Given such help as Mariette’s hand-book affords, one can trace out most of these curious things and identify the uses of every hall and chamber throughout the building. The king, in his double character of Pharaoh and high priest, is the hero of every sculptured scene. Wearing sometimes the truncated crown of Lower Egypt, sometimes the helmet-crown of Upper Egypt, and sometimes the pschent, which is a combination of both, he figures in every tableau and heads every procession. Beginning with the sculptures of the portico, we see him arrive, preceded by his five royal standards. He wears his long robe; his sandals are on his feet; he carries his staff in his hand. Two goddesses receive him at the door and conduct him into the presence of Thoth, the ibis-headed, and Horus, the hawk-headed, who pour upon him a double stream of the waters of life. Thus purified, he is crowned by the goddesses of Upper and Lower Egypt, and by them consigned to the local deities of Thebes and Heliopolis, who usher him into the supreme presence of Hathor. He then presents various offerings and recites certain prayers; whereupon the goddess promises him length of days, everlasting renown, and other good things. We next see him, always with the same smile and always in the same attitude, doing homage to Osiris, to Horus and other divinities. He presents them with flowers, wine, bread, incense; while they in return promise him life, joy, abundant harvests, victory, and the love of his people. These pretty speeches--chefs-d’œuvre of diplomatic style and models of elegant flattery--are repeated over and over again in scores of hieroglyphic groups. Mariette, however, sees in them something more than the language of the court grafted upon the language of the hierarchy; he detects the language of the schools, and discovers in the utterances here ascribed to the king and the gods a reflection of that contemporary worship of the beautiful, the good, and the true, which characterized the teaching of the Alexandrian Museum.[35]