Study of these small monuments is too much neglected. By considering the colossi of granite or sandstone, the heroic statues and the ceremonial groups, we are inclined to recognize only qualities of grandeur and immobile majesty in Egyptian art; the wooden statuettes show how, on occasion, it could display charm and wit. Most of them are the products of chance, commercial pieces, prepared in advance for the needs of customers, of which a large assortment was always kept in reserve. The family desiring to offer one to one of its dead came to get it at the fairest price, and something was sold, more or less well done according to the sum that was spent; the choice being made, the piece was adapted to its definitive destination by engraving on the pedestal, or on the back, the names which transformed the anonymous doll into a body for the double of a particular individual. They were artisans who sculptured these images, or rather manufactured them for the undertakers of funerals. Their education was so complete and their hand so practised that they rarely fell very low; their average productions are of honest composition and sufficiently true in feeling. When they were given enough time or commissioned to take great care with a piece of work, those who combined natural talent with the routine of their craft produced work of real value--the statuettes of the lady Touî, of the little girl and the woman in the Turin Museum, and many others hidden from the public in the cupboards of our museums. XXI SOME PERFUME LADLES OF THE XVIIITH DYNASTY (_The Louvre_)