Chapter XII: Part 12

Clement of Alexandria states that in the Egyptian schools the pupils
were first taught the "epistolographic" style of writing (i.e.
demotic), secondly the "hieratic" employed by the sacred scribes, and
finally the "hieroglyphic" (_Strom._ v. 657). It is doubtful whether
they classified the signs of the huge hieroglyphic syllabary with any
strictness. The only native work on the writing that has come to light
as yet is a fragmentary papyrus of Roman date which has a table in
parallel columns of hieroglyphic signs, with their hieratic
equivalents and words written in hieratic describing them or giving
their values or meanings. The list appears to have comprised about 460
signs, including most of those that occur commonly in hieratic. They
are to some extent classified. The bee [HRGs: bit] heads the list as a
royal sign, and is followed by figures of nobles and other human
figures in various attitudes, more or less grouped among themselves,
animals, reptiles and fishes, scorpion, animals again, twenty-four
alphabetic characters, parts of the human body carefully arranged from
[HRGs: tp] to [HRGs: D54], thirty-two in number, parts of animals,
celestial signs, terrestrial signs, vases. The arrangement down to
this point is far from strict, and beyond it is almost impossible to
describe concisely, though there is still a rough grouping of
characters according to resemblance of form, nature or meaning. It is
a curious fact that not a single bird is visible on the fragments, and
the trees and plants, which might easily have been collected in a
compact and well-defined section, are widely scattered. Why the
alphabetic characters are introduced where they are is a puzzle; the
order of these is:--[HRG Z91] [HRGs: r-H-kA-W] (?) [HRGs: wA] (?)
[HRGs: s] (?) [HRGs: z-Db] (?) [HRGs: Z91-b-Z91-S-SA] (?) [HRGs: k]
(?) [HRGs: xA-X-U29-p-a-g-x-t] (?) [HRGs: i-q].

Three others, [HRGs: XA-D] and [HRGs: f], had already occurred amongst
the fish and reptiles. There seems to be no logical aim in this
arrangement of the alphabetic characters and the series is incomplete.
Very probably the Egyptians never constructed a really systematic list
of hieroglyphs. In modern lists the signs are classified according to
the nature of the objects they depict, as human figures, plants,
vessels, instruments, &c. Horapollon's _Hieroglyphica_ may be cited as
a native work, but its author, if really an Egyptian, had no knowledge
of good writing. His production consists of two elaborate
complementary lists: the one describing sign-pictures and giving their
meanings, the other cataloguing ideas in order to show how they could
be expressed in hieroglyphic. Each seems to us to be made up of
curious but perverted reminiscences eked out by invention; but they
might some day prove to represent more truly the usages of mystics and
magicians in designing amulets, &c., at a time approaching the middle
ages.

1. TATOOED FEMALE, LIMESTONE SLAG.
2. 3. HEADS ON IVORY TUSKS.
4. 5. ANIMALS ON BONE COMBS.
6. IVORY HAWK.
7. LIMESTONE LION.
8. IVORY DOG AND GAZELLE.
9. IVORY HANDLE OF KNIFE.
10. 11. WHITE ON RED VASES; MEN AND ANIMALS.
12. SHIP ON A VASE.
13. SHIP ON A WALL PAINTING.
14. IVORY KING.
15. 16. ARCHAIC KING'S HEAD, STUDY IN LIMESTONE.
17. HEAD OF KHASEKHEM.]

18. LIMESTONE RELIEF.
19. ANIMALS ON SLATE PALETTE._Photo, Mansell._
20. CONQUEROR AS A BULL.
21. GAZELLES AND PALM, SLATE.
22. ANIMALS, SLATE.
23. KING NARMER, SLATE PALETTE.
24. IVORY TUSK, WITH ANIMALS.
25. IVORY WAND, WITH ANIMALS.
26. WOODEN PANELS OF HESI.
27. RAHOTP AND NEFERT.
28. WOODEN FIGURE.]

+---------------------+----------+-----------+---------------+---------------------+
| | Demotic. | Hieratic. | Hieroglyphic. | | |
+---------------------+----------+-----------+---------------+---------------------+
| _ent_, "who" | [SGN] | [SGN] | [HRG] | _nty_ |
| | | | | |
| _Perso_ ("Pharaoh") | [SGN] | [SGN] | [HRG] | _Per<o <nh wz, snb_ |
| | | | | |
| _yot_, "father" | [SGN] | [SGN] | [HRG] | _itf_ |
| | | | | |
| _'onkh_, "live" | [SGN] | [SGN] | [HRG] | _<nh_ |
| | | | | |
| _ekh_, "know" | [SGN] | [SGN] | [HRG] | _rh_ |
| | | | | |
| _ahe_, "stand" | [SGN] | [SGN] | [HRG] | _<h<_ |
| | | | | |
| _eine_, "carry" | [SGN] | [SGN] | [HRG] | _in_ |
| | | | | |
| _ms_ (phon.) | [SGN] | [SGN] | [HRG] | _ms_ |
| | | | | |
| _s_ (alph.) | [SGN] | [SGN] | [HRG] | _s_ |
| | | | | |
| _s_ (alph.) | [SGN] | [SGN] | [HRG] | _[/s]_ |
| | | | | |
| _m_ (alph.) | [SGN] | [SGN] | [HRG] | _m_ |
| | | | | |
| _n_ (alph.) | [SGN] | [SGN] | [HRG] | _n_ |
+---------------------+----------+-----------+---------------+---------------------+

The early scribe's outfit, often carried slung over his shoulder, is
seen in the hieroglyph [HRG]. It consisted of frayed reed pens or
brushes, a small pot of water, and a palette with two circular
cavities in which black and red ink were placed, made of finely
powdered colour solidified with gum. In business and literary
documents red ink was used for contrast, especially in headings; in
demotic, however, it is very rarely seen. The pen became finer in
course of time, enabling the scribe to write very small. The split
reed of the Greek penman was occasionally adopted by the late demotic
scribes.

