The figures of men and animals are portrayed with a vivacity of manner which is astonishing; and the other objects, even the hieroglyphs, are rendered with an accuracy which does not neglect the smallest detail. The statues of Eâhotpû and of the lady Nofrît, discovered in a half-ruined mastaba, have fortunately reached us without having suffered the least damage, almost without losing anything of their original freshness; they are to be seen in the Gîzeh Museum just as they were when they left the hands of the workman. Eâhotpû was the son of a king, perhaps of Snofrûi: but in spite of his high origin, I find something humble and retiring in his physiognomy. Nofrît, on the contrary, has an imposing appearance: an indescribable air of resolution and command invests her whole person, and the sculptor has cleverly given expression to it. She is represented in a robe with a pointed opening in the front: the shoulders, the bosom, the waist, and hips, are shown under the material of the dress with a purity and delicate grace which one does not always find in more modern works of art. The wig, secured on the forehead by a richly embroidered band, frames with its somewhat heavy masses the firm and rather plump face: the eyes are living, the nostrils breathe, the mouth smiles and is about to speak. The art of Egypt has at times been as fully inspired; it has never been more so than on the day in which it produced the statue of Nofrît. The worship of Snofrûi was perpetuated from century to century. After the fall of the Memphite empire it passed through periods of intermittence, during which it ceased to be observed, or was observed only in an irregular way; it reappeared under the Ptolemies for the last time before becoming extinct for ever. Snofrûi was probably, therefore, one of the most popular kings of the good old times; but his fame, however great it may have been among the Egyptians, has been eclipsed in our eyes by that of the Pharaohs who immediately followed him--Kheops, Khephren, and Mykerinos. Not that we are really better acquainted with their history. All we know of them is made up of two or three series of facts, always the same, which the contemporaneous monuments teach us concerning these rulers. Khnûmû-Khûfûi,* abbreviated into Khûfûi, the Kheops** of the Greeks, was probably the son of Snofrûi.*** * The existence of the two cartouches Khûfûi and Khnûmû- Khûfûi on the same monuments has caused much embarrassment to Egyptologists: the majority have been inclined to see here two different kings, the second of whom, according to M. Robiou, would have been the person who bore the pre-nomen of Dadûfri. Khnûmû-Khûfûi signifies “the god Khnûmû protects me.” ** Kheops is the usual form, borrowed from the account of Herodotus; Diodorus writes Khembes or Khemmes, Eratosthenes Saôphis, and Manetho Souphis.