Schafer's 1919 study on Egyptian art remains an extremely useful tool, not only for egyptologist, but for all those interested in ways of representation with no perspective. Introducing English translation (1974), Gombrich does not hesitate to state: It constitutes indeed only attempt ever made of analyzing an artistic style as a mapping procedure. Schafer, he goes on, teaches us transformation-rules we have to apply to translate and to understand Egyptian image. Schafer's fundamental thesis does not surprise any more. In their attempts to reproduce nature, Egyptians construct their images summarizing those physical aspects of object which they consider to be essential, or more characteristic. To this effect, they rely on mental images rather than on an incomplete and truncated appearance. To represent a three-dimensional object on a flat surface, they proceed by frontal views of parts of object: that which seen frontally en or in profile extends into third dimension is transferred to flat plane of image. Hence, typical way of presenting man with shoulders and eyes en face; head, limbs, and torso in profile. Ideally, in such an image, the at first sight confusing appearance of parts on two-dimensional plane can in fact be shown to conform to simple technical rule, that in their two-dimensional projection, parts protruding from three-dimensional plane must be seen in profile, and parts extending on plane en face (Iversen 1975:35).