Most of those bronze figures of the gods, which are so plentiful in the European museums, date from this period. We have reproduced several of them in our chapter upon the Egyptian pantheon (Figs. 34-37, Vol. I.). With the advent of Alexander and his successors, a number of Greek artists became domiciled in Egypt; they employed their talents in the service of the priests and scribes without attempting in any way to affect the religion, the institutions, or the habits of the people. The Egyptian artists were heirs to the oldest of all civilizations, their traditions were so firmly established, and their professional education was so systematic, that they could hardly consent to modify their ideas at the first contact with a race whom they secretly despised, although they were compelled to admit their political and military supremacy. Many years had to pass before Egyptian sculpture, and with it the written character and language, became debased as we find it in certain Roman and Ptolemaic temples. Several generations had to come and go before a hybrid Egypto-Greek style, a style which preserved the most unhappy forms and conventions of Egyptian art while it lost all its native freshness and originality, imposed itself finally upon the country. The worst of the Saite statues are still national in style. It is an Egyptian soul that inhabits their bodies, that breathes through the features, and places its mark upon every detail of the personality represented. This is no longer the case with the figures which, from the time of Augustus to that of Hadrian, seem to have been manufactured in such quantities for the embellishment of Roman villas. Costumes, accessories, and attitudes are all Egyptian, but the model upon which they are displayed is Greek. Until the beginning of the present century archæologists were deceived by the masquerade, and were unable to distinguish between pasticcios, many of which may not even have been made in Egypt, and the really authentic works of the unspoiled Egyptian artists. Such mistakes are no longer probable, but even now it is difficult to say exactly where the art of Sais was blended into that of the Ptolemies. When there is no epigraph upon which to depend the most skilful archæologist may here make mistakes.