These artisans made the greater part of their livelihood by means of these epitaphs, and the majority thought only of selling as many of them as they could; some few, however, devoted themselves to work of a higher kind. Sculpture had reached a high degree of development under the Thûtmoses and the Ramses, and the art of depicting scenes in bas-relief had been brought to a perfection hitherto unknown. This will be easily seen by comparing the pictures in the old mastabas, such as those of Ti or Phtahhotpû, with the finest parts of the temples of Qurneh, Abydos, Karnak, Deîr el-Baharî, or with the scenes in the tombs of Seti I. and Ramses II., or those of private individuals such as Hûi. The modelling is firm and refined, showing a skill in the use of the chisel and an elegance of outline which have never been surpassed: the Amenôthes III. of Luxor and the Khâmhâît of Sheikh Abd el-Qurneh might serve for models in our own schools of the highest types which Egyptian art could produce at its best in this particular branch. The drawing is freer than in earlier examples, the action is more natural, the composition more studied, and the perspective less wild. We feel that the artist handled his subject _con amore_. He spared no trouble in sketching out his designs and in making studies from nature, and, as papyrus was expensive, he drew rough drafts, or made notes of his impressions on the flat chips of limestone with which the workshops were strewn. [Illustration: 035.jpg KHÂMHAÎT] Drawn by Boudier, from a photograph by M. de Mertens. Nothing at that date could rival these sketches for boldness of conception and freedom in execution, whether it were in the portrayal of the majestic gait of a king or the agility of an acrobat. Of the latter we have an example in the Turin Museum. The girl is nude, with the exception of a tightly fitting belt about her hips, and she is throwing herself backwards with so natural a motion, that we are almost tempted to expect her to turn a somersault and fall once more into position with her heels together. [Illustration: 026.jpg SKETCH OF A FEMALE ACROBAT] Drawn by Boudier, from a photograph by Petrie. The unfinished figures on the tomb of Seti I. shows with what a steady hand the clever draughtsman could sketch out his subjects. The head from the nape of the neck round to the throat is described by a single line, and the contour of the shoulders is marked by another. The form of the body is traced by two undulating lines, while the arms and legs are respectively outlined by two others. The articles of apparel and ornaments, sketched rapidly at first, had to be gone over again by the sculptor, who worked out the smallest details. One might almost count the tresses of the hair, while the folds of the dress and the enamels of the girdle and bracelets are minutely chiselled. [Illustration: BAS-RELIEF OF SETI I., SHOWING CORRECTIONS MADE BY THE SCULPTOR]