details both of her robe and jewels are engraved in incised lines upon the
surface of the bronze, and inlaid with silver threads. The face is
evidently a portrait, and represents a woman of mature age. The form,
according to the traditions of Egyptian art, is that of a younger woman,
slender, firm, and supple. The copper in this bronze is largely intermixed
with gold, thus producing a chastened lustre which is admirably suited to
the richness of the embroidered garment. The kneeling genius of Gizeh is as
rude and repellent as the Lady Takushet is delicate and harmonious. He has
a hawk's head, and he worships the sun, as is the duty of the Heliopolitan
genii. His right arm is uplifted, his left is pressed to his breast. The
style of the whole is dry, and the granulated surface of the skin adds to
the hard effect of the figure. The action, however, is energetic and
correct, and the bird's head is adjusted with surprising skill to the man's
neck and shoulders. The same qualities and the same faults distinguish the
Horus of the Posno collection (fig. 280). Standing, he uplifted a libation
vase; now lost, and poured the contents upon a king who once stood face to
face with him. This roughness of treatment is less apparent in the other
three Posno figures; above all in that which bears the name of Mosu
engraved over the place of the heart (fig. 281). Like the Horus, this Mosu
stands upright, his left foot advanced, and his left arm pendent. His right
hand is raised, as grasping the wand of office. The trunk is naked, and
round his loins he wears a striped cloth with a squared end falling in
front. His head is clad in a short wig covered with short curls piled one
above the other. The ear is round and large. The eyes are well opened, and
were originally of silver; but have been stolen by some Arab. The features
have a remarkable expression of pride and dignity. After these, what can be
said for the thousands of statuettes of Osiris, of Isis, of Nephthys, of
Horus, of Nefertum, which have been found in the sands and ruins of
Sakkarah, Bubastis, and other cities of the Delta? Many are, without doubt,
charming objects for glass-cases, and are to be admired for perfection of
casting and delicacy of execution; but the greater number are mere
articles of commerce, made upon the same pattern, and perhaps in the self-
same moulds, century after century, for the delight of devotees and
pilgrims. They are rounded, vulgar, destitute of ori