(B) Reliefs abound at this age, and include the most important evidences of the development of the art. The earliest examples are those of animals (Plate II. fig. 18) and shells on the colossi of Coptos. They show a keen sense of form, and the stag’s head, which is probably the earliest, already bears an artistic feeling wholly different to that of any of the prehistoric works (P.K. iii. iv.). The carvings on slate palettes appear to begin with work crudely accurate and forceful, the heavy limbs being ridged with tendons and muscles (Plate II. fig. 19), but there is more proportion, with the same massive strength (Plate II. fig. 20). Soon after, with a leap, the artist produced the first pure work of art that is known (Plate II. fig. 21), a design for its own sake without the tie of symbolism or history. The group of two long-necked gazelles facing a palm tree is of extraordinary refinement, and shows the artistic consciousness in every part; the symmetric rendering of the palm tree, reduced to fit the scale of the animals, the dainty grace of the smooth gazelles contrasted with the rugged stem, the delicacy of the long flowing curves and the fine indications of the joints, all show a sense of design which has rarely been equalled in the ceaseless repetitions of the tree and supporters motive during every age since. Passing the various palettes with hunting scenes and animals (Plate II. fig. 22), we come to the great historical carving of King Narmer (Plate II. fig. 23). Here the anatomy has reached its limits for such work; the precision of the muscles on the inner and outer sides of the leg, of the uniform grip in the left arm, and the tense muscle upholding the right arm, prove that the artist knew that part of his work perfectly. The large ceremonial mace-heads recording the Sed festivals of the king Narmer and another, belong also to this school; but owing to their smaller size they have not such artistic detail. With them were found many reliefs in ivory, on tusks, wands and cylinders. The main motive in these is a long procession of animals (Plate II. figs. 24, 25) often grotesquely crowded; but there is much observation shown and the figures are expressive. No drawing of this age has survived.

The Pyramid Kings.—A different ideal appears in the pyramid times; in place of the naturalism of the earlier work there is more regularity, some convention, and the sense of a school in the style. The prevailing feeling is a noble spaciousness both in scale and in form, an equanimity based upon knowledge and character, a grandeur of conception expressed by severely simple execution. There is nothing superfluous, nothing common, nothing trivial. The smallest as well as the largest work seems complete, inevitable, immutable, without limitations of time, or labour or thought.

(A) The statuette of Khufu or Cheops (Plate III. fig. 29) though only a minute figure in ivory, shows the character of immense energy and will; the face is an astonishing portrait to be expressed in a quarter of an inch. The life-size statue of Khafrē or Chephren (Plate III. fig. 30) is a majestic work, serene and powerful; carved in hard diorite, yet unhesitating in execution. The muscular detail is full, but yet kept in harmony with the massive style of the figure. The private persons have entirely different treatment according to the character of their position. In place of the awful dignity of the kings there is the placid high-bred Princess Nofri (Plate II. fig. 27, Plate III. fig. 31), the calm conscientious dignitary Hemset (Plate III. fig. 32), the bustling, active, middle-class official, Ka-aper (Plate II. fig. 28, Plate III. fig. 33), and the kneeling figure of a servitor. The differences of character are very skilfully rendered in all the sculpture of this age. The whole figures are stiff in the earlier time, as the figure of Nes; then square and massive, but true in form, as Rahotp and Nofri (Plate II. fig. 27); and afterwards easier and less monumental, as Ka-aper (Plate II. fig. 28). The skill in beaten copper work is shown by the portrait of the Prince Mer-en-ra (Plate III. fig. 35).

(B) The reliefs are quite equal to the statuary. The wooden panels of Hesi (Plate II. fig. 26) show the archaic style of great detail, with a bold, stark vigour of attitude. Later work is abundant in the tomb-sculptures of this age, with a fulness of variety and detail which makes them the most interesting of all branches of the art. The general effect cannot be judged without a large scene, but the figures of two men and an ox (Plate III. fig. 37) show the freshness and vigour of the style, which is even higher than this in some examples. The clear, noble spacing of the surface work is well shown by a group of offerings and inscribed titles (Plate III. fig. 36).

Plate III.

PYRAMID PERIOD.

29. IVORY OF CHEOPS.30. DIORITE OF CHEPHREN.31. LIMESTONE OF NEFERT.
32. HEMSET: LIMESTONE.33. WOOD (see Fig. 28).34. SCRIBE: LIMESTONE.35. MER-EN-RA: COPPER.
36. LIMESTONE SLAB OF KHENT-ER-KA.Photo, Bonfils
37. THE OXHERDS: LIMESTONE.
38. GRANITE SPHINX.39. AMENEMHË III.40. SENWOSRI I.: LIMESTONE RELIEFS: HOTEPA. 41.