conventional tint for women, as brownish red was for men. Her eyes
are made of glass.

The specimens given have been selected with the purpose of showing
the sculpture of the Old Empire at its best. The all-important
fact to notice is the realism of these portraits. We shall see
that Greek sculpture throughout its great period tends toward the
typical and the ideal in the human face and figure. Not so in
Egypt. Here the task of the artist was to make a counterfeit
presentment of his subject and he has achieved his task at times
with marvelous skill. Especially the heads of the best statues
have an individuality and lifelikeness which have hardly been
surpassed in any age. But let not our admiration blind us to the
limitations of Egyptian art. The sculptor never attains to freedom
in the posing of his figures. Whether the subject sits, stands,
kneels, or squats, the body and head always face directly forward.
And we look in vain for any appreciation on the sculptor's part of
the beauty of the athletic body or of the artistic possibilities
of drapery.

There is more variety of pose in the painted bas-reliefs with
which the walls of the mastaba chapels are covered. Here are
scenes of agriculture, cattle-tending, fishing, bread-making, and
so on, represented with admirable vivacity, though with certain
fixed conventionalities of style. There are endless entertainment
and instruction for us in these pictures of old Egyptian life. Yet
no more here than in the portrait statues do we find a feeling for
beauty of form or a poetic, idealizing touch.

As from the Old Empire, so from the Middle Empire, almost the only