seven
heads and a half, the whole weight of the figure is divided into two
equal parts at the _ospubis_, the rest of the proportions are natural
and not disagreeable. The principal forms of the body and limbs, as
the breasts, belly, shoulders, biceps of the arm, knees, shin-bones,
and feet, are expressed with a fleshy roundness, although without
anatomical knowledge of detail; and in the female figures these parts
often possess considerable elegance and beauty. The forms of the
female face have much the same outline and progression towards beauty
in the features as we see in some of the early Greek statues, and,
like them, without variety of character; for little difference can be
traced in the faces of Isis, in her representations of Diana, Venus,
or Terra, or indeed in Osiris, although sometimes understood to be
Jupiter himself, excepting that in some instances he has a very small
beard, in form resembling a peg. The hands and feet, like the rest of
the figure, have general forms only, without particular detail; the
fingers and toes are flat, of equal thickness, little separated, and
without distinction of the knuckles; yet, altogether, their simplicity
of idea, breadths of parts, and occasional beauty of form, strike the
skilful beholder, and have been highly praised by the best judges,
ancient and modern. In their basso-relievos and paintings, which
require variety of action and situation, are demonstrated their want
of anatomical, mechanical, and geometrical science, relating to the
arts of painting and sculpture. The king, or hero, is three times
larger than the other figures; whatever is the action, whether a
siege, a battle, or taking a town by storm, there is not the smallest
idea of perspective in the place, or magnitude of figures or
buildings. Figures intended to be in violent action are equally
destitute of joints, and other anatomical form, as they are of the
balance and spring of motion, the force of a blow, or the just variety
of line in the turning figure. In a word, their historical art was
informing the beholder in the best manner they could, according to the
rude characters they were able to make. From such a description it is
easy to understand how much their attempts at historical
representation were inferior to their single statues. What has been
hitherto said of Egyptian sculpture, describes the ancient native
sculpture of that people. After the Ptolemies, successors of Alexander
the Great, were