202 A History of Art in Ancient Egypt. " Egypt, then, was first in the field in bronze casting, as she was in stone and wood carving. One at least of the Posno statuettes carries us so far back in the history of humanity that it is difficult to see where we can look for earlier works of art, especially of so advanced a style. We have already ascertained that the first named of these two figures is far superior, both in style and modelling, to the Asiatic canephorus of AfadjV a work which was dedicated to a goddess by a king, and must therefore be considered a good example of the art of Western Asia." We agree with M. de Longperier in all but one point, and that one as to which he is careful not to commit himself. According to him the second figure is later than the sixth dynasty and earlier than the eighteenth, so that it would belong to the first Theban Empire. But we do not see why, supposing the Egyptians of the Ancient Empire capable of making the first figure, they should not have made the second. Between the two statuettes there are but slight differences of handlinof, differences much the same as those to be found in the wooden and stone statues which we have already mentioned. Neither the artists nor their sitters had quite the same capabilities. The technical skill shown in these bronzes is extraordinary. The most ancient Etruscan and Greek bronzes are solid castings, on the base of which are rough protuberances, sometimes of considerable length, resulting from the fact that the metal was allowed to solidify in the orifice by which it was poured into the mould. Here there is nothing of the kind. No imperfection in the mechanical part of the work is allowed to interfere with its artistic effect. The casting is light, hollow, and in one piece ; the method employed must have been excellent in itself and thoroughly understood.^ They also understood how to add finish by chasing the metal after its relief from the mould. The small circular ornaments on the chest of the second figure, ornaments which are so delicate in execution that they could not be re- produced in our engraving without giving them too much ^ De Longperier, Musee Napoleon III. pi. i. ^ M. Pisani, who mounted the numerous bronzes in M. Posno's collection, assures me that their insides are still filled with the core of sand around which they were cast. The outward details of the casting are repeated inside, showing that the method used was what we call fo7ite au carton.
