If, as seems probable, the Pharaoh of Joseph was Apepi, the last of the Shepherd Kings, and the Pharaoh of the Oppression was Rameses II., the third king of the nineteenth dynasty, we have a period of nearly three centuries between Joseph and the “new king who knew not Joseph.” The period appears to be much too long to make the expression “new king” seem natural, while at the same time a shorter period would hardly leave room for the descendants of Jacob to multiply and become a danger to Egypt. This perplexity is removed by the recent discovery of ancient writings under the extensive ruins existing at Tell-el-Amarna in Upper Egypt--a site about midway between Minieh and Siout, and on the eastern bank of the Nile. From these documents it appears that Semites were in great favour with Amenhotep IV. (Amenôphis), the last king of the eighteenth dynasty, whereas the new dynasty that succeeded abominated this foreign influence. In the latter part of the eighteenth dynasty friendly relations prevailed between Egypt and Mitanni or Nahrina (Aram Naharaim, Judges iii. 8), a Mesopotamian district which lay opposite to the Hittite city of Carchemish. Amenôphis III. married a wife from the royal house of Mitanni; and the offspring of this marriage--Amenôphis IV.--in his turn married Tadukhepa, daughter of Duisratta, the Mitannian king. He was thus doubly drawn to look favourably upon the Mitannian form of faith, which, like that of the Semites, included the adoration of the winged solar disk. Meantime the Egyptian conquest of Palestine, whose petty kings and governors now ruled as satraps for the Egyptian monarch, had paved the way for strangers from Canaan and Syria to rise into favour at Pharaoh’s court. Amenôphis IV. surrounded himself with Semitic officers and courtiers, thus offending the nobles of Egypt; and by forsaking the ancient religion of his country, brought about a rupture with the powerful priesthood of Thebes. Forced to go forth, the “heretic king” built a new capital on the edge of the desert to the north. Here he assumed the name of Khu-en-Aten, “the glory of the solar disk,” while his architects and sculptors consecrated a new and peculiar style of art to the new religion, and even the potters decorated the vases they modelled with new colours and patterns.