Drawn by Faucher-Gudin, from a chromolithograph by Prisse d’Avennes, _Histoire de l’Art Égyptien_. The original is in the tomb of Rakhmirî, who lived at Thebes under the XVIIIth dynasty. The methods which were used did not differ from those employed by the sculptors and painters of the Memphite period more than two thousand years previously. The Egyptians wished the double to be able to adapt itself easily to its image, and in order to compass that end, it was imperative that the stone presentment should be at least an approximate likeness, and should reproduce the proportions and peculiarities of the living prototype for whom it was meant. The head had to be the faithful portrait of the individual: it was enough for the body to be, so to speak, an average one, showing him at his fullest development and in the complete enjoyment of his physical powers. The men were always represented in their maturity, the women never lost the rounded breast and slight hips of their girlhood, but a dwarf always preserved his congenital ugliness, for his salvation in the other world demanded that it should be so. Had he been given normal stature, the double, accustomed to the deformity of his members in this world, would have been unable to accommodate himself to an upright carriage, and would not have been in a fit condition to resume his course of life. [Illustration: 238.jpg CELLARER COATING A JAR WITH PITCH] Drawn by Boudier, from a photograph by Emil Brugsch-Bey. The original is now in the Gîzeh Museum. The particular pose of the statue was dependent on the social position of the person. The king, the nobleman, and the master are always standing or sitting: it was in these postures they received the homage of their vassals or relatives. The wife shares her husband’s seat, stands upright beside him, or crouches at his feet as in daily life. The son, if his statue was ordered while he was a child, wears the dress of childhood; if he had arrived to manhood, he is represented in the dress and with the attitude suited to his calling. Slaves grind the grain, cellarers coat their amphoræ with pitch, bakers knead their dough, mourners make lamentation and tear their hair. The exigencies of rank clung to the Egyptians in temple and tomb, wherever their statues were placed, and left the sculptor who represented them scarcely any liberty. He might be allowed to vary the details and arrange the accessories to his taste; he might alter nothing in the attitude or the general likeness without compromising the end and aim of his work. The statues of the Memphite period may be counted at the present day by hundreds. [Illustration: 239.jpg BAKER KNEADING HIS DOUGH] Drawn by Boudier, from a photograph by Béchard. The original is now in the Gîzeh Museum.