Sculpture under the Second Theban Empire. 247 whom he is presented by Phre, may also be compared with the work at Gebel-SilsiHs. The movements are free and elegant, and nothing could be more expressive than the gestures of the two deities, than the attitude, at once proud and respectful, of the kneeling prince. The whole scene is imbued with sincere and grateful piety (Fig. ^2>' Vol. I.). We find the same theme, with some slight variations, in the bas- relief at Abydos figured on page 390, Vol. I. The sculptures in the temple with which Seti I. adorned this city may be considered the masterpieces of Egyptian art in their own gejire. Their firm and sober execution, and the severe simplicity of their conception, are well shown in our third plate. This royal figure, which we were compelled to detach from its companions in order that we might give it on a scale large enough to be of service, forms part of a composition which has been thus described by M. Charles Blanc : " Seated upon the round base of a column, we examined the noblest bas-reliefs in the world. Seti was present in his own temple. His noble head, at once human and heroic, mild and proud, stood out from the wall and seemed to regard us with a gentle smile. A wandering ray of sunlight penetrated into the temple, and, falling upon the gentle salience of the sculptured figures, gave them a relief and animation which was almost illusive. A procession of young girls, whose graceful forms are veiled only by their chastity, advance towards the hero with as much freedom as respect will allow. . . . Their beauty attracts us while their dignity forbids all approach. The scene lives before us, and yet the stone is but grazed with the chisel and casts but the gentlest shadow. But the delicacy of the workmanship is combined with such vigour of design and such true sinceritv of feeling that these young women, who represent the provinces of Eg}'pt, seem to live and breathe before us. ^ The same qualities are found, though in less perfection, in those bas-reliefs which ccmm.emorate the conquests and military exploits of the great Theban Pharaohs on the pylons and external faces of the temple walls. The space to be covered is larger, the scene to be represented more complicated, than in the religious pictures, which, as a rule, include very few actors. The artist is no longer working for a narrow audience of gods, kings, and priests. His productions are addressed to the people at large, and he attempts ' Ch. Blan'c. ]'oyage dans la Haute- Eioptt- p. 26:;.
