Ramses II., or those of private individuals such as Hûi. The modelling
is firm and refined, showing a skill in the use of the chisel and an
elegance of outline which have never been surpassed: the Amenôthes III.
of Luxor and the Khâmhâît of Sheikh Abd el-Qurneh might serve for models
in our own schools of the highest types which Egyptian art could produce
at its best in this particular branch. The drawing is freer than in
earlier examples, the action is more natural, the composition more
studied, and the perspective less wild. We feel that the artist handled
his subject _con amore_. He spared no trouble in sketching out
his designs and in making studies from nature, and, as papyrus was
expensive, he drew rough drafts, or made notes of his impressions on the
flat chips of limestone with which the workshops were strewn.

[Illustration: 035.jpg KHÂMHAÎT]

Drawn by Boudier, from a photograph by M. de Mertens.

Nothing at that date could rival these sketches for boldness of
conception and freedom in execution, whether it were in the portrayal of
the majestic gait of a king or the agility of an acrobat. Of the latter
we have an example in the Turin Museum. The girl is nude, with the
exception of a tightly fitting belt about her hips, and she is throwing
herself backwards with so natural a motion, that we are almost tempted
to expect her to turn a somersault and fall once more into position with
her heels together.

[Illustration: 026.jpg SKETCH OF A FEMALE ACROBAT]

Drawn by Boudier, from a photograph by Petrie.