and workshops with thousands of men, the sovereign who, in spite of his mortality, was looked up to by his people as one so near akin to the gods as to be hardly distinguishable from them, the high priest and father of his people, the king before whom all heads were bent to the earth; filled with his own glory and majesty the buildings which he caused to spring, as if by magic, from the earth. His effigy was everywhere. Seated in the form of colossal statues in front of the temples, in bas-reliefs upon pylons, upon the walls of porticos and pillared halls, he was represented sometimes offering homage to the gods, sometimes leading his troops to battle or bringing them home victorious. The supreme efforts of architect and sculptor were directed to constructing for their prince a tomb which should excel all others in magnificence and durability, or to immortalizing him by a statue which should raise its head as much above its rivals as the royal
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Fig. 21.—Scribe registering merchandize. Sakkarah. (9½ inches high. Drawn by Bourgoin.)
power surpassed the power and dignity of ordinary men. The art of Egypt was, in this sense, a monarchical art; and in so being it was the direct expression of the sentiments and ideas of the society which had to create it from its foundations.
After the king came the priests, the soldiers, and the scribes or royal functionaries, each receiving authority directly from the king and superintending the execution of his orders. These three groups formed what we may call the upper class of Egyptian society. The soil was entirely in their hands. They possessed among them the whole valley of the Nile, with the exception of the royal domain. The agriculturists were mere serfs attached to the soil. They cultivated, for a payment in kind, the lands belonging to the privileged classes. They changed masters with the lands upon which they lived, which they were not allowed to quit without the permission of the local authorities.
