so many questions about Greek art, the truth must lie between the two extremes.[2227] The economic conditions of early Greece certainly prove that the Greeks were dependent on outside peoples in many ways, and there is no a priori reason for denying this dependence in art. We clearly see Egyptian influence, for example, in the ceiling of the treasury of Orchomenos,[2228] and that the Greeks learned many animal decorative forms as well as a correct observation of nature from Assyrian art is clear, if we study the best examples of the late period of that art, the reliefs from the palace of Assurbanipal at Nineveh (Konyonjik), now in the British Museum. Such decorative designs could be easily transmitted to the Greeks by the Phœnicians on embroidered fabrics. It seems reasonable, therefore, to assume that early Greek artists, especially in the Greek colonies to the east and south of Greece, were acquainted with earlier models and especially with those of Egypt. The Greeks themselves of a later date recognized this debt to Egypt. This is shown by many passages in Pausanias, which mention the similarity existing between early Greek and Egyptian sculptures,[2229] and by the curious tale told by Diodoros about the Samian artist family of Rhoikos, according to which the latter’s two sons made the two halves of the statue of the _Pythian Apollo_ for Samos separately, Telekles working in Samos and Theodoros in Ephesos. When joined together the two parts fitted exactly, just as if they had been made by one and the same artist. Diodoros adds that τοῦτο δὲ τὸ γένος τῆς ἐργασίας παρὰ μὲν τοῖς Ἕλλησι μηδαμῶς ἐπιτηδεύεσθαι, παρὰ δὲ τοῖς Αἰγυπτίοις μάλιστα συντελεῖσθαι.[2230] Such a story is valuable in that it shows that the later Greeks believed that they had adopted the conventional Egyptian canon of proportions. If we compare any of the “Apollo” statues with Egyptian standing figures of any period of Egyptian art, as Bulle has done, the resemblances in detail between the two types will be found to be very striking. Thus from the Old Kingdom (Memphitic), which included the first eight dynasties of Manetho,[2231] we may cite the painted limestone statue of Ra-nefer and the wooden one of Tepemankh in the Museum of Cairo (Fig. 80), two men prominent in the fifth dynasty;[2232] or the wood statue of Ka-aper, the so-called _Sheik-el-Beled_, which represents the apogee of Memphitic art, and that of his “wife,” without legs or arms, the two statues being found similarly in a grave at Sakkarah (Memphis), and now being in the same museum.[2233] From the Middle Kingdom, including the eleventh to the seventeenth dynasties,[2234] we may mention the painted statue found at Dahshur and now in Cairo, which represents Horfuabra, the co-regent of Amenemhat III, who was one of the kings of the twelfth dynasty.[2235] From the New Empire, including the eighteenth to the twentieth dynasties,[2236] we cite the draped wood statue of the priestess Tui, a