Of the statues found in the tomb, two, the life-sized ones of bituminised wood adorned with gold, were fine specimens of the normal type of tomb portrait; the third, the so-called “Mannikin,” was of a different class. It was only a half-length, and lacked the arms; but in other respects it was a careful and artistic piece of work and obviously a faithfully studied portrait. The idea that its imperfect condition is due to the fact that it was a sort of glorified tailor’s dummy, on which the royal robes were fitted before being worn by the Pharaoh, may probably be dismissed without ceremony. It is not obvious why, in a period when court dress was of the most elaborate type, with long robes of fine linen falling to the feet, and wide sleeves coming almost to the elbow, the mannikin should have neither legs nor arms, which one would have judged essential for the purpose of trying the fall of the robe. Another view was that it was a portrait, not of Tutankhamen, but of his wife, Ankh. s. en. Amen. There can be no doubt about the quality of the portrait, though to talk of “the strange pensive smile playing about the lips, recalling the baffling smile of Da Vinci’s Mona Lisa,” is to invite comparisons which are scarcely fair to the older work of art; but it certainly is not the portrait of a woman. It may be a head-portrait of the type not uncommon in Old Kingdom tombs; or it may be part of the foundation of a copper statue, like that of Pepy of the Old Kingdom, though in that case it is difficult to see why it should have been so carefully coloured. In the meantime it is impossible to say much about the treasures of the sarcophagus-chamber and its annexe. Scarcely more than a glimpse has been vouchsafed of these, no more than enough to whet curiosity and expectation. But there can be little doubt that the splendour of the two inner chambers will be in accordance with the preface to it which the outer chambers have yielded. No one can doubt the magnificence of the great canopy, which in itself would be a treasure beyond price; and all observers are at one as to the marvellous beauty of the shrine with the four goddesses. The motive of its decoration is, of course, one perfectly familiar in Egyptian art, and is found in all ages. The beautiful pink granite sarcophagus of Tutankhamen’s successor and enemy Horemheb, for instance, has as part of its adornment another version of the same idea of the protecting goddess. But the detail of the Canopic Shrine, if it prove to be such, appears to be of a quality and inspiration rare even in the finest Egyptian work. For the rest, we can only wait and hope. [Illustration: 26. COLOSSUS OF RAMSES II, LUXOR.]