So much has appeared in the newspapers about the treasure unearthed at Dahchour last year by M. de Morgan, that every one in Europe knows the number, form, and richness of the objects it comprises; but among those who have described and justly praised them, how many--I do not say Englishmen or Germans, but Frenchmen alone--know that the Louvre possesses a collection of the finest Egyptian jewellery? Mariette was fortunate enough twice in his life to find a number of magnificent ornaments of great artistic value on the royal mummies, at the Serapeum in the tomb of the Apis buried in the reign of Ramses II by the care of one of the sons of the conqueror, Khâmoîsît, high-priest of Phtah, and regent of the kingdom for his father, and at Thebes in the coffin of a queen of the XVIIIth Dynasty, Ahhotpou I, who in her lifetime was the daughter, sister, wife, and mother of Pharaohs. Mariette, artist as he was, very skilfully brought out the interest of his discovery, and the admirable idea it gave of the goldsmiths of the seventeenth and fourteenth centuries B.C., but he went no further. He had brought to light so many monuments of importance for the study of political history and of civilization, that he never had time to dwell much on the secondary result of his works. The jewellery of Ahhotpou is preserved in the Boulaq Museum, where thousands of tourists admire it every winter; that of the Serapeum is placed in the Louvre, and usually obtains only an absent-minded glance from the few visitors who traverse the solitudes of the Charles X Museum.