. A history of art in ancient Egypt . is pro-cess, though not always made use of in practice, is at least themost logical method for those who wish to make the best use oftheir materials. But even when thus put together, one of thesesingle faces has not much more stability than each of its constituent ii6 A History of Art in Ancient Egypt. elements. In order to form a rigid and stable whole, the severalfaces must be allied by reciprocal interpenetration at the angles. It was necessary to call attention once for all to these generalcharacteristics of wooden construction, because we shall hereaf
. A history of art in ancient Egypt . is pro-cess, though not always made use of in practice, is at least themost logical method for those who wish to make the best use oftheir materials. But even when thus put together, one of thesesingle faces has not much more stability than each of its constituent ii6 A History of Art in Ancient Egypt. elements. In order to form a rigid and stable whole, the severalfaces must be allied by reciprocal interpenetration at the angles. It was necessary to call attention once for all to these generalcharacteristics of wooden construction, because we shall hereafterhave occasion to examine the forms and motives which stonearchitecture borrowed from wood in the case of other peoplebesides the Egyptians. We must now determine the particularcharacteristics offered by the material in Egypt, as they may belearnt in the representations to which we have already referred. When a wall has to be built of wood so as neither to warp norgive way, it is necessary to make use of a certain number of oblique. Fig. 82.—Elements of wooden construction. members. This is one of the elementary rules of the carpentersart, and to form an idea how it was applied in our own country itis enough to cast an eye over any of the wooden buildings of themiddle ages or of the renaissance. The Egyptians were not ignorantof the advantages conferred by the use of these oblique membersbecause they employed them frequently in their furniture ; butthey seem never to have introduced them into the construction oftheir buildings. All joints are there made at a right angle. Theywere probably led to reject oblique lines by their unwillingness tobreak in upon the simple harmony of vertical and horizontal lines Construction by Assemblage. 11 which is the distinguishing principle of all their self-deprived of a valuable resource, they were driven to thediscovery of some other means of giving the required cohesion andstability to their walls. This requirement they
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