Page:A History of Art in Ancient Egypt Vol 2.djvu/143

 The Egyptian Orders. 121 elaborate forms which exist in the great temples of the Ramessids ; the latter in turn lost their power to satisfy and new motives were sought for in the combination of all those which had gone before. In the series of Egyptian types the capital of Nectanebo would therefore occupy a place corresponding to that of the composite capital in the series of Graeco-Roman orders. The general movement of art in Egypt may therefore be com- pared to that of art in Greece and Italy; and yet there is a difference. From the rise of Greek architecture until its decay, the proportions of its vertical members underwent a continual, but consisieni, modification of their proportions. Century after century the figure in which their height was expressed proportionately with their bulk, became greater. In the height of the Doric columns of the old temple at Corinth there are fewer diameters than in those of the Parthenon, and in those of the Parthenon there are fewer than in the doric shafts of Rome. This tendency explains the neglect which befel this order about the fourth century before our era. In the sumptuous buildings of Asia Minor and Syria and of the " Lower Period " in Egypt, it was replaced by the graceful and slender outlines of the Ionic order. A similar explana- tion may be given of the favour in which the Corinthian order was held throughout the Roman world. Such a development is not to be found in Egypt. The forms of Egyptian architecture did not become less substantial with the passage of the centuries. It is possible that familiarity with light structures of wood and metal had early created a taste for slender supports. The polygonal and faggot-shaped columns of Beni- Hassan are no thicker than those of far later times. A com- parison of the columns at Thebes points to the same conclusion. The shortest and most thick-set in its proportions of them all (Fig. 78) is at Medinet-Abou, and is about two centuries later than those of the same order which decorate the second court at Luxor (Fig. jj). Its heaviness is even more apparent when we compare it with the great columns of a different order, at Karnak (Fig. 80), and the Ramesseum (Fig. 81), which precede it by at least a century. The progress of Egyptian art was, then, less continuous and less regular than that of classic art. It had moments of rest, of exhaustion, even of retrogression. It was not governed by internal logical principles so severe as those of the Greeks. VOL. ir R