mbody in them the ideal type of male
or female beauty: they were representatives made to perpetuate the
existence of the model.

[Illustration: 237.jpg A SCULPTOR's STUDIO, AND EGYPTIAN PAINTERS AT
WORK]

Drawn by Faucher-Gudin, from a chromolithograph by Prisse
d'Avennes, _Histoire de l'Art Egyptien_. The original is in
the tomb of Rakhmiri, who lived at Thebes under the XVIIIth
dynasty. The methods which were used did not differ from
those employed by the sculptors and painters of the Memphite
period more than two thousand years previously.

The Egyptians wished the double to be able to adapt itself easily to
its image, and in order to compass that end, it was imperative that the
stone presentment should be at least an approximate likeness, and should
reproduce the proportions and peculiarities of the living prototype
for whom it was meant. The head had to be the faithful portrait of the
individual: it was enough for the body to be, so to speak, an average
one, showing him at his fullest development and in the complete
enjoyment of his physical powers. The men were always represented in
their maturity, the women never lost the rounded breast and slight hips
of their girlhood, but a dwarf always preserved his congenital ugliness,
for his salvation in the other world demanded that it should be so. Had
he been given normal stature, the double, accustomed to the deformity of
his members in this world, would have been unable to accommodate himself
to an upright carriage, and would not have been in a fit condition to
resume his course of life.

[Illustration: 238.jpg CELLARER COATING A JAR WITH PITCH]

Drawn by Boudier, from a photograph by Emil Brugsch-Bey. The
original is now in the Gizeh Museum.

The particular pose of the statue was dependent on the social position
of the person. The king, the nobleman, and the master are always
standing or sitting: it was in these postures they received the homage
of their vassals or relatives. The wife shares her husband's seat,
stands upright beside him, or crouches at his feet as in daily life. The
son, if his statue was ordered while he was a child, wears the dress of
childhood; if he had arrived to manhood, he is represented in the dress
and with the attitude suited to his calling. Slaves grind the grain,
cellarers coat their amphorae with pitch, bakers knead their dough,
mourners make lamentation and tear their hair. The exigencies o