily from stepping the radius around the circle4 ,this seems to show that the ,egyptian did not use compasses at any time1 but always worked with a string and points4 ,the absence of a simple and self-evident motive like the sixth of the circle is almost more striking than a peculiar motive being present4 ,,chapter ,,iii ,,natural ,,decoration ,though it might be supposed that the imitation of natural forms would be the earliest form of decoration1 yet this is not the case4 ,on the contrary1 we find the geometrical forms of wave lines1 and chequers copied from weaving1 and the varieties of the spiral1 were the first ornaments of importance in ,egypt2 while the natural forms of feathers and flowers were not generally imitated till a later time4 ,one source of simple pattern that has been little noticed is the feather1 and the variety of its forms4 ,fortunately we have these different forms shown unmistakably as feathers on the coffins of the ,antefs in the ,x,ith dynasty1 before we find them in common use elsewhere4 ,hence we can have little doubt as to their real origin4 ,on these coffins the royal mummies are figured as swathed around in protecting wings1 representing those of ,isis at the sides and of the vulture of ,mut on the head4 ,the feathers have different forms according to the part of the wing which they occupy4 ,thus on one coffin we find all of the following types of feathers3-- ,illustration3 ,fig4 #ij4 ,illustration3 ,fig4 #ia4 ,illustration3 ,fig4 #ib4 ,illustration3 ,fig4 #ic4 ,illustration3 ,fig4 #id4 ,now when we have thus been shown the conventional types which were used to represent feathers1 we can identify these again in many other places1 where probably the original idea of feather work was entirely lost2 and we have a new light on some representations not yet understood4 ,illustration3 #ie4--;,amenhotep ,i4 ,r4,s4 xxix4 ,illustration3 #if4--;,amenhotep ,,ii4 ,r4,s4 xxxvii4 ,on the kings of the ,x,v,i,i,ith-,x,xth dynasty we often see a wide belt covering the whole stomach1 which is decorated with what is commonly called scale pattern4 ,but this occurs in scenes which are not at all warlike1 and where no defensive scale armour is likely to be shown--,amenhotep ,i4 is seated as a god receiving adoration after his death2 ,amenhotep ,,ii4 is represented adoring ,ra4 ,and in the second case the pattern is identical with the feathers on the ,antef coffin4 ,the only conclusion is that these represent belts of feather work worn around the body to prevent chill1 like the voluminous waist shawl of modern ,orientals4 ,such a feather belt would be admirable for lightness and warmth1 but that it is not scale armour is seen from the absence of it in fighting scenes4 ,on the contrary1 in the royal campaigning dress another form of feather work is seen in the large wings of feathers which encircle the shoulders 7,ramessu ,,ii41 ,r4,s4 lxxxi474 ,this feather pattern is also very usual on the sides of thrones1 from the ,x,v,i,i,ith dynasty down to the latest times4 ,here again it is evident that it cannot be scale armour2 and a feather rug thrown across the seat1 in place of the fur rug otherwise used1 is a very likely thing to find in such a position4 ,we may1 then1 take this pattern1 when used on dress or on thrones1 to represent feather work4 ,but in later times it is also used on very incongruous objects4 ,as early as the ,x,v,i,i,ith dynasty the feather pattern occurs around columns as an architectural ornament 7,tell el ,amarna71 and with the characteristic marking also about the ,x,i,xth dynasty 7,p4 #gi72 also on metal work 7vase1 ,p4 #ig71 where it must be purely an artificial marking4 ,illustration3 #ig4--,p4 #gi4 ,illustration3 #ih4--,p4,r4 lix4 ,illustration3 #ii4--,r4,s4 lxxix4 ,it became elaborated under ,seti ,i41 with markings upon it1 both on a dress of a god and on a throne-cover4 ,and it became degraded into an unintelligible pattern under ,ramessu ,,ii41 when it appears as the dress of the god ,amen4 ,in later times the same pattern was used on columns at ,phil1 in an inverted and very corrupt form4 ,illustration3 #ajj4--,l4,d4 ,i4 #ajh4 ,the other forms of feather pattern shown on the ,antef coffin were also found later4 ,but they merge so readily into mere line patterns that it is not likely that they were regarded as feathers in their later use4 ,the ,v pattern is found on the columns at ,tell el ,amarna1 on belts of the kings 7,l4,d4 ,,iii4 #a71 on painted wooden columns 7,p4 #gc71 on the harps of ,ramessu ,,iii4 7,p4 #aad71 and many other places4 ,the use of flowers for ornament is so natural that their occurrence in the earliest times is what might be expected4 ,yet but few flowers were adopted for decoration4 ,the lotus is far the commonest1 after that the papyrus1 the daisy1 and the convolvulus1 together with the vine and palm1 almost complete the material of vegetable designs4 ,there is also1 however1 what may be called a generic flower ornament--the rosette--which is treated so conventionally that it can hardly receive any precise name4 ,sometimes in the ,x,v,i,i,ith dynasty it is clearly a daisy1 very seldom has it the pointed petals of the lotus2 and it fluctuates between the geometrical and the natural so as to defy details4 ,one cause of this is the evident effect of leather work4 ,the coloured leather funereal tent of ,isiemkheb1 found at ,deir el ,bahri1 opens our eyes to a great deal4 ,we there see an elaborate design1 descending to long inscriptions of small hieroglyphs1 all worked by cutting and stitching of leather4 ,after this we can see in many of the ,egyptian designs the influence of leather work2 and nowhere is this plainer than in the rosettes4 ,the earliest rosettes we know1 those on the head-band of ,nefert1 at the very beginning of monumental history1 are plain discs of colour divided into segments by white lines across them4 ,these are discs of leather secured by radiating threads2 and the same are seen in the ,x,v,i,i,ith dynasty1 more varied by concentric circles of colours1 probably successive superposed discs stitched down one over the other4 ,illustration3 #aja4--,p4 #ha4 ,illustration3 #ajb4--,p4 #aaf4 ,illustration3 #ajc4--,p4 #aaf4 ,another stitch ornament is seen on the stuffs used for covering thrones in the ,x,xth dynasty4 ,there star and cross patterns are used which are evidently stitch work or embroidery2 and in the spaces are discs of colour with white spots around1 probably pieces sewn on by stitches round the edge4 ,on a dress of ,ramessu ,,ii4 also are little six-pointed stars1 which were doubtless stitch work4 ,illustration3 #ajd4--,r4,s4 lxxxiii4 ,illustration3 ,fig4 #aje4 ,there can be no doubt of the effect that stitching has had on the use of rosettes1 but other varieties are probably independent of that4 ,the great series of rosettes is in the moulded glazed ware of ,tell el ,amarna2 there several dozen varieties are found1 varying from four petals to thirty-two4 ,the more elaborate of these have an unmistakable daisy centre of yellow in the midst of white petals1 and this indicates what was probably the flower in mind for most of them4 ,the rosette is found in varied use4 ,on metal vases it is very general1 and may either be a separate ornament of beaten work riveted on1 like the rosettes on the silver ox head at ,mykenae1 or else embossed repouss in the metal4 ,carved in wood or ivory1 rosettes decorated the furniture2 and they are constantly found as centre ornaments in square patterns1 and along borders with the lotus or other subject4 ,illustration3 #ajf4--,l4,d4 ,,ii4 #acj4 ,illustration3 #ajg4--,p4 #hd4 ,in patterns a frequent form is only four petals1 or a cruciform flower1 as at ,benihasan in the ,x,i,ith dynasty2 and this is varied by alternations of square and diagonal arrangement4 ,illustration3 #ajh4--,p4 #hd4 ,a graceful1 simple form1 which again recalls leather applique1 is yellow on a blue ground4 ,illustration3 ,fig4 #aji4 ,illustration3 ,fig4 #aaj--,p4 #ha4 ,illustration3 ,fig4 #aaa4 ,an allied pattern is the disc surrounded by spots4 ,this is very usual on early ,greek pottery1 and is found on the ,aegean pottery also4 ,this is very rarely seen in pure ,egyptian design1 and only in the ,x,v,i,i,ith dynasty1 when ,mykenaean influence was strongest4 ,on ,neferhotep's ceiling two forms are found1 put between the horns of the bulls' heads1 like the rosette on the ,mykenaean ox head4 ,elsewhere it is usually seen on the scarves of the negroes as a characteristic decoration1 and on the dress of the ,amu 7,c4,m4 cclviii474 ,hence it appears to be distinctly a foreign ornament1 like the other spot pattern on a zigzag line4 ,only three examples are published from ,egyptian decoration1 and those may well be due to foreign influence4 ,we now reach the largest and most complex growth of ,egyptian ornament in the lotus1 so widely spread that some have seen in it the source of all ornament4 ,without going so far1 we shall find plenty in it to tax our reasoning and imagination4 ,if ,i prefer1 in dealing with this1 to ignore the developments of it seen outside of ,egypt as aids to understanding it1 this is only because those foreign examples are so much later that they are a reflex of various ,egyptian periods1 and cannot show anything certainly as to the long anterior course of development in ,egypt itself4 ,the debated question of lotus and papyrus disappears at once when we look at the feathery head of minute flowers which the papyrus bears4 ,that some flower1 such as a nelumbium1 was confused with the lotus seems1 however1 very likely4 ,there is no doubt that in ornament different flowers were sometimes confused1 and their details mixed2 hence it is of no use for us to be too particular in trying to separate them4 ,we shall therefore use the name lotus in general without necessarily entering