Turning from small things to large ones, from the page of papyrus, or the panel of sycamore wood, to the walls of tombs and temples, we find the skilful employment of flat tints equally soothing and agreeable to the eye.

Each wall is treated as a whole, the harmony of colour being carried out from bottom to top throughout the various superimposed stages into which the surface was divided. Sometimes the colours are distributed according to a scale of rhythm, or symmetry, balancing and counterbalancing each other.

Sometimes one special tint predominates, thus determining the general tone and subordinating every other hue. The vividness of the final effect is always calculated according to the quality and quant.i.ty of light by which the picture is destined to be seen. In very dark halls the force of colour is carried as far as it will go, because it would not otherwise have been visible by the flickering light of lamps and torches. On outer wall- surfaces and on pylon-fronts, it was as vivid as in the darkest depths of excavated catacombs; and this because, no matter how extreme it might be, the sun would subdue its splendour. But in half-lighted places, such as the porticoes of temples and the ante-chambers of tombs, colour is so dealt with as to be soft and discreet. In a word, painting was in Egypt the mere humble servant of architecture and sculpture. We must not dream of comparing it with our own, or even with that of the Greeks; but if we take it simply for what it is, accepting it in the secondary place a.s.signed to it, we cannot fail to recognise its unusual merits. Egyptian painting excelled in the sense of monumental decoration, and if we ever revert to the fashion of colouring the _facades_ of our houses and our public edifices, we shall lose nothing by studying Egyptian methods or reproducing Egyptian processes.

[35] The late T. Deveria ingeniously conjectured that "Ba-en-pet" (iron of heaven) might mean the ferruginous substance of meteoric stones. See _Melanges d'Archeologie Egyptienne et a.s.syrienne_, vol. i.-- A.B.E.

[36] The traces of tools upon the masonry show the use of bronze and jewel-points.--A.B.E.

[37] Many such trial-pieces were found by Petrie in the ruins of a sculptor's house at Tell el Amarna.

[38] A similar collection was found by Mr. F. Ll. Griffith at Tell Gemayemi, in 1886, during his excavations for the Egypt Exploration Fund. See Mr. Petrie's _Tanis_. Part II., Egypt Exploration Fund.--A.B.E.

[39] Mr. Loftie's collection contains, however, an interesting piece of trial-work consisting of the head of a Ptolemaic queen in red granite.--A.B.E.

[40] For pigments used at the beginning of the Fourth Dynasty, see Petrie's _Medum_.

[41] The rose-coloured, or rather crimson, flesh-tints are also to be seen at El Kab, and in the famous speos at Beit el Wally, both _tempo_ Nineteenth Dynasty.--A.B.E.

3.--WORKS OF SCULPTURE.

[Ill.u.s.tration: Fig. 183.--The Great Sphinx of Gizeh.]

To this day, the most ancient statue known is a colossus--namely, the Great Sphinx of Gizeh. It was already in existence in the time of Khf (Cheops), and perhaps we should not be far wrong if we ventured to ascribe it to the generations before Mena, called in the priestly chronicles "the Servants of Horus." Hewn in the living rock at the extreme verge of the Libyan plateau, it seems, as the representative of Horus, to uprear its head in order to be the first to catch sight of his father, Ra, the rising sun, across the valley (fig. 183). For centuries the sands have buried it to the chin, yet without protecting it from ruin. Its battered body preserves but the general form of a lion's body. The paws and breast, restored by the Ptolemies and the Caesars, retain but a part of the stone facing with which they were then clothed in order to mask the ravages of time. The lower part of the head-dress has fallen, and the diminished neck looks too slender to sustain the enormous weight of the head. The nose and beard have been broken off by fanatics, and the red hue which formerly enlivened the features is almost wholly effaced. And yet, notwithstanding its fallen fortunes, the monster preserves an expression of sovereign strength and greatness. The eyes gaze out afar with a look of intense and profound thoughtfulness; the mouth still wears a smile; the whole countenance is informed with power and repose. The art which conceived and carved this prodigious statue was a finished art; an art which had attained self- mastery, and was sure of its effects. How many centuries had it taken to arrive at this degree of maturity and perfection? In certain pieces belonging to various museums, such as the statues of Sepa and his wife at the Louvre, and the bas-reliefs of the tomb of Khabisokari at Gizeh, critics have mistakenly recognised the faltering first efforts of an unskilled people. The stiffness of att.i.tude and gesture, the exaggerated squareness of the shoulders, the line of green paint under the eyes,--in a word, all those characteristics which are quoted as signs of extreme antiquity, are found in certain monuments of the Fifth and Sixth Dynasties. The contemporary sculptors of any given period were not all equally skilful. If some were capable of doing good work, the greater number were mere craftsmen; and we must be careful not to ascribe awkward manipulation, or lack of teaching, to the timidity of archaism. The works of the primitive dynasties yet sleep undiscovered beneath seventy feet of sand at the foot of the Sphinx; those of the historic dynasties are daily exhumed from the depths of the neighbouring tombs. These have not yielded Egyptian art as a whole; but they have familiarised us with one of its schools--the school of Memphis. The Delta, Hermopolis, Abydos, the environs of Thebes and Asan[42], do not appear upon the stage earlier than towards the Sixth Dynasty; and even so, we know them through but a small number of sepulchres long since violated and despoiled. The loss is probably not very great. Memphis was the capital; and thither the presence of the Pharaohs must have attracted all the talent of the va.s.sal princ.i.p.alities. Judging from the results of our excavations in the Memphite necropolis alone, it is possible to determine the characteristics of both sculpture and painting in the time of Senefer and his successors with as much exactness as if we were already in possession of all the monuments which the valley of the Nile yet holds in reserve for future explorers.

