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THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 PRESENTED BY 
 
 PROF. CHARLES A. KOFOID AND 
 
 MRS. PRUDENCE W. KOFOID 
 
fmo:k'tispie rE 
 
 Fi(f. I ■ 
 
 Fw.3. 
 
 FtTBLCSHEl) MARCH \\^->t. BY T.BOYS. 7 LrUG. .TE HU.L. 
 EngraTird ty W IVjokr .Toil' 
 
ILLUSTRATIVE 
 
 OF THE 
 
 TOMBS AND SEPULCHRAL DECORATIONS 
 
 OF THE 
 
 EGYPTIANS; 
 
 WITH A 
 
 KEY TO THE EGYPTIAN TO] 
 
 NOW EXHIBITING IN PICCADILLY. 
 
 A 
 
 ALSO, 
 
 Umiatt^ on Mummiei^f 
 
 OBSERVATIONS ON THE PROCESS OF EMBAlllI] F 
 
 " Quelle paissance ct quel art a fait d'un tel pays la meneille de t' univers, et qnelles 
 beaut^s ne trouveroit-on pas, si on pouvoit aborder la vlUe royale, puisque si loin d' elle 
 on trouvedes choses si merveilleuses !" 
 
 Bossuett, dans son Disconrs sur I'Hlstoire Univergelle. 
 
 LONDON : 
 
 PRINTED FOR THOMAS BOYS, 7, LUDGATE-HILL: 
 
 SOLD ALSO BY /. UPHAM, BATH ; C. UPHAM, EXETER J AND 
 OLItIr^ND BOYD, EDINBURGH. 
 
 1822. 
 
U Cartwrigbt, Prloter, gl, Bartholomew Clote, London. 
 

 PREFACE. 
 
 In presenting the following remarks upon the mytho- 
 logical character of the Royal Egyptian Tomh, the 
 Author feels no common apprehensions of being 
 classed as presumptuous and pretending. He fully 
 appreciates the danger and difficulty of coming for- 
 ward with any explanation upon a subject that seems 
 to be exclusively the province of the most elaborate 
 learning ; but he has only sought to explain the glim- 
 mering lights of history, by the aid of important 
 recent discoveries, and thereby endeavour at eliciting 
 truth upon a subject confessedly abstruse. And this 
 object, therefore, will not only preserve him from mor- 
 tification, if his conjectures and deductions are proved 
 unfounded, but will fill him with pleasing gratulation, 
 in case his Essay should lead to a better and more 
 useful consideration of so venerable and interesting 
 a subject : conscious of the obscurities hanging over 
 it, he has ventured to touch only a few detached parts 
 of the great circle of Egyptian science, well aware 
 that even on their hieroglyphic symbols, sepulchral 
 
 ivi317fiOO 
 
iv PREFACE. 
 
 honours, and embalming, little more can be done, 
 than to present an analysis of their consummate per- 
 fection in these arts, the consideration of which also 
 may lead to a beneficial appreciation of their religious 
 tenets, mysteries, and character. 
 
 M. Belzoni has perhaps done well (with the claims 
 to fame his successful enterprise has secured for him, 
 and the useful details he has published on the known 
 and accurately described scenes of his labours) to 
 bound his communications to points of such real 
 interest, and carefully to avoid a field wherein all is 
 debateable ground. He will not, therefore, regard 
 as a trespass, an endeavour to decypher the charac- 
 ters of the Tomb, and to consider them as furnishing 
 a valuable clue to the secrecy of Egyptian mytho- 
 logy. So much has his perseverance and charac- 
 teristic energy effected for the literary and anti- 
 quarian world, in bringing to light these beautiful 
 and unparalleled sepulchral chambers, that every at- 
 tempt to unfold their meaning, and every successful 
 addenda to our knowledge of Egyptian symbols from 
 their mystic forms, will ever be connected with his 
 successful discovery and name. And however laborious 
 the endeavour to reduce their varying memorials to 
 an alphabetical form, at present appears; however 
 common it has been to view their learning as over- 
 rated, their symbols as foolishness, it is presumed 
 that each link which has of late years been traced 
 through their continued chain of arts and sciences, 
 has proved, that Egypt, in the earliest ages of the 
 
PREFACE. V 
 
 world, had possessed herself of the most valuable 
 secrets of nature, and applied them to those manifes- 
 tations of science in her sculptures and embalming, 
 which still remain for our examination, and prove her 
 superiority over us. This alone should stimulate us 
 (with our present great advantages of exploring her 
 catacombs, measuring and penetrating her pyramids 
 and mystic recesses, and of enriching our country 
 with her sculptures) to pursue ardently the bright 
 and glorious path of knowledge, which can be traced 
 in its radiant track through the multiplied centuries 
 of Egyptian annals, until it is lost in the early post- 
 diluvians of the primeval ages of the world. 
 
OBSERVATIONS 
 
 THE TOMB OF PSAMMIS, 
 
 DISCOVERED IN THE VALLEY OF BEBEN EL MALOOK, 
 AND OPENED BY M. BELZONI. 
 
 The sculptures and paintings of this magnificent 
 sepulchre are so numerous and important, that their 
 investigation promises us the most pleasing and useful 
 results in the consideration of the arts, symbols, and 
 sacred mysteries of Egypt ; and the representations 
 in this sepulchre are the more deserving our atten- 
 tion, as a long series of ages had almost, if not alto- 
 gether, secluded them from our inspection. These se- 
 crets are here laid open to our eyes, but still covered 
 with that hieroglyphic cloud through which we dimly 
 discern the allegories which they conveyed. But even 
 if for ever closed to our understanding, yet is there in 
 our nature a tone of peculiar and unutterable interest, 
 as our mind has presented to its contemplation the 
 toils and labours of her fellow mortals in this scene, at 
 so highly venerable a period as that of the Pharaohs, 
 Isaiah, Nebuchadnezzar, and their contemporaries 
 
 B 
 
2 THE TOMB OF PSAMMIS. 
 
 recorded in Holy Writ! Beings hitherto read of, 
 and felt, as passed away into that oblivious gulph, 
 which covers alike the past and the future from our 
 view. To have, therefore, restored to our eyes such 
 ancient records of this busy frame, embodied in 
 sculpture and painting, fresh as when touched by the 
 workmens' hands, is of itself a great and inexpressible 
 privilege ; for as they are presented to our feelings 
 and understanding, it annihilates the vast space of 
 time between ourselves and the era of their exist- 
 ence, the heart flows forth in eager surmise, and 
 would learn the dread tenets of those mystic days of 
 yore ; still more are we irresistibly drawn to their 
 contemplation, as they embody the yearnings for 
 immortality ; the hopes and fears, and all the 
 thousand glorious harmonies that link the strug- 
 gling spirit within us — to the awful eternity it is 
 hourly passing onward to experience I Each portion 
 of the varied sculptures contains something to exa- 
 mine, to compare, and to fix our thoughts. Accus- 
 tomed to see the efforts of modern skill and science 
 commence their progress to decay, ere the eye is 
 faded which designed and elevated them, we feel 
 our hearts vibrate to the consideration of those days 
 of wonder, when the hands of man formed such 
 buildings as appear exempted from the rule of uni- 
 versal change. 
 
 The times, indeed, are passed away. The piles 
 themselves stand alone in the vast solitudes of space. 
 The whistling wind bears around them mystic sounds, 
 
THE TOMB OF PSAMMIS. 3 
 
 as if whispering forth their dread secrets ; and we 
 cannot withdraw the curtain that hides their dark 
 language from the eager questionings of our hearts ! 
 But the hope still clings to us, which makes us strive 
 to pierce the veil; some gleamings of light encou- 
 rage and lead us onward to perseverance in the 
 laborious task ; and the accession of subjects for the 
 pursuit which is developed by the newly-discovered 
 Tomb, call forth every faculty of analysis and exa- 
 mination. The symbols which it contains are most 
 curious and numerous ; their colouring is also very 
 imj[)ortent._ The mode of using their colours, their 
 virgin tints, the process of the sculptor, stand before 
 us ; the labours called forth in designing and covering 
 passages, halls, and chambers, with such innumerable 
 figures and symbols; the arrangement displayed 
 throughout, which has ensured a preservation the 
 most complete; these evidence the judgment and 
 skill exerted, and strike us more forcibly upon our 
 first examination of the subject, than even the histo- 
 rical importance of the details. The characters and 
 animals present many analogies with former collec- 
 tions, and also a great number perfectly new; a 
 classification of them, although troublesome, would 
 perhaps elicit some very important links of these 
 hidden secrets : and the animals and birds are extremely 
 worthy our attention; for the Ibis, which hitherto has 
 been much discussed, is here presented in its coloured 
 plumage ; the Taderna or Sheldrake, associated with 
 the Phylactery of the King, appears every where ; 
 B 2 
 
4 THE TOMB OF PSAMMIS. 
 
 the Bee, emblem of Apis, and of Royalty ; the 
 sacred Bull, marked as if identically drawn from 
 the description of Herodotus, with a great number 
 of other subjects, are all revealed to our examination 
 and scrutiny. From these, the contemplation hastens 
 to the forms and features of the tenants of the Tomb — 
 contemporaries and actors in this busy world. There 
 may we consider the chosen Son of Israel, the 
 Persian and Babylonian, the Egyptian and Ethiopian, 
 not as in our fancy , but in the true lineaments of their 
 native forms, when the Assyrian Empire was the 
 Queen of Nations ; and tliat divine scheme of mercy 
 was manifested in India, which has progressively car- 
 ried forward its heavenly plan, towards the time of 
 calling in all the nations of the earth to the fullness of 
 its mercies. Would we know a small part of the gra- 
 ciousness of this heavenly gift, where can the lesson so 
 impressively be studied as in this chamber of death ? 
 Every decoration and every emblem breathes forth 
 an invocation to that undivulged world, that Mother 
 Earthy which was so obscurely veiled from their 
 anxious eye. What were their hopes and fears, 
 it seems probable we may collect some traces of 
 in this mysterious Tomb, which designates express- 
 ively those of its royal author; by proceeding at- 
 tentively with him, and remarking the various 
 changes of emblems, dress, and appearance, as their 
 successive gradations evolve in these mystical de- 
 lineations. Previously to entering upon this inte- 
 resting but highly conjectural subject, it may be de- 
 
THE TOMB OF PSAMMIS. 5 
 
 sirable to make a few observations that will explain 
 the origin and illustrate the hasis of the remarks thus 
 submitted to the public. No individual can be more 
 deeply impressed with the uncertain character of 
 every proffered explanation of hieroglyphical deli- 
 neations, than the writer himself; or more strongly 
 admit how necessary the utmost caution becomes, 
 in framing systems upon such slender materials 
 as all the data hitherto collected of ascertained 
 Egyptian symbols can supply ; but these argu- 
 ments, which are all powerful when urged against 
 a philosophical disquisition on tbe subject, may be 
 viewed as iu applicable against prosecuting what are 
 merely hints and suggestions upon a particular and 
 popular display of Egyptian magnificence in this 
 Royal Tomb. These observations also originated 
 entirely from the destitution of any thing like an 
 analysis or explanatory guide, whereby the spectator 
 might acquire the most limited conception of the sin- 
 gular scene which the chambers of the Tomb display. 
 It therefore results that hundreds, nay, it may be said 
 thousands, retire from its extraordinary figures and 
 compounded symbols with disappointment, instead 
 of experiencing that reflective impression which the 
 knowledge of these delineations, as pourtraying the 
 sensations and belief of many millions of their fellow 
 mortals on the important subject of a future state of 
 existence, will ever excite. The power of demon- 
 strating their true meaning, indeed, is wanting; and it 
 B 3 
 
6 THE TOMB OF PSAMMIS. 
 
 may be urged, that the present observations can only 
 propound conjecture, and leave the subject in the 
 same doubt which has continued to cloud the' efforts 
 of mankind for so many ages — of that, the public 
 will be the best judges ; this sketch is made in the 
 desire and hope of supplying an agreeable and pro- 
 bable companion to an exhibition of such unequalled 
 interest and curiosity as the Tomb presents. A 
 few remarks upon the most frequent and recog- 
 nized of the emblems it contains, may attract our 
 respect and attention to those which are unknown : 
 for the extraordinary appearance of the compounded 
 forms and hieroglyphics which present themselves 
 on entering the chambers, quite perplex and sur- 
 prise the spectator, who is unaccustomed to the con- 
 sideration of Egyptian antiquities, and not unfre- 
 quently excite an impression of their being a vast 
 collection of unnatural and unmeaning combinations. 
 Such, however, would be a very erroneous conclusion, 
 if we may judge of them from the mystic secrets of 
 the few which are universally recognized, and which 
 being impressed upon every part of these walls, are 
 briefly explained in conformity with the opinions of 
 the most esteemed writers on the subject. To enter 
 more generally upon the hieroglyphic symbols, would 
 occupy too much space, ahd swell these pages beyond 
 the wishes and patience of the reader. The most 
 popular and generally used, are therefore the only 
 symbols selected for the present exposition. 
 
 And first should be noticed the Human Form with 
 
H^v>tA. 
 
 THE TOMB OF PSAMMIS. 7 
 
 me Hawk> head. (Frontispiece, Fig. 1.) This deity 
 presents himself every where, in junction with the 
 hero, as his tutelary guardian. In the scene of 
 Judgment, he presents him to Osiris ; he gives him the 
 same protecting introduction in the magnificent scene 
 of Osiris receiving the hero on his throne. He pre- 
 sents him in the Hall of Beauties, to the collected 
 deities of Egyptian worship ; and in the curious pro- 
 cession of captives, he appears conducting the rescued 
 Egyptians. In every part of the Tomb, he is imme- 
 diately recognizable. According to Dr. Young, he 
 is termed Arueris, the son of the Sun, and appears as 
 the tutelary genius of Egypt, in intimate union with 
 Osiris, to whom the Hawk was dedicated, and of whom 
 this figure was probably viewed as an essence and ema- 
 nation. The brightness of the eyes of the Hawk, 
 the power he possesses of contracting or dilating 
 their pupils, and the strength and vigour of his wing, 
 were the leading features that consecrated this bird 
 to their chief deity, from whence it is also a most 
 frequent symbol and ornament in the Egyptian 
 Temple. 
 
 The Globe, with the winged Serpents, (Frontispiece, 
 Fig. 2.) is one of the most universal symbols. The 
 Circle, or Ring, or Egg, or Globe, was a symbol of 
 the world. In its largest signification, it was also of 
 the universe. It is also thus spoken of in the writings 
 of Hermes Trismegistus : " God is a circle whose 
 centre is every where, but whose circumference can 
 no where be found." 
 
 B 4 
 
8 THE TOMB OF PSAMMIS. 
 
 The winged Serpent Cnuphis, or Cnepb, was 
 esteemed the good genius, the creator of the world, 
 the Agatho daemon, and enters largely into the 
 whole range of Eastern mythology, and it is singular 
 that the Hebrew word for it signifies "Seraph;" he 
 was worshipped in a Temple shaped like an egg, and 
 is represented coiling round a globe, or egg ; which 
 s}'mbol adorns the fronts of the most majestic Egyp- 
 tian Temples. According to Horapollo, the blue 
 colour of Cnepb denoted the firmament; and his 
 yellow scales, the golden stars with which it is 
 studded. 
 
 The Scarabeus,* or Beetle, (Frontispiece, Fig. 3.) 
 also claims our attention, as connected with every 
 stage of this sepulchral delineation. 
 
 According to Plutarch, these insects casting the seed 
 of generation into round balls of dung, as a genial 
 nidus, and rolling them backward with their feet, while 
 
 * The superstitious veneration to the Scarabeus, appears ver^ 
 ancient and universal, as De Pauw states it to l»ave been common 
 to the Ethiopians ; also in the lioly Cricket of Madagascar, and 
 evea among the Hottentots, who look with veneration on the persons 
 over whom the Scarabee with golden rays, the Cantharides, chances 
 to pass. In the writings of St. Ambrose, he has frequently com- 
 pared the Messiah to a Scarabee, without leaving us the siiadow of 
 a conjecture on what such a strange comparison could be founded. 
 In many parts of England, the song of the Cricket is likewise 
 considered as propitious ; and many persist in preserving these 
 insects, although their shrill and monotonous noise is mobt dlsa* 
 greeable. 
 
THE TOMB OF PSAMMIS. \) 
 
 they themselves look directly forward, are considered 
 Solar Emblems. As the Sun ap pears to proceed through 
 the Heavens in a course contrary to the signs, thus 
 these Scarabeii turn their balls toward the West, 
 while they themselves continue creeping toward the 
 East; by the first of these motions exhibiting the 
 diurnal, by the second, the annual motion of the Earth 
 and Planets. Dr. Clarke noticed it on the sands in 
 the neighbourhood of Rosetta (as it is sculptured in 
 the Tomb) impelling the ball of dung in which it 
 deposits its eggs. 
 
