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By Lynn M. Stone

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This relief shows the Egyptian method of designing the scenes in each register as a series of rectangular units, like word-groups in an hieroglyphic inscription. Often an imaginary frame can be drawn around them so as to isolate them. In this case, however, the scene is linked to the next by the running figure. The familiar contrast between the large curvilinear elements in the design of the sacrificial ox and the bold zigzag of the men's limbs helps to emphasise movement. 39 68. MERERUKA WITH HIS SONS.

From Giza. IVth Dynasty. At Cairo. This statue from the Valley Building of the Second Pyramid at Giza is one of the few remaining out of well over a hundred from the various buildings of the pyramid complex of Khephren. I t has achieved a complete expression of the monumental; the pose of the hands-the left flat on the thigh, the right clenched as though holding a sceptre--has established a balance which iI without conflict, and is copied especially by royal sculptors for many generations afterwards.

Others were in a fragmentary state. They all display differing portraits of the King and his Queen, in whose features the countenances of the goddesses are cast (cp. No. 27). While they are in the same monumental tradition as the Khephren statue (Nos. 15, 16), a less austere conception is evident. Photo. Courtesy, Cairo Museum. 26. PAIR STATUE OF MYKERINUS AND HIS QUEEN. Dark slate, traces of colouring. Height 56 ins. From Giza. Later IVth Dynasty. At Boston. This statue of King Mykerinus and Queen Kha-merer-nebty II is incomplete; the lower part lacks the paint and polish that have been given to the features.

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