Identifier: dawnofcivilizati01masp (find matches)
Title: The dawn of civilization: Egypt and Chaldaea
Year: 1897 (1890s)
Authors: Maspero, G. (Gaston), 1846-1916
Subjects: Civilization
Publisher: London : S.P.C.K.
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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they excite at once the wonder and repulsion of an eye accus-tomed to the delicate grace, and at times somewhat slender form, which usuallycharacterized the good statues of the ancient and middle empire of Egypt.But when we have got over the effect of first impressions, we can but admire 1 Inscription B, 11. 64-69 ; cf. Amiaud, The Inscriptions of Telloh, in the Records of the Past,2nd series, vol. ii. p. 82 ; and Heuzey-Sarzëc, Découvertes en Chaldée, p. xi. ; and Jensen, Inschriften,in the Keilschri/tliche Bibliothek, vol. iii. part 1, p. 39. 2 Drawn by Faucher-Gudin (Heczey-Sarzeo. Friniti»* en Chaldée, pl. 20). 3 Heuzey-Sarzec, Découvertes, pis. 9-21. PERROT-Cmpt :z, Histoire de lArt, vol. ii. pp. 592-599,have pointed out both their merits and defects; cf. Oppert, Die FranzSsischen Ausgrabungen inChaldxa, in the Verhandlungtn of the IVth Orioaul Congress, vol. ii. pp. 236-238 ; and F. EecEK,Veher altclmldaische Kunst, in the Zeitschri/t jur Assyriologie, vol. ii. pp. 25-35.
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SITTING STATUE OF GUDEA.2 612 ANCIENT CEALD2EA. the audacity with which the artists attacked their material. This is of harddolerite, offering great resistance to the tool—harder, perhaps, than the dioriteout of which the Memphite sculptor had to cut his Khephren : they succeededin mastering it, and in handling it as freely as if it were a block of limestone ormarble. The surface of the breast and back, the muscular development of theshoulders and arms, the details of the hands and feet, all the nude portions, are treated at once with aboldness and attention tominutiae rarely met with insimilar works. The pose islacking in variety ; the in-dividual, whether male orfemale, is sometimes repre-sented standing and some-times sitting on a low seat,the legs brought together,the bust rising squarelyfrom the hips, the handscrossed upon the breast, ina posture of submission orrespectful adoration. Themantle passes over the leitshoulder, leaving the rightfree, and is fastened on theright brea

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