[Ill.u.s.tration: Fig. 184.--Panel from tomb of Hesi.]

The lesser folk of the art-world excelled in the manipulation of brush and chisel, and that their skill was of a high order is testified by the thousands of tableaux they have left behind them. The relief is low; the colour sober; the composition learned. Architecture, trees, vegetation, irregularities of ground, are summarily indicated, and are introduced only when necessary to the due interpretation of the scene represented. Men and animals, on the other hand, are rendered with a wealth of detail, a truth of character, and sometimes a force of treatment, to which the later schools of Egyptian art rarely attained. Six wooden panels from the tomb of Hesi in the Gizeh Museum represent perhaps the finest known specimens of this branch of art. Mariette ascribed them to the Third Dynasty, and he may perhaps have been right; though for my own part I incline to date them from the Fifth Dynasty. In these panels there is nothing that can be called a "subject." Hesi either sits or stands (fig. 184), and has four or five columns of hieroglyphs above his head; but the firmness of line, the subtlety of modelling, the ease of execution, are unequalled. Never has wood been cut with a more delicate chisel or a firmer hand.

The variety of att.i.tude and gesture which we so much admire in the Egyptian bas-relief is lacking to the statues. A mourner weeping, a woman bruising corn for bread, a baker rolling dough, are subjects as rare in the round as they are common in bas-relief. In sculpture, the figure is generally represented either standing with the feet side by side and quite still, or with one leg advanced in the act of walking; or seated upon a chair or a cube; or kneeling; or, still more frequently, sitting on the ground cross- legged, as the fellahin are wont to sit to this day. This intentional monotony of style would be inexplicable if we were ignorant of the purpose for which such statues were intended. They represent the dead man for whom the tomb was made, his family, his servants, his slaves, and his kinsfolk.

The master is always shown sitting or standing, and he could not consistently be seen in any other att.i.tude. The tomb is, in fact, the house in which he rests after the labours of life, as once he used to rest in his earthly home; and the scenes depicted upon the walls represent the work which he was officially credited with performing. Here he superintends the preliminary operations necessary to raise the food by which he is to be nourished in the form of funerary offerings; namely, seed-sowing, harvesting, stock-breeding, fishing, hunting, and the like. In short, "he superintends all the labour which is done for the eternal dwelling." When thus engaged, he is always standing upright, his head uplifted, his hands pendent, or holding the staff and baton of command. Elsewhere, the diverse offerings are brought to him one by one, and then he sits in a chair of state. These are his two att.i.tudes, whether as a bas-relief subject or a statue. Standing, he receives the homage of his va.s.sals; sitting, he partakes of the family repast. The people of his household comport themselves before him as becomes their business and station. His wife either stands beside him, sits on the same chair or on a second chair by his side, or squats beside his feet as during his lifetime. His son, if a child at the time when the statue was ordered, is represented in the garb of infancy; or with the bearing and equipment proper to his position, if a man. The slaves bruise the corn, the cellarers tar the wine jars, the hired mourners weep and tear their hair. His little social world followed the Egyptian to his tomb, the duties of his attendants being prescribed for them after death, just as they had been prescribed for them during life.

