(11) The oldest copy known on a scarab is that of King Sebak-em-saf of the XIIIth dynasty. It is in the British Museum (No. 7876) and has been described by Dr. Birch in his study [48] of the “Formulas relating to the heart.” “This amulet,” he says, “is of unusual shape; the body of the insect is made of a remarkably fine green jasper carved in shape of the body and head of the insect. This is inserted into a base of gold in shape of a tablet.... The legs of the insect are ... of gold and carved in relief.... The hieroglyphs are incised in outline, are coarse, and not very legible.”

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

(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

(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."

(4) I know the name of the frame and of the weights. They are the feet and the legs of the Sphinx

(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

(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

(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

(59) Has not the artificer made the image? or the goldsmith, melting the gold, has gilded it, and what follows.

(4) The oldest papyrus containing this chapter is that of Ani, and the translation is based upon it. But the text differs both from those written on the very ancient coffins of Heru and Set-Bastit, copied by M. Maspero, [34] and from the later texts

(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

(2) The three versions which have been preserved of this text are very fragmentary. The most complete, papyrus 10478 of the British Museum, contains only the 7 to 12. As the interest of this text, the character of which is chiefly pictorial, lies in the vignettes, it has been thought unnecessary to give a translation of it

(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

(8) And the table which was in the temple was six cubits; and its four feet were about a cubit and a half.

(68) The seventeenth chapter is one of the most remarkable in the whole collection, and it has been preserved from times previous to the XIIth dynasty. The very earliest monuments which have preserved it have handed it down accompanied with scholia and other commentaries interpolated into the text. Some of the monuments enable us to some extent to divide the original text from the additions, in consequence of the latter being written in red. But there is really only one text where the additions are suppressed, and which therefore offers the most ancient form, as far as we know it, of the chapter. This is the copy on the wall of the tomb of Horhotep. The sarcophagus itself of Horhotep contains a copy of the text along with the additions. The chapter must already at the time have been of the most venerable antiquity. Besides these two copies of the chapter we have those from the sarcophagi of Hora and Sit-Bastit (published, like those of Horhotep, by M. Maspero [24] ), two from the sarcophagi of Mentuhotep, and one from that of Sebek-āa (the three latter published by Lepsius in his Aelteste Texte ). The British Museum has Sir Gardner Wilkinson’s copy of the texts inscribed on the coffin of Queen Mentuhotep of the XIth dynasty, and also a fragment (6636 a) of the coffin of a prince named Hornefru. Here then we have an abundance of witnesses of the best period. They unfortunately do not agree. The progress of corruption had no doubt begun long before, and the variants are not simply differences of orthography but positively different readings. The differences however are chiefly in the scholia. Even when the explanations of the text are identical, the form differs. The latest recensions have retained the form ; the ancient added the feminine . What is that? But some of the ancient texts give the equivalent words , and Horhotep does without them altogether. These words were evidently additions not merely to the text but to the scholia

(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

(50) Timaeus: by far the safest reply, in point of truth, would be that it is gold; but as for the triangle and all the other figures which were formed in it, one should never describe them as “being” seeing that they change even while one is mentioning them; rather one should be content if the figure admits of even the title “suchlike” being applied to it with any safety. And of the substance which receives all bodies

(4) And even as birds uprisen from the shore, As in congratulation o'er their food, Make squadrons of themselves, now round, now long, So from within those lights the holy creatures Sang flying to and fro, and in their figures Made of themselves now D, now I, now L. First singing they to their own music moved; Then one becoming of these characters, A little while they rested and were silent. O divine Pegasea, thou who genius Dost glorious make, and render it long-lived, And this through thee the cities and the kingdoms, Illume me with thyself, that I may bring Their figures out as I have them conceived! Apparent be thy power in these brief verses! Themselves then they displayed in five times seven Vowels and consonants; and I observed The parts as they seemed spoken unto me. 'Diligite justitiam,' these were First verb and noun of all that was depicted; 'Qui judicatis terram' were the last. Thereafter in the M of the fifth word Remained they so arranged, that Jupiter Seemed to be silver there with gold inlaid.

(4) "For the Muse was not then Greedy of gain or mercenary; Nor were Terpsichore's sweet, Honey-toned, silvery soft-voiced Strains made merchandise of." Now those instructed among the Egyptians learned first of all that style of the Egyptian letters which is called Epistolographic; and second, the Hieratic, which the sacred scribes practise; and finally, and last of all, the Hieroglyphic, of which one kind which is by the first elements is literal (Kyriologic), and the other Symbolic. Of the Symbolic, one kind speaks literally by imitation, and another writes as it were figuratively; and another is quite allegorical, using certain enigmas.