6 
TAKIS. 
twelfth dynasty; and as it is more similar to 
the statue of Usertesen I. than to any other, 
we shall probably be right in attributing this— 
the finest Egyptian statue known in some 
respects—to Amenemhat II. 
9. The colossus of the next king, Usertesen II., 
was in yellow quartzite sandstone, of very fine 
grain, and free from sand-holes or pebbles. The 
chest remains, and two small fragments of the 
throne, but no other pieces have come to light. 
On one of these pieces is part of the head-dress 
of the figure of the Lower Nile (6 a), showing 
that the usual group was placed on the side of 
the throne, and on the adjacent front (6 b) is a 
fragment of the side of the cartouche, showing 
just the edges of the characters Ea-kha-a. 
This proves that the statue belonged to User- 
lesen II., of the twelfth, or Noferhotep or Sebak- 
hotep III., of the thirteenth dynasty. Prom the 
style, the fulness of the trunk, and the decora¬ 
tion, it is to be assigned to the twelfth dynasty, 
and therefore to Usertesen II. Noferhotep is the 
only other claimant, as there were besides this a 
pair of granite colossi of Sebakhotep III. at San. 
The statue of Nofert, the wife of Usertesen II., 
carved in black granite, is now at Bulak. It 
represents the queen, with a massive wig descend¬ 
ing on each side of the face, and ending in a 
point curled round just above the breast. The 
eyes were inlaid. Her husband’s throne name— 
Ba-kha-kheper —occurs on a pectoral plate on the 
chest, flanked by two vultures, each on the mih, 
and with the two sacred eyes above. The inscrip¬ 
tion is on either side of the front of the throne, 
descending beside the feet. The titles are the 
same as on the broken statue (inscrip. 11); they 
will be given in full in the inscriptions published 
next season. Beside this there is a bust of a 
similar statue also at Bulak. 
10, There is a part of an architrave of User¬ 
tesen III. (who succeeded Usertesen II.) executed 
in pinkish granite (inscrip. 7) ; and it is remark¬ 
able that he is called “ beloved of Osiris,” which 
seems opposed to the worship of Sutekh at 
San. Osiris is only met with on one other 
monument of this place, Ptah being the most 
usual deity here, beaide Har and Anup, in the 
early times. The other mention of Osiris is on 
the base of a seated colossus in close fine grey 
granite (Plan, 87). The upper line in insorip. 
8 A, on the top of the base, is of the twelfth 
dynasty, by the work of it; the lower line (8 a) 
is part of Merenptah’s inscription, which is 
carried round the side (8 b). Merenptah has 
also hammered out the name of the original 
owner in the ancient inscription, and has roughly 
substituted his own. This statue is of the twelfth 
dynasty, as appears by the work, and must belong 
to Usertesen III. or Amenemhat III. or IV.; and 
from the mention of Osiris, as on the architrave 
of the first of these kings, it seems most likely 
that this statue was of Usertesen III. 
11. Besides these attributable statues, there is 
a fragment of the foot of a statue in grey granite 
(Plan, 279), by the side of which is the end of an 
inscription (10 a), and on the front of which is 
an inscription (10 b) of the nineteenth dynasty. 
This might belong to some of the previous 
statues. There is also (in the sanctuary) a 
defaced head in the same material, which pro¬ 
bably belonged to some statue of the twelfth 
dynasty. A block of similar grey granite (Plan, 
96) bears the fragment of inscription (9) in large 
figures; it appears to have been part of a larger 
object out up. There are two seated female 
statues here in black granite, probably belonging 
to the earlier part of the twelfth dynasty; they 
are princesses, and perhaps daughters of User¬ 
tesen II., as there is also a statue of his wife in the 
same material. One of these statues has a hand 
on the knee, and the other hand has been across 
the breast (Plan, 85), while on the front of the 
throne are the beginnings of inscriptions (12) ; 
this statue is broken off just below the knees, 
and across the body. The surface is smooth, 
representing plain drapery, and is well polished. 
The other princess (Plan, 99) has both hands 
resting on the knees, but otherwise appears to 
