After the accession of the XXVIth Dynasty some attempt was made to revive the arts, which had been long neglected; and independent of the patronage of government, the wealth of private individuals was liberally employed in their encouragement. Public buildings were erected in many parts of Egypt, and beautified with rich sculpture; the city of Saïs, the royal residence of the Pharaohs of that dynasty, was adorned with the utmost magnificence; and extensive additions were made to the temples of Memphis, and even to those of the distant Thebes.
The fresh impulse thus given to art was not without effect; the sculptures of that period exhibit an elegance and beauty which might even induce some to consider them equal to the productions of an earlier age; and in the tombs of Assassif, at Thebes, are many admirable specimens of Egyptian art. To those, however, who understand the true feeling of this peculiar school, it is evident that though in minuteness and finish they are deserving of the highest commendation, yet in grandeur of conception and in boldness of execution, they fall far short of the sculptures of Seti and the second Ramses.
Fishing with a Drag Net
(Wilkinson)
The skill of the Egyptian artists in drawing bold and clear outlines is, perhaps, more worthy of admiration than anything connected with this branch of art; and in no place is the freedom of their drawing more conspicuous than in the figures in the unfinished part of Belzoni’s tomb at Thebes. It was in the drawing alone that they excelled, being totally ignorant of the correct mode of colouring a figure; and their painting was not an imitation of nature, but merely the harmonious combination of certain hues, which they well understood. Indeed, to this day, the harmony of positive colours is thoroughly felt in Egypt and the East; and it is strange to find the little perception of it in northern Europe, where theories take upon themselves to explain to the mind what the eye has not yet learned, as if a grammar could be written before the language is understood.
Egyptian architecture evidently derived much from the imitation of different natural productions, as palm trees and various plants of the country; but Egyptian columns were not borrowed from the wooden supports of the earliest buildings. Columns were not introduced into the interior of their houses until architecture had made very great progress; the small original temple and the primitive dwelling consisted merely of four walls; and neither the column nor its architrave were borrowed from wooden constructions nor from the house. And though the architrave was derived in Egypt, as elsewhere, from constructed buildings, that member originated in the stone beam, reaching from pillar to pillar in the temples. And if the square stone pillar was used in the quarry, the stone architrave was unknown to the Egyptians until they found reason to increase the size of, and add a portico to, their temples. And that the portico was neither a necessary nor an original part of their temples is plainly shown by the smaller sanctuaries being built, even at the latest times, without it. Some members of Egyptian architecture, it is true, were derived from the woodwork of the primitive house or temple, as the overhanging cornice and the torus that runs up the ends of the walls, which it separates from the cornice, the former being the projecting roof of palm branches, and the other the framework of reeds bound together, which secured the mud (or bricks) composing the walls.
As painted decoration preceded sculpture, the ornaments (in later times carved in stone) were at first represented in colour, and the mouldings of Egyptian monuments were then merely painted on the flat surfaces of the walls and pillars. The next step was to chisel them in relief. The lotus blossom, the papyrus head, water-plants, the palm tree, and the head of a goddess, were among the usual ornaments of a cornice, or a pillar; and these favourite devices of ancient days continued in after times to be repeated in relief, when an improved style of art had substituted sculpture for the mere painted representation. But when the square pillar had been gradually converted into a polygonal shape, the ornamental devices not having room enough upon its narrow facettes, led to the want and invention of another form of column; and from that time a round shaft was surmounted by the palm-tree capital, or by the blossom or the bud of the papyrus, which had hitherto only been painted, or represented in relief, upon the flat surfaces of a square pillar. Hence the origin of new orders differing so widely from the polygonal column.
For the capitals the Egyptians frequently selected objects which were favourites with them, as the lotus and other flowers, and these, as well as various animals or their heads, were adopted, to form a cornice, particularly in their houses and tombs, or to ornament fancy articles of furniture and of dress.