Manual of Egyptian archæology and guide to the study of antiquities in EgyptFor the use of students and travellers . Fig, 211.—A bread-maker, Old Empire. Eleventh Dynasty the legs became longer andslighter, the hips less powerful, the body and neckmore slender. Works of this period of the MiddleKingdom are not to be compared with the bestproductions of the earlier centuries. The wall-paintings of Siut, of Bersheh, of Beni Hasan, andof Assuan are not equal to those of Saqqara andGizeh ; nor are the most carefully executed statues SCULPTURE OF FIRST THEBAN EMPIRE. 253 of that time worthy to rank
Manual of Egyptian archæology and guide to the study of antiquities in EgyptFor the use of students and travellers . Fig, 211.—A bread-maker, Old Empire. Eleventh Dynasty the legs became longer andslighter, the hips less powerful, the body and neckmore slender. Works of this period of the MiddleKingdom are not to be compared with the bestproductions of the earlier centuries. The wall-paintings of Siut, of Bersheh, of Beni Hasan, andof Assuan are not equal to those of Saqqara andGizeh ; nor are the most carefully executed statues SCULPTURE OF FIRST THEBAN EMPIRE. 253 of that time worthy to rank with the S/ieikh el Beledor the cross-legged scribe. Nevertheless, the seatedstatue of Mentuhotcp I. discovered at Deir cl Bahari. Fig. 211.—The dwarf Nemhotep, Old Kingdom. in 1900 is a very vigorous and effective piece of } of the royal statues of this period that wepossess have been usurped by later III., whose head and feet are in the Louvre,was appropriated by Amenhotep III., and the sphinx 254 PAINTING AND SCULPTURE. at the Louvre and the colossi at Cairo by Rameses than one museum possesses statues supposedto be of Rameses II. which on careful examinationwe are compelled to ascribe to the Pharaohs of theThirteenth or Fourteenth Dynast}. Those statuesof which there is no doubt, Sebekhotep III. of theLouvre, the Sebekemsaf of Cairo, and the colossiof the island of Argo, show dexterity of manipula-tion, but are wanting in vigour and originality, asthough the sculptors had attempted to reduce themall to the same feeble and expressionless t}^pe. The contrast is great when we turn from thesepoor puppets of the early Theban school to workof the Tanite school of the same perio
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
