The unfinished figures on the tomb of Seti I. shows with what a steady
hand the clever draughtsman could sketch out his subjects. The head from
the nape of the neck round to the throat is described by a single line,
and the contour of the shoulders is marked by another. The form of the
body is traced by two undulating lines, while the arms and legs are
respectively outlined by two others. The articles of apparel and
ornaments, sketched rapidly at first, had to be gone over again by the
sculptor, who worked out the smallest details. One might almost count
the tresses of the hair, while the folds of the dress and the enamels of
the girdle and bracelets are minutely chiselled.

[Illustration: BAS-RELIEF OF SETI I., SHOWING CORRECTIONS MADE BY THE
SCULPTOR]

Drawn by Faucher-Gudin, from photographs by Insinger and
Daniel Héron.

When the draughtsman had finished his picture from the sketch which he
had made, or when he had enlarged it from a smaller drawing, the master
of the studio would go over it again, marking here and there in red the
defective points, to which the sculptor gave his attention when working
the subject out on the wall. If he happened to make a mistake in
executing it, he corrected it as well as he was able by filling up with
stucco or hard cement the portions to be remodelled, and by starting to
work again upon the fresh surface. This cement has fallen out in some
cases, and reveals to our eyes to-day the marks of the underlying
chiselling. There are, for example, two profiles of Seti I. on one of
the bas-reliefs of the hypostyle hall at Karnak, one faintly outlined,
and the other standing fully out from the surface of the stone. The
sense of the picturesque was making itself felt, and artists were