These statues betray an art much more advanced than that of Sepa and Nesa. The pose is much easier and more natural, but the right arm of Ra-hotep is stiff and held in a fashion which would soon cause cramp in a living man. The modelling of the body is free and true, though without much knowledge or subtlety. The breasts, arms, and legs of Nefert are skilfully suggested under her robe. But the care of the sculptor has been mainly given to the heads. By means of chisel and paint-brush he has given them an individuality which is not readily forgotten. The arched eyebrows surmount large well-opened eyes; the eyelids seem to be edged with heavy lashes and to stand out well from the eyeball. In the case of the latter the limestone has retained its primitive whiteness, giving a strong contrast with the pupil and iris (Fig. 173). The noses, especially that of Ra-hotep are fine and pointed; the thick but well-drawn lips seem about to speak. Her smooth cheeks and soft dark eyes, eyes which are still common among the women of the East, give Nefert a very attractive look. Her smiling and restful countenance is in strong contrast to that of Ra-hotep, which is full of life and animation not unmingled with a little hardness. [Illustration: FIG. 173.--Ra-hotep. Drawn by Bourgoin.] The longer we look at these figures the less ready are we to turn away from them. They are portraits, and portraits of marvellous sincerity. If they could be gifted with life to-morrow, if we could encounter Ra-hotep and Nefert working under the sun of Egypt, the man semi-nude, sowing the grain or helping to make an embankment, his companion robed in the long blue chemise of the fellah women and balancing a pitcher upon her head, we should know them at once and salute them by name as old acquaintances. We find none of the marks of inexperience and archaism which are so conspicuous in the statues of Sepa and Nesa. A few later figures may seem to us more delicately modelled and more full of detail, but taking them all in all, we cannot look upon these statues as other than the creations of a mature art, of an art which was already in full command of its resources, and of a sculptor who had a well-marked personal and original style of his own. We find the same qualities in another group of monuments ascribed by Mariette to no less remote a period.[177] The same eye for proportion, the same life-like expression, the same frankness and confidence of hand are to be found in those sculptured wooden panels of which the museum at Boulak possesses four fine examples. They were found at Sakkarah in the tomb of a personage called Hosi, where they were enframed in four blind doorways. They are on the average about 3 feet 10 inches high and 1 foot 8 inches wide. The drawings which we reproduce give a good idea of the peculiarities of style and execution by which they are distinguished (Figs. 174-176).[178]