New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1890-03-20
PORTRAIT PAINTING IN EGYPT.
MISS AMELIA B. EDwARDsS LECTURE IN CHICK
ERING HALL.

ERING HALL.
As the time approaches for Miss Amelia b. Ed
warlss departure from New York, the audiences
which greet her in Chckering Hall grow larger and
larger Miss Edwards has established herself as a
prime favorite in this city, and her learning, wit
and delicate humor cntitle her to all the praise that
has been lavishcd upon her. Her lecture last even
ing on Portrait Painting in Egypt was one OF the
most interesting of the series. The substance OF the
lecture follows:
Most writer's on art referring to antiquity, imagine
that Greek art forms boundary beyond which there is
nothing altogether Egyptian art and
japanese ourshed long before the Greeks
OF Western art All art begins win
the prehistoric cavedwecr.. There is then an abyss OF
time what length separating the crudely
fashioned gods OF wood and bone Of that period from tho
projections Of Egyptian sculpture and architecture DIX
thousand years the Egyptians marvellous ouiiu
consummatc geomctrcians and mathematcians anu
also highly complicated system OF Writ
Ing The sculpture that remote was carried
to perfection surpassed taking into consideration
the disabilities under which the Egyptian workmcn aDored
The recent explorations in Egypt have proved the first
works OF Egyptian painters to be contemporary with
Chcops. the builder Of the great tombs These paintings
represent scenes OF fasng etc. and wholly Innocent
background considered essential In work OF
The heads all drawn in profile, the eyes and
body down to the waist drawn in front view, and tho
legs and feet represented in profile like the contour OF
the face Egyptian artists drew without models and were
entirely OF forc-horcnns and perspective II
never occurred Egyptian artist ,'emp to place
himself IN the attitudes in which he prod ed his kings.
women and peasants. and even armies l march. But
the works Of the old Egyptian pain oh their pre-.
p).tcrous anatomy, nOs only f.t historical
records but distinctly work, OF finish Of these
pictures which have withsiood the ages IS gonderful
The distinct types indicated Enthusiastically
camera characteristic ard apparel
OF each reproduced with exquisite mnuteness
which shows that the Egyptian painters in tho highest
rea-. 1t impossible for the artist Of ancient
Egypt show the Of stuifs flow OF dTapery
OF the coors he used, but bis work
and stamped with individuality and character.
In these qualities the examples q Egyptian rescued
the past compare with the best OF English, French
American today. There Is impression among
those who familiar with and it, literature thai
tc Egyptian paintings rigid and garing deficient IN
truth This IS the result OF ignorance. Initial
ait al nations. committed the blunders
beginnings show greater ignorance
perspective and color the Egyptian, and ind ed
comparison Of the two shows that great deal OF the
later excellence OF Greek art borrowed from the
Egyptians. The masterpieces of the famous Greek
painter, all lost. In spite Of the ruin that has taken
place however the world knows almost much Of these
great painter, through the pages Of Plny II their
works had not pcrishcd
But th're examples OF the Greek painting Of
that day existent and these fair index Of the excel
leuce ~ the works that lost. Pliny snccrcd at
Egyptian and pretcnsions Of the Egyptians that
t1y had 600 years before any knowledge Of
existed In Greece. Ilny increduOus and ignorant
and Egypts priority at least 1000 years, and not
600 and comparing the examples Of Greek painting
in IT, hghe, state OF perfection with the earlier examples
81 Egyptian painting verdict Of IS the
sup .riority assumed ~ the Greeks was absurd.