And the kind of influence which the religious conception of the soul exercised over the art of the sculptor did not end here. From the moment that the statue is regarded as the support of the Double, it becomes a condition of primary importance that the statue shall reproduce, at least in the abstract, the proportions and distinctive peculiarities of the corporeal body; and this in order that the Double shall more easily adapt himself to his new body of stone or wood.[43] The head is therefore always a faithful portrait; but the body, on the contrary, is, as it were, a medium kind of body, representing the original at his highest development, and consequently able to exert the fulness of his physical powers when admitted to the society of the G.o.ds. Hence men are always sculptured in the prime of life, and women with the delicate proportions of early womanhood.

This conventional idea was never departed from, unless in cases of very marked deformity. The statue of a dwarf reproduced all the ugly peculiarities of the dwarf's own body; and it was important that it should so reproduce them. If a statue of the ordinary type had been placed in the tomb of the dead man, his "Ka," accustomed during life to the deformity of his limbs, would not be able to adapt itself to an upright and shapely figure, and would therefore be deprived of the conditions necessary to his future well-being. The artist was free to vary the details and arrange the accessories according to his fancy; but without missing the point of his work, he could not change the att.i.tude, or depart from the general style of the conventional portrait statue. This persistent monotony of pose and subject produces a depressing effect upon the spectator,--an effect which is augmented by the obtrusive character given to the supports. These statues are mostly backed by a kind of rectangular pediment, which is either squared off just at the base of the skull, or carried up in a point and lost in the head-dress, or rounded at the top and showing above the head of the figure. The arms are seldom separated from the body, but are generally in one piece with the sides and hips. The whole length of the leg which is placed in advance of the other is very often connected with the pediment by a band of stone. It has been conjectured that this course was imposed upon the sculptor by reason of the imperfection of his tools, and the consequent danger of fracturing the statue when cutting away the superfluous material--an explanation which may be correct as regards the earliest schools, but which does not hold good for the time of the Fourth Dynasty. We could point to more than one piece of sculpture of that period, even in granite, in which all the limbs are free, having been cut away by means of either the chisel or the drill. If pediment supports were persisted in to the end, their use must have been due, not to helplessness, but to routine, or to an exaggerated respect for ancient method.

[Ill.u.s.tration: Fig. 185.--The Cross-legged Scribe at the Louvre, Old Empire.]

Most museums are poor in statues of the Memphite school; France and Egypt possess, however, some twenty specimens which suffice to ensure it an honourable place in the history of art. At the Louvre we have the "Cross- legged Scribe,"[44] and the statues of Skemka and Pahrnefer; at Gizeh there are the "Sheikh el Beled"[45] and his wife, Khafra[46], Ranefer, the Prince and General Rahotep, and his wife, Nefert, a "Kneeling Scribe," and a "Cross-legged Scribe." The original of the "Cross-legged Scribe" of the Louvre was not a handsome man (fig. 185), but the vigour and fidelity of his portrait amply compensate for the absence of ideal beauty. His legs are crossed and laid flat to the ground in one of those att.i.tudes common among Orientals, yet all but impossible to Europeans. The bust is upright, and well balanced upon the hips. The head is uplifted. The right hand holds the reed pen, which pauses in its place on the open papyrus scroll. Thus, for six thousand years he has waited for his master to go on with the long- interrupted dictation. The face is square-cut, and the strongly-marked features indicate a man in the prime of life. The mouth, wide and thin- lipped, rises slightly towards the corners, which are lost in the projecting muscles by which it is framed in. The cheeks are bony and lank; the ears are thick and heavy, and stand out well from the head; the thick, coa.r.s.e hair is cut close above the brow. The eyes, which are large and well open, owe their lifelike vivacity to an ingenious contrivance of the ancient artist. The orbit has been cut out from the stone, the hollow being filled with an eye composed of enamel, white and black. The edges of the eyelids are of bronze, and a small silver nail inserted behind the iris receives and reflects the light in such wise as to imitate the light of life. The contours of the flesh are somewhat full and wanting in firmness, as would be the case in middle life, if the man's occupation debarred him from active exercise. The forms of the arm and back are in good relief; the hands are hard and bony, with fingers of somewhat unusual length; and the knees are sculptured with a minute attention to anatomical details. The whole body is, as it were, informed by the expression of the face, and is dominated by the attentive suspense which breathes in every feature. The muscles of the arm, of the bust, and of the shoulder are caught in half repose, and are ready to return at once to work. This careful observance of the professional att.i.tude, or the characteristic gesture, is equally marked in the Gizeh Cross-legged Scribe, and in all the Ancient Empire statues which I have had an opportunity of studying.

