The body having been placed in the grave, the relatives who had taken part in the mourning heaped together in a neighbouring hole the funerary furniture, flint implements, copper needles, miniature pots and pans made of rough and badly burned clay, bread, dates, and eatables in dishes wrapped up in linen. The nobles ranged their mastabas in a single line to the north of the pyramid; these form fine-looking masses of considerable size, but they are for the most part unfinished and empty. Snofrûi having disappeared from the scene, Kheops who succeeded him forsook the place, and his courtiers, abandoning their unfinished tombs, went off to construct for themselves others around that of the new king. We rarely find at Mêdûm finished and occupied sepulchres except that of individuals who had died before or shortly after Snofrûi. The mummy of Eânofir, found in one of them, shows how far the Egyptians had carried the art of embalming at this period. His body, though much shrunken, is well preserved: it had been clothed in some fine stuff, then covered over with a layer of resin, which a clever sculptor had modelled in such a manner as to present an image resembling the deceased; it was then rolled in three or four folds of thin and almost transparent gauze. Of these tombs the most important belonged to the Prince Nofirmâît and his wife Atiti: it is decorated with bas-reliefs of a peculiar composition; the figures have been cut in outline in the limestone, and the hollows thus made are filled in with a mosaic of tinted pastes which show the moulding and colour of the parts. Everywhere else the ordinary methods of sculpture have been employed, the bas-reliefs being enhanced by brilliant colouring in a simple and delicate manner. [Illustration: 173.jpg NOFKÎT, LADY OF MÊDÛM] Drawn by Boudier, from a photograph taken by Éinil Brugsch- Bey.