HISTORY OF ART.
inscriptions, and presents a marked contrast to the Doric, where each
member and each line fulfils a definite requirement of the building.
The architects of the tombs of Beni Hasan, however, were not
unacquainted with a light and elegant mode of building above
ground, which cannot have originated in the grotto architecture
II. Section of the N. Tomb and Columns of Beni Hasan.
This is proved by their use of the lotus-column (Fig. Ill), the
prototype of which is a group of four lotus-stalks bound together
and secured at the top by rings or ligatures, the capital being formed
by the blossoms. These columns, which contrast strongly with the
massive Proto-Doric, suggest a light style of garden architecture
While the architecture of the eleventh and twelfth dynasties
bears some slight resemblance to the earlier style, the sculpture of
the same period presents an almost total deviation from the ancient
traditions. The' primitive, lifelike realism to which we have al¬
ready alluded is displaced by the rigorous sway of the Canon, by
which all proportions are determined by fixed rules, and all forms
Baedekek's Egypt I. 2nd Ed. H