Identifier: manualegyptianar00masp (find matches)
Title: Manual of Egyptian archæology and guide to the study of antiquities in Egypt. For the use of students and travellers
Year: 1914 (1910s)
Authors: Maspero, G. (Gaston), 1846-1916 Johns, Agnes Sophia Griffith, 1859-
Subjects: Art
Publisher: New York : G.P. Putnam's Sons London, H. Grevel and Co.
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ned, such as beneath thetemple porticoes and in the antechambers of tombs,the colouring is soft and subdued. Painting in Egyptwas only the humble handmaid of architecture andsculpture. To compare it with our own, or even witlithat of the Greeks, is not to be thought of, but if weaccept it for what it is in the secondary positionassigned to it, we must admit that it possesses someunusual merits. It excelled for large decorativeschemes, and if the fashion of painting our mansionsand public buildings should ever return, we shouldlose nothing by making a study of Egyptian methodsand conventions. 3.—SCULPTURE. It is now possible for us to trace to some extentthe development of sculpture in Egypt from the rudeattempts of the earliest Thinite period. In Oxford,at the Ashmolean Museum, are two statues found atKoptos, representing the local deity. The modelling 23^ PAINTING AND SCULPTURE. is exceedingly rough ; the arms project but sHghtlyfrom the bodv, and the lecjs are merely indicated bv^
Text Appearing After Image:
a groove in front and behind,each figure is wound a girdle. Round the body ofThe same museum CARVINGS OK THE EAKLY PERIOD. 233 possesses a statue found at Hierakonpolis even moreslightly worked. All three represent standing figures,and are more than life-size. In marked contrast to these figures are the finelycarved limestone maceheads and the great palettes ofschist or slate. On someof these the human figureis shown in correct perspec-tive, but on the palette ofKing Narmer (figs. 197,198) we find the strangeconventional method ofrepresenting the humanfigure that obtainedthroughout the history ofEgypt. Executed in verylow relief, these carvingsshow the mastery of lineand composition which thesculptors of their day wereto hand down to posterity.Some small ivory figurescarved in the round areknown of this period, whichare rendered with muchspirit. The earliest namedroyal statue dates from the early part of the Third Dynasty. There is a seatedfigure of King Khasekhemui in the Cairo Museu

Note About Images