In the time of Strabo it was known that the real builder of the Labyrinth was Maindês, that is to say, Mâ(t)-n-Ra, or Amon-em-hat III. of the twelfth dynasty. The excavations of Professor Petrie at Howâra in 1888 have proved the fact. He succeeded in penetrating into the central chamber of the brick pyramid which formed part of the building, and there, deep in water, he found the sarcophagus and the shattered fragments of some of the funerary vases of the dead Pharaoh. They were all that had been left by the spoilers of a long-past age, but they were sufficient to show who the Pharaoh was. He had not been buried alone. In another chamber of the pyramid was the sarcophagus of his daughter Neferu-Ptah, who must have died before the pyramid was finally closed. The labyrinth itself has been used as a quarry or burnt into lime long ago. On its floor of hard plaster lie the chippings of the stones which composed it, six feet in thickness, and covering a far larger area than that of any other Egyptian temple of which we know. There was none other which could vie with it in size. Amon-em-hat III. seems to have left another memorial of himself further north—at least, such is the natural interpretation of Mr. de Morgan’s recent discoveries at Dahshûr. Though the pyramid did not repay his engineering skill with even a scrap of inscription, he found tombs on its northern side which prove that here also was a burial-place of the twelfth dynasty. Two long corridors had been cut out of the rock, one above the other, and at intervals along their northern walls square chambers had been excavated, in which were placed the sarcophagi of the dead. Inscriptions show for whom they were intended. Nofer-hont, Sont-Senebt, Sit-Hathor and Menit, were the royal princesses who had been entombed within them in the time of Amon-em-hat III. Their jewels had been hidden in two natural hollows in the stone floor of the corridors, and had thus escaped the eye of the ancient treasure-hunter. We can see them now in the Gizeh Museum, and thus learn to what an exquisite state of perfection the art of the goldsmith had already been brought.