Manual of Egyptian archæology and guide to the study of antiquities in EgyptFor the use of students and travellers . Fig. 189.—Scene from tomb of Rekhmara, Eighteenth Dynasty. single episode. Restricted as they were to com-memorating the victories of the Pharaoh, the Pharaohnecessarily plays the principal part ; but instead ofchoosing from among his mighty deeds a dominantepisode, the artists employed elected to detail thesuccessive events of his campaign : a night attack onthe Egyptian camp by a band of Asiatics, spies sentby the prince of the Kheti to mislead the Pharaoh asto his plans, the
Manual of Egyptian archæology and guide to the study of antiquities in EgyptFor the use of students and travellers . Fig. 189.—Scene from tomb of Rekhmara, Eighteenth Dynasty. single episode. Restricted as they were to com-memorating the victories of the Pharaoh, the Pharaohnecessarily plays the principal part ; but instead ofchoosing from among his mighty deeds a dominantepisode, the artists employed elected to detail thesuccessive events of his campaign : a night attack onthe Egyptian camp by a band of Asiatics, spies sentby the prince of the Kheti to mislead the Pharaoh asto his plans, the military camp of the king surprised 214 PAINTING AND SCULPTURE. and broken into by the Hittite chariots, the battle ofKadesh and its various incidents. In this way thepylons of Luxor and of the Ramesseum give us anillustrated history of the campaign of Ran:ieses the Syrians. It was after the same fashionthat painters of the early Italian schools represented. Fig. 190.—Scene from mastaba of Ptahhotep, Fifth Dynast} in one piece and in unbroken sequence the events oftheir own history. The scenes are placed on thewalls without any definite separating lines, and thereis the same difficulty in dividing the groups anddistinguishing the various personages that we experi-ence with the bas-reliefs on the column of method is reserved for the outside of the SUPERIMPOSED BACKGROUNDS. 215 temples. In the interior and in the tombs the differentparts of a picture are divided into registers, placed inrows one above another from the basement to thecornice. This adds another difficulty to those we
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