(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

(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

(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.”

(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

(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

(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.”

(10) The golden lamp conveys another enigma as a symbol of Christ, not in respect of form alone, but in his casting light, "at sundry times and divers manners," on those who believe on Him and hope, and who see by means of the ministry of the First-born. And they say that the seven eyes of the Lord "are the seven spirits resting on the rod that springs from the root of Jesse."

(6) And by the hair it held the head dissevered, Hung from the hand in fashion of a lantern, And that upon us gazed and said: "O me!" It of itself made to itself a lamp, And they were two in one, and one in two; How that can be, He knows who so ordains it. When it was come close to the bridge's foot, It lifted high its arm with all the head, To bring more closely unto us its words, Which were: "Behold now the sore penalty, Thou, who dost breathing go the dead beholding; Behold if any be as great as this. And so that thou may carry news of me, Know that Bertram de Born am I, the same Who gave to the Young King the evil comfort. I made the father and the son rebellious; Achitophel not more with Absalom And David did with his accursed goadings. Because I parted persons so united, Parted do I now bear my brain, alas! From its beginning, which is in this trunk. Thus is observed in me the counterpoise."

(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

(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) There is not much more than the vignette left. Only two or three words remain. They are taken from a papyrus in Paris

(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

(18) The twelve stones, set in four rows on the breast, describe for us the circle of the zodiac, in the four changes of the year. It was otherwise requisite that the law and the prophets should be placed beneath the Lord's head, because in both Testaments mention is made of the righteous. For were we to say that the apostles were at once prophets and righteous, we should say well, "since one and the self-same Holy Spirit works in all." And as the Lord is above the whole world, yea, above the world of thought, so the name engraven on the plate has been regarded to signify, above all rule and authority; and it was inscribed with reference both to the written commandments and the manifestation to sense.

(20) With Chapter 151 begins a series of texts written either on the walls of the funeral chamber or on the mummy cloth, or on various amulets. This series goes as far as 160, with the exception of 152 and 153, which have been inserted there without any apparent reason

(15) The vignettes represent the figures described in the rubric for which the chapter was written

(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

(9) This is on the copy which is in the books. It is written in yellow ink, on the sacred circle of gods in the boat of Rā, where offerings are made of victuals, geese, incense, in their presence, in order to revive the deceased, to make him powerful among the gods, and that he may not be repulsed nor driven back from the pylons of the Tuat. If thou readest it to the statue of this deceased in their presence, it causes him to have access to every hall of those which are in the books