Egypt had long been bilingual when, in papyri of the 2nd century A.D.,
we begin to find transcripts of the Egyptian language into Greek
letters, the latter reinforced by a few signs borrowed from the
demotic alphabet: so written we have a magical text and a horoscope,
probably made by foreigners or for their use. The infinite superiority
of the Greek alphabet with its full notation of vowels was readily
seen, but piety and custom as yet barred the way to its full adoption.
The triumph of Christianity banished the old system once and for all;
even at the beginning of the 4th century the native Egyptian script
scarcely survived north of the Nubian frontier at Philae; a little
later it finally expired. The following eight signs, however, had been
taken over from demotic by the Copts:

[Coptic: shai] = _s_, from [HRG] _si_, dem. [sign], [SGN].

[Coptic: horee] = _h_, probably from [HRG] _hw_ (or [HRG] _hi_),
dem. [sign].

[Coptic: khai] (Boh.) = _h_, from [HRG] _hi_, dem. [SGN].

[Coptic: eksee] (Akhm.) = _h_, from [HRG], [HRG] _hy_, _ht_, dem.
[sign].

[Coptic: fai] = _f_, from [HRG] _f_, dem. [SGN].

[Coptic: cheema] = _c_ from [HRG] _k_ (or [HRG] _h_), dem.
[sign], [sign].

[Coptic: janja] = _g_, from [HRG] _di_ (or [HRG] _ti_), dem.
[sign], [sign].

[Coptic: tee] = _ti_, from [HRG] _dy.t_, dem. [SGN].

For origins of hieroglyphs, see Petrie's _Medum_ (1892); F. Ll.
Griffith, _A Collection of Hieroglyphs_ (1898); N. de G. Davies, _The
Mastaba of Ptahhetep and Akhethetep_, pt. i. (1900); M. A. Murray,
_Saqqara Mastabas_ (London, 1905); also Petrie and Griffith, _Two
Hieroglyphic Papyri from Tanis_ (London, 1889) (native sign-list); G.
Moller, _Hieratische Palaographie_ (Leipzig, 1909); Griffith,
_Catalogue of Demotic Papyri in the J. Rylands Collection_
(Manchester, 1909). (F. Ll. G.)

E. _Art and Archaeology._--In the following sections a general history of the characteristics of Ancient Egyptian art is first given, showing the variation of periods and essentials of style; and this is followed by an account of the use made of material products, of the tools and instruments employed, and of the monuments. For further details see also the separate topographical headings (for excavations, &c.), and the general articles on the various arts and art-materials (for references to Egypt); also PYRAMIDS; MUMMY, &c.

_General Characteristics._

The wide and complex subject of Egyptian art will be treated here in six periods: Prehistoric, Early Kings, Pyramid Kings, XIIth Dynasty, XVIIIth-XXth Dynasties, XXVIth Dynasty and later. In each age will be considered the (A) statuary, (B) reliefs, (C) painting.

_Prehistoric._--The earliest civilized population of Egypt was highly skilled in mechanical accuracy and regularity, but had little sense of organic forms. They kept the unfinished treatment of the limbs and extremities which is so characteristic of most barbaric art; and the action was more considered than the form.

(A) In the round there are in the earlier graves female figures of two races, the Bushman type and European, both probably representing servants or slaves. These have the legs always united, sloping to a point without feet (Plate I. fig. 1); the arms are only stumps. The face has a beaky nose and some indication of eyes. Upon the surface is colouring; red for the Bushman, with black whisker though female; white for the European type, with black tattoo patterns. Other female figures are modelled in a paste, upon a stick, and the black hair is sometimes made separately to fit on as a wig over the red head, showing that wigs were then used. Male figures are generally only heads in the earlier times. Tusks with carved heads (Plate I. figs. 2, 3) are the earliest, beginning at S.D. (sequence date) 33;[16] heads on the top of combs are found, from S.D. 42 to the close of such combs in the fifties. All of these heads show a high forehead and a pointed beard; and such expression as may be discovered is grave but not savage. In later times whole figures of ivory, stone and clay are found, with the legs united, and the arms usually joined to the body. A favourite way of indicating the eyes was by drilling two holes and inserting a white shell bead in each. The figures of animals (Plate I. figs. 4, 5) are quite as rude as the human figures: they only summarily indicate the mature, and often hardly express the genus. They are most usual on combs and pins; but sacred animals are also found. The lion is the most usual (Plate I. fig. 7), but the legs are roughly marked, if at all: the leonine air is given, but the attitude is more distinct than the form. The hawk (Plate I. fig. 6) is modelled in block without any legs. The slate palettes in the form of animals are even more summary, and continually degraded until they lost all trace of their origin. There are also curious figures of animals chipped in flint, which show some character, but no detail.

(B) Reliefs with animal figures belong to the later part of the prehistoric age. The relief is low, and the form hatched across with lines (Plate I. fig. 8), a style copied from drawing. There is more animation than in the round figures. At the close of this age the fashion of long processions of animals appears (Plate I. fig. 9); some character is shown in these, but no sense of action.

(C) Drawing is found from the earliest civilization, done in white slip on red vases. Figures of men are very rare (Plate I. fig. 10); they have the body triangular, the waist being very narrow; the legs are two lines linked by a zigzag, as if to express that they move to and fro. The usual figures are goats and hippopotami; always having the body covered with cross lines to express the connexion of the outlines (Plate I. fig. 11). This technique is in every way closely akin to that of the modern Kabyle. An entirely different mode is common at a later time when designs were painted in thin red colour on a light brown ware. The subjects of the earlier of these examples are imitations of cordage, of marbling, and of basket-work; later there are rows of men and animals, and ships (Plate I. figs. 12, 13), with various minor signs. The figures are never cross-hatched as in earlier drawing, but always filled in altogether. The fact that the ships have oars and not sails makes it probable that they were rather for the sea than for Nile traffic, and a starfish among the motives on such pottery also points to the sea connexion. The ulterior meaning of the decoration is probably religious and funereal, but the objects which are figured must have been familiar.

