(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.

(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.

(1) should not have been placed among those of the Book of the Dead, it belongs to another book similar to the , the book engraved on the walls of the royal tombs. It describes gods and genii of the bounds in the Tuat who confer certain blessings on the deceased; such as this: “those who lift up their faces towards the sky at the prow of the boat of Rā, grant that Osiris N. may see Rā when he rises.” A vignette gives the appearance of the god or genius spoken of. Every one of them is followed by this sentence: “for the libation of a vase has been made on earth by Osiris N. who is (now) the lord of abundance, and goes round the garden of Hotepit.”

(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) O Simon Magus, O forlorn disciples, Ye who the things of God, which ought to be The brides of holiness, rapaciously For silver and for gold do prostitute, Now it behoves for you the trumpet sound, Because in this third Bolgia ye abide. We had already on the following tomb Ascended to that portion of the crag Which o'er the middle of the moat hangs plumb. Wisdom supreme, O how great art thou showest In heaven, in earth, and in the evil world, And with what justice doth thy power distribute! I saw upon the sides and on the bottom The livid stone with perforations filled, All of one size, and every one was round. To me less ample seemed they not, nor greater Than those that in my beautiful Saint John Are fashioned for the place of the baptisers, And one of which, not many years ago, I broke for some one, who was drowning in it; Be this a seal all men to undeceive. Out of the mouth of each one there protruded The feet of a transgressor, and the legs Up to the calf, the rest within remained.

(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

(8) There are two chapters (114 and 116) of “the Powers of Hermopolis,” and they have been preserved separately both in the older and in the more recent papyri. They are very similar in thought but differently worded, and each throws a certain light upon the other, without however dispelling the obscurity of this very ancient religious composition. Some farther help, however insufficient, is afforded by the pictures of the Book which records the passage of the Sun-god through the twelve hours of the night

(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

(8) Wherefore the wisest of the Egyptian priests decided that the temple of Athene should be hypaethral, just as the Hebrews constructed the temple without an image. And some, in worshipping God, make a representation of heaven containing the stars; and so worship, although Scripture says, "Let of Eurysus the Pythagorean, which is as follows, who in his book On Fortune, having said that the "Creator, on making man, took Himself as an exemplar," added, "And the body is like the other things, as being made of the same material, and fashioned by the best workman, who wrought it, taking Himself as the archetype." And, in fine, Pythagoras and his followers, with Plato also, and most of the other philosophers, were best acquainted with the Lawgiver, as may be concluded from their doctrine. And by a happy utterance of divination, not without divine help, concurring in certain prophetic declarations, and, seizing the truth in portions and aspects, in terms not obscure, and not going beyond the explanation of the things, they honoured it on as pertaining the appearance of relation with the truth. Whence the Hellenic philosophy is like the torch of wick which men kindle, artificially stealing the light from the sun. But on the proclamation of the Word all that holy light shone forth. Then in houses by night the stolen light is useful; but by day the fire blazes, and all the night is illuminated by such a sun of intellectual light.

(5) Wishing to express Sun in writing, they make a circle; and Moon, a figure like the Moon, like its proper shape. But in using the figurative style, by transposing and transferring, by changing and by transforming in many ways as suits them, they draw characters. In relating the praises of the kings in theological myths, they write in anaglyphs. Let the following stand as a specimen of the third species - the Enigmatic. For the rest of the stars, on account of their oblique course, they have figured like the bodies of serpents; but the sun, like that of a beetle, because it makes a round figure of ox-dung, and rolls it before its face. And they say that this creature lives six months under ground, and the other division of the year above ground, and emits its seed into the ball, and brings forth; and that there is not a female beetle. All then, in a word, who have spoken of divine things, both Barbarians and Greeks, have veiled the first principles of things, and delivered the truth in enigmas, and symbols, and allegories, and metaphors, and such like tropes. Such also are the oracles among the Greeks. And the Pythian Apollo is called Loxias. Also the maxims of those among the Greeks called wise men, in a few sayings indicate the unfolding of matter of considerable importance. Such certainly is that maxim, "Spare Time:" either because life is short, and we ought not to expend this time in vain; or, on the other hand, it bids you spare your personal expenses; so that, though you live many years, necessaries may not fail you. Similarly also the maxim "Know thyself" shows many things; both that thou art mortal, and that thou wast born a human being; and also that, in comparison with the other excellences of life, thou art of no account, because thou sayest that thou art rich or renowned; or, on the other hand, that, being rich or renowned, you are not honoured on account of your advantages alone. And it says, Know for what thou wert born, and whose image thou art; and what is thy essence, and what thy creation, and what thy relation to God, and the like. And the Spirit says by Isaiah the prophet, "I will give thee treasures, hidden, dark." Now wisdom, hard to hunt, is the treasures of God and unfailing riches. But those, taught in theology by those prophets, the poets, philosophize much by way of a hidden sense. I mean Orpheus, Linus, Musaeus, Homer, and Hesiod, and those in this fashion wise. The persuasive style of poetry is for them a veil for the many.

