The portrait of Mentu-em-hat ([fig. 48]) belongs to the same style as that of Taharqa, and both are in black granite. The eyes seem too small, but this is rather due to the depth and massiveness of the jaws, which overweight the face. The apparent disproportion in the low forehead is only due to the photograph being taken too close and low down. The height above the eyes is really equal to that down to the upper edge of the chin. The facial curves are carefully observed, and we can well credit this with being a true portrait of the capable governor of Thebes who continued in office under Taharqa and Tanut-amen, and who repaired the devastations of the Assyrian invasion.
LATE SCULPTURE
47. Amenardys
48. Mentu-em-hat
49. Basalt head
50. Wooden head
A head broken from a statue, found at Memphis ([fig. 49]), is remarkable for the deep and searching modelling. The bony structure, the facial muscles, and the surface folds are all scrupulously observed. The artist’s triumph is shown in the harmony and the living character which he has infused into his laborious precision. Very rarely can a man rise superior to such a rigorous training. The character of work is scarcely Egyptian; it belongs rather to the same school as the republican Roman portraits, but is earlier than those, as it has more precision of detail.
Lastly, we have one of the best examples of Greek influence in Egypt shown by the wood-carving of a coffin ([fig. 50]). The long narrow face shaded by thick wavy hair is Greek in feeling, while the feather head-dress is old Egyptian. Unfortunately, the decay of the wood has broken the surface, but it still remains an impressive example of Egyptian influence on art which is mainly Greek.