Mitchell, Lucy M.: A history of ancient sculpture (New York, 1883)

TOMB STATUES OF THE MEMPHITIC OR ANCIENT EMPIRE. 29

ean extremities; and great care may be noticed in the representation of many
parts, e.g., the muscles about the knee-pan. Thus, in the sturdy walking figure
m the British Museum from Gizeh,6-t there is a careful study of nature. Veins,
and gentle tissues of skin, are indeed wanting on this tawny body; and we can-
not expect, in the lean form of the usual Egyptian, subjected to this hot climate,
0 nnd all the delicate play of transparent skin and full-flowing muscle pos-
essed by people of a moister clime. The favorite material of this ancient
mpire, wood and soft limestone, as much easier to manipulate than the hard
&ranite, porphyry, etc., may account for much of the admirable freedom in the
sculptor's work. The sycamore, acacia, and ebony in use, were, it must be
remembered, in the dry climate of Egypt, nearly as imperishable as stone, and
Vere made still more enduring, as well as lifelike, by a fine coating of gauze,
Ver which was placed a thin layer of stucco, afterwards painted and gilded,
-ven stone received color whose brilliancy is often well preserved, as admirably
"lustrated in the treasures of Boolak.

But, while thus faithfully portraying life, it must be said, that the sculptors

0 the Ancient Empire, like their successors, do not go beyond the simple rep-
resentation of existence ; the passions and emotions being seldom, if ever,
expressed. We may almost believe, that passion could not have furrowed the
ancient Egyptian's brow, so calm is the language of his art. His lifelike, real-

lc statues can never enkindle that enthusiasm produced by works in which

1 oetic grace, masterly composition, and soul expression, combine to charm the
ye: But, to do justice to those old carvers, let us bear in mind the limits

P aced upon them by the prosaic spirit of their practical countrymen, who

eciuired faithful counterfeits of themselves for their tombs. The physique and

1 tysiognomy of his race, not graceful and beautiful, but ungainly, were, there-

re> of untold influence upon the sculptor. Granted, moreover, that he had

eer> capable of so doing, he would have had little encouragement to represent

r°ic action, and create ideal artistic works, knowing that they were to be for-

er buried in the tomb, to keep company with the mummy. Moreover, to the

t>yptians excited action or great emotion would have been unbecoming in the

age of him wno simply awaited the dawn of that day when he should again

Sec body and soul united.

We are, moreover, surprised to find, that the statues of that olden time are

no Way subservient to the architecture, neither decorating nor supporting it.

1Pi"isoned m the scrdab, they are found arranged in rows along the wall, as

ough awaiting the service to be paid them ; as much freedom as is possible

lng given each statue without exposing it to breakage.

■"tit, leaving the statues and groups in the dark scrddbs they inhabited, let

glance at the gayly hued reliefs lining the tomb-chapels of this ancient

t "od. In later times an army of strange, fantastic gods invaded the chamber ;

1 > m these older tombs, every thing is as little funereal as possible ; and we