The sole observance of hieratic symbol were the horns of Athor set in
the hair.
The figure was posed as if in the act of a forward movement. The knee
was slightly bent in an attitude of supplication. The face was
upturned, the eyes lifted, the arms extended to their fullest, forward
and upward, the fingers curved as if ready to receive. The hair was
separated into two heavy plaits, which fell below the waist down the
back.
One sandaled foot was advanced, slightly; the other hidden by the hem
of the robe.
Every physical feature visible upon the living form so disposed and
draped had been carved upon this grace in stone. Egypt had never
fashioned anything so perfect. Indeed, she would not have called it
sculpture.
The glyptic art of Greece had been paralleled hundreds of years before
it was born.
On the face there was the light of overpowering love together with the
intangible pride so marked on the representations of profane deities.
But the most manifest emotions were the great yearning and entreaty.
They were marked in the attitude of the head thrown back, in the
outstretched arms and in the bent knee. That there was more hopeful
expectancy than despairing insistence, was proved by the curve of the
ready fingers and the uncertain smile on the lips.
Pages:
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253