308 PROFESSIONAL INSTITUTIONS. 



the Theban god had his own painters and his own sculptors; 

 both being under the supervision of the second prophet. It 

 may be that, as in the case of the Indians above named, these 

 working painters had passed through some religious initia 

 tion and were semi-priestly. 



In connexion with this use of painting for sacred purposes 

 in Egypt, I may add evidence furnished by an existing re 

 ligion. Says Tennent concerning the Buddhists of Cey 

 lon: 



&quot; The labours of the sculptor and painter were combined in pro 

 ducing these images of Buddha, which are always coloured in imita 

 tion of life, each tint of his complexion and hair being in religious con 

 formity with divine authority, and the ceremony of painting of the 

 eyes, is always observed by the devout Buddhists as a solemn fes 

 tival.&quot; 



It is interesting to remark that in its mural representa 

 tions, Egypt shows us transitions from sculpture to painting, 

 or, more strictly, from painted sculpture to painting proper. 

 In the most sculpturesque kind the painted figures stood out 

 from the general field and formed a bas-relief. In the in 

 termediate kind, relief-en-creux, the surfaces of the painted 

 figures did not rise above the general field, but their outlines 

 were incised and their surfaces rendered convex. And then, 

 finally, the incising and rounding being omitted, they be 

 came paintings. 



By the Greeks also, painting was employed in making 

 finished representations of the greater or smaller person 

 ages worshiped now the statues in temples and now the 

 figures on stelce used to commemorate deceased relatives, 

 which, cut out in relief, w r ere, w r e may fairly infer, coloured 

 in common with other sculptured figures, just as were those 

 on Etruscan sarcophagi. Of this inference there has re 

 cently been furnished a justification by the discovery of 

 certain remains which, while they show the use of colour in 

 these memorials, show also the transition from raised col 

 oured figures to coloured figures not raised. Explorations 



