  Even when the human form is depicted in Egyptian art without adulteration, it is still not animated by a genuinely free and living spirit and so does not become the shape of freedom itself. Figures, such as the Memnon Colossi of Amenhotep III in Western Thebes, display no “freedom of movement” (PKÄ, 89), in Hegel’s view, and other smaller figures, which stand with their arms pressed to their sides and their feet firmly planted on the ground, lack “grace [Grazie] of movement.” Egyptian sculpture is praised by Hegel as “worthy of admiration”; indeed, he claims that under the Ptolemies (305–30 B.C.) Egyptian sculpture exhibited great “delicacy” (or “elegance”) (Zierlichkeit). Nonetheless, for all its merits, Egyptian art does not give shape to real freedom and life and so fails to fulfill the true purpose of art.