hood of the temples. The principal animals were the bulls Apis, the cynocephali apes, cats, wolves, rams and gazelles, vultures, hawks, owls, swallows, the ibis, goose, lizards, scarabæi; the fishes cyprinus and silurus, and the eel have also been found.

Case 28. Models of coffins, containing small models of mummies found in the tombs. These were probably the models shown by the embalmers to the relatives of the dead as specimens of the different manners of preparing the dead, and the probable expense of the process. They also recall to mind the model of the dead said to have been handed round at Egyptian banquets to indicate the instability of human life. Found deposited before the walled entrances of the tombs.

Cases 29-38. Figures made for sepulchral purposes, and called by the Egyptians shabti, found in the tombs of Egypt. They are in several shapes; sometimes in that of the deceased, standing in the dress of the period, but more generally in shape of a mummy, the body swathed in bandages, from which the hands come out, holding a hoe, hab, and pickaxe, and the cord of a square basket slung on the left shoulder or nape of the neck. The head attire of the deceased is either that of the period or dignity, and, in the case of monarchs, accompanied by the uraus, emblem of royalty. Some figures hold the emblem of the soul, of life, ankh, and of stability, or the socalled Nilometer, tat, or a whip, khu, nekhekh.

The principal materials of which these figures were made are different kinds of stone, wood, clay, and composition, such as granite, serpentine, schist, alabaster, steatite, sycamore, cedar, acacia and ebony, porcelain, glazed wares, composition, unbaked and baked clay. They are found sometimes deposited in great numbers in the floor and other places of the tombs, or singly, and some are of superior workmanship amidst a host of inferior specimens. They appear in the tombs of the 11th dynasty; but in the Museum collection the oldest are of stone, and of the time of the king Amenhotep, or Amenophis III., of the 18th dynasty. These figures continued to be used from that date till after the conquest of Egypt by the Persians, when they were discontinued. They were most numerous at the time of the 26th dynasty. The figures were either plain or had an inscription engraved or traced upon them. At least three formulas are known, but the most usual is the 6th chapter of the Ritual, entitled the chapter of making the working figures in the Karneter or Hades. The porcelain ones of the 19th dynasty have their inscriptions drawn in a darker colour; those of the 26th dynasty have been made from a mould, and have their inscriptions in intaglio.

Cases 39-44. Sepulchral cones; conical bricks of baked red terracotta, internally black, but red on the exterior, in length about nine inches, and three inches diameter at the base, on which are stamped in relief hieroglyphs, the names and titles of a deceased, to whom they are said to be dedicated, are found about the tombs of Thebes, especially those of the Drah Abu'l Neggah.

Cases 45-48. Wooden figures of Osiris, used as cases for containing

papyri and other objects. The papyrus or Egyptian_paper, made of thin slices of the reed Cyperus papyrus, called by the Egyptians t'ama, and the Greeks byblos, was the precursor of modern paper. On it were written rituals, prayers, public documents, histories, poems, and all literary and other works. The width of the papyrus so prepared rarely exceeded 15 inches, but their length sometimes, though rarely, extends to 150 feet. Papyrus, both before use and afterwards, was rolled up into a cylindrical roll, and when opened for the purpose of reading, unrolled from the ends. Besides these methods, they were occasionally placed in wooden figures, always coloured black, of the god Osiris standing on a pedestal, either in the hollowed body of the god, or else in a place in the pedestal covered by a small slip, the whole so carefully painted over as not to give any indication of the papyrus within. The colour of the coffins of the 18th dynasty is black. Wooden figures of Ptah-Socharis-Osiris. The figure itself. is always solid, but a small niche is often seen in the pedestal in front of the god, which has a small cover. Occasionally an embalmed fragment is found in these receptacles.

Small terracotta figures, sigillaria, distinguished from those of Greece, Rome, and other parts by the redder colour of their clay, the introduction of Egyptian subjects, attires, and emblems. These were used for votive purposes or sent as presents.

