And such, no doubt, was the character of the Amenophium; of the little temple called Dayr el Medinet; of the temple of Queen Hatshepsu, known as Dayr el Bahari; of the temple of Gournah; of almost every important structure erected upon this side of the river. Of the Amenophium there remain only a few sculptured blocks, a few confused foundations, and--last representatives of an avenue of statues of various sizes--the famous colossi of the plain.[212] The temple of Dayr el Bahari--built in terraces up the mountain side, and approached once upon a time by a magnificent avenue of sphinxes, the course of which is yet visible--would probably be, if less ruined, the most interesting temple on the western side of the river. The monumental intention of this building is shown by its dedication to Hathor, the Lady of Amenti; and by the fact that the tomb of Queen Hatshepsu was identified by Rhind some twenty-five years ago as one of the excavated sepulchers in the cliff-side, close to where the temple ends by abutting against the rock. As for the Temple of Gournah, it is, at least in part, as distinctly a memorial edifice as the Medici Chapel at Florence or the Superga at Turin. It was begun by Seti I in memory of his father Rameses I, the founder of the nineteenth dynasty. Seti, however, died before the work was completed. Hereupon Rameses II, his son and successor, extended the general plan, finished the part dedicated to his grandfather, and added sculptures to the memory of Seti I. Later still, Menepthah, the son and successor of Rameses II, left his cartouches upon one of the doorways. The whole building, in short, is a family monument, and contains a family portrait gallery. Here all the personages whose names figure in the shrines of the Ramessides at Silsilis are depicted in their proper persons. In one tableau, Rameses I, defunct, deified,[213] swathed, enshrined, and crowned like Osiris, is worshiped by Seti I. Behind Seti stands his Queen Tuaa, the mother of Rameses II. Elsewhere Seti I, being now dead, is deified and worshiped by Rameses II, who pours a libation to his father’s statue. Through all these handsome heads there runs a striking family likeness. All more or less partake of that Dantesque type which characterizes the portraits of Rameses II in his youth. The features of Rameses I and Seti I are somewhat pinched and stern, like the Dante of elder days. The delicate profile of Queen Tuaa, which is curiously like some portraits of Queen Elizabeth, is perhaps too angular to be altogether pleasing. But in the well-known face of Rameses II these harsher details vanish, and the beauty of the race culminates. The artists of Egyptian renaissance, always great in profile-portraiture, are nowhere seen to better advantage than in this interesting series.