as the Louvre statuette from the Fayum find appeared during the Middle Kingdom, followed by solid cast statuettes (like the squatting, nursing mother, in Brooklyn) of the Second Intermediate/Early New Kingdom. The hollow casting of statues is represented in the New Kingdom by the kneeling statue of Tuthmosis IV (British Museum, London) and the head fragment of Ramesses V (Fitzwilliam Museum, Cambridge). Hollow castings become more detailed and continue into the Eighteenth Dynasty, shown by the black bronze kneeling figure of Tutankhamun (Museum of the University of Pennsylvania). Cire Perdue is used in mass-production during the Late Period to Graeco-Roman times when figures of deities were cast for personal devotion and votive temple offerings. Nude female-shaped handles on bronze mirrors were cast by the lost-wax process. Greece, Rome, and the Mediterranean The lost-wax technique came to be known in the Mediterranean during the Bronze Age. It was a major metalworking technique utilized in the ancient Mediterranean world, notably during the Classical period of Greece for large-scale bronze statuary and in the Roman world. Direct imitations and local derivations of Oriental, Syro-Palestinian and Cypriot figurines are found in Late Bronze Age Sardinia, with a local production of figurines from the 11th to 10th century BC. The cremation graves (mainly 8th-7th centuries BC, but continuing until the beginning of the 4th century) from the necropolis of Paularo (Italian Oriental Alps) contained fibulae, pendants and other copper-based objects that were made by the lost-wax process. Etruscan examples, such as the bronze anthropomorphic handle from the Bocchi collection (National Archaeological Museum of Adria), dating back to the 6th to 5th centuries BC, were made by cire perdue. Most of the handles in the Bocchi collection, as well as some bronze vessels found in Adria (Rovigo, Italy) were made using the lost-wax technique. The better known lost-wax produced items from the classical world include the "Praying Boy" c. 300 BC (in the Berlin Museum), the statue of Hera from Vulci (Etruria), which, like most statues, was cast in several parts which were then joined together. Geometric bronzes such as the four copper horses of San Marco (Venice, probably 2nd century) are other prime examples of statues cast in many parts. Examples of works made using the lost-wax casting process in Ancient Greece largely are unavailable due to the common practice in later periods of melting down pieces to reuse their materials. Much of the evidence