ers, as has also that
of Assi-onkhu; but these are exceptions, as may be
ascertained by consulting the work of Mariette. Most of
those which contain several rooms are ancient one-roomed
mastabas, which have been subsequently altered or enlarged;
this is the case with the mastabas of Shopsi and of
Ankhaftuka. A few, however, were constructed from the outset
with all their apartments--that of Raonkhumai, with six
chambers and several niches; that of Khabiuphtah, with three
chambers, niches, and doorway ornamented with two pillars;
that of Ti, with two chambers, a court surrounded with
pillars, a doorway, and long inscribed passages; and that of
Phtahhotpu, with seven chambers, besides niches.

[Illustration: 009.jpg THE FACADE AND THE STELE OF THE TOMB OF
PHTAHSHOPSISU AT SAQQARA]

Drawn by Faucher-Gudin, from a photograph by Duhichen.

At the far end, and set back into the western wall, is a huge
quadrangular stele, at the foot of which is seen the table of offerings,
made of alabaster, granite or limestone placed flat upon the ground,
and sometimes two little obelisks or two altars, hollowed at the top to
receive the gifts mentioned in the inscription on the exterior of the
tomb. The general appearance is that of a rather low, narrow doorway,
too small to be a practicable entrance. The recess thus formed is almost
always left empty; sometimes, however, the piety of relatives placed
within it a statue of the deceased. Standing there, with shoulders
thrown back, head erect, and smiling face, the statue seems to step
forth to lead the double from its dark lodging where it lies embalmed,
to those glowing plains where he dwelt in freedom during his earthly
life: another moment, crossing the threshold, he must descend the few
steps leading into the public hall. On festivals and days of offering,
when the priest and family presented the banquet with the customary
rites, this great painted figure, in the act of advancing, and seen
by the light of flickering torches or smoking lamps, might well appear
endued with life. It was as if the dead ancestor himself stepped out of
the wall and mysteriously stood before his descendants to claim their
homage. The inscription on the lintel repeats once more the name and
rank of the dead. Faithful portraits of him and of other members of his
family figure in the bas-reliefs on the door-posts.

[Illustration: 010.jpg STELE