Four plates are devoted to Archaic Egypt: the two first are facsimiles of the bas-reliefs that decorate the stele of the Horus Qa-âou, and the so-called _palette_ of the king we designate Nâr-mer, since we have not deciphered his name. It is in truth very little, but the excavations have rendered such poor accounts of those distant ages that it is almost all that could be given of them; it might, however, have been worth while to add the statuettes of the Pharaoh Khâsakhmouî. Notwithstanding the omission, the objects that appear give a sufficient idea of the degree of skill attained by the sculptors of those days. The stele of Qa-âou does not, of course, equal that of the _King-Serpent_[3] which is in the Louvre; it is, however, of a fairly good style, and the hawk of Horus is nearer to the real animal than those of the protocol were later. Similarly the scenes engraved on the _palette_ of Nâr-mer testify to an indisputable virtuosity in the manner of attacking the stone. The drawing of the persons is less schematic and their bearing freer than in the compositions of classical art, but it is evident that the craftsman had as yet no very clear idea of the way in which to compose a picture and group its elements. Let us confess, nevertheless, that the bas-reliefs are far superior to the statues yet known. We possess about half a dozen of them scattered over the world. Bissing studied one to the exclusion of the others, the one in the Naples Museum, and it may be thought to be sufficient if only æsthetic impressions are desired, for nothing could be rougher or more awkward. The head and face might perhaps pass, but the rest is ill-proportioned, the neck is too short, the shoulders and chest are massive, the legs lack slenderness under a heavy petticoat, the feet and hands are enormous. The defects cannot be ascribed to the hardness of the material, for the Scribe of the Cairo Museum, which is in limestone, displays them as flagrantly as the good people in granite at Naples, Munich, or Leyden. I must not therefore conclude, however, that they are constant faults with the Thinites: the statuettes of Khâsakhmouî are of a less heavy workmanship and more nearly approach that of later studios. That the ruins have rendered only a few that possess worth does not prove that there may not have been excellent ones: we must have patience and wait till some happy chance belies the mediocrity.