For this whole period see Jean Capart, _Debuts de l'art en Egypte_
(1904; trans. _Primitive Art in Ancient Egypt_).

_The Early Kings._--The dynastic race wrought an entire transformation in the art of Egypt; in place of the clumsy and undetailed representations, there suddenly appears highly artistic work, full of character, action and anatomical detail.

(A) The earliest statues of this age are the colossi of the god Min from Coptos; that they belong to the artistic race is evident from the spirited reliefs upon them (see below, B), but the figures were very rude, the legs and arms being joined all in the mass. The main example of this early art is a limestone head of a king (Plate I. figs. 15, 16), which is a direct study from life, to serve as a model. For the accuracy of the facial curves, and the grasp of character and type, it is equal to any later work; and in its entire absence of conventions and its pure naturalism there is no later sculpture so good: as Prof. A. Michaelis says, "it renders the race type with astounding keenness, and shows an excellent power of observation in the exact representation of the eyes." By the portrait, it is probably of King Narmer or some king related to him, that is, about the beginning of the Ist Dynasty. The ivory statuette of an aged king (Plate I. fig. 14) is probably slightly later. It shows the same subtle sense of character, and is unsurpassed in its reality. Many ivory figures of men, women and animals are known from Nekhen (Hieraconpolis) and Abydos; and they all show the same school of work, simple, dignified, observant, and with an air which places them on a higher plane of truthfulness and precision than later art. There is none of the mannerism of a long tradition, but a nobility pervades them which has no self-consciousness. The lower class of work of this age is shown by great numbers of glazed pottery figures both human and animal. Later in the IInd Dynasty, the head of Khasekhem (Plate I. fig. 17) shows the beginning of convention, but yet has a delicacy about the mouth which surpasses later works.

(B) Reliefs abound at this age, and include the most important evidences of the development of the art. The earliest examples are those of animals (Plate II. fig. 18) and shells on the colossi of Coptos. They show a keen sense of form, and the stag's head, which is probably the earliest, already bears an artistic feeling wholly different to that of any of the prehistoric works (P.K. iii. iv.). The carvings on slate palettes appear to begin with work crudely accurate and forceful, the heavy limbs being ridged with tendons and muscles (Plate II. fig. 19), but there is more proportion, with the same massive strength (Plate II. fig. 20). Soon after, with a leap, the artist produced the first pure work of art that is known (Plate II. fig. 21), a design for its own sake without the tie of symbolism or history. The group of two long-necked gazelles facing a palm tree is of extraordinary refinement, and shows the artistic consciousness in every part; the symmetric rendering of the palm tree, reduced to fit the scale of the animals, the dainty grace of the smooth gazelles contrasted with the rugged stem, the delicacy of the long flowing curves and the fine indications of the joints, all show a sense of design which has rarely been equalled in the ceaseless repetitions of the tree and supporters motive during every age since. Passing the various palettes with hunting scenes and animals (Plate II. fig. 22), we come to the great historical carving of King Narmer (Plate II. fig. 23). Here the anatomy has reached its limits for such work; the precision of the muscles on the inner and outer sides of the leg, of the uniform grip in the left arm, and the tense muscle upholding the right arm, prove that the artist knew that part of his work perfectly. The large ceremonial mace-heads recording the _Sed_ festivals of the king Narmer and another, belong also to this school; but owing to their smaller size they have not such artistic detail. With them were found many reliefs in ivory, on tusks, wands and cylinders. The main motive in these is a long procession of animals (Plate II. figs. 24, 25) often grotesquely crowded; but there is much observation shown and the figures are expressive. No drawing of this age has survived.

_The Pyramid Kings._--A different ideal appears in the pyramid times; in place of the naturalism of the earlier work there is more regularity, some convention, and the sense of a school in the style. The prevailing feeling is a noble spaciousness both in scale and in form, an equanimity based upon knowledge and character, a grandeur of conception expressed by severely simple execution. There is nothing superfluous, nothing common, nothing trivial. The smallest as well as the largest work seems complete, inevitable, immutable, without limitations of time, or labour or thought.

(A) The statuette of Khufu or Cheops (Plate III. fig. 29) though only a minute figure in ivory, shows the character of immense energy and will; the face is an astonishing portrait to be expressed in a quarter of an inch. The life-size statue of Khafre or Chephren (Plate III. fig. 30) is a majestic work, serene and powerful; carved in hard diorite, yet unhesitating in execution. The muscular detail is full, but yet kept in harmony with the massive style of the figure. The private persons have entirely different treatment according to the character of their position. In place of the awful dignity of the kings there is the placid high-bred Princess Nofri (Plate II. fig. 27, Plate III. fig. 31), the calm conscientious dignitary Hemset (Plate III. fig. 32), the bustling, active, middle-class official, Ka-aper (Plate II. fig. 28, Plate III. fig. 33), and the kneeling figure of a servitor. The differences of character are very skilfully rendered in all the sculpture of this age. The whole figures are stiff in the earlier time, as the figure of Nes; then square and massive, but true in form, as Rahotp and Nofri (Plate II. fig. 27); and afterwards easier and less monumental, as Ka-aper (Plate II. fig. 28). The skill in beaten copper work is shown by the portrait of the Prince Mer-en-ra (Plate III. fig. 35).

