tion of an interesting nature, which by some has been, too hastily we think, considered as a sculptured story of the arrival of Jacob and his household, and their presentation to Pharaoh. We subjoin a copy of it in part, and remark that

though it may not afford any testimony to the particular event we are considering, yet it is evidence illustrative of our subject in general.

Here it will be seen that two persons, seemingly in office, and indicating, both by physiognomy and costume, that they are Egyptians, appear to be conducting those who follow them into the presence of Pharaoh, or one of his principal officers (who is not seen in the drawing). The hieroglyphical inscriptions show who they are. The first holding out the tablet, reads "the royal scribe, Nofropth;" the second is "the president of the treasury, Roti." The tablet held forth by the scribe is dated in the sixth year of the reign of the king to whom it is presented; and sets forth that -certain individuals, either as such, or as the representatives of nations, had been taken captive. The number thirty-seven is written over them in hieroglyphics. It is necessary to observe particularly the appearance of these captives. The profile differs from that of the Egyptians; the nose and chin both project, and the former is aquiline. In the original the complexion was yellow, the hair and beard black; and the latter much more abundant than on an Egyptian face. The first figure in the line of captives, is a man clad in a rich tunic: he holds a gazelle, and is followed by an attendant leading another. He holds also in his hand, the horn of some animal, and is making a low obeisance to the king. His name and title are written in hieroglyphics before him: the upper group, according to Osborn, reads hik—king, chief [of J "the land." The group below i J I TJ T is letter for letter the transcription of the Hebrew word "'oa1', which is rendered in the English Bible, Jebusites. The meaning seems, therefore, to be "chief of the land of the Jebusites," which bordered on the deserts, and in which the gazelle abounded.

Immediately following the first two, are four men; the first carrying a bow, the last a spear, and the two between each with a club: their dress shows them to be of some rank, and they have sandals on their feet. Next comes an ass, bearing a package or pannier, tied with cords; within are two children, and on the top a shield. These children are probably hostages; as are also the boy and four women, who follow next. All of these are richly dressed, and wear boots reaching above the ankles to protect them from the burning sands of the desert. Another ass, loaded with spears and shields, is next; then a man, playing with the plectrum upon an instrument closely resembling the Grecian lyre. The case is slung at his back. The last figure carries a bow, quiver and war club, and is probably the bow-bearer of the first or some of the other personages. Such a figure is often represented in the reliefs on the temples.

The beards are remarkable, because though common in the East, the Egyptians did not wear them; and in the sculptures generally, they are used as one of the characteristic peculiarities of foreign and uncivilized nations.

In the inscription the word "captives" is used, and this has led to some difficulty in the interpretation of the scene. Wilkinson at first supposed, from the use of this word, that it was a representation of ordinary prisoners taken by the Egyptians in war: he afterward modified this opinion, and remarked that "the contemptuous expressions common to the Egyptians in speaking of foreigners, might account for the use of this word." They probably are not "captives" in the common sense of that term. Most of the captives that are