For four years M. Legrain has been exploring the spot foot by foot, and I think he has succeeded in entirely emptying it. We must now draw up the inventory of the treasures it has bestowed on us. The greatest benefit conferred by them is assuredly on political history. All epochs are not represented in equal abundance--the first Theban Empire is, so to speak, merely mentioned, and the two great Dynasties of the second are represented only by about a hundred pieces--but from the fall of the Ramessides to the Persian conquest the series of the high priests of Amon reappears almost complete, with their wives, sons, brothers, the children or latest descendants of their brothers, and from the day when the male line failed, the princesses who inherited its rights, with the noble persons who wielded the power in their name. However, the large find all at once of statues and inscriptions serves not only to give information about the revolution that transformed the military kingdom of Thebes into a theocracy, but also furnishes documents for the study of the progress of art during the twenty centuries and more that the revolution took. The artistic merit of the objects is very unequal, and many of them are only interesting to the archæologist; some, however, stand out distinguished above the mass, and take their rank worthily beside the best known productions of Egyptian art. As they come from the same temple, and have been erected by different members of the same families, it is natural to see in them the work of one school, established at Thebes in far-off antiquity. Indeed, a unity of character common to all is easily discerned, which, perpetuating itself without notable change from generation to generation, fixes undeniable affinities of conception and technique. [Illustration: THE WORKS AT KARNAK IN JANUARY, 1906.] II