(B) The reliefs are quite equal to the statuary. The wooden panels of Hesi (Plate II. fig. 26) show the archaic style of great detail, with a bold, stark vigour of attitude. Later work is abundant in the tomb-sculptures of this age, with a fulness of variety and detail which makes them the most interesting of all branches of the art. The general effect cannot be judged without a large scene, but the figures of two men and an ox (Plate III. fig. 37) show the freshness and vigour of the style, which is even higher than this in some examples. The clear, noble spacing of the surface work is well shown by a group of offerings and inscribed titles (Plate III. fig. 36).

29. IVORY OF CHEOPS.
30. DIORITE OF CHEPHREN.
31. LIMESTONE OF NEFERT.
32. HEMSET: LIMESTONE.
33. WOOD (see Fig. 28).
34. SCRIBE: LIMESTONE.
35. MER-EN-RA: COPPER.
36. LIMESTONE SLAB OF KHENT-ER-KA.
37. THE OXHERDS: LIMESTONE. Photo, Bonfils
38. GRANITE SPHINX.
39. AMENEMHE III.
40. 41. SENWOSRI I.: LIMESTONE RELIEFS: HOTEPA.]

42. AMENOPHIS III.: GRANITE. Photo, Manseil.
43. QUEEN TAIA: LIMESTONE.
44. RAMESES II.: GRANITE. Photo, Anderson.
45. NEGRESS: EBONY.
46. QUEEN HATSHEPSUT.
47. KHA-EM-HAT.
48. SETI I.
49. PRINCESSES: FRESCO.
50. FOUR RACES OF MAN.
51. TUMBLER.
52. SCENE IN XXVI. DYNASTY.
53. PTOLEMAIC RELIEF.
54. MODELLED HEAD AND SKULL.]

(C) Flat drawings of this age are rare. Some fine examples, such as the geese from Medum, show that such work kept pace with the reliefs; but most of the fresco-work has perished, and there are few instances of line drawing.

_The XIIth Dynasty._--This age overlaps the previous in its style. The end of the last age was in the very degraded tomb work of the early XIth Dynasty.

(A) The new style begins with the royal statues, which it seems we must attribute to the foreign kings from whom the XIIth Dynasty was descended. These statues were later appropriated by the Hyksos, and so came to be called by their name, which is a misnomer. The type of face (Plate III. fig. 38) is thick-featured, full of force, with powerful masses of facial muscle covering the skull. The style is very vigorous and impassioned, without any trace of relenting towards conventional work. The surfaces are not in the least subdued by a general breadth of style, as in the last period; but, on the contrary, revel in the full detail of variety. There is perhaps no age where nature is so little controlled by convention in either the living character or its sculptured expression. One of these kings might well be the founder of the IXth Dynasty, "Achthoes (Kheti), who did much injury to all the inhabitants," "Khuther Taurus the tyrant"; the expression is that of a Chlodwig or an Alboin. From this type evidently descended the milder and more civilized kings of the XIIth Dynasty, the resemblance being so strong that the fierce figures have even been identified with that dynasty by some. A good example is that of the statue of Amenemhat (Amenemhe) III. (Plate III. fig. 39). The style of the XIIth Dynasty may be summed up as clean, highly-finished work, strong in facial detail; but with neither the grandeur of the IVth nor the vivacity of the XVIIIth Dynasty. This passed in the XIIIth Dynasty into a graceful but weak manner, as in the statues of Sebkhotp (Sebek-hotep) III. and Neferhotp.

(B) The relief work shows most clearly the rise of the new style. In the middle of the XIth Dynasty an entirely fresh treatment appears; the Old Kingdom work had died out in very bad sunk-reliefs, the fresh style (Plate III. fig. 41) was a low relief with sharp edges above the field. It was full of delicate variety in the surfaces, and of elaborated close-packed lines of hair and ornaments. By the time of the early XIIth Dynasty, this reached a perfection of refinement in the detail of facial curves, with an ostentatiously low relief (P.K. ix. i.), rather on the lines of modern French work; but the whole with clean, firm outlines, severely restrained in the expression, and without any trace of emotion. It is the work of a school, in which high training took the place of the reliance on nature. Sunk relief was also well used, as by Senusert (Senwosri) I. (Plate III. fig. 40). There was a steady decline during the XIIth Dynasty and onward, but the same tone was followed.

(C) In some tombs painting only was used, and it followed the general character of the relief treatment, being more rigid, detailed, and scholastic than the older style.

_The XVIIIth-XXth Dynasties._--The obvious, not to say superficial, character of this age has rendered it one of the most popular in Egyptian art. The older breadth, fulness, and vigour have vanished, those great qualities which stamp the immortal works of early times. The difference is much like that between the Parthenon and the Niobids, or between Jacopo Avanzi and Caracci. In this change is the whole difference between the art of character and the art of emotion; and though the emotional side is the more popular, as needing less thought to understand it, yet the unfailing canon is that in every age and land the true quality of art is proportionate to the expression of character as apart from transient emotion. This may perhaps apply to other arts as well as to sculpture and painting. If we accept frankly the emotional nature of this age, we may admire its graceful outlines, its vivacious manner, its romantic style, with an occasional sauciness which is amusing and attractive. It revelled in rich detail, and close masses of lines, as in wigs and ribbed dresses. It sported with a seductive Syrian type of face, especially under Amenophis (Amenhotep) III.; but we find the anatomy giving way to mere smoothness of surface, for the sake of contrast with the masses of detail. The romantic element increased, solemn funereal statues show husband and wife hand in hand; and it culminated under Akhenaton, who is seen kissing his wife in the chariot, or dancing her on his knee. An overwhelming naturalism swamped the older reserves of Egyptian art, and the expression of the postures, actions and familiarities of daily life, or the instantaneous attitudes of animals, became the _dernier cri_ of fashion. It was all charming and wonderful, but it was the end,--nothing could come after it. The XIXth Dynasty, at its best under Seti I., could only excel in high finish of smoothness and graceful curves; life, character, meaning, had vanished. And soon after, under Rameses II., mere mechanical copying, hard lifeless routine of stone-cutting, regardless of truth and of nature, dominated the whole.

