comparison with the artworks of the same period and earlier dynasties was cited as further evidence. Rainer Stadelmann pointed out that the figurine's throne is modelled on the short-backed, cubic throne of the Predynastic period. Barry J. Kemp and William S. Smith further pointed out that the Khufu statuette's face most closely resembles those of statues from the time of Khasekhemwy, Djoser, and Sneferu in execution. The faces of Khasekhemwy and Snefru are also beardless and Khufu's facial expression seems to be modelled on that of Djoser's limestone statues. In particular, the broad nose, rounded face and the rather schematic eyebrows are clearly inspired by the artistic style of the 3rd dynasty. The slightly protruding ears recall those on the statues of Khasekhemwy. With this facial composition, the portrait of Khufu is stylistically in transition from the archaic form to the classical Old Kingdom style. This artistic style can no longer be perceived in the artworks of any king after Djedefre; from King Khafre, depictions of the kings include the ceremonial beard. The artistic elaboration of the ivory figure has been universally acclaimed by researchers as "masterful" and "professional". It is to this day the earliest known Egyptian sculpture showing a king wearing the Red crown. This becomes more common under Khafre. Zahi Hawass on the other hand doubts the statuette is contemporary with Khufu. He considers Petrie's dating suspect on account of the find circumstances and points out that Khufu's face is unusually round and chubby and shows no emotion whatsoever. In contrast to Petrie and Margaret Alice Murray, who described the figurine's face as "powerful" and "intimidating" (in accordance with Greek traditions about Khufu), Hawass saw the face of a very young, possibly underage man. Hawass compares the facial appearance of the statuette with the statues of other contemporary kings (such as Snefru, Khafre, and Menkaure). These three kings' faces are of more normal proportions, thin and friendly - they conform to the ideal form which consciously diverges from reality. In particular, an ivory statuette of King Menkaure, now on display in the Boston Museum under the number Boston 11.280a-b, excites Hawass' interest. Although now headless, this figure displays a similar schema to the Khufu statuette, but its body is very slim and athletic and its execution is significantly more careful. The appearance of Khufu in the ivory statuette, however, is claimed not to be particularly well-worked. Khufu