From the beginning there seem to have been two styles in sculpture: the hieratico-religions and the secular. The former was stiff, tradi tional. and with few types; the latter was easier, freer. and with much greater variety. 'Inc famous colossal statue of King Emira, with hands on knees, in the familiar traditional atti tude, shows also the type of slender body used for gods and kings, in contrast to the heavy, squat type—like that of the Coptic fellah—used for portraits of common folk. such as the above mentioned Sheik-el-I:led. Outside of any class. and the earliest large work of sculpture. is the colossal Sphinx of (Mizell. which is now disinte under the changed climate. The favorite theme of the naturalistic portrait is perhaps the seated group of husband and wife, a theme in which truth to nature lasts even through the Niddle Empire, as shown. for instance, in the group of Ra-Hotep and Nefert, of the Thirteenth Dynasty. where the husband is of the negroid type so common before the New Empire. Out side of Egypt, the Florence Museum is particu larly rich in these family groups. There are a few eases of genre and other scenes which are also particularly naturalistic. such as the "Royal Scribe,' at the Louvre, and the "Girl on Iler Knees Washing Clothes." The representations of divinities are very material, without being natural. They were usually of a composite human animal type, reminiscent of totemism and fetiehism: Sekhet-Bast, a lion or eat : Ann his. a jackal; Horns, a hawk: Chnum, a ram: Thoth, an ibis; Lehek, a crocodile. Usually the method was to place an animal's head on a human body, though sometimes the god was wholly human and accompanied by his animal emblem. Figures of the gob: were multiplied innumerably on a small scale. The gods of pper and of Lower Egypt were worshiped on the opposite walls of temple. and the god's image, receiving the worsolp of the King, was repeated many hundreds of times in relief on the walls and columns, and even on the surfaces of the outer pylons. This was especially the ease in later art. Bronze, glazed porcelains, and other statuettes of the gods were manufactured by the million as objects of devotion, according to uniform types. This religious side of Egyp tian sculpture is perhaps the least interesting, and that in which the artist was allowed the least change. The next class is that of official political art. Here also there is a traditional element. The scene of the colossal King, at whose feet cower a group of captives whom he is about to slaughter, is repeated without variation during many reigns. No is the scene of the victo rious King, in his chariot overturning his ene mies, as song of Rameses 11. in the famous poem of Pentaur But even this political art had its realistic and free side. At Karnak the low reliefs, representing the captives defiling with their gifts, offer a splendid and rich series of types of the different races and tribes inhabit ing Syria. Plnenicia. and Palestine, the artists having succeeded in conveying racial traits with N ery few torches. In the same way the proces sional reliefs of Queen Hatasu at Deir-el-Bahari are very illustrative of the products and races of the south. But of even more varied interest
are the reliefs and paintings in the tombs of pri vate persons. In one of the tombs of the Middle Empire a scene represents the migration of a tribe in patriarchal fashion. in all its details, showing how traveling was done in the age of Noses. There was a distinct phase of natural istic revival tinder Amenophis (Akhunaten) in the New Empire: otherwise the change was toward the stiff, the colossal. and the highly fin ished. Under the late Saitic Dynasty there was a revival in the reign of Psammetichus, with a re currence to the grace and delicacy of the time of Seti I. and Rameses, II. Then. when Greek art was introdueed under the Ptolemies, sculpture was more affected than architecture.
PAINT1Ni] AND Nixon ARTS. Painting in Egypt can hardly be called an independent art. it was largely an adjunct to sculpture and archi tecture. making of all Egyptian art a mass of color. In the tombs, however, especially during the Fifth and Sixth, the Eleventh. Twelfth. and Thirteenth dynasties, wall paintings were as popular as reliefs, had the same character istics, and portrayed the same themes. The minor arts always flourished. They may, in fact, be said to have been the earliest to develop. Egyp tian gold and enamel jewelry, with its rich neck laces and pectorals, was thought to have developed in the New Empire: but JI. de Morgan's discov eries of royal jewelry of the :Middle Empire. of fully as great beauty, put back its origin, and afterwards some fine jewelry of the early part. of the old Empire was found. The Egyp tians applied artistic design and decoration successfully to articles of furniture, orna ment, and domestic use: to chairs, beds, mirrors, boxes, spoons, etc.; and their artisans used wood, ivory, and the various metals with almost equal ease. These works were distributed throughout the :Mediterranean basin by Phmnieinn and Greek trading vessels, and so influenced the general history of design even more than the more monu mental works.
RtnriocttArny. The best short sketch is in Maspero, Manual of Egyptian ire/neology (Eng.
trans.. London, ISOS) : and Petrie, Student's His tory of Egypt (London. IS94 ). has some good chapters on art and archeology. The fullest his tory is Perrot and (Milder., History of Art in A /mit Egypt, translated by Armstrong (Lon lsR3). Large series of monuments are pub lished in such illustrated works as Prisse d'Aven Histoire de Part Oyptien ( Paris. 1868) ; Lepsins, Denkmfiler aus Aegypten and Aethiopien P-149-59). The relation of the plastic and minor arts to life is well given in Wilkinson, The Moaners and Customs of the Ancient Egyp tians (London, lti78). The finest monographs on a large scale, illustrating single monuments or small related groups, are those in the series of volumes published by the Egypt Exploration Fund and the Mission ArchCologique Francaise du Cake. Other information and bibliography on Egyptian monuments is contained under the articles OnEmsK; PYRAMID; TEMPLE: TOMII; also Under ABIT SIMBEL; AnYDOS; BEnt lIASSAN; Bl:BASTIS; KARN,tK: LUXOR; i\IEMPHIS;