We find the same disposition of the parts in all Egyptian tomb paintings.

Scenes of inundation and civil life are ranged along the base of the wall, mountain subjects and hunting scenes being invariably placed high up.

Sometimes, interposed between these two extremes, the artist has introduced subjects dealing with the pursuits of the herdsman, the field labourer, and the craftsman.

Elsewhere, he suppresses these intermediary episodes, and passes abruptly from the watery to the sandy region.

Thus, the mosaic of Palestrina and the tomb-paintings of Pharaonic Egypt reproduce the same group of subjects, treated after the conventional styles and methods of two different schools of art.