99       99       99       99       99  
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-------------------      ,transcriber's 
,note3                                  
,the author of this ebook makes unusual 
use of commas and        asterisks4     
,the character a with a straight line   
7macron7 above is          represented  
as a4                                   
,greek has been transliterated and      
marked with  marks4                     
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-------------------         99       99 
99       99       99     ,,scarabs4     
,,the ,,history1 ,,manufacture ,,and    
,,religious ,,symbolism  ,,of ,,the     
,,scarab,,us1  ,,in  ,,ancient ,,egypt1 
,,phoenicia1 ,,sardinia1 ,,etruria1     
,,etc4  ,,also  ,,remarks ,,on ,,the    
,,learning1 ,,philosophy1 ,,arts1       
,,ethics1 ,,psychology1 ,,ideas ,,as    
,,to ,,the ,,immortality ,,of ,,the     
,,soul1 ,,etc41 ,,of ,,the ,,ancient    
,,egyptians1 ,,phoenicians1 ,,etc4  ,,by
  ,,isaac ,,myer1 ,,ll4,b4  ,member of  

the ,american ,oriental ,society4 ,the  
,american ,numismatic and ,archological 
,society4 ,the ,numismatic and          
,antiquarian ,society of ,philadelphia4 
,la ,socit ,royale de ,numismatique de  
,belgique4 ,the ,oriental ,club of      
,philadelphia4 ,the ,new ,york          
,historical ,society ,historical        
,society of the ,state of ,pennsylvania1
 etc4  ,,author ,,of ,,the ,,qabbalah4  
,,the ,,philosophical