Page:A History of Art in Ancient Egypt Vol 2.djvu/358

 328 A History of Art in Ancient Egypt. Egyptian art was realistic in its inception and always remained so to a certain degree, but with the passage of time the creative, intellect began to play a part in the production of plastic works ; it added to and combined the elements which it took from nature, and thus created imaginary beings which differed from natural fact by their proportions, their beauty, and their composition. The Egyptian artist had his ideal as well as the Greek. In saying, then, that the art of Egypt was realistic, we have only laid the first stone of the definition we wish to establish. Its original character was, perhaps, still more due to another feature, namely to its elimination or suppression of detail. This elimina- tion, far from diminishing with time, went on increasing as the country grew older. It may be traced to the action of two causes. In the first place, the influence of the ideographic writing upon the national style can hardly be exaggerated. The concrete images of things could only be introduced into it by means of simplification and generalization. In such a school the eye learnt to despoil form of all those details which were merely accidental, of all that made it particular. It sought for the species, or even the genus, rather than the individual. This tendency was increased by the peculiar properties of the materials upon which the Egyptians lavished their skill and patience. The harder rocks turned the edges of their bronze chisels, and compelled them to choose between roughly-blocked-out sketches and a laborious Dolish which obliterated all those minor details of modellinfr which should vary according to the sex, the age, and the muscular exertion of the persons represented. We see, then, that the rebellious nature of the granite, and the imperfect methods which it imposed, completed the lessons begun by that system of figured writing which dates from the remotest periods of Egyptian civilization. There is an obvious contradiction between the tendency which we have just noticed, and those habits of realistic imitation whose existence has been explained by the desire to secure a posthumous existence for the dead. The history of Egyptian sculpture, is, in fact, the history of a contest In the mind of the artist between these two opposing forces. In the early years of the monarchy, his first duty was to supply a portrait statue, the chief merit of which should lie in the fidelity of its resemblance. Of this task he acquitted himself most skilfully and conscientiously, reproducing