Note: Project Gutenberg also has an HTML version of this file which includes the 107 original illustrations. See 64387-h.htm or 64387-h.zip: (http://www.gutenberg.org/files/64387/64387-h/64387-h.htm) or (http://www.gutenberg.org/files/64387/64387-h.zip) Images of the original pages are available through Internet Archive. See https://archive.org/details/egyptianartstudi00maspuoft Transcriber’s note: Text enclosed by underscores is in italics (_italics_). Text enclosed by equal signs is in bold face (=bold=). EGYPTIAN ART * * * * * * _BY THE SAME AUTHOR_ New Light on Ancient Egypt. Translated by ELIZABETH LEE. Illustrated. Demy 8vo, cloth. =12/6= net. Cheap Edition =6/-= net. Egypt: Ancient Sites and Modern Scenes. Translated by ELIZABETH LEE. With Coloured Frontispiece and 16 other Illustrations. Demy 8vo, cloth. =12/6= net. LONDON: T. FISHER UNWIN * * * * * * EGYPTIAN ART Studies BY SIR GASTON MASPERO Hon. K.C.M.G., Hon. D.C.L., and Fellow of Queen’S College, Oxford Member of the Institute of France, Professor at the Collège de France, Director-General of the Service des Antiquités, Cairo Translated by Elizabeth Lee With 107 Illustrations T. Fisher Unwin London: Adelphi Terrace Leipsic: Inselstrasse 20 First published in 1913 (All rights reserved) PREFATORY NOTE The following essays were written during a period of more than thirty years, and published at intervals of varying lengths. The oldest of them appeared in _Les Monuments de l’Art Antique_ of my friend Olivier Rayet, and the others in _La Nature_ at the request of Gaston Tissandier, in the _Gazette des Beaux-Arts_, in the _Monuments Piot_, and chiefly in the _Revue de l’Art Ancien et Moderne_, where my friend Jules Comte gave them hospitality. As most of these periodicals do not circulate in purely scientific circles, the essays are almost unknown to experts, and will for the greater part be new to them. Indeed, they were not intended for them. In writing them, I desired to familiarize the general public, who were scarcely aware of their existence, with some of the fine pieces of Egyptian sculpture and goldsmiths’ work, and to point out how to approach them in order to appreciate their worth. Some, after various vicissitudes, had found a home in the Museums of Paris or of Cairo, and I wrote the notices in my study, deducing at leisure the reasons for my criticisms. Others I caught as they emerged from the ground, the very day of or the day after their discovery, and I described them on the spot, as it were, under the influence of my first encounter with them: they themselves dictated to me what I said of them.