[Illustration: MONKEYS WORSHIPPING THE EMBLEM OF OSIRIS.] [Illustration: VULTURE WITH EXTENDED WINGS. HAWK WITH EXTENDED WINGS.] [Illustration: THE SOUL (FRONT VIEW).] [Illustration: THE SOUL (BACK VIEW).] Tiny lions addorsed or couchant, tiny mystic eyes, tiny monkeys worshipping the emblem of Osiris, tiny vultures, and tiny hawks extending their wings, each piece claims careful examination, and would by itself alone bring joy to the heart of a collector. The masterpiece of the series is, however, the _soul_, the hawk with a human head, enamelled body and wings, of which both back and front views are here reproduced. The back follows the usual manner, small rods of bent gold, curved, soldered on to a gold plaque and encrusted with thin plates of felspar to simulate feathers; but on the other side, the body, wings, and claws are modelled with the new purpose of reproducing the natural form of the bird. The little human head is a marvel of somewhat weak gracefulness: the eyes are well open, the mouth is smiling, the nostrils actually palpitate, the ear is cut out and is hollowed broad and high as is customary, and there is nothing, even to the wrinkles of the neck and the roundness of a double chin, that does not clearly stand out under the reflection of the gold. Here again, it is all chiselled by a master-hand, with a sureness I have only found in the hawk with a ram’s head in the Louvre,[90] with which this _soul of Gizeh_ may be compared. The circumstances of the discovery would not have informed us of the date, if the style of the jewels had not done so. It is Saïte art with its lightness, suppleness, somewhat arch charm, its almost too high relief. A tendency is felt in the direction of the exaggerated roundness of the Ptolemies, and, in fact, a note furnished by M. Chassinat permits us to fix the time at which Zannehibou lived. He belonged to the family of a certain Psammetichus, whose tomb is near his, which an inscription in the Louvre found by Mariette in the Serapeum places at the beginning of the fifth century, during the last years of the reign of Darius I. If, as is likely, he was the grandson of that Psammetichus, he died at the end of the fourth century, just when the Saïte kings were resuming their superiority over the Persians, at most, a hundred years before the Macedonian conquest. The goldsmiths who fashioned his ornaments had probably seen Greek jewels, and had perhaps already felt Hellenic influence: in that way the almost Ptolemaic characteristics of the collection are explained. We know that Saïte jewels are very rare; the Louvre alone possesses any that are out of the ordinary run: the two necklace fastenings in form of a ship bought by M. G. Bénédite a few years ago. The mummy of Zannehibou has filled up the lacuna in the Gizeh series, and thanks to it, we now know that the goldsmith’s art yielded in nothing to the other arts at the time of the last Egyptian renaissance. Let us add that these jewels,