Volume II Part 19 (2/2)

This explanation seerave objections It is not, in the first place, so necessary as Mariette sees Sirouped in the sae, neither come from Tanism or date from the Shepherd supre to the Nile, and we can readily understand how Psousennes clai his nah he were not the real donor

Mariette does not hesitate to ascribe to the saure discovered in the Fayoum, upon the site of the city which the Greeks called Crocodilopolis (Fig 212) He describes it thus:--[216]

[216] _Notice du Musee de Boulak_, No 2

”Upper part of a broken colossal statue, representing a king standing erect No inscription

”The general forh cheek-bones, the thick lips, the wavy beard that covers the lower part of the cheeks, the curious ith its heavy tresses, are all worthy of reive a peculiar and even unique expression to the face The curious ornaments which lie upon the chest should also be noticed The king is covered with panther skins; the heads of two of those animals appear over his shoulders

[Illustration: FIG 210--Group froin of this statue, which was found at Mit-fares in the Fayous who decorated the teroups of fisher its ruins, ypt”

[Illustration: FIG 211--Side view of the saoin]

Finally, Deveria and De Rouge have suggested that a work of the sas to the Louvre and is figured upon page 237[217]

They point to similarities of feature and of race characteristics The face of the Louvre statuette has a truculence of expression not unlike that of the Tanite yptian and of the best quality; the flexibility of body, which is one of the most constant qualities in the productions of the first Theban E represented wears the _klaft_ with the _uraeus_ in front of it; his _schenti_ is finely pleated and a dagger with its handle carved into the shape of a hawk's head is thrust into his girdle The support at the back has, unfortunately, been left without the usual inscription and we have no ment beyond the style, the workests that it preserves the features of one of the shepherd kings, soht he had discovered at Tanis and in the Fayou Mariette_, p 258--PIERRET, _Catalogue de la Salle Historique_, No 6

[218] M FR LENORMANT (_Bulletino della Coica di Roma_, fifth year, January to June, 1877) believes that he has discovered in one of the Ro to the saroup

[Illustration: FIG 212--Upper part of a royal statue Grey granite

Boulak Drawn by G Benedite]

It cannot be denied that there arepoints of reseht together Mariette laid great stress upon what he regarded as one of his most important discoveries This is his definition of the type which the Egyptian artist set himself to reproduce with his habitual exactness: ”The eyes are sorous, arched, and flat at the end, the cheeks are large and bony, and the mouth is remarkable for the way in which its extremities are dran The face as a whole is in harmony with the harshness of its separate features, and the matted hair in which the head seeularity of its appearance”[219]

[219] _Lettres a M de Rouge sur les Fouilles de Tanis_, p 105

(_Revue Archeologique_)

[Illustration: FIG 213--Fraght seven inches Drawn by Saint-Elme Gautier]

Both Mariette and Ebers declare that this type has been preserved to our day with astonishi+ng persistence In the very district in which the power of the shepherds was greatest, in the neighbourhood of that Lake Menzaleh which ale fisherly uished froyptian fellah

Ahmes must have been content with the expulsion of the chiefs only of those Seion for so many centuries The ly attached to the fertile lands where they dwelt to refuse obedience to the conqueror, and ration, like that of the Hebrews, may have come in later times to renew the Arab and Syrian characteristics of the race[220]

[220] MARIETTE, _Notice du Musee_, p 259--EBERS, _aegypten_, vol i p 108

Whatever we may think of these conjectures and assertions, the sculptors of the First Theban Empire and of the Hyksos period took up and carried on the traditions of the Ancient Empire The processes are the same except that in a few particulars they are improved More frequent use is ranite, basalt, and diorite, and a co

Even the bas-relief carries on the themes which had been in favour in the first years of the monarchy We have already illustrated two steles of this period (Figs 86 and 164, Vol I) In the second, and especially in the woated proportions which characterize the sculpture of the first Theban dynasties Apart from the steles, which come mostly from Abydos, we have few bas-reliefs which may be referred to this epoch The er constructed, and the ea of the middle Es only The sepulchral grottos of El-Bercheh possess bas-reliefs dating from the twelfth dynasty, and the quality of their work 43, Vol II The style is less free and more conventional than that of the mastabas The men who haul upon the ropes and those who march in front of the an effect which is very s of Beni-Hassan, which are freer and more full of variety, are more able to sustain a comparison with the decorations of the eneralization Except in a few instances there is a less true and sincere feeling for nature, and a lack of those picturesque , so to speak, by an artist who seems to be a it, which are so abundant in the mastabas

-- 4 _Sculpture under the Second Theban Empire_

The excavations at Tanis have helped us to understand s upon which our inforer obliged to accept Manetho's account of the Shepherd invasion

In his desire to take at least a verbal revenge upon the conquerors of his country the historian seeerated their misdeeds We kno not only that the native princes continued to reign in Upper Egypt, but also that the interlopers adopted, in the Delta, the yptian subjects So far as we can tell, there were neither destructions of s nor ruptures with the national traditions Thus the art of the three great Theban dynasties, froation of that of the Ousourtesens and Sebek-hoteps There are no appreciable differences in their styles or in their processes, but, as in their architecture, their works of art as a whole show an extraordinary developreat and sudden increase in the power and wealth of the country The warlike kings who made themselves masters of Ethiopia and of Western Asia, had aspirations after the colossal Their buildings reached dimensions hitherto unknown, and while their vast wall spaces gave great opportunities to the sculptor they deeer

These great surfaces had to be filled with historic scenes, with coious scenes, with pictures of houre in its natural size was no longer in proportion to these huge constructions In order to obtain i which should correspond to the extent and ht excess over the real stature of hus which contented the sculptors of the Ancient Eer sufficient Whether they were cut, as at Ipsamboul, out of a igantic monolith, their proportions were all far beyond those of mankind Sometih as their knees, but oftener they failed to reach their ankle-bones The New Eures It sprinkled them over the whole country, but at Thebes they are hbourhood of the two seated statues of Amenophis III, the _savants_ of the French Commission found the remains of fifteen more colossi[221]