 This insect, of which there is a Colossal figure in 
 the British Museum, was also a type of Spring, of 
 fecundity, and of the Egyptian month anterior to the 
 rising of the Nile, as it appears in that season of the 
 year which immediately precedes the inundation. 
 According to Plutarch, soldiers wore it upon their 
 signets as an amulet ; which may account for the 
 numbers of them found, and the coarseness of their 
 workmanship. M. Lecour has a singular and striking 
 explanation of this passage of Plutarch ; that the Sca- 
 rabcus, which name he states as the soldier's amulet, 
 was the Fly of the desert, the terrible Zimb of the 
 Arabians, and the Zebb of Chaldea, which gives its 
 name to those tracts it renders deserts, to war also, 
 and to the sword. Thus the ring inscribed with the 
 Scarabeus, and often with the Scarabeus alone, sym- 
 bolized in Egypt, the warrior, the man of the sword, 
 and war itself. It is also viewed as a type of " the 
 resurrection," in their mystic rites, being the first 
 
10 THE TOMB OF PSAMMIS. 
 
 animal seen alive after the Nile retires. In various 
 monuments preserved by Montfaucon and M. Caylus, 
 the Egyptian women are seen feeding the Scarabeii 
 on tables or altars, which probably represents their 
 mode of drawing auguries from them. 
 
 The celebrated figure of the Circle and Cross, 
 or Crux Ansata, (Frontispiece, Fig. 4.) which ac- 
 companies so universally the statues and scriptural 
 figures of Egyptian delineation, is compounded of 
 the Circle, signifying preserver of the world ; while 
 the wisdom which governs it is represented by the t, 
 monogram of Mercury, Thoth or Pthah ; it is seen 
 in the hands of almost all the Egyptian statues. 
 The archetype of this symbol may probably have 
 been a key ; it has also been termed the Key of the 
 Nile : such were in use among the ancients, and 
 generally appear fastened to a ring. It means, 
 " Living, Eternal Life." Kircher expresses it to 
 consist of the letters, ^ t, denoting Pthah, a name 
 of Mercury, as a conductor of the souls of the dead, 
 and therefore used with reference to a state of exist- 
 ence after death. 
 
 The Staff, or Sceptre of Life and Power, (Frontis- 
 piece, Fig. 5.) is seen equally common with the handled 
 Cross in the Egyptian deities ; it is expressed by a 
 staff, having a pointed head for its handle ; the eye 
 expresses the watchfulness of the divine nature — 
 and the united emblem, its security and dominion. 
 
 The emblem of Stability would appear to be bor- 
 rowed from the most ancient of symbols ; the Pillar 
 
THE TOMB OF PSAMMIS. 1 1 
 
 of Setli, or Hermes, on which tradition has inscribed 
 the inventions and knowledge of the human race. 
 The name Seth, radically implies to rest in immobility; 
 and the form of the column signifies fixedness and 
 solidity. The four lines that mark its upper part, 
 express the sacred number four, and form the square ; 
 and the further signification may be suggested of its 
 embleming the four great deities, Osiris, Isis, Horus, 
 and Typhon, with their immutability in the Hermaic 
 Column. 
 
 The Egyptian Apis, or Mnevis, the living object of 
 natural adoration, was studiously chosen black, the 
 sacred colour; on his side was artificially impressed 
 a white figure of the lunar crescent. Under this Bull 
 they worshipped their great god Osiris; esteemed 
 him the living representation of the deity, believing 
 that the soul of the god tenanted the body of the 
 animal, and deeming the Bull the same as Osiris. 
 There is a delineation of the Bull, exactly according 
 with this description, depicted in the Tomb ; also a 
 sacrifice of a sacred Bull, in honour of Psammis. 
 
 Isis, the great Egyptian Goddess, was adored simi- 
 larly under the shape of a Cow, and the curve of her 
 horns made the Lunette, or emblem of the Moon. 
 These animals were venerated as the type of the 
 above goddess, the great mother of the human race. 
 In which character the animal is represented in the 
 Tomb, surrounded with worshippers. 
 
 The sacred numbers of the Egyptians, recorded in 
 their astonishing sculptures and statues, may also 
 
12 THE TOMB OF PSAMMIS. 
 
 interest and be worthy attention, in considering their 
 probable root and origin ; and it may be the more 
 desirable briefly to enumerate them, as many excellent 
 writers have been induced, by their coincidence, to 
 ascribe a higher spiritual significance to the Egyptian 
 triad than they are entitled to. From the enquiries 
 of various writers on this subject, they appear to be 
 2, 3, 7, 8, 10, and 12. 
 
 In the number 2, we recognize Adam and Eve, 
 the great -parents of the human race, appearing again, 
 after the deluge had swept away the whole race of 
 man ; in Noah and his consort. In the destruction of 
 the old world, and the reproduction of the new one, 
 is involved the whole basis of Pagan mysticism and 
 idolatry, which concludes the same invariable circle 
 of creation, maturity, and destruction, to revolve 
 onward through all eternity. Thus, what Adam was, 
 such was Noah, and such was the first great parent 
 of every successive world. These pair, as the male 
 and female principle of being, have been the grand 
 objects of Pagan idolatry in every country, under 
 every clime, and by whatever name they are distin- 
 guished. The mighty images of India, the rude 
 sculptures of Easter Island, and the other Isles of 
 the Ocean, as well as the Colossi called Memnonian, 
 now in the plain of Thebes, all typify and represent 
 these primitive pair, and were transferred by their 
 worshippers to the Sun and the Moon, to earth and 
 mind, and to all the multiplied male , and female 
 symbols of Egypt and the East. 
 
THE TOMB OF PSAMMIS. 13 
 
 The number 3, also had its root in the family of 
 these first pairs. In their three sons, which are the 
 foundation of the Trinity of Paganism ; which can 
 never be viewed as a corrupted tradition of that holy 
 triune God, which is the object of the Christian V 
 reverence and worship. In the Egyptian, Persian, 
 Indian Triad, and in every Heathen land, they repre- 
 sent always the beneficent, and an evil principle. 
 The Egyptian mythology has Osiris, Isis, Typhon. 
 Persiahas Oromasdes, Mithras, Ahriman. And India 
 has Brahma, Vishnii, Siva. These are borrowed 
 from the three sons of Adam ; Abel, Seth, and Cain. 
 Also from the three sons of Noah; Shem, Japhet, and 
 Ham. Thus evidently recording, in their traditions, 
 and in the knowledge of their respective characters, 
 the murder of Abel by Cain, which, as well as the 
 deluge, lias always been connected with this third evil 
 principle. 
 
 No. 7, has always been a sacred number in every 
 land. In the days of the week, in the sacrifices of 
 Balak, and also in the three sons and three daughters 
 of Noah, preserved with himself in the ark, which 
 was the symbol of the great mother, or Noah's wife. 
 
 No. 8, is described by the oldest writers as the sacred 
 Ogdoad, or parent gods of Egypt, and present again 
 the patriarch Noah, and his wife and family, sur- 
 viving the deluge ; which event is commemorated in 
 the constellations framed to this day on our celes- 
 tial globe ; whereon appears Noah, as the sacrificer, 
 the altar, the dove, the raven, the argha, or ark, in 
 
14 THE TOMB OF PSAMMIS. 
 
 which he was preserved ; the fish, the river bursting 
 forth from the dark abyss, and many other diluvian 
 symbols, which mark the early apostasy of the human 
 race from the worship of God, to the adoration of 
 the heavenly bodies. 
 
 No. 10, was clearly derived from the distinct re- 
 membrance of the ten Antidiluvian generations. 
 Traces of its universal recognition may be found in 
 Chaldea, and in India, especially in the ten avatars. 
 
 And thus 12 was recognized as a holy number, 
 from adding the first great pair, or their symbols, the 
 Sun and Moon, the mysterious, and ancient of days, 
 mind and matter, with the ten accredited incarna- 
 tions, or manifestations of the Deity. 
 
 These numbers may be traced as appearing in the 
 representations of the various ceremonies, rites, and 
 mysteries, of the Tomb ; and in the first chamber or 
 hall, may be seen an instance, wherein is repre- 
 sented, by M. Belzoni's statement, a row of Mum- 
 mies lying on frames. It appears that these are just 
 twelve representations of the Corpse reposing on the 
 Lion's Couch — which is one of the Egyptian deities ; 
 and by its living form, may represent that it is 
 only a temporary suspension of life, about to be 
 resuscitated by the rite of acceptance to immortality, 
 and which symbol numerically accords in number 
 with the first great pair, and their successive incar- 
 nations. 
 
THE TOMB OF PSAMMIS. 15 
 
 THE ENTRANCE OF THE TOMB. 
 
 The account fumbhed by M. Belzoni of each chamber, is care- 
 fully preserved, and enclosed M-ithin [" "], that it may form one 
 subject with the analysis which follows, as in many instances the 
 observations could not be understood without so desirable a guide. 
 
 All the references to Plates, refer to the large folio volume of 
 Plates accompanying M. Belzoni's Researches, excepting where the 
 word " Frontispiece" occurs, they will then be found in this book. 
 
 " Immediately within the entrance into the 
 " passage, on the left hand, are two figures, as large 
 *' as life, one of which appears to be the hero 
 " entering into the Tomb. He is received by a 
 " deity with a Hawk's head, on which are the Globe 
 " and Serpent. Both figures are surrounded by 
 " hieroglyphics ; and further on, near the ground, 
 " is a Crocodile, very neatly sculptured. The walls 
 ** on both sides of this passage are covered withhieror 
 " glyphics, which are separated by lines from the 
 " top to the bottom, at tlie distance of five or six 
 " inches from each other. 
 
 ** The ceiling of this first passage is painted with 
 " the Eagles, as in Plate 2." 
 
 It is probable that this door emblemed the gate of 
 the grave, gusM-ded by Anubis, the God of Obsequies, 
 who receives the soul on entering the grave. The 
 emblems he i§ hplding, combine the three great 
 
10 THE TOMB OF PSAMMIS. 
 
 principles of the mysterious Cosmogony of Egypt : — 
 the Agatho daemon, in the winged Globe, which 
 preceded all things ; the Globe itself, an Egg, 
 the emblem of the Sun and Osiris ; the Scara- 
 beus, type of Isis, also of the future life. (Fron- 
 tispiece, Fig. 3.) The evil principle, typified in 
 the Crocodile, may perhaps infer its accompany- 
 ing the soul, until the final award is made upon 
 its life. The whole passage is replete with inte- 
 rest, and contains a mass of hieroglyphics which 
 are indefinable ; but their classification between 
 parallel lines, establishes the mode of reading them, 
 from top to bottom, and then commencing on the 
 next line. 
 
 The ceiling presents the tutelary Vulture ; its wings 
 expand from side topside, and each foot bears a Ring, 
 with a splendid feather, supported by a handle. These 
 feathers are black, white, and red, striped alternately, 
 and appear attached to the mediating deity, whom 
 the soul invokes, in order to pass, through its means, 
 into the elysium of the blessed. According to the 
 important key formed by Dr. Young, the symbols 
 over the Vulture's left wing are " The good God, the 
 giver of comforts to both regions ; Psammis, the 
 brilliant and joyiul, the living." Over the right, 
 " The son of the dispenser of delights ! Necho, the 
 companion of the Sun." The Vulture appears attired 
 with the head dress, as in the character of the medi- 
 ating deity. 
 
 It should here be observed, that it cannot be decided 
 
THE TOMB OF PSAMMIS. 17 
 
 whether this magnificent excavation is really the identi- 
 cal Tomb of Psammis, the son of Neqho, or of Pharoah 
 Necho, and formed by the affection of his son ; many 
 emblems would induce the latter opinion, particularly 
 as the titles and honours of Psammis are those usually 
 appropriated to the living monarch by the Egyptians ; 
 and those accompanying Necho, are usually referable 
 to the dead. The ornaments also of an historical 
 nature, as in the procession of the captives, are par- 
 ticularly and clearly characteristic of Necho, and re- 
 corded in his reign ; but throughout the Tomb, the as- 
 sociations are so intimately blended, that it is not 
 possible decisively to fix the person in whose honour 
 it is built, and whose sarcophagus it contained. This 
 mode of blending together the titles of the father and 
 son, is also similarly adopted in the names of Tithous 
 and Memnon, which, whether fabulous or historical, 
 appear invariably in conjunction upon the Colossi, and 
 the buildings of the Menmonian plain, upon the 
 temple of Luxor, and also upon various other 
 Egyptian monuments. 
 
 " Beyond the first passage is a staircase with a 
 ** niche on each side, adorned with curious figures, 
 ** with human bodies, and the heads of various ani- 
 " mals. At each side of the door at the bottom of 
 " the stairs, is a female figure kneeling, with her 
 " hands over a Globe. Above each of these figures 
 " is the Fox ; which, according to the Egyptian cus- 
 " tom, is always placed to watch the doors of sepul- 
 " chres. On the front space over the door, are the 
 c 
 
18 THE TOMB OF PSAMMIS. 
 
 ** names repeated ; on each side of which is a figure 
 " with its wings spread, as in Plate 3." 
 
 This staircase presents a great assemblage of sub- 
 jects, all bearing upon the passage of the soul through 
 the gates of death to life, and connected with inter- 
 cessory deities, which are honoured by their being 
 ranged in the two niches on each side ; most probably 
 they represent the good and evil genii, according to 
 which, the soul, as soon as it enters the Tomb, has to 
 encounter the pains of the grave, that is, the appear- 
 ance of genii, who put to it questions, and then lead 
 it to judgment. The ornaments around may represent 
 various offerings ; it is at this point that they fre- 
 quently appear on mummies; the figure kneeling, 
 appears as Time, or Chronus, with the Circle or 
 mystic Serpent, emblem of Eternity. A somewhat 
 similar figure on the Letheuillier mummy is ascribed 
 to Cy bele, in her earthly character; and in that repre- 
 sentation emblemed the stage of the body ere it had 
 passed the confines of Judgment ; above this figure, 
 in the attitude of watchfulness, is the guardian of the 
 Sepulchre. Over the door is spread the most striking 
 decoration of this staircase ; the tutelary winged god- 
 dess Rhea, surmounted with emblems, which, ex- 
 plained by Dr. Young, expressively point out her 
 office in this symbolic representation : ** Everlasting 
 honour to the powerful goddess, the daughter of the 
 good genius, that attends on the commands of the 
 greatest of deities ; the directress of the son of him 
 who dispensed comforts to the upper and lower 
 
THE TOMB OF PSAMMIS. 19 
 
 countries." The names of Psammis and Necho are 
 on each side of the goddess, under which are two en- 
 larged Phylacteries of the names of Psammis and 
 Necho. The same goddess is represented on each 
 side, covering the symbols with her wings, and having 
 part of the inscription repeated ; the whole repre- 
 sentation very strongly marks the offering and ob- 
 taining of the intercession of the inferior deities, and 
 their praying attitude deprecating the pains of the 
 soul in the grave. The inscription expressing this 
 goddess as the directress of Psammis, would more 
 strongly mark the erection of this Tomb by him, in 
 honour of his father, as it conveys a marked impulse 
 to an act of filial reverence, which would scarcely 
 have been called forth by the appropriation of the 
 Tomb to his own obsequies. These names are sur- 
 mounted by Globes, and very rich stools, or perhaps 
 altars for offerings, are placed underneath them, as 
 well as under th§ two protecting figures. 
 
 " Next is the second passage, on the right hand 
 " side of which are some funeral processions, appa- 
 " rently in the action of taking down the sarcophagus 
 " into the Tomb, the usual boat, which carries the 
 " male and female figures upon it, and in the centre, 
 ** the boat with the head of the Ram, drawn by a 
 " party of men. 
 
 " The wall on the left is likewise covered with 
 
 " similar processions ; among them is the Scara- 
 
 ** beus, or Beetle, elevated in the air, and supported 
 
 ** by two Hawks, which hold the cords, drawn by 
 
 c 2 
 
20 THE TOMB OF PSAMMIS. . 
 
 " various, figures ; and many other emblems and 
 ** symbolical devices." 
 
 The sarcophagus and body proceed toward the 
 place of judgment. The boat with Ram's head, the 
 emblem Pthah, or Ammon, soul of the world. On 
 the left are apparently the inferior deities; and in the 
 under line, two boats drawn by the Scarabeus, emblem 
 of Horns, the guardian divinity at the entrance of the 
 sanctuary. 
 
 The Scarabeus is also the symbol of the subter- 
 ranean solar deity, as well as of the resurrection ; 
 between the boat and the door, is the sacred Serpent, 
 the symbol of the spirit of the universe, the Lord of 
 Life and Death ; and Osiris, with the Staff of Power, 
 the symbol of providence and justice. 
 
 ** The well or pit. The figures are nearly as 
 *' large as life ; they appear to represent several 
 " deities, some receiving offerings from persons of 
 " different classes." 
 
 It appears most probable, that the scene presented 
 aroi^nd this well, is the place of judgment. Each side 
 apparently exhibits Osiris on his throne, in white, 
 as Judge, with the flagellum, or scourge, and crook. 
 He is in the centre of the compartment, and on each 
 side the hero is presented by a tutelary deity ; the 
 figures represented in the plate are Anubis and Isis ; 
 there are unquestionably on three parts of this pit, 
 which are not described, other personifications, fvrhich, 
 perhaps, comprises the number of intercessors which 
 are generally in this representation, eight. 
 
