tion more
studied, and the perspective less wild. We feel that the artist handled
his subject _con amore_. He spared no trouble in sketching out
his designs and in making studies from nature, and, as papyrus was
expensive, he drew rough drafts, or made notes of his impressions on the
flat chips of limestone with which the workshops were strewn.

[Illustration: 035.jpg KHAMHAIT]

Drawn by Boudier, from a photograph by M. de Mertens.

Nothing at that date could rival these sketches for boldness of
conception and freedom in execution, whether it were in the portrayal of
the majestic gait of a king or the agility of an acrobat. Of the latter
we have an example in the Turin Museum. The girl is nude, with the
exception of a tightly fitting belt about her hips, and she is throwing
herself backwards with so natural a motion, that we are almost tempted
to expect her to turn a somersault and fall once more into position with
her heels together.

[Illustration: 026.jpg SKETCH OF A FEMALE ACROBAT]

Drawn by Boudier, from a photograph by Petrie.

The unfinished figures on the tomb of Seti I. shows with what a steady
hand the clever draughtsman could sketch out his subjects. The head from
the nape of the neck round to the throat is described by a single line,
and the contour of the shoulders is marked by another. The form of the
body is traced by two undulating lines, while the arms and legs are
respectively outlined by two others. The articles of apparel and
ornaments, sketched rapidly at first, had to be gone over again by the
sculptor, who worked out the smallest details. One might almost count
the tresses of the hair, while the folds of the dress and the enamels of
the girdle and bracelets are minutely chiselled.

[Illustration: BAS-RELIEF OF SETI I., SHOWING CORRECTIONS MADE BY THE
SCULPTOR]

Drawn by Faucher-Gudin, from photographs by Insinger and
Daniel Heron.

When the draughtsman had finished his picture from the sketch which he
had made, or when he had enlarged it from a smaller drawing, the master
of the studio would go over it again, marking here and there in red the
defective points, to which the sculptor gave his attention when working
the subject out on the wall. If he happened to make a mistake in
executing it, he corrected it as well as he was able by filling up with
stucco or hard cement the portions to be remodelled, and by starting to
work again upon the fresh surface. This cement ha