[184] The figure in the Louvre is split deeply in several places, one of the fissures being down the middle of the face. This latter our artist has suppressed, so as to give the figure something of its ancient aspect. These fissures are sure to appear in our humid climate. The warm and dry air of Egypt is absolutely necessary for the preservation of such works, which seem doomed to rapid destruction in our European museums.
[185] Maspero (Journal Asiatique, March-April, 1880), Sur quelques Peintures Funéraires, p. 137. See also Brugsch, Die Egyptische Græberwelt, No. 87.
[186] Comptes Rendus de l'Académie des Inscriptions, 1875, p. 345.
[187] Chabas, Sur l'Usage des Bâtons de Main, p. 12. (Lyons, 8vo, 1875.)
[188] Catalogue of the Posno Collection, No. 468.
[189] Ibid., No. 524.
[190] De Longperier, Musée Napoléon III. pl. 1.
[191] M. Pisani, who mounted the numerous bronzes in M. Posno's collection, assures me that their insides are still filled with the core of sand around which they were cast. The outward details of the casting are repeated inside, showing that the method used was what we call fonte au carton.
[192] A sketch of this statue also appears on page 10, Vol. I. Fig. 6; but as, according to Mariette, it is one of the best statues in the Boulak Museum, we have thought well to give it a second illustration, which, in spite of its smaller scale, shows the modelling better than the first.
[193] Notice des principaux Monuments du Musée de Boulak, No. 24.