The action of the arm which brandishes the lance is somewhat angular, but the expression of strength and triumph which animates the whole person of the warrior king, and the despairing resignation of the vanquished, compensate for this one defect.

The group of Horemheb and the god Amen (fig.

198), in the Museum of Turin, is a little dry in treatment.

The faces of both god and king lack expression, and their bodies are heavy and ill-balanced.

The fine colossi in red granite which Horemheb placed against the uprights of the inner door of his first pylon at Karnak, the bas-reliefs on the walls of his speos at Silsilis, his own portrait and that of one of the ladies of his family now in the museum of Gizeh, are, so to say, spotless and faultless.