Setting aside a few stelæ in which the arrangement is bad and the composition coarse,[47] the most ancient monuments we possess of that school are those discovered by Carter and Naville between 1900 and 1906 in the tomb of Montouhotpou V at Deîr-el-Baharî. The bas-reliefs of the chapel belonging to the pyramid are as correct in design and as firm in touch as the fine Memphian bas-reliefs of the Vth or VIth Dynasty; but the relief is more accentuated, the outline bolder and freer, the man more thick-set, and more firmly placed on the ground, the woman of a more slender figure, with larger hips and a more ample bosom. The statue of the king which is in the Cairo Museum[48] was cut in the sandstone with a bold, firm chisel. The feet and knees are thick, the hands massive, the bust indicated in summary fashion, the face boldly modelled. The colour is harsh, the flesh black, the costume white, the cap red, according to the ritual of the ceremonies for which it was destined; the whole has an aspect of barbarism, but a premeditated barbarism, having regard to the religious effect to be produced. If a Memphian sculptor had treated a similar subject, he would not have failed to harmonize the lines and soften the colour: unconsciously he would have fused its type with the softer type of human physiognomy that prevailed in his school, at the risk of enfeebling its energy. The Theban sculptor, on the contrary, exerted himself above all to reproduce the truth as it revealed itself to him, and that preoccupation is dominant to the end with all of his school. They sought the likeness with the intention of exaggerating rather than of softening the individual features of the subject, and in order to attain it, did not shrink from roughness of execution nor violence of colour: they often fell into barbarism, but scarcely ever into banality.