Their conventional system differed materially from our own.  Man or beast, the subject was never anything but a profile relieved against a flat background.  Their object, therefore, was to select forms which presented a characteristic outline capable of being reproduced in pure line upon a plane surface.  As regarded animal life, the problem was in no wise complicated.  The profile of the back and body, the head and neck, carried in undulating lines parallel with the ground, were outlined at one sweep of the pencil.  The legs also are well detached from the body.  The animals themselves are lifelike, each with the gait and action and flexion of the limbs peculiar to its species.  The slow and measured tread of the ox; the short step, the meditative ear, the ironical mouth of the ass; the abrupt little trot of the goat, the spring of the hunting greyhound, are all rendered with invariable success of outline and expression.  Turning from domestic animals to wild beasts, the perfection of treatment is the same.  The calm strength of the lion in repose, the stealthy and sleepy tread of the leopard, the grimace of the ape, the slender grace of the gazelle and the antelope, have never been better expressed than in Egypt.  But it was not so easy to project man—­the whole man—­upon a plane surface without some departure from nature.  A man cannot be satisfactorily reproduced by means of mere lines, and a profile outline necessarily excludes too much of his person.  The form of the forehead and the nose, the curvature of the lips, the cut of the ear, disappear when the head is drawn full face; but, on the other hand, it is necessary that the bust should be presented full face, in order to give the full development of the shoulders, and that the two arms may be visible to right and left of the body.  The contours of the trunk are best modelled in a three-quarters view, whereas the legs show to most advantage when seen sidewise.  The Egyptians did not hesitate to combine these contradictory points of view in one single figure.  The head is almost always given in profile, but is provided with a full-face eye and placed upon a full-face bust.  The full-face bust adorns a trunk seen from a three-quarters point of view, and this trunk is supported upon legs depicted in profile.  Very seldom do we meet with figures treated according to our own rules of perspective.  Most of the minor personages represented in the tomb of Khnumhotep seem, however, to have made an effort to emancipate themselves from the law of malformation.  Their bodies are given in profile, as well as their heads and legs; but they thrust forward first one shoulder and then the other, in order to show both arms (fig. 164), and the effect is not happy.  Yet, if we examine the treatment of the farm servant who is cramming a goose, and, above all, the figure of the standing man who throws his weight upon the neck of a gazelle to make it kneel down (fig. 165), we shall see that the action of the arms and hips is