ABSTRACT
Thus we see that the Pavilion forms a kind of triumphal entrance to the temple, and to the palace at the south of the temple, and was built in order to perpetuate for his soul's delight the victories won upon earth by the king. Its martial character, as we have seen, is indicated by its similarity in construction to the forts and citadels of Asia; by the reliefs upon its walls, and by the two figures of Sekhmet. The scenes upon the rooms inside the Pavilion, however, are of a very different character, and are intended to represent the pleasures of home comforts to which the victori'tms king returned in life, and to which .his soul in the underworld would return. \Ve ascend the steps on the south side of the tower, and presently reach a chamber, the roof of which is destroyed, thus exposing the room above. It is on the walls of this upper chamber that one sees the famous harhll scenes, so often mentioned in EgyptologicaI works. On the west wall the king, seated, catches hold of the arm of one of his ladies,
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FIRST COUBT
THE MORTUARY TEUPLE OF AMENHOTEP l'!..T AND THOTHMES I.
