which distinguish the monuments of independent Egypt from those which were erected under the Ptolemies and the Roman emperors. What he did say, however, and say with consummate confidence was: "From the first of the Pharaohs to the last of the Ptolemies, the art of Egypt never varied."[1]
Such crude notions as this can no longer be upheld. M. Marriette protests in the following almost indignant terms against certain utterances of M. Renan which seemed to him to imply the same doctrine. "M. Renan loves[2] to represent ancient Egypt as a sort of China, walled in and fortified against the exterior world, immovable, old even in its infancy, and arrived by a single spring at a degree of civilization which it never surpassed. He looks upon the country as a great plain, green indeed and fertile, but without accidents of contour to break the monotony of the landscape. And yet Egypt had periods of grandeur and decadence more marked than those of other countries. Her civilization went through all the different phases; it went through many complete transformations, it had its sudden moments of brilliancy and its epochs of eclipse. Its art was not so stationary as to prevent us from writing its history. The influence of Egypt was felt from Mesopotamia to the equator. Thothmes, in a word, was no Chinaman. Egypt perished because in attacking foreign nations she provoked a reaction which was fatal to her."[3]
Now that we are enabled to contrast the statues of the Ptolemaic period with those of the pyramid builders, we find nothing surprising in Mariette's language; but even before these means of study were open to us, criticism should have cast more than doubt upon the assertions of Plato; it should have appealed from a theory which was at variance with all historical analogies to the monuments themselves to tell the truth, to those monuments which were best known and understood. Was it likely, was it possible, that such a people as that which created these monuments, should remain for more than forty centuries unaffected by the law of continual, even if almost insensible, change?
- ↑ Cours d'Archéologie, 8vo. 1829, pp. 10, 11. This critic's ideas upon Egyptian art were both superficial and false. "Egyptian art," he says, "never attempted any realistic imitation." We even find sentences utterly devoid of meaning, such as, for instance, "The fundamental principle of Egyptian art was the absence of art." (p. 12.)
- ↑ See the Revue des Deux Mondes of April 1, 1865.
- ↑ Voyage dans la Haute Égypte, vol. i.
