1 82 A History of Art in Ancient Egypt. the same way. If these principles were disregarded the double would be unable to find the support which was necessary to it." ^ - The first Egyptian statue was not so much a work of art as a cast from nature. If photography had been invented in the time of Menes, photographers would have made their fortunes in Egypt. Those sun-portraits, which are supposed to present a perfect resemblance, would have been put in the tomb of a deceased man in hundreds. Wanting such things, they were contented to copy his figure faithfully in stone or wood. His ordinary attitude, his features and costume, were imitated with such scrupulous sincerity that the serdabs were filled with faithful duplicates of himself. To obtain such a likeness the artist cannot have trusted to his memory. His employer must have sat before him, the stone body must have been executed in presence of him whose immor- tality it had to ensure. In no other way could those effigies have been produced whose iconic character is obvious at first sight, effigies to which a contemporary would have put a name without the slightest hesitation. This individuality is not, however, equally well preserved in all Egyptian sculpture, a remark which applies to the early dynasties as well as to the later ones, though not in the same degree. In those early ages the beliefs which led the Egyptian to inclose duplicates of his own body in his last resting-place were more powerful over his spirit, and the artist had to exert himself to satisfy the requirements of his employers in the matter of fidelity. Again, those centuries had not to struggle against such an accumulation of precedents and fixed habits, in a word, against so much conventionality as those which came after. There were no formulae, sanctioned by long custom, tj relieve the artist from the necessity for original thought and continual reference to nature ; he was compelled to make himself acquainted both with the general features of his race and those of his individual employers. This necessity gave him the best possible training. Portraiture taken up with intelligence and practised with a passionate desire for truth has always been the best school for the formation of masters in the plastic arts. In those early centuries, then, Egypt produced a few statues which were masterpieces of artistic expression, which were admirable portraits. In all countries, however, great works are ' Maspero, in Rayct's Monutncnts dc P Art Anfique.
