The application of this obligatory rule (of the canon) impressed upon the works of Egyptian plastic art that stamp of uniformity with which it has been so often and so bitterly reproached. Yet we must regard the artistic talents of the Egyptian sculptors from the first with great respect when we consider the oldest specimens of Egyptian sculpture, which far excel the later in freedom of method and in realistic fidelity to nature, and which nevertheless are in no way inferior to them in all that concerns delicacy of execution.
Let us then suppose that this most ancient artistic race was surrounded by pure barbarians, who in the struggle for the bare necessaries of existence had no superfluous force to expend in the adornment of life; it is easy to understand that the guardians of Egyptian culture, the priests, must have made every effort to protect against retrogression and ruin the possession which was so recently won, and which was exposed to constant peril. The canon of proportions held Egyptian sculpture firmly fixed upon the lonely pinnacle so painfully attained, and even though it checked farther progress in a lamentable manner, yet, on the other hand it had this merit, that by its aid Egyptian plastic art preserved untouched through every epoch its remarkable purity of style and great technical skill. This latter even extended to the production of the simple household furniture. Lepsius teaches us to value this law correctly, and explains the peculiarity of the methods of sculpture by the special qualities of the Egyptian national character, which gave its full value to every detail with great fidelity, and only accorded the second place in its regard to the aspect of the whole. The same people whose language was rich in pronominal substantives and who, in an objective sense, said, “I give to thy hand,” rather than “I give to thee,” “the speech of his mouth,” rather than “his speech,” was obliged to do justice to each separate portion of the body. For this reason, in figures in alto-relievo and in paintings, the eye was set en face in a countenance in profile, in order that it might have its full value, regardless of the detriment which accrued to the whole figure from such an error.
Lepsius teaches us to regard and value Egyptian sculpture correctly and to consider the detached figures which we see ranged in the museum in connection with the architectural surroundings for which they were originally intended. The erroneous view that Egyptian sculpture was architectural in its spirit and execution has long been subverted by the figures in the round from the ancient kingdom, found during the last decade. These are true to nature and well preserved, and Lepsius knows how to set forth their merits properly.
In his investigations concerning the canon of proportions, we see him apply the measuring-scale for the first time, and his researches in the province of Egyptian metrology were subsequently to yield a rich harvest to science.
With all this purely Egyptological work, and his extensive labors for the Institute, he did not neglect his old linguistic studies, and resumed the investigations to which his dissertation on the Eugubian tablets had given the impulse. The opportunity for the prosecution of this work had formed no insignificant element of his attraction to Rome, and we see him make a fine collection of Umbrian and Oscan inscriptions, and draw up two papers on ancient Etruria, which did not appear in print until several years later, and formed the extra profits, as it were, of his sojourn in Italy. It is hard to understand how he found time so far to complete them that from 1840 to 1842 he only had to correct them, and to oversee their passage through the press, when we consider that he in no wise withdrew himself from the social life of Bunsen’s house, and from intercourse, grave and gay, with eminent strangers. Lepsius himself calls the years in which he had the good fortune “to build huts at Rome,” “a great holiday of life, earnest and serene, instructive and elevating, a determinative period in his development.”
Under Bunsen’s guidance, he says, he had learned to know life and science upon classic ground from their highest and noblest sides.
In his intercourse with Bunsen he also acquired the interest in politics, and especially in ecclesiastical politics, which he cherished throughout his life, as is proved by his letters to his patron the statesman, and to his father, as well as his own journals and the diaries of his wife. In one of his note-books we find the plan, which, however, was never taken into consideration, for a new episcopal order for Germany. The seat of the supreme leader of the church and the counselling authorities was to be Magdeburg.
HOLLAND, ENGLAND, AND THE SEASON OF WAITING, IN GERMANY.
In July, 1838, Lepsius was obliged to take leave of Rome with an unwilling heart, in order to attend to business of importance for the Institute, first at Paris and afterwards at London. He had to enroll new and active members for it, and to organize its connection with the English literati. Afterwards, by his own wish, he returned to his native land, released from editorial labors for the Institute, although he still continued to work for it as a member of the board of directors.
On the way from Paris to London he turned aside to Holland, in order to study the celebrated collection of Egyptian antiquities at Leyden, which since 1835 had an excellent director in C. Leemans. Here Lepsius found an unexpected wealth of the most valuable monuments and papyri, and on September 12th, 1838, he wrote to Bunsen: “I was going to leave to-day, but now I shall be glad to stay for a few days more, as I can not return again, and so must finish here once for always.[38] Besides, Leemans, with whom I am staying, is a charming man; admirable alike in head and heart, and full of ability in every direction. He helps me wherever he can, and has already made Leyden a city of delight to me.”