of the little Atonian Dynasty stopped their activity; deprived of the vast commissions which opened a new field for their enterprise, they fell back into their provincial routine, and we have not yet enough documents to tell us what their successors became in the course of the centuries. In the delta two fairly different styles may be seen from the beginning. In the east, at Tanis and in its neighbourhood, there is, at the beginning of the first Theban Empire, a veritable school, the productions of which possess such an individual physiognomy that Mariette did not hesitate to attribute them to the Shepherd Kings: since the works of Golenischeff it is known that the so-called Hyksôs sphinxes are of Amenemhaît III, and that they belong to the second half of the XIIth Dynasty. This Tanite school is perpetuated through the ages; it was still flourishing under the XXIst and XXIInd Dynasties, as is proved by the fine group of bearers of offerings in the Cairo Museum. The predominant features are the energy and harshness of the modelling, especially of the human face: its masters have copied a type, and modes of coiffure belonging, as Mariette formerly pointed out, to the half-savage populations of Lake Menzaleh, the _Egyptians in the marshes_ of Herodotus. It seems to me that their manner is still to be noted in the Græco-Roman period in the statues of princes and priests that we have in the Cairo Museum: the technical skill, however, is less than in the sphinxes and the bearers of offerings. The centre and west of the delta, on the other hand, came under the influence of Memphis, as far as we can judge from the rare existing fragments belonging to the Ancient Empire. Under the Thebans the dependence is clear, and all that comes from those regions differs in nothing from what we have from the Memphian necropolises. Only in the Ethiopian period, and under the influence of the successors of Bocchoris, is a Saïte school revealed to us, which, borrowing its general composition from the Memphian school, comes closer to nature and impresses an individual stamp on certain elements of the human figure that until then had been handled in a loose, so to say, an abstract fashion. The modelling of the face is as full of expression as in the fine works of the Theban school, but with greater finish and less harsh effects; the ravages of old age, wrinkles, crows’-feet, flabbiness of flesh, thinness, are all reproduced with a care unusual in preceding generations; the skull, indeed, is so minute in detail that it might almost be called an anatomical study. This impulse towards skilled realism, begun by instinct in the heart of the school, became accentuated and accelerated by contact with the Hellenes, who from the time of Psammetichus I swarmed in the provinces of the delta. Certain bas-reliefs of Alexandria and Cairo, the date of which is assigned to the reign of Nectanebo II, which I should like to place in that of