A History of Art in Ancient Egypt, Vol. 2 (of 2)Perrot, Georges
History
A History of Art in Ancient Egypt, Vol. 2 (of 2)
Perrot, Georges
Art -- Egypt -- History; Egypt -- Antiquities
The finest statue of Rameses II. that has come down to our time is,
perhaps, the one in the Turin Museum (Fig. 222). Its execution is most
careful, and its state of preservation marvellous. The head is full of
individuality and distinction. One of the king's sons is shown, on a
very small scale, leaning against the foot of his father's seat.
[Illustration: FIG. 221.--Prisoners of war; Ramesseum. From
Champollion, pl. 322.]
Boulak possesses the upper part of a broken statue of Rameses, which
is not inferior to this in artistic merit. The contours are singularly
pure and noble.
Most of those who are authorities on the subject agree that art fell
into decay towards the end of Rameses the second's long reign of
sixty-seven years. Carried away by his mania for building, the king
thought more of working rapidly than well. In his impatience to see
his undertakings finished, he must have begun by using up the
excellent architects and decorative artists left to him by his father.
He left them no time to instruct pupils or to form a school, and so in
his old age he found himself compelled to employ mediocrities. "The
steles, inscriptions, and other monuments of the last years of Rameses
II. are to be recognized at a glance by their detestable style," says
Mariette.[241] With the fine bas-relief at Abydos which is reproduced
in our Plate III., Vol. I., Mariette contrasts another which is to be
found in a neighbouring hall and represents Rameses II. in the same
attitude. In the former, the figure of Seti is expressed in the most
delicate low relief, in the latter the contours of Rameses are
coarsely indicated by a deeply-cut outline.[242] So too M. Charles
Blanc: "As we pass from the tomb of Seti I. to those of Seti II. and
Rameses IV., the decadence of Egyptian art makes itself felt, partly
in the character of the pictures, which no longer display the
firmness, the delicacy, or the significance, of those which we admired
in the tomb of the first-named monarch, partly in the exaggerated
relief of the sculptures."[243]
[241] MARIETTE, _Voyage dans la Haute-Égypte_, vol. i. p. 72.
Plates 23 and 24.
[242] CHAMPOLLION makes the same remark (_Lettres d'Égypte et de
Nubie_, p. 326).
[243] CH. BLANC, _Voyage dans la Haute-Égypte_, p. 178.
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