what we possess of early Egyptian sculpture. For in a small,
inaccessible chamber (serdab) reserved in the mass of masonry were
placed one or more portrait statues of the owner, and often of his
wife and other members of his household, while the walls of
another and larger chamber, which served as a chapel for the
celebration of funeral rites, were often covered with painted bas-
reliefs, representing scenes from the owner's life or whatever in
the way of funeral offering and human activity could minister to
his happiness.

One of the best of the portrait statues of this period is the
famous "Sheikh-el-Beled" (Chief of the Village), attributed to
the Fourth or Fifth Dynasty (Fig. 2). The name was given by the
Arab workmen, who, when the figure was first brought to light in
the cemetery of Sakkarah, thought they saw in it the likeness of
their own sheikh. The man's real name, if he was the owner of the
mastaba from whose serdab he was taken, was Ra-em-ka. The figure
is less than life-sized, being a little over three and one half
feet in height. It is of wood, a common material for sculpture in
Egypt. The arms were made separately (the left of two pieces) and
attached at the shoulders. The feet, which had decayed, have been
restored. Originally the figure was covered with a coating of
linen, and this with stucco, painted. "The eyeballs are of opaque
white quartz, set in a bronze sheath, which forms the eyelids; in
the center of each there is a bit of rock-crystal, and behind this
a shining nail" [Footnote: Musee de Gizeh: Notice Sommaire
(1892).]--a contrivance which produces a marvelously realistic
effect. The same thing, or something like it, is to be seen in
other statues of the period. The attitude of Ra-em-ka is the usual
one of Egyptian standing figures of all periods: the left leg is