Suddenly, in the middle of the XIth dynasty, a new style of careful elaboration begins to appear, a true archaic germ of a new school. This rapidly grew, until at the later part of that dynasty there is a stiff and over-elaborate style, which is well shown in the figure of the princess Kauat having her hair curled (fig. 58). The eyes of all the figures are gibbous, with a moderate fossa; the lips have usually a sharp edge, though sometimes merely rounded; and there is the beginning of facial modelling. In the XIIth dynasty the surface modelling became elaborate, most delicate gradations being wrought with faint outlines, as seen in the Memphite head, fig. 6. A bold high relief and simpler treatment was followed by the Theban school, as in fig. 59 of the god Ptah and Senusert I embracing. The use of sunk relief, as fig. 58, was as early as the IVth dynasty, though most of the tomb sculptures are in high relief. Sunk relief became commoner in the Middle Kingdom, and almost universal in the New Kingdom. It saved a large amount of labour, and it protected the sculptures from injury; but it is so forcible a convention that it is never so pleasing as the raised work. [Illustration: MIDDLE KINGDOM RELIEFS 58. Toilet of princess 59. Senusert I and Ptah] The XVIIIth dynasty opens with another revival of art, but yet it never reached the levels of the earlier ages. The profusion of reliefs of Thebes and other great sites has made the style of the XVIIIth and XIXth dynasties the most familiar to us, but its inferiority to that of the previous periods is more obvious the more it is studied. The sculptures of Hatshepsut at Deir el Bahri are celebrated, yet the detail in fig. 60 is not rich. There is scarcely any modelling of face or muscles, mere flat surfaces sufficing; there is but little expression in the features; and the whole effect is flat and tame. More character appears under Amenhotep III (fig. 61), though even here there is none of the muscular detail which was constantly shown in early work. The features smile gracefully without any real expression, and the trivial details of dress are worked out to give a picturesque elaboration. The taste for mere prettiness and graceful personalities ruled more and more as the XVIIIth dynasty developed. [Illustration: NEW KINGDOM RELIEFS 60. Hatshepsut 61. Servant of Kha-em-hat 62. Akhenaten and queen] At last this taste, stimulated by the influence of the Greek art and its love of expressing motion, broke all bounds in the movement under Akhenaten. The example in fig. 62 gives the essence of Atenism. The natural but ungainly attitudes, the flourishing ribands, the heavy collars and kilt, the ungraceful realism of the figures, the loss of all expression and detail of structure,--all these show the death of a permanent art in the fever of novelty and vociferation.