him, that is, about the beginning of the Ist Dynasty. The ivory
statuette of an aged king (Plate I. fig. 14) is probably slightly later.
It shows the same subtle sense of character, and is unsurpassed in its
reality. Many ivory figures of men, women and animals are known from
Nekhen (Hieraconpolis) and Abydos; and they all show the same school of
work, simple, dignified, observant, and with an air which places them on
a higher plane of truthfulness and precision than later art. There is
none of the mannerism of a long tradition, but a nobility pervades them
which has no self-consciousness. The lower class of work of this age is
shown by great numbers of glazed pottery figures both human and animal.
Later in the IInd Dynasty, the head of Khasekhem (Plate I. fig. 17)
shows the beginning of convention, but yet has a delicacy about the
mouth which surpasses later works.

(B) Reliefs abound at this age, and include the most important evidences
of the development of the art. The earliest examples are those of
animals (Plate II. fig. 18) and shells on the colossi of Coptos. They
show a keen sense of form, and the stag's head, which is probably the
earliest, already bears an artistic feeling wholly different to that of
any of the prehistoric works (P.K. iii. iv.). The carvings on slate
palettes appear to begin with work crudely accurate and forceful, the
heavy limbs being ridged with tendons and muscles (Plate II. fig. 19),
but there is more proportion, with the same massive strength (Plate II.
fig. 20). Soon after, with a leap, the artist produced the first pure
work of art that is known (Plate II. fig. 21), a design for its own sake
without the tie of symbolism or history. The group of two long-necked
gazelles facing a palm tree is of extraordinary refinement, and shows
the artistic consciousness in every part; the symmetric rendering of the
palm tree, reduced to fit the scale of the animals, the dainty grace of
the smooth gazelles contrasted with the rugged stem, the delicacy of the
long flowing curves and the fine indications of the joints, all show a
sense of design which has rarely been equalled in the ceaseless
repetitions of the tree and supporters motive during every age since.
Passing the various palettes with hunting scenes and animals (Plate II.
fig. 22), we come to the great historical carving of King Narmer (Plate
II. fig. 23). Here the anatomy has reached its limits for such work; the
precision of the muscles on t