4IO A History of Art in Ancient Egypt. who caused them to be made. The chief difference is in the situation of these statues. In the case of a built temple they are monoliths, brought from a distance and erected in front of the pylon. But space was wanting for such an arrangement at Ipsamboul ; besides which it was better, for many reasons, that the whole edifice should be homogeneous, and that the statues should be carved in the rock from which its chambers were to be cut. The way to do this was obvious. The colossi had but to recede a pace or two so as to be incorporated in the substance of the pylon itself. At Ipsamboul there are, as we have seen, two temples close to one another. Their fa9ades, though conceived in the same spirit, executed by the same processes, and having a good deal in common in their design, are yet by no means similar. That of the temple of Hathor, generally called the Smaller Temple, is on a smaller scale than the Gi^eat Temple, but perhaps its design is the happier and more skilful of the two. The front is 90 feet wide and nearly 40 high. It is ornamented by six colossal upright statues, four of them Rameses himself, the other two his wife Nefert-Ari. These statues, which are about 34 feet high, are separated one from another by eight buttresses, two of them acting as jambs for the door, above which they unite and become a wide band of flat carving marking the centre of the facade. The gentle salience of these buttresses forms a framework for the statues (see Fig. 242), which are chiselled with great care and skill in the fine yellow sandstone of which the mountain consists. The fa9ade of the Great Temple is much larger. It is about 130 feet wide by 92 high. It is not divided by buttresses like the other, but it has a bold cornice made up of twenty- two cynocephalic figures seated with their hands upon their knees. Each of these animals is sculptured in the round, and is only connected with the face of the rock by a small part of its posterior surface. They are not less than seven feet high. A frieze, consisting of a dedicatory inscription carved in deep and firmly drawn hiero- glyphs runs below the cornice. Above the doorway a colossal figure of Ra is carved in the rock, and on each side of him Rameses is depicted in low relief, in the act of adoration. This group occupies the middle of the facade. But the most striking feature of the building is supplied by the four colossi of Rameses placed two and two on either side of the door. They