on botanical reasons for and against it on each occasion4 ,illustration3 #aab4--,l4,d4 ,,ii4 #cc2 ,i4 #bg4 ,illustration3 #aac4--,l4,d4 ,,iii4 #fh4 ,x,v,i,i,ith dyn4 ,the oldest use of the lotus was in groups of two flowers tied together by the stalks2 such are found on the prehistoric pottery at ,koptos1 and on the earliest tombs4 ,but in later times this became corrupted1 and the origin apparently forgotten1 by the ,x,v,i,i,ith dynasty4 ,illustration3 ,fig4 #aad4 ,illustration3 #aae4--,l4,d4 ,,ii4 #eb4 ,p4 #gd4 ,illustration3 ,fig4 #aaf4 ,illustration3 #aag4--,p4 #gi4 ,illustration3 #aah4--,p4 #ba4 ,l4,d4 ,,iii4 #gf4 ,the plain flower was also used very early1 as we see on the head-band of ,nefert at the beginning of the ,i,vth dynasty4 ,and as architectural ornament it appears as a capital in wood of the ,vth dynasty in the tomb of ,imery4 ,at ,karnak there is a celebrated pair of granite pillars1 one with the papyrus1 the other with the lotus2 and this form1 with the sepals turned over at the end1 became the more usual in the ,empire and later times4 ,the variety of lotus capital is very great4 ,the bud capital and the opened flower are both shown in the ,x,v,i,i,ith dynasty 7tomb of ,khaemhat72 and many composite1 complicated1 and impossible combinations were piled together in the decadent age of the ,ramessides4 ,illustration3 #aai4--,p4 ,mon4 ,l4 ,illustration3 #abj4--,r4,c4 lviii4 ,illustration3 #aba4--,p4 #hh4 ,illustration3 #abb4--,r4,c4 lxx4 ,the lotus was also much used in repetition as a border pattern1 but not apparently before the ,x,v,i,i,ith dynasty2 and usually it is in alternation with buds1 which fit harmoniously into the curves between the flowers4 ,this line of flowers and buds was varied as flowers and grapes1 and appears very often in the ,x,v,i,i,ith dynasty4 ,the flower and bud was further developed in a mechanical fashion1 and we can trace a continuous series of forms beginning in a flower and bud pattern and modifying the intermediate member1 until on reversing the line we find that something has been evolved which is indistinguishable from the ,greek palmetto alternating with the lotus4 ,the isolated anthemion1 which is so much like this1 has probably a different origin1 as we shall soon see4 ,illustration3 #abc4--,p4 #hi4 #h4 ,illustration3 ,fig4 #abd4 #hi4 #i4 #ij4 #d4 ,illustration3 ,fig4 #abe4 #ij4 #e4 #ij4 #f4 ,illustration3 #abf4--,p4 #ij4 #e4 ,beside using the separate flowers1 the whole plant was also a favourite subject as a group4 ,in the earliest days we find it entwined around the hieroglyph of union1 as we shall notice in considering the hieroglyphs4 ,in the ,x,i,ith dynasty the plant appears as a recurrent group in surface decoration2 though from the varying form of the flower it might be intended for lotus or papyrus4 ,illustration3 #abg4--,r4,c4 xciii4 ,illustration3 #abh4--,l4,d4 ,,iii4 #aji4 ,in the ,x,v,i,i,ith dynasty it is more free1 as might be expected in the time of ,akhenaten4 ,illustration3 #abi4--,r4,s4 lxxxiii4 ,it is also seen as a foreign ornament on the dress of a ,syrian slain by ,ramessu ,,ii4 at ,abu ,simbel1 but in this case perhaps the tufted papyrus is intended4 ,and in place of the rounded group which is usual in the ,x,v,i,i,ith-,x,i,xth dynasties we find a different treatment on the throne of ,ramessu ,,iii41 in which it is kept more as a parallel pattern4 ,this parallelism became general in later times1 and the ,ptolemaic walls are ruled over with stiff friezes of lotus and bud4 ,illustration3 #acj4--,p4 #aae4 ,illustration3 #aca4--,l4,d4 ,,ii4 #ce4 ,illustration3 #acb4--,l4,d4 ,,ii4 #fd4 ,these wall basements are preceded by groups of flower and bud in scenes1 which are of the same style1 as early as the ,i,vth dynasty1 on the tomb of ,debuhen4 ,here it may be the papyrus2 but in the ,vth dynasty1 on a basket-work screen1 the lotus and bud is clearly shown4 ,this pattern1 however1 is very seldom found as a general architectural ornament until we come down to the dull sterility of the ,ptolemaic and ,roman age4 ,then the lower part of each wall is uniformly ruled with an endless series of flowers and buds on long stems in monotonous order4 ,illustration3 #acc4--,p4 #hh4 ,l4,d4 iv4 #hd4 ,we now come to the ornamental development of the flower into a monstrosity1 which is only decorative and not natural1 and which requires some thought and comparison to understand its origin4 ,illustration3 #acd4--,p4 #gi4 ,first there is the fleur-de-lys type1 with curled-over sides and a middle projection4 ,this has not been yet explained satisfactorily2 but a principle which was first clearly formulated by ,borchardt 7,a4,z4 xxxi4 #a7 will show the origin of this as well as of the succeeding forms4 ,the ,egyptian1 it seems1 consistently drew the interior or top view of an object above the side view4 ,in short1 they suppose things to be seen in a bird's-eye view1 and expressed that by drawing--for instance1 a cup--in side view and partly in top view above that4 ,a dish would be drawn in side view1 and a top view of its compartments and contents placed over it1 and the bunch of flowers that lay on it is again placed over the top view4 ,now on this principle we can see that the projection in the midst of the lotus flower is the third sepal at the back of the flower1 the fourth1 in front1 being so foreshortened as to disappear altogether4 ,illustration3 #ace4--,t4,a4 ,i4 ,illustration3 #acf4--,t4,a4 #cfh4 ,illustration3 #acg4--,t4,a4 #cha4 ,illustration3 #ach4--,t4,a4 #chh4 ,this view is further complicated by showing not only some of the four outer sepals1 but also some of the petals1 usually three4 ,here the near sepal is shown rising in front1 and then above these everted sepals are three of the inner petals of the flower4 ,these might be increased to five or seven1 but were generally an odd number2 and they were at last evolved to a fan of petals1 in which the treatment of the dish of fruit just shown is exactly reproduced1 a side view of the flower being crowned by a top view of it showing the radiating petals in the interior4 ,illustration3 #aci4--,t4,a4 #cge4 ,illustration3 #adj4--,t4,a4 #cgd4 ,so far we are on clear ground4 ,now we come to a more complex form1 which has also not yet been explained4 ,in the ,x,v,i,i,ith dynasty 7from which we must mainly draw1 as we have the long series of varieties in the glazed ornaments of ,tell el ,amarna7 a strange form appears1 with reversed curling arms above the calyx4 ,now we have seen that a third sepal is shown from the back of the flower1 and the fourth is omitted which lay in front4 ,but this was an imperfect flower1 and so a diagonal point of view was taken1 in which two sepals lay nearest and were seen in side view1 and the two behind them were seen over them4 ,sometimes they are curled alike1 but more generally they are curled different ways1 the nearer ones downwards1 the further ones upwards4 ,hence we get this very mechanical form1 which was greatly developed in ,assyrian and ,greek types of the pattern4 ,if it can be proved that the ,assyrian tree pattern is earlier than this development1 we could then grant what seems a likely influence on the development of this pattern4 ,it was so far removed from a natural view that it soon became greatly varied and amplified1 as on a bracelet in the ,louvre4 ,illustration3 #ada4--,p4 #aac4 ,illustration3 #adb4--,p4 and ,c4 ,ass4 #abg4 ,illustration3 #adc4--,tanis ,,ii4 xxxi4 ,illustration3 #add4--;,goodyear4 #ge4 ,in ,assyria this became a staple design1 in which the top was greatly increased at the expense of the lotus sepals below2 but still the four sepals1 two front and two back1 are shown4 ,in the ,greek designs1 however barbarous they may seem in comparison1 owing to their hopeless divergence from any rational type1 yet the same elements remain1 and the four sepals can be traced below the view of the petals in the flower4 ,thus the anthemion with its double curves is fully accounted for1 the lower and upper sepals being still distinguishable in the two spirals on each side at the base of it4 ,the later changes of this necessarily belong to ,greek art1 and we cannot here follow them out4 ,illustration3 ,fig4 #ade4 ,a late development of the lotus in ,ptolemaic ,egypt was with a central spike through the face of petals4 ,as this spike rises from the base1 it appears to be the front sepal rising before the petals4 ,illustration3 #adf4--,p4 #aaa4 ,another variety in this pattern remains to be noticed4 ,on very many compound lotus patterns there is a pendant from each end of the side sepals4 ,this does not appear until the ,x,v,i,i,ith dynasty on the monuments3 it is then sometimes single and sometimes double4 ,but here1 as in the spirals1 the scarab type is an earlier stage than the architectural4 ,on the architecture it is quite unintelligible1 and a mere conventional monstrosity2 while on a scarab of green jasper--which from the style and material seems certainly to be before the ,x,v,i,i,ith dynasty1 and probably of the ,x,i,ith--there is an already conventionalised lotus group1 with the four sepals and inner petals already developed into a sort of 8tree pattern10 and the lower two sepals have a pendant1 partly worn away1 but clearly showing a triply-branching line like a small lotus flower4 ,this is the earlier stage of this conventional pendant2 but even here1 although the pendant itself is rational1 the position of it is hard to explain4 ,probably we must wait for some early scarab to clear up the real origin of this curious and puzzling form4 ,illustration3 #adg4--;,f4,p4 coll4 ,we have now traced the evolution of the various forms of the lotus pattern in ,egypt1 and seen how the main ,assyrian and ,greek types of the palmetto and the anthemion arose1 which were confounded together owing to their similarity4 ,other plants