[304] This man's attitude, the shape of the tool in question, and the general significance of the composition, seem rather to suggest that he is giving the final polish to the surface of the statue. Compare him with the pschent-polisher in Fig. 252.—Ed.
[305] E. Soldi, La Sculpture Égyptienne, pp. 41, 42.
[306] M. Ch. Blanc had a glimmering of the great influence exercised over the plastic style of Egypt by the hieroglyphs; see his Voyage dans la Haute-Égypte, p. 354.
[307] Dictionnaire de l'Académie des Beaux-Arts, under the word Canon.
[308] These researches are described in the chapter entitled Des Proportions du Corps Humain of M. Ch. Blanc's Grammaire des Arts du Dessin, p. 38.
[309] Diodorus, i. 98, 5-7.
[310] Lepsius, Denkmæler, part iii. plate 12.
[311] Ibid. plate 78. It is in this division into nineteen parts that M. Blanc finds his proof that the medius of the extended hand was the canonical unit. (Grammaire, &c. p. 46.)
[312] At Karnak, in the granite apartments. See Charles Blanc, Voyage de la Haute-Égypte, p. 232. Two figures upon the ceiling of a tomb at Assouan are similarly divided.
[313] Lepsius, Denkmæler, part iii. p. 282.