ro A History of Art in Ancient Egypt. their hours, there must always have been a certain inequality and rudeness in works carried out by instruments that bruised and shattered rather than cut. The stubbornness of the material, and the defects of the tools employed, had a double consequence. In order to avoid all danger of spoiling his figure when roughing it out, the artist was compelled to err on the side of over solidity and heaviness ; he was obliged to multiply the points of support, and to avoid anything like delicacy or slightness of parts. On the other hand, he was forced to fine down and almost to obliterate the suggestive contours of the living form by the final polish, in order to correct the irregularities due to the rude and uncertain nature of his implements. Fig. 254. — Painting at Thebes (Champollion, pi. 161). All this explains the absolute necessity for the supporting blocks reserved by the Egyptian sculptor at the back of his statues, and for the great massiveness of their forms. To begin with, the com- parative slenderness of the attachment between the head and the body was an element of danger. The repeated blows struck by the mallet upon the point might break it off unless precautions were taken. We find, therefore, that the klaft head-dress was introduced as often as possible. Its large ends fell down upon each breast, and acted as buttresses to the head. When the klaft was not used the hair was brought together in a solid mass, and, falling to the shoulders, gave strength to the neck. We may say
