The Principal Conventions in Egyptian Sculpture. 325 made use of a complete vocabulary of contemptuous terms, and, as always occurs, the pride of race upon Yhich they' were based long survived the condition of things which formed its justification. The Greek conquest was necessary to cure the Egyptians of their disdain, or, at least, to compel them to hide it. Now the visible sign of their superiority was the beauty of the national type, as elaborated by judicious selection and represented in art since the earliest days of the monarchy. The Egyptian was proud of him- self when he compared the refined features of his gods and kings, their graceful attitudes and smilino; looks, with the thick and heavy lines of the negro or the hard and truculent features of the Libyan and the Syrian nomad. In attempting to innovate, some danger of lowering the nobility of the type would be incurred. The pressure of neighbouring races ended by throwing back the Egyptian frontiers. At one time they were forcibly curtailed by victorious invasion ; at others they were weakened here and there, allowing the entrance of the shepherds, of foreign merchants, and of mercenaries of various nationalities. The purity of the Egyptian blood was menaced, and at all hazards it was necessary to preserve without alteration the ideal image of the race, the concrete emblem of its glorious past and the pledge of its high destinies. It was thus that in Egypt progress was hampered by fear of retrogression. Perfection is impossible to those who fear a fall. Another obstacle that helped to prevent the Egyptians from reaching the perfection which their early achievements seemed to promise, was their love for colour. They did not establish a sufficiently sharp line of demarcation between painting and sculpture. The}' always painted their statues, except when they carved them in materials which had a rich natural hue of their own, a hue to which additional vivacity was given by a high polish. By this means varied tints were obtained which were in harmony with the polychromatic decoration which was so near their hearts. Their excuse is to be found in their iofnorance of statuary marble and of the clear and flesh-like tones and texture which it puts on under the sculptor s chisel. The Egyptians, however, never committed the fault of colouring their statues in an imitative fashion, like those who make wax figures. Their hues were always conventional. Moreover, they were never either broken or shaded, which is sufficient to show
