[5] I even noted the existence of one of these tails in wood in the Marseilles Museum (_Catalogue_, p. 92, No. 279). [6] _Musée Egyptien_, vol. ii., Pl. IX-X and pp. 25–30. [7] Ibid., vol. ii., Pl. XV, pp. 41–45. [8] Maspero, _Guide to the Cairo Museum_, 1906, pp. 156–7, No. 550. [9] _Revue de l’Art Ancien et Moderne_, 1906, vol. x., pp. 241–52, 337–48; cf. Chap. X. of the present volume. [10] _Musée Egyptien_, vol. ii., pp. 90–2. [11] From the _Revue de l’Art ancien et moderne_, 1912, vol. xxxi., pp. 241–54. [12] It is mentioned for the first time in Emmanuel de Rougé’s _Catalogue_, 1855, under No. 6; it is placed on the mantelpiece in the “Salle civile.” [13] See good examples in Mariette, “Karnak,” Pl. VIII. [14] This is no longer true since the discovery of the _favissa_ at Karnak. The Cairo Museum possesses some hundreds of statues of private individuals from the Theban temple of Amon (1912). [15] Mariette, “Sur les tombes de l’Ancien Empire qu’on trouve à Saqqarah,” 1912, pp. 8–9. [16] On this theory see Lepage-Renouf, “On the True Sense of an important Egyptian Word,” in the _Transactions of the Society of Biblical Archæology_, vol. iv., pp. 494–508, and Maspero, “Mémoires du Congrès des Orientalistes de Lyon,” vol. i., and _Bulletin de l’Association scientifique de France_ (1878), No. 594, pp. 373–84. [17] One of the Egyptian festivals of the dead. [18] For complete translation of the contract see the _Transactions of the Society of Biblical Archæology_, vol. vii., pp. 1–9. [19] The Skhemka group was catalogued for the first time by E. de Rougé, “Notice sommaire des Monuments égyptiens,” 1855, pp. 50–51, under the number S. 102. The other two statues of the same person possessed by the Museum are both entered under the number S.103. One is in granite, the other in painted limestone. [20] There are exceptions only in the middle of the XVIIIth Dynasty, when men and women, and especially women, are painted light pink or flesh colour. [21] The pretty painted bas-relief of the tomb of Seti I in the Louvre (E. de Rougé, “Notice des principaux monuments,” p. 35, B. 7) shows in large the arrangement of the glass beads on the stuff. [22] Cf., _e.g._, Lepsius, “Denkmäler,” ii., 47_b_, 74_e_, where the woman crouching in front of her husband puts her arm round his leg.