(4) It will be noted that while these Seven Veils serve to conceal the Real Self—in the sense of imposing limitations and shape to it, yet at the same time it reveals the presence of Spirit by means of its outlines. The ancient teachers were wont to illustrate this concealing-revealment by means of a bit of thin gauzy drapery suspended across the space of an open door or open window into which the breeze is blowing. The drapery covers (and thus conceals) the moving wind, yet at the same time it shows a form representing the movement and presence of the wind, and thus reveals the latter. Another favorite illustration was that of an invisible hand, of itself impossible of being perceived, but upon which was placed seven gloves, one over the other. The gloves were filled, and the presence of the hand revealed; but each glove, in turn, is mistaken for the hand itself. The hand is able to feel but faintly, and to act clumsily when the gloves are all on it, but as each glove is taken off it feels more sensitively, and performs more delicate actions; but without at least one of the gloves it is not apparent at all, even to the eyes of its owner.

(40) ¶ The names on this sketch are to be deemed scarcely more than pointers to the places named in the text. The printing of the letters large enough to be readily legible on so small a map rendered precise placements impracticable.

(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

(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

(10) Said also on a figure the middle part of which is that of a man; his arms are hanging down. The head of a ram is on his right shoulder, and another on his left shoulder. Thou wilt paint on one bandage the two figures of the god with raised arm, and put it across the chest of the deceased, so that the two painted figures may be on his breast

(65) Because from these mysterious compositions comes life, That staff becomes a serpent and divides the Nile, Like the staff of Ha, Mim, by the grace of God. Its outward form resembles the outward forms of others, Yet the disk of a cake differs much from the moon's disk. The saint's weeping and laughter and speech Are not his own, but proceed from God. Whereas fools look only to outward appearances, These mysteries are totally hidden from them; Of necessity the real meaning is veiled from them,

(2) And far as eye of mine could wing its flight, Now on the left, and on the right flank now, The same this cornice did appear to me. Thereon our feet had not been moved as yet, When I perceived the embankment round about, Which all right of ascent had interdicted, To be of marble white, and so adorned With sculptures, that not only Polycletus, But Nature's self, had there been put to shame. The Angel, who came down to earth with tidings Of peace, that had been wept for many a year, And opened Heaven from its long interdict, In front of us appeared so truthfully There sculptured in a gracious attitude, He did not seem an image that is silent. One would have sworn that he was saying, "Ave;" For she was there in effigy portrayed Who turned the key to ope the exalted love, And in her mien this language had impressed, "Ecce ancilla Dei," as distinctly As any figure stamps itself in wax. "Keep not thy mind upon one place alone," The gentle Master said, who had me standing Upon that side where people have their hearts;

(2) Now concealment is evinced in the reference of the seven circuits around the temple, which are made mention of among the Hebrews; and the equipment on the robe, indicating by the various symbols, which had reference to visible objects, the agreement which from heaven reaches down to earth. And the covering and the veil were variegated with blue, and purple, and scarlet, and linen. And so it was suggested that the nature of the elements contained the revelation of God.

(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

(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.

(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) The second, tinct of deeper hue than perse, Was of a calcined and uneven stone, Cracked all asunder lengthwise and across. The third, that uppermost rests massively, Porphyry seemed to me, as flaming red As blood that from a vein is spirting forth. Both of his feet was holding upon this The Angel of God, upon the threshold seated, Which seemed to me a stone of diamond. Along the three stairs upward with good will Did my Conductor draw me, saying: "Ask Humbly that he the fastening may undo." Devoutly at the holy feet I cast me, For mercy's sake besought that he would open, But first upon my breast three times I smote. Seven P's upon my forehead he described With the sword's point, and, "Take heed that thou wash These wounds, when thou shalt be within," he said. Ashes, or earth that dry is excavated, Of the same colour were with his attire, And from beneath it he drew forth two keys.

(5) Such, then, is the style of the example in arithmetic. And let the testimony of geometry be the tabernacle that was constructed, and the ark that was fashioned, - constructed in most regular proportions, and through divine ideas, by the gift of understanding, which leads us from things of sense to intellectual objects, or rather from these to holy things, and to the holy of holies. For the squares of wood indicate that the square form, producing fight angles, pervades all, and points out security. And the length of the structure was three hundred cubits, and the breadth fifty, and the height thirty; and above, the ark ends in a cubit, narrowing to a cubit from the broad base like a pyramid, the symbol of those who are purified and tested by fire. And this geometrical proportion has a place, for the transport of those holy abodes, whose differences are indicated by the differences of the numbers set down below.

(8) Instead of “obscurity” the coffin has without a determinative, but shows what the word means

(36) The Truth in Symbols There are certain truths which cannot be well expressed in words, but which may be at least partially expressed in symbols. To those who feel a desire to penetrate rather more deeply into the Mystery of. the Three Higher Planes of Consciousness, we call attention to the symbol accompanying this particular chapter of this book. There is a wealth of knowledge and important information hidden in this symbol, undiscoverable to the many but at least partially discoverable by the few. To the Few, we offer the following suggestions concerning this Symbol.

(11) Even though the deeds [of one paying such reverence] may not have been very elegant while in the human world, at his death there will come at least one kind of sign, such a rainbow-radiance, bone- images, and bone-reliques. This is because the esoteric [or mystic] doctrines possess great gift-waves.

(15) For He who prohibited the making of a graven image, would never Himself have made an image in the likeness of holy things. Nor is there at all any composite thing, and creature endowed with sensation, of the sort in heaven. But the face is a symbol of the rational soul, and the wings are the lofty ministers and energies of powers fight and left; and the voice is delightsome glory in ceaseless contemplation. Let it suffice that the mystic interpretation has advanced so far.

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

(21) This act is naught but a reflection from Himself! The forms of the walls and roofs of houses Know to be shadows of the architect's thought; Although stones and planks and bricks Find no entrance into the sanctuary of thought, Verily the Absolute Agent is without form, Sometimes that Formless One of His mercy Shows His face to His forms from behind the veil of Not-being, That every form may derive aid therefrom, Again, when that Formless One hides His face,