No architectural monuments mark the period of Hyksos usurpation. But the expulsion of the invaders and the restoration of the power alike of the monarchy and of the national religion produced an outburst of patriotic ardour that was fostered by rulers of exceptional greatness. The Eighteenth, Nineteenth, and Twentieth Dynasties are brilliant with the prowess and architectural creations that are associated with such names as Thothmes, Amenophis, Queen Hatasu, Seti and Rameses. The =Tombs= of the New Theban Empire comprised both the structural and the excavated types. The rock-cut royal tombs are distinguished by the extent and complexity of their shafts, passages, and chambers, designed to baffle the efforts of any possible marauder, while notwithstanding the darkness which fills all the spaces, the walls are brilliantly decorated with coloured reliefs for the propitiation of the Ka. In contrast with the interior is the extreme simplicity of the entrance, of which the main features are the majestic colossal seated figures of the Monarch, which take the place of the statue within the tomb. The grandest example is the =Temple-Tomb of Rameses II= at =Abou Simbel=. An exception to this external simplicity is the =Temple-Tomb= of =Queen Hatasu= at =Deir-el-Bahri=, which, however, presents a combination of the structural and excavated types, for projecting from the face of the rock was an extensive portico, from which steps seem to have descended to a terrace bounded by a peristyle and communicating by another flight of steps with the lower ground--an impressive architectural ensemble, designed, apparently, for ritual ceremonies. The most magnificent examples of the purely structural Tomb are the =Ramesseum= or =Tomb of Rameses II=, near =Deir-el-Bahri=, and that of =Rameses III= at =Medinet Abou=. They may have been rivalled by the =Amenopheum= or Tomb of Amenophis III, of which, however, scarce a trace remains except the colossal seated figures, fifty-six feet high, of the King and his Queen. The former is known as the “Vocal Memnon,” a name given to it by the Greeks, after that of the son of Eos (Dawn), because of the legend, that when the statue was smitten by the rays of the rising sun, it gave forth a sound as of a broken chord. The Ramesseum is a sepulchral temple and its plan, involving a sanctuary and ritual chambers, a hall of columns entered between pylons, and forecourts, presents the typal form of Temple plan.