The stele is always in the form of a door with pyloni-form cornice. On either side is a figure of the deceased, and at the sides are carved prayers to Anubis, and at a later date to Osiris, who are implored to give the funerary meats and “everything good and pure on which the god there (as the dead man in the tomb has been constituted) lives;” often we find that the biography and list of honorary titles and dignities of the deceased have been added. Sakkâra was used as a place of burial in the latest as well as in the earliest time. The Egyptians of the XXVIth Dynasty, wearied of the long decadence and devastating wars which had followed the glorious epoch of the conquering Pharaohs of the XVIIIth and XIXth Dynasties, turned for a new and refreshing inspiration to the works of the most ancient kings, when Egypt was a simple self-contained country, holding no intercourse with outside lands, bearing no outside burdens for the sake of pomp and glory, and knowing nothing of the decay and decadence which follows in the train of earthly power and grandeur. They deliberately turned their backs on the worn-out and discredited imperial trappings of the Thothmes and Ramses, and they took the supposed primitive simplicity of the Snefrus, the Khufus, and the Ne-user-Râs for a model and ensampler to their lives. It was an age of conscious and intended archaism, and in pursuit of the archaistic ideal the Mem-phites of the Saïte age had themselves buried in the ancient necropolis of Sakkâra, side by side with their ancestors of the time of the Vth and VIth Dynasties. Several of these tombs have lately been discovered and opened, and fitted with modern improvements. One or two of them, of the Persian period, have wells (leading to the sepulchral chamber) of enormous depth, down which the modern tourist is enabled to descend by a spiral iron staircase. The Serapeum itself is lit with electricity, and in the Tombs of the Kings at Thebes nothing disturbs the silence but the steady thumping pulsation of the dynamo-engine which lights the ancient sepulchres of the Pharaohs. Thus do modern ideas and inventions help us to see and so to understand better the works of ancient Egypt. But it is perhaps a little too much like the Yankee at the Court of King Arthur. The interiors of the later tombs are often decorated with reliefs which imitate those of the early period, but with a kind of delicate grace which at once marks them for what they are, so that it is impossible to confound them with the genuine ancient originals from which they were adapted.