It is also stated that he worked regularly the quarries of Silsileh, but we do not know for what buildings the sandstone thus extracted was destined.* Karnak was also adorned with chapels, and with at least one colossus,** while several chambers built of the white limestone of Tûrah were added to Ombos. Thebes had thus every reason to cherish the memory of this pacific king.

      * A bas-relief on the western bank of the river representshim deified: Panaîti, the name of a superintendent of thequarries who lived in his reign, has been preserved inseveral graffiti, while another graffito gives us only theprotocol of the sovereign, and indicates that the quarrieswere worked in his reign.
** The chambers of white limestone are marked I, K, onMariette's plan; it is possible that they may have beenmerely decorated under Thûtmosis III., whose cartouchesalternate with those of Amenôthes I. The colossus is now infront of the third Pylon, and Wiedemann concluded from thisfact that Amenôthes had begun extensive works for enlargingthe temple of Amon; Mariette believed, with greaterprobability, that the colossus formerly stood at theentrance to the XIIth dynasty temple, but was removed to itspresent position by Thûtmosis III.
 

As Nofrîtari had been metamorphosed into a form of Isis, Amenôthes was similarly represented as Osiris, the protector of the Necropolis, and he was depicted as such with the sombre colour of the funerary divinities; his image, moreover, together with those of the other gods, was used to decorate the interiors of coffins, and to protect the mummies of his devotees.*

      * Wiedemann has collected several examples, to which itwould be easy to add others. The names of the king are inthis case constantly accompanied by unusual epithets, whichare enclosed in one or other of his cartouches: Mons.Kevillout, deceived by these unfamiliar forms, has made outof one of these variants, on a painted cloth in the Louvre,a new Amenôthes, whom he styles Amenôthes V.
 

      Drawn by Faucher-Gudin, from a photograph by Emil Brugsch-Bey.
 

One of his statues, now in the Turin Museum, represents him sitting on his throne in the posture of a king giving audience to his subjects, or in that of a god receiving the homage of his worshippers. The modelling of the bust betrays a flexibility of handling which is astonishing in a work of art so little removed from barbaric times; the head is a marvel of delicacy and natural grace. We feel that the sculptor has taken a delight in chiselling the features of his sovereign, and in reproducing the benevolent and almost dreamy expression which characterised them.* The cult of Amenôthes lasted for seven or eight centuries, until the time when his coffin was remove