128 A History of Art in Ancient Egypt. papyrus, and many other aquatic plants, merges in the root." According to this theory the ligneous stem which rises from a depth beneath the water of, perhaps, six feet, and carries the large open flower at its top, was the prototype of the Egyptian column. The bulbous form with which so many shafts are endowed at the base, would be another feature taken directly from nature. The leaves, properly speaking, which spread around the flower, are found about and below^ the capital, while the capital itself is nothing else, we are told, than the flow^er, sometimes fully opened, some- times while yet in the bud. When the shaft is smooth it represents a single stem, when it is grooved, it means a faggot of stems tied together by a cord. Others make similar claims for the papyrus. They refuse to admit that the whole of the Egyptian orders were founded upon the lotus. Mariette allowed that the capitals which w^e have called lotiform were copied from that plant, but he contended that the bell-shaped capital was freely copied from the plume of its rival. He proposed that this latter capital should be called papyriform, and to my objections, which were founded upon the composition of a head of papyrus, he answered that the Egyptians neglected what may be called internal details, and were contented with rendering the outward contours. In support of his idea, he called attention to the fact that some of the faggot-shaped columns present triangular sections, like that of the papyrus stem. In spite of this latter fact, Mariette did not convert me to his opinion. The columns in which this triangular section is found are not crowned by an open flower. The profiles of their capitals resemble that of a truncated bud, a form which cannot possibly be obtained from the papyrus, and they seem, therefore, to combine characteristics taken from two different plants. His explanation of the campaniform capital seems still less admiss- able. It is impossible to allow that in the tuft of slender filaments gracefully yielding to the wind, which is figured on page 127, we have the prototype of those inverted bells of stone, whose uninterrupted contours express so much strength and amplitude. No less difficult is it to discover the first idea of those sturdy shafts which seem so well proportioned to the mighty architraves which they have to support, in the slender stalk of the famous water plant. The hypostyle halls may be compared to palm groves, to forests of pine, of oak, or of beech. In such a