THE TOMB OF PSAMMIS. 21 
 
 " Next is the first hall, which has five pillars in 
 " the centre, at each side of which are two figures, 
 ** generally a male and a female deity. On the right 
 " hand side wall there are three tiers of figures, one 
 " above the other, which is the general system 
 " throughout the Tomb. In the upper tier are a 
 " number of men pulling a chain, attached to a stand- 
 " ing mummy, which apparently is unmoved by their 
 " efforts. The two beneath consist of funeral pro- 
 " cessions, and a row of mummies lying on frames 
 " horizontally on the ground. On the left, is a 
 " military and mysterious procession, consisting of a 
 " great number of figures, all looking towards a man 
 ** who is much superior to them in size, and faces 
 " them. At the end of this procession are Jews, 
 " Ethiopians, and Persians. Behind them are some 
 " Egyptians, with ornaments, as if captives rescued 
 " and returning to their country, &c. Plates 6, 7, 8." 
 
 In this apartment are contained subjects of most 
 peculiar interest; most probably, by personal inspec- 
 tion, the progress of the scene would develop itself 
 through the. characteristics of the deities, which on 
 each side of the pillars are receiving the hero whose 
 Tomb they adorn. Around its walls are depicted 
 the glorious actions of his reign;, and herein we may 
 with much reason consider the Tomb to be Pharoah 
 Necho's, whose character and name appear, as the 
 historic tablet of the procession combines the captives 
 of Judah, Ethiopia, and Babylon or Assyria, over 
 which kingdoms he triumphed, and the tutelary genius 
 c 3 
 
*22 THE TOMB OF PSAMMIS. 
 
 of Egypt, with the Hawk's head, appears in the 
 group ; another procession is conducted on an enor- 
 mous Snake, the emblem of the good Genius : all the 
 emblems lead to the front facing the entrance, which 
 exhibits a magniticent display of the supreme deity 
 of Egypt, receiving the hero on his throne. 
 
 ** It consists of four figures, as large as life; the 
 ** god Osiris sitting on his throne, receiving the 
 ** homages of a hero, who is introduced by a Hawk- 
 " headed deity. Behind the throne is a female figure, 
 ** as if in attendance on the great deity. The whole 
 " group is surrounded by hieroglyphics, and inclosed 
 " in a frame richly adorned with symbolical figures. 
 ** The winged Globe is above, with the wings spread 
 " over all, and a line of Serpents crown the whole. 
 " Plate 19." 
 
 Osiris is here enthroned in his glory, as king of the 
 gods ; the hieroglyphics above his head declaring him 
 the sacred father of the protecting powers, living, un- 
 alterable, reigning, and ministering. His throne is 
 on feet, in the appropriate shape of the emblem of 
 Stability, (Frontispiece, Fig. 6) with those of Eternal 
 Life (Frontispiece, Fig. 4.) and Dominion (Frontispiece, 
 Fig. 5.) intermixed. The seat is a.cube bordered with 
 intersected colours, and covered with an ornament 
 shaped as a heart. The Persea, Plutarch says, was 
 consecrated to Isis ; its fruit resembling a heart, the 
 symbol of Egypt, and its leaves that of a tongue. In 
 one corner is an emblem similar to the springing Lotos 
 on the similar seat of the Colossus on the plain of 
 Gournou. Osiris is attired in all his emblems of 
 
THE TOMB OF PSAMMIS. 23 
 
 Dominion ; the face azure blue, stated by Herodotus 
 as the sacred colour ; the form white, expressing a 
 singular boldness and strength of position. The union 
 of form may symbolize the supreme Hermaphrodite 
 Deity of Egyptian worship. He bears the flagellum 
 and sacred crook, and wears a necklace and bracelets. 
 The countenance is marked with severe dignity and 
 expression, very majestic, without passions, unalter- 
 able, and alone. The hero is attired in more 
 splendour, and appears to have received those attri- 
 butes which confer on him the privileges of immor- 
 tality, and recommend him to the acceptation of the 
 god. He now wears a necklace, and bracelets, and 
 belt, inscribed with the hieroglyphic of his name, and 
 has the Asp Basilisk, emblem of Eternity, attached to 
 his head dress, and two Asps to an ornament hanging 
 from his belt ; his left arm bears the flagellum, the 
 right is respectfully presented to Osiris ; the whole 
 figure is highly marked with awe. He is attended by 
 Arueris, the son of the Sun, who embraces him with 
 one arm, the other holding the Crux Ansata, and 
 wearing a robe ornamented with the heart stripe, 
 conformably to the seat of Osiris. On the platform 
 of the throne, which is raised upon feet, and behind 
 the seat of Osiris, is an attendant goddess, with mystic 
 symbols and peculiar form. Indeed every part of 
 this magnificent display evidences the importance of 
 the reception of the hero. The phylacteries of his 
 name are in the same line with the symbols of Osiris, 
 and are here first presented on the white or sacred 
 
 4 
 
24 THE TOMB OF PSAMMIS. 
 
 colour, instead of yellow, as before. The Agatlio 
 daemon, and emblems of Power, Stability, and Eter- 
 nity, fill the upper line, as a frame. Above which are 
 ranged a numerous row of the Asp Basilisk, and 
 Globe, which present the appearance of a rich and 
 regular cornice. Whether we examine the character, 
 form, and throne of Osiris ; the hero with his tute- 
 lary genius, or the accessary symbols and ornaments 
 of the delineation, they display a rich variety of 
 colouring, a power of accurate expression of counte- 
 nance, and a very interesting conception of the awe 
 and sacredness which the Egyptians entertained upon 
 the judgment of the. soul in its eternal state. 
 V " Straight forward is the entrance into another 
 ** chamber, with two pillars* The wall of this place 
 " is outlined, ready for the sculptor to cut his figures. 
 " There are great varieties of symbolical figures of 
 ** men, women, and animals, apparently intending to 
 ** represent the different exploits of the hero to 
 " whom the Tomb was dedicated.^ > 
 
 The emblems of this chamber are equally inte- 
 resting with any of the preceding, and most probably 
 refer to those events in Necho's life, which were consi- 
 dered most beneficial and glorious, and also other 
 sacred exhibitions connected with the reception into 
 bliss : indeed the boats and figures which are sketched, 
 the frequent recurrence of the Bull Apis, and other 
 symbols, infer principally this subject ; and the colour 
 of the room, being the sacred white, most probably 
 typified the purity acquired by the soul from the ac- 
 
THE TOMB OF PSAMMIS. 25 
 
 ceptance of the deity, and evinces that its outline ap- 
 pearance is not so much an imperfect state of execu- 
 tion, as the analogous progress of the mystical scenes 
 developed upon the walls of the Sepulchre. In the 
 view taken of this interesting part of the Isiac mys- 
 teries, it represents the purification of the soul to 
 eternal life. 
 
 " On going out of this chamber into the first hall, 
 " is a staircase, which leads into a lower passage ; 
 *' the entrance into which is decorated with two 
 " figures on each side, a male and a female, as large 
 ** as life. The female appears to represent Buto ; 
 " the name is followed by her relation to the ' great 
 *' god.' A most remarkable circimistance about the 
 " figure, is the tight drapery, which is divided into 
 ** irregular hexagons, without any regard to the alter- 
 " ation of their form by the projection; and this 
 *' disproves the argument respecting the flatness of 
 " the carpet or baize, as inferred from the division of 
 '* its surface into squares. Again, each perpendicular 
 " or oblique series of hexagons, contains an inscrip- 
 " tion with the name and titles of the * good God, 
 " Psammis the son of Necho,' in compliment to 
 ** whon\, she is dressed in his livery. She holds the 
 " king's hand with her left, and with her right she 
 " presents to him a breast-plate which hangs round 
 ** her neck, and which seems to be the Alethia or 
 " 'truth' of Diodorus,'who tells us that the President 
 ** of the Judges wore * a breast-plate adorned with 
 " jewels, which was called tnith/ and delivered the 
 
26 THE TOMB OF PSAMMIS. 
 
 *' sentence of his colleagues by the form of touching 
 " the successful party with the symbol of justice 
 " which he wore." 
 
 The king, now about to enter the regions of immor- 
 tality, is gracefully covered with a transparent linen 
 falling from his shoulders. The ovals of the names 
 are again printed in white, and he is now invested 
 with a necklace of rainbow hues, of the greatest 
 splendour and lustre ; two rows are radiated in azure, 
 light blue, white, and pink; between them is an orna- 
 ment as a chain, composed of the hieroglyphic of 
 Stability, or three crosslets, alternately with a heart, 
 on a blue ground. The sacred Asps adorn his head 
 and belt; and his feet have sandals, fastened with 
 yellow and azure metal rivets. The transparent linen 
 displays the tints of flesh graduated as it has a single 
 or double fold upon the limb, and proving the painter 
 could easily have copied the true tint and colour of 
 flesh, instead of the unvarying red, had he not been 
 bound by directed rules. The appearance of the figure 
 marks the added emblems of his glory. The necklace, 
 symbols of Stability, and the heart, indicate its reno- 
 vated state of bliss, and its immutability, which is 
 sealed by the touch of the breast-plate recorded by 
 Diodorus, as completing the mysterious rite. 
 
 It is deserving of notice, that a female figure in 
 tight drapery, with the chequered squares continued 
 throughout, without any regard to the alteration of 
 their form, appears also upon Letheuillier's mummy in 
 the British Museum. The many coincidences between 
 
THE TOMB OF PSAMMIS. 27 
 
 the representations on mummies, their sarcophagi, and 
 the papyri, with the paintings in the Tomb, is apparent 
 in this, as also in a variety of instances. 
 
 " On the wall to the left, on entering the passage, 
 ** is a sitting figure of the size of life : it is the 
 *' King on his throne. 
 
 " In the attributes and account of the hierogly- 
 *' phics, see the Article I. of the Appendix to the 
 " Atlas." 
 
 In this the King, having entered the abodes of 
 bliss, is seated on his throne, which is the mystic 
 cube, and which has the heart covering, according 
 to Plutarch, the emblem of Egypt, and the sacerdotal 
 ornament of the Lotos. This being the symbol of 
 Eternal Life, may it not here, and also in all the 
 similar points of recurrence, typify the Plant of Life, 
 the seed of which is in the hearts of all men, and 
 which, in its various emblems and symbols, has en- 
 tered into the mythology of every race of man ? He 
 wears an amulet suspended, which marks an obelisk; 
 the hieroglyphics also express, " distinguished by 
 the erection of an obelisk;" and in historic con- 
 formity, Pliny records that an obelisk transported to 
 Rome by Augustus, and set up in the Campus Mar- 
 tius, was erected by Psammeticus or Psammis. It 
 still adorns the Piazza del Popolo at the entrance of 
 Rome; and has the hieroglyphic oval name on its 
 most ancient or centre line, as is displayed throughout 
 this sepulchre. The tutelary Vulture, without the 
 mediatory feather, soars over the King, with hiero- 
 
28 THE TOMB OF PSAMMIS. 
 
 glypbics expressive of her superintending power. Ill 
 his hand he now holds the mace of Joy and Thanks- 
 giving ; the hieroglyphics in it express, " The good 
 God ; the giver of comforts to both the regions ; the 
 protector of religious rites ; the King Osiris Psammis, 
 the son of Necho, the companion of the Sun and 
 of Osiris." The vertical column behind the King, 
 declares him " The minister of the Gods, the living, 
 the established, the powerful, the noble like the Sun, 
 the everlasting;" and before him upon an altar, is 
 an offering presented, and hieroglyphics, declaring 
 that " the Priests attendant on the ceremonies of the 
 good God, do him honour by these rites, the living, 
 the mighty, the benefactor of the country." 
 
 His dress is again varied by an intermixture of 
 white ; and the whole delineation is highly elucidatory 
 of the advanced honour of the subject of the sym- 
 bols.—" Plate 1." 
 
 " On the upper part of each side of the passage, 
 ** is the history of the hero divided into several 
 ** small compartments, nearly two feet square, con- 
 " taining groups of figures eighteen inches high. 
 " The King is seen every where standing on heaps 
 " of corn receiving offerings. Farther on is a small 
 " staircase, where the sacrifice of the Bull is to be 
 ** seen, as in Plate 18. From this is a passage to 
 " the Room of Beauties : thfe sides of the doors are 
 " most beautifully adorned with female deities, sur- 
 " rounded with hieroglyphics, the Lotos both in bud 
 ** and full bloom, and the Snakes as in Plate 17." 
 
THE TOMB OF PSAMMIS. 29 
 
 Descending the staircase, is observed the sacrifice 
 of a sacred Bull ; which ceremony, together with the 
 other subjects, symbolize the religious offerings, and 
 cjiaracter of the representation, mo^t probably, as 
 the King is also depicted every where receiving 
 offerings — the whole may be explained as in his 
 honour. The sacred Lotos in bud and in full flower, 
 will describe the commencement and consummation 
 of the soul's perfection. The Serpent, forms of the 
 good spirit Cneph, and the ministering deities with 
 the sacred flowers, declare the symbols of honour 
 which conduct the King to the assemblage of the 
 deities of Egypt, who in the next apartment are 
 represented, each in their appropriate emblems, re- 
 ceiving him, and associating him to their number. 
 It is also in this passage that the hero appears re- 
 ceiving the all-important rite of purification, which is 
 represented by pouring the sacred Nile water from 
 a vase over his head ; his arms have on the first 
 symbols of the Initiation, the tzamid or bracelets ; 
 around his neck is the collar, simple and in bud — that 
 is, divested of the angles — and only wearing the 
 pearls which mark the glory, and the drops, express- 
 ing that knowledge descends from heaven. It is the 
 first and chief symbol of his elevation, and accords 
 with the Egyptian figures, that " knowledge descends 
 as the heavenly dew." 
 
 In every part of the passage, there is proof of the 
 importance of this rite. Psammis appears elevated 
 above those who present him offerings as a divine 
 
30 THE TOMB OF PSAMMIS. 
 
 being; and the sacrifice of the holy Bull is here 
 depicted before him, taking place in his honour. 
 
 " The Hall of Beauties follows. All the figures 
 " are in such perfection, that the smallest part of 
 " their ornaments can be closely discerned." 
 
 This room deserves the most minute examination, 
 as it records the leading deities of Egyptian worship, 
 and explains their characteristic symbols. The King 
 is welcomed by each deity individually ; also to the 
 throne of Osiris, who alone is seated as supreme ; 
 the countenance, an azure blue. The King is accom- 
 panied by Arueris. The walls exhibit the sacred 
 Persea leaves, the Lotos, and the Pomegranate, flow- 
 ering around : no doubt these plants symbolize the 
 reception into, and the enjoyment of, felicity and 
 honour. The group of the deities, as well as the 
 accompanying symbols and hieroglyphics, are very 
 highly interesting. 
 
 " Farther on, is the large hall with six pillars, 
 *' containing on each side of it two figures as large 
 " as life. The walls are adorned with the procession 
 " and other symbolical figures ; over the door in the 
 " inside, is the figure of a female with extended 
 " wings, as in Plate 3 ; on the right, a Cow of half 
 ** the natural size, with a number of figures under 
 " it, which form a very curious group. Men car- 
 " rying a long slender pole with a Cow's head, and 
 ** on the pole two Bulls, as in Plate 15." 
 
 The Hall of Pillars is most magnificent, appearing 
 as a vestibule to the grand Saloon, or rather Pantheon, 
 
THE TOMB OF PSAMMIS. 3i 
 
 where the sj^mbolical representation displays the full 
 splendour of the Egyptian Elysium. The walls are 
 richly coloured with gold and azure, also the pillars, 
 which present repeated appearances of the King 
 offering presents to, and accepted by, the propitious 
 deities. Apis as a Bull, and Isis as a Cow, are here 
 adored by groups of worshippers, and the walls around 
 are emblazoned with processions and symbols. 
 
 The Saloon with its carved Dome, representing 
 the Firmament, doubtless typifies the larger world, 
 the Universe f wherein, according to the Isiacal doc- 
 trine, the soul now finds its repose in the bosom of 
 the one great Deity. The ceiling is decked with the 
 Zodiacal representations, and the celestial Sun, not 
 the terrestrial nor the subterranean Sun, but the 
 eternal, uncreated light, the last object of all the 
 mysteries; which, agreeably to their representations, 
 crowned the initiated, with the abundance of eternal 
 life, and the repose of all blessedness for ever. 
 In one compartment the mysterious Agatho daemon 
 covers the whole circle; underneath, with tutelary 
 deities shadowing them with their wings, (strongly 
 reminding us of the cherubic symbols) are the ovals 
 of Psammis and Necho's hieroglyphics ; and in wavy 
 rows, not coiled up, appears the sacred Serpent, the 
 Lord of Life and Death, doing honour to the names. 
 This splendid apartment, which is 31 feet 10, by 21 
 feet, is throughout decorated in the utmost perfec- 
 tion of mythological richness. Azure and yellow, 
 red and white, are blended in pleasing profusion, all 
 
32 THE TOMB OF PSAMMIS. 
 
 symbolizing the ultimate and perfect repose of the 
 soul, and its reception and deification. In this superb 
 chamber rested the sarcophagus. This is sculptured, 
 within and without, with several hundred small figures 
 in Intaglio, coloured with a dark blue, manifestly the 
 corresponding delineations with the walls of the se- 
 pulchre, and beautifully executed ; when a light is put 
 inside, it is quite transparent ; it is 9 feet 5 inches long, 
 and 3 feet 7 inches wide. Its thickness full 2 inches. 
 The substance of the sarcophagus is a stalactitical 
 carbonate of lime, approaching to arragonite, but of 
 inferior hardness. It was placed over a staircase 
 communicating with a subterraneous passage, leading 
 downwards 300 feet. 
 
