98 A History of Art in Ancient Egypt. we hasten to resume our methodical analysis of the Egyptian orders, and to class them by the varieties of their proportions and by the ever-increasing complication of their ornaments. At Beni- Hassan and elsewhere we find pillars with two or four flat vertical bands dividing their flutes into as many groups. These bands are covered with incised inscriptions. Sometimes, as at Kalabche (Fig. 74), there are four flat bands inclosing five flutes between each pair. Such an arrangement accentuates the difference between these so-called proto-doric pillars and the Greek doric column. They take away from the proper character of the pillar, the inscribed tablet becomes the most important member of the composition, and the shaft to which it is attached ite^.. m. Fig. 74. — Polygonal column viih a flat vertical band. Fig. 75. — Polygonal pier with mask of Ilalhor ; from Lep.sius. seems to have been made for its display. In the Greek order, on the other hand, we always find the structural requirements brought into absolute harmony with those of the aesthetic sentiment ; every line of every detail is necessary both to builder and artist. A later variety of this type is found in a pillar in which the vertical band is interrupted to make room for a mask of Hathor, which is placed immediately below the abacus (Fig. 75). We find it in a temple situated eastwards of El-Kab, dating, according to Lepsius, from the eighteenth dynasty. After the eleventh dynasty we find monolithic rock-cut supports at Beni-Hassan, which, although side by side with true polygonal piers, are columns in the strictest sense of the word ; that is to say,
