The Prinxipal Themes of Egyptian Sculpture. 28 i were objects of devotion in their country. We possess excellent representations of most of these ; the figure of a cat which we take from the cases of the Louvre is an average specimen (Fig, 235). The lion was equally well rendered. In the bas-reliefs we sometimes find him turned into a sort of heraldic animal by the addition of emblematic designs upon his tlanks and shoulders (Fig. 236) ; but, even where he is most simplified, his outlines and creneral movements are truthful in the main. Sometimes we find him in full relief, modelled with singular power and sincerity. This is the case with a bronze lion which must once have formed a part of some kind of padlock, if we may judge from the few links of a chain which are still attached to it.^ Although this animal bears the ovals of Apries, and therefore belongs to the lowest period of Egyptian art, its style is vigorous in no common decree. Fig. 236. — Lion, from a Theban bas-relief; from Prisse. The Egyptians v,ere as much impressed as other eastern peoples by the strength and beauty of these animals, which in their days must have abounded in the deserts of Syria and Ethiopia. They were chosen to be the emblems of roval courage ; - a lion's head was placed upon the shoulders of Hobs, and that of a lioness upon the shoulders of Sekhet. Finally it was from the lion that the first idea of that fictitious animal which the Greeks called a sphinx, was taken. " At first the sphinx can have been nothing but a lion placed to guard the entrance to a temple. The combination of a man's ^ Mariette, Notice du Musee, No. 10 10. - At Tell-el-Amama we find the lion marching by the side of the king (Lepsius. DenkmcEler, vol. vi. pi. loo). VOL. n. 00