(2) Since, then, our earliest progenitors were in great error, —seeing they had no rational faith about the Gods, and that they paid no heed unto their cult and holy worship,—they chanced upon an art whereby they made Gods [for themselves]. To this invention they conjoined a power that suited it, [derived] from cosmic nature; and blending these together, since souls they could not make, [they set about] evoking daimons’ souls or those of angels; [and thus] attached them to their sacred images and holy mysteries, so that the statues should, by means of these, possess the powers of doing good and the reverse.

(4) Now follow me, and mind thou do not place As yet thy feet upon the burning sand, But always keep them close unto the wood." Speaking no word, we came to where there gushes Forth from the wood a little rivulet, Whose redness makes my hair still stand on end. As from the Bulicame springs the brooklet, The sinful women later share among them, So downward through the sand it went its way. The bottom of it, and both sloping banks, Were made of stone, and the margins at the side; Whence I perceived that there the passage was. "In all the rest which I have shown to thee Since we have entered in within the gate Whose threshold unto no one is denied, Nothing has been discovered by thine eyes So notable as is the present river, Which all the little flames above it quenches." These words were of my Leader; whence I prayed him That he would give me largess of the food, For which he had given me largess of desire. "In the mid-sea there sits a wasted land," Said he thereafterward, "whose name is Crete, Under whose king the world of old was chaste.

(1) Why, therefore, does the maker of images, who effects these things, desert himself, though he is better than these images, and consists of things of a more excellent nature, and confide in inanimate idols, which are inspired with the representation alone of life, contain a renovated harmony, and which is externally multiform, and are in reality diurnal? Shall we say that something genuine and true is inherent in them? Nothing, however, which is fashioned by human art is genuine and pure. But you will say, that simplicity and uniformity of energy predominate in the whole of their composition. This is very far from being the case. For the idol, according to its visible composition, is mingled from all-various and contrary qualities. Shall we say then, that a certain pure and perfect power is manifest in them? By no means. For a thing of this kind possesses an adventitious multitude of effluxions, collected from many places, and which shows itself to be imbecile and evanescent. But if these particulars, which we have enumerated, are not found to take place in images, is stability present with them, as it is said to be [by the patrons of these images]? By no means, likewise, is this the case. For these idols are extinguished with much greater rapidity than the images which are seen in mirrors.

(21) Critias: why then, I say, neither Hesiod nor Homer nor any other poet would ever have proved more famous than he.” “And what was the story, Critias?” said the other. “Its subject,” replied Critias, “was a very great exploit, worthy indeed to be accounted the most notable of all exploits, which was performed by this city, although the record of it has not endured until now owing to lapse of time and the destruction of those who wrought it.” “Tell us from the beginning,” said Amynander, “what Solon related and how, and who were the informants who vouched for its truth.”

(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.”

(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."

(3) After these things, therefore, we shall define the reasons of the self-apparent statues [or images]. Hence, in the forms of the Gods which are seen by the eyes, the most clear spectacles of truth itself are perceived, which are also accurately splendid, and shine forth with an evolved light. The images of archangels present themselves to the view true and perfect; but those of angels preserve, indeed, the same form, but fail in plenitude of indication. The images of dæmons are obscure; and those of heroes are seen to be still inferior to these. With respect, also, to archons, the images of such as are mundane, are clear; but of such as are material, obscure. Both, however, are seen to be of an authoritative nature. And the images of souls appear to be of a shadowy form.

(5) There is a mountain there, that once was glad With waters and with leaves, which was called Ida; Now 'tis deserted, as a thing worn out. Rhea once chose it for the faithful cradle Of her own son; and to conceal him better, Whene'er he cried, she there had clamours made. A grand old man stands in the mount erect, Who holds his shoulders turned tow'rds Damietta, And looks at Rome as if it were his mirror. His head is fashioned of refined gold, And of pure silver are the arms and breast; Then he is brass as far down as the fork. From that point downward all is chosen iron, Save that the right foot is of kiln-baked clay, And more he stands on that than on the other. Each part, except the gold, is by a fissure Asunder cleft, that dripping is with tears, Which gathered together perforate that cavern. From rock to rock they fall into this valley; Acheron, Styx, and Phlegethon they form; Then downward go along this narrow sluice Unto that point where is no more descending. They form Cocytus; what that pool may be Thou shalt behold, so here 'tis not narrated."

(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!

(5) Secured by reason of the writing with gum mixed with colours upon a strip of royal papyrus, put at the throat of the deceased on the day of burial. If these phylacteries are put at his throat, he will rise up as one of the Divine Circle, and be united to the followers of Horus, whilst his Lamp is made firm by Isis in heaven beside Sothis. He followeth Horus who resideth in Sothis. His Shade becometh divine as well as human. Vegetation is made to grow out of his body through the goddess Menkit. He becometh a god for ever, and his limbs are made vigorous in the Netherworld through Thoth, who hath done the like to Osiris, in causing the light to rise out of his dead body; undeviatingly and for times infinite