sufficiently great to force us to give up the idea that they represent one person. In addition, our Canopic sculptures possess only one uræus on the forehead, as is customary with kings, while the others have the double uræus which then begins to be the etiquette with queens. That rule has exceptions, and therefore I shall not deduce too strict conclusions from it: but the absence of the second uræus is not less a somewhat strong presumption in favour of the opinion that our Canopic heads are those of a man and not of a woman. [Illustration: KING KHOUNIATONOU. Cairo Museum.] [Illustration: KING KHOUNIATONOU. Alabaster Canopic head found at Thebes.] If, however, they are portraits of a man, the circumstances of their discovery compel us to declare that he must be the king Khouniatonou; but how are we to be convinced of this when we remember the grotesque silhouette that the sculptors of El-Amarna have given him? To believe them, he would have been physically a sort of degenerate, tall, weakly, with hips and chest like a woman’s, a neck without consistency, an absurd head, a flat, almost non-existent forehead, an enormous nose, an ugly mouth, a massive chin.[62] He seems to have liked these caricatures, and his friends, imitating him from a desire to flatter him, altered more or less the shape of their own bodies in order that they might resemble that of his. Documents of different origins prove, however, that he was not, or had not always been, the queer figure that is attributed to him. The Louvre alone possesses two such witnesses. The first, which came to the Museum in its early days, is a charming statuette in yellow soapstone. The king is seated, but he has lost the bottom of the legs, which a modern restorer has skilfully replaced. He wears the _coufeh_ with hanging ends, the bust is bare; in his right hand he holds the hooked staff and the sacred whip emblems of royalty; the left hand is indolently stretched over the thigh. The body is young, the muscling supple and thick, and although he sinks down a little, he has not the squat attitude we know so well. The face and neck are somewhat slender, and contain the characteristics that, exaggerated later, lent themselves almost naturally to caricature. It is, in fact, the effigy of the young king sculptured at Thebes at the time when he was only Amenôphis IV, but when he demanded that he should be represented as he was, or as he saw himself, without reference to the conventional type of the Pharaoh. In the second piece, a statue of which only the head and shoulders remain, he is some years older. He is armed for war, and his neck, too slender, has bent under the weight of the helmet, as if thenceforth incapable of supporting it. It is the profile of the bas-reliefs of El-Amarna with the rounded spine and the particular curve that projects the head forward; the forehead, nose and mouth only differ from those of the statuette in that they are thinner.