 Three other chambers branch out from this won- 
 derful apartment; one was named the sideboard room, 
 it contained beautiful representations, one of which, 
 in Plate 5, appears on one of the pillars. Tliis room 
 is 25 feet 8, by 22 feet 10, and has a projection of 3 
 feet, in form of a sideboard all round, which was per- 
 haps intended to contain the articles necessary for the 
 funeral ceremony. 
 
 These deities, represented in Plates A and 5, appear 
 Very important at this part of the mystic scene. 
 Nothing can be more striking, composed, and austere^, 
 than the figure of Osiris, in Plate 4. It affords 
 a very important proof of the Egyptian conception 
 of character, which can hardly carry to a higher 
 point the idea of a superior and impeKurbable dignity. 
 Psammis or Necho is now apparently liighly privi- 
 
THE TOMB OF PSAMMIS. 33 
 
 leged, and approaches the great Deity, as if partaking 
 of his divine nature, instead of being a suitor at his 
 throne. The symbol of Vulcanian or Pthah., the 
 highest attribute, is here also added to his nanie. 
 
 The figure No. 5, in M. Belzoni's plates, although in 
 the appendix expressed as Stability, would rather ap- 
 pear to be Serapis, the waker of the dead, who is repre- 
 sented as invisible, and having his face covered, — the 
 emblem of Stability is most probably added as denoting 
 the unchangeablenes^ of the state which Death has pro- 
 duced ; and its appropriation at this part of the myste- 
 ries, strengthens the supposition. The apartment, and 
 this immense excavation, end withalarge chamber con- 
 taining an embalmed Bull ; does not this fact immedi- 
 ately recal the similar discovery in the mwiy opened 
 chamber of the Pyramid of Cephrenes, and probably 
 infer that the highest imaginable honour to the de- 
 ceased, was an association with the sacred and tauric 
 form of the god Apis ? 
 
 *' On the right of the saloon, is a small chamber 
 ** without any thing in it, roughly cut, as if uixfinished, 
 ** and without painting." 
 
 This room, or cave, was most probably so con- 
 structed, to bear a part in the great chain of allegoric 
 mystery. In an excavation of this extraordinary 
 extent, labour, and perfection, it is extremely im- 
 probable that any circumstances could occur which 
 would preclude the completion of so very inconsider- 
 able a portion of labour : let us rather coj&clude it 
 «?as so intended to be left ; and if we reflect upon the 
 
 D 
 
34 THE TOMB OF PSAMMIS. 
 
 highly mystic and sacred character attached to caverns, 
 natural and artificial, that they form the very root 
 of the whole basis of Eastern mythology, we may 
 be at no loss to view this cell as the mystic adytum, 
 which in their holiest temples and pyramids no doubt 
 represented the sanctuary. Thus Rhea brought 
 forth her son in a cave ; Typhon was born in a cave ; 
 Jupiter, or Ammon, also in the Dietoeancave; and the 
 most mysterious rites were performed within the dark 
 recesses of a cave. Porphyry observes, that among 
 the ancient mythologists, " a cave was symbolical of 
 the world ; the exterior part representing the surface 
 of the earth, and the hollow interior, the great central 
 cavity ;" and that chambers are hollowed out, in imi- 
 tation of the irregularities of a natural cavern. 
 
 Thus have we traced in these various chambers, the 
 highly interesting fact of the belief of the Egyptians 
 in immortality. The seeds sown, partake indeed of 
 the deadly and noxious quality of their subtle and 
 evil parent; and the splendid symbols which ovier- 
 spread these walls, show indeed the attributes of divi- 
 nity, and of mimic cherubic grace; but they belong 
 to deities who are the Moloch and Chemosh of the 
 ancient mysteries. 
 
 To recapitulate the progress of these allegorical 
 paintings. We enter the Tomb with the great triad. 
 We pass the threshold of the grave with the tutelary 
 Isis. Its bound is beautifully expressed by Time hold- 
 ing the mystic circle, as Time ended. Eternity began. 
 The Scarabeus, or subterranean Apollo, leads the 
 mediating deities to the Hades or pit, where Osiris sits 
 
THE TOMB OF PSAMMIS. 35 
 
 in judgment. The King, adorned by eternal attributes, 
 is then conducted by Arueris to the throne of Osiris ; 
 and finally accepted by Isis, who, by the touch of the 
 charmed breast-plate of truth, completes his initiation. 
 The succeeding scenes mark his progress from glory to 
 glory, until the magnificent display is finished in the 
 splendid dome, the mystic type of the great universe. 
 
 There is no subject manifestly more difficult to 
 speak of, than the initiation into the mysteries, Avhich, 
 instituted in honour of Isis, were not only trans- 
 ported into Greece, but eventually into Rome, and 
 which historians record as maintaining an ascendancy 
 over the public mind, in spite of every endeavour to 
 repress them ; they certainly testify the feeling held 
 of existence after death, and of immortality; and 
 if we credit the sentiments of Cicero, Plato, and 
 others, they inculcated awe and reverence to the 
 gods, and exemplary conduct towards men. It would 
 incontestibly appear, that they clothed some abstract 
 truths upon these subjects in most imposing appear- 
 ances, and noble language ; but whatever their origin 
 and commencement might be, nothing could be 
 more polluted and abandoned than the excesses into 
 which they subsequently degenerated; nor can we 
 with safety infer that they were imitative rites of the 
 divine manifestations on Mount Sinai, or copies of 
 any part of the Jewish ritual, as Dr. Hales considers 
 in his Chronology, for every part of their construction 
 D 2 
 
86 THE TOMB OF PSAMMIS. 
 
 lays claim to some much older original, which struck 
 out at the earliest periods of the post-diluvian settlers; 
 flowed downward in intimate union with the mytho- 
 logical tenets of all the Eastern world. That the 
 soul had deflected from its pristine purity, that it must 
 pass through a purifying trial ere it could be restored 
 to its primitive integrity; that this was a season of 
 darkness and terror, from which ensued a purification 
 of soul, and union of mind with the great father! 
 appear to constitute the spiritual part of the regene- 
 ration of the mysteries. Whatever may seem in them 
 pure, and of a salutary nature, is clearly imitative, and 
 drawn from those earliest manifestations of the divine 
 will, which before the flood, and in Paradise, as well 
 as after, by the miraculous preservation of Noah, a 
 teacher of righteousness, left not itself without witness 
 in the world. But herein we shall find the strong 
 and distinctive difference of the religion of Patriarch- 
 ism, and the religion of Paganism, to consist. That 
 the one displays the Creator pure and sublime, ori- 
 ginating all things, material and immaterial, light and 
 darkness, by his will, and commanding all things by 
 his power ; graving in the hearts of all, an unseen 
 witness, that attests the laws of holiness and obedi- 
 ence, which, for his honour, and man's happiness, 
 have always been laid down for his direction and per- 
 formance. But man, fallen from his original purity, 
 and alienated from his Maker, averse to curb his pas- 
 sions, and refractory to all ordinances which would 
 strike at the root of the human heart, and cleanse its 
 
THE TOMB OF PSAMMIS. 37 
 
 evil propensities, has from Ihe beginning, and parti- 
 cularly in the great apostasy at Babel, chosen to carve 
 out his ovi^n plans, and to substitute his own system of 
 regaining that spiritual life, which no power he possesses 
 can stifle the wish for within his soul; hence then ori- 
 ginated those baser conceptions of the Deity, which 
 borrowing the abstract embletas of brightness, copied 
 it^m the true worship, invests with them the gross 
 materialism, and impure principle, which the systems 
 of Paganism supply. Hence the mysteries taught 
 that one self-sufficient Deity created all things; that 
 all the gods, and all the various parts of the worlds 
 were members of the one great hermaphroditic deity> 
 who was thought alternately to die and to revive. 
 Thus Pythagoras taught " the universe as subject to 
 endless revolutions, and as experiencing alternate 
 destructions and regenerations." Hence the Brahmins 
 taught, " That at the close of every mundane revo- 
 lution, the whole universe, together with both mortals 
 and hero gods, was absorbed into the essence of the 
 one great hermaphroditic parent (who is represented 
 of a black or azure colour, as is also displayed in the 
 figure of Osiris receiving Psammis seated on his 
 throne, in the finest painting of the Tomb) ; that 
 during the intermediate period of desolation, he re- 
 mained in solitary majesty, contemplating with int^ise 
 abstraction, his own physical properties ; and that 
 when the appointed time of renovation arrived, he 
 produced afresh from his own essence, the frame «f 
 another world, with ail its subordinate hero gods, and 
 D 3 
 
^B THE TOMB OF PSAMMIS, 
 
 mortal inhabitants." This was the wisdom which the 
 Egyptian priests communicated to Solon; the wisdom 
 which the Stoic most strenuously recommended and 
 maintained ; and is the wisdom eminently conspicuous 
 in the institute of MenA and Hindii writings. And 
 these sentiments may in themselves sound imposing 
 and specious ; but the difference lies in one system 
 having "God for its author, oracle, and end; and in 
 Paganism having man for its author; demons and 
 vestal deities for its worship ; and for its end, lust 
 and cruelty. That this picture is not overdrawn, 
 must instantly be admitted, if we only reflect upon 
 one clear proposition — Whatever the god or principle 
 is, that is worshipped, such must be the object and 
 aim of the worshipper's life to copy ; and if such is 
 the fact, we need only reflect, in the slightest manner, 
 on the supposed lives and actions of all the deities of 
 the Heathen world, immediately to comprehend how 
 their revolting and unbridled lust must of necessity 
 have been not merely connived at, but countenanced 
 and encouraged. This short deduction is necessary 
 to explain the reason why the analysis that will 
 follow of the progress of the initiation, while it 
 may bear the semblance of specious morality and 
 purification, was in reality the source and abundant 
 cause of infinite abominations ; and it is slightly 
 sketched as supplying in some degree a corresponding 
 testimony and illustration of the my thological explana- 
 tion attempted in the description of the paintings and 
 representations in the royal Tomb of Psammis, which 
 
THE TOMB OF PSAMMIS. 39 
 
 doubtless exhibit the popular tenets held by the 
 priesthood and country of Egypt, upon this very 
 interesting subject. 
 
 The fragments whereby we may judge of the Isiac 
 mysteries, are indeed so few and disjointed, that it is 
 extremely difficult to present any clear delineation of 
 their appearances or import ; by some writers, these 
 doctrines are most highly extolled ; by all, they ap- 
 pear most carefully hidden ; but whatever might be 
 the principles of their origin, there cannot be any 
 doubt of the dreadful corruptions which subsequently 
 flowed from their performance in all parts of the 
 world. 
 
 Upon entering the Temple, the aspirant is repre- 
 sented as proceeding with darkling and dubious steps 
 along an obscure passage, exciting doubt and trouble 
 within him — the way uncertain, his steps full of diffi- 
 culty and danger, without a knowledge of that road 
 to which he aspires. 
 
 Here the aspirants first washed their hands, in 
 token of purification ; and then the mysteries were 
 read by a priest out of stone tablets. The threshold 
 then is crossed of the mystic descent, and the mimic 
 representation begins. The ancient authors describe 
 it as a real descent into Hades, or the grave, and 
 declare that the mind is agitated as in death ; for 
 in the grand mysteries, to die, and to be initiated, 
 answer word to word, as well as " thing to thing." 
 Nothing can surpass the horrors with which the an- 
 cient writers exhibit this first stage ; it is a rude and 
 D 4 
 
m THE TOMB OF PSAMMIS. 
 
 fearful march, through night and darkness, where aB 
 is horror, trembling, and affright. 
 
 Having approached the confines of death, says 
 Apuleius, and having crossed the threshold of Pro- 
 serpine, I was borne along through all the elements. 
 At this stage a strong light darted in upon them, 
 and discovered a statue of Isis, richly adorned ; and 
 the liidecent phallic symbol of Egyptian worshij^. 
 This light soon disappeared, and the aspirants wet^ 
 left to grope their way amid every demonstration of 
 terror and scenic alarm. Virgil and Claudian speak 
 of the rocking earth, its bellowing noise, the pealing 
 thunder, and amid the deep darkness, the glare of 
 torches, with the lightning's flash, and sounds of 
 iPttshing waters. 
 
 To these horrors of nature, were presented every 
 combination of canine and hideous forms and noises ; 
 inonsters with threatening aspects appeared at inter- 
 vals ; and some authors speak of the baying of the 
 infernal Hecate, or the triple-headed Cerberus, whose 
 appearance and terrors in her canine form, are parti- 
 cularly declared. This probationary and mysterious 
 trial, we may collect, continued for three days, ac- 
 cording to the computation of the Oriental manner, 
 and the supposed time that Osiris was inclosed withih 
 his mystic coffin. Thus the aspirants entered the 
 mystic Hades the evening of the first day, and 
 were not liberated until the morning of the third day. 
 In the Egyptian plagUe of darkness, there appears 
 much reason to conceive it consisted of plaguing 
 
THE TOMB OF PSAMMIS. 41 
 
 tlie Egyptians with the realities of those horrors 
 and fears which they so mischievously created and 
 applied to the corrupt purposes of their mystic 
 rites. The elucidating passage may bt3 perused in 
 the 17th Chapter of the Wisdom of Solomon, one 
 of the Apocryphal Books to the Old Testament, 
 and describes with peculiar strength, the most cha- 
 racteristic appearances of the mysteries. " For 
 when unrighteous men thought to oppress the holy 
 nation, they being shut up in their houses, the pri- 
 soners of darkness, and fettered with the bonds of a 
 long night, lay there exiled from the Eternal Pro- 
 vidence, being horribly astonished, and troubled with 
 strange apparitions ; for neither might the corner that 
 held them, keep them from fear; but noises, as if waters 
 falling down, sounded about them, and sad visioni^ 
 appeared unto them, with heavy countenances ; iio 
 power of the fire could give them light, neither could 
 the bright flames of the stars endure to lighten that 
 horrible night ; only there appeared unto thetn a fire, 
 kindled of itself, very dreadful ; for being much ter- 
 rified, they thought the things which they saw, to be 
 worse than the things which they saw not ; as for the 
 illusions of art and magic, they were ]^ut down, and 
 their vaunting in wisdom was t-eproved with disgrace, 
 for they that promised to drive away terrors and 
 troubles from a sick soul, were sick themselves of 
 fear, worthy to be laughed at ; for they bemg scared 
 with beasts that passed by, and hissing of serpents, 
 Were partly vexed with monstrous apparitions, and 
 
42 THE TOMB OF PSAMMIS. 
 
 partly fainted, their hearts failiug them ; whether it 
 were a whistling wind, or a terrible sound of stones 
 cast down, or a running that could not be seen of 
 skipping beasts, or a roaring voice of most savage 
 wild beasts, or a rebounding echo from the hollow 
 mountains ; these things made them to swoon for fear. 
 Over them only was spread an heavy night, an image 
 of that darkness which should afterwards receive them; 
 but yet were they unto themselves more grievous than 
 the darkness." 
 
 In this long quotation from the Book of Wisdom, it 
 can be easily traced in parallel passages, how the mimic 
 scenes of the Egyptian mysteries were brought down 
 in judgment upon them ; and by the palpable darkness, 
 extinguishing their boasted emblem, the Sun, conti- 
 nuing upon them, with the real horrors and terrors 
 described, the precise period wherein they pretended 
 to furnish the aspirant with heavenly knowledge, were 
 decisively demonstrated the fallacy and guilt of such 
 pretensions ; and the God of Israel, declared as God 
 of the day and the night, to the destruction of the 
 false gods of their highest veneration, and the grand 
 symbols of their mysteries, and the vanity of their 
 promises to liberate the soul of the aspirant from his 
 blindness and dismay, exposed in their own discom- 
 fiture, with the deepest disgrace : but to proceed ; 
 after three days, borne along through all the elements, 
 which were displayed and symbolically exhibited in 
 this trying scene, Apuleius says, I saw the Sun 
 shining in the dead of night, with luminous splendour; 
 
THE TOMB OF PSAMMIS. 43 
 
 I saw both the infernal and the celestial gods, and I 
 adored them. 
 
 From Themistius, we learn that the initiated being 
 purified, have disclosed to them a region all over illu- 
 minated, and shining with a divine splendour; the 
 cloud and thick darkness are dispersed; and the mind, 
 which before was full of disconsolate obscurity, now 
 emerges, as it were, into day, replete with light and 
 cheerfulness, out of the profound depth into which it 
 had been plunged. 
 
 Stobaeus says, this scene once over, a miraculous 
 and divine light displays itself, and shining plains and 
 flowery meadows open on all hands before them. 
 Here they are entertained with hymns and dances, 
 with the sublime doctrines of sacred knowledge, and 
 with reverend and holy visions. And now become 
 perfect and initiated, they are free, and no longer 
 under restraints ; but crowned -and triumphant, they 
 walk up and down the regions of the blessed, converse 
 with pure and holy men, and celebrate the sacred 
 mysteries at pleasure. 
 