(A) In sculpture there is a certain baldness of style at first, as in the Amenophis I. at Turin or Mutnefert at Cairo. More fulness and richness of character succeeded, as in Tahutmes (Tethmosis) III. and Amenophis III. (Plate IV. fig. 42, British Museum). And the feeling of the age finds greater scope in private statues, many of which have a personal fascination about them, as in the seated figures at Cairo and Florence, and the freer work in wood, of which the ebony negress (Plate IV. fig. 45) is the best example. The burst of naturalism under Akhenaton resulted in some marvellous portraiture, of which the fragment of a queen's head (Plate IV. fig. 43) is perhaps the most brilliant instance; the fidelity in the delicate curves of the nose and around the mouth is enhanced by the touch of artistic convention in the facing of the lips. The only work of ability in the XIXth Dynasty is the black granite figure (Plate IV. fig. 44) of Rameses II. at Turin. The ordinary statuary of his reign is painfully stiff and poor, and there is no later work in the period worth notice.

(B) The reliefs of the early XVIIIth Dynasty are closely like the scenes of the tombs in the pyramid age, but soon carving was superseded by the cheaper painting, and but few tombs in relief are known. The temples were the principal places for reliefs; and they steadily deteriorate from the first great example, Deir el Bahri (see ARCHITECTURE: _Egyptian_), down to the late Ramessides. The portraiture is strong and clear-cut (Plate IV. fig. 46), but somewhat mechanical and without muscular detail: the sameness is rather more than is probable. There is a good deal of repetition for mere effect, even in the fine work of Kha-em-hat (Plate IV. fig. 47), under Amenophis III. That the artists were conscious of their poverty of thought is shown by some precise imitations of the style of early monuments. On reaching the age of Akhenaton, the peculiar style of that school is obvious in every relief; the older conventions were deserted, and, for good or for bad, a new start from nature was attempted. After that the smooth finish of the Seti reliefs at Abydos (Plate IV. fig. 48) shows no life or observation; and only occasionally the artist triumphed over the stone-worker, as in the portrait of Bantanta at Memphis, which is precisely like another head of her found in Sinai. The innumerable reliefs of the XIXth-XXth Dynasty temples are only of historic interest, and are all despicable in comparison with earlier works.

(C) Painting was the art most congenial to this age; the lightness of touch, abundance of incident, and even comedy, of the scenes are familiar in the frescoes in the British Museum. And under Akhenaton this was pervaded by an entire naturalism of posture, as seen in the two little princesses (Plate IV. fig. 49). Drawing continued to be the strong point of the art after the more laborious sculpture had lost all vitality. The tomb of Seti shows exquisitely firm line drawing; and the heads of four races (Plate IV. fig. 50), Western, Syrian, and two Negro, here show the unfailing line-work which has never been matched in later times. The artist habitually drew the long lines of whole limbs without a single hesitation or revoke; and the drawing of a tumbling girl (Plate IV. fig. 51) shows how credibly such contortions could be represented. The comic papyri of the XXth Dynasty have also a very strong sense of character, even through coarse drawing and some childish combinations.

The subsequent centuries show continuous decline, and in whatever branch we compare the work, we see that each dynasty was poorer than that which preceded it. The XXVIth Dynasty is often looked on as a renaissance; but when we compare similar work we see that it was poorer than the XXIInd, as that was poorer than the XIXth. The alabaster statue of Amenardus of the XXVth is faulty in pose, and perfunctory in modelling; the resemblance between this and the head of her nephew Tirhaka is perhaps the best evidence of truthful work. After this there was a strong archaistic fashion, much like that under Hadrian; in both cases it may have arrested decay, but it did not lift the art up again. The work of this age can always be detected by the faulty jointing (Plate IV. fig. 52) and muscular treatment. The elements are right enough, but there was not the vital sense to combine them properly. Hence the monstrous protuberances (Plate IV. fig. 53) on relief figures of this age; a fault which the Greek fell into in his decline, as shown in the Farnese Hercules.

Portraiture, with its limited demand on imagination and lack of ideals, was the form of art which flourished latest. The Saitic heads in basalt show a school of close observation, with fair power of rendering the personal character; and even in Roman times there still were provincial artists who could model a face very truthfully, as is shown in one case in which the stucco head (Plate IV. fig. 54) from a coffin is here superposed on the view of the actual skull to show the accuracy of the work. The school of portrait-painting belongs entirely to Greek art, and is therefore not touched upon here. (See Edgar, _Catalogue of Graeco-Egyptian Coffins_, 48 plates, for this subject.)

Lastly we must recognize the different schools of Egyptian sculpture which are as distinct as those of recent painting. The black-granite school in every age is the finest; its seat we do not know, but its vitality and finish always exceed those of contemporary works. The limestone school was probably the next best, to judge from the reliefs, but hardly any statues of this school have survived; it probably was seated at Memphis. The quartzite work from Jebel Ahmar near Cairo stands next, as often very fine design is found in this hard material. The red granite school of Assuan comes lower, the work being usually clumsy and with unfinished corners and details. And the lowest of all was the sandstone school of Silsila, which is always the worst. Broadly speaking, the Lower Egyptian was much better than the Upper Egyptian; a conclusion also evident in the art of the tombs done on the spot. But the secret of the black granite school, and its excellence, is the main problem unsolved in the history of the art. (W. M. F. P.)

_Tools and Material Products._

_Tools_ (see Illustrations 1 to 111).--The history of tools is a very large subject which needs to be studied for all countries; the various details of form are too numerous to specify here, but the general outline of tools used in Egypt may be briefly stated under _general_ and _special_ types. The _general_ include tools for striking, slicing and scraping; the _special_ tools are for fighting, hunting, agriculture, building and thread-work.

