One of the most familiar early motives is wooden framing. This is continually imitated in the stone figures of doorways in the tombs. The details of it show that a frame or grate of joinery must have been used for the porch of large houses, so as to admit light and air while the door was fastened. The prevalence of such wooden frames or lattices in modern times in Egypt—known as mushrabiyeh work—shows how suited such a system is to the climate. Long after the use of stone was general the frames were imitated, and the pattern survived as a decoration. The same style of framing was used in the upper part of a house, with decorative uprights of the hieroglyph tat, and was copied as a fancy decoration in furniture, as seen in a beautiful ivory carving in the Louvre. This style survived until the XVIIIth dynasty, when it is seen in a tomb at Thebes (Amenhetop II., Prisse Art) and at the temple of Sedeinga under Amenhotep III.