"The first tomb we come to is that of Nefermat. He was a functionary of the court of Seneferoo. His name is clearly written above the door on the circular crossbeam with which, in imitation of the lintel and side-posts of a wooden doorway, the entrance is furnished. This circular door head, which occurs almost always in tombs of the ancient empire, and is often copied in granite as well as in limestone, may have been a roller on which to suspend a curtain. Nefermat is described as 'Suten rech,' or cousin of the king, a title very frequent under the old monarchy, and no doubt representing the fashion by which noblemen in England have since the reign of Henry IV. been addressed as 'cousins' of the sovereign.

"Nefermat is represented with his wife Atet clasping his knees. Behind her on the right of the short entrance passage a procession of women is represented, bringing offerings from the estates of the deceased. Each of these estates is distinguished by its proper name, with a determinative. To the left of the

doorway stand, one above the other, the three sons of the deceased. Their names are much defaced, and though I copied them I could not make them out afterwards.

"These figures were incised on the stone and the hollows filled with a kind of enamel, most of which has been picked out by mischievous visitors. Here and there a portion remains, which from the brilliancy and beauty of the effect makes us long for more.

The red, with which the men are coloured, is very hard, and has resisted the hands of marauders better than the yellow colour of the women. There are also sculptures in low relief, as in the better known tomb of Thy at Sakkara. Above the portrait of Nefermat himself are representations of his possessions, each with a number attached, among other things his falcons, which are on perches, four in a row. "About twenty yards north, but in the same rectangular mound, is the tomb of Nefermat's wife, Atet. The building has been much defaced, but enough remains to make it very interesting. She evidently survived her husband, and perhaps succeeded him in his possessions. She is represented at the door in an act of adoration before the statue of Nefermat, and on the outer face, above the entrance, seated with her feet under her, in the modern Egyptian fashion, on a platform or high stool, while three fowlers bring her wild geese, carrying them by the necks, and she takes one in her hand. Exactly over the door a hexagonal net encloses a flock of the same birds, and on the left a fowler is in the act of drawing it over them. It was from this tomb that the marvellously life-like picture of a flock of geese pasturing was taken, which is now in the museum at Boulak.1

1 By the kindness of Miss Lenox, the artist, who made a careful drawing of this picture, I am enabled to offer an engraving of it, which is the more valuable as no photograph can be taken from it.

"Some thirty yards further, and a little more to the east is another mound, also of sand and flints, covering a core of crude brick. It contains two double tombs, both faced with masonry.

"The first is that of Chent and Mara his wife. Chent, like Nefermat, was a functionary under Seneferoo, and a 'trusty cousin and councillor.' It is much defaced, and contains little of interest.

"The second tomb is almost altogether gone. It was about twenty yards further north, and apparently consisted, like the rest, of an entrance porch of carved stone, and a passage leading to interior chambers, ornamented with frescoed stucco and basreliefs of stone. Though so entirely dilapidated, this tomb is of the highest interest. It contained the statues of Ra-hotep and Nefert, which now form the greatest treasures of the museum of Boulak.

"Ra-hotep appears to have been the son of Seneferoo, and to have died before his father, while still young. His wife, the beautiful Nefert, seems to have died about the same time, and both were buried in same tomb. It is possible that their deaths may have left Seneferoo childless, and so led to the extinction of the third dynasty."

"Take care," said the Scot; "conjecture is not history; and you told us just now that Seneferoo may not have been the last king of the third dynasty."

"Yes," replied the Antiquary, secretly pleased to find his remarks so carefully listened to; "but for a

long time Seneferoo was identified with Soris, the first king of the fourth dynasty in Manetho's list; but the transliteration"

"Look here," said the Collector, "if you are going not only into transliteration, but also into Manetho, I must retire to my own corner."

"Yes," said the Scot, "and you have not yet got to your sufferings at Wasta."

"True," said the Antiquary, humbly, "but first I must remind you of the statue of Nefert, which you saw beside that of Ra-hotep at Boulak. It is carved in the same proportions as his, being slightly smaller than life. She is seated like her husband, and wears a white tight-fitting and exceedingly graceful garment, slightly open in front at the throat; it only rises to the points of her shoulders, and leaves space for the display of an inner garment of which only the sleeves or suspenders are visible. She has no shoes, but her dress reaches to her ankles. Round her neck she wears a necklace of six circles of green and red enamel from which a row of emeralds and rubies depended. On her head is an elaborately plaited 'wig,' but possibly her own hair is intended to be represented, and round her forehead a ribbon or 'snood,' ornamented with roses and leaves, perhaps meant for embroidery."

"I remember," said the Scot.

"You are giving us too much millinery," criticised

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