(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."

(15) The fifteenth pylon: the evil one, with red hair and eyes, who comes out at night, who binds her enemy all round, who puts her hands over the god whose heart is motionless, in his hour (of danger), who goes and comes. She will prepare the enwrapping of the dead

(13) Therefore also the Egyptians place Sphinxes before their temples, to signify that the doctrine respecting God is enigmatical and obscure; perhaps also that we ought both to love and fear the Divine Being: to love Him as gentle and benign to the pious; to fear Him as inexorably just to the impious; for the sphinx shows the image of a wild beast and of a man together.

(61) There is a serpent belonging to it, who comes from the two wells at Elephantine, at the gate of the water. He goes with the water, and stops at the stream of Cher-āba, near the powers of the high flood; he sees his hour of the silent evening

(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.

(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) "Behold the monster with the pointed tail, Who cleaves the hills, and breaketh walls and weapons, Behold him who infecteth all the world." Thus unto me my Guide began to say, And beckoned him that he should come to shore, Near to the confine of the trodden marble; And that uncleanly image of deceit Came up and thrust ashore its head and bust, But on the border did not drag its tail. The face was as the face of a just man, Its semblance outwardly was so benign, And of a serpent all the trunk beside. Two paws it had, hairy unto the armpits; The back, and breast, and both the sides it had Depicted o'er with nooses and with shields. With colours more, groundwork or broidery Never in cloth did Tartars make nor Turks, Nor were such tissues by Arachne laid. As sometimes wherries lie upon the shore, That part are in the water, part on land; And as among the guzzling Germans there, The beaver plants himself to wage his war; So that vile monster lay upon the border, Which is of stone, and shutteth in the sand.

(47) This god whose face is that of a hound and whose skin [22] is that of a man: Eternal Devourer is his name

(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