"great god in heaven" may increase the crop. To the right of him is a
charioteer standing beside a car and reining back a pair of horses, one
black, the other bay. Below is another charioteer with two white
horses. He sits on the floor of the car with his back to them, eating
or resting, while they nibble the branches of a tree close by. Another
scene is that of a scribe keeping tally of offerings brought to the
tomb, while fellahm are bringing flocks of geese and other fowl, some in
crates. The inscription above is apparently addressed by the goose-herd
to the man with the crates. It reads: "Hasten thy feet because of the
geese! Hearken! thou knowest not the next minute what has been said
to thee!" Above, a reïs with a stick bids other peasants squat on the
ground before addressing the scribe, and he is saying to them: "Sit ye
down to talk." The third scene is in another style; on it may be seen
Semites bringing offerings of vases of gold, silver, and copper to the
royal presence, bowing themselves to the ground and kissing the dust
before the throne. The fidelity and accuracy with which the racial type
of the tribute-bearers is given is most extraordinary; every face
seems a portrait, and each one might be seen any day now in the Jewish
quarters of Whitechapel.

[Illustration: 358.jpg Wall-Painting from a Tomb]

The first two paintings are representative of a very common style of
fresco-pictures in these tombs. The care with which the animals
are depicted is remarkable. Possibly one of the finest Egyptian
representations of an animal is the fresco of a goat in the tomb of
Gen-Amen, discovered by Mr. Mond. There is even an attempt here at
chiaroscuro, which is unknown to Egyptian art generally, except at Tell
el-Amarna. Evidently the Egyptian painters reached the apogee of
their art towards the end of the XVIIIth Dynasty. The third, the