double, to use an expression dear to the Egyptians. At Memphis, Apis repeated and constantly renewed the life of Ptah; he was, in a word, his living statue.[1]
Egyptian art was, then, the faithful and skilful interpretation of the ideas of the people. What the Egyptians wished to say, that they did say with great clearness and a rare happiness of plastic expression. To accuse them, as they have been sometimes accused, of a want of taste, would be to form a very narrow conception of art, to sin against both the method and the spirit of modern criticism. This latter seeks for originality and admires it, and all art which is at once powerful and sincere arouses its interest. We do not, however, .jpg)
Fig. 46.—Sacrifice to Apis, from Mariette. wish to deny that their conception of divinity is less favourable to the plastic arts than the anthropomorphism of the Greeks. No more simple method of distinguishing one god from another could well be imagined than that of giving to each, as his exclusive property, the head of some well-known animal; the employment of such an unmistakable sign rendered the task of the artist too easy, in giving him assurance that his meaning would be understood at a glance without any particular effort on his part.
The value of an artistic result is in proportion to the difficulty of its achievement. The Greek sculptor had nothing beyond the bodily form and the features of man with which to give a distinct individuality to each god and goddess of his mythology; he was therefore obliged to make use of the most delicate and subtle distinctions of feature and contour. This necessity was a great incentive to perfection; it drove him to study the human form with a continuous energy which, unhappily for himself, was not required of the Egyptian sculptor or painter.
- ↑ Maspero, Notes sur différents Points de Grammaire et d'Histoire dans le Recueil de Travaux relatifs à la Philologie et à l'Archéologie égyptienne et assyrienne, vol. i. p. 157.