Cases 49-52. Sepulchral vases, or so-called Canopi, and models of vases, made for sepulchral purposes, deposited with the dead. These vases were destined to hold the soft parts, or viscera, of the body, embalmed separately and deposited in them. They were four in number, and were made in shape of the four genii of the Karneter or Hades, to whom were assigned the four cardinal points of the compass. The body of the vase, that of the genius, and the head, mortised into it, the cover. The order of these genii were Amset, human-headed, the first genius, and the body of his vase held the stomach and large intestines. Hapi, the second, cynocephalus ape, held the small intestines; Tuaumutf, the third, jackal-headed, held the lungs and heart; and Kabhsenuf, the fourth, the liver and gall-bladder. They were separately embalmed, were made into oval packets, and placed in the vases. The formulæ are speeches respectively made by Isis, Nephthys, Neith, and Selk, on behalf of the deceased. The vases were placed in boxes, two of which are above the case, with partitions, then set or sledges, and drawn to the sepulchre with the other funeral apparatus.

Over the Door of Room II. Part of the chapel or box of a sacred ark, Sekett, in shape of an Egyptian doorway, sebekh, with cornice of uræi; and of the boat, ua, which it was placed. These arks held the figures of the gods when carried in processions or removed to a distance. They were partly covered with curtains, and borne on the shoulders of priests. They were gilded or painted, and are seen in use at the period of the 18th dynasty, and were probably employed even earlier for sacred purposes. A remarkable instance of their use beyond the mere parading of them at the religious festivals of the gods is that of the

transport of the statue of the god Khons, in the reign of Rameses XII., of the 20th dynasty, to the land of the Bakhtan to heal the daughter of the king of that country. She was supposed to be possessed by an evil spirit.

Case 101. Painted model of a boat, white and yellow; the ends terminate in rams' heads, emblems of Chnoumis or Amen-Ra.

Painted model of a boat, the body green, conveying the mummy of a deceased female to the sepulchre.

Case 102. Boxes for sepulchral purposes. The subjects represent adoration to the principal sepulchral deities, and the inscriptions on them are either chapters copied from the sepulchral ritual or dedications to Osiris and other deities of the dead. None of them appear to be older than the 18th dynasty, and most of them are of the 21st and following dynasties-till the Roman period of the 1st century A.D. They were deposited in the tombs at the side of the coffins. S. BIRCH.

ETRUSCAN ROOM.

In this room have been arranged the Etruscan sarcophagi, urns, cists, figures, and reliefs of stone or terracotta, and the collection of black moulded ware of the kind found at Chiusi, and assigned to an early period of pottery in Etruria.

No. 1. In the South side of the room is a terracotta cinerary cist or urn from Cervetri (Caère).

On the lid of the cist recline a male and female figure, modelled in the round; the four sides of the cist are decorated with subjects in low relief. On one side is represented a battle scene; on the opposite side a banquet; at one end are female mourners seated in a row; at the other end two warriors and two draped female figures, probably a farewell scene. For a description of this monument see Photographs of the Castellani Collection, Nos. 18-20; Encyclopædia Britannica, 9th Ed., s.v. Etruria, vol. viii., pl. 8; Dennis, Cities and Cemeteries of Etruria, 2nd Ed. I. p. 227; and for the inscription, Corssen, Sprache der Etrusker, I. p. 784.

No. 2. A small terracotta cist from Cervetri, in the form of a funeral couch, on which a female figure is laid. On the front of the couch is a relief representing two lions attacking a bull; at each extremity is a Satyr reclining.

No. 3. A draped female figure in tufaceous stone, from the Polledrara tomb near Vulci (Micali, Monumenti Inediti, pl. 6, fig. 1).

No. 4. A table case containing a series of ornamental fronts of roof tiles in painted terracotta from Capua and Cervetri.

No. 5. A seated figure, in calcareous stone, from Chiusi (Micali, Monumenti Inediti, pl. 26, fig. 2).

Nos. 6-7. Two Canopic vases in terracotta.

Nos. 8-9. Two archaic terracotta female figures, draped, and wear

ing earrings and a large fibula on the right shoulder; both from Cervetri.

Nos. 10-14. Five sepulchral cists in calcareous stone, from Chiusi. On four of them are reliefs representing funeral ceremonies. On No. 14 are a banquet, warriors, hunters, and two figures leading horses. Nos. 15-17. Three slabs from similar cists, also from Chiusi. Nos. 18-26. In the North side of the room. No. 18, a sarcophagus from Toscanella. On the lid a recumbent male figure; on the front two marine monsters in relief. No. 19, a sarcophagus from the Grotta Dipinta at Bomarzo: the cover in the form of a roof, at each end of which sits a Sphinx; on the ridge tile is a serpent coiled in a knot; the pediments and the ends of the joint tiles on the roof are ornamented with masks of Medusa. On the front of the sarcophagus are reliefs representing the Etruscan deities Mantus or Charun, with hammer and serpent, and Lasa with her scroll. On the back are Nortia with hammer and nail, and an armed male figure. This side is inscribed Vel Urinates. At one end of the sarcophagus are a Gryphon and lion devouring a stag, and below this two lions devouring a bull.