were often confounded with the lotus in decoration1 by the ancients as well as by moderns4 ,we have noticed some examples of this2 and it is well shown in the group of boat-builders1 to whom1 apparently1 bundles of papyrus with lotus flowers are being brought1 in the ,i,vth dynasty tomb of ,shepseskau 7,l4,d4 ,,ii4 #ab74 ,much use was made of papyrus in the floral work of ,tell el ,amarna4 ,on the painted pavement groups of papyrus with large red fluffy heads of seed vessels are figured2 and on the coloured tiles the landscape view of the papyrus plant in strictly natural treatment is a frequent subject4 ,but these belong rather to artistic than to ornamental work4 ,illustration3 ,fig4 #adh4 ,illustration3 ,fig4 #adi4 ,in architecture the lotus and papyrus were largely used1 in fact they form the basis of columnar decoration as distinct from that of pillars4 ,the earliest figure of a column that is known is as far back as any dated monument we possess at the beginning of the ,i,vth dynasty2 and there it is fashioned as a stem and flower1 probably carved in wood4 ,the contracting connection with the tenon above1 in a bell form1 on the top of the flower1 is the same as columns of the ,v,ith dynasty 7,l4,d4 ,,ii4 #aaa72 and is the source of the much later columns of ,tahutmes ,,iii4 at ,karnak1 which otherwise seems to be an unaccountable 8sport40 ,illustration3 ,fig4 #aej4 ,illustration3 ,fig4 #aea4 ,illustration3 ,fig4 #aeb4 ,in the figures of wooden columns in the ,vth and ,v,ith dynasties1 the lotus form prevails1 as we have already noticed1 and here repeat4 ,in the ,vth dynasty1 in the tomb of ,ptahshepses at ,abusir the clustered papyrus stems are a new feature2 at ,benihasan they are well developed2 and they continued in use to the ,x,v,i,i,ith dynasty4 ,but a different type then arose into predominance in the wide bell-topped lotus capitals1 and with long sheath-leaves around the root2 and this continued for several dynasties4 ,but this was displaced by the elaborate composite capitals of ,ptolemaic and ,roman age1 which were made up of varied elements of incongruity4 ,illustration3 ,fig4 #aec4 ,the palm1 though the most important tree of the country1 has had but little effect on the architecture4 ,there is not a single example of columns copied from a palm stem2 and the only instances of the imitation of the stem are in two or three instances of copies of roofing beams4 ,the branches are not copied on columns until other subjects were well used4 ,in the ,x,i,ith dynasty the imitation of a bundle of palm branches was made in the capitals1 and it became common in the ,x,v,i,i,ith4 ,perhaps1 however1 as we shall see in considering the hieroglyphs1 the palm column originates with a bundle of palm-sticks bound together4 ,it is strange that the simple element of grouping branches round a post should not have been a very usual early motive4 ,was the palm really common in early ,egypt8 ,it does not enter into the hieroglyphs1 and it is seldom shown on monuments till the ,x,v,i,i,ith dynasty2 while grapes1 figs1 and pomegranates all seem to have been commoner than dates4 ,in late times not only the branches but the fruit was sculptured2 and at ,esneh and other ,roman temples the bunches of dates are carefully rendered4 ,the vine is one of the oldest cultivated plants in ,egypt1 and all the designs copied from it are based on the idea of its climbing and trailing over the houses4 ,it appears mainly in the florid work of the ,x,v,i,i,ith dynasty4 ,the ceiling was often painted of a golden yellow1 with vine leaves and bunches of grapes hanging from a trellis pattern which covers it4 ,at ,tell el ,amarna some fragments found were very free and natural1 but in the ,x,xth dynasty it became a stiff and formal affair4 7,tomb of ,aimadua1 ,ramessu ,x474 ,illustration3 #aed4--,p4 #hf4 ,bunches of grapes also formed favourite pendants2 as such they are painted in rows hanging from architraves of wooden buildings 7tomb of ,ra1 ,amenhotep ,,ii472 and frequently in blue glazed ware bunches of grapes are found of varying sizes1 with half of the upper part cut away so as to affix them by a peg-hole to a square wooden beam of the ceiling4 ,illustration3 #aee4--,p4 #gi4 ,illustration3 ,fig4 #aef4 ,in the ,greco-,roman decoration of capitals the vine and grapes also appears1 and is often very beautifully treated1 as at ,esneh1 though essentially as a mere surface decoration1 and not as an organic element4 ,the convolvulus has scarcely1 if at all1 been acknowledged as an ,egyptian ornament4 ,yet it often occurs during the ,x,v,i,i,ith and ,x,i,xth dynasties4 ,on a coffin in the ,ghizeh ,museum a long trail of convolvulus is beautifully modelled and painted2 and during the tide of naturalism under ,akhenaten the wild flowing stems were a favourite element of decoration4 ,illustration3 #aeg4--,p4 #ia4 ,subsequently the convolvulus is often shown as a climber on the lotus or papyrus stems in bouquets2 and though its leaves then have been miscalled lotus buds1 or 8tabs10 yet they are clearly intended for a natural leaf of this climber1 which is so common in the ,egyptian fields4 ,illustration3 #aeh4--,p4 #ia4 ,another field plant which played a great part in the glazed decorations was the thistle4 ,this is naturally painted on the glazed tiles2 and the glazed pendants of necklaces and wall decoration showed an abundance of thistles with green calices and purple petals4 ,but this1 like the convolvulus1 was rarely used except during the beautiful period of naturalism which was most developed by ,akhenaten4 ,artificial combinations of flowers also became used decoratively4 ,we have just instanced two examples from the great bouquets or staves of flowers which the ,egyptians used in ceremonies4 ,the garlands of flower petals which are seen on the heads of women1 or as collars1 in the ,x,v,i,i,ith-,x,xth dynasties were also placed around the water-jars2 and hence a painted pattern of garlands came to be used on those jars4 ,illustration3 ,fig4 #aei4 ,in architecture also the garland came into use1 sometimes carved on the stone around the columns1 sometimes made in coloured glaze and inlaid in the surface4 ,illustration3 #afj4--,t4,a4 ix4 ,wreaths of lotus flowers and buds were also represented around the columns at ,tell el ,amarna4 ,the great pectorals1 or breast-plates1 of successive strings of flowers and leaves were prominent in the personal and religious decoration4 ,the sacred barks of the gods were adorned with large and complex breast-plates1 probably made of bronze1 gilded and inlaid 7,l4,d4 ,,iii4 #bce74 ,illustration3 #afa4--,p4 ,mon4 xlix4 #b4 ,a small example of such we have in ,london1 with the details all inlaid in gold4 ,these pectorals were also represented on the later vases as a complete whole4 ,illustration3 #afb4--,l4,d4 ,,iii4 #gf4 ,turning now to the men and animals shown in decoration1 in the period of the ,empire we constantly see figures of captives introduced to emphasise the power of the king4 ,these first appear in the great change which overcame ,egyptian art consequent upon the ,asiatic conquests4 ,before ,tahutmes ,,iii4 the character and style of work continually recalls that of the ,x,i,ith dynasty2 but within one or two generations a profound difference changed for ever the nature of the art1 and this is reflected in the national handwriting1 which shows a similar break4 ,amenhotep ,,ii4 appears on his nurse's knee with an emblematic group of foreigners under his feet1 while he grasps cords tied to their necks2 and in the same spirit he is shown1 when grown up1 as smiting at one blow a whole bunch of captives whom he holds in his left hand 7,l4,d4 ,,iii4 #fb2 ,l4,d4 ,,iii4 #fa74 ,tahutmes ,,iv4 similarly is seen seated on his tutor's knee1 with his feet on a footstool ornamented with prostrate captives 7,l4,d4 ,,iii4 #fi74 ,amenhotep ,,iii4 appears with figures of a negro and a ,syrian bound to the sam sign on the sides of his throne1 and henceforward the abasement of captives was an essential idea to ,egyptians4 ,but it should be remembered that common as the notion was in late times1 it is originally ,asiatic and not ,egyptian2 the king trampling on the nations and making foes a footstool are ideas not found in ,egypt until the ,semitic conquests of ,tahutmes ,,iii41 though the earliest figure of a sphinx trampling on a captive is under the ,x,i,ith dynasty4 ,illustration3 ,fig4 #afc4 ,under ,akhenaten six various races are represented on the sides of his great balcony 7,l4,d4 ,,iii4 #aji71 and the alternate negroes and ,syrians are painted on the passage floors of his palace1 or carved in blocks of alabaster to be trodden under foot4 ,down the various ages this symbolism recurs in decoration until in ,ptolemaic and ,roman times every decent ,egyptian had captives painted on the soles of his sandals in which he was buried1 so that for all eternity he might tread down the ,gentiles4 ,illustration3 ,fig4 #afd4 ,among animals a favourite in decoration was the ibex1 but it was not introduced till the ,x,v,i,i,ith dynasty4 ,it often appears on the finger-rings of ,akhenaten's time1 and later upon the funeral tent of ,isiemkheb1 ingeniously adapted to fill a square space4 ,the bull or young calf was more frequently introduced2 on the wooden boxes and trays it is shown as bounding in the meadows1 and it is continually used in the groups of the painted pavement at ,tell el ,amarna4 ,birds are also a common subject for decoration1 though only dating from the same period as the other animals4 ,besides the symbolic or sacred use of the hawk and vulture1 the very secular duck was a favourite bird4 ,on the great pavements of ,akhenaten it appears above every group of plants4 ,illustration3 ,fig4 #afe4 ,on rings it is often engraved fluttering above its nest2 and in the decadence of ,egyptian art in the ,x,xth dynasty the incongruous idea was adopted of birds1 eggs1 and nests all upon a ceiling4 ,the natural ceiling pattern adopted from the early days of ,egyptian art was of golden stars on a deep blue ground2 not a dark daylight blue1 as in modern imitations1 but a black night blue4 ,these are always five-pointed stars1 with a circular spot1 usually of red1 in the centre4 ,illustration3 ,fig4 #aff4 ,it is noticeable that the ,egyptian views a star as surrounded by long streamers of light2 because to a long-sighted person1 or any one with proper spectacles1 the stars appear as points of light without radiations4 ,hence it seems as if the ,egyptians were short-sighted people from the early ages4 ,illustration3 ,fig4 #afg4--,l4,d4 ,,ii4 #ai4 ,illustration3 ,fig4 #afh4 ,lastly we may notice the base imitation of nature in copying the grain of wood1 which we find done in the earliest times of the ,i,vth dynasty1 and continued down to the period of the ,empire4 ,stones were also imitated by painting1 and red granite is frequently copied in the earlier days1 on the recessed doorways of tombs4 ,in later times vases of valuable stone were imitated by painting over a pottery vase1 and such cheap substitutes were commonly placed in the tombs4 ,these base imitations are of sthetic interest as showing in what a different manner the ,egyptian viewed his materials from that of our standpoint4 ,he stuccoed and painted over his hard stone statues2 it was enough for him to know that the stone was hard and imperishable--he did not need to see it always exposed4 ,the imitation of nature was the standpoint from which he started1 and he had no objection to carry out that imitation with paint or otherwise2 our abstract standpoint of an artistic effect which must never involve falsity1 but which may have little or nothing to do with nature1 was altogether outside of his sthetic4 ,,chapter ,,iv ,,structural ,,decoration ,in the persistence of certain forms which were the direct result of the structure of a building or object1 we have a very considerable source of decoration4 ,in ,greek architecture many of the details are entirely the product of wooden construction translated into stone4 ,the triglyphs1 the imitation of nail heads1 of the ends of the poles supporting the roofing1 of the crossing of beams at the coffers1 are all details which are retained as decoration long after they ceased to have any structural meaning1 owing to an entire change of material4 ,such is structural decoration in its best known forms4 ,but the same principles equally apply to ,egyptian architecture2 there the original material was not sawn wood as in ,greece1 but rather the papyrus and palm branch1 with the ever-present mud plastering and mud bricks4 ,the decorative details of the stone architecture have come down from this stage of building1 translated point for point into stone1 just as the ,greek translated his wooden architecture into marble4 ,but pottery preceded stone in ,egypt1 and one of the simplest of ornaments arose from structural necessity4 ,to this day may be seen in the ,egyptian pottery yards bowls and jars held together by a twist of rough palm fibre cord1 while they dry in the sun before baking4 ,this accidental marking by the rope in the wet clay is seen on the pottery of all ages2 but it became developed as a pattern apparently in the twist or guilloche1 which may perhaps be rather derived from this than from the chain of coils or wave pattern4 ,illustration3 #afi4--;,h4,s4 #chc4 ,illustration3 #agj4--,kahun ,pot4 ,illustration3 #aga4--,l4,d4 ,,ii4 #fc4 ,basket-work was elaborately developed in the ,old ,kingdom4 ,there were beautiful screens represented behind the figures of the owners of the early tombs2 they might in some cases be matting instead of basket-work1 but others of the patterns appear certainly to be of a rigid material4 ,in no case are they likely to be 8mats on which the kings stand10 as styled by ,owen ,jones4 ,among the various patterns of platting which are readily developed1 squares1 waves1 zig-zags1 chequers1 c41 there are some made by binding the fibres into bundles1 and so making a kind of open work1 which may well have led to the pattern of connected rhombs which is so usual on ,oriental pottery4 ,illustration3 #agb4--,l4,d4 ,,ii4 #fc4 ,illustration3 #agc4--,l4,d4 ,,ii4 #ag4 ,one of the most familiar early motives is wooden framing4 ,this is continually imitated in the stone figures of doorways in the tombs4 ,the details of it show that a frame or grate of joinery must have been used for the porch of large houses1 so as to admit light and air while the door was fastened4 ,the prevalence of such wooden frames or lattices in modern times in ,egypt--known as mushrabiyeh work--shows how suited such a system is to the climate4 ,long after the use of stone was general the frames were imitated1 and the pattern survived as a decoration4 ,the same style of framing was used in the upper part of a house1 with decorative uprights of the hieroglyph tat1 and was copied as a fancy decoration in furniture1 as seen in a beautiful ivory carving in the ,louvre4 ,this style survived until the ,x,v,i,i,ith dynasty1 when it is seen in a tomb at ,thebes 7,amenhetop ,,ii41 ,prisse ,art7 and at the temple of ,sedeinga under ,amenhotep ,,iii4 ,illustration3 ,fig4 #age4 ,illustration3 ,fig4 #agd4--;,ghizeh4 ,much akin to this wood framing is the panelling of the brickwork which is seen in the earliest examples in ,egypt1 and is identical with the panelling of walls in early ,babylonia1 one of the indications of a common civilisation of the two great valleys4 ,this panelling does not seem to have lasted beyond the ,old ,kingdom2 there was no trace of it found at ,kahun or ,gurob1 in the buildings of the ,x,i,ith and ,x,v,i,i,ith dynasties1 nor does it appear in any drawings or imitations of buildings4 ,illustration3 #agf4--,p4 ,m4 vii4 7plan74 ,illustration3 ,fig4 #agg4 ,one of the best known characteristics of ,egyptian architecture is the sloping face of the walls and pylons4 ,this is directly copied from brickwork4 ,in order to give more cohesion to a wall it was the custom to build it on a curved bed1 so that the courses all sloped up outwards at the outer corners4 ,thus the outer faces sloped inwards1 and the wall had more stability4 ,so wedded were the builders to this method1 that where a long wall of a fort or city was to be built they preferred to begin with a row of towers of brickwork thus arranged1 and then to fill in the spaces between them with more plain walling4 ,this slope of the walls was copied in stone at the earliest time4 ,the temple of ,sneferu at ,medum has a slope on the face of about #a in #af1 and it was continued down to the very latest age of ,roman building4 ,illustration3 #agh4--,perring4 ,l4,d4 ,,ii4 #dd4 ,another familiar feature is the roll or torus down the corners of the buildings4 ,it is usually ornamented by a pattern of binding4 ,this--as was well pointed out by ,professor ,conway--is evidently a bundle of reeds bound together1 and put down the angle of the plastering in order to preserve it from breaking away4 ,such a construction was an ugly necessity at first1 but when stoneworking arose it had become so familiar that it was faithfully copied in stone as a decoration1 and continued to be so copied for more than four thousand years1 as long as ,egyptian architecture lasted4 ,illustration3 ,fig4 #ahj4 ,illustration3 ,fig4 #agi4 ,illustration3 #aha4--,l4,d4 ,,ii4 #aab4 ,the well-known ,egyptian cornice has been so long taken for granted that it might seem never to have required an origin4 ,yet in the villages of the ,fellahin to-day palm cornices may be seen in course of development4 ,a fence is formed of palm-sticks1 placed upright1 and stripped of leaves for some way up4 ,the tops are left bushy1 and serve to prevent men or animals climbing over the courtyard wall4 ,the upright sticks are tied together by a rope near the top1 or lashed on to a cross line of sticks4 ,the fence is stiffened below by interweaving other palm-sticks in both directions2 and then the whole is plastered with mud up to the tie level4 ,here we have the cavetto cornice being formed by the nodding tops of the branches2 and to clinch the matter1 the earliest representations of that cornice are on figures of buildings which show the crossed sticks of the fence below the cornice4 ,the ribbing of the cornice is seen on the earliest examples1 on ,menkaura's sarcophagus in the ,i,vth dynasty 7,perring71 in the ,vth dynasty 7,l4,d4 ,,ii4 #dd7 and the ,v,ith 7,l4,d4 ,,ii4 #aab71 and such was copied until late times4 ,but in the more decorative cornices of the ,x,v,i,i,ith dynasty the ribbing was broken up by cross lines1 sometimes curved upward1 sometimes downward4 ,these cross lines must be a degradation of the leaves of the palm branch4 ,in later times they are omitted1 and the pattern becomes simply striped4 ,illustration3 #ahb4--,l4,d4 ,,iii4 #aae4 ,illustration3 ,fig4 #ahc4 ,this cornice was copied in ,syrian architecture1 in the plain form without ribbing1 as in the tomb at ,siloam and the slabs of ,lachish2 but it does not appear to have ever taken root in ,assyria1 though attempted there1 nor is it known in ,europe4 ,illustration3 ,fig4 #ahd4 ,the other main type of ,egyptian cornice is what is known as the ,khaker1 from the equivalent of the sign as a hieroglyph in inscriptions4 ,this only means 8to cover0 or 8to ornament10 and therefore refers to the position of the decoration and not to its origin4 ,the clue to the real nature of this decoration is given in a tomb of the ,i,vth dynasty 7,ptah-hotep1 ,l4,d4 ,,ii4 #aja4 b471 where we see the khaker ornament not as a mere painting1 but represented as standing up solid around the tops of the cabins of boats4 ,it cannot