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Show 114 GENERAL REMARKS ON ICONOGRAPIIY. toes arc artistically represented. King NEFER-ilE'rEP's oar, however, Fig. 11. AMENMllll.A-Stattle. is placed too high, tho earliest instance of such an abnormity in an Egyptian statue. The invasion of tho nomad llyksos, between the XITith and XVTith Dynasties, whether Arab and Pba:mician Shemites, as commonly believed, or perhaps Turanians (Scythians, Turkomans), as we might guess from the fact that they were a people of horsomcn,68 interrupt d the development of Egyptian art and civilization for several centuries. Their reign is marked by destruction and ruins, not by works of art or of public utility; still their irruption benefited the valley of the Nile through their introduction of the most important of all auxiliary domesticated animals, the horse, unknown to primeval Arabia, and to Egypt previously to the IIyksos, but appearing on the reliefs of the Dynasty which overcame the invaders. The XVIIth Dynasty of AAHMES 00 and his successors snapped tho foreign yoke asunder, and expelled tho nomades. Art revived again. The restoration in public lifo was as thorough-going as that of Franco under the Bourbons; tho reign of tho foreign intruders was altogether igno,rcd, and scarcely mentioned in the records but for its overthrow. In their canons 70 of art, this New Empire tried to imitate tho style of the XTith and XITith Dynasty; but the spirit which manifests itself on the monuments of the XVIIth Dynasty is di:ff rent from that of tho earlier periods. Instead of the refined elegance w b ich reigned under the SESORTASENS, we encounter more grandeur in the New Empiro,-somowbat incorrect and conventional, and less attentive to nature than in tho earlier monuments, but always impressive. During the victorious period between •rnuTMosrs I. and BEXEN-ATEN, 88 PJOKERlNO, The Races of Jlfen, vol. ix. of the U. S. Explor. Exped., 1848. ·• On tho introduced plants and animals of Egypt :"-GLJDDON, Otia /Egyptiaca, London, 1849, p. 60. 00 Tho llyk-tot arc beginning, o.t last, to emerge from historical darkness. "L1t lecture du papyrus No. 1 do Ia collection Sallior a r6v616 dornieremont il. M. do Roug6 uno des mentions longtcmps oheroMos. Lo p~tpyrus s'est trouv6 titre un fragment ·d'uno histoiro de la guorro entropriso par lo roi do la 'l'Mbai:dc contre lo roi pasteur Apo.pi. Ccltc gucrro so tormina sous Amosis (AAUMEs), le mono.1·que suivant, par !'expulsion des 6trangers." (AtiiRilD MAURY, Revue des Deux Alonde1, Sept. 1866, p. 1068). 10 I usc the term "canon," in tho sense adopted by LErstus (Auawahl, Leipzig, fol. 1840 -Pinto "Canon der lEgyptischen Proportioncn "), and since so well classified into three epochns of artistic variation in the De11kmiiler ;-by Dmon (Gallery of Antiq11ities selected from tlte Britith Mt~twm, Part II., Pl. 83, p. 81 ;)-o.nd by lloNOMJ, on tho co.uon of Vitruvius Pollio (T!te Proportiont of tlte Duman Figure, London, 8vo., 1856). \ l J ! \ , ... "' '\ •' .,.,. ~ · :·:· :.·. , .. , . : :I J : I f ', '·: f .. 0 I o • , ' I If ~ '•, :I Men-ka-her. _ V~~ Dynasty. (Louvre Museum.) •' ::..·.: . *' •• |
