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loS                          Egyptian Art
impression that the relation is one of direct descent; but it
shows, none the less, that the kouroi are difficult to account for
without reference to the Egyptian figures.
Certain heads of the Saite period in Egypt are among the
works which have received the widest appreciation. The realistic
character of the faces, especially of those in which attempts have
been made to show the signs of old age, have reminded connois-
seurs of the most accomplished work of the Pyramid age; so
reminiscent are they, in fact, that attempts have been made by
some scholars to attribute to the Memphite period heads which
others consider Saite, while quite recently a writer has attempted
to establish a late period for certain works hitherto classed as.
The masterpiece in this style is the *Green Head' at Berlin
(Fig. 16). It is the likeness of a priest, the skull forcefully
modelled, and the features accentuated by the obvious signs of
old age—crows' feet at the temples, pouches under the eyes,
deep lines from the nostrils to the corners of the mouth. The
curious shape of the somewhat fleshy ears has been meticulously
rendered. This face, which has none of that impassive character
common in most mortuary likenesses, gazes at one, for all its
sightless eyes, with an intensity of expression only to be found
in a few outstanding Roman portraits.
§ xix. The Tigrane Pasha Relief
Even the most inexperienced visitor finding himself for the first
time in the Alexandria Museum, and standing before the relief
given by Tigrane Pasha, is struck by the distinction which
marks this work. The originality of this version is at once
apparent, though the scene itself is repeated times without
number in the repertory of the burial-places.
It is to G. Ben£dite that we owe the right term, cneo-
Memphite art', applied to this new rendering of traditional
themes. The dead man is seated on a light stool, made of