302 A History of Art in Ancient Egypt. priests. With the help of an army of scribes and officials he governed the country and made war ; he initiated and carried on great public works ; he developed the industry and commerce of his subjects. Trade and conquest brought him into relation with surrounding peoples, and from them he recruited his armies and obtained agents of every kind. The active and warlike heads of a great empire like this were never the slaves of a despotic clergy. Such a society never allowed the mechanical reproduction of orthodox types to be forced upon its artists, until, indeed, its final decadence deprived it of all power to invent new forms. We have seen how great was the variety of plan and decoration in Egyptian religious architecture, from the marked simplicity of the temple near the sphinx, to the sumptuous majesty of the Theban buildings and the elegance of those of Sais. The style and taste of Egyptian sculpture underwent a change at each renascence of art. Why, then, did its practitioners remain faithful to certain conventional methods of interpretation, whose falsity they must have perceived, while they modified their work in so many other particulars ? No text has ever been put before us, I will not say from a Greek, but from an Egyptian source, which suggests that their hands were less free from religious prescription than those of the architects. We agree with M. Emile Soldi, who was the first to throw doubt upon the accepted theories, that the explanation of the apparent anomaly is to be sought elsewhere.^ The tyranny from which the Egyptian sculptor never succeeded in completely freeing himself was not that of the priests but of the material in which he worked. Aided by his personal experience M. Soldi has put this fact very clearly before us. Being at once a sculptor, a medallist, and an engraver upon precious stones, he is enabled to judge at first hand of the influence which the material or tool employed may exercise over the style of a work of art. The style of such a work is the complex product of numerous and very different factors. To determine the part played by each of these factors is not always easy ; there are too many opportunities for error. We believe, however, that certain of the most peculiar and persistent characteristics of Egyptian sculpture are due ^ Emile Soldi, La Sculptia-e Eg)'ptie?i?ie, i vol. 8vo, 1876, copiously illustrated. (Ernest Leroux.)
