that characterize the individual and determine his personality. [Illustration: OSORKON II OFFERING A BOAT TO THE GOD AMON.] [Illustration: QUEEN ANKHNASNOFIRIABRÊ.] [Illustration: MANTIMEHÊ.] [Illustration: NSIPHTAH, SON OF MANTIMEHÊ.] [Illustration: HEAD (SAÏTE PERIOD).] [Illustration: THE COW OF DEIR-EL-BAHARÎ IN HER CHAPEL.] V It is a long time since I undertook to distinguish, under the apparent uniformity with which Egypt is reproached, the varieties of composition and conception that may serve for the recognition of schools, and, in the work of the schools, for that of particular studios. I have not found it difficult to show how the Memphian manner differs from the Theban, nor what distinguishes both from that which flourished at Hermopolis, Tanis, Saïs; but for the lack of sufficiently numerous documents, I had not succeeded in marking out the development of one same school through a long series of centuries. The find at Karnak gave me the materials I lacked, and since M. Legrain has been exploiting it, I have not ceased to search in it for information on that point. I have obtained much there, sometimes, it is true, of varying value, and I have still much to learn both about the most ancient periods and about certain moments of transition in more recent periods. I believe, however, the results already obtained are sufficiently important and significant to compel us to remodel the history of Egyptian art. I have not ventured to do that here, but, short as the present essay is, it may clearly be seen to what results it has led me. I have confirmed the fact that the characteristics of Theban art were those I thought I recognized at the beginning of my studies: I then rapidly noted the stages that the art passed through from the moment that Thebes awoke to political life almost to that when it ceased to exist as a great city. XI THE COW OF DEIR-EL-BAHARÎ[52]