The Cross-legged Scribe of Gizeh (fig. 186) was discovered by M. de Morgan at Sakkarah in the beginning of 1893. This statue exhibits a no less surprising vigour and certainty of intention and execution on the part of the sculptor than does its fellow of the Louvre, while representing a younger man of full, firm, and supple figure.

[Ill.u.s.tration: Fig. 186.--The Cross-legged Scribe of Gizeh, from Sakkarah.]

Khafra is a king (fig. 187). He sits squarely upon his chair of state, his hands upon his knees, his chest thrown forward, his head erect, his gaze confident. Had the emblems of his rank been destroyed, and the inscription effaced which tells his name, his bearing alone would have revealed the Pharaoh. Every trait is characteristic of the man who from childhood upwards has known himself to be invested with sovereign authority. Ranefer belonged to one of the great feudal families of his time. He stands upright, his arms down, his left leg forward, in the att.i.tude of a prince inspecting a march-past of his va.s.sals. The countenance is haughty, the att.i.tude bold; but Ranefer does not impress us with the almost superhuman calm and decision of Khafra.

[Ill.u.s.tration: Fig. 187.--King Khafra, Fourth Dynasty.]

[Ill.u.s.tration: Fig. 188.--Sheikh el Beled, Old Empire.]

[Ill.u.s.tration: Fig. 189.--Rahotep, Ancient Empire.]

General Rahotep[47] (fig. 189), despite his t.i.tle and his high military rank, looks as if he were of inferior birth. Stalwart and square-cut, he has somewhat of the rustic in his physiognomy. Nefert, on the contrary (fig. 190), was a princess of the blood royal; and her whole person is, as it were, informed with a certain air of resolution and command, which the sculptor has expressed very happily. She wears a close-fitting garment, opening to a point in front. The shoulders, bosom, and bodily contours are modelled under the drapery with a grace and reserve which it is impossible to praise too highly. Her face, round and plump, is framed in ma.s.ses of fine black hair, confined by a richly-ornamented bandeau. This wedded pair are in limestone, painted; the husband being coloured of a reddish brown hue, and the wife of a tawny buff.

[Ill.u.s.tration: Fig. 190.--Nefert, wife of Rahotep, Ancient Empire.]

[Ill.u.s.tration: Fig. 191.--Head of the Sheikh el Beled.]

[Ill.u.s.tration: Fig. 192.--Wife of the Sheikh el Beled, Old Empire.]

[Ill.u.s.tration: Fig. 193.--The Kneeling Scribe, Old Empire.]

[Ill.u.s.tration: Fig. 194.--A Bread-maker, Old Empire.]

