* A bas-relief on the western bank of the river represents him deified:  Panaiti, the name of a superintendent of the quarries who lived in his reign, has been preserved in several graffiti, while another graffito gives us only the protocol of the sovereign, and indicates that the quarries were worked in his reign.

** The chambers of white limestone are marked I, K, on Mariette’s plan; it is possible that they may have been merely decorated under Thutmosis III., whose cartouches alternate with those of Amenothes I. The colossus is now in front of the third Pylon, and Wiedemann concluded from this fact that Amenothes had begun extensive works for enlarging the temple of Amon; Mariette believed, with greater probability, that the colossus formerly stood at the entrance to the XIIth dynasty temple, but was removed to its present position by Thutmosis III.

As Nofritari had been metamorphosed into a form of Isis, Amenothes 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 it would be easy to add others.  The names of the king are in this case constantly accompanied by unusual epithets, which are enclosed in one or other of his cartouches:  Mons. Kevillout, deceived by these unfamiliar forms, has made out of one of these variants, on a painted cloth in the Louvre, a new Amenothes, whom he styles Amenothes V.

[Illustration:  147.jpg THE COFFIN AND MUMMY OF AMENOTHES]

     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 Amenothes lasted for seven or eight centuries, until the time when his coffin was removed and placed with those of the other members of his family in the place where it remained concealed until our own times.**

* Another statue of very fine workmanship, but mutilated, is preserved in the Gizeh Museum; this statue is of the time of Seti I., and, as is customary, represents Amenothes in the likeness of the king then reigning.

** We know, from the Abbott Papyrus, that the pyramid of Amenothes I. was situated