it was in a very dilapidated state, it has been dismounted and replaced by the golden boat (fig. 307).  The hull is long and slight, the prow and stem are elevated, and terminate in gracefully-curved papyrus blossoms.  Two little platforms surrounded by balustrades on a panelled ground are at the prow and on the poop, like quarter-decks.  The pilot stands upon the one, and the steersman before the other, with a large oar in his hand.  This oar takes the place of the modern helm.  Twelve boatmen in solid silver are rowing under the orders of these two officers; Kames himself being seated in the centre, hatchet and sceptre in hand.  Such were some of the objects buried with one single mummy; and I have even now enumerated only the most remarkable among them.  The technical processes throughout are irreproachable, and the correct taste of the craftsman is in no wise inferior to his dexterity of hand.  Having arrived at the perfection displayed in the parure of Aahhotep, the goldsmith’s art did not long maintain so high a level.  The fashions changed, and jewellery became heavier in design.  The ring of Rameses II., with his horses standing upon the bezel (fig. 308), and the bracelet of Prince Psar, with his griffins and lotus flowers in cloisonne enamel (fig. 309), both in the Louvre, are less happily conceived than the bracelets of Ahmes.  The craftsmen who made these ornaments were doubtless as skilful as the craftsmen of the time of Queen Aahhotep, but they had less taste and less invention.  Rameses II. was condemned either to forego the pleasure of wearing his ring, or to see his little horses damaged and broken off by the least accident.  Already noticeable in the time of the Nineteenth Dynasty, this decadence becomes more marked as we approach the Christian era.  The earrings of Rameses IX. in the Gizeh Museum are an ungraceful assemblage of filigree disks, short chains, and pendent uraei, such as no human ear could have carried without being torn, or pulled out of shape.  They were attached to each side of the wig upon the head of the mummy.  The bracelets of the High Priest Pinotem III., found upon his mummy, are mere round rings of gold incrusted with pieces of coloured glass and carnelian, like those still made by the Soudanese blacks.  The Greek invasion began by modifying the style of Egyptian gold-work, and ended by gradually substituting Greek types for native types.  The jewels of an Ethiopian queen, purchased from Ferlini by the Berlin Museum, contained not only some ornaments which might readily have been attributed to Pharaonic times, but others of a mixed style in which Hellenic influences are distinctly traceable.  The treasure discovered at Zagazig in 1878, at Keneh in 1881, and at Damanhur in 1882, consisted of objects having nothing whatever in common with Egyptian traditions.  They comprise hairpins supporting statuettes of Venus, zone-buckles, agraffes for fastening the peplum, rings and bracelets set with cameos, and caskets ornamented at the four corners with little Ionic columns.  The old patterns, however, were still in request in remote provincial places, and village goldsmiths adhered “indifferent well” to the antique traditions of their craft.  Their city brethren had meanwhile no skill to do aught but make clumsy copies of Greek and Roman originals.