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The notices of the first Theban Empire are more numerous, and they render it possible to study the history of statuary during the long interval that separates the Heracleopolitan period from the domination of the Shepherd Kings. For the XIth Dynasty, besides the wonderful statue of Montouhotpou III, there are bas-reliefs or paintings found at Gebeleîn in the ruins of a temple of Montouhotpou I. Afterwards, we have, in the XIIth Dynasty itself, the seated statues of Sanouosrît I, of Nofrît and of Amenemhaît III, the sphinx of Amenemhaît III that Mariette declared to be the portrait of a Hyksôs king, an admirable king’s head preserved in the Vienna Museum, and pieces of lesser interest, among which a curious bas-relief of Sanouosrît I dancing before the god Mînou at Coptos should be mentioned. For the XIIIth and following Dynasties, I only see as yet the Sovkhotpou of the Louvre, the barbarous head of Mît-Fares, and the Sovkemsaouf of Vienna, but we must wait for the next parts before deciding to what point Bissing has made use of the rich store of documents available for that period. The second Theban Empire, so rich in souvenirs of all kinds, offered an embarrassing choice: the Cairo Museum alone possesses material enough for two or three volumes, especially since the fortunate excavations conducted by Legrain at the favissa of Karnak. The subjects in favour of which Bissing decided have their special importance: they are each the actual head of a pillar, the type of a series that he could, in many cases, have reproduced almost entire, so well has chance served us in the course of these last years. The statues of Amenôthes, of Thoutmôsis, of the Ramses, of the Harmais are celebrated, and it is unnecessary to enumerate them one after the other: the reader will see them again with pleasure as he goes along, and will admire the marvellous skill with which the photographer has reproduced them, and the printer has responded to the photographer’s skill. The pictures of the volume are often perfect, and plates like those of the head of one of the sphinxes of Amenemhaît III are so successful that in looking at them we have almost the sensation of the original. In a few, however, the printing is too heavy and the thickness of the ink has distorted and coarsened the modelling. As a general rule the larger number of the defects I have noted are due to this tiresome question of inks. I know too well from my own experience the difficulties caused by the obstinacy of the workmen on that point, so I am able to make excuses for both Bruckmann and Bissing.