Thk Principal Themes of Egyptian Sculpture. 275 ^ 6. The Principal Themes of Egyptian Sciilptnre. When we come to study Greek sculpture we shall find that the masterpieces in which its highest powers are displayed, are statues of divinities, such as the Athene of the Parthenon and the Olympian Zeus. In our review of the Egyptian works of the same kind we have not had occasion to call attention to a single god or goddess. Their representation was not, as in Greece, the aim of the hio-hest art. The fio-^res of deities were, indeed, numerous enough in Egypt, but the national artist did not show such originality in their conception as in those of kings and private individuals. This phenomenon may seem inconsistent with what we know of the piety of the Egyptians and the place occupied by religion in their daily life ; it is to be easily explained, however, by the origin of Egyptian sculpture and the part which the statues of the gods played in it. Egyptian art began with portraiture. As soon as it was capable of carving and painting stone it was realistic, not so much by instinct and taste as bv dutv. After such a beo^inninor it found great difficulty in raising itself above intelligent and faithful reproduction of fact. Such inventive powers as it possessed were spent in creating a type for the royal majesty, and in that case it had concrete reality as a starting point. When it came to representing the gods it had no such help. It could not fall back upon fidelity to fact, and, unlike the Greeks of after ages, it was unable to give them distinction by the superior nobility and dignity of their physical contours and features. It was reduced to differentiating them by the variety of their attributes. By such a proceeding it obtained an almost infinite number of divine types, but each type was only recognizable on condition that its pose and accessories, once determined, should remain without material change. There was none of the mobility and elasticity which distinguishes the dwellers on the Greek Olympus, as may be clearly seen by comparing the poverty and want of variety of a Horus or a Bast with the infinite diversity of an Apollo or an Artemis. When the Egyptian sculptor had to endow the national gods with concrete forms he found himself, then, in a condition much
