r success.

NOTES:

[280] _Art in Ancient Egypt_, vol. ii. p. 82.

[281] This chamber is 7 feet long, 3 feet 7 inches wide, and 5 feet high.
TAYLOR, _Journal of the Royal Asiatic Society_, vol. xv. p. 272.

[282] STRABO, xvi. 1, 5. DIODORUS, ii. 10.

[283] PLACE, _Ninive_, vol. i. pp. 170-182 and 256-259, vol. iii. plates
9-18.

[284] PLACE, _Ninive_, vol. iii. plate 2.

[285] PLACE, _Ninive_, vol. i. p. 128.

[286] LAYARD, _Nineveh_, vol. i. p. 134; vol. ii. pp. 79 and 261.
_Discoveries_, pp. 162-165.

[287] PLACE, _Ninive_, vol. i. pp. 269-280 and plates 38 and 39.

[288] We have endeavoured to combine M. Thomas's longitudinal elevation,
vertical section, and transverse section (PLACE, _Ninive_, plate 38), in
our single cut.

[289] The same process was employed at Nimroud in a drain or water channel,
of which LAYARD gives a sketch (_Discoveries_, p. 164). In connection with
these vaults we must remember that a pointed arch has no key properly
speaking; the top stone is merely a joint. It looks as if the Assyrian
architect had a kind of instinctive appreciation of the fact.

[290] The slope, the height, and the width of this channel are not the same
throughout. In some places it is wide enough to allow two men to walk
abreast in it.

[291] LAYARD, _Nineveh_, vol. i. p. 79.

[292] OTTFRIED MUeLLER, _Handbuch der Archaeologie der Kunst_, Sec. 107 and 168
(3rd edition).

[293] _Art in Ancient Egypt_, vol. i. p. 112, and vol. ii. chap. ii. Sec. 4.

[294] _Ibid._ vol. ii. fig. 44.

Sec. 6.--_Secondary Forms._

(_Doors, windows, steles, altars, obelisks, mouldings._)

We have been obliged to dwell at length on the arch and the column because
those two elements of construction are of the greatest importance to all
who wish to gain a true idea of Mesopotamian art and of its influence upon
neighbouring peoples and over subsequent developments of architecture. On
the other hand we shall have very little to say upon what, in speaking of
Egyptian art, we called _secondary forms_.[295]

We have already had occasion to speak of some of these, such as windows and
doors. We have explained how the nature of his materials and the heat of
the climate led the architect to practically suppress the former, while,
on the other hand, he gave extravagant dimensions to the latter. It was to
the door that the rooms had mainly to look for the light and air, with
which they could not entirely dispense. We have now to g