took advantage of their opportunities would scarcely be believed by one who had not seen their works at Tell el Amarna. Some of their bas-reliefs are designed in almost correct perspective; and in all, the life and stir of large crowds are rendered with irreproachable truth. The political and religious reaction which followed this reign arrested the evolution of art, and condemned sculptors and painters to return to the observance of traditional rules. Their personal influence and their teaching continued, however, to make themselves felt under Horemheb, under Seti I., and even under Rameses II. If, during more than a century, Egyptian art remained free, graceful, and refined, that improvement was due to the school of Tell el Amarna. In no instance perhaps did it produce work more perfect than the bas-reliefs of the temple of Abydos, or those of the tomb of Seti I. The head of the conqueror (fig. 197), always studied _con amore_, is a marvel of reserved and sensitive grace. Rameses II. charging the enemy at Abû Simbel is as fine as the portraits of Seti I., though in another style. The action of the arm which brandishes the lance is somewhat angular, but the expression of strength and triumph which animates the whole person of the warrior king, and the despairing resignation of the vanquished, compensate for this one defect. The group of Horemheb and the god Amen (fig. 198), in the Museum of Turin, is a little dry in treatment. The faces of both god and king lack expression, and their bodies are heavy and ill-balanced. The fine colossi in red granite which Horemheb placed against the uprights of the inner door of his first pylon at Karnak, the bas-reliefs on the walls of his speos at Silsilis, his own portrait and that of one of the ladies of his family now in the museum of Gizeh, are, so to say, spotless and faultless. The queen's face (fig. 199) is animated and intelligent; the eyes are large and prominent; the mouth is wide, but well shaped. This head is carved in hard limestone of a creamy tint which seems to soften the somewhat satirical expression of her eyes and smile. The king (fig. 200) is in black granite; and the sombre hue of the stone at once produces a mournful impression upon the spectator. His youthful face is pervaded by an air of melancholy, such as we rarely see depicted in portraits of Pharaohs of the great period. The nose is straight and delicate, the eyes are long, the lips are large, full, somewhat contracted at the corners, and strongly defined at the edges. The chin is overweighted by the traditional false beard. Every detail is treated with as much skill as if the sculptor were dealing with a soft stone instead of with a material which resisted the chisel. Such, indeed, is the mastery of the execution, that one forgets the difficulties of the task in the excellence of the results. [Illustration: Fig. 200.--Head of Horemheb.] [Illustration: Fig. 201.--Colossal statue of Rameses II., Luxor.]