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

(22) Each of the four walls had a small niche of the exact size of an amulet, which was lodged in it. We know it from the four oriented steles of Marseilles (Naville, Les quatre stèles orientées du Musée de Marseille ), where we find the text belonging to each wall, and also the niche cut in the stone for each amulet. On the North was a human figure, on the South a flame, on the East a jackal, on the West a Tat

(3) After the interruption due to Chapters 153 and 154, we revert to the series inaugurated by 151, the description of the chamber in which the mummy is deposited, and of the funeral equipment of the deceased, his amulets and ornaments. The papyrus III, 93 (Pb), of the Louvre, throws several of these Chapters into one, with the title: the description of the hidden things of the Tuat , and the vignette (Pl. LV) represents three figures of Chapter 151: the statuette, the torch or flame, and the Anubis; besides two Tat of different substances, one of them for the wall, and one to be put on the neck of the deceased, and a buckle

(5) What helpeth it to butt against the fates? Your Cerberus, if you remember well, For that still bears his chin and gullet peeled." Then he returned along the miry road, And spake no word to us, but had the look Of one whom other care constrains and goads Than that of him who in his presence is; And we our feet directed tow'rds the city, After those holy words all confident. Within we entered without any contest; And I, who inclination had to see What the condition such a fortress holds, Soon as I was within, cast round mine eye, And see on every hand an ample plain, Full of distress and torment terrible. Even as at Arles, where stagnant grows the Rhone, Even as at Pola near to the Quarnaro, That shuts in Italy and bathes its borders, The sepulchres make all the place uneven; So likewise did they there on every side, Saving that there the manner was more bitter; For flames between the sepulchres were scattered, By which they so intensely heated were, That iron more so asks not any art.

(5) a. Musée du Louvre. No. III, 36. b. British Museum. No. 9949 (portion). c. Painting. Thebes. Wilkinson ’s “Ancient Egyptians.” See Naville , “Book of the Dead.”

(4) Before Colché, as a symbol of a town destroyed by him, there is now a pile of stones, which look almost as if they had been cut With the edge of an ax. it is there on the coast, called Petatayub, and it may be clearly seen today by people who pass, as proof of the valor of Quicab. They could neither kill him nor overcome him, for, in truth, he was a brave man, and all the people rendered tribute unto him.

(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) There is a place in Hell called Malebolge, Wholly of stone and of an iron colour, As is the circle that around it turns. Right in the middle of the field malign There yawns a well exceeding wide and deep, Of which its place the structure will recount. Round, then, is that enclosure which remains Between the well and foot of the high, hard bank, And has distinct in valleys ten its bottom. As where for the protection of the walls Many and many moats surround the castles, The part in which they are a figure forms, Just such an image those presented there; And as about such strongholds from their gates Unto the outer bank are little bridges, So from the precipice's base did crags Project, which intersected dikes and moats, Unto the well that truncates and collects them. Within this place, down shaken from the back Of Geryon, we found us; and the Poet Held to the left, and I moved on behind. Upon my right hand I beheld new anguish, New torments, and new wielders of the lash, Wherewith the foremost Bolgia was replete.

(8) The text which has been followed in the translation of this chapter is that of the Royal Tombs of Rameses IV and Rameses VI, called by M. Naville Chapter 127 A . The lost Busca papyrus, of which Lepsius had a tracing, furnishes a different text, (127 B ), and the text of the Turin Todtenbuch has been enlarged by means of numerous interpolations. M. Naville has called attention to the close relationship between this chapter and the second part of the “Solar Litany.”

(8) This chapter is often found not only in papyri but upon coffins, in accordance with the rubric at the end. The earliest copy is on the coffin of Queen Mentuhotep. A very fine copy is on the alabaster sarcophagus of Seti I, and our museums are rich in funereal monuments inscribed with this ancient text. A very similar text is found at the end of chapter 99

(29) The vignette of 153 A , in the papyrus III, 93, of the Louvre ( Pb ), shows a clap-net drawn by four men. Behind it comes the deceased, holding in his hand two instruments mentioned in the text: the and the , called or each of them consists of different parts having a distinct name

(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

(4) Kelmis and Damnaneus, Idaean Dactyli, first discovered iron in Cyprus. Another Idaean discovered the tempering of brass; according to Hesiod, a Scythian. The Thracians first invented what is called a scimitar (arph), - it is a curved sword, - and were the first to use shields on horseback. Similarly also the Illyrians invented the shield (pelth). Besides, they say that the Tuscans invented the art of moulding clay; and that Itanus (he was a Samnite) first fashioned the oblong shield (qureos). Cadmus the Phoenician invented stonecutting, and discovered the gold mines on the Pangaean mountain.

(10) the Transformations or Changes. Cedar Coffin, in the Gizeh Museum. Published by Brugsch-Pasha , “Zeitschr. für Aeg. Spr.,” 1867

(17) This Chapter and the following are found in one papyrus only, Paris, III, 93, a document more remarkable for the beauty of its vignettes than for the correctness of the text

(20) There are many, too, that dread inscriptions set up. Very cleverly Diogenes, on finding in the house of a bad man the inscription, "Hercules, for victory famed, dwells here; let nothing bad enter," remarked, "And how shall the master of the house go in?"

(2) A great many papyri end with a picture representing Hathor of the West, in company of the goddess Thueris coming out of the mountain where the burial is to take place. The text, which is generally very corrupt, as if the writer had neglected the words for the picture, is an adoration to Hathor, which varies in its form

(3) Displayed moreo'er the adamantine pavement How unto his own mother made Alcmaeon Costly appear the luckless ornament; Displayed how his own sons did throw themselves Upon Sennacherib within the temple, And how, he being dead, they left him there; Displayed the ruin and the cruel carnage That Tomyris wrought, when she to Cyrus said, "Blood didst thou thirst for, and with blood I glut thee!" Displayed how routed fled the Assyrians After that Holofernes had been slain, And likewise the remainder of that slaughter. I saw there Troy in ashes and in caverns; O Ilion! thee, how abject and debased, Displayed the image that is there discerned! Whoe'er of pencil master was or stile, That could portray the shades and traits which there Would cause each subtile genius to admire? Dead seemed the dead, the living seemed alive; Better than I saw not who saw the truth, All that I trod upon while bowed I went. Now wax ye proud, and on with looks uplifted, Ye sons of Eve, and bow not down your faces So that ye may behold your evil ways!

(71) Explanations or other interesting matter occurring in the manuscripts of the later Empire will be referred to in the notes