he materials we
possess.

** His tomb was discovered in 1878 by Villiers-Stuart.

The rupture between the past and the present was so complete, in
fact, that the sovereign was obliged to change, if not his face and
expression, at least the mode in which they were represented.

[Illustration: 095.jpg THE MASK OF KIHUNIATONU]

Drawn by Faucher-Gudin, from a photograph by Petrie. Petrie
thinks that the monument discovered by him, which is of fine
plaster, is a cast of the dead king, executed possibly to
enable the sculptors to make _Ushabtu_, "Respondents," for
him.

The name and personality of an Egyptian were so closely allied that
interference with one implied interference with the other. Khuniatonu
could not continue to be such as he was when Amenothes, and, in fact,
their respective portraits differ from each other to that degree that
there is some doubt at moments as to their identity. Amenothes is
hardly to be distinguished from his father: he has the same regular and
somewhat heavy features, the same idealised body and conventional shape
as those which we find in the orthodox Pharaohs. Khuniatonu affects a
long and narrow head, conical at the top, with a retreating forehead,
a large aquiline and pointed nose, a small mouth, an enormous chin
projecting in front, the whole being supported by a long, thin neck.

His shoulders are narrow, with little display of muscle, but his breasts
are so full, his abdomen so prominent, and his hips so large, that one
would think they belonged to a woman. Etiquette required the attendants
upon the king, and those who aspired to his favour, to be portrayed in
the bas-reliefs of temples or tombs in all points, both as regards face
and demeanour, like the king himself. Hence it is that the majority of
his contemporaries, after having borne the likeness of Amenothes,
came to adopt, without a break, that of Khuniatonu. The scenes at Tel
el-Amarna contain, therefore, nothing but angular profiles, pointed
skulls, ample breasts, flowing figures, and swelling stomachs. The
outline of these is one that lends itself readily to caricature, and the
artists have exaggerated the various details with the intention, it
may be, of rendering the representations grotesque. There was nothing
ridiculous, however, in the king, their model, and several of his
statues attribute to him a languid, almost valetudinarian grace, which
is by no means lacking in dignity.