 But let us not leave the subject, as if these privi- 
 leges were really of a pure and cleansing nature, but 
 learn the all significant symbols with which the im- 
 pressive scene of the initiation was finished. The newly 
 initiated, in token of his regeneration or new birth 
 from Hades into Elysium, had a golden Serpent 
 placed in his bosom, and the phallic symbol of Nature 
 presented to his gaze ; the Serpent, by its faculty of 
 shedding its skin, represented the twice born a& 
 
4i THE TOMB OF PSAMMIS. 
 
 emerging into a renovated world j oi* ©nteriiig tipon a 
 fresh course of existence ; the latter, the self-existent 
 great father, who is placed as the centre of the uni- 
 verse, usurping the powers and just worship of the 
 Ottly God. 
 
 Tlilife Dr. Hales says, whatever were the first designs 
 of those emblems, in process of time this mysticism 
 degenerated ihto downright materialism ; and these 
 processions and ceremonies denoting at first only thie 
 mysterious new birth and spiritual regeneration of the 
 initiated, when the symbolical meanings came to be 
 forgotten, opened a door to the most horrid and im- 
 pure practices. Livy has giren a most circumstantial 
 and interesting account of the disclosures which led to 
 their suppression at Rome, B. C. 186. 
 
 In some degree to follow the outline which this 
 sketch presents, we may parallel the passage in which 
 the aspirant enters the Temple with the first passage, 
 where the King, entering the Tomb, is presented with 
 the triad of the Isiac mysteries. 
 
 The purification by water, on the opening mysteries, 
 and the darkness and horror represented as existing in 
 this stage, may be considered as also expressed by the 
 continuing passages, to the pit or Hades, in the Tomb. 
 
 Apuleius represents himself crossing the threshold 
 of Proserpine. The King here meets with the signi- 
 ficant emblem of Time and Eternity, and the guardian 
 of the grave, whose threshold he is crossiiig. 
 
 If in the pit Psammis is presented by mediating 
 deities to Osiris, who is symbolically in white, as the 
 
THE TOMB OF PSAMMIS. 4& 
 
 pure impartial judge ; the initiated also is repre- 
 sented receiving a ray of encouraging light, disclosing 
 the emblems of the same god. 
 
 Terror and darkness mark the progress of the aspi- 
 rant, which ends in approaching the gods, and his 
 enjoyment of splendour and bliss. 
 
 Thus after Hades and the mystic reception of Isis, 
 and the touch of the Alithea, or breast-plate of truth, 
 the King is invested with splendid garments, and 
 represented in possession of divine honours. And 
 the mystic Serpent, which in the imitative mysteries 
 IB placed in the bosom of the initiated, is in this 
 mystic representation attached to three different parts 
 of his dress, as depicted in the Tomb. 
 
 The foregoing observations are submitted to the 
 public, under the hope that the clue which they appa- 
 rently present upon subjects so interesting as the my- 
 thological representations of the Egyptian Tomb and 
 the Isiac mysteries, may be greatly improved and en- 
 larged, and also call forth the attention of some with 
 a higher range of talent and argument, to give it a 
 more worthy development. For the general prin- 
 ciples of these remarks, the author feels greatly 
 indebted to the valuable publications of Dr. Clarke, 
 Mr. Maurice, and Mr. Faber, whose elaborate work 
 on the origin of Pagan idolatry, has formed in 
 his mind the conviction, that the real clue to the 
 decyphering of the compound hieroglyphics of Egypt, 
 can be attained only through the medium of its 
 mythology, and that a material light may be derived 
 
46 THE TOMB OF PSAMMIS. 
 
 by the diligent and faithful comparisoo of its symbols, 
 with the records of our holy book, the Bible ; their 
 coincidences are so peculiar, as to strike the most un- 
 thinking ; — to trace more fully their consequent ana- 
 logies, would prove a source of deep and increasing 
 interest; but the insight they have already given, im- 
 presses most powerfully the idea, that the Egyptians 
 largely borrowed from the first source of divine 
 knowledge, the religion of Patriarchism, which itself 
 was grounded on the inspired knowledge of the ante- 
 diluvian world, and the glories of Paradise. 
 
 The Divine Will, from the first epoch of creation, 
 has pursued its even and appointed course, undis- 
 turbed by the wickedness and follies of the creature. 
 Each successive manifestation of his Will, has not 
 abolished nor destroyed its preceding dispensation, but 
 has fulfilled and enlarged it ; thus the Mosaic law 
 embodied in its rites and figures the symbols of Patri- 
 archism, and at length that was finished in the cove- 
 nant of Grace, and brought to light by the Gospel. 
 
 We need not wonder then at tracing symbols of 
 the cross, of intercessory deities, of their wings 
 cowering over tablets of deified names, as the cherubim 
 of the mercy seat ; or of these rites of regeneration 
 and purification, with the coinciding terms of three 
 days confinement in Hades, and the great number of 
 analogies that continually arise upon the investigation 
 of the subject ; these figures and types were prac- 
 tised in the religious rites of the early worshippers 
 of the true God, who made himself known from the 
 
THE TOMB OF PSAMMIS. 47 
 
 creation ; and their appearance in the very roots and 
 essence of Egyptian and other Heathen systems, is 
 the strongest possible proof of their antiquity, and 
 their primeval apostasy. 
 
 In the Egyptian rites and mysteries, these signs, 
 however impressive in their abstract tone and meaning, 
 had lost every spiritual character of a cleansing and 
 purifying nature ; they were mere ceremonies, and the 
 real practices which accompanied their use, and the 
 religious rites of their deities, were marked by excess, 
 lust, and the most flagitious wickedness ; and although 
 these statements may appear repetitions, they can 
 scarcely be objected to, when the high importance is 
 considered of showing in its true light the actual state 
 of the moral character and example of their religious 
 ceremonies, which we have the evidence of the best 
 historians of Rome for branding with the strongest 
 terms of reprobation, and which otherwise might at- 
 tract our admiration, by the imitative grace of their 
 borrowed symbols, and by the grand and imposing 
 tone and language of their mere precepts of wisdom 
 and philosophy. 
 
REMARKS ON MUMMIES; 
 
 AND OBSERVATIONS ON THE PROCESS OF 
 
 EMBALMING. 
 
 The innumerable numbei: of mummies which have 
 been discovered after the lapse of so many ages, must 
 suffice to convince us of the high attainments of the 
 Egyptians in the secrets of Nature; as such a variet)' of 
 operations was requisite, of whic^i we are still in great 
 part uninformed;, notwithstanding the attempts of the 
 most able modern professors to revive the art. The 
 practice of it upon the immense scale of the population 
 of a country such as Egypt, involves a problem of 
 the highest interest ; if to those numberless pits and 
 catacombs of human corpses, are also conjoined the 
 mummies of the Ibis, Dog, Ape, Cat, Crocodile ; the 
 Bull Mnevis, Apis, and Isis ; the Ram, the Fox, and 
 Horned Asp ; in short, of every reptile of the land ; 
 we are lost in surprise and amazement how such a 
 process could be established, and if by resins, drugs, or 
 spices, from whence such profuse quantities could be 
 
REMARKS ON MUMMIES. 49 
 
 procured and supplied ; if by any more summary and 
 inexpensive process, how curious and important might 
 be the recovery of such a secret, applied with modern 
 science, in arresting the progress of putrefaction. De 
 Pauw, and some other writers, assuming what is not 
 fact, have asserted that " the art of embalming bodies 
 did not require, as some have imagined, any deep 
 chemical knowledge ; but that a few repeated obser- 
 vations soon discovered the length of time necessary 
 for the alkaline salt to penetrate the skin and flesh." 
 This remark is perfectly groundless, and experience 
 testifies " that the mere action of saline bodies, and fill- 
 ing the cavities of the body with aromatic herbs, are not 
 sufficient to preserve it from decay ; for the most per- 
 severing and scientific endeavours to ascertain and 
 analyze the materials and ingredients employed, so as 
 to practise the art, have hitherto totally failed. Bel- 
 loni and Jilumenbach are of opinion, that asphaltum 
 was used in common operations, as being the cheapest; 
 and that on particular occasions, the odoriferous vege- 
 table resins were chosen ; and the latter chemist, on 
 the analization of ten different mummies, found no as- 
 phaltum, but evident traces of vegetable resins. If 
 any reader considers this art as one of easy attainment, 
 and not requiring deep science, he is recommended 
 to the study of Dr. Hunter's elaborate discussion 
 and principles of embalming ; which, while they 
 contain the most probable method of emulating the 
 durability of Egyptian embalming, testify, by their 
 tedious, expensive, and laborious process, how very 
 
 £ 
 
50 REMARKS ON MUMMIES. 
 
 superior must have been the Egyptian mode, which 
 applied its use to the population of a whole country, as 
 well as to their animals. They also have the testimony of 
 time — the records of more than thirty centuries — to 
 guarantee the perfection and excellence of their art. 
 But in modern days, Louis de Bils, a Dane of Co- 
 penhagen, who was extolled as having attained the 
 powers and excellency of the Egyptian embalmers, 
 and who was the most eminent of any modern practi- 
 tioner, did indeed succeed in exciting these hopes, 
 and perpetuating his fame for near a century ; but that 
 little circle of time elapsed, compared with the mum- 
 mies of the Thebaid (unquestionably 3000 years old, 
 and probably much older) , the period of a century only, 
 fully sufficed to reduce his labours to dust; and the 
 fault and defect must unquestionably be in the art itself, 
 as the Egyptian mummies endure in Europe as in 
 their own land. These bodies, also, are often enve- 
 loped in coloured silks and bandages of stained linen, 
 of surprising brightness ; they are ornamented with 
 gilding as fresh as when first laid on ; with pieces of 
 coloured glass, imitative of the finest gems, evidencing 
 their knowledge of staining and cutting them in a man- 
 ner which merits notice, as well as their enamels also ; 
 all these ornaments found around the mummies, are 
 highly preserved, and, as well as the Sycamore chests, 
 resist all the injuries of time, and subsist fresh and per- 
 fect for the examination of the curious ; they usually 
 have the Nubian cast of countenance, the outline figure 
 traced in black, and the colours, four in number, blue. 
 
REMARKS ON MUMMIES. 51 
 
 red, yellow, and green, . laid on without any mixture 
 or shading, but altogether forming a composition of 
 very considerable interest. These chests usually 
 have within them small Scarabees, or the idols of Isis 
 and other deities, in clay and coloured glass, and beau- 
 tiful enamels: one Scarabeus mentioned in Greaves's 
 Pyramidographia, was of a magnet, which, although 
 3000 years since it was taken from the rock, its natural 
 bed, still retained its attractive magnetic virtue. The 
 recent discoveries of M. Belzoni, add also to our 
 stock of information upon the article of the wrap- 
 pers; and prove in this also, the science and the 
 labour of their embalming, by evincing that there 
 were distinct modes of preservation, and of envelopes, 
 for every cast, that of the priesthood particularly, 
 with a scrupulosity of minute detail that astonishes and 
 marks their high privileges. And in the consideration of 
 this single point-, what will be our thoughts of the know- 
 ledge and perfection of th/e Egyptians in this branch 
 of art, when the highly interesting report of Dr. 
 Granville, in the London Medical Journal for 
 October last, upon the opening of a mummy brought 
 from Thebes, describes with the accuracy his pro- 
 fessional skill renders more valuable, the high per- 
 fection the Egyptians possessed of bandaging different 
 parts of the human body ; which, he says, the pro- 
 fessional gentlemen present considered as offering a 
 model of the art in question, scarcely equalled, and 
 certainly not to be surpassed, by the most dexterous 
 of our modern surgeons. " To judge of the model 
 E 2 
 
52 REMARKS ON MUMMIES. 
 
 presented," these are his own words, "not only must the 
 art of applying bandages be of very ancient origin, 
 (the mummy being unquestionably upwards of 3000 
 years old) but it would appear that no improvement of 
 any importance has been made in that art, in subse- 
 quent ages. In the progress of unfolding the various 
 bands by which the body of the mummy, the head, 
 the arms, and the lower extremities were encircled, 
 almost every species of bandage described in books 
 of surgery, was neatly and artfully applied. The 
 circular, the spiral, the uniting, the retaining, the 
 expellent, and the creeping, were each in succession 
 discovered in some part of the body. The whole 
 particulars of the report are most highly interesting 
 and curious, and must make us highly appreciate the 
 science carried into all the minutiae of the embalming. 
 It is also impossible not to experience surprise and 
 curiosity to know how the mummy of the Ape in M. 
 Belzoni's exhibition, could by any process be so 
 prepared, as to preserve the character and hairy 
 skin, with the features and form fully marked, assured 
 as we must feel, that a specimen preserved in Europe 
 only as many years, as this subject has unquestion- 
 abl}^ been centuries, would, in a great measure, have 
 perished ; the Fox also exhibits its characteristic 
 shrewdness, but the form is much compressed by the 
 bandages; the Cat is more altered than any other 
 animal, but which may result from its habits, and 
 known tenacity of life, which probably operate 
 upon the mummy appearance of the animal. In 
 
REMARKS ON MUMMIES. 53 
 
 every part of the subject, there is no one point that 
 better illustrates the peculiarly accurate and scien- 
 tific knowledge of embalming, which the Egyptians 
 acquired, than the animal mummies themselves ; and 
 the universality of the practice warrants us in con- 
 cluding, that it was simple, easy of adoption, and inex- 
 pensive, all qualities infinitely enhancing the value of 
 that knowledge, which grounds its principles upon 
 such important combinations. 
 
 Upon examining carefully the mummies that have 
 been brought to Europe, a decided similarity of orna- 
 ment is observable ; the better conditioned being 
 covered with glass ornaments, cut as precious stones, 
 and disposed with the same arrangement of colours, 
 and offering the same construction as the other mum- 
 mies are painted, testifying that the ornaments which 
 were costly, were reserved for principal personages ; 
 while the inferior classes contented themselves with 
 tracing the decorations in paintings. 
 
 The same adherence to methodical arrangement in 
 phylacteries of names, and also hieroglyphic inscrip- 
 tions, may be perceived by comparing an enlarged 
 and accurate print of the hieroglyphic characters on 
 the base of the Colossus of Memnon, with the hiero- 
 glyphic ovals of Psammis and Necho in M. Belzoni's 
 plates, as well as the coincidences of the obelisks and 
 sarcophagi ; which apparently result from a recog- 
 nized formula, and prescriptive rules to a greater 
 extent than we appear now aware of. The subject is 
 worthy of notice and attention, as the ascertaining of 
 E 3 
 
54 REMARltS ON MUMMIES. 
 
 the different inscriptive titles, attributes, and appel- 
 latives, which are adjuncts to historical, honorary, 
 and sepulchral hieroglyphical inscriptions, might faci- 
 litate most essentially our insight into their secrets, 
 and greatly help our knowledge of the real character 
 of the sculptured monuments of Egypt. The style of 
 Colossal painting exists perhaps in the Thebaid ex- 
 clusively ; but both that, and the countless mass of 
 objects upon the different monuments of Egypt, are 
 so indelibly sculptured, that as the Abb6 Winkelman 
 remarks, " After having retained their freshness for 
 so many thousand years, all the efforts of human skill 
 and industry could make as little impression on them 
 as the injuries of time." Also Mr. Maurice remarks, 
 " That they will remain for centuries to come, a lasting 
 proof of the high advance in the art of engraving, as 
 well as in chemical science, of a nation, who, at that 
 early period, could fabricate instruments to cut them 
 so deep and indelibly on the almost impenetrable 
 granite." 
 
 We will now proceed to combine the best infor- 
 mation that can be supplied from the ancients, and com- 
 pare them with some of the mummies best known in 
 Europe. For if, as history truly declares, Egypt has 
 been the fountain and the cradle of the arts, among 
 the most striking and curious of her wonders, will be 
 esteemed the mummies, so well known throughout 
 Europe ; but although the word is in such general use, 
 many persons attach a very wrong signification to it, and 
 have an imperfect, and indeed wholly erroneous, idea 
 
REMARKS ON MUMMIES. 55 
 
 of these remains of ancient Egypt. They are conceived 
 always to be real flesh and skin, which is not the case ; 
 and as the Gallery at Dresden possesses two most valu- 
 able specimens — whose ornaments are detailed with 
 great fidelity, and the consideration of which may sup- 
 port many conjectures upon the Mythological tenor of 
 the remarks on the Tomb of Psammis, and the Egyp- 
 tian doctrine of the initiation, it will be useful to 
 enter into the details which present themselves from 
 these specimens; as they will considerably improve 
 our knowledge of this interesting subject, which M„ 
 Becker's valuable account of these finely preserved 
 specimens, will enable us fully to consider. How- 
 ever defective the details of Herodotus and Diodorus 
 are, to furnish a full view of the art of ancient 
 embalming, yet we see reason to consider their ac- 
 counts very valuable as far as given ; in fact, these 
 two historians, who sometimes appear at variance with 
 each other in their narratives, and at others to supply 
 mere explanatory facts, travelled into Egypt at such 
 different periods, as may reasonably account for an 
 alteration in the mode of embalming. As to the 
 materials used, we do not know with certainty, if 
 the aromatics and resins which they describe, are 
 the same as we now class under those names ; but 
 the principal question is to know if those historians 
 were likely to be able to give an exact and faithful 
 account of this art ; and this we might doubt, had 
 we nothing to judge from but their own recitals ; for, 
 although they were in Egypt both of them, they 
 E 4 
 
56 REMARKS ON MUMMIES. 
 
 were never likely to acquire an entire insight into 
 this abstruse art, as the function of embalming apper- 
 tained exclusively to a cast who were most probably 
 of an inferior order of the priesthood. It is difficult, 
 therefore, to believe that the process was universally 
 known ; and we may gather from other parts of 
 Herodotus's narrative, that the priests would not 
 communicate to him, as a stranger, any part of their 
 secrets. Both of these writers, however, accord upon 
 this point, that there were three modes of embalming, 
 each of which had a fixed price. In the time of 
 Diodorus, the most expensive process was about 
 £240 of our money ; and the second class, rather 
 more than £80 ; and, according to Herodotus, they 
 were chosen from models painted in wood. Accord- 
 ing to Diodorus, they brought to the relatives of the 
 deceased a scale of the different charges, and then 
 agreed upon the mode of embalming ; and Herodotus 
 describes fully the most expensive process, which 
 was only performed for persons of distinction : this 
 mode (the name of which, for a religious scruple, he 
 dared not write) probably bore the name of Osiris. 
 Diodorus appears to explain it more generally, and 
 we may presume that he wished to describe the first 
 class in use at the period he visited Egypt. 
 
