They professed to have a special devotion for Amenôthes I. and his mother, Nofrîtari, who, after five or six centuries of continuous homage, had come to be considered as the patrons of Khafîtnîbûs, but this devotion was not to the depreciation of other sovereigns. It is true that the officials were not always clear as to the identity of the royal remains of which they had the care, and they were known to have changed one of their queens or princesses into a king or some royal prince.* * Thus Queen Ahhotpû I., whom the “servant” Anhûrkhâû knew to be a woman, is transformed into a King Ahhotpû in the tomb of Khâbokhnît. [Illustration: AMENOTHES III. AT LUXOR] Drawn by Boudier, from a photograph by Gayet. They were surrounded by a whole host of lesser functionaries--bricklayers, masons, labourers, exorcists, scribes (who wrote out pious formulae for poor people, or copied the “Books of the going forth by day” for the mummies), weavers, cabinet-makers, and goldsmiths. The sculptors and the painters were grouped into guilds;* many of them spent their days in the tombs they were decorating, while others had their workshops above-ground, probably very like those of our modern monumental masons. * We gather this from the inscriptions which give us the various titles of the sculptors, draughtsmen, or workmen, but I have been unable to make out the respective positions held by these different persons. They kept at the disposal of their needy customers an assortment of ready-made statues and stelæ, votive tablets to Osiris, Anubis, and other Theban gods and goddesses, singly or combined. The name of the deceased and the enumeration of the members of his family were left blank, and were inserted after purchase in the spaces reserved for the purpose.* * I succeeded in collecting at the Boulak Museum a considerable number of these unfinished statues and stelæ, coming from the workshops of the necropolis.