We possess at the present day, scattered about in museums, some score of statues of this period, examples of consummate art,--the Khephrens, the Kheops, the Anû, the Nofrît, the Râhotpû I have already mentioned, the “Sheîkh-el-Beled” and his wife, the sitting scribe of the Louvre and that of Gîzeh, and the kneeling scribe. Kaâpirû, the “Sheîkh-el-Beled,” was probably one of the directors of the corvée employed to build the Great Pyramid.* He seems to be coming forward to meet the beholder, with an acacia staff in his hand. He has the head and shoulders of a bull, and a common cast of countenance, whose vulgarity is not wanting in energy. The large, widely open eye has, by a trick of the sculptor, an almost uncanny reality about it. * It was discovered by Mariette at Saqqâra. “The head, torso, arms, and even the staff, were intact; but the pedestal and legs were hopelessly decayed, and the statue was only kept upright by the sand which surrounded it.” The staff has since been broken, and is replaced by a more recent one exactly like it. In order to set up the figure, Mariette was obliged to supply new feet, which retain the colour of the fresh wood. By a curious coincidence, Kaâpirû was an exact portrait of one of the “Sheikhs el-Beled,” or mayors of the village of Saqqâra: the Arab workmen, always quick to see a likeness, immediately called it the “Sheikh el-Beled,” and the name has been retained ever since. [Illustration: 242.jpg THE KNEELING SCRIBE IN THE GIZEH MUSEUM] Drawn by Faucher-Gudin, from a photograph by Émil Brugsch- Bey. [Illustration: 242b.jpg THE SITTING SCRIBE IN THE GÎZEH MUSEUM] Drawn by Boudier, from a photograph by Émil Brugsch-Bey. This scribe was discovered at Saqqâra, by M. de Morgan, in the beginning of 1893.