 The first mode, according to Herodotus, was ex- 
 tracting the brain, by means of an iron instrument 
 introduced through the nostrils, and filling the cra- 
 nium with an antiseptic mastic ; the body was then 
 opened by a sharp Q^thiopic stone, and the intestines 
 
REMARKS ON MUMMIES. 57 
 
 taken out ; and after these were cleansed and washed 
 with palm wine, they were rubbed with pulverized 
 aromatics, and replaced in the corpse, which was 
 filled with cassia, myrrh, and other aromatics ; the 
 body was then laid in nitre, and deposited in a secret 
 place, where it remained seventy days, at the end of 
 which term it was again washed, and enveloped in 
 bandages of linen imbued with gums ; it was then 
 returned to the relatives, enclosed in a case of wood 
 shaped as a human form, and deposited in the place 
 for which it was destined. The second process — 
 neither opened the body, nor took out the intes- 
 tines, but was an injection of oil of cedar ; after 
 which, as before, it was placed in nitre for seventy 
 days ; at the end of which time, the flesh was wholly 
 consumed by the nitre, so that nothing remained but 
 the bones and skin, and in this state it was returned to 
 the relations. According to the third, and most 
 common, mode practised, they merely washed it with 
 a corrosive water, and kept the body in salt for 
 seventy days: such are the observations of Hero- 
 dotus. Diodorus, however, who gives no particulars 
 exactly agreeing with these, says, the corpse was 
 placed on the earth, when the designer marked on 
 the left side the place where the incision should be 
 made ; the operator who made it, immediately fled pre- 
 cipitately , and was pursued by the assistants with stones 
 and insults — a practice which marks the horror of the 
 Egyptians at all acts of violence on the human form. 
 The taricheutes, or embalmers, were, on the contrary, 
 
56 REMARKS ON MUMMIES. 
 
 considered as holy personages, who frequented the 
 priesthood's sanctuaries, and had free entry to the 
 temples. After having opened the hody, one among 
 them took out all the intestines, with the exception 
 of the kidney and the heart ; another cleaned and 
 washed them with juice of palms and aromatics, and 
 having steeped the body in oil of cedar, and other 
 ingredients during thirty days, it was filled with 
 myrrh, cinnamon, and other aromatics, and then was 
 returned to the relatives. Every part of the body 
 remained firm and unaltered ; the exterior form quite 
 perfect. The eye-lashes, the lids, and the very 
 hair of the eye-brows, were unhurt. In a word, 
 every trait of the dead was faithfully preserved ; 
 and the Egyptians thus possessed the forms of their 
 ancestors in magnificent chambers, and enjoyed the 
 privilege of contemplating the features of those 
 relatives whom death had long deprived them of. 
 
 Such are the most ancient details respecting mum- 
 mies, and we ought not to wonder if there exists 
 some difference ill the accounts ; for towards the end 
 of the dynasty of the Ptolemies, when Diodorus 
 wrote, a material change might be introduced from 
 the practice in use at the time of Herodotus. They 
 might have substituted other resinous substances and 
 aromatics, less costly, and equally efficacious. Mo- 
 dern chemists hitherto have not arrived, by their highest 
 skill, at any general conclusion upon these details ; 
 nor distinguished any predominant substance but that 
 which they generally determine, or suppose, to be 
 asphaltum. 
 
REMARKS ON MUMMIES. 59 
 
 It has been argued, that none of the mummies 
 hitherto known in the cabinets of Europe, have been 
 entirely embalmed after these details ; but examples 
 may assuredly be proved of each of the modes being 
 discernible which Herodotus describes, as well as 
 that of Diodorus, which most likely was the most 
 distinguished mode in his time. The recital of 
 Diodorus may at first appear overcharged, and cause 
 some to suppose that he speaks of the artificial cover- 
 ing; but all he asserts can be supported by the 
 report of modern writers. De Breves is the first 
 who says that in his travels he saw mummies, whose 
 hair and nails were preserved, a mummy which 
 Gryphius describes, had its black and crisped hair 
 strongly adhering, and the eye-lashes and eye-brows 
 were discernible. Denon found at Medinet Habou, 
 female heads which had tresses long and plaited. 
 Gryphius could distinguish the incision in the side 
 made by the operator ; and Denon observed mum- 
 mies with the rite of circumcision. Still further, 
 Denon brought from Egypt a very handsome foot, 
 on which the nails are well preserved ; and the head 
 of an old female, which, for the fineness of its 
 contour, he compares to the celebrated Sybil of 
 Michael Angelo. At this moment, a mummy, per- 
 fectly denuded and entire, which was found by M. Bel- 
 zoni, is exhibited in London, which has the hair on 
 its head, the teeth, and nails, also wonderfully perfect. 
 The whole form is extremely short for the human 
 figure, apparently not above 6 feet high ; the fore- 
 
CO REMARKS ON MUMMIES. 
 
 head very narrow, and the figure evidencing great ap- 
 pearance of compression; the colour perfectly brown, 
 and strongly glazed with some resinous substance. 
 Being inclosed in a glass case, no personal examina- 
 tion can be made of many points which might be inte- 
 resting; but the figure is in great preservation, although 
 it undoubtedly cannot be considered belonging to 
 either process described by Herodotus or Diodorus. 
 It has not the fidelity of traits and high character of 
 the first class; while the flesh remaining, with the 
 hair and nails, equally distinguishes it from the second 
 class. There is also a mummy of a priest, which is 
 in a higher state of preservation, and most probably 
 of that class which Herodotus would not from a reli- 
 gious scruple name. This figure is of the full human 
 size and height; and the contour of the form, the 
 swell of the body and thighs, are perfectly marked. 
 Nothing can surpass, as M. Belzoni observes, the 
 marked attention to its linen envelop, every finger 
 being carefully rolled up separately, and the hands 
 crossed. In the same valuable exhibition, are tresses 
 of female hair, quite perfect and unchanged ; so that 
 the eye can instantaneously satisfy itself of the 
 fidelity of many parts of Diodorus's statements. 
 It is to be regretted, that neither Denon nor the 
 writers named, describe the kind of mummy they 
 write of: among the remarkable subjects of this kind, 
 are two arms in the Museum at Padua, which still 
 have the skin and nails ; and one of which is very 
 well preserved. The flesh has been taken from the 
 
REMARKS ON MUMMIES. 61 
 
 bone, and the void between the skin and the bone 
 filled with a black resin, which can be observed even 
 in the cavity of the hand. On this subject, Greaves, 
 in his Pyramidographia, page 49, says, " He caused 
 the head of one of the richly enbalmed bodies to be 
 opened, and in the hollow of the skull, found the 
 quantity of two pounds of their medicaments, which 
 had the consistence, blackness, and smell of a kind of 
 bitumen, or pitch, and by the heat of the Sun, waxed 
 soft." This infusion could only be made, as Hero- 
 dotus intimates, by the nostrils. The tongue of this 
 embalmed body being weighed, was less than seven 
 grains English. The higher description of mummies 
 are difficult to acquire, not so much from the numbers 
 brought to Europe, as that the Arabs break them in 
 pieces ; and destroy even the inferior class, for the 
 sake of the gums and resinous substances. In con- 
 firmation of Greaves's opinion. Dr. Granville, in his 
 recent publication, supposes that bitumen and resins 
 were the modes of the inferior embalming. It is 
 the mummies which remain in a perfect state, which 
 alone can with clearness lay open the three modes of 
 procedure described by Herodotus. We must reckon 
 in the first class, those also of which the flesh entirely 
 decomposed, is so united with the linen, that it alto- 
 gether forms one mass. The second class are those 
 mummies of which only the bones remain, and parts 
 of the skin adhesive to its linen wrappers. The third 
 comprises bodies artificially dried. 
 
 The first order of mummies still appearing in cabi- 
 
02 REMARKS ON MUMMIES. 
 
 nets, fully authenticates Herodotus's account. He says, 
 after embalming) the body was laid in nitre ; it has 
 been argued, that this would naturally weaken the 
 virtue of the aromatics, and, therefore, there is an 
 error in this mode, as it should precede the embalm- 
 ing; but a minute view and consideration of the sub- 
 ject, shows that Herodotus is accurate, and that the 
 antiseptic materials penetrate and secure the flesh most 
 essentially through the agency of the nitre. And to 
 preserve the body as perfect as possible, most pro- 
 bably, it was enveloped with several bandages, 
 before it was laid in the nitre, and the adding of these 
 ligatures was often repeated during the seventy days ; 
 when finally the corpse was taken from the nitre, it 
 was covered with bandages steeped in gums, and in 
 this process was used an enormous quantity of linen. 
 All that is advanced upon this subject, must be con- 
 jectural, and founded upon those rare opportunities 
 afforded by the cabinets of the great collectors of 
 Europe, of examining the objects themselves, and 
 verifying the accounts delivered down to us, from their 
 actual appearance. Two of the best preserved speci- 
 mens known, are in the Royal Gallery of Dresden ; 
 and as they supply a most interesting opportunity of 
 acquainting ourselves with the manner, appearance, 
 and decorations of those immortal sojourners of ihe 
 Tomb, a detailed account will not be judged unin- 
 teresting, for it will bring before us an inhabitant of 
 that land we all look to as a primeval country ; it will 
 show their physiognomy, and their feelings of that 
 
REMARKS ON MUMMIES. 63 
 
 invisible world to which its soul is departed. We 
 contemplate in it a creature of the same clay as 
 ourselves, lineaments that once beamed with those 
 varied earthly solicitudes, thoughts, and cares, which 
 now so fully engross us ; but at what period, under 
 what mighty monarch, it passed its mortal career? 
 who were its friends, in what city of the many asto- 
 nishing edifices of Egypt its short day of life passed 
 on? who, as he gazes upon its form, does not long 
 to have unfolded ? 
 
 The Dresden Gallery contains two most highly inte- 
 resting specimens, one of which is the mummy of a 
 man, (Frontispiece, Fig. 8.) in the highest preservation 
 of any one known, and valuable from a Greek in- 
 scription on its coverture, which gave an idea that it 
 was the mummy of a Greek ; to render this probable, 
 we need not mount to the era of Psammetticus, under 
 whose reign the Carians and lonians were encou- 
 raged, because numberless Greeks settled in Egypt at 
 a far later period. The other is the mummy of a female, 
 (Frontispiece, Fig. 7.) and also astonishingly preserved. 
 These two mummies, Pietrode V alle acquired in Egypt, 
 as he relates in his travels ; and their authenticity 
 is undeniable, as well as the whole of their remark- 
 able coverings. The traits of the countenance, the 
 hair, the beard, the Greek inscription, the forms of 
 the vases, many ornaments, and above all, their ele- 
 gant attire, particularly that on the body of the female, 
 indicate and characterize that they are not of the 
 highest antiquity, but that most probably they are 
 
64 REMARKS ON MUMMIES. 
 
 Greek mummies of the age of the Ptolemies. The 
 Greeks, we know, adopted the manners and religion 
 of the conquered Egyptians; and the functions of 
 embalming were exercised by the taricheutes, who 
 certainly still proceeded in their prescribed rites, not- 
 withstanding the changes introduced by the revolu- 
 tion of time. These two mummies are in wonderful 
 preservation, excepting some holes which avarice or 
 curiosity has made in their flanks. The covertures, 
 hardened by time, adhere firmly to the body, and are 
 too interesting to risk their injury. The mummies 
 themselves were enveloped in a vast quantity of linen, 
 externally rather coarse, but finer as it proceeded ; 
 but it is clear that no result could attend a close exa- 
 mination, satisfactory enough to compensate for the 
 ruinous injury which it would cause to them ; for after 
 every investigation, such are the shadows of obscurity 
 upon this most interesting point of Egyptian art, it is 
 impossible to decide, either from Herodotus or Dio- 
 dorus, their manner with a precise certainty. The 
 mummy of the man is 5 feet 4 ; the mummy of the 
 female, rather more than 5 feet. 
 
 The coverture of the first is made of a fine linen, 
 of beautiful texture, which both Rouelle and Forster 
 declare to be a kind of cotton, the same as all speci- 
 mens of linen used in mummies ; it is imbued with 
 a coat of mastic, thin enough to receive and fix the 
 colouring. It abounds in gilding and other orna- 
 ments ; but has not so many Egyptian ornaments as 
 appear on many other mummies. The colours used 
 
REMARKS ON MUMMIES. 06 
 
 are yellow, green, red, brown, and black. There is 
 no blue, as usually seen in mummies; all the figures, the 
 ornaments, and even little buds of a flower, which 
 are around the compartments, are in high relief, for it 
 can be seen that the substance causing it, is a mastic> 
 applied as a mould, so that the whole represents re- 
 lievo, and resembles a work cast in metal. The shades 
 which surround the coloured relievos, are in the same 
 stj^le, and this mode has never before been described 
 on any mummy ; Pococke expresses his idea, that the 
 painted figures on the mummy cases were laid on, a& 
 we see at present done on playing cards, but that 
 remark would not apply to the singular ground used 
 in this instance, on these valuable mummies. The 
 gildings are in good preservation, and were probably 
 fixed by the aid of a pencil in the red ground which, 
 covers the mastic ; which is proved by the red ap- 
 pearing every where that the gilding has peeled off ; 
 for which reason we may conclude that the red, which 
 is seen in the orifice of the vase, held in the right 
 hand, is most probably the ground colouring laid open 
 by time, which has hardened and chipped off* the 
 gilding that was on it ; the colour which is about 
 the gilded ornaments, is a yellowish dirty green„ 
 crossed with red, but wherein the yellow predominates. 
 It is not possible exactly to ascertain whether this is 
 a network, a species of filigree, through which we 
 observe the red ground ; or whether it has resulted 
 from the intermixture of the yellow and red. Fron^ 
 these accessory points, we will proceed to the form 
 
 F 
 
06 REMARKS ON MUMMIES. 
 
 itself. The mummy exhibits the figure of a young 
 man, of an agreeable contour, and which has not the 
 character we usually ascribe to the Egyptians. The 
 countenance is brown, as well as the hands ; but the 
 feet, to which sandals are attached, as the strings im- 
 ply, are reddish; the hair is crisped and black, also 
 the beard, which extends to the ears, and borders the 
 upper lip ; the head rests in a kind of cushion, orna- 
 mented with an elegant border ; it is surrounded from 
 the top of the head to the ears, with a cap gilded and 
 adorned with cut glass, imitative of precious stones ; 
 a sleeved vestment, striped with red, grey, and white, 
 is only discernible on the breast, and the arms, 
 and the legs; from the neck hangs a string formed of 
 a kind of fruit interspersed with leaves, and below it 
 appears a bird in gold, with outspread wings, sup- 
 porting on the breast a shield, covered with figures, 
 the centre of which resembles a crescent ; it is the 
 sacred Hawk, the genius of light and life, the symbol 
 of Osiris, and also of the Sun; his long golden wings 
 indicate the power and might of the divinity he em- 
 blems. The shield which adorns the breast, also 
 serves to indicate probably the union of Isis by her 
 symbol, the lunar crescent. 
 
 The coverture richly ornamented, which conceals 
 the rest of the vestments, is arranged in different com- 
 partments, the frames of which are enriched with 
 precious stones ; it is doubtful to decide whether this 
 magnificent covering forms throughout but one piece, 
 or is divided into two parts ; when the symbols are 
 
REMARKS ON MUMMIES. 6t 
 
 described, a few cursory observations will be madcj 
 which may lead to the latter supposition. 
 
 The right hand is placed on the upper division, and 
 holds an open vase, beneath which is seen a small 
 plate of gold J furnished at the foiir corners with 
 handles as loops ; the left hand is lifted vertically, 
 and has a gold ring on the second and fifth finger, 
 and is holding some object not perfectly recognized, 
 and upon which there are different surmises, most 
 probably it is a fruit ; below this is a void interval, 
 formed by a tight belt or band, in which is the Greek 
 inscription : 
 
 " Be happy, fear nothing." 
 
