File:History of Egypt, Chaldea, Syria, Babylonia and Assyria (1903) (14761234034).jpg

Identifier: cu31924091767503 (find matches)
Title: History of Egypt, Chaldea, Syria, Babylonia and Assyria
Year: 1903 (1900s)
Authors: Maspero, G. (Gaston), 1846-1916 Sayce, A. H. (Archibald Henry), 1845-1933 McClure, M. L., d. 1918
Subjects: Civilization, Ancient History, Ancient
Publisher: London : Grolier Society
Contributing Library: Cornell University Library
Digitizing Sponsor: MSN

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kill displayedin the working of the stone. The Memphites had bypreference used limestone for their sculpture, the Thebansred and grey granite or sandstone; but the artists of theage of Psammetichus unhesitatingly attacked basalt,breccia, or serpentine, and obtained marvellous effectsfrom these finely grained materials of regular and eventexture. The artistic renaissance which they broughtto its height had been already inaugurated under theEthiopians, and many of the statues we possess of thereign of Taharqa are examples of excellent workmanship.That of Amenertas was over-praised at the time of itsdiscovery; the face, half buried by the wig which weusually associate with the statues of the goddesses, hasa dull and vacant expression in spite of its set smile,and the modelling of the figure is rather weak, butnevertheless there is something easy and refined inthe gracefulness of the statue as a whole. A statuetteof another Divine Spouse, though mutilated and Chieck Beled — Gizeh Museum
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THE RENAISSANCE OF ART IN EGYPT 359 V unfinished, is pleasing from its greater breadth of style,although such breadth is rarely found in the works ofthis school, which toned down, elongated, and attenuatedthe figure till it often lost in vigour what it gained indistinction. The one point in which the Saite artistsmade a real advance, was in the treatment of the headsof their models. The expression is often refined andidealised as in the case of older works, but occasionallythe portraiture is exact even to coarseness. It was not

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