(16) Now the high priest's robe is the symbol of the world of sense. The seven planets are represented by the five stones and the two carbuncles, for Saturn and the Moon. The former is southern, and moist, and earthy, and heavy; the latter aerial, whence she is called by some Artemis, as if Aerotomos (cutting the air); and the air is cloudy. And cooperating as they did in the production of things here below, those that by Divine Providence are set over the planets are rightly represented as placed on the breast and shoulders; and by them was the work of creation, the first week. And the breast is the seat of the heart and soul.

(2) And there are those who fashion ears and eyes of costly material, and consecrate them, dedicating them in the temples to the gods - by this plainly indicating that God sees and hears all things. Besides, the lion is with them the symbol of strength and prowess, as the ox clearly is of the earth itself, and husbandry and food, and the horse of fortitude and confidence; while, on the other hand, the sphinx, of strength combined with intelligence - as it had a body entirely that of a lion, and the face of a man. Similarly to these, to indicate intelligence, and memory, and power, and art, a man is sculptured in the temples. And in what is called among them the Komasiae of the gods, they carry about golden images - two dogs, one hawk, and one ibis; and the four figures of the images they call four letters. For the dogs are symbols of the two hemispheres, which, as it were, go round and keep watch; the hawk, of the sun, for it is fiery and destructive (so they attribute pestilential diseases to the sun); the ibis, of the moon, likening the shady parts to that which is dark in plumage, and the luminous to the light. And some will have it that by the dogs are meant the tropics, which guard and watch the sun's passage to the south and north. The hawk signifies the equinoctial line, which is high and parched with heat, as the ibis the ecliptic. For the ibis seems, above other animals, to have furnished to the Egyptians the first rudiments of the invention of number and measure, as the oblique line did of circles.

(17) Differently, the stones might be the various phases of salvation; some occupying the upper, some the lower parts of the entire body saved. The three hundred and sixty bells, suspended from the robe, is the space of a year, "the acceptable year of the Lord," proclaiming and resounding the stupendous manifestation of the Saviour. Further, the broad gold mitre indicates the regal power of the Lord, "since the Head of the Church" is the Savour. The mitre that is on it [i.e., the head] is, then, a sign of most princely rule; and otherwise we have heard it said, "The Head of Christ is the God and Father of our Lord Jesus Christ." Moreover, there was the breastplate, comprising the ephod, which is the symbol of work, and the oracle logion; and this indicated the Word logos by which it was framed, and is the symbol of heaven, made by the Word, and subjected to Christ, the Head of all things, inasmuch as it moves in the same way, and in a like manner. The luminous emerald stones, therefore, in the ephod, signify the sun and moon, the helpers of nature. The shoulder, I take it, is the commencement of the hand.

(23) In the chamber were four so-called canopic vases, with the gods of the four cardinal points, each of whom has his words to say. Besides these were statuettes called shabti or ushabti , the helpers of the deceased in his work in the Elysian fields. In the papyrus London, 10010 ( Af. ), from which this chapter is translated, one of them has the usual appearance, the other the head of Anubis

(1) Whence also the Egyptians did not entrust the mysteries they possessed to all and sundry, and did not divulge the knowledge of divine things to the profane; but only to those destined to ascend the throne, and those of the priests that were judged the worthiest, from their nurture, culture, and birth. Similar, then, to the Hebrew enigmas in respect to concealment, are those of the Egyptians also. Of the Egyptians, some show the sun on a ship, others on a crocodile. And they signify hereby, that the sun, making a passage through the delicious and moist air, generates time; which is symbolized by the crocodile in some other sacerdotal account. Further, at Diospolis in Egypt, on the temple called Pylon, there was figured a boy as the symbol of production, and an old man as that of decay. A hawk, on the other hand, was the symbol of God, as a fish of hate; and, according to a different symbolism, the crocodile; of impudence. The whole symbol, then, when put together, appears to teach this: "Oh ye who are born and die, God hates impudence."

(1) [Asclepius] Thou dost not mean their statues, dost thou, O Thrice-greatest one?

[Trismegistus] [I mean their] statues, O Asclepius,—dost thou not see how much thou even, doubtest?—statues, ensouled with sense, and filled with spirit, which work such mighty and such [strange] results,—statues which can foresee what is to come, and which perchance can prophesy, foretelling things by dreams and many other ways,—[statues] that take their strength away from men, or cure their sorrow, if they do so deserve. Dost thou not know, Asclepius, that Egypt is the image of the Heaven ; or, what is truer still, the transference, or the descent, of all that are in governance or exercise in Heaven? And if more truly [still] it must be said,—this land of ours is Shrine of all the World.

