[101] There is no pier at Medinet-Abou in so perfect a condition as that figured by us. In order to complete our restoration, for so it is, we had the use of drawings which had been made long ago and of excellent photographs, and by combining one figure with another we obtained all the details necessary. The next illustration (Fig. 87) shows the upper part of a polygonal column with a hathoric capital of the oldest and most simple form. In later ages, during the Sait dynasties, the mask of the goddess was repeated upon the four sides of the column, and sometimes superimposed upon a bell-shaped capital. In this instance, where there is but one mask, the vertical band of hieroglyphs below it serves to show that the face where it occurs is the principal one. [Illustration: FIG. 84.--Corner pier from the temple at Elephantiné; from the elevation in the _Description_, i. 36.] This capital is one of the most singular achievements of Egyptian art. Why, out of all the multitude of Egyptian gods and goddesses, was Hathor alone selected for such a distinction? What is the meaning of the small naos or shrine upon her head? The explanation is still uncertain. Perhaps it is to be found in the simple fact that the word Hathor means the dwelling of Horus. This capital is found in the tombs as well as in the temples. We reproduce (Fig. 88) a hathoric pier from the tomb of a certain Nefer-Hotep who lived under the eighteenth dynasty; it is now in the museum at Boulak. The anterior face displays the mask of Hathor over the symbol _tet_, which has been interpreted to mean _steadfastness_ or _stability_.[102] A rich collar hangs down upon her breast. [102] See PIERRET, _Dictionnaire d'Archéologie Égyptienne_. [Illustration: FIG. 85.--Pier with capital, Karnak; from the elevation of Prisse.] On a column in the speos of Kalabché we find the band of hieroglyphs repeated upon four faces (Fig. 89). The flutes of this column are unusually numerous and closely spaced, and it therefore approaches the true cylindrical form. The abacus, however, which overhangs the shaft at every point, still serves to recall the monolithic pier and the tablet which was reserved at its summit when its angles were first struck off in order to give freer passage to the light.