he skill in beaten copper work is shown by the
portrait of the Prince Mer-en-ra (Plate III. fig. 35).

(B) The reliefs are quite equal to the statuary. The wooden panels of
Hesi (Plate II. fig. 26) show the archaic style of great detail, with a
bold, stark vigour of attitude. Later work is abundant in the
tomb-sculptures of this age, with a fulness of variety and detail which
makes them the most interesting of all branches of the art. The general
effect cannot be judged without a large scene, but the figures of two
men and an ox (Plate III. fig. 37) show the freshness and vigour of the
style, which is even higher than this in some examples. The clear, noble
spacing of the surface work is well shown by a group of offerings and
inscribed titles (Plate III. fig. 36).

[Illustration: PLATE III. PYRAMID PERIOD.

29. IVORY OF CHEOPS.
30. DIORITE OF CHEPHREN.
31. LIMESTONE OF NEFERT.
32. HEMSET: LIMESTONE.
33. WOOD (see Fig. 28).
34. SCRIBE: LIMESTONE.
35. MER-EN-RA: COPPER.
36. LIMESTONE SLAB OF KHENT-ER-KA.
37. THE OXHERDS: LIMESTONE. Photo, Bonfils
38. GRANITE SPHINX.
39. AMENEMHE III.
40. 41. SENWOSRI I.: LIMESTONE RELIEFS: HOTEPA.]

[Illustration: PLATE IV. 1400 B. C. TO ROMAN.

42. AMENOPHIS III.: GRANITE. Photo, Manseil.
43. QUEEN TAIA: LIMESTONE.
44. RAMESES II.: GRANITE. Photo, Anderson.
45. NEGRESS: EBONY.
46. QUEEN HATSHEPSUT.
47. KHA-EM-HAT.
48. SETI I.
49. PRINCESSES: FRESCO.
50. FOUR RACES OF MAN.
51. TUMBLER.
52. SCENE IN XXVI. DYNASTY.
53. PTOLEMAIC RELIEF.
54. MODELLED HEAD AND SKULL.]

(C) Flat drawings of this age are rare. Some fine examples, such as the
geese from Medum, show that such work kept pace with the reliefs; but
most of the fresco-work has perished, and there are few instances of
line drawing.

_The XIIth Dynasty._--This age overlaps the previous in its style. The
end of the last age was in the very degraded tomb work of the early XIth
Dynasty.

(A) The new style begins with the royal statues, which it seems we must
attribute to the foreign kings from whom the XIIth Dynasty was
descended. These statues were later appropriated by the Hyksos, and so
came to be called by their name, which is a misnomer. The type of face
(Plate III. fig. 38) is thick-featured, full of force, with powerful
masses of facial muscle covering the skull. The style is very vigorous
and impassioned, without any trace of relenting towards conventional
w