Egyptian sculpture

34 EGYPTIAN SCULPTURE

i.e. the earlier, end of the sequence must be placed the Bull palette, which is characterised by rounded modelled surfaces and lines which are not merely incised, but have rounded edges. These two examples give a good ground for comparison, as there is the same motif in both; namely, the king as a bull (a buffalo bull), trampling on and goring an enemy. At the same time, the actual method of working all the slates shows a high degree of skill and artistic feeling. The beauty of line, the careful representation of the muscular development of both men and animals, show an observation beyond the usual expression of art in primitive times. The flatness of the work of the later slate palettes should be compared with the more raised modelling which appears in the earlier examples. In the later, the surfaces are flat, the details being indicated by lines, while in the earlier palettes the modelling, although slight, is very definite.

The Bull palette (Pl. VI. 1), of which only a fragment survives, gives the first instance of the king as the “Strong Bull” destroying his enemies. The action is clear; the animal has caught the man in the back; it straddles across the fallen figure and is in the act of lowering its head preparatory to using its horns. The man lies prostrate on the ground, the line of the body being horizontal; the hands are outflung, and the attitude is that of a human being stunned and vanquished. The composition of the group is excellent, and shows the absolute overthrow of the enemy, while the energy of the bull is in marked contrast with the helplessness of its victim. The surface of the figures, although but slightly modelled, is done with a high degree of skill; the muscles of the legs and the markings round the eye and muzzle are represented by lines, each of which had some meaning for the sculptor. The hair between the bull’s horns is indicated by parallel