Nevertheless, it loses when compared with the schist group of the time of Amenôthes II. The mythological element is less predominant, and the head gains by not being framed by two tufts of aquatic plants: but if the religious convention is less encumbering, the artistic convention and the conventions of the studio come out in a much more apparent fashion. The Saqqarah group belongs to the Memphian school, and, as with nearly all the products of that school, the form has something artificial and impersonal. Hathor is a symbolic cow, the half-abstract type of Egyptian cows, a type that in the eyes of the Memphians realized the ideal of the earthly or sacred cow: she has the elegance, but also the softness and the rather insipid meekness, which distinguishes the human figures. The Hathor of Naville, on the contrary, belongs to the Theban school, and possesses the characteristics that I have described above.[59] The royal studio whence it came was governed by the theological laws, and was forbidden to modify in any way the types that, in the course of ages, had been determined on for revealing the concepts of popular tradition or learned dogma, but it tried to keep their expression as near to life as the rites authorized. The artist who produced the Memphian Hathor chose a pattern from his cartoons, and translated it into stone without troubling to correct the banal purity by imitating a beast of the sacred herd. The sculptor to whom we owe the Theban Hathor, on the contrary, while preserving the ritual arrangement of the parts and the accumulation of the symbols, has placed them on a real cow, on the cow, perhaps, that for the moment incarnated the goddess in the neighbouring temple of Queen Hachopsouîtou. Imagine her without the emblematic surroundings he was compelled to give her--the heavy head-dress, the lotus tufts, the two statuettes of the Pharaoh--and you will have the good motherly creature who goes peaceably to pasture, and, as she goes, observes everything with her eye, inquisitive and dreamy at the same time. Neither Greece nor Rome has left us anything that can be compared with it; we must go to the great sculptors of animals of our own day to find an equally realistic piece of work. [Illustration: PSAMMETICHUS AND THE COW HATHOR. From the right-hand side of the group.] XII THE STATUETTE OF AMENÔPHIS IV (_The Louvre_) The statuette originally formed part of a group. The lower part has been fairly skilfully restored in modern times: the upper comes from the Salt collection,[60] and, like most of the objects of that collection, was found at Thebes. It represents Amenôphis IV of the XVIIIth Dynasty, the first in date of the Pharaohs we are accustomed to name the heretic kings.