Turning to the "Sheikh el Beled" (figs. 188, 191), we descend several degrees in the social scale. Raemka was a "superintendent of works," which probably means that he was an overseer of corvee labour at the time of building the great pyramids. He belonged to the middle cla.s.s; and his whole person expresses vulgar contentment and self-satisfaction. We seem to see him in the act of watching his workmen, his staff of acacia wood in his hand. The feet of the statue had perished, but have been restored. The body is stout and heavy, and the neck thick. The head (fig. 191), despite its vulgarity, does not lack energy. The eyes are inserted, like those of the "Cross-legged Scribe." By a curious coincidence, the statue, which was found at Sakkarah, happened to be strikingly like the local Sheikh el Beled, or head-man, of the village. Always quick to seize upon the amusing side of an incident, the Arab diggers at once called it the "Sheikh el Beled," and it has retained the name ever since. The statue of his wife, interred beside his own, is unfortunately mutilated. It is a mere trunk, without legs or arms (fig. 192); yet enough remains to show that the figure represented a good type of the Egyptian middle-cla.s.s matron, commonplace in appearance and somewhat acid of temper. The "Kneeling Scribe" of the Gizeh collection (fig. 193) belongs to the lowest middle-cla.s.s rank, such as it is at the present day. Had he not been dead more than six thousand years, I could protest that I had not long ago met him face to face, in one of the little towns of Upper Egypt. He has just brought a roll of papyrus, or a tablet covered with writing, for his master's approval. Kneeling in the prescribed att.i.tude of an inferior, his hands crossed, his shoulders rounded, his head slightly bent forward, he waits till the great man shall have read it through. Of what is he thinking? A scribe might feel some not unreasonable apprehensions, when summoned thus into the presence of his superior. The stick played a prominent part in official life, and an error of addition, a fault in orthography, or an order misunderstood, would be enough to bring down a shower of blows. The sculptor has, with inimitable skill, seized that expression of resigned uncertainty and pa.s.sive gentleness which is the result of a whole life of servitude. There is a smile upon his lips, but it is the smile of etiquette, in which there is no gladness. The nose and cheeks are puckered up in harmony with the forced grimace upon the mouth. His large eyes (again in enamel) have the fixed look of one who waits vacantly, without making any effort to concentrate his sight or his thoughts upon a definite object. The face lacks both intelligence and vivacity; but his work, after all, called for no special nimbleness of wit. Khafra is in diorite; Raemka and his wife are carved in wood; the other statues named are of limestone; yet, whatever the material employed, the play of the chisel is alike free, subtle, and delicate. The head of the scribe and the bas-relief portrait of Pharaoh Menkahor, in the Louvre, the dwarf Nemhotep (fig. 195), and the slaves who prepare food- offerings at Gizeh, are in no wise inferior to the "Cross-legged Scribe" or the "Sheikh el Beled." The baker kneading his dough (fig. 194) is thoroughly in his work. His half-stooping att.i.tude, and the way in which he leans upon the kneading-trough, are admirably natural. The dwarf has a big, elongated head, balanced by two enormous ears (fig. 195). He has a foolish face, an ill-shapen mouth, and narrow slits of eyes, inclining upwards to the temples. The bust is well developed, but the trunk is out of proportion with the rest of his person. The artist has done his best to disguise the lower limbs under a fine white tunic; but one feels that it is too long for the little man's arms and legs.

[Ill.u.s.tration: Fig. 195.--The dwarf Nemhotep, Old Empire.]

[Ill.u.s.tration: Fig. 196.--One of the Tanis Sphinxes.]

The thighs could have existed only in a rudimentary form, and Nemhotep, standing as best he can upon his misshapen feet, seems to be off his balance, and ready to fall forward upon his face. It would be difficult to find another work of art in which the characteristics of dwarfdom are more cleverly reproduced.

The sculpture of the first Theban empire is in close connection with that of Memphis. Methods, materials, design, composition, all are borrowed from the elder school; the only new departure being in the proportions a.s.signed to the human figure. From the time of the Eleventh Dynasty, the legs become longer and slighter, the hips smaller, the body and the neck more slender.

Works of this period are not to be compared with the best productions of the earlier centuries. The wall-paintings of Sit, of Bersheh, of Beni Hasan, and of Asan, are not equal to those in the mastabas of Sakkarah and Gizeh; nor are the most carefully-executed contemporary statues worthy to take a place beside the "Sheikh el Beled" or the "Cross-legged Scribe."

