advanced; both feet are planted flat on the ground; body and head
face squarely forward. The only deviation from the most usual type
is in the left arm, which is bent at the elbow, that the hand may
grasp the staff of office. More often the arms both hang at the
sides, the hands clenched, as in the admirable limestone figure of
the priest, Ra-nofer (Fig. 3).

The cross-legged scribe of the Louvre (Fig. 4) illustrates another
and less stereotyped attitude. This figure was found in the tomb
of one Sekhem-ka, along with two statues of the owner and a group
of the owner, his wife, and son. The scribe was presumably in the
employ of Sekhem-ka. The figure is of limestone, the commonest
material for these sepulchral statues, and, according to the
unvarying practice, was completely covered with color, still in
good preservation. The flesh is of a reddish brown, the regular
color for men. The eyes are similar to those of the Sheikh-el-
Beled. The man is seated with his legs crossed under him; a strip
of papyrus, held by his left hand, rests upon his lap; his right
hand held a pen.

The head shown in Fig. 5 belongs to a group, if we may give that
name to two figures carved from separate blocks of limestone and
seated stiffly side by side. Egyptian sculpture in the round never
created a genuine, integral group, in which two or more figures
are so combined that no one is intelligible without the rest; that
achievement was reserved for the Greeks. The lady in this case was
a princess; her husband, by whom she sits, a high priest of
Heliopolis. She is dressed in a long, white smock, in which there
is no indication of folds. On her head is a wig, from under which,
in front, her own hair shows. Her flesh is yellow, the