cut away both the philosophical and economic bases of priestly power, abolishing the cults of all other deities and, with them, the large and lucrative industry of sacrifices and tributes that the priests controlled. At the same time, he strengthened the role of the Pharaoh. Dominic Montserrat, analyzing the various versions of the hymns to the Aten, argues that all versions of the hymns focus on the king; he suggests that the real innovation is to redefine the relationship of god and king in a way that benefited Akhenaten, quoting a statement of Egyptologist John Baines: "Amarna religion was a religion of god and king, or even of king first and then god". Initially, Akhenaten presented Aten to the Egyptian people as a variant of the familiar supreme deity Amun-Ra (itself the result of an earlier rise to prominence of the cult of Amun, resulting in Amun becoming merged with the sun god Ra), in an attempt to put his ideas in a familiar religious context. 'Aten' is the name given to the solar disc, and the full title of Akhenaten's god was "Ra-Horus, who rejoices in the horizon in his name of the light which is in the sun disc". (That is the title of the god as it appears on numerous stelae, placed to mark the boundaries of Akhenaten's new capital at Akhetaten.) However, in the ninth year of his reign, Akhenaten declared a more radical version of his new religion by declaring Aten not merely the supreme god but the only god, and Akhenaten as the son of Aten was the only intermediary between the Aten and his people. He ordered the defacing of Amun's temples throughout Egypt. Key features of Atenism included a ban on idols and other images of the Aten, with the exception of a rayed solar disc in which the rays, commonly depicted as ending in hands, appear to represent the unseen spirit of Aten. Later still, even this was done away with. Amarna art Styles of art that flourished during the brief period are markedly different from other Egyptian art. They bear a variety of affectations, from elongated heads to protruding stomachs, exaggerated ugliness, and the beauty of Nefertiti. Significantly, for the only time in the history of Egyptian royal art, Akhenaten's family was depicted in a decidedly naturalistic manner. It is clearly shown displaying affection. Images of Akhenaten and Nefertiti usually