No. 20. Sarcophagus from the tomb of the Chariots, Corneto (Tarquinia). On the front and back are scenes in relief from the taking of Troy (Iliupersis). At one end is a scene which appears to represent the quarrel of Achilles and Agamemnon; above this is an Etruscan inscription, much injured. At the other end the relief seems to represent Neoptolemos slaying Polyxena.

No. 21. Sarcophagus from Toscanella. On the cover is a male figure reclining, and holding a phialè in his right hand. On the front is a relief representing a winged male figure leading a biga attended by three lictors with fasces and a trumpeter; above this is an Etruscan inscription.

No. 22. Cover of a sarcophagus, from the Grotta del Triclinio at Corneto. Female figure holding thyrsos and kantharos; at her side a deer; she is draped, and wears earrings and necklace of bullae.

No. 23. Sarcophagus. On the cover is a recumbent male figure holding a kantharos in his right hand; on the front is a relief representing Scylla overpowering two male figures.

No. 24. Cover of a sarcophagus. Draped female figure reclining. Underneath are reliefs representing a bearded head with Phrygian cap, and on each side a boy riding on a sea monster.

No. 25. Cover of a sarcophagus. Draped female figure reclining. Underneath are reliefs representing the head of Medusa between two fish.

No. 26. Relief representing the front of a tomb.

In the Wall Cases are a series of sepulchral urns and sarcophagi in terracotta, calcareous stone and marble.

Nos. 27-31. Five urns with reliefs on the front representing a combat of two warriors, usually described as Eteokles and Polyneikes. Nos. 32-35. Four small urns with reliefs on the front, representing Echetlos fighting with his plough in the battle of Marathon.

No. 36. Sepulchral urn. female Lapith.

No. 37. Sepulchral urn.

On the front a Centaur carrying off a

On the front the two sons of Laokoon attacked by a double-headed serpent; Laokoon on the right advances with sword; on the left an armed figure advancing with spear. No. 38. Sepulchral urn. On the front Meleager and Atalanta

hunting the Kalydonian boar.

No. 39. Sepulchral urn. On the front Telephos threatening to slay the infant Orestes in presence of Klytaemnestra, Agamemnon, and three Greek warriors.

No. 40. Sepulchral urn. On the front Oidipos slaying his father

Laios?

Nos. 41-42. Two sepulchral urns. On the front of each, the death of Hippolytos; his horses are terrified by the bull sent by Poseidon. No. 43. Sepulchral urn. On the front Achilles slaying Troïlos. No. 44. Sepulchral urn. On the front Orestes and Pylades slaying Klytaemnestra and Aegisthos. No. 45. Sepulchral urn. panions passing the Sirens. No. 46. Sepulchral urn.

On the front Ulysses with three com

Paris and his companions carrying off Helen and the treasures of Menelaos.

No. 47. Sepulchral cist, with cover in form of a tiled roof. On the ridge tile are two lions. At the end of the cist is seated in high relief a winged and draped female figure.

Nos. 48-49. Two terracotta sarcophagi, each with a recumbent draped female figure on the cover. On the front of the one are two dolphins; on the other two branches.

No. 50. In the North side of the room. A large fictile jar, with a band of reliefs on the shoulder, impressed from a stamp probably in the form of a cylinder. The design here repeated represents a battle scene.

No. 51. Vase of black ware in the form of a primitive hut, from Monte Albano. The rest of the collection of Etruscan black moulded ware is exhibited in Wall Cases in this room.

FIRST VASE ROOM.

In the Wall Cases of this Room are arranged the earliest examples of Fictile Art, from the Greek Islands, from Athens, Corinth, and from Southern Italy. These Vases are mostly painted with black, brown, white, or red colour, on a drab or red ground. The designs are derived from vegetable and animal forms, from geometric patterns, from a combination of animal forms with geometric and floral patterns, and occasionally from the human figure.

Cases 1-13 contain a series of vases excavated at Ialysos, in Rhodes,