This impression of great antiquity is not caused by the short inscriptions on the plinths. The well-carved hieroglyphs which compose them are in relief, but this peculiarity is found in monuments of the fourth and fifth dynasties. The physiognomies and general style of the figures are much more significant. They betray an art whose aims and instincts are well developed, although it has not yet mastered its mechanical processes. The sculptor knows thoroughly what he wants, but his hand still lacks assurance and decision. He has set out upon the way which will be trodden with ever-increasing firmness by his successors. He follows nature faithfully. Observe how frankly the breadth of Sepa's shoulders is insisted upon, how clearly the collar-bones and the articulations of the knees are marked. The rounded contours of Nesa's thighs betray the same sincerity. And yet there is a certain timidity and awkwardness in the group which becomes clearly perceptible when we compare it with works in its neighbourhood which date from the fifth dynasty. The workmanship lacks freedom, and the modelling is over-simplified. The arms, which elsewhere are laid upon the knees, or, in the case of the woman, passed round the neck of her husband, are too rigid. One is held straight down by the body, the other is bent at a right angle across the stomach. The pose is stiff, the placid features lack expression and will. [Illustration: FIG. 172.--Sepa and Nesa, Louvre. Four feet eight inches high.] The induction to which we have been led by the style of these figures is confirmed by an observation made during recent explorations in the necropolis of Memphis. The patch of green paint under the eyes has, as yet, only been found in statues from a certain peculiar class of tombs at Gizeh and Sakkarah. These are chambers cut in the rock, in which the roofs are carved into imitations of timber ceilings of palm wood. Some of the texts which have been found in them contain the name of a king whose chronological place has not yet been satisfactorily determined, but who seems to have been anterior to Snefrou. The figures upon which the adornment in question occurs would appear therefore to be contemporary with the oldest tombs in the neighbourhood of the pyramids.[174] [174] The Boulak Museum also contains specimens of these figures. See _Notice_, Nos. 994 and 995. [Illustration: RA-HOTEP AND NEFERT BOULAK MUSEUM Imp. Ch. Chardon] Progress was rapid between the end of the third dynasty and that of the fourth. It was during the latter dynasty that the art of the Ancient Empire produced its masterpieces. Mariette attributes the two famous statues found in a tomb near the pyramid of Meidoum to the reign of Snefrou, the predecessor of Cheops. They are exhibited, under glass, in the Boulak Museum (Plate IX).[175]