[23] Here are some references to plates in Lepsius where the husband and wife are represented side by side in different positions. The woman of low stature crouches behind her seated husband (“Denkmäler,” ii., 71_b_); the wife and husband, both of heroic stature, are seated on the same armchair, and the wife puts her right arm round her husband’s neck (“Denkmäler,” ii., 10_b_, 24, 25_b_, 41_b_, 42_a_-_b_, 75_a_, etc.); the wife of low stature stands in front of her husband, who is of heroic stature (“Denkmäler,” ii., 38_b_); she stands behind him and puts her arm round his left arm (“Denkmäler,” ii., 27, 33_a_), or she puts her arm round his waist (“Denkmäler,” ii., 38_a_); and lastly, the husband and wife, of the same stature, are standing, the wife behind her husband and putting her arm round his neck (“Denkmäler,” ii., 13, 20–1, 29_b_, 32, 34_b_, 40_b_, 43_b_, 46, 58_a_, 59_b_), or separated from him (“Denkmäler,” ii., 73, etc.). [24] Thus in Lepsius (“Denkmäler,” ii., 74_e_), where the noble Senotmhît, surnamed Mihi, is seated, of heroic stature, while his wife, Khontkaous, is represented crouching and of low stature, although she is a legitimate daughter of the king. In another part of the tomb (Lepsius, “Denkmäler,” ii., 73) the same persons are represented standing side by side and of heroic stature, while their children are of ordinary stature. [25] See the preceding chapter, pp. 55–59. [26] See Chapter III, p. 51. [27] We know now (1912) that the figures described by Mariette as mourners are cooks, who held the spit in one hand and with the other protected their faces from the heat of the brazier where the chickens were roasting. [28] In examining the eye of the Cheîkh-el-Beled closely, I found that there was no silver nail in it, but that the luminous spangle was produced by a scrap of polished ebony placed under the crystal; it should be the same with the eyes of the Crouching Scribe. [29] Cf. pp. 55–59. [30] This article was published in two slightly different forms in the _Gazette des Beaux-Arts_, 3rd period, 1893, vol. ix., pp. 265–70, and in the _Monuments Piot_, 1894, vol. i., pp. 1–6: I have combined them for this volume. [31] The statue is described in the “Visitor’s Guide to the Cairo Museum,” 2nd edition, 1912, p. 58, No. 142. [32] Maspero, “Visitor’s Guide,” 2nd edition, 1912, pp. 57–8, No. 141. [33] Cf. p. 61. [34] Cf. what has already been said regarding statues of private individuals erected by the favour of the Pharaoh, p. 40. [35] Maspero, “Visitor’s Guide to the Boulaq Museum,” p. 28, and now “Visitor’s Guide to the Cairo Museum,” 2nd edition, 1912, p. 73, No. 227.