246 
GALLERY OF ANTIQUITIES. 
sculptures, and the approach generally by a dromos, or avenue of 
sphinxes or divinities . There is seldom any statue in the adytum, 
a living animal being in place of this. Other temples were hewn 
into the solid rock, and the tombs consist of galleries cut m the 
same material, having their sides covered with paintings and l sculp- 
tures, referring to religious, historical, or domes ic events. ( See Spe- 
cimens, Nos. 169-1 81. ) In sculpture, the artists worked m full relief, 
bas-relief very slightly raised, the projecting parts being kept as much 
as possible i/one^lane, and in a peculiar relief cut below the i ori^nal 
surface, called cavo-rilievo, or intaglio nlievato ; in the full leliet 
of stone, composition, and porcelain, the standing fig ure s have a mass 
of stone between the legs reserved to support the figure, ; and the mms 
were not detached, but pendent at the sides, or raised breast .a 
plinth resembling the side of an obelisk, was often placed behind, des- 
tined to contain the inscriptions. In metal and wood the arms and 
legs were detached. The hair is disposed in very regular masses of 
vertical curls, falling from the crown of the head; the eyes, eyelashes, 
and brows were represented prolonged to the ears with shelly or a . 
lids • the hole of the ear was on a level with the pupil, me Ups 
strongly marked, but expanding like the Nubian, the expression 
smiling, as in the early art of jEgina ; the beard not spread along le 
cheek, but platted into a narrow mass of square or recuived foim, 
with ribands passing to the cap. In bas-relief and cavou-ilievo 
profile was generally used as more distinct and simple, the eyes we 
elongated uuth a full pupil, a peculiarity also of the earliest Greek ait. 
The form is on the whole slender, the features calm and smilin B , 
not betraying emotion; the inner markings of the figure were not 
given, and indications of muscular movement never fully developed 
Great regularity, squareness, and repose, well adapted for architectuie, 
characterize their art, which occasionally exhibits the de lc acy of 
cameo. Portraiture was early known, and a conventional chaiacter 
of feature assigned to different divinities, who, however, are often 
made to resemble the reigning monarch. Three canons of Egypt an 
proportions are known : 1. The canon of the time of the Pyramids ; 
the height was reckoned at six feet from the sole of the foot to the 
crown of the head, and subdivisions obtain by ° ne 'h alf 01 <®e-thir 
of a foot. 2. The canon from the 12th to the 22nd dynasty is oi y 
an extension of the first. The whole figure .was contained miinum- 
ber of squares of half a foot; and the whole height divided into 
eighteen parts. In these two canons the height, above the sixth foot 
is not reckoned. Tablet, No. 579, has a scale of some human figures, 
under the 12th dynasty ; and a board, probably the working drawing 
of a sculptor or painter, may be seen in Case No. representn 
figure of Thothmes III. 3. The canon of the age of the Psammetici, 
which is mentioned by Diodorus, reckoning the entire height at 
twenty-one feet and a quarter from the sole to the crown of the 
head, taken to the upper part. The proportions are different, but with- 
out any introduction of the Greek canon (See the bust, Case 12, 13, 
and stone figure of a lion, Case 8, 9.) The canon and the leading ines 
were originally traced in red, subsequently corrected by the princi- 
pal artist in black, and the design then executed. (See tablet, Eg. 
Sal., No. 579.) All objects were painted, both of aichitecture ana 