Portrait statues of private persons, especially those found at Thebes, are, so far as I have seen, decidedly bad, the execution being rude and the expression vulgar. The royal statues of this period, which are nearly all in black or grey granite, have been for the most part usurped by kings of later date. sertesen III., whose head and feet are in the Louvre, was appropriated by Amenhotep III., as the sphinx of the Louvre and the colossi of Gizeh were appropriated by Rameses II. Many museums possess specimens of supposed Ramesside Pharaohs which, upon more careful inspection, we are compelled to ascribe to the Thirteenth or Fourteenth Dynasty. Those of undisputed ident.i.ty, such as the Sebekhotep III. of the Louvre, the Mermashi of Tanis, the Sebekemsaf of Gizeh, and the colossi of the Isle of Argo, though very skilfully executed, are wanting in originality and vigour. One would say, indeed, that the sculptors had purposely endeavoured to turn them all out after the one smiling and commonplace pattern. Great is the contrast when we turn from these giant dolls to the black granite sphinxes discovered by Mariette at Tanis in 1861, and by him ascribed to the Hyksos period. Here energy, at all events, is not lacking. Wiry and compact, the lion body is shorter than in sphinxes of the usual type. The head, instead of wearing the customary "klaft," or head-gear of folded linen, is clothed with an ample mane, which also surrounds the face. The eyes are small; the nose is aquiline and depressed at the tip; the cheekbones are prominent; the lower lip slightly protrudes. The general effect of the face is, in short, so unlike the types we are accustomed to find in Egypt, that it has been accepted in proof of an Asiatic origin (fig. 196). These sphinxes are unquestionably anterior to the Eighteenth Dynasty, because one of the kings of Avaris, named Apepi, has cut his name upon the shoulder of each. Arguing from this fact, it was, however, too hastily concluded that they are works of the time of that prince. On a closer examination, we see that they had already been dedicated to some Pharaoh of a yet earlier period, and that Apepi had merely usurped them; and M. Golenischeff has shown that they were made for Amenemhat III., of the Twelfth Dynasty, and with his features. Those so-called Hyksos monuments may be the products of a local school, the origin of which may have been independent, and its traditions quite different from the traditions of the Memphite workshops. But except at Abydos, El Kab, Asan, and some two or three other places, the provincial art of ancient Egypt is so little known to us that I dare not lay too much stress upon this hypothesis. Whatever the origin of the Tanite School, it continued to exist long after the expulsion of the Hyksos invaders, since one of its best examples, a group representing the Nile of the North and the Nile of the South, bearing trays laden with flowers and fish, was consecrated by Pisebkhan of the Twenty-first Dynasty.

[Ill.u.s.tration: Fig. 197.--Bas-relief head of Seti I.]

[Ill.u.s.tration: Fig. 198.--The G.o.d Amen, and h.o.r.emheb.]

[Ill.u.s.tration: Fig. 199.--Head of a Queen, Eighteenth Dynasty.]

The first three dynasties of the New Empire[48] have bequeathed us more monuments than all the others put together. Painted bas-reliefs, statues of kings and private persons, colossi, sphinxes, may be counted by hundreds between the mouths of the Nile and the fourth cataract. The old sacerdotal cities, Memphis, Thebes, Abydos, are naturally the richest; but so great was the impetus given to art, that even remote provincial towns, such as Ab Simbel, Redesiyeh, and Mesheikh, have their _chefs-d'oeuvre_, like the great cities. The official portraits of Amenhotep I. at Turin, of Thothmes I. and Thothmes III. at the British Museum, at Karnak, at Turin, and at Gizeh, are conceived in the style of the Twelfth and Thirteenth Dynasties, and are deficient in originality; but the bas-reliefs in temples and tombs show a marked advance upon those of the earlier ages. The modelling is finer; the figures are more numerous and better grouped; the relief is higher; the effects of perspective are more carefully worked out. The wall- subjects of Deir el Bahari, the tableaux in the tombs of Hi, of Rekhmara, of Anna, of Khamha, and of twenty more at Thebes, are surprisingly rich, brilliant, and varied. Awakening to a sense of the picturesque, artists introduced into their compositions all those details of architecture, of uneven ground, of foreign plants, and the like, which formerly they neglected, or barely indicated. The taste for the colossal, which had fallen somewhat into abeyance since the time of the Great Sphinx, came once again to the surface, and was developed anew. Amenhotep III. was not content with statues of twenty-five or thirty feet in height, such as were in favour among his ancestors. Those which he erected in advance of his memorial chapel on the left bank of the Nile in Western Thebes, one of which is the Vocal Memnon of the cla.s.sic writers, sit fifty feet high. Each was carved from a single block of sandstone, and they are as elaborately finished as though they were of ordinary size. The avenues of sphinxes which this Pharaoh marshalled before the temples of Luxor and Karnak do not come to an end at fifty or a hundred yards from the gateway, but are prolonged for great distances. In one avenue, they have the human head upon the lion's body; in another, they are fashioned in the semblance of kneeling rams. Khenaten, the revolutionary successor of Amenhotep III., far from discouraging this movement, did what he could to promote it.

