Let us take as an example a representation of a house from a Theban tomb (Fig. 1), and attempt to discover what the artist meant to show us. In the left-hand part of the picture there is no difficulty. In the lower stage we see the external door by which the inclosure surrounding the house is entered; in the two upper divisions there are the trees and climbing plants of the garden. It is when we turn to the house, which occupies two-thirds of the field, that our embarrassments begin. The following explanation is perhaps the best--that, with an artistic license which is not rare in such works, the painter has shown us all the four sides of the building at once. He has spread them out, one after the other, on the wall which he had to decorate. This process may be compared to our method of flattening upon a plane surface the figures which surround a Greek vase, but in modern works of archæology it is customary to give a sketch of the real form beside the flat projection. No such help is given by the Egyptian painter and we are forced to conjecture the shapes of his buildings as best we can. In this case he was attempting to represent an oblong building. The door by which the procession defiling across the garden is about to enter, is in one of the narrow sides. It is inclosed by the two high shafts between which a woman seems to be awaiting on the threshold the arrival of the guests. On the right we have one of the lateral faces; it is pierced at one angle by a low door, above which are two windows and above them again an open story or terrace with slender columns supporting the roof. Still further to the right, at the extremity of the picture, the second narrow façade is slightly indicated by its angle column and a portal, which appears to be sketched in profile. Want of space alone seems to have prevented the artist from giving as much detail to this portion of his work as to the rest. The left wing, that which is contiguous to the garden, remains to be considered. Those who agree with our interpretation of the artist's aims, will look upon this as the second lateral façade. It presents some difficulty, however, because it shows none of the plain walls which inclose the rest of the building and exclude the eye of the spectator; its walls are left out and leave the interior of the house completely open.