The variety of attitude and gesture which we so much admire in the Egyptian bas-relief is lacking to the statues.  A mourner weeping, a woman bruising corn for bread, a baker rolling dough, are subjects as rare in the round as they are common in bas-relief.  In sculpture, the figure is generally represented either standing with the feet side by side and quite still, or with one leg advanced in the act of walking; or seated upon a chair or a cube; or kneeling; or, still more frequently, sitting on the ground cross-legged, as the fellahin are wont to sit to this day.  This intentional monotony of style would be inexplicable if we were ignorant of the purpose for which such statues were intended.  They represent the dead man for whom the tomb was made, his family, his servants, his slaves, and his kinsfolk.  The master is always shown sitting or standing, and he could not consistently be seen in any other attitude.  The tomb is, in fact, the house in which he rests after the labours of life, as once he used to rest in his earthly home; and the scenes depicted upon the walls represent the work which he was officially credited with performing.  Here he superintends the preliminary operations necessary to raise the food by which he is to be nourished in the form of funerary offerings; namely, seed-sowing, harvesting, stock-breeding, fishing, hunting, and the like.  In short, “he superintends all the labour which is done for the eternal dwelling.”  When thus engaged, he is always standing upright, his head uplifted, his hands pendent, or holding the staff and baton of command.  Elsewhere, the diverse offerings are brought to him one by one, and then he sits in a chair of state.  These are his two attitudes, whether as a bas-relief subject or a statue.  Standing, he receives the homage of his vassals; sitting, he partakes of the family repast.  The people of his household comport themselves before him as becomes their business and station.  His wife either stands beside him, sits on the same chair or on a second chair by his side, or squats beside his feet as during his lifetime.  His son, if a child at the time when the statue was ordered, is represented in the garb of infancy; or with the bearing and equipment proper to his position, if a man.  The slaves bruise the corn, the cellarers tar the wine jars, the hired mourners weep and tear their hair.  His little social world followed the Egyptian to his tomb, the duties of his attendants being prescribed for them after death, just as they had been prescribed for them during life.  And the kind of influence which the religious conception of the soul exercised over the art of the sculptor did not end here.  From the moment that the statue is regarded as the support of the Double, it becomes a condition of primary importance that the statue shall reproduce, at least in the abstract, the proportions and distinctive peculiarities of the corporeal body; and this in order that the Double shall more easily adapt himself to his new