of him—cases in which a figure was formed of portions of his body joined with artificial portions. The Nile Valley furnished other transitions. Concerning the Macrobrian Ethiopians, Herodotus tells the strange story that
And to this plastered, painted, and inclosed mummy they made offerings. The Egyptian usage diverged from this simply in the casing of the mummy and in the painting: the one being opaque and the other consequently external. For the carved and painted representation of a human figure on the outer mummy-case, was doubtless a conventionally-stereotyped representation of the occupant. And since, in all such cases, the ancestor-worship, now of private persons, now of major and minor potentates, was a religion, painting as thus employed was a religious art.
The leading subjects of Egyptian wall-paintings are worshiping and killing: the last being, indeed, but a form of the first; since pictures of victorious fights are either glorifications of the commemorated commanders or of the gods by whose aid they conquered, or both. In early societies sacrifice of enemies is religious sacrifice, as shown among the Hebrews by the behavior of Samuel to Agag. Hence the painting in these Egyptian frescoes is used for sacred purposes.
That in Ancient Egypt the priest was the primitive sculptor we have already seen; and the association of painting with sculpture was so close as to imply that he was also the primitive painter—either immediately or by proxy. For, 'seeing that, as Brugsch remarks, Egyptian art "is bound by fetters which the artist dared not loosen for fear of clashing with traditional directions and ancient usage," it results that the priests, being depositaries of the traditions, guided the hands of those who made painted representations when they did not themselves make them. But there is direct proof. Erman says:—"Under the Old Empire the high priest of Memphis was regarded as their chief, in fact he bore the title of 'chief leader of the artists,' and really exercised this office." In another passage describing the administration of the great temple of Amon he tells us that the Theban god had his own painters and his own sculptors; both being under the supervision of the second prophet. It may be that, as in the case of the Indians above named, these working painters had passed through some religious initiation and were semi-priestly.
In connection with this use of painting for sacred purposes in Egypt, I may add evidence furnished by an existing religion. Says Tennent concerning the Buddhists of Ceylon:—
