230 A History of Art in Ancient Egypt, strong place which formed the centre of the Hyksos power for so many generations. Confirmation of this theory is found in the existence of an oval bearing the name of Apepi, one of the shepherd kings, upon the shoulder of a sphinx from Tanis. The aspect of this sphinx, and the features and costume of certain figures discovered upon the same site and dispersed among the museums of Europe, are said to have much in common with the ethnic peculiarities of the Syrian tribe by w^hich Middle and Lower Egypt was occupied. M. Maspero, however, who has recently devoted fresh attention to these curious monuments, is inclined to doubt the justness of this conclusion. The position of the cartouche of Apepi suggests that it may be due to one of those usurpations which we have mentioned. For the present, therefore, it may be as well to class these monuments simply among the Tanite remains. Tanis, like some other Egyptian cities, had a style of its own, but we are without the knowledge required for a determination of its origin. We shall be content with describing its most important works and with calling attention to their remarkable originality. The most important and the best preserved of all these monuments is a sphinx of black granite which was recovered, in a fragmentary condition, from the ruins of the principal temple at Tanis (Fig. 208). Three more were found at the same time, but they were in a still worse state of preservation. The fore-part of one of them is figured in the adjoining woodcut. "There is a great gulf," says Mariette, "between the energetic power which distinguishes the head of this sphinx and the tranquil majesty with which most of these colossi are endowed. The face is round and rugged, the eyes small, the nose flat, the mouth loftily contemptuous. A thick lion-like mane enframes the countenance and adds to its energetic expression. It is certain that the work before us comes from the hands of an Egyptian artist, and, on the other hand, that his sitter was not of Egyptian blood." ^ The group of two figures upon a common base, which is such a conspicuous object in the Hyksos chamber at Boulak, seems to have had a similar origin. We give a front and a side view of ^ Notice du Musk de Boulak, No. 869. Our draughtsman lias not thought it necessai')' to reproduce the liieroglyphs engraved u])on the ]ihnth.
