C. The high relief sign is of S.D. 60–63.
D. On the boat slate, the drawing is much more detailed than on the boats of the Hierakonpolis tomb of S.D. 63. We can hardly separate this from the work of the artistic new-comers, and it may well be about S.D. 70–75.
E. The animal slate seems to be next, as the treatment of the lion’s hair is unlike the following.
F. The four-dog slate, being a coarser but more elaborated design of the same type, may well be next.
G. The hut slate shows for the first time the arrangement of lion’s mane as on the ivory lions of King Zer.
H. The gazelle slate shows the same treatment more advanced.
J. The towns slate shows the wiry detail of muscles, beginning to appear in archaic manner.
K. The bull slate has the same style carried out fully and finely.
L. The Narmer slate has a less forcible and smoother treatment of the bull, and brings us down to touch with the historic times.
The figures can be seen in Capart’s “Primitive Art in Egypt,” where they may be identified by these letters, corresponding to the paragraphs above: A, B, figures 61, 62; C, 63; D, 169; E, 171–2; F, 173–4; G, 170; H, 177–80; J, 175–6; K, 181–2; L, 183–4.