 The upper compartment appears symbolical of the 
 mysterious views with which the Egyptians regarded 
 the grave and death ; and also that the belt on which 
 these encouraging words are placed, signified the boun- 
 dary of time, and that after figuratively entering the 
 grave, a judgment Was passed previously to the soul 
 receiving its admission into bliss; the striped fillets also 
 typify the entrance to Hades ; the necklace, or bead 
 of fruits or leaves, are the funereal offerings to pro- 
 pitiate the god of life, and Isis in her character of 
 goddess of death. The division which the plain belt 
 strongly marks, is the test, which in the mysteries is 
 termed Hades, and in the initiation, answers to the 
 noises, darkness, and terrors, which formed their 
 trial. 
 
 The second compartment of this splendid vestment^ 
 which is by far the richest, presents many curious 
 F 2 
 
68 REMARKS ON MUMMIES. 
 
 subjects ; in the cross part of the upper band, as well 
 as in the centre line. Elevated in the first division, is 
 the bust of a man, in a frame resembling a throne; 
 this is the emblem of Osiris, the sovereign of the 
 visible and invisible world, the arbiter of life and 
 death, the soul of the universe ; on either side is a 
 head, the profile of which is turned outwards, and 
 furnished with wide spreading wings ; this is the tute- 
 lary deity, who, as Isis or Rhea, protects the soul from 
 the evil genii, and presents it for acceptance to the 
 great god, who, on his throne, is always in these fune- 
 real representations delineated with supreme emblems; 
 her wings are symbolic of her power and force, and 
 mark her protection of this subject from Typhon. On 
 the red ground between Osiris and Isis, and with hiero- 
 glyphic characters, are two erect serpents, the symbols 
 of Typhon; they are red,his emblematic colour, against 
 whose approach the outspread wings interpose aprotec- 
 tion. The middle compartments, which continue to the 
 bottom, express many interesting subjects. The first, 
 under the image of Osiris, is a bird, the emblem of 
 Osiris as god of the lower regions. The second is the 
 head of Apis, with the Globe. The third is the Sun 
 of the lower world, or Horus, who receives the soul 
 in the regions of death. The fifth is the winged sym- 
 bol of the Agatho-d^mon, with its outspreading wings, 
 demonstrating the acceptance of, and assured felicity 
 of the soul. The seventh is the branch of a tree, or 
 a plant; and the eighth has two branches ; these are 
 the Persea leaves, the Pomegranate, and the Lotus,thc 
 
REMARKS ON MUMMIES. 6© 
 
 emblem of the Resurrection, and of Eternal Life. 
 The fourth and sixth describe the sacred character of 
 Pthah or Serapis, the god of the dead, and also has the 
 sacred triangle. All of these symbols are in relief, some 
 are imperfectly expressed ; and on the sides are also 
 seen two lines of branches and flowers, which conti- 
 nue in a waving serpentine, to the very top ; these 
 flowers are connected with their view of eternal life, 
 and may signify they should flourish as fresh leaves, 
 and live again as palms and cedars, imperishable. The 
 vase in the right hand appears typical of the purifi- 
 cation, to be experienced in the admission to the future 
 life ; and many have connected it with a baptism, or 
 mystic washing, which appears on many mummies. The 
 Greek inscription already given, is evidently authentic, 
 for the part where it is placed appears appropriated for it, 
 and is wholly without ornament, it is not even coloured, 
 but preserves its sombre plain hue, which marks 
 the mystery it typifies ; but the linen it binds, is per- 
 fectly analogous to the rest ; the Greek letters, also the 
 hair, and the lines on the side compartments, are all 
 of the same antique black, so that it is unquestionable 
 that the inscription is of the same epoch as the cover- 
 ing. It is curious, without doubt, that it is not in the 
 middle ; but we must not, therefore, conclude that it 
 was unfinished. Several have taken this word for 
 the name of the deceased ; it expresses, however, the 
 vows addressed for the deceased; it appears to be 
 tvTvxi ; it might also be, (v-^vx^ ; these two ex- 
 pressions are universally met with in sepulchral 
 F 3 
 
70 REMARKS ON MUMMIES. 
 
 inscriptions ; also the first in letters and ordinances. 
 They signify, as before stated, ** Be happy, fear 
 nothing." It appears there is a sacred character in the 
 centre, read as either of these, the t or -v]/ ; and equally 
 typifying the sacred tau, or great father, worshipped 
 under a variety of emblems ; but if this inscription 
 is of the same age as the covering, which seems 
 proved by the reasons given, we cannot, from the 
 form of the first and second letter, refer this mummy 
 to a more ancient period than the epoch of the 
 Ptolemies. 
 
 The envelope of the mummy of the female, has also 
 a number of small compartments, which are well 
 preserved, although it has suffered a little at the 
 two ends, and the colours are not so fresh as the male 
 mummy ; yet all the symbols are discernible, and the 
 countenance is also as little of the Egyptian cjist as 
 the preceding; the complexion is not so swarthy, and 
 the hands and feet are much lighter. The head also 
 is placed on a handsome cushion, ornamented with 
 pearls, and is similarly surrounded by a diadem of 
 gold, in which may he distinguished, towards the 
 top, a piece of glass, as a precious stone, set in the 
 form of the Lotus flower ; beneath, in the hair, are 
 set three other precious stones ; the ears are adorned 
 with two golden rings, and with drops of the same 
 metal of unequal size ; the neck and hosom are orna- 
 mented with chains of gold, pearls, and coloured 
 stones ; the sleeved vest, which reaches to the mid- 
 dle of the body, is striped with brown and red. 
 
REMARKS ON MUMMIES. 71 
 
 and appears folded ; on both sides is a green band, 
 which descends the length of the vest to the girdle ; 
 at the middle of the mummy is a wide and rich 
 scarf, which appears to surround it ; between this 
 scarf and the ornaments on the bosom, is a small 
 head of gold, with rays, the symbol of Horus ; it is 
 suspended from strings, the centre of which is in 
 relievo, and highly gilded ; at least, these ornaments 
 resemble strings or cords of gold, rather than emble- 
 matic wings. Immediately at the bottom of the 
 sleeves, is a facing enriched with gold, and coloured 
 stones ; and between the sleeves and the hands, is a 
 bracelet of gold; the right hand (which has on its 
 fourth finger two rings) is holding a small sacrificial 
 vase, with a handle, such as the Greeks used in liba- 
 tions ; the left, which is lifted upward, holds between 
 the thumb and fore-finger a speckled leaf, probably 
 a Banana leaf, or some other sacred plant, and be- 
 tween the tips of the fingers, a kind of fruit with a 
 short stem ; all the fingers, excepting the thumb, are 
 ornamented with rings— the fore-finger has a second 
 at the lower joint. The symbol, which is seen elevated 
 near the left arm, of a bluish green, it is difficult to 
 explain. The upper part of the ear-ring is enclosed 
 in a frame-work of enrichments of a round shape, 
 which do not represent monies, as Winkelman and 
 others have supposed, but some other species of 
 ornament. The frame, which extends from the top 
 to the bottom of the waist, joins to the lower part of 
 the envelope, a kind of external vestment, which 
 F 4 
 
72 REMARKS ON MUMMIES. 
 
 thus, as it were, masks entirely the upper part of the 
 figure. 
 
 AH the lower part is also equally divided into dif- 
 ferent compartments ; but it has, below, a half circle, 
 which encloses a most important symbolical repre- 
 sentation. On both sides is a Lion turned round, 
 and holding with his right paw a female head, simi- 
 larly directed; and which, without doubt, by its head 
 dress, is that of Isis, about the centre of this semi- 
 circular frame, and in its upper part, are two Ibis, 
 placed facing each other; this bird is the emblem 
 of Thoth, the Egyptian Mercury, it being the figure 
 he is represented to have taken in the combat with 
 Typhon ; between the birds, and also near them, are 
 several Egyptian characters ; it cannot be ascertained 
 whether these symbols indicate solely some date or 
 factreferring to the deceased, or are solely of a religious 
 character ; beneath these are five bands, divided in 
 compartments, filled with different ornaments ; in the 
 fourth square of the middle line, is seen the Bull 
 ApiSy covered with symbols ; above his back is the 
 flowering Lotus, or the winged Globe, and before 
 him is a small triangle. In each of the two lateral 
 bands, are, crouching down, three human figures, 
 whose knees just reach their heads ; the first has a 
 man's head; the second, that of a dog; the third, 
 that of a wolf; the dog-headed deity is Anubis ; 
 the wolf was sacred to Horns, and is here the Apollo 
 or Sun of Hades — or Harpocrates, who was vene- 
 rated for assisting Horus against Typhon; Harpocrates 
 
REMARKS ON MUMMIES. 73 
 
 was also viewed as the minister of Osiris in the 
 government of the regions of death, and in this 
 capacity he is represented on the feet of the most 
 remarkable mummies ; and in the two external bands 
 are first seen, on the top, a Cynocephalus Ape, and 
 underneath, are two Hawk-headed deities by the side 
 of each other, in attitudes of adoration ; all these 
 genii protect the body of the deceased against Typhon. 
 The socks of this mummy are very deserving atten- 
 tion; the feet also have sandals; the ribbons cross 
 these twice, and from the centre of this elegant 
 envelope, appears a fruit similar to a Pine Apple. 
 The Egyptian symbols are expressed more clearly in 
 this mummy, than on the other, and the shape of the 
 countenance, the taste in the arrangement of the 
 ornaments, the rings and the forms of the vase, all in- 
 dicate also the Grecian character. The most remarkable 
 ornaments are likewise in relievo, and coincide in the 
 same epoch as the former ; we meet also with the same 
 colours, only differently applied ; but in attentively 
 examining the symbols of these two mummies, we 
 find the greatest resemblance between them ; for that 
 which the Hawk represents on the man, the Sun, 
 or Horus, represents still more clearly on that of the 
 female ; both figures hold a sacrificial vase in their 
 right hands ; and as the last also grasps a fruit in her 
 left, it is most probably a species of ground fruit 
 (agrostis) turned upside down, and preserving some of 
 its leaves in the hand of the male. On the mummy of 
 the man, we find the symbol of Osiris ; and on both 
 
74 JIEMARKS ON MUMMIES. 
 
 sides, that of Isis ; this representation expresses the 
 same as the two Lions and the two heads of Isis, 
 seen on the female ; the two Ibis present on the one, 
 the mysterious analogies figured on the other by two 
 Serpents; and Apis, the symbol of the universe, is dis- 
 played on both. The other symbols on the mummy of 
 the man, even those ornaments which apparently are 
 only decorations, are, no doubt, symbolical, and have 
 a mysterious sense couched under them, as well as 
 the figures seen on the female mummy. 
 
 A coincidence thus striking between the respective 
 hieroglyphic characters just described, (whatever va- 
 riation may exist in the accessory circumstances) 
 would induce an idea that the hieroglyphic figure 
 which is seen rising out of the side of the left arm of 
 the female mummy, corresponds to the inscription on 
 the male figure, and signifies encouragement or hap- 
 piness. All these symbols, which conveyed a mytho- 
 logical sense to the people, were clothed in a higher 
 and more philosophic sense to the priesthood. These 
 we now have treated of, doubtless prefigured the pro- 
 gress of the soul through the gates of death to eternity, 
 an analysis of which has already been expressed ; and 
 it may be conjectured that even the modes in which 
 these figures are drawn, represent significantly their 
 most sacred mysteries ; for in each, the upper com- 
 partment, as it is termed by M. Becker, appears to 
 answer to the early progress of the initiation, or the 
 entrance into the Tomb. The hands are employed in 
 holding sacrificial vessels, emblematic of purification, 
 
REMARKS ON MUMMIES. 75 
 
 and also presenting mystic symbols (possibly fruit) 
 as propitiatory offerings. The division betwixt these 
 representations and the lower divisions, are strongly 
 marked in every mummy, by a belt, usually plain black, 
 or brown, and unadorned. Upon the male mummy, 
 a relic of Greek observance is blended in the inscrip- 
 tion it bears; and the belt, represented as the gate 
 of death, both in the Tombs of the Kings, as well as in 
 different writers, is followed by the allegoric scenes, 
 which, in succession, lead the soul, through the inter- 
 position of the mediatory deities, to the great god of 
 the universe, in whom it reposes in felicity. In all 
 the delineations, there appears at first a display of 
 solitary power in Osiris and Isis, as judge supreme ; 
 the stages of progress with Anubis, Serapis, and 
 other typified deities, follow. The Agatho daemon 
 occupies the important centre part, and the leaves 
 and flowers of immortality close the mystic scene. 
 
 If from the body itself we pass to its inclosure, we 
 shall find the sarcophagi, or mummy cases, very de- 
 serving attention ; they are usually formed from 
 two pieces, or trunks, of a tree hollowed out ; some 
 are, however, in many pieces, fastened together by 
 pegs. The greater number of these cases are of 
 sycamore, or Pharaoh's fig (ficus fatua) ; the wood is 
 of a milky juice, which preserves it from worms, 
 and in a dry soil it is imperishable. Thevenot and 
 Count Caylus also describe sarcophagi of granite and 
 of basalt, of which also beautiful specimens, are 
 in our national Museum; the mask on them is 
 usually of the Nubian cast ; in the female, the head 
 
76 REMARKS ON MUMMIES. 
 
 dress hangs down, with two hands, 'or lappets, and 
 marks the sex. It has been supposed, and M. 
 Belzoni remarks in page 164 of his Travels, that 
 " The mummies in the cases have no papyri; on 
 ** the contrary, in those without cases, they are 
 ** often obtained ; it appears," he says, " that such 
 " persons as could afford it, would have a case 
 " to be buried in, on which the history of their lives 
 " was painted; and those who could not afford a 
 ** case, were contented to have their lives written on 
 ** papyri, rolled up and placed above their knee." 
 
 The observation here made, and the opinion that 
 such is the import of those hieroglyphical orna- 
 ments, existing on mummy cases, requires a closer 
 examination, and strong proofs, as it manifestly sup- 
 poses these extraordinary memorials to exhibit nothing 
 but private records, and shuts them out from all 
 importance as mythological subjects. An investiga- 
 tion^ however, of their usual character, most probably 
 would establish a different theory, and connect them 
 in a very striking degree with the Egyptian doctrines 
 upon death and a future state. It has been considered 
 that the mask on the lid was a resemblance of the 
 mummy within ; but all the cases hitherto known in 
 Europe, bear a distinctive character and likeness of 
 each other ; in the Nubian features, some are resem- 
 bling the Copts, now living in Egypt, their genuine de- 
 scendants, and these masks are closely assimilated on 
 every sarcophagus we examine. The impress of a mask, 
 therefore, existed from the earliest times, and was one 
 of their immutable rules ; a male head, or ma^k, for 
 
REMARKS ON MUMMIES. 7t 
 
 a male mummy ; a female head, or mask, for a fe- 
 male mummy ; with the same Nubian lineaments, 
 although, as in the case of the mummies at Dresden, 
 and also in the particulars of that at Glasgow, 
 the mummy itself is of decidedly Grecian character 
 and physiognomy. It appears most probable that 
 these cases furnish the same specimens as Hero- 
 dotus records were sent to the relatives for their 
 judgment and instruction for the embalming; and 
 that we see the description of pattern, as the relatives 
 themselves decided from ; according to the nature of 
 the case, was the process pursued for its future tenant. 
 The lid, most probably, also was marked according to 
 thedeity whom the relatives particularly invoked, as the 
 tutelary guardian of the deceased; in fact, it was the 
 patron god on whose power they reposed, according to 
 impressions made by his character upon their imagi- 
 nation. The practice of choosing particular deities 
 in preference, for their vows, is perceivable in every 
 page of the ancient authors. Those, therefore, who 
 were fabled to preside over the Tomb and Hades, 
 were most likely to be the subjects of these masks, 
 and also to characterise the nature of the embalming 
 which they presided over ; hence on some embalmed 
 figures, appears the Sun ; on others, the lion; on some 
 sarcophagi the deities are seated on thrones, with the 
 emblems of their power ; on others, they are only 
 designated as Jars or Canopi, widi their emblematic 
 heads; but each like proclaim in their decorations, the 
 same striking tale of the hopes of futurity ; the same 
 
t8 REMARKS ON MUMMIES. 
 
 deprecation of the pains of death ; and the same inter- 
 cession for the interposing power of the deity against 
 Typhon; with the hope of ultimate felicity. These sub- 
 jects appear upon the lid of an ornamented sarcophagus 
 <)f a Thebaid mummy, now in Exeter ; they appear 
 on the cases in the British Museum ; and no doubt all 
 have one uniform sepulchral character, expressing the 
 thoughts of a human creature upon its future destina- 
 tion, covered with clouds and darkness, as their view of 
 Eternity was ; but no further varying in the general con^ 
 struction of the mystic representations, than even in 
 our days we see exist in the inscribed memorials of our 
 church-yards to the departed. For our formula, "In me- 
 mory of," " Dedicated as sacred to," and the various 
 epithets of sorrow and regard, are extremely similar to 
 the epithets of their symbols, addressing their deities, 
 and imploring their protection. If, therefore, it be 
 the case, that these wooden soroi, or coffins, thus 
 astonishingly invested with an unchangeable dura- 
 bility, display their feelings of a future state, wrapped 
 up in their mythological symbols, we may collect 
 together an alphabet of very great importance, by 
 having copies and drawings made of their valuable 
 characters ; and the frequent recurrence of the same 
 symbols, with a certain coincidence of arrangement and 
 representation, will decide that they must be connected 
 with some universal sentiment, and cannot be considered 
 as expressing the mutations and accidents in life of 
 the individual, which having no uniform analogy, could 
 scarcely ever ofl'er to the examiner a point of resem- 
 