_Striking Tools._--The wooden mallet of club form (1) was used in the VIth and XIIth Dynasties; of the modern mason's form (2) in the XIIth and XVIIIth. The stone mace head was a sharp-edged disk (3), in the prehistoric from 31-40 sequence date; of the pear shape (4) from S.D. 42, which was actually in use till the IVth Dynasty, and represented down to Roman time. The metal or stone hammer with a long handle was unknown till Greek or Roman times; but, for beating out metal, hemispherical stones (5) were held in the hand, and swung at arm's length overhead. Spherical hard stone hammers (6) were held in the hand for dressing down granite. The axe was at the close of the prehistoric age a square slab of copper (7) with one sharp edge; small projecting tails then appeared at each end of the back (8), and increased until the long tail for lashing on to the handle is more than half the length of the axe in an iron one of Roman (?) age (13). Flint axes were made in imitation of metal in the XIIth Dynasty (9). Battle-axes with rounded outline started as merely a sharp edge of metal (10) inserted along a stick (10, 11); they become semicircular (12) by the VIth Dynasty, lengthen to double their width in the XIIth, and then thin out to a waist in the middle by the XVIIIth Dynasty. Flint hoes (14) are common down to the XIIth Dynasty. Small copper hoes (15) with a hollow socket are probably of about the XXIInd Dynasty. Long iron picks (16), like those of modern navvies, were made by Greeks in the XXVIth Dynasty.

_Slicing Tools._--The knife was originally a flint saw (17), having minute teeth; it must have been used for cutting up animals, fresh or dried, as the teeth break away on soft wood. The double-edged straight flint knife dates from S.D. 32-45. The single-edged knife (18) is from 33-65. The flint knives of the time of Menes are finely curved (19), with a handle-notch; by the end of the IInd Dynasty they were much coarser (20) and almost straight in the back. In the XIth-XIIth Dynasty they were quite straight in the back (21), and without any handle-notch. The copper knives are all one-edged with straight back (22) down to the XVIIIth Dynasty, when two-edged symmetrical knives (23) become usual. Long thin one-edged knives of iron begin about 800 B.C. Various forms of one-edged iron knives, straight (24) and curved (25), belong to Roman times. A cutting-out knife, for slicing through textiles, began double-edged (26) in the Ist Dynasty, and went through many single-edged forms (27-29) until it died out in the XXth Dynasty (_Man_, 1901, 123). A small knife hinged on a pointed backing of copper (31) seems to have been made for hair curling and toilet purposes. Razors (30) are known of the XIIth Dynasty, and became common in the XVIIIth. A curious blade of copper (32), straight sided, and sharpened at both ends, belongs to the close of the prehistoric age. Shears are only known of Roman age and appear to have been an Italian invention: there is a type in Egypt with one blade detachable, so that each can be sharpened apart. Chisels of bronze began of very small size (33) at S.D. 38, and reached a full size at the close of the prehistoric age. In historic times the chisels are about 1 x 1/2, x 6 to 8 in. long (34). Small chisels set in wooden handles are found (35) of the XIIth and XVIIIth Dynasties. Ferrules first appear in the Assyrian iron of the 7th century B.C. The rise of stone work led to great importance of heavy chisels (36) for trimming limestone and Nubian sandstone; such chisels are usually round rods about 3/4 in. thick and 6 in. long. The cutting edge was about 1/2 in. wide for flaking tools (36), which were not kept sharp, and 1 in. wide for facing tools (37) which had a good edge. In Greek times the iron chisels are shorter and merge into wedges (39). The socketed or mortising chisel (38) is unknown till the Italian bronze of the 8th century B.C., and the Naucratis iron of the 6th century. Adzes begin in S.D. 56, as plain slips of copper (40) 4 to 6 in. long, about 1 wide and 1/8th thick. The square end was rounded in the early dynastic times, and went through a series of changes down to the XIXth Dynasty. Adzes of iron are probably of Greek times. A fine instance of a handle about 4 ft. long is represented in the IIIrd Dynasty (P.M. XI.). The adze (41) was used not only for wood-work but also for dressing limestone.

_Scraping Tools._--Flint scrapers are found from S.D. 40 and onward. The rectangular scraper (42) began in S.D. 63, and continued into the IInd Dynasty: the flake with rounded ends (43) was used from the Ist to the IVth Dynasty (P. Ab. i. xiv., xv.). Round scrapers were also made (44). Flint scrapers were used in dressing down limestone sculpture in the IIIrd Dynasty. Rasps of conical form (45), made of a sheet of bronze punched and coiled round, were common in the XVIIIth Dynasty, apparently as personal objects, possibly used for rasping dried bread. In the Assyrian iron tools of the 7th century B.C. the long straight rasp (46) is exactly of the modern type. The saw is first found as a notched bronze knife of the IIIrd Dynasty. Larger toothed saws (47) are often represented in the IVth-VIth Dynasty, as used by carpenters. There are no dated specimens till the Assyrian iron saws (48) of the 7th century B.C. Drills were of flint (49) for hard material and bead-making, of bronze for woodwork. In the Assyrian tools iron drills are of slightly twisted scoop form (50), and of centre-bit type with two scraping edges (51). In Roman times the modern V drill (52) is usual. The drill was worked by a stock with a loose cap (53), rotated by a drill bow, in the XIIth to Roman dynasties. The pump drill with cords twisted round it was in Roman use. The bow drill (56) was used as a fire drill to rotate wood (55) on wood (57); and the cap (54) for such use was of hard stone with a highly polished hollow. The drill brace appears to have been used by Assyrians in the 7th century B.C. Piercers of bronze tapering (58), to enlarge holes in leather, &c., were common in all ages.

