230 
EGYPTIAN ART. 
and stone figure of a lion, No. 1462.) The canon and the leading 
lines were originally traced in red, subsequently corrected by the prin¬ 
cipal artist in black, and the design then executed. ( See tablet, Eg. 
Sal., No. 579.) All objects were painted, both of architecture and 
sculpture, and gilding was occasionally employed. In their paintings 
the simplest colours, such as white, black, an ochrous red, blue, and 
yellow, w T ere only used, green and purple being the introduction of a 
later age. The entire figure was surrounded with a black outline. The 
Egyptians worked in dark and red granites, porphyry, basalts, breccias, 
serpentines, arragonite, limestones, sandstones, jaspers, feldspar, car- 
nelian, glass, gold, silver, bronze, lead, iron, the hard woods, fir or 
cedar, sycamore, ebony, acacia, porcelain, and ivory and terracotta. All 
objects are found decorated with hieroglyphics, from the most gigantic 
obelisk to the minute articles of private life. In connection with the 
histoiy of the nation, three great periods of art may be distinctly traced 
in Egypt. 
I. The archaic style, reaching from the date of the earliest known 
monuments of the country till the close of the 12th dynasty; in which 
the hair is in rude vertical curls and heavy masses, the face is broad 
and coarse, the nose long, and forehead receding, hands and feet large 
and disproportionate; the execution rude, even when details are in¬ 
troduced; the bas-reliefs depressed. This style continued improving 
till the 12th dynasty, at which period many of the monuments are 
finished with a purity and delicacy rivalling cameos. ( See the false 
doors from the tomb of Teta, Nos. 157, 157*; the small statue from 1 
the Pyramids , No. 70; and Tablets , No. 197 and following.) 
II. The art from the restoration of the 18th dynasty till the 20th: — 
the hair is disposed in more elegant and vertical curls, a greater har- j 
mony is observable in the proportion of the limbs, the details are 
finished with greater breadth and care; bas-relief becomes rare, and 
disappears after Rameses II.; under the 19th dynasty, however, the 
arts rapidly declined. {See the colossal head of Thothmes [II., No. 
15, Egyptian Saloon; the statues of Amenophis III., Nos. 14, 17; 
the statues and busts of Horus, No. 6; Rameses II., Nos 14—96; 
Site-Menephtah II., No. 26; and the casts in the Vestibule; and, in 
the Egyptian Room, the alabaster sepulchral figures.) 
III. The epoch of the revival of art, commencing with the 20th 
dynasty, distinguished for an imitation of the archaic art. The por¬ 
traiture is more distinct, the limbs freer and rounded. ( See statues, 
Nos. 83, 134, under Apries; sarcophagus, No. 86; and figure. No. 
34, of a person living under Amasis;) the muscles more developed— 
the details executed with great care and accuracy, {see obelisk of 
Amyrtceus, 523-24 ; his sarcophagus, No. 10 ; and the inter columnar 
slabs of Psammetichus II. and Nectanebo, Ncs. 20, 22,) and the general 
effect rather dependent on the minute finish than general scope and 
breadth. Under the Ptolemies and Romans a feeble attempt is made 
to engraft Greek art on Egyptian. ( See tablets, No. 147; sides of \ 
temples, Cases 1—11.) But a rapid decay took place both in the 
knowledge, finish, and all the details. {See tablets, Nos. 189, 398, 
399, 400, 401, 402, of Tiberius; and the coffins of Soter and his j 
family, under Hadrian Egyptian Room , No. 6706-6714.) 
