uments to be regarded as
incidental, and the emotions of the actors in the story as what I attach
importance to.

But I must be allowed to make one observation. From studying the
conventional mode of execution of ancient Egyptian art--which was
strictly subject to the hieratic laws of type and proportion--we have
accustomed ourselves to imagine the inhabitants of the Nile-valley in the
time of the Pharaohs as tall and haggard men with little distinction of
individual physiognomy, and recently a great painter has sought to
represent them under this aspect in a modern picture. This is an error;
the Egyptians, in spite of their aversion to foreigners and their strong
attachment to their native soil, were one of the most intellectual and
active people of antiquity; and he who would represent them as they
lived, and to that end copies the forms which remain painted on the walls
of the temples and sepulchres, is the accomplice of those priestly
corrupters of art who compelled the painters and sculptors of the
Pharaonic era to abandon truth to nature in favor of their sacred laws of
proportion.

He who desires to paint the ancient Egyptians with truth and fidelity,
must regard it in some sort as an act of enfranchisement; that is to say,
he must release the conventional forms from those fetters which were
peculiar to their art and altogether foreign to their real life. Indeed,
works of sculpture remain to us of the time of the first pyramid, which
represent men with the truth of nature, unfettered by the sacred canon.
We can recall the so-called "Village Judge" of Bulaq, the "Scribe" now in
Paris, and a few figures in bronze in different museums, as well as the
noble and characteristic busts of all epochs, which amply prove how great
the variety of individual physiognomy, and, with that, of individual
character was among the Egyptians. Alma Tadelna in London and Gustav
Richter in Berlin have, as painters, treated Egyptian subjects in a
manner which the poet recognizes and accepts with delight.

Many earlier witnesses than the late writer Flavius Vopiscus might be
referred to who show us the Egyptians as an industrious and peaceful
people, passionately devoted it is true to all that pertains to the other
world, but also enjoying the gifts of life to the fullest extent, nay
sometimes to excess.

Real men, such as we see around us in actual life, not silhouettes
constructed to the old priestly scale such as the monuments show