"This same grandeur of idea is seen in the vast masses used in construction. Man did not then regard his work as a piling together of stones, but as the erection of masses that rivalled those of nature. If a cell or chamber was required, each side was formed of one single stone.... If a building was set up, it was an artificial hill in which chambers were carved out after it was piled together....
"The sculptor's work, and the painter's, show the same sentiment. They did not make a work of art to please the taste as such; but they rivalled nature as closely as possible. The form, the expression, the colouring, the glittering transparent eye, the grave smile, all are copied as if to make an artificial man. The painter mixed his half-tints and his delicate shades, and dappled over the animals, or figured the feathers of birds, in a manner never attempted in the later ages. The embalmer built up the semblance of the man in resins and cloth over his shrunken corpse, to make him as nearly as possible what he was when alive.
"In each direction man then set himself to supplement, to imitate, to rival or to exceed, the works of nature. Art, as the gratification of an artificial taste and standard, was scarcely in existence; but the simplicity, the vastness, the perfection, and the beauty of the earliest works place them on a different level to all the workers of art and man's device in later ages. They are unique in their splendid power, which no self-conscious civilization has ever rivalled, nor can hope to rival; and in their enduring greatness they may last till all the feebler works of man have perished."[1]
[1] Petrie; History of Egypt, Vol. I, p. 66.
CHAPTER IV.
The Age of Darkness.
With the close of the Sixth dynasty, records practically cease, and few indeed are the facts established regarding those kings whom Manetho included in his Seventh and Eighth dynasties.