A head broken from a statue, found at Memphis (fig. 49), is remarkable for the deep and searching modelling. The bony structure, the facial muscles, and the surface folds are all scrupulously observed. The artist’s triumph is shown in the harmony and the living character which he has infused into his laborious precision. Very rarely can a man rise superior to such a rigorous training. The character of work is scarcely Egyptian; it belongs rather to the same school as the republican Roman portraits, but is earlier than those, as it has more precision of detail. Lastly, we have one of the best examples of Greek influence in Egypt shown by the wood-carving of a coffin (fig. 50). The long narrow face shaded by thick wavy hair is Greek in feeling, while the feather head-dress is old Egyptian. Unfortunately, the decay of the wood has broken the surface, but it still remains an impressive example of Egyptian influence on art which is mainly Greek. CHAPTER IV THE RELIEFS In reliefs the representation of Nature is complicated by the inevitable use of some conventions, and some kind of perspective, to reduce solid objects to a plane delineation. It follows that for the study of naturalistic art they are inferior to statuary, though they give rise to a whole system of artistic conventions which are of interest in themselves. It appears that among most races drawings precede reliefs, and hence relief must be looked on as developed drawing, and not as trammelled statuary. [Illustration: EARLIEST RELIEFS 51. Hyaena and bull 52. Gazelles and palm 53. Group of animals 54. King Narmer] The oldest reliefs are those of the prehistoric ivory carvings (see fig. 3), in which we see maintained the pictorial convention of crossing lines to substantiate the outline of a solid body, although the body was now expressed by the relief. A large quantity of ivory reliefs showing rows of animals were found at Hierakonpolis, belonging to the earliest historic times. Of the same class are the reliefs upon the primitive figures from Koptos (fig. 51). These comprise the elephant, stag’s head, and swordfish, as well as the hyaena and ox. The design is spirited, and seizes the characteristics of the animals; while hills are conventionally shown by lumps under each foot. The method of work is by bruising out the surface with a pointed stone pick around the outline, and so lowering the surrounding ground (here shaded), while the body of the animal remains of the original face of the stone.