(3) The vignette of this Chapter and the next, show distinctly that the is a miniature column or tent-pole, with the papyrus capital, and papyrus leaves at the base

(63) What is this? “Of unknown attributes, which Hemen hath given” is the name of the Funereal Chest. “The Witness of that which is lifted” is the name of the Shrine

(12) Accordingly, he who composed the Pharonis writes,- "Callithoe, key-bearer of the Olympian queen: Argive Hera, who first with fillets and with fringes The queen's tall column all around adorned." Further, the author of Europia relates that the statue of Apollo at Delphi was a pillar in these words: "That to the god first-fruits and tithes we may On sacred pillars and on lofty column hang."

(10) Said also on a figure the middle part of which is that of a man; his arms are hanging down. The head of a ram is on his right shoulder, and another on his left shoulder. Thou wilt paint on one bandage the two figures of the god with raised arm, and put it across the chest of the deceased, so that the two painted figures may be on his breast

(14) The vignette consists of the three figures described in the rubric. That which is given here is taken from the Turin papyrus. It differs slightly from the description and from the vignettes of the other texts. The middle figure should have a man’s body with a lion’s claws

(21) is not so much a text as a picture. It represents the funeral chamber. The four walls, which should be vertical, are drawn lying flat on the ground. In the middle of the chamber, under a canopy, is the mummy, on which Anubis lays his hands; under the bed is a bird with a human head, the symbol of the soul of the deceased. We must suppose that the god Anubis is a priest, or a member of the family, who has put on a jackal’s head, and who pronounces the words said to be those of the god. At the foot of the bed are the two goddesses Isis and Nephthys

(1) The southern rays of the sun are the honey-cells on the right. The Yagus verses are the bees, the Yagur-veda sacrifice is the flower, the water (of the sacrificial libations) is the nectar (of the flower).

(10) It is painted with anti with resin (?) mixed with green colour, on a scarlet bandage. There is a dwarf in front and behind her; he looks at her and wears two plumes. He has one arm raised, and he has two faces, one of a hawk and the other of a man

(7) The vignette represents a vulture with outspread wings, which is often found made of cartonnage on the mummies. The same bird is often painted on the ceilings of tombs or temples

(14) The vignette generally consists of a cow, having between her horns a solar disk, with two plumes. Occasionally behind her there is a goddess with a cow’s head having the same attribute. This cow I consider to be the goddess Nut, the mother of Rā. An image of the cow, made of pure gold, is to be put on the neck of the deceased; or, what would be much easier and cheaper, it is to be painted on a hypocephalus of new papyrus, and put under the deceased’s head. Part of this chapter is the usual text found on the hypocephali

(1) The world used in its peril to believe That the fair Cypria delirious love Rayed out, in the third epicycle turning; Wherefore not only unto her paid honour Of sacrifices and of votive cry The ancient nations in the ancient error, But both Dione honoured they and Cupid, That as her mother, this one as her son, And said that he had sat in Dido's lap; And they from her, whence I beginning take, Took the denomination of the star That woos the sun, now following, now in front. I was not ware of our ascending to it; But of our being in it gave full faith My Lady whom I saw more beauteous grow. And as within a flame a spark is seen, And as within a voice a voice discerned, When one is steadfast, and one comes and goes, Within that light beheld I other lamps Move in a circle, speeding more and less, Methinks in measure of their inward vision. From a cold cloud descended never winds, Or visible or not, so rapidly They would not laggard and impeded seem

(21) This Chapter, taken from London 9900, is found complete in the pyramid of Unas (l. 166 ff.). Four other pyramids, those of Teta, Pepi I, Merenrā and Pepi II contain the greatest part of it; as also does a stele of the XIIth Dynasty found in Abydos, and belonging to a man called Nehi. Hatshepsu had it copied on both sides of the chamber of offering specially dedicated to her ( Deir el Bahari , Vol. IV, pl. CIX-XIII and p. 8). In the pyramids as well as at the temple this text is connected with offerings. The representation in the temple may be considered as the vignette to this chapter. We see there the queen sitting before an altar of offerings called

(9) Note 1. Tombeau de Seti I. (Musée Guimet, Vol. IX, Plate 34