A History of Art in Ancient Egypt (Volume 2)

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 Excerpt: ...its origin. We shall be content with describing its most important works and with calling attention to their remarkable originality. The most important and the best preserved of all these monuments is a sphinx of black granite which was recovered, in a fragmentary condition, from the ruins of the principal temple at Tanis (Fig. 208). Three more were found at the same time, but they were in a still worse state of preservation. The fore-part of one of them is figured in the adjoining woodcut. There is a great gulf, says Mariette, between the energetic power which distinguishes the head of this sphinx and the tranquil majesty with which most of these colossi are endowed. The face is round and rugged, the eyes small, the nose flat, the mouth loftily contemptuous. A thick lion-like mane enframes the countenance and adds to its energetic expression. It is certain that the work before us comes from the hands of an Egyptian artist, and, on the other hand, that his sitter was not of Egyptian blood.1 The group of two figures upon a common base, which is such a conspicuous object in the Hyksos chamber at Boulak, seems to have had a similar origin. We give a front and a side view of 1 Notice du Musk de Boulak, No. 869. Our draughtsman has not thought it necessary to reproduce the hieroglyphs engraved upon the plinth. it (Figs. 210 and 211), and borrow the following description from Mariette.1 Huge full-bottomed wigs, arranged into thick tresses, cover the heads of the two figures. Their hard and strongly-marked features (unfortunately much broken) bear a great resemblance to those of the lion-maned sphinxes. The upper lips are shaven but the cheeks and chins are covered with long wavy beards. Each of them sustains on his outstretched arms ...