'-' r / - -^ Egyptian Art £105 the "forces of wind and sand, have come the treasures now sjliared 4 between the museums of Cairo and Berlin. \ ^v-tr r .'' Here lived Thutmose, the chief sculptor; it was in his casting* -~~' *" • room that the masks, now in Berlin, were made, and in the small ' chamber near the veranda the master kept his studies and his models. Thutmose based his work not only on a keen observa- tion of nature but also on casts taken from life (Fig. 14), when ^he wished to record the characteristic features of a sitter. On this foundation of undoubted fact he would set himself to impose the artistic convention of the time. It is a moving experience to follow the stages in this idealization of human 8 nature, until one sees with amazement the emergence of the *• Nefertiti bust of the Berlin Museum, and the head from, the f Cairo Museum, which comes from another studio. Art critics have already discussed at great length what label """should be affixed to the Amarna school. Naturalistic art, say 1 some; idealistic, say others. The products of the workshops at ' El-Amarna have made it possible for us to gain some notion of ^the naturalistic inspiration of a group of picked artists who, in ^' conformity with the doctrine of the Pharaoh who was their ^master, stamped their work with the imprint of an ideal quite - different from that of preceding generations. ^ * § xvi. Tutankhamen's Tomb >H The curiosity of the whole world during the winter of. 1922-3 * was centred in the Valley of the Kings at Thebes. It was an ^ unprecedented event, and one which will doubtless never occur i" again. The tomb of a Pharaoh had been discovered intact. Nor 1 was it one of those kings whom we have been accustomed to >, regard as one of a mere series. It was actually Tutankhamen, \ the ruler who ended the Amarna revolution. His tomb thus bore witness to a period when the art of the New Kingdom had not only reached its highest point but also had recently under- gone a period of stress which had given it a unique character.