therefore be anything very heavy or solid1 such as spear-heads1 as has been proposed4 ,it probably results in some way from the construction of the cabins4 ,they must have had roofs of very light material4 ,papyrus was generally used for building boats1 and therefore for cabins also1 most likely4 ,this gives us the clue to interpret it4 ,suppose a screen of papyrus stems2 the roofing stems tied on to the uprights2 and the loose wiry leaves at the head tied together1 to keep them from straggling over and looking untidy4 ,here we have all the details of the khaker ornament simply resulting from structural necessity4 ,the leaves are gathered together at the lower tying2 there the end view of the concentric coats of the papyrus stems of the roof are seen as concentric circles2 above which the leaves bulge out and are tied together near the top4 ,though this structural decoration is seen on the top of boat cabins as early as the ,i,vth dynasty1 yet we have not found it as decoration on a flat surface until the ,x,i,ith4 ,then it is very common2 but its meaning became confused in the ,x,v,i,i,ith dynasty1 and in ,ptolemaic times it is seen in absurd positions1 as on a base1 and on architraves above an empty space1 where no stems below it were possible4 ,illustration3 #ahe4--,prisse #hh4 ,we have just mentioned one use of reeds or papyrus in the torus roll on the edge of buildings2 but on interior decoration we meet again with the same motive4 ,the borders of ,egyptian scenes from the earliest times are framed with a variety of bindings2 and so suitable did such bordering seem that it was continued with but little variation throughout all the history4 ,the oldest forms are-- ,illustration3 #ahf4--,l4,d4 ,,ii4 #dc4 plain binding1 ,illustration3 #ahg4--,l4,d4 ,,ii4 #dd4 a diagonal binding1 ,illustration3 #ahh4--,l4,d4 ,,ii4 #dd4 or ,illustration3 #ahi4--,l4,d4 ,,ii4 #ed4 and crossed binding4 ,illustration3 #aij4--,l4,d4 ,,ii4 #adh4 ,illustration3 #aia4--,l4,d4 ,,ii4 #acb4 ,the latter became modified into-- by the ,x,ith dynasty1 showing that its meaning was already becoming forgotten4 ,but a modification of the tower ends of this pattern in the ,x,i,ith dynasty is difficult to understand2 unless we can look on it as an irregular winding of the ends of the cord around the reed bundle in place of the regular crossing which is shown above it4 ,illustration3 #aib4--,l4,d4 ,,ii4 #aae4 ,the modification of colours and arrangement in the plain binding is interminable4 ,in the ,x,v,i,i,ith dynasty we find ,illustration3 #aic4--,l4,d4 ,,ii4 #acf4 in the ,x,i,xth ,illustration3 #aid4--,p4 #gb4 #gf4 in late times ,illustration3 ,fig4 #aie4 and in all ages a binding with a number of lines between coloured spaces was common ,illustration3 ,fig4 #aif4 and on borders of architecture and statuary thrones ,,chapter ,v ,,symbolical ,,decoration ,the ,egyptian who expressed all his thoughts by a symbolical writing1 full of determinatives1 was naturally much given to symbolism in his decoration4 ,not1 however1 that all his decoration was symbolic in a recondite sense2 the ever-present lotus ornament was merely a thing of beauty2 the lotus was not a sacred plant1 it is not associated with any divinity in particular1 and only in one unusual instance does it ever occur in the hieroglyphs4 ,the fanciful habit of ,europe1 in seeing a hidden sense in every flower1 was not akin to the simple and elementary mind of the ,egyptian4 ,but certain striking emblems he used continually2 and one of the earliest of these is the uraeus snake1 or cobra in his wrath1 reared up with expanded body ready to strike4 ,the dignity and power of the animal made it to be an emblem of the king1 or rather perhaps of the royal power of death4 ,that capital punishment was used in ,egypt is seen in the ,westcar ,tales1 which probably date from the ,old ,kingdom1 where a condemned malefactor is ordered to be brought forth for a magician to try his power in bringing him to life when slain4 ,the king1 as having the power of death1 bore the uraeus always on his head-dress2 and from the earliest days 7at ,medum7 the royal court of justice was adorned with a cornice of uraei1 implying that there resided the royal right of judgment and of condemnation4 ,this cornice seems1 however1 to have been regarded as merely royal in later times1 and was freely used to adorn any royal structure1 even a wooden summer-house 7,amenhotep ,,ii472 or the uraei formed a band around columns 7,akhenaten71 or appear as supporters of the royal cartouche 7,p4 #gb71 either plain 7,ramessu ,,ii47 or winged 7,horemheb ,l4,d4 ,,iii4 #abb74 ,illustration3 ,fig4 #aig4 ,illustration3 #aih4--,p4 #gb4 ,illustration3 ,fig4 #aii4 ,illustration3 #bjj4--,khufu4 ,illustration3 #bja4--,unas4 ,illustration3 #bjb4--,l4,d4 ,,iii4 #abb;a4 ,a symbolism closely connected with this is that of the globe and wings4 ,this certainly dates to the beginning of the monumental age1 as it is seen above the figure of ,khufu seated on an amulet4 ,in that instance it is on too small a scale to show the details2 but in the next dynasty it appears above ,unas at ,elephantine1 with the globe flanked by two uraei and two wings4 ,what the symbolism of it was we have no direct information4 ,but when we consider that the wings are those of the vulture spread out1 as it appears on the roofs of the passages as a protecting and preserving maternal emblem1 and the uraeus is associated with it1 we can hardly view it as other than the same idea of the power of life and death1 of preservation and destruction4 ,but in this emblem it is not the king who wields these powers1 but ,ra the ,sun1 whose disc appears in the midst4 ,that the wings have thus the meaning of protection is shown by the globe with drooping wings embracing the royal name1 expressing the protection given by ,ra to the king1 without associating the deadly or punitive power of the uraeus4 ,a curious form of this emblem which was common in the early part of the ,x,v,i,i,ith dynasty is with only one wing4 ,illustration3 #bjc4--,l4,d4 ,,iii4 #h4 ,illustration3 #bjd4--,p4 #gb4 ,one of the most perfect and beautiful examples of the winged disc is on the temple of ,tahutmes ,,iii41 but it continued to be used down to the latest times of ,egyptian architecture as a lintel decoration4 ,in the ,x,i,xth dynasty an addition to the symbolism appears2 the horns of a ram are added to the wings2 sometimes without the uraei 7,ramessu ,i41 ,l4,d4 ,,iii4 #aca71 sometimes with the uraei 7,ramessu ,,ii41 ,l4,d4 ,,iii4 #bjd74 ,these rams' horns can hardly be other than those of the ram-headed god ,khnum1 8the maker0 or 8modeller0 of men4 ,the idea then of the wings and horns is that ,ra makes as well as protects2 and where the uraeus is added it implies that ,ra is creator1 preserver1 and destroyer4 ,the vulture alone as the emblem of protection is frequently figured with outstretched wings across the ceilings of the passages1 particularly those of the royal tombs of the ,x,i,xth dynasty4 ,there is perhaps no sight in the animal world more imposing than one of these birds1 stretched out with a span of some nine or ten feet1 hanging in the air close overhead2 it is natural that it should have excited the admiration of man1 and not being hurtful it readily came to be honoured as a type of maternal care4 ,illustration3 #bje4--,p4 #ha4 ,illustration3 #bjf4--,l4,d4 ,,iii4 #bce4 ,the scarab was another such typical animal1 rolling the pellet containing an egg to a safe place where it buries it4 ,though very common as an amulet for the living and the dead1 yet it is not often seen in symbolical or decorative use otherwise4 ,with what idea the amulet was used we do not know for certain4 ,the scarab itself is often figured as holding the disc of the sun between its claws3 and it is at least possible that the symbolic idea of the scarab as the maker or creator arose from the burial of its ball being an emblem of the setting of the sun1 from which new life will arise in due course4 ,it occurs with the wings extended and the disc between the claws as a centre figure in the space of a ceiling pattern 7,neferhotep1 ,x,v,i,i,ith dynasty71 and on the border of the covering of a shrine under ,ramessu ,x41 and is occasionally met with later in decoration4 ,illustration3 #bjg4--,r4,c4 cxxx4 ,illustration3 #bjh4--,p4 #gh4 ,illustration3 #bji4--,l4,d4 ,,iii4 #ajj4 ,the lion as a noble and royal animal frequently figures in the ,x,v,i,i,ith dynasty4 ,the ,egyptians1 with their marvellous instinct for taming every animal they could find1 actually trained lions or leopards to live as domesticated animals1 with the same sort of allowed wildness as modern hunting dogs4 ,the lion accompanied the king in battle2 but in camp it lay down as peaceably as an ox4 ,it was frequently carved on the sides of the thrones of the ,x,v,i,i,ith-,x,xth dynasties1 and also seated in pairs1 facing or backing1 on the temple walls1 a usage reminding us of the lion gate of ,mykenae of the same age4 ,illustration3 #baj4--,l4,d4 ,,iii4 #aad ,illustration3 ,fig4 #baa4 ,some of the ,egyptian divinities also appear as symbolic ornaments4 ,the figures of the goddess ,maat with spread wings adorned the ark of ,amen-ra under ,tahutimes ,,ii42 and in earlier times similar cherubic figures stand guarding the name of ,antef ,v4 on a scarab4 ,hathor also appears on various objects4 ,a mirror handle carved in wood during the ,x,i,ith dynasty has the head of ,hathor 7,p4 #a4 xiii472 columns with heads of ,hathor1 crowned with a shrine occupied by a uraeus1 are found introduced by ,amenhotep ,,iii4 in his temples at ,el ,kab and ,sedeinga1 and were copied by ,ramessu ,,ii4 at ,abu ,simbel4 ,the similar head of ,hathor was frequently made in glazed pottery as a pendant in the time of ,akhenaten4 ,and in later times these ,hathor headed