REMARKS ON MUMMIES. 79 
 
 blance ; whereas in these mummy depositaries, upon 
 the decorated bodies, and also in the imperishable sculp- 
 tures of the tombs, there is a very striking similarity 
 of plan, and development of allegory ; they appear 
 transcripts of the same all powerful impressions, and 
 they convey the same invariable tokens of the great 
 change made by death, and the power of the gods 
 alone to award eternal felicity. The modes of em- 
 balming, we know, were chosen according to the wealth 
 and piety of the deceased ; we have reason to believe 
 that those extraordinary sarcophagi of basalt now in 
 the British Museum, were depositaries of their 
 sovereigns, and most probably were originally de- 
 voted to higher honours than the corpse of a Pharaoh, 
 or even an Alexander, could bestow, by being the 
 splendid coffins of Apis and of Mnevis ; but the sycamore 
 chests are fac similes as to the plan of design with these 
 magnificent basalt coffins ; their sides are similarly 
 covered with lines of hieroglyphical characters, and in 
 every respect presenting a similar appropriation 
 throughout. It may, therefore) be inferred, that if 
 Herodotus did not name the first style of embalming, 
 from awe of its sacred character, that this sacred mode 
 was named from Osiris, or from Tsis, and the lid bore 
 the emblematic form of the deity, and the decorations 
 and process used corresponded in costliness to the 
 supposed power and grandeur of the guardian deity ; 
 and thus it follows that the patterns sent and chosjeUj 
 were the tests of the piety and wealth of the parties, 
 and represented their chosen tutelary deities, and 
 would also present distinct classes for our ascertaining 
 
80 REMARKS ON MUMMIES. 
 
 the nature and character of its enclosure, were not the 
 objects themselves and the opportunities of investi- 
 gating too rare for the means of acquiring the requi- 
 site knowledge. But, still further, it will furnish an 
 argument at once why papyri are rarely found in cased 
 mummies, and are continually found in unadorned 
 mummies, for viewing these hieroglyphic symbols as 
 expressions of the thoughts and feelings of the 
 Egyptian race for immortal happiness ; it follows that 
 this sentimentis spread equally on all classes, and, there- 
 fore, the papyri, supplied to the vulgar by the ordinary 
 and inexpensive process of writing, the same mytholo- 
 gical system of propitiating the guardian deities, as the 
 more opulent classes evidenced in their ornamented 
 cases. Indeed the enchorial character very strongly 
 partakes of and blends with the hieroglyphic symbol, 
 sometimes using characters most expressly imitative ; 
 and in others, a drawing is annexed to the MSS. 
 either of a Ram, or some representative of Isis; with the 
 mummy extended, and a figure presenting offerings ; 
 instead, therefore, of having any reference to the 
 actions and life of the deceased, it is presumed that 
 these inscribed papyri, and cases, develope the hopes 
 and anticipations of eternal bliss, and embody the 
 symbolical delineations which Egyptian mythology 
 furnished as the grand medium to secure the divine 
 favour and protection, through the all important 
 change which death brings. 
 
 The coincidence supplied by the following interest- 
 ing narration of an Egyptian mummy presented to 
 the Hunterian Museum at Glasgow, is so particularly 
 
REMARKS ON MUMMIES. 81 
 
 striking, as to render its introduction very material, 
 since it is only by a diligent examination of every 
 point of comparison, that any approximation can be 
 obtained towards an accurate judgment of the phy- 
 siognomy of the Eastern race, and the secrets of their 
 mysterious symbols. This mummy was presented by 
 Mr. Heywood, Jun., and is in a very high state of pre- 
 servation; the body is enveloped in about fifty to sixty 
 folds of coarse red brick coloured linen, and is in 
 the sycamore sarcophagus ; the cover presents the 
 usual Nubian cast, and is very highly ornamented 
 with hieroglyphical characters, fresh, and in perfect 
 preservation ; the case immediately containing the 
 body, is again enclosed in a second, similarly shaped, 
 but more sparingly ornamented, and exhibiting a 
 great appearance of antiquity. This highly interest- 
 ing relic was examined in presence of several pro- 
 fessors; upon opening the inner coffin, the freshness 
 of the linen excited the desire of ascertaining the 
 state of the embalming ; a longitudinal incision was 
 made through the coverings immediately over the 
 face, which were evidently continuous folds of the 
 same web : those in immediate contact with the skin, 
 were soaked in liquid asphaltum. The head was 
 completely denuded of these coverings, showing a 
 face, apparently female, in an astonishing state of 
 preservation; though the features were much col- 
 lapsed, the face was no where divested of skin ; the 
 skin itself was of a chesnut brown colour ; the brow 
 was well shaped, though if any way defective, nar- 
 G 
 
82 REMARKS ON MUMMIES. 
 
 row; the nose, though slightly compressed, retained 
 enough of its original shape to be recognized as 
 Roman ; the cheek bones were prominent ; the 
 mouth, most likely from the shrinking of the muscles 
 attached to it, was wider than accorded with the 
 general good proportion of the face ; the space 
 between the nose and the chin, especially between 
 the nose and mouth, was also proportionably too 
 distant. Independent, however, of these exceptions, 
 the face was decidedly handsome. There appeared 
 upon the chin not the slightest vestige of hair ; but 
 that upon the eye-brows was distinct, and finely 
 arched ; upon the scalp there was a profusion of 
 silky golden hair, about two and a half inches in 
 length. A small portion of the scalp accidentally 
 removed, showed the skull with all the freshness of 
 recent bone ; having separated the lips about the 
 eighth part of an inch, the fore teeth could be seen, 
 remarkably white, and regularly shaped. One cir- 
 cumstance must have struck all who had an oppor- 
 tunity of witnessing this interesting examination, 
 namely, the dissimilarity of the features to what we 
 are led to believe were those of the inhabitants of 
 Egypt, when the process of embalming was practised. 
 But the knowledge that it was continued later than 
 the reigns of the Ptolemies, and also that the Egyp- 
 tian customs and habits were adopted and recom- 
 mended by the Greek dynasty, will furnish a satis- 
 factory solution to this appearance ; and coupled 
 with the account already given of the two mummies 
 
REMARKS ON MUMMIES. 83 
 
 of similar appearance at Dresden, infer that the 
 practice among the naturalized Greeks was exten- 
 sively followed. The scite where a mummy is found, 
 would perhaps, when known, lead to some general 
 conclusions that would be useful in deciding upon its 
 character and its era ; but in this case, the Grecian 
 physiognomy, without all doubt, decides its being a 
 Greek, and of the era of the Ptolemies. 
 
 The British Museum possesses a very fine mummy 
 and ornamented case, taken from the catacombs of 
 Sackarra, and presented, in the year 1722, to our 
 national repository, by Captain Letheuillier. The 
 corpse itself is almost wholly enveloped in linen ban- 
 dages, without any striking representations. The 
 portrait of the deceased, according to the Egyptian 
 usage, had probably been painted on plaistered linen 
 above the face, but much impaired ; and round the 
 cheeks are still faint remains of a Hawk's or Eagle's 
 wings, as is seen on many mummies. The face is 
 truly Egyptian; the features much like those of a 
 negro, but the complexion quite red. The length of 
 the mummy is 5 feet 2 inches ; and of the sarco- 
 phagus, 6 feet 3 inches, as the description of the 
 mythological symbols upon the case are completely 
 delineated by Alexander Gordon, in his Essay pub- 
 lished in 1737 ; the leading details are extracted and 
 condensed to furnish a subject of comparison, whereby 
 the various decorations and symbols described in the 
 mummies of the Dresden Gallery, may be appreciated 
 and studied. On the top of the coffin is painted a female 
 G 2 
 
84 kEMARKS ON MUMMIES. 
 
 figure, with a diadem round her head, her arms eX- 
 tended ; in each hand she holds a sickle ; under her 
 arms are wings, divided into three rows of plumes, 
 blue and light green ; from her waist, she is clothed 
 in a green garment ; and from her head rises a round 
 tutulus, on which is a globe painted green, encircled 
 within a ring of yellow or light colour. This figure 
 seems evidently to represent Isis, exhibiting her com- 
 bined properties in nature, of which she was the 
 goddess ; for first, by the tutulus, she physically 
 symbolizes the earth, of which the green globe is 
 another symbol ; the ring of light, represents the 
 phase of the new Moon, and shows her to be the 
 Moon also ; from the head, two lappets hang down 
 on the breast over the shoulders, painted with alter- 
 nate stripes of yellow and deep blue. The neck- 
 lace, or breast-plate, consists of twelve rows of 
 symbolical ornaments; the second, fourth, and eighth 
 rows, are the Lotus within alternate fields of deep 
 blue and scarlet ; the third, fifth, seventh, and tenth, 
 are five leaves of the Persea plant, on a scarlet 
 ground bordered with gold — this plant is peculiarly 
 sacred to Isis, from the root having the heart shape, 
 and the tongue like form of the leaf. The third kind 
 of symbol in the eleventh row, are Poppies in bud 
 and blossom ; two of the remaining rows, tufts or 
 tassels ; and the last two, a row of pendants, repre- 
 senting three sorts of precious stones, emeralds, sap- 
 phires, and rubies. Immediately below the Ephod, 
 is Isis, as the Earth or great Mother, with expanded 
 
REMARKS ON MUMMIES. 85 
 
 wings, divided into three rows of plumes, of blue, 
 green, and yellow ; from ber neck downward, she is 
 clotbed in green ; on ber bead, a red globe, and ber 
 black bair tied witb a coronet of red. In tbe green 
 colour is symbolized tbe verdure of tbe eartb ; in tbe 
 tbree rows of plumes and globe, tbe four elements ; 
 tbe upper and lower, of deep blue, tbe air, because 
 tbe eartb, above and below, is surrounded by tbe 
 blue air ; tbe middle row, of pale green, tbe sea ; 
 and tbe red globe, tbe Sun, or element of fire. In 
 tbe dark colour of ber bair, Porpbyry infers tbat it 
 symbolizes tbe darkness; and in tbe sketcb given of. 
 tbe mysteries by Apuleius, tbe form of tbis figure, 
 as well as of tbe former, are exactly described. Next 
 follows a twofold representation of death and judg- 
 ment ; tbe corpse appears stretched on tbe Lion couch. 
 On the outer side stands a figure witb tbe Ibis bead, 
 in bis left hand he holds a golden cup, and with his 
 right points to tbe left side of the body ; tbis is pro- 
 bably tbe embalmer, witb tbe cup of libation ; and 
 then follows a kind of square veil or phylactery ; 
 beyond this, on the front of the sarcophagus, is the 
 representation of judgment after death. Osiris is 
 here sitting on his throne, with tbe sceptre and fla- 
 gellum, clotbed in a yellow garment, without shade. 
 The throne has in the under part uniformly the square 
 of tbe red or fiery colour, to represent tbe Sun's ab- 
 sence ; and tbe region of the dead, where tbe scene 
 is laid. Two horns of gold, and the beard, identify 
 him with the elder Bacchus of Diodorus ; the four 
 
m REMARKS ON MUMMIES. 
 
 intercessory deities, with the man's, Dog, Hawk, and 
 Wolf's heads, stand before the face of Osiris, on the 
 calix of the Lotus ; a genius appears leading the soul 
 before the judgment seat, when Thoth, or Mercury, 
 with the Ibis head, seems enumerating before the 
 supreme judge, the detail of the deceased's actions, 
 supposed to have been weighed in the balance which 
 appears in this symbolic scene ; these scales are sup- 
 ported by a crooked post, like a tree, with two human 
 figures, one on each side of the post ; tliat on the 
 right with the head of an Hawk*, the other on the left, 
 that of a Wolf, symbolizing tihe good and bad prin- 
 ciples ; each, by pulling down the scales towards 
 their own side, seem to claim the soul of the deceased 
 for its own. Behind the throne of Osiris is a female 
 standing erect, with wings consisting of three rows 
 of plumes, one pointing downwards, the other ele- 
 vated ; in her hand is a small crook, and on her head 
 a pale globe, in the middle of a crescent. This figure 
 seems plainly to be Proserpine. Behind is another 
 of the subordinate deities of the Egyptians, whose 
 office was to drive away evil. At the entrance of 
 the balance or judgment, is the figure of a voracious 
 female animal, on a basement, the under square of a 
 red or fiery colour; the mouth wide open, in the 
 action of howling, and thus exhibits their Cerberus 
 
 * Dr. Hales, in his Chronology, says, " This deity was repre- 
 sented so early as Zoroaster's time, as having a * Hawk's head,' 
 expressive of his sharpsightedness, or all-seeing providence." 
 
REMARKS ON MUMMIES. 87 
 
 or Hecate ; a goose's feather, or writing pen, is before 
 her, alluding to the opinion that Proserpine wrote 
 down on the posts of the gates of Hades, the names 
 of those who were called out of life into another 
 world. Over the first part of this symbolical picture, 
 where the corpse is stretched on the Lion bier, Isis, 
 with a tutulus on her head, is figured as Cybele on 
 the earth, signifying that the deceased was in the 
 state of death before judgment ; over the other part 
 of the picture, where the deceased is represented as 
 judged, and consequently the soul landed in the place 
 of its eternal abode, the image of Proserpine, in a 
 human form, is placed. Beneath this emblematical 
 picture are ten different compartments, bounded by 
 yellow stripes or borders, whereon are sacred Egyp- 
 tian characters, within whose compartments are con- 
 tained the Genii Averranci, or intercessory deities ; 
 the Thoth, or Ibis ; Horus, or the Hawk ; the Wolf; 
 Pthah, or Jupiter Ammon, with the Ram's head; 
 and other symbolical figures. Immediately below 
 these compartments are two square buildings, or gate- 
 ways, with the Fox and sacred flagellum on each, as 
 the guardian of the Grave. 
 
 On tlie back part of the coffin is represented a 
 female figure standing erect, her black hair flowing 
 down her neck and shoulders ; parts of her body are 
 naked ; over her shoulders is a tippet of a red colour, 
 with yeUow and dark borders, fastened to a girdle 
 that comes below her breast. She is dressed in a 
 party coloured habit y yellow, red, and green, and 
 
88 REMARKS ON MUMMIES. 
 
 ^bracelets round her ancles and arms, her feet close 
 to each other ; round her head is a diadem of deep 
 red, with a border of yellow, which supports a half 
 globe, and the Hawk with the flagellum ; before hier 
 is an hieroglyphical tablet. Porphyry explains this 
 figure to be a symbol of the visible world ; thus they 
 represent the joining the feet as symbolizing the 
 world's never changing place ; the globe, its round 
 form ; and the party coloured garment, the various 
 nature of the stars. 
 
 Thus Apuleius describes the Queen of Heaven, 
 the Isis of the Egyptians, exactly as this form. The 
 whole of the scene records the belief of the Egyp- 
 tians in the immortality of the soul, of a future ex- 
 
 . istence, and an intellectual judge. Diodorus says, 
 lib. 1, pages 78, 79, **They pray to the gods of the 
 infernal shades, to receive the deceased into the so- 
 ciety of the righteous ;" and Herodotus, in Euterpe, 
 page 135, ** The Egyptians were the first who asserted 
 tlie soul of man to be immortal." 
 
 Throughout the whole subject thus presented, two 
 objects are kept in view ; in the first place, to demon- 
 strate how truly deserving of our attention, are the 
 most minute traces existing of Egyptian science, 
 since it evidently possessed secrets of nature, of the 
 highest importance ; arcana well worthy of our re- 
 search, and which, if discovered, might become 
 sources of wonderful benefit; it, therefore, should 
 
REMARKS ON MUMMIES. 89 
 
 stimulate us to attempt their revival. The seconfl 
 point is to present a comprehensive view of the striking 
 analogies in their sepulchral symbols, and paintings, 
 thereby to deduce a fair analysis of their scope and 
 aim, from whence alone we may hope, by a patient 
 and candid spirit of investigation, to arrive at certain 
 postulata, which may save many a painful labour in 
 the examination, and advance our steps toward their 
 ultimate developement. 
 
 The present attempt forms only a link in the pro- 
 cess of a general investigation into the arts and 
 sciences of Egypt, also what portion of them receive 
 a full versification from their present existing remains : 
 so replete is the subject with surprising circumstances 
 of their knowledge and application of the metals; 
 of their mechanical powers, and their arts of sculp- 
 ture, painting, and dyeing, that they fully emulate, 
 if not exceed, those extraordinary specimens we are 
 so generally acquainted with in their mummies and 
 sarcophagi, and which are particularly detailed in the 
 foregoing pages : the utility of bringing those facts 
 into one compendium, it is earnestly hoped, will 
 plead for and excuse any deficiencies apparent in the 
 performance. 
 
 THE END. 
 
 D. Cartwright, Printer, 91, Bartholomew Close, Londoa. 
 
UNIVERSITY OF CALIFORNIA LIBRARY 
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 This book is DUE on the last date stamped below. 
 
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