purchased statuettes and statues of Hellenic style, and of correct and careful execution.  One of these, from Coptos, is apparently a miniature replica of a Venus analogous to the Venus of Milo.  But the provincial sculptors were too dull, or too ignorant, to take such advantage of these models as was taken by their Alexandrian brethren.  When they sought to render the Greek suppleness of figure and fulness of limb, they only succeeded in missing the rigid but learned precision of their former masters.  In place of the fine, delicate, low relief of the old school, they adopted a relief which, though very prominent, was soft, round, and feebly modelled.  The eyes of their personages have a foolish leer; the nostrils slant upwards; the corners of the mouth, the chin, and indeed all the features, are drawn up as if converging towards a central point, which is stationed in the middle of the ear.  Two schools, each independent of the other, have bequeathed their works to us.  The least known flourished in Ethiopia, at the court of the half-civilised kings who resided at Meroe.  A group brought from Naga in 1882, and now in the Gizeh collection, shows the work of this school during the first century of our era (fig. 209).  A god and a queen, standing side by side, are roughly cut in a block of grey granite.  The work is coarse and heavy, but not without energy.  Isolated and lost in the midst of savage tribes, the school which produced it sank rapidly into barbarism, and expired towards the end of the age of the Antonines.  The Egyptian school, sheltered by the power of Rome, survived a little longer.  As sagacious as the Ptolemies, the Caesars knew that by flattering the religious prejudices of their Egyptian subjects they consolidated their own rule in the valley of the Nile.  At an enormous cost, they restored and rebuilt the temples of the national gods, working after the old plans and in the old spirit of Pharaonic times.  The great earthquake of B.C. 22 had destroyed Thebes, which now became a mere place of pilgrimage, whither devotees repaired to listen to the voice of Memnon at the rising of Aurora.  But at Denderah and Ombos, Tiberius and Claudius finished the decoration of the great temples.  Caligula worked at Coptos, and the Antonines enriched Esneh and Philae.  The gangs of workmen employed in their names were still competent to cut thousands of bas-reliefs according to the rules of the olden time.  Their work was feeble, ungraceful, absurd, inspired solely by routine; yet it was founded on antique tradition—­tradition enfeebled and degenerate, but still alive.  The troubles which convulsed the third century of our era, the incursions of barbarians, the progress and triumph of Christianity, caused the suspension of the latest works and the dispersion of the last craftsmen.  With them died all that yet survived of the national art.[54]