In the extreme north corner of the temple, Thothmes III intruded another shrine to the goddess Hathor, which was discovered during the progress of the excavations in February, 1906, and has provided us with one of the most admirable examples extant of Egyptian sculpture. The shrine is a small chamber, 10 feet long and 8 feet high, hewn in the rock and lined with sandstone. The slabs are sculptured with religious scenes in which Thothmes III makes offerings to Hathor. The goddess herself stood in the centre of the shrine in the shape of a life-sized figure of a cow, suckling a kneeling figure of a king, while another royal figure stands in front under her head. The name of Amenhotep II is attached to these figures; but the probability is that they were meant to represent Thothmes III, who dedicated the chapel, and that all that Amenhotep II had to do with the act of piety was the engraving of his cartouche on his father’s work. The Hathor cow of Der el-Bahri is quite one of the masterpieces of New Empire art, quite eclipsing the famous example of the same figure which has come from the Saite period and has hitherto been esteemed one of the finest specimens of Egyptian animal sculpture. “Neither Greece nor Rome,” says Maspero of the Der el-Bahri cow, “has left us anything that can be compared with it; we must go to the great sculptors of animals of our own day to find an equally realistic piece of work.” Indeed the Hathor cow and the two lions of Amenhotep III and Tutankhamen, now in the British Museum, might be safely taken as the pieces on which Egyptian sculpture might elect to stand as an interpreter of animal figure. Such, then, have been the main results of excavation on a single Egyptian site; surely enough to afford ample justification of the expenditure of time and money and labour which has been involved. Two great temples have been given back to the knowledge of the world--one of them, it is true, from a period otherwise fairly well known, the other from a period which was hitherto almost a blank. Even in the case of the later temple, where the results contained no surprises, and only extended our already existing knowledge, the contribution of this site to our estimate of Egyptian art was of surpassing value; while Mentuhotep’s temple has filled a gap at one of the points where further knowledge of Egyptian history and art was most to be desired.