Page:A History of Art in Ancient Egypt Vol 2.djvu/276

246 A History of Art in Ancient Egypt. feminine, and all the rest of her person is repulsive. Her arms, legs, and chest, are loaded with fat, while her person projects so far in the rear as to result in a deformity over which the artist has dwelt with curious complacence." The legs, so far as the chemise allows them to be seen, are so large that they suggest incipient elephantiasis. The Egyptian artist was induced, no doubt, to dwell upon such a monstrosity by the instructive contrast which it presented with the cultivated beauty of his own race.^ Realist as he was when he chose to take up that vein, the Egyptian sculptor attained, however, to a high degree of grace and purity, especially in his representations of historic and religious scenes. When he had not the exceptional ugliness of an Amenophis IV. to deal with, he gave to the personages in his bas-reliefs a look of serious gravity and nobility which cannot fail to impress the greatest enthusiast for Greek models. He was no longer content with the sincere imitation of what he saw, like the artists of the Early Empire ; his efforts were directed to giving everlasting forms to those superhuman beings, the Egyptian gods and Egyptian kings, with their sons and favourites, who lived in hourly communion with them. Egyptian art at last had an ideal, which it never realized with more success than in certain bas-reliefs of this epoch. Mariette quotes, as one of the most learned productions of the Egyptian chisel, a bas-relief at Gebel-Silsilis representing a goddess nourishing Horus from her own breast. " llie design of this composition is remarkable for its purity," he says, "and the whole picture breathes a certain soft tranquillity which both charms and surprises a modern connoisseur." ^ We have not reproduced this work, but an idea of its style and composition may be formed from a bas-relief of the time of Rameses II., which we have taken from the speos of Beit-el-Wali (Fig. 255, Vol. I.). The theme is the same. A scene of adoration taken from a pier at Thebes (Fig. 176, Vol. I.) and, still more, a fine bas-relief in which Amenophis HI. does homage to Amen, to 1 Mariktte, Dayr-el Bahari, p. 30, believed that Punt was in Africa, probably in the region of the Somali. He cpiotes various passages from the writings of modern travellers to show that this strange obesity is rather an African than an Arabian characteristic. See Spf.ke's description of the favourite wife of Vouazerou, Discovery of the Source of tJie Nile, chap, viii., and Schwf.infurtu's account of the Bongo women, Heart of Africa (3rd edition) ])p. 136 and 137. ^ Mariktik, Jtinl'roire, p. 246.