Now it has been proved that in all the tombs, the ancient method of draping the walls, or rather of decorating them in the style of tapestry, was apparent in its greatest simplicity. It is observable, first in the character of the ornaments themselves, which consist of interlacings and gracefully varied knots, whilst these decorations borrowed from the weaver’s art, are almost banished from the temples and are replaced by symbolic figures and ornament. It may be recognised, in the second place, by the fact, that the paintings in the sepulchral tombs are generally enclosed with borders, as if to indicate that they represent suspended tapestry.
Although this primitive type shows itself less positively in the temples, indications are nevertheless not wanting which remind us of it.
The contemporary artists of the French expedition have already observed—and their discovery has been since then verified—that the monuments of Egypt, including even those executed in granite, have been covered with a complete coating of colour and varnish, over the entire surface. That indeed might be expected, for the hewn stonework of the Egyptian constructions, in spite of the neatness of its workmanship, is not laid in regular courses, which tends to prove that this irregularity, which contrasts with the symmetrical system of the decoration on it, was hidden beneath a coating which covered the whole mass.
These monuments exhibit then the third transition step towards regular construction in hewn stone.
The construction, though massive and real, is always hidden, and does not enter yet as an ornamental motive in the compositions of the architect.
It is worthy of observation, that one of the mouldings of Egyptian architecture seems to be explained by the same ancient custom of encrusting brick buildings with stone slabs, which we have remarked on the Assyrian monuments. I allude to the torus moulding which encloses the external walls of edifices. It served to hide the joints of the slabs which covered the internal work.
It is certain that the most ancient monuments in Egypt were constructed in unbaked bricks, which must have been covered with stone slabs in the manner above indicated. The Pyramids afford us very remarkable examples of this system of panelling, which is found still perfect in the sepulchral chambers contained in them, and the traces of which are still visible on the exterior. The same observation applies to the Palace of Osirtesen at Karnak, the walls of which are panelled with slabs of polished red granite, bearing the traces of a transparent coating with which they were covered.
THE CHINESE.
China is a country where architecture has remained stationary from its early birth, and, consequently, the elementary motives of it are most distinctly preserved; they are placed side by side, without being conjoined by a general ruling idea. The external surface of the wall is still quite independent of the wall itself, and indeed is most frequently movable. The wall bears its own burden alone, and has only in view the filling up of the intervals between the wooden columns which support the third elementary want, (i. e.) the roof. The wall is only a screen, more or less solidly executed than others, constructed in slight brick work, covered externally with painted stucco decoration or interlaced cane work, and internally with tapestry, or its substitute, painted paper. The internal divisions are formed by screens of the same description, and by drapery hung from the ceiling. The design of the ornament, painted and carved upon them and throughout the building, is founded on the same principle of interlacings and cane trellis-work, more or less intricate, and hardly to be recognised through the oddities of successive fashions. A polychromy, rich and brilliant, prevails, which has not been considered with that attention which it deserves in its relation with the ancient style of polychromy.