The family life of Khu-en-aten is depicted more than once. In one group he is seen with his queen Nefer-tai and their young daughters, distributing gifts of honour at some festival. One little boy is there too, but he is too young to take part in the distribution, and is caressing his mother’s face. Strong affection appears to have united the royal family, who doubtless felt their position a very isolated one. The prayers and praises, however, that are recorded as forming part of the new ritual, are very similar in tone and expression to those used in the customary worship. Prayer for the reigning sovereigns is frequent; on one festive occasion we read that the king gave his city the name of ‘Delight of the Sun’s disk,’ and offered sacrifices with solemn invocation. ‘Tender love fills my heart for the queen and her young children. Grant long years of life to Nefer-tai, that she may keep the king’s hand. Grant long life to the royal daughters, that they may keep the hand of the queen, their mother, for evermore.’ Nefer-tai appears to have died comparatively young; in one of the sculptures she is represented ‘with terrible fidelity,’ Mr. Villiers Stuart says, as apparently in the last stage of wasting disease. Her only son must have died quite in childhood; he is not represented again, but the daughters, seven in number, are frequently seen. As Khu-en-aten died without a male heir, the crown passed to his daughters’ husbands, two if not three of whom reigned in succession. They soon returned to Thebes, and to the worship of Amen-Ra, but none of them were ever acknowledged as true-born kings; it is doubtful whether they were crowned at Thebes. Ai was the last of them, and a beautiful rose-coloured sarcophagus of granite found in a tomb to the west of the royal sepulchres bears his cartouche.[44] It is worthy of notice that he is styled _prince_, not king. Each of these rulers, in fact, occupied the throne only in right of his wife,[45] and were themselves apparently merely officers in high position at Khu-en-aten’s court—a fact sufficient to account for the coldness with which the priests of Amen regarded them, in spite of their official return to the national worship. The government, however, appears to have been well administered by them, and foreign tributes were duly paid. A scene is represented on the walls of a tomb at Thebes, in which the governor of the south (whose tomb it was) is introducing a negro queen into the presence of Tutankh-amen, one of these princes. She has come in person to lay tribute and gifts at his feet. The boats are depicted in which the party have travelled and brought with them giraffes and leopards from the South, which are now presented to the king with other offerings, amongst which is a model of one of the negro dome-shaped huts with palm trees, around the tops of which giraffes are nibbling. The dark-hued princess made use of a sort of chariot drawn by oxen; her