In the achievement won by Egyptian art the priests took a leading part. The buildings of the temples and the tombs of the kings could only be erected after their designs; for in these essentially sacred things, sacred measures and numbers, were concerned, and, like architecture, sculpture and painting were primarily employed in the service of religion. As we might expect from the character of the people, the architecture of the Egyptians aimed at the firm and durable. The structures rise up simple in their lines, like the ridges of rock which are the boundaries of Egypt, broad and massive. The pyramids, with great simplicity of form, were found to display a considerable skill in dealing with and uniting large masses of stone. Following this path, the architecture of Egypt has always preserved a severity and simplicity of outline even when employing richer forms and ornaments. Among the Egyptians sculpture and painting never attained independence; it was their vocation to support architecture, and assist her in preserving in the stream of time the picture of the king, his sacrifices, and his achievements, and this or that incident of his reign. The sculpture of the Egyptians exhibits a vigorous attempt to grasp the forms in a naive, but prosaic and merely intellectual manner; it preserves them free from any fanciful use of symbols, and conceives the human form in fixed proportions and characteristic expression of movement, while it is still more happy in the form and character of the animals. Like architecture, sculpture prefers to work in the hardest and most lasting material. But, as in all other departments of life, so here; the type when once fixed, the canon of proportion when once discovered, the mode of treatment and the law of form is rigorously retained. With complete accuracy of execution in the most difficult material, sculpture constantly repeats the same figures, geometrical rather than natural in form. Yet in spite of this typical character, in sculpture and painting, as in architecture, a considerable development took place. The statues of the times of the pyramids, the Amenemha and Sesurtesen, exhibit, comparatively speaking, very correct forms, lively energy in the expression of action, and a strong treatment of the muscles; but the sculptures of the new kingdom are distinguished by greater variety of forms, a larger wealth of lines, and a delicacy of outline; the drawing of the figures is far more slender, and there is considerable grace in the treatment of massive pillars and capitals. The Tuthmosis and Amenophis, the Sethos, and the earliest Ramses, imposed upon Egyptian art an almost oppressive number of tasks, and in performing them she touched her highest point. But the amount of work must of itself have introduced a more and more conventional treatment within the limits of the typical circle in which sculpture moved; and at last this treatment was content with mere precision of outlines. This is the character of