Page:A History of Art in Ancient Egypt Vol 2.djvu/267

 Sculpture under the Second Theban Empire. ^ 4. Sculpture under the Second Theban Empire. The excavations at Tanis have helped us to understand many things upon which our information had been and still is very imperfect. We are no longer obliged to accept Manetho's account of the Shepherd invasion. In his desire to take at least a verbal revenge upon the conquerors of his country the historian seems to have greatly exag<^erated their misdeeds. We know now not only that the native princes continued to reign in Upper Egypt, but also that the interlopers adopted, in the Delta, the manners and customs of their Egyptian subjects. So far as we can tell, there were neither destructions of monumental buildings nor ruptures with the national traditions. Thus the art of the three great Theban dynasties, from Ahmes to the last of the Rameses, seems a prolongation of that of the Ousourtesens and Sebek-hoteps. There are no appreciable differences in their styles or in their processes, but, as in their architecture, their works of art as a whole show an extraordinary development, a development which corresponds to the great and sudden increase in the power and wealth of the country. The warlike kings who made themselves masters of Ethiopia and of Western Asia, had aspirations after the colossal. Their buildings reached dimensions hitherto unknown, and while their vast wall spaces gave great opportunities to the sculptor they demanded efforts of invention and arrangement from him to which he had previously been a stranger. These great surfaces had to be filled with historic scenes, with combats, victories, and triumphal promenades, with religious scenes, with pictures of homage and adoration. The human figure in its natural size was no longer in proportion to these huge constructions. In order to obtain images of the king which should correspond to the extent and magnificence of the colonnades and obelisks, the slight excess over the real stature of human beings which contented the sculptors of the Ancient Empire was no longer sufficient. Whether they were cut, as at Ipsamboul, out of a mountain side, or, as at Thebes, Memphis, and Tanis out of a gigantic monolith, their proportions were all far beyond those of mankind. Sometimes the mortals who frequented the