_Fighting Weapons._--The battle-axe has been described above with axes. The flint dagger (59) is found from S.D. 40-56. A very finely made copper dagger (60) with deep midrib is dated to between 55 and 60 S.D. Copper daggers with parallel ribbing (61) down the middle are common in the XIth-XIVth Dynasties; and in the XVIIIth-XXth Dynasties they are often shown in scenes and on figures. The falchion with a curved blade (62) belongs to the XVIIIth-XXth Dynasty. The rapier (63) or lengthened dagger is rarely found, and is probably of prehistoric Greek origin. The sword is of Greek and Roman age, always double-edged and of iron. The spear is not commonly found in Egypt, until the Greek age, but it is represented from the XIth Dynasty onward; it belonged to the Semitic people (L.D. ii. 133). The bow was always of wood, in one piece in the prehistoric and early times, also of two horns in the Ist Dynasty; but the compound bow of horn is rarely found, only as an importation, in the XVIIIth Dynasty. The arrow-heads of flint (64-66) and of bone (68-69) were pointed, and also square-ended (67) for hunting (P.R.T. ii. vi.; vii. A., 7; xxxiv.). The copper arrow-heads appear in the XIXth Dynasty, of blade form with tang (70); the triangular form (72), and leaf form with socket (71), are of the XXVIth Dynasty. Triangular iron arrows with tang are of the same age. Tangs show that the shaft was a reed, sockets show that it was of wood. Many early arrows (XIIth) have only hard wood points of conical form. The sling is rarely shown in the XIXth-XXth Dynasties; and the only known example is probably of the XXVIth.

_Hunting Weapons._--The forked lance of flint was at first wide with slight hollow (73) from S.D. 32-43; then the hollow became a V notch (74) in 38 S.D. and onward. The lance was fixed in a wooden shaft for throwing, and held in by a check-cord from flying too far if it missed the animal (P.N. LXXIII.). The harpoon for fishing was at first of bone (75), and was imitated in copper (76, 77) from S.D. 36 onwards. The boomerang or throw-stick (78) was used from the Ist to the XXIInd Dynasty, and probably later. Fish-hooks of copper (79-82) are found from the Ist Dynasty to Roman times. A trap for animals' legs, formed by splints of palm stick radiating round a central hole, is figured in S.D. 60, and one was found of probably the XXth Dynasty. Fishing nets were common in all historic times, and the lead sinkers (83) and stone sinkers (84) are often found under the XVIIIth-XXth Dynasties.

_Agricultural Tools._--The hoe of wood (85) is the main tool from the late prehistoric time, and many have been found of the XVIIIth Dynasty. With the handle lengthened (86) and turned forward, this became the plough (87 is the hieroglyph, 88 the drawing, of a plough); this was always sloping, and never the upright post of the Italic type. The rake of wood (89) is usual in the XIIth and XVIIIth Dynasties. The fork (90), used for tossing straw, was common in the Old Kingdom, but none has been found. The sickle was of wood (92), with flints (91) inserted, apparently a copy of the ox-jaw and teeth. The notched flints for it are common from the Ist to the XVIIIth Dynasty. In Roman times the same principle was followed, by making an iron sickle with a deep groove, in which was inserted the cutting blade of steel (P.E. XXIX.). Shovel-boards, to hold in right (93) or left hand for scraping up the grain in winnowing, are usual in the XVIIIth Dynasty, and are figured in use in the Old Kingdom Pruning knives with curved blades (94) are Italic, and were made of iron by the Romans. Corn grinders were flat oval stones, with a smaller one lying cross-ways (95), and slid from end to end. Such were used from the Old Kingdom down to late times. In the Roman period a larger stone was used, with a rectangular slab (96) sliding on it, in which a long trough held the grain and let it slip out below for grinding. The quern with rotary motion is late Roman, and still used by Arabs. The large circular millstones of Roman age worked by horse-power are usually made from slices of granite columns.

_Building Tools._--The adze described above was used for dressing blocks of limestone. The brick-mould was an open frame, with one side prolonged into a handle (97), exactly as the modern mould. The plasterers' floats (98) were entirely cut out of wood. The mud rake for mixing mortar is rather narrower than the modern form. The square (99) and plummet (100, 101) have remained unchanged since the XIXth Dynasty. For dressing flat surfaces three wooden pegs (102) of equal length were used; a string was stretched between the tops of two, and the third peg was set on the point to be tested and tried against the string.

_Thread-Work._--Stone spindle whorls (103) are common in the prehistoric age; wooden ones were usual, of a cylindrical form (104) in the XIIth, and conical (105) in the XVIIIth Dynasty. The thread was secured by a spiral notch in the stick. In Roman times an iron hook on the top held the thread (106) as in modern spindles. Needles of copper were made in the prehistoric, as early as S.D. 48, and very delicate ones by S.D. 71. Gold needles are found of the Ist Dynasty. Fine ones of bronze are common in the XVIIIth Dynasty, and some with two eyes at right angles, one above the other, to carry two different threads. The copper bodkin is found in S.D. 70. Netters are common, of rib bones, pointed (107); the thread was wound round them. Long netting needles were probably brought in by the dynastic people as they figure in the hieroglyphs. Finely-made ones are found in the XVIIIth Dynasty and later. Reels were also commonly used for net making, of pottery (108) or even pebbles (109) with a groove chipped around. The flint vase-grinders were used in the early dynasties (110), and also sandstone grinders for hollowing larger vases (111).

