I must not omit to tell you that, to the practised eye of an archaeologist, every object of Egyptian art bears upon it as well defined a date as a mediaeval church window or porch. The astonishing identity which is visible through all the periods of Egyptian art is consistent with an immense amount of change which must exist wherever there is life. There are periods of splendour, progress and deterioration, and every age has its peculiar character. Birch, Lepsius or Mariette, would at once tell you the age of a statue, inscription or manuscript, without looking at the text which actually mentions the exact date.
Painting, as understood in these later centuries, was entirely unknown to the Egyptians, though they had coloured pictures; but the harmony of colours was thoroughly understood by them, and their employment of colour in architecture or generally in decoration puts our modern efforts to shame. "They were aware" (as Sir Gardner Wilkinson says) "that for decorative purposes the primary colours should predominate, and that secondary hues should be secondary in quantity and in position; their most usual combinations were therefore blue, red and green; and a fillet of white or yellow was introduced between them to obviate that false effect which is apt to convert red and blue into purple when placed together in immediate contact. When yellow was introduced, a due proportion of black was added to balance it, and for each colour was sought its
