The statue of Khafra (fig. 27) carved in diorite is one of the grandest works of Egypt. The entire dignity and majesty shown contrast strongly with the active air of the subordinate classes. The muscular detail is powerful, but yet in keeping with the serenity of the figure. The whole is best grasped from below, as it was intended to be seen; but the head should be studied at its own level, and the profile, from a cast (fig. 28), shows the form as it originally appeared when covered with a facing which concealed the grain of the stone. The difference of character between the calm, easy dignity of this, and the terrible energy of Khufu (fig. 123), should be observed. It shows how free the art is from any mere convention of majesty. The hawk behind the king is shown as spreading out its wings to protect the royal head. This symbolism is ingeniously hidden in the front view, so as not to interfere with the effect of the whole figure as it was intended to be seen. The figures of the Vth and VIth dynasties have more vivacity than those earlier, but scarcely such a real vitality. The well-known scribe (fig. 29) is a good piece of expression, showing the attentive, waiting air of a man who is following dictation. The anatomy is not detailed, and the surfaces look rather blocked out and bald as compared with Khafra. [Illustration: OLD KINGDOM SCULPTURE 29. The scribe 30. Wife and daughter 31. Ranofer] The lower part of a group is given here (fig. 30) for figures of the seated wife and daughter. These show good modelling of the figure in a close-fitting garment, and the hair is worn over the forehead beneath the wig, as by Nofert. The figure of Ranofer (fig. 31) is one of the most dignified of the portraits of officials. The pose is strong; the muscles are well rendered, and not too full though clear. The wig stands well off the head, and gives a continuous outline with the figure. It is hard to see how the whole expression could be better than this. On looking closely at the detail of these early statues, there is very little that can be set down as conventional. All the features are natural, well placed, and harmonious. The relation of the brow to the eyes is generally true. But this point was entirely missed in later times. In the XIIth dynasty the eye is rather too forward; and in the XVIIIth there is hardly a single statue that is correct, the eyes usually projecting to the plane of the brow. On observing even the finest figures of later times it will be seen how purely conventional is their treatment; the mouth and eyes are cold and mechanical, and it is seldom that any one feature even approaches the truth of the early art. In the XIIth dynasty the work shows the scholastic style of deliberate accuracy, without as much personal vitality as in earlier times. Yet it is full of carefully observed detail, and is by no means perfunctory like the later work.