_Stone-Work._--In the prehistoric ages stone building was unknown, but many varieties of stones were used for carving into vases, amulets and ornaments. The stone vases were at first of cylindrical forms, with a foot, and ears for hanging. These are worked in brown basalt, syenite, porphyry, alabaster and limestone. In the second prehistoric civilization barrel-shaped vases became usual; and to the former materials were added slate, grey limestone and breccia. Serpentine appears later, and diorite towards the close of the prehistoric ages. Flat dishes were used in earlier times; gradually deeper forms appear, and lastly the deep bowl with turned-in edge belongs to the close of the prehistoric time and continued common in the earlier dynasties (P.D.P. 19). This stone-work was usually formed on the outside with rotary motion, but sometimes the vase was rotated upon the grinder (Q. H. 17). The interior was ground out by cutters (figs. 110, 111) fixed in the end of a stick and revolved with a weight on the top, as shown in scenes on the tombs of the Vth Dynasty. The cutters were sometimes flints of a crescent shape (P. Ab. ii. liii. 24), but more usually grinders blocks of quartzite sandstone (26-34), and occasionally of diorite (Q. H. xxxii. lxii.). These blocks were fed with sand and water to give the bite on the stone (P. Ab. i. 26). The outsides of the vases were entirely wrought by handwork, with the polishing lines crossing diagonally. Probably the first forming was done by chipping and hammer-dressing, as in later times; the final facing of the hard stones was doubtless by means of emery in block or powder, as emery grinding blocks are found.

In the early dynasties the hard stones were still worked, and the Ist dynasty was the most splendid age for vases, bowls, and dishes of the finest stones. The royal tombs have preserved an enormous quantity of fragments, from which five hundred varied forms have been drawn (P.R.T. ii. xlvi.-liii. 6). The materials are quartz crystal, basalt, porphyry, syenite, granite, volcanic ash, various metamorphics, serpentine, slate, dolomite marble, alabaster, many coloured marbles, saccharine marble, grey and white limestones. The most splendid vase is one from Nekhen (Hieraconpolis), of syenite, 2 ft. across and 16 in. high, hollowed so as to be marvellously light and highly polished (Q.H. xxxvii). Another branch of stone-work, surface carving, was early developed by the artistic dynastic race. The great palettes of slate covered with elaborate reliefs are probably all of the pre-Menite kings; the most advanced of them having the figure of Narmer, who preceded Menes. Other carving full of detail is on the great mace-heads of Narmer and the Scorpion king, where scenes of ceremonials are minutely engraved in relief. In the Ist Dynasty the large tombstones of the kings are of bold work, but the smaller stones of private graves vary much in the style, many being very coarse. All of this work was by hammer-dressing and scraping. The scrapers seem to have always been of copper.

The earliest use of stone in buildings is in the tomb of King Den (Ist Dynasty), where some large flat blocks of red granite seem to have been part of the construction. The oldest stone chamber known is that of Khasekhemui (end of the IInd Dynasty). This is of blocks of limestone whose faces follow the natural cleavages, and only dressed where needful; part is hammer-dressed, but most of the surfaces are adze-dressed. The adze was of stone, probably flint, and had a short handle (P.R.T. ii. 13). The same king also wrought granite with inscriptions in relief. In the close of the IIIrd Dynasty a great impetus was given to stone-work, and the grandest period of refined masonry is at the beginning of the IVth Dynasty under Cheops. The tombs of Medum under Snefru are built with immense blocks of limestone of 20 and 33 tons weight. The dressing of the face between the hieroglyphs was done partly with copper and partly with flint scrapers (P.M. 27). The most splendid masonry is that of the Great Pyramid of Cheops. The blocks of granite for the roofing are 56 in number, of an average weight of 54 tons each. These were cut from the water-worn rocks at the Cataract--the soundest source for large masses, as any incipient flaws are well exposed by wear. The blocks were quarried by cleavage; a groove was run along the line intended, and about 2 ft. apart holes about 4 in. wide were jumped downward from it in the intended plane; this prevented a skew fracture (P.T. 93). In shallower masses a groove was run, and then holes, apparently for wedges, were sunk deeper in the course of it; whether wetted wood was used for the expansive force is not known, but it is probable, as no signs are visible of crushing the granite by hard wedges. The facing of the cloven surfaces was done by hammer-dressing, using rounded masses of quartzose hornstone, held in the hand without any handle. In order to get a hold for moving the blocks without bruising the edges, projecting lumps or bosses were left on the faces, about 6 or 8 in. across and 1 or 2 in. thick. After the block was in place the boss was struck off and the surface dressed and polished (P.T. 78, 82). In the pyramid of Cheops the blocks were all faced before building; but the later granite temple of Chephren and the pyramid of Mycerinus (Menkaura, Menkeure) show a system of building with an excess of a few inches left rough on the outer surface, which was dressed away when in position (P.T. 110, 132).

The flatness of faces of stone or rock (both granite and limestone) was tested by placing a true-plane trial plate, smeared with red ochre, against the dressed surface, as in modern engineering. The contact being thus reddened showed where the face had to be further dressed away; and this process was continued until the ochre touched points not more than an inch apart all over the joint faces, many square feet in area. On stones too large for facing-plates a diagonal draft was run, so as to avoid any wind in the plane (P.T. 83).

The cutting of granite was not only by cleavage and hammer dressing, but also by cutting with harder materials than quartz such as emery. Long saws of copper were fed with emery powder, and used to saw out blocks as much as 7-1/2 ft. long (P.T. Plate XIV.). In other cases the very deep scores in the sides of the saw-cut suggest that fixed cutting points were inserted in the copper saws; and this would be parallel to the saw-cuts in the very hard limestone of the Palace of Tiryns, in which a piece of a copper saw has been broken, and where may be yet found large chips of emery, too long and coarse to serve as a powder, but suited for fixed teeth. A similar method was common for circular holes, which were cut by a tube, either with powder or fixed teeth. These tubular drills were used from the IVth Dynasty down to late times, in all materials from alabaster up to carnelian. The resulting cores are more regular than those of modern rock-drilling.