File:Manual of Egyptian archæology and guide to the study of antiquities in Egypt. For the use of students and travellers (1914) (14589835708).jpg

Identifier: manualegyptianar00masp (find matches)
Title: Manual of Egyptian archæology and guide to the study of antiquities in Egypt. For the use of students and travellers
Year: 1914 (1910s)
Authors: Maspero, G. (Gaston), 1846-1916 Johns, Agnes Sophia Griffith, 1859-
Subjects: Art
Publisher: New York : G.P. Putnam's Sons London, H. Grevel and Co.
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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hing success. Admirable statues of the king and of members ofhis family have been found, many of them shattered,and others left unfinished in the sculptors workshops.A very charming statuette of Akhenaten in paintedlimestone (fig. 214) was discovered at Tell el Amarnain 1912 by Borchhardt, and is now at Cairo. Themonotheistic king is holding a table of offerings.The delicate features are those we are well acquaintedwith in other portraits of him both in the round andin bas-relief; the sensitive expression of the face isadmirably rendered. The conventions are the sameas in other royal statues ; the pediment is there, andthe full-face pose is unaltered. The political and religious reaction that followedthis reign arrested this development of art, and theTheban school was once more triumphant. Theschool of Tell el Amarna continued, however, atleast as late as the Twenty-second Dynasty, andalthough it returned to the ancient religious con-ventions, the style of the school persisted to the
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Fig-. 214.—Statuette in painted limestone of Akhenatcn.Deutscli - Orient. Gtsellschoft. 26o PAINTING AND SCULPTURE. end.* Its influence, moreover, made itself felt underHoremheb, under Seti I., and even under Rameses II.If during more than a century Theban art remainedfree, graceful, and refined, that improvement was dueto the school of Tell el Amarna. It would bedifficult to find anything finer than the bas-reliefsof the temple of Abydos, or those of the tomb of Seti I. The head ofthe Pharaoh (fig. 215),which must neces-sarily be always veryfavourably presented,is a model of re-served and dignifiedbeauty. Rameses II.,represented as a war-rior in the speos ofAbu Simbel, is almostas admirable as Seti I.,though very differ-ently rendered. Theaction of the arm withwhich he brandisheshis lance is somewhatangular, but the expression of courage and triumphantvigour that pervades the whole body, and the de-spairing and yet resigned attitude of the vanquishedfoe, completely atone for that d

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