The only doubt that remains is as to the _material_ employed by the Egyptian sculptors in their attacks upon the granite. Were their mallets and _points_ of stone or of metal? They could only dispose of instruments which, with the exception of the chisel, were incompatible with really delicate workmanship. With the latter instrument the skilful carver can obtain any effect he requires from a material which is neither too hard nor too soft--such as marble; but the rocks from which the Egyptians struck their finest work do not lend themselves kindly to the chisel. To obtain the effects required they had to expend as much time and patience upon them as upon their works of architecture. But in spite of the industry and skill of workmen who did not count 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. [Illustration: FIG. 253.--Painting at Thebes (Champollion, pl. 161).] [Illustration: FIG. 254.--Painting at Thebes (Champollion, pl. 161).]