capitals became usual under the ,ptolemies1 as in the well-known case of the portico of the great temple at ,dendera4 ,illustration3 #bab4--,l4,d4 ,i4 #ajj4 ,bes was one of the favourite popular deities of the ,egyptians2 restricted to no place in particular1 every votary of music and the dance patronised ,bes4 ,the little statuette of a dancing girl with a ,bes mask on1 besides an actual mask in cartonnage1 found at ,kahun1 show the popularity of the god in the ,x,i,ith dynasty4 ,in later times his figure is frequently seen4 ,at ,tell el ,amarna ornaments for necklaces made in glazed pottery followed two types of ,bes1 the god dancing with the tambourine seen in side view1 and the earlier grotesque front view1 with arms akimbo4 ,these familiar little figures continued to be made till late times2 and in the ,roman age ,bes was elevated to architectural dignity on the dies above the columns at ,dendereh in the small temple of the ,mammeisi4 ,another and more artificial mode of symbolical decoration was by means of the hieroglyphic signs4 ,having a mode of writing in which a single mark could express an abstract idea1 it was possible to adapt writing to a purely decorative design4 ,even with alphabetic characters this has been done1 as in the elaborate crossing patterns of the earlier ,arab period in ,egypt1 in which no untrained eye would see anything but a complex ornament4 ,illustration3 #bac4--;,ankh4 ,illustration3 #bad4--,thet4 ,illustration3 #bae4--,uas4 ,illustration3 #baf4--;,dad4 ,four of the hieroglyphs most usually worked into ornamental designs are the ankh1 a girdle1 or symbol of life2 the thet1 another form of girdle1 with longer bow-tie in front1 which1 as always identified with ,isis1 may have been a primitive feminine girdle1 the ankh being masculine2 the uas1 a stick of authority1 or symbol of power2 and the dad1 a row of columns1 or symbol of stability4 ,as early as the ,old ,kingdom we find wooden framings1 or lattices1 ornamented with dad signs2 and this continued at least as late as ,amenhotep ,,ii4 ,the dad also appears in what is probably copied from pierced woodwork1 in a relief at ,qurneh of ,ramessu ,i4 ,illustration3 #bag4--,l4,d4 ,,iii4 #aca4 ,illustration3 ,fig4 #bah4 ,the combination of thet dad uas1 and of ankh dad uas1 is found in the ,x,i,ith dynasty at ,benihasan1 apparently carved in relief1 on the wooden panels of a litter 7,r4,c4 xciii474 ,the same occur similarly carved on the ebony doors of ,hatshepsut at ,deir el ,bahri4 ,the group begins to appear as an architectural design early in the ,x,v,i,i,ith dynasty1 and continues down to ,roman times1 especially on bases of scenes and groups1 thus forming a continuous border of good wishes4 ,the hieroglyphs1 ankh1 dad1 and uas1 are all found on pendants for necklaces1 in the blue glazed pottery of the ,x,v,i,i,ith dynasty1 and also combined in one as a ring bezil4 ,and the thet girdle tie of ,isis appears repeated as a pattern1 probably of pierced woodwork1 along the sides of a shrine of ,tahutimes ,,iii4 at ,semneh1 and on the base of a couch in the birth scene of ,amenhotep ,,iii4 7,r4,s4 xxxviii474 ,as funeral amulets the thet1 dad1 and ankh occur commonly1 but that branch is outside of the subject of decoration4 ,illustration3 #bai4--,khafra4 ,illustration3 #bbj4--,khafra4 ,another hieroglyph often appearing as an ornament is the sam1 or symbol of union4 ,the origin of it is yet unexplained4 ,it certainly is a column of some kind2 it has a well-marked capital and an abacus4 ,the capital is formed much like the palm-leaf capital2 and the stem is clearly bound round1 and must therefore be composite4 ,this suggests that it might be a column of palm-sticks bound together1 with some tops left projecting for ornament4 ,such might well be more conventionalised at the beginning of ,egyptian sculpture in the ,i,vth dynasty than the other kinds of capitals2 and the immigrant race came from the region of the palm1 while the lotus and papyrus only were reached by them in ,egypt itself4 ,the base is a main difficulty to explain4 ,it might be conventionalised clods of earth1 with two curled-over side branches of the palm2 but it has been so modified that we must await more evidence4 ,in any case the stem is formed of several parts bound together1 and hence it was very naturally adopted as a symbol of union4 ,it was further grouped with two plants1 the stalks of which were linked around it4 ,it is always supposed that these symbolise northern and southern ,egypt1 and that the group means the union of all the land4 ,still it is yet uncertain what plants are intended to be represented1 though on the throne of ,tahutimes ,,iv4 they are clearly lotus and papyrus2 but the evidence is too late to be of much value4 ,this group was a favourite decoration from beginning to end of ,egyptian history4 ,at the beginning of the ,x,i,ith dynasty an addition was made by placing a figure of ,hapi or the ,nile on each side of the group 7,tanis i4 ,i471 each figure holding one of the two plants4 ,as these figures were crowned1 one with the sign of south the other of north1 they point to the plants being emblems of the south and north also4 ,this group with the figures is found as late as the ,x,xth dynasty 7,l4,d4 ,,iii4 #bcg74 ,another design came into fashion during the great foreign wars of the ,x,v,i,i,ith dynasty1 representing two captives1 one negro1 one ,syrian1 bound back to back against the sam2 thus it symbolised not only the union of upper and lower ,egypt1 but also of the northern and southern races outside of ,egypt4 ,later on1 four or even six such racial types are figured as bound together4 ,,index ,amu dresses1 #ae ,ankh girdle1 #aag ,anthemion1 #fe1 #gb ,assyrian lotus1 #gb ,barks of gods1 #hc ,basket-work screens1 #ad1 #cf1 #ic ,bell capital1 #gf ,bes1 god of dance1 #aae ,binding patterns1 #ajc ,birds1 #hg ,boat covers1 #bi1 #ca ,borders1 spiral1 #dj lotus1 #fd ,borrowed art1 #dj ,brickwork panelling1 #ie curved courses1 #if ,c-spirals1 #cd ,calf1 #hg ,captives1 #hd bound together1 #he1 #abb painted on sandals1 #hf ,cavetto cornice1 #ih ,chain of spirals1 #bj ,chequer patterns1 #dd ,circles1 not usual1 #dg not divided by six1 #di ,classes of ornament1 #i ,cobra1 #ajg ,coils1 #bj ,continuous spirals1 #bj ,convolvulus decoration1 #ha ,cornice1 palm1 #ih ,dad columns1 #ie1 #aag ,daisy1 #eh ,decoration1 classes of1 #i ,decorative instinct of ,egyptians1 #b ,descent of patterns1 #e ,disc with spots1 #fj and wings1 #ajh ,duck1 #hg ,endless spirals1 #ba ,feather patterns1 #ej types of1 #ea belts1 #eb ,fleur-de-lys type1 #fh ,flower ornament1 #ee ,framing of wood1 #id ,fret patterns1 #ce ,greek1 #cf1 #dc ,garlands1 #hb ,geometrical ornament1 #i1 #ab ,girdles ankh and thet1 #aag ,globe and wings1 #ajh ,graining of wood1 #hi ,grape pendants1 #hj ,greek fret1 #cf1 #dc lotus1 #gb architecture1 structural1 #ia ,guilloche1 #dj ,hathor head1 #aad capitals1 #aae ,hawk1 #hg ,hexagon pattern1 #ad ,hieroglyphs decorative1 #c symbolic1 #aaf ,hooks1 #bj ,horns1 #aaj ,ibex1 #hg ,imitation of wood1 #hi stone1 #hi ,isiemkheb1 tent of1 #ef1 #hg ,kahun1 guilloche at1 #da ,keft dresses1 #ae ,khaker pattern1 #ajj ,khufu1 #ajh ,lachish1 slabs1 #ajj ,leatherwork1 #ef1 #ei rosettes1 #eg ,line decoration1 #ab zigzag1 #ac ,links1 #bj ,lion1 #aac ,lotus patterns1 #fa tied1 #fb capitals1 #fc border1 #fd plant1 #ff friezes1 #fg flower developed1 #gj flower with pendants1 #gc column1 #gf ,maat goddess1 #aad ,maeander1 #dj ,minusinsk art1 #g ,mykenaean spirals1 #ch borrowed art1 #dj ox head1 #ei disc and spots1 #fj ,natural ornament1 #aj1 #ej ,network patterns1 #df ,nile figures1 #aba ,orchomenos1 #ci ,origin of patterns1 #e ,ornament1 classes of1 #i ,palm capital1 #gh not common1 #gi cornice1 #ih column1 #abj ,palmetto1 #fe ,panelled pattern1 #ie ,papyrus1 #fa1 #ge cornice1 #aja ,patterns not re-invented1 #h ,pectorals1 #hc ,perspective1 ,egyptian1 #fi ,plaiting patterns1 #ad1 #cf1 #dd ,ra1 creator1 preserver and destroyer1 #aaa ,roll on buildings1 #ig1 #ajc ,rope borders1 #db pattern1 #ib ,rosette1 #ef1 #eh ,rushwork plaiting1 #ad1 #cf1 #ic ,sam column1 #aai ,scale pattern really feathers1 #eb ,scarab spirals1 #ah symbolical1 #aab ,scroll pattern1 #ag ,siloam tomb1 #ajj ,sloping faces of buildings1 #if ,spiral or scroll1 #ag origin of1 #ah sole patterns1 #bd earlier on scarabs1 #bh surface decoration1 #bi with lotus1 #cj crossed lines1 #ca quadruple1 #ca quintuple1 #cd developed to fret1 #cf late1 #bc ,subdivisions4 coils1 #bj1 #ba1 #bc1 #bd1 #bi1 #dj hooks1 #ai1 #bj1 #bb links1 #ai1 #bj1 #ba1 #bi1 #db chain1 #bj1 #ba continuous1 #bj1 #be endless1 #ba1 #bc false links1 #bf lop-sided1 #bg ,spots1 not ,egyptian1 #ae1 #fj ,star patterns1 #eg1 #eh1 #hh ,stitch patterns1 #dc1 #eg ,structural ornament1 #aj1 #ia ,styles1 characteristic1 #h ,symbolic ornament1 #aa1 #ajf ,tell el ,amarna1 #bi1 #ed1 #ee1 #eh1 #ga1 #ge1 #hj1 #hg1 #aaf ,terms for spirals1 #bj ,thet girdle1 #aag ,thistle decoration1 #hb ,torus1 origin of1 #ig ,uas sceptre1 #aag ,uraeus1 #ajg ,v pattern1 #ee ,vine patterns1 #gi ,vulture1 #hg1 #aaa ,wave borders1 #da ,wavy line1 rounded1 #af ,weaving patterns1 #ad ,wings symbol of protection1 #aji ,wood1 imitation of1 #hi ,wooden framing1 #id ,wreaths1 #hc ,zigzag lines1 #ac ,printed in ,great ,britain by ,,unwin ,,brothers1 ,,limited1 ,,the ,,gresham ,,press1 ,,woking ,,and ,,london ---------------------------------------- -------------------------------- ,,methuen',s ,,general ,,literature ,illustration ,a ,,selection ,,of ,,messrs4 ,,methuen',s ,,publications ,this ,catalogue contains only a selection of the more important books published by ,messrs4 ,methuen4 ,a complete catalogue of their publications may be obtained on application4 ,,armstrong 7,anthony7 7#8,a4 ,a4' of ,punch7 ,,warriors ,,at ,,ease ,,warriors ,,still ,,at ,,ease ,,percival ,,and ,i ,,percival ,,at ,,play ,,me ,,and ,,frances ,,how ,,to ,,do ,,it ,each #cs4 #f;d4 net4 ,,livestock ,,in ,,barracks ,illustrated by ,e4 ,h4 ,,shepard4 #fs4 net4 ,,two ,,legs ,,and ,,four ,illustrated by ,,ren ,,bull4 #es4 net4 ,,bain 7,f4 ,w47 ,a ,,digit ,,of ,,the ,,moon ,,the ,,descent ,,of ,,the ,,sun ,a ,,heifer ,,of ,,the ,,dawn ,,in ,,the ,,great ,,god',s ,,hair ,a ,,draught ,,of ,,the ,,blue ,,an ,,essence ,,of ,,the ,,dusk ,,an ,,incarnation ,,of ,,the ,,snow ,a ,,mine ,,of ,,faults ,,the ,,ashes ,,of ,a ,,god ,,bubbles ,,of ,,the ,,foam ,a ,,syrup ,,of ,,the ,,bees ,,the ,,livery ,,of ,,eve ,,the ,,substance ,,of ,a ,,dream ,each #cs4 #f;d4 net4 ,,an ,,echo ,,of ,,the ,,spheres #ajs4 #f;d4 net4 ,,balfour 7,sir ,graham7 ,,the ,,life ,,of ,,robert ,,louis ,,stevenson ,twentieth ,edition4 #gs4 #f;d4 net4 ,,barker 7,ernest7 ,,national ,,character #ajs4 #f;d4 net4 ,,greek ,,political ,,theory #ads4 net4 ,,church1 ,,state ,,and ,,study #ajs4 #f;d4 net4 ,,belloc 7,hilaire7 ,,paris #hs4 #f;d4 net4 ,,the ,,pyrenees #hs4 #f;d4 net4 ,,marie ,,antoinette #ahs4 net4 ,a ,,history ,,of ,,england ,in #e ,vols4 ,vols4 ,i1 ,,ii and ,,iii ,each #aes4 net4 ,,on ,,nothing ,,hills ,,and ,,the ,,sea ,,on ,,something ,,this ,,and ,,that ,,and ,,the ,,other ,,on ,,first ,,and ,,last ,,on ,,everything ,,on ,,anything ,,emmanuel ,,burden ,a ,,picked ,,company ,each #cs4 #f;d4 net4 ,,birmingham 7,george ,a47 ,a ,,wayfarer ,,in ,,hungary ,illustrated4 #hs4 #f;d4 net4 ,,spillikins3 ,,essays #cs4 #f;d4 net4 ,,ships ,,and ,,sealing-,,wax3 ,,essays #cs4 #f;d4 net4 ,,bleek 7,dorothea ,f47 ,,rock ,,paintings ,,in ,,south ,,africa ,illustrated4 #b #bs4 net4 ,,budge 7,sir ,e4 ,a4 ,wallis7 ,a ,,history ,,of ,,ethiopia3 ,,nubia ,,and ,,abyssinia ,illustrated4 #b vols4 #c #acs4 #f;d4 net4 ,,chesterton 7,g4 ,k47 ,,come ,,to ,,think ,,of ,,it 444 #fs4 net4 ,g4,k4,c4 ,,as ,m4,c4 #gs4 #f;d4 net4 ,,the ,,ballad ,,of ,,the ,,white ,,horse #cs4 #f;d4 net4 ,also ,illustrated by ,,robert ,,austin4 #abs4 #f;d4 net4 ,,charles ,,dickens ,,generally ,,speaking ,,all ,,things ,,considered ,,tremendous ,,trifles ,,fancies ,,versus ,,fads ,,alarms ,,and ,,discursions ,a ,,miscellany ,,of ,,men ,,the ,,uses ,,of ,,diversity ,,the ,,outline ,,of ,,sanity ,,the ,,flying ,,inn ,each #cs4 #f;d4 net4 ,a ,,gleaming ,,cohort #bs4 #f;d4 net4 ,,wine1 ,,water ,,and ,,song #as4 #f;d4 net4 ,,clutton-,,brock 7,a47 ,,what ,,is ,,the ,,kingdom ,,of ,,heaven8 ,,essays ,,on ,,art ,,shakespeare',s ,,hamlet ,each #es4 net4 ,,essays ,,on ,,books #cs4 #f;d4 net4 ,,more ,,essays ,,on ,,books ,,essays ,,on ,,life ,,essays ,,on ,,religion ,,essays ,,on ,,literature ,,and ,,life ,,more ,,essays ,,on ,,religion ,each #fs4 net4 ,,shelley1 ,,the ,,man ,,and ,,the ,,poet #gs4 #f;d4 net4 ,,crawley 7,ernest7 ,,the ,,mystic ,,rose ,revised and ,enlarged by ,,theodore ,,besterman4 #b vols4 #a #ajs4 net4 ,,studies ,,of ,,savages ,,and ,,sex ,edited by ,,theodore ,,besterman4 #ajs4 #f;d4 net4 ,,davis 7,h4 ,w4 ,c47 ,,europe ,,from #hjj-aghi #hs4 #f;d4 net4 ,,derwent 7,lord7 ,,goya ,illustrated4 #ajs4 #f;d4 net4 ,,dugdale 7,e4 ,t4 ,s47 ,,german ,,diplomatic ,,documents1 #ahga-aiad ,selected from the ,documents published by the ,german ,foreign ,office4 ,in #d vols4 ,vol4 ,i1 #ahga-ij4 ,vol4 ,,ii1 #ahia-h4 ,vol4 ,,iii1 #ahih-aiaj4 ,vol4 ,,iv1 #aiaa-aiad4 ,each #a #as4 net4 ,,edwardes 7,tickner7 ,,the ,,lore ,,of ,,the ,,honey-,,bee ,illustrated4 #gs4 #f;d4 and #cs4 #f;d4 net4 ,,beekeeping ,,for ,,all ,illustrated4 #cs4 #f;d4 net4 ,,the ,,bee-,,master ,,of ,,warrilow ,illustrated4 #gs4 #f;d4 net4 ,,bee-,,keeping ,,do',s ,,and ,,dont',s #bs4 #f;d4 net4 ,,einstein 7,albert7 ,,relativity3 ,,the ,,special ,,and ,,general ,,theory #es4 net4 ,,sidelights ,,on ,,relativity #cs4 #f;d4 net4 ,,the ,,meaning ,,of ,,relativity #es4 net4 ,,the ,,brownian ,,movement #es4 net4 ,,eisler 7,robert7 ,,the ,,messiah ,,jesus ,,and ,,john ,,the ,,baptist3 according to ,flavius ,josephus' hitherto neglected #8,capture of ,jerusalem' and other ,jewish and ,christian sources4 ,translated by ,a4 ,,haggerty ,,krappe4 ,illustrated4 ,demy #hvo4 #b #bs4 net4 ,,field 7,g4 ,c47 ,,moral ,,theory #fs4 net4 ,,plato ,,and ,,his ,,contemporaries #abs4 #f;d4 net4 ,,fyleman 7,rose7 ,,fairies ,,and ,,chimneys ,,the ,,fairy ,,green ,,the ,,fairy ,,flute ,,the ,,rainbow ,,cat ,,eight ,,little ,,plays ,,for ,,children ,,forty ,,good-,,night ,,tales ,,fairies ,,and ,,friends ,,the ,,adventure ,,club ,,forty ,,good-,,morning ,,tales ,,seven ,,little ,,plays ,,for ,,children ,,twenty ,,tea-,,time ,,tales ,each #cs4 #f;d4 net4 ,,the ,,dolls' ,,house ,illustrated by ,,margaret ,,tempest4 #es4 net4 ,,gay ,,go ,,up ,illustrated by ,,decie ,,merwin4 #es4 net4 ,,the ,,rose ,,fyleman ,,fairy ,,book ,illustrated by ,,hilda ,,miller4 #ajs4 #f;d4 net4 ,a ,,garland ,,of ,,rose',s3 ,,collected ,,poems ,illustrated by ,,ren ,,bull4 #hs4 #f;d4 net4 ,,gibbon 7,edward7 ,,the ,,decline ,,and ,,fall ,,of ,,the ,,roman ,,empire ,with ,notes1 ,appendixes and ,maps1 by ,j4 ,b4 ,,bury4 ,illustrated4 #g vols4 ,demy #hvo4 #aes4 net each volume4 ,also1 unillustrated4 ,crown #hvo4 #gs4 #f;d4 net each volume4 ,,gladstone 7,mary7 7,mrs4 ,drew7 ,,her ,,diaries ,,and ,,letters ,illustrated4 #a #as4 net4 ,,glover 7,t4 ,r47 ,,virgil ,,the ,,conflict ,,of ,,religions ,,in ,,the ,,early ,,roman ,,empire ,,poets ,,and ,,puritans ,each #ajs4 #f;d4 net4 ,,from ,,pericles ,,to ,,philip #abs4 #f;d4 net4 ,,graham 7,harry7 ,,the ,,world ,,we ,,laugh ,,in3 ,more ,deportmental ,ditties ,illustrated by #8,,fish'4 ,seventh ,edition4 #es4 net4 ,,strained ,,relations ,illustrated by ,h4 ,,stuart ,,menzies and ,,hendy #fs4 net4 ,,the ,,world',s ,,workers ,illustrated by #8,,fougasse'4 #es4 net4 ,,adam',s ,,apples ,illustrated by ,,john ,,reynolds4 #es4 net4 ,,grahame 7,kenneth7 ,,the ,,wind ,,in ,,the ,,willows ,nineteenth ,edition4 #gs4 #f;d4 net4 ,also illustrated by ,,wyndham ,,payne4 #gs4 #f;d4 net4 ,also unillustrated4 #cs4 #f;d4 net4 ,see also ,milne 7,a4 ,a47 ,,hadfield 7,j4 ,a47 ,,psychology ,,and ,,morals ,eighth ,edition4 ,crown #hvo4 #fs4 net4 ,,hall 7,h4 ,r47 ,,the ,,ancient ,,history ,,of ,,the ,,near ,,east ,illustrated4 #a #as4 net4 ,,the ,,civilization ,,of ,,greece ,,in ,,the ,,bronze ,,age ,illustrated4 #a #ajs4 net4 ,a ,,season',s ,,work ,,at ,,ur ,,of ,,the ,,chaldees4 ,illustrated4 #a #es4 net4 ,,heaton 7,rose ,henniker7 ,,the ,,perfect ,,hostess ,decorated by ,a4 ,e4 ,,taylor #gs4 #f;d4 net4 ,gift ,edition1 #a #as4 net4 ,,herbert 7,a4 ,p47 ,,honeybubble ,,co4 #fs4 net4 ,,misleading ,,cases ,,in ,,the ,,common ,,law4 ,with an ,introduction by ,,lord ,,hewart4 #es4 net4 ,,more ,,misleading ,,cases4 #es4 net4 ,,wisdom ,,for ,,the ,,wise ,illustrated by ,,george ,,morrow4 #es4 net4 ,,the ,,wherefore ,,and ,,the ,,why ,illustrated by ,,george ,,morrow4 #cs4 #f;d4 net4 ,,the ,,bomber ,,gipsy #cs4 #f;d4 net4 ,,the ,,secret ,,battle #cs4 #f;d4 net4 ,,holdsworth 7,sir ,w4 ,s47 ,a ,,history ,,of ,,english ,,law ,nine ,volumes4 #a #es4 net each4 ,,hudson 7,w4 ,h47 ,a ,,shepherd',s ,,life ,illustrated4 #ajs4 #f;d4 net4 ,also unillustrated4 #cs4 #f;d4 net4 ,,hutton 7,edward7 ,,cities ,,of ,,sicily ,illustrated4 #ajs4 #f;d4 net4 ,,milan ,,and ,,lombardy ,,the ,,cities ,,of ,,romagna ,,and ,,the ,,marches ,,siena ,,and ,,southern ,,tuscany ,,naples ,,and ,,southern ,,italy ,illustrated4 ,each #hs4 #f;d4 net4 ,a ,,wayfarer ,,in ,,unknown ,,tuscany ,,the ,,cities ,,of ,,spain ,,the ,,cities ,,of ,,umbria ,,country ,,walks ,,about ,,florence ,,rome ,,florence ,,and ,,northern ,,tuscany ,,venice ,,and ,,venetia ,illustrated4 ,each #gs4 #f;d4 net4 ,,inge 7,w4 ,r471 ,d4,d41 ,dean of ,st4 ,paul's ,,christian ,,mysticism 7,the ,bampton ,lectures of #ahii74 ,sixth ,edition4 #gs4 #f;d4 net4 ,,kipling 7,rudyard7 ,,barrack-,,room ,,ballads #beeth ,thousand4 ,,the ,,seven ,,seas #ahfth ,thousand4 ,,the ,,five ,,nations #adcrd ,thousand4 ,,departmental ,,ditties #aagth ,thousand4 ,,the ,,years ,,between #ieth ,thousand4 ,four ,editions of these famous-volumes of poems are now published1 viz43-- ,crown #hvo4 ,buckram1 #gs4 #f;d4 net4 ,fcap4 #hvo4 ,cloth1 #fs4 net4 ,leather #gs4 #f;d4 net4 ,service ,edition4 ,two volumes each book4 ,square ,fcap4 #hvo4 #cs4 net each volume4 ,a ,,kipling ,,anthology--,,verse ,sixth ,edition4 ,leather #gs4 #f;d4 net4 ,cloth #fs4 net and #cs4 #f;d4 net4 ,,twenty ,,poems ,,from ,,rudyard ,,kipling #dhfth ,thousand4 #as4 net4 ,a ,,choice ,,of ,,songs ,second ,edition4 #bs4 net4 ,,lamb 7,charles and ,mary7 ,,the ,,complete ,,works ,edited by ,e4 ,v4 ,,lucas4 ,six ,volumes4 ,with ,frontispieces4 #fs4 net each4 ,,selected ,,letters ,edited by ,g4 ,t4 ,,clapton4 #cs4 #f;d4 net4 ,,the ,,charles ,,lamb ,,day ,,book ,compiled by ,e4 ,v4 ,,lucas4 #fs4 net4 ,,lankester 7,sir ,ray7 ,,science ,,from ,,an ,,easy ,,chair ,,science ,,from ,,an ,,easy ,,chair3 ,second ,series4 ,,diversions ,,of ,a ,,naturalist ,,great ,,and ,,small ,,things ,illustrated4 ,each #gs4 #f;d4 net4 ,,secrets ,,of ,,earth ,,and ,,sea ,illustrated4 #hs4 #f;d4 net4 ,,lindrum 7,walter7 ,,billiards4 ,illustrated4 #fs4 net4 ,,lodge 7,sir ,oliver7 ,,man ,,and ,,the ,,universe #gs4 #f;d4 net and #cs4 #f;d4 net4 ,,the ,,survival ,,of ,,man #gs4 #f;d4 net4 ,,raymond #ajs4 #f;d4 net4 ,,raymond ,,revised #fs4 net4 ,,modern ,,problems #cs4 #f;d4 net4 ,,reason ,,and ,,belief #cs4 #f;d4 net4 ,,the ,,substance ,,of ,,faith #bs4 net4 ,,relativity #as4 net4 ,,conviction ,,of ,,survival #bs4 net4 ,,lucas 7,e4 ,v47 ,,the ,,life ,,of ,,charles ,,lamb #b ,vols4 #a #as4 net4 ,,the ,,colvins ,,and ,,their ,,friends #a #as4 net4 ,,vermeer ,,the ,,magical #es4 net4 ,a ,,wanderer ,,in ,,rome ,a ,,wanderer ,,in ,,holland ,a ,,wanderer ,,in ,,london ,,london ,,revisited 7,revised7 ,a ,,wanderer ,,in ,,paris ,a ,,wanderer ,,in ,,florence ,a ,,wanderer ,,in ,,venice ,each #ajs4 #f;d4 net4 ,a ,,wanderer ,,among ,,pictures #hs4 #f;d4 net4 ,e4 ,v4 ,,lucas',s ,,london #a net4 ,,introducing ,,london ,,introducing ,,paris ,each #bs4 #f;d4 net4 ,,the ,,open ,,road #fs4 net4 ,also1 illustrated by ,,claude ,a4 ,,shepperson1 ,a4,r4,w4,s4 #ajs4 #f;d4 net4 ,also1 ,india ,paper4 ,leather1 #gs4 #f;d4 net4 ,,the ,,joy ,,of ,,life #fs4 net4 ,leather ,edition1 #gs4 #f;d4 net4 ,also1 ,india ,paper4 ,leather1 #gs4 #f;d4 net4 ,,the ,,gentlest ,,art #fs4 #f;d4 net4 ,and ,,the ,,second ,,post #fs4 net4 ,also together in one volume4 #gs4 #f;d4 net4 ,,fireside ,,and ,,sunshine ,,character ,,and ,,comedy ,,good ,,company ,,one ,,day ,,and ,,another ,,old ,,lamps ,,for ,,new ,,loiterer',s ,,harvest ,,luck ,,of ,,the ,,year ,,events ,,and ,,embroideries ,a ,,fronded ,,isle ,a ,,rover ,i ,,would ,,be ,,giving ,,and ,,receiving ,,her ,,infinite ,,variety ,,encounters ,,and ,,diversions ,each #cs4 #f;d4 net4 ,,cloud ,,and ,,silver ,a ,,boswell ,,of ,,baghdad ',,twixt ,,eagle ,,and ,,dove ,,the ,,phantom ,,journal ,,zigzags ,,in ,,france ,,turning ,,things ,,over ,,traveller',s ,,luck ,each #fs4 net4 ,,french ,,leaves ,illustrated4 #es4 net4 ,,roving ,,east ,,and ,,roving ,,west #es4 net4 ,mr4 ,punch's ,,county ,,songs ,illustrated by ,e4 ,h4 ,,shepard4 #ajs4 #f;d4 net4 #8,,the ,,more ,i ,,see ,,of ,,men 444' ,,out ,,of ,a ,,clear ,,sky ,,if ,,dogs ,,could ,,write #8444 ,,and ,,such ,,small ,,deer' ,each #cs4 #f;d4 net4 ,,the ,,pekinese ,,national ,,anthem ,illustrated by ,,persis ,,kirmse4 #as4 net4 ,see also ,lamb 7,charles74 ,,lynd 7,robert7 ,,it',s ,a ,,fine ,,world #es4 net4 ,,the ,,green ,,man ,,the ,,pleasures ,,of ,,ignorance ,,the ,,goldfish ,,the ,,little ,,angel ,,the ,,blue ,,lion ,,the ,,peal ,,of ,,bells ,,the ,,money-,,box ,,the ,,orange ,,tree ,each #cs4 #f;d4 net4 ,mc,d,o,u,g,a,l,l 7,william7 ,,an ,,introduction ,,to ,,social ,,psychology #ajs4 #f;d4 net4 ,,national ,,welfare ,,and ,,national ,,decay #fs4 net4 ,,an ,,outline ,,of ,,psychology #ajs4 #f;d4 net4 ,,an ,,outline ,,of ,,abnormal ,,psychology #aes4 net4 ,,body ,,and ,,mind #abs4 #f;d4 net4 ,,character ,,and ,,the ,,conduct ,,of ,,life #ajs4 #f;d4 net4 ,,modern ,,materialism ,,and ,,emergent ,,evolution #gs4 #f;d4 net4 ,,ethics ,,and ,,some ,,modern ,,world ,,problems #gs4 #f;d4 net4 ,,mallet 7,sir ,c4 ,e47 ,a ,,history ,,of ,,the ,,university ,,of ,,oxford ,in #c vols4 ,each #a #as4 net4 ,,maeterlinck 7,maurice7 ,,the ,,blue ,,bird #fs4 net4 ,also1 illustrated by ,f4 ,,cayley ,,robinson4 #ajs4 #f;d4 net4 ,,our ,,eternity #fs4 net4 ,,the ,,unknown ,,guest #fs4 net4 ,,poems #es4 net4 ,,the ,,wrack ,,of ,,the ,,storm #fs4 net4 ,,the ,,burgomaster ,,of ,,stilemonde #es4 net4 ,,the ,,betrothal #fs4 net4 ,,mountain ,,paths #fs4 net4 ,,the ,,great ,,secret #gs4 #f;d4 net4 ,,the ,,cloud ,,that ,,lifted and ,,the ,,power ,,of ,,the ,,dead #gs4 #f;d4 net4 ,,mary ,,magdalene #bs4 net4 ,,marlowe 7,christopher7 ,,the ,,works4 ,in #f volumes4 ,general ,editor1 ,r4 ,h4 ,case4 ,,the ,,life ,,of ,,marlowe1 by ,c4 ,f4 ,,tucker ,,brooke1 and ,,dido4 ,edited by the ,same4 #hs4 #f;d4 net4 ,,tamburlaine1 ,i ,,and ,,ii4 ,edited by ,u4 ,m4 ,,ellis-,,fermor4 #ajs4 #f;d4 net4 ,,the ,,jew ,,of ,,malta and ,,the ,,massacre ,,at ,,paris ,edited by ,h4 ,s4 ,,bennett4 #hs4 #f;d4 net4 ,,masefield 7,john7 ,,on ,,the ,,spanish ,,main #hs4 #f;d4 net4 ,a ,,sailor',s ,,garland #cs4 #f;d4 net4 ,,sea ,,life ,,in ,,nelson',s ,,time #gs4 #f;d4 net4 ,,methuen 7,sir ,a47 ,,an ,,anthology ,,of ,,modern ,,verse #bcbnd ,thousand4 ,,shakespeare ,,to ,,hardy3 ,an ,anthology of ,english ,lyrics #bhth ,thousand4 ,each1 ,cloth1 #fs4 net4 ,leather1 #gs4 #f;d4 net4 ,,milne 7,a4 ,a47 ,,by ,,way ,,of ,,introduction #fs4 net4 ,,toad ,,of ,,toad ,,hall ,a ,play founded on ,kenneth ,grahame's #8,the ,wind in the ,willows4' #es4 net and #bs4 #f;d4 net4 ,,those ,,were ,,the ,,days3 ,collected ,stories #gs4 #f;d4 net4 ,,not ,,that ,,it ,,matters ,,if ,i ,,may ,,the ,,sunny ,,side ,,the ,,red ,,house ,,mystery ,,once ,a ,,week ,,the ,,holiday ,,round ,,the ,,day',s ,,play ,,mr4 ,,pim ,,passes ,,by ,each #cs4 #f;d4 net4 ,,when ,,we ,,were ,,very ,,young #baath ,thousand4 ,,winnie-,,the-,,pooh #aahth ,thousand4 ,,now ,,we ,,are ,,six #aaith ,thousand4 ,,the ,,house ,,at ,,pooh ,,corner #ajeth ,thousand4 ,each illustrated by ,e4 ,h4 ,,shepard4 #gs4 #f;d4 net4 ,leather1 #ajs4 #f;d4 net4 ,,the ,,christopher ,,robin ,,story ,,book4 ,third ,edition4 ,illustrated by ,e4 ,h4 ,,shepard4 #es4 net4 ,,the ,,christopher ,,robin ,,birthday ,,book ,illustrated by ,e4 ,h4 ,,shepard4 #cs4 #f;d4 net4 ,,milne 7,a4 ,a47 and ,,fraser-,,simson 7,h47 ,,fourteen ,,songs ,,from #8,,when ,,we ,,were ,,very ,,young' ,thirteenth ,edition4 #gs4 #f;d4 net4 ,,teddy ,,bear ,,and ,,other ,,songs ,,from #8,,when ,,we ,,were ,,very ,,young' #gs4 #f;d4 net4 ,,the ,,king',s ,,breakfast ,third ,edition4 #cs4 #f;d4 net4 ,,songs ,,from #8,,now ,,we ,,are ,,six' ,second ,edition4 #gs4 #f;d4 net4 ,,more #8,,very ,,young' ,,songs #gs4 #f;d4 net4 ,,the ,,hums ,,of ,,pooh #gs4 #f;d4 net4 ,words by ,a4 ,a4 ,,milne4 ,music by ,h4 ,,fraser-,,simson4 ,decorations by ,e4 ,h4 ,,shepard4 ,,morton 7,h4 ,v47 ,,the ,,heart ,,of ,,london #bgth ,thousand4 #cs4 #f;d4 net4 ,also with ,scissor ,cuts by ,l4 ,,hummel4 #fs4 net4 ,,the ,,spell ,,of ,,london #bjth ,thousand4 ,,the ,,nights ,,of ,,london #acth ,thousand4 ,each #cs4 #f;d4 net4 ,,in ,,search ,,of ,,england #fdth ,thousand4 ,,the ,,call ,,of ,,england #cast ,thousand4 ,,in ,,search ,,of ,,scotland #hfth ,thousand4 ,,in ,,search ,,of ,,ireland #cjth ,thousand4 ,each illustrated4 #gs4 #f;d4 net4 ,,the ,,soul ,,of ,,scotland #as4 net4 ,,neuburger 7,albert7 ,,the ,,technical ,,arts ,,and ,,sciences ,,of ,,the ,,ancients ,translated by ,h4 ,l4 ,,brose4 ,illustrated4 #b #bs4 net4 ,,oman 7,sir ,charles7 ,a ,,history ,,of ,,the ,,art ,,of ,,war ,,in ,,the ,,middle ,,ages1 ,a4,d4 #cgh-adhe #b vols4 ,illustrated4 #a #afs4 net4 ,,studies ,,in ,,the ,,napoleonic ,,wars #hs4 #f;d4 net4 ,,perry 7,w4 ,j47 ,,the ,,origin ,,of ,,magic ,,and ,,religion ,,the ,,growth ,,of ,,civilization ,each #fs4 net4 ,,the ,,children ,,of ,,the ,,sun #a #as4 net4 ,,petrie 7,sir ,flinders7 ,a ,,history ,,of ,,egypt ,in #f ,volumes4 ,vol4 ,i4 ,,from ,,the ,,ist ,,to ,,the ,,xvith ,,dynasty ,eleventh ,edition1 ,revised4 #abs4 net4 ,vol4 ,,ii4 ,,the ,,xviith ,,and ,,xviiith ,,dynasties ,seventh ,edition1 ,revised4 #is4 net4 ,vol4 ,,iii4 ,,xixth ,,to ,,xxxth ,,dynasties ,third ,edition4 #abs4 net4 ,vol4 ,,iv4 ,,egypt ,,under ,,the ,,ptolemaic ,,dynasty ,by ,,edwyn ,,bevan4 #aes4 net4 ,vol4 ,v4 ,,egypt ,,under ,,roman ,,rule ,by ,j4 ,g4 ,,milne4 ,third ,edition1 ,revised4 #abs4 net4 ,vol4 ,,vi4 ,,egypt ,,in ,,the ,,middle ,,ages ,by ,,stanley ,,lane ,,poole4 ,fourth ,edition4 #ajs4 net4 ,,ponsonby ,,of ,,shulbrede 7,lord7 ,,english ,,diaries #a #as4 net4 ,,more ,,english ,,diaries #abs4 #f;d4 net4 ,,scottish ,,and ,,irish ,,diaries #ajs4 #f;d4 net4 ,,rutter 7,frank7 ,,el ,,greco4 ,illustrated4 #a #afs4 net4 ,,sellar 7,w4 ,c47 and ,,yeatman 7,r4 ,j47 #ajff ,,and ,,all ,,that ,illustrated by ,,john ,,reynolds4 #cbnd ,thousand4 #es4 net4 ,,stevenson 7,r4 ,l47 ,,the ,,letters ,edited by ,sir ,,sidney ,,colvin4 #d ,vols4 ,each #fs4 net4 ,,surtees 7,r4 ,s47 ,,handley ,,cross ,,mr4 ,,sponge',s ,,sporting ,,tour ,,ask ,,mamma ,,mr4 ,,facey ,,romford',s ,,hounds ,,plain ,,or ,,ringlets8 ,,hillingdon ,,hall ,each illustrated4 #gs4 #f;d4 net4 ,,jorrocks',s ,,jaunts ,,and ,,jollities ,,hawbuck ,,grange ,each illustrated4 #fs4 net4 ,,taylor 7,a4 ,e47 ,,plato3 ,,the ,,man ,,and ,,his ,,work #a #as4 net4 ,,plato3 ,,tim,,us ,,and ,,critias #fs4 net4 ,,elements ,,of ,,metaphysics #abs4 #f;d4 net4 ,,tilden 7,william ,t47 ,,the ,,art ,,of ,,lawn ,,tennis ,revised ,edition ,,singles ,,and ,,doubles ,each illustrated4 #fs4 net4 ,,the ,,common ,,sense ,,of ,,lawn ,,tennis ,,match ,,play ,,and ,,the ,,spin ,,of ,,the ,,ball ,each illustrated4 #es4 net4 ,,tileston 7,mary ,w47 ,,daily ,,strength ,,for ,,daily ,,needs ,thirty-fourth ,edition4 #cs4 #f;d4 net4 ,india ,paper4 ,leather1 #fs4 net4 ,,trapp 7,oswald ,graf7 ,,the ,,armoury ,,of ,,the ,,castle ,,of ,,churburg ,translated by ,j4 ,g4 ,,mann4 ,richly illustrated4 ,limited to #djj copies4 #d #ads4 #f;d4 net4 ,,underhill 7,evelyn7 ,,mysticism4 ,revised ,edition4 #aes4 net4 ,,the ,,life ,,of ,,the ,,spirit ,,and ,,the ,,life ,,of ,,to-,,day #gs4 #f;d4 net4 ,,man ,,and ,,the ,,supernatural #gs4 #f;d4 net4 ,,concerning ,,the ,,inner ,,life #bs4 net4 ,,the ,,house ,,of ,,the ,,soul #bs4 net4 ,,vardon 7,harry7 ,,how ,,to ,,play ,,golf ,illustrated4 ,nineteenth ,edition4 #es4 net4 ,,wand 7,j4 ,w4 ,c47 ,,the ,,development ,,of ,,sacramentalism #fs4 net4 ,a ,,history ,,of ,,the ,,modern ,,church #hs4 #f;d4 net4 ,,wilde 7,oscar7 ,,the ,,works ,in #af ,vols4 ,each #fs4 #f;d4 net4 ,i4 ,,lord ,,arthur ,,savile',s ,,crime ,,and ,,the ,,portrait ,,of ,,mr4 ,w4 ,h4 ,,ii4 ,,the ,,duchess ,,of ,,padua ,,iii4 ,,poems ,,iv4 ,,lady ,,windermere',s ,,fan ,v4 ,a ,,woman ,,of ,,no ,,importance ,,vi4 ,,an ,,ideal ,,husband ,,vii4 ,,the ,,importance ,,of ,,being ,,earnest ,,viii4 ,a ,,house ,,of ,,pomegranates ,,ix4 ,,intentions ,x4 ,,de ,,profundis ,,and ,,prison ,,letters ,,xi4 ,,essays ,,xii4 ,,salome1 ,a ,,florentine ,,tragedy1 and ,,la ,,sainte ,,courtisane ,,xiv4 ,,selected ,,prose ,,of ,,oscar ,,wilde ,,xv4 ,,art ,,and ,,decoration ,,xvi4 ,,for ,,love ,,of ,,the ,,king #es4 net4 ,,xvii4 ,,vera1 ,,or ,,the ,,nihilists ,,williamson 7,g4 ,c47 ,,the ,,book ,,of ,,famille ,,rose ,richly ,illustrated4 #h #hs4 net4 ,methuen ,co4 ,ltd41 #cf ,essex ,street1 ,london1 ,w4,c4#b ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,silently corrected obvious typographical errors and variations in spelling4 #b4 ,retained archaic1 non-standard1 and uncertain spellings as printed4 #c4 ,enclosed italics font in underscores4