[62] See _Ibid._, p. 167. Where he is speaking of the Pharaohs he says: "By the practice of justice towards their subjects, they secured to themselves that good-will which was due from children to a parent ... and this, Diodorus observes, was the main cause of the duration of the Egyptian state." [63] _Z._, III, LVI. [64] Dr. Petrie, _Religion and Conscience in Ancient Egypt_, p. 120. [65] _W. P._, Vol. II, p. 309. [66] _History of Architecture_, Vol. I, p. 95. [67] Miss Jane Harrison, _Introductory Studies in Greek Art_, p. 6. [68] Dr. Petrie, _A History of Egypt_, p. 35. Referring to the Lady Nophret and her husband, the author says (speaking quite in the style of a modern art-critic): "These statues are most expressive, and stand in their vitality superior to the works of any later age in Egypt." [69] On the walls of some of the tombs I inspected at Sakarah, the consummate mastery with which some of the minutest characteristics of domestic animals were represented in bold outline gave me a standard by the side of which even M. Boutet de Monvel's beautiful studies of animals seemed to fall into the shade. (See his illustrations to La Fontaine's fables.) [70] Models of the Scribe and of the Cheikh-el-Beled are to be seen at the British Museum; but they give one but a poor idea of the originals. [71] Georges Perrot and Charles Chipiez, _A History of Art in Ancient Egypt_, Vol. II, p. 181. Speaking of these portrait statues, they say: "They were not ideal figures to which the desire for beauty of line and expression had much to say; they were stone bodies, bodies which had to reproduce all the individual contours of their flesh-and-blood originals; when the latter was ugly, its reproduction had to be ugly also, and ugly in the same way." [72] See Georges Perrot and Charles Chipiez, _A History of Art in Ancient Egypt_, Vol. II, p. 181. Speaking of the arrangements which were necessary to enable the inhabitants of the tomb to resist annihilation, the authors say: "Those arrangements were of two kinds, a provision of food and drink, which had to be constantly renewed, either in fact or by the magic multiplication which followed prayer, and a permanent support for the Ka or double, a support that should fill the place of the living body of which it had been deprived by dissolution." [73] Okakura-Kakuzo passes a funny remark in regard to our modern realistic portraits; he says: "In Western houses we are often confronted with what appears to us useless reiteration. We find it trying to talk to a man while his full-length portrait stares at us from behind his back. We wonder which is real, he of the picture, or he who talks, and feel a curious conviction that one of them must be a fraud."--The Book of Tea, p. 97.