Under, or soon after the XXVIth dynasty, the Egyptians began to place their mummified dead in brightly painted =cartonnage cases=, decorated with inscriptions containing the pedigree of the deceased, religious texts, figures of gods, etc., and to set them upright in the halls of their houses. The faces were painted to resemble those of the dead, and attempts were made to reproduce the natural colour of their skins, hair, and eyes, and even to represent small physical peculiarities. A man’s immediate ancestors formed a part of his household. About the beginning of the Graeco-Roman Period, or in the first century after Christ, it became the custom among the ruling class in Egypt to insert =painted portraits= of the dead in the linen swathings over their faces. Specimens of such portraits may be seen in Case Y in the Second Egyptian Room, and in Wall-cases Nos. 70 and 71. A century or two later further attempts were made to abolish from mummies the funerary swathings, etc., and the dead were placed in =papyrus cases=, which were moulded to their forms, and were painted with coloured representations of their clothes and ornaments. Very fine examples of such painted papyrus cases are exhibited in Wall-cases 64 and 65 in the First Egyptian Room, and they are of special interest as showing what kinds of garments and jewellery were worn by the Graeco-Egyptian ladies of Egypt, and how they were decorated. In the case of men, painted portraits were inserted over the faces, and the rest of the mummy was covered with plaster, usually coloured pink or red, and ornamented with faulty imitations of the scenes found on the old cartonnage cases. The best example of this kind of mummy is that of Artemidorus, exhibited in Wall-case 63 in the First Egyptian Room. The figures of the gods, etc., are painted in gold, and the mistakes in them prove that the artist did not understand the signification of the scenes which he was copying. The old theology of Egypt was forgotten, the meanings of the old funerary texts and scenes were lost, and the artist found himself obliged to use the form of address to the dead customary among the Greeks, _i.e._, “O Artemidorus, farewell!”