The scale of the production, the adoption and improvement of new or imported craftsmanship and other such technical innovations relative to the production of terracotta figurines was driven primarily by the existing demand. It is clear that there was a significant need for such religious objects in the domestic cultual sphere of Egypt, though the subjects chosen were mostly dependent on geography and the location of the shrines the finished article was deposited as an offering. It needs to be mentioned that usually local repertoires encompassed a limited range of subjects. The appearance of such figurines follow entirely the fashion which was prevalent during the time of their production, in regards to the style of hair, clothes, jewellery etc, representing the demands of the clientele, with such outward characteristics serving also as important markers of identity. The ritual use of many such figurines is finally indicated by the context in which they were discovered, being that Greek sanctuaries or Egyptian temple votive deposits and caches. The mass production of mould-made solid terracotta figurines presents them in small dimensions, solid three-dimentional, made from a hard, fine, heavy and sandy Nile silt, with visible organic inclusions. These small solid figurines often represent the technological limitations of the material employed and of the workshop and its kiln. In some of these brownish-red ceramic moulds the depression on the back is rather rough and crude whereas in others it is formed well including considerable incised details. String marks and burn mark are often visible. These moulds are bulk workshop creations of the late period of ancient Egypt, which started with the Twenty-Sixth Dynasty, around 672 BC, through the Achaemenid Persian rule from 525 to 404 BC., and ended with the conquest by Alexander the Great and the establishment of the Ptolemaic kingdom in 323 BC.