[Illustration: FIG. 83.--Column of Thothmes at Karnak; from Lepsius, part i., pl. 81.] In this comparison between the different forms which were successively given to the Egyptian column, we might, if we had chosen, have included other varieties; and yet we do not think we have omitted any that are of importance. We have figured them to one scale so that their relative proportions can be at once grasped, and we have now to analyse the methods in which they were allied with their supports and superstructures. For that purpose we shall have to reproduce several of the piers and columns already mentioned and figured, on a larger scale and in perspective instead of elevation. We count upon these reproductions to show the individual characteristics of the Egyptian orders and the origin of their peculiar physiognomy. When the architects of the New Empire made use of the square pier without giving it either capital or base, they covered it with bas-reliefs and inscriptions. Thus adorned it could be used without incongruity in rich and elaborate compositions. The truth of this statement may be seen from the adjoining reproduction of an angle from the peristyle of the Elephantiné temple (Fig. 84).[100] [100] See also p. 396, Vol. I., and Fig. 230. The firm and simple lines of the pier contrast well with the modest projection of the stylobate and the bolder profile of the cornice, and help, with the double base, to give dignity and solidity to the encircling portico. When the pier is honoured with a capital, that capital does not in the least resemble those of the column proper. Being, in its essence, a vertical section of wall, it is treated as such, and given for crown a capital composed exactly in the same fashion as the cornice which crowns every Egyptian wall. Between this quasi-capital and the architrave a low abacus is introduced (Fig. 85). The figure on page 109, represents one of the seven osiride piers in the first court of the temple at Medinet-Abou. The pier at the back of the statue is slightly wider than the base upon which the latter stands. At each side of the Pharaoh one of his children stands sculptured in very high relief, almost in the round. Without in any way compromising the dignity of the colossus the sculptor has bent his head slightly backwards so as to obtain a natural support for his lofty and complicated head-dress. Thanks to this artifice the head-dress in question is securely allied to the massive pier behind it without the intervention of any unsightly thicknesses of stone, and the expression of the whole glypto-architectural group is rendered more forcible and more suggestive of that strength in repose which is the characteristic of Egyptian architecture.[101]