up to our own, and the movement of animated crowds is indicated with
perfect accuracy. It is, however, not safe to conclude from these
examples that the artists who executed them would have developed
Egyptian art in a new direction, had not subsequent events caused a
reaction against the worship of Atonu and his followers.

[Illustration: 104.jpg PROFILE OF HEAD OF MUMMY (THEBES TOMBS.)]

[Illustration: 106.jpg TWO OF THE DAUGHTERS OF KHUHI ATONU]

Drawn by Faucher-Gudin, from a photograph by Petrie.

Although the tombs in which they worked differ from the generality
of Egyptian burying-places, their originality does not arise from any
effort, either conscious or otherwise, to break through the ordinary
routine of the art of the time; it is rather the result of the
extraordinary appearance of the sovereign whose features they were
called on to portray, and the novelty of several of the subjects which
they had to treat. That artist among them who first gave concrete form
to the ideas circulated by the priests of Atonu, and drew the model
cartoons, evidently possessed a master-hand, and was endowed with
undeniable originality and power. No other Egyptian draughtsman ever
expressed a child's grace as he did, and the portraits which he sketched
of the daughters of Khuniatonu playing undressed at their mother's side,
are examples of a reserved and delicate grace. But these models, when
once composed and finished even to the smallest details, were entrusted
for execution to workmen of mediocre powers, who were recruited not only
from Thebes, but from the neighbouring cities of Hermopolis and Siut.
These estimable people, with a praiseworthy patience, traced bit by bit
the cartoons confided to them, omitting or adding individuals or groups
according to the extent of the wall-space they had to cover, or to the
number of relatives and servants whom the proprietor of the tomb desired
should share in his future happiness. The style of these draughtsmen
betrays the influence of the second-rate schools in which they had
learned their craft, and the clumsiness of their work would often repel
us, were it not that the interest of the episodes portrayed redeems it
in the eyes of the Egyptologist.

Khuniatonu left no son to succeed him; two of his sons-in-law
successively occupied the throne--Saakeri, who had married his eldest
daughter Maritatonu, and Tutankhamon, the husband of Ankhnasaton. The
first had been associated in th