strongly developed, and (so to speak) accentuated in individuals. One is
that which we see in portraits of Rameses III, and in some of Rameses
II.--a moderately high forehead, a large, well-formed aquiline nose, a
well-shaped mouth with lips not over full, and a delicately rounded
chin. The other is comparatively coarse--forehead low, nose depressed
and short, lower part of the face prognathous and sensual-looking, chin
heavy, jaw large, lips thick and projecting. The two types of face are
not, however, accompanied by much difference of frame. The Egyptian is
always slight in figure, wanting in muscle, flat in foot, with limbs
that are too long, too thin, too lady-like. Something more of
muscularity appears, perhaps, in the earlier than in the later forms;
but this is perhaps attributable to a modification of the artistic
ideal.

As Egypt presents us with two types of physique, so it brings before us
two strongly different types of character. On the one hand we see, alike
in the pictured scenes, in the native literary remains, and in the
accounts which foreigners have left us of the people, a grave and
dignified race, full of serious and sober thought, given to speculation
and reflection, occupied rather with the interests belonging to another
world than with those that attach to this present scene of existence,
and inclined to indulge in a gentle and dreamy melancholy. The first
thought of a king, when he began his reign, was to begin his tomb. The
desire of the grandee was similar. It is a trite tale how at feasts a
slave carried round to all the guests the representation of a mummied
corpse, and showed it to each in turn, with the solemn words--"Look at
this, and so eat and drink; for be sure that one day such as this thou
shalt be." The favourite song of the Egyptians, according to Herodotus,
was a dirge. The "Lay of Harper," which we subjoin, sounds a key-note
that was very familiar, at any rate, to large numbers among the