Never, perhaps, were Egyptian sculptors more unrestricted than by him at Tell el Amarna. Military reviews, chariot-driving, popular festivals, state receptions, the distribution of honours and rewards by the king in person, representations of palaces, villas, and gardens, were among the subjects which they were permitted to treat; and these subjects differed in so many respects from traditional routine that they could give free play to their fancy and to their natural genius. The spirit and gusto with which they took advantage of their opportunities would scarcely be believed by one who had not seen their works at Tell el Amarna. Some of their bas-reliefs are designed in almost correct perspective; and in all, the life and stir of large crowds are rendered with irreproachable truth. The political and religious reaction which followed this reign arrested the evolution of art, and condemned sculptors and painters to return to the observance of traditional rules. Their personal influence and their teaching continued, however, to make themselves felt under h.o.r.emheb, under Seti I., and even under Rameses II. If, during more than a century, Egyptian art remained free, graceful, and refined, that improvement was due to the school of Tell el Amarna. In no instance perhaps did it produce work more perfect than the bas-reliefs of the temple of Abydos, or those of the tomb of Seti I. The head of the conqueror (fig. 197), always studied _con amore_, is a marvel of reserved and sensitive grace. Rameses II. charging the enemy at Ab Simbel is as fine as the portraits of Seti I., though in another style. The action of the arm which brandishes the lance is somewhat angular, but the expression of strength and triumph which animates the whole person of the warrior king, and the despairing resignation of the vanquished, compensate for this one defect. The group of h.o.r.emheb and the G.o.d Amen (fig. 198), in the Museum of Turin, is a little dry in treatment. The faces of both G.o.d and king lack expression, and their bodies are heavy and ill-balanced. The fine colossi in red granite which h.o.r.emheb placed against the uprights of the inner door of his first pylon at Karnak, the bas-reliefs on the walls of his speos at Silsilis, his own portrait and that of one of the ladies of his family now in the museum of Gizeh, are, so to say, spotless and faultless. The queen's face (fig. 199) is animated and intelligent; the eyes are large and prominent; the mouth is wide, but well shaped. This head is carved in hard limestone of a creamy tint which seems to soften the somewhat satirical expression of her eyes and smile. The king (fig. 200) is in black granite; and the sombre hue of the stone at once produces a mournful impression upon the spectator. His youthful face is pervaded by an air of melancholy, such as we rarely see depicted in portraits of Pharaohs of the great period. The nose is straight and delicate, the eyes are long, the lips are large, full, somewhat contracted at the corners, and strongly defined at the edges. The chin is overweighted by the traditional false beard. Every detail is treated with as much skill as if the sculptor were dealing with a soft stone instead of with a material which resisted the chisel. Such, indeed, is the mastery of the execution, that one forgets the difficulties of the task in the excellence of the results.

[Ill.u.s.tration: Fig. 200.--Head of h.o.r.emheb.]

[Ill.u.s.tration: Fig. 201.--Colossal statue of Rameses II., Luxor.]

It is unfortunate that Egyptian artists never signed their works; for the sculptor of this portrait of h.o.r.emheb deserves to be remembered. Like the Eighteenth Dynasty, the Nineteenth Dynasty delighted in colossi. Those of Rameses II. at Luxor measured from eighteen to twenty feet in height (fig.

201); the colossal Rameses of the Ramesseum sat sixty feet high; and that of Tanis about seventy.[49] The colossi of Ab Simbel, without being of quite such formidable proportions, face the river in imposing array. To say that the decline of Egyptian art began with Rameses II. is a commonplace of contemporary criticism; yet nothing is less true than an axiom of this kind. Many statues and bas-reliefs executed during his reign are no doubt inconceivably rude and ugly; but these are chiefly found in provincial towns where the schools were indifferent, and where the artists had no fine examples before them. At Thebes, at Memphis, at Abydos, at Tanis, in those towns of the Delta where the court habitually resided, and even at Ab Simbel and Beit el Wally, the sculptors of Rameses II. yield nothing in point of excellence to those of Seti I. and h.o.r.emheb. The decadence did not begin till after the reign of Merenptah. When civil war and foreign invasion brought Egypt to the brink of destruction, the arts, like all else, suffered and rapidly declined. It is sad to follow their downward progress under the later Ramessides, whether in the wall-subjects of the royal tombs, or in the bas-reliefs of the temple of Khons, or on the columns of the hypostyle hall at Karnak. Wood carving maintained its level during a somewhat longer period. The admirable statuettes of priests and children at Turin date from the Twentieth Dynasty. The advent of Sheshonk and the internecine strife of the provinces at length completed the ruin of Thebes, and the school which had produced so many masterpieces perished miserably.

[Ill.u.s.tration Fig. 202.--Queen Ameniritis.]

[Ill.u.s.tration: Fig. 203.--The G.o.ddess Theris. Sate work.]