the Predynastic Period on, although in subsequent periods it was usually covered in a fine layer of faience and was used in the manufacture of numerous scarabs. Turquoise is an opaque stone, sky blue to blue-green. It is a natural aluminium phosphate colored blue by traces of copper. Closely linked to the goddess Hathor, it was extracted mainly from mines in Sinai (at Serabit el-Khadim). The Egyptians were particularly fond of the greenish shades, symbolic of dynamism and vital renewal. In the Late Period, turquoise (like lapis lazuli) was synonymous with joy and delight. Sculpture The monumental sculpture of ancient Egypt's temples and tombs is well known, but refined and delicate small works exist in much greater numbers. The Egyptians used the technique of sunk relief, which is best viewed in sunlight for the outlines and forms to be emphasized by shadows. The distinctive pose of standing statues facing forward with one foot in front of the other was helpful for the balance and strength of the piece. This singular pose was used early in the history of Egyptian art and well into the Ptolemaic period, although seated statues were common as well. Egyptian pharaohs were always regarded as gods, but other deities are much less common in large statues, except when they represent the pharaoh another deity; however, the other deities are frequently shown in paintings and reliefs. The famous row of four colossal statues outside the main temple at Abu Simbel each show Rameses II, a typical scheme, though here exceptionally large. Most larger sculptures survived from Egyptian temples or tombs; massive statues were built to represent gods and pharaohs and their queens, usually for open areas in or outside temples. The very early colossal Great Sphinx of Giza was never repeated, but avenues lined with very large statues including sphinxes and other animals formed part of many temple complexes. The most sacred cult image of a god in a temple, usually held in the naos, was in the form of a relatively small boat or barque holding an image of the god, and apparently usually in precious metal – none of these are known to have survived. By Dynasty IV (2680–2565 BC), the idea of the Ka statue was firmly established. These were put in tombs as a resting place for the ka portion of the soul, and so there is a good number of less conventionalized