Page:A History of Art in Ancient Egypt Vol 2.djvu/359

 The General Characteristics of the Egyptian Style. every individual peculiarity, and even deformity of his model. His chief attention was given to the face, as being the member by which men are principally distinguished one from another. Even then, and in the funerary statues, the body was much more general in its forms than the head. In the course of succeeding ages the sculptor was able, whenever he wished to make a faithful portrait either of an individual man or of a race, to bring this faculty into play and to clearly mark the differences between races or between the individuals of a race, by the varying character of the head. But yet his art showed an ever increasing tendency to follow the bent which had been given to it by the practice of glyptic writing, and by the long contest with unkindly materials. After the close of the Ancient Empire Egyptian art became ambitious of a higher style. Under the Theban Pharaohs it worked hard to attain it, and it knew no better means to the desired end than the continual simplification and generalization of form. This is the great distinguishing characteristic of the Egyptian style. The uniformity, stiffness, and restraint of the attitudes, the over-rigorous symmetry of the parts and of the limbs, and the close alliance of the latter with the bodies, are only secondary features. We shall find them in the works of every race compelled to make use of materials that were either too hard or too soft. Moreover, these are the constant characteristics of archaic art, and it must not be forgotten that even in Egypt many wooden and limestone figures have been unearthed which surprise us by the freedom of their attitudes and movements. The true originality of the Egyptian style consists in its deliberately epitomizing that upon which the artists of other countries have elaborately dwelt, in its lavishing all its executive powers upon chief masses and leading lines, and in the marvellous judgment with which it seizes their real meaning, their proportions, and the sources of their artistic effect. As figures increased in size this tendency towards the suppression of detail increased also, and so too did their fitness for the archi- tectonic role they had to play. The colossi which flank the entrances to an Egyptian temple have been often criticised from an erroneous standpoint. They have been treated as if they were meant to be self-sufficient and independent. Their massiveness VOL. II. j :