statue dedicated by King Pisebkhanu.  It was originally two-thirds the size of life, and is the largest specimen known.  A portrait statuette of the Lady Takushet, given to the Museum of Athens by M. Demetrio, the four statuettes from the Posno collection now at the Louvre, and the kneeling genius of Gizeh, are all from the site of Bubastis, and date probably from the years which immediately preceded the accession of Psammetichus I. The Lady Takushet is standing, the left foot advanced, the right arm hanging down, the left raised and brought close to the body (fig. 279).  She wears a short robe embroidered with religious subjects, and has bracelets on her arms and wrists.  Upon her head she has a wig with flat curls, row above row.  The details both of her robe and jewels are engraved in incised lines upon the surface of the bronze, and inlaid with silver threads.  The face is evidently a portrait, and represents a woman of mature age.  The form, according to the traditions of Egyptian art, is that of a younger woman, slender, firm, and supple.  The copper in this bronze is largely intermixed with gold, thus producing a chastened lustre which is admirably suited to the richness of the embroidered garment.  The kneeling genius of Gizeh is as rude and repellent as the Lady Takushet is delicate and harmonious.  He has a hawk’s head, and he worships the sun, as is the duty of the Heliopolitan genii.  His right arm is uplifted, his left is pressed to his breast.  The style of the whole is dry, and the granulated surface of the skin adds to the hard effect of the figure.  The action, however, is energetic and correct, and the bird’s head is adjusted with surprising skill to the man’s neck and shoulders.  The same qualities and the same faults distinguish the Horus of the Posno collection (fig. 280).  Standing, he uplifted a libation vase; now lost, and poured the contents upon a king who once stood face to face with him.  This roughness of treatment is less apparent in the other three Posno figures; above all in that which bears the name of Mosu engraved over the place of the heart (fig. 281).  Like the Horus, this Mosu stands upright, his left foot advanced, and his left arm pendent.  His right hand is raised, as grasping the wand of office.  The trunk is naked, and round his loins he wears a striped cloth with a squared end falling in front.  His head is clad in a short wig covered with short curls piled one above the other.  The ear is round and large.  The eyes are well opened, and were originally of silver; but have been stolen by some Arab.  The features have a remarkable expression of pride and dignity.  After these, what can be said for the thousands of statuettes of Osiris, of Isis, of Nephthys, of Horus, of Nefertum, which have been found in the sands and ruins of Sakkarah, Bubastis, and other cities of the Delta?  Many are, without doubt, charming objects for glass-cases, and are to be admired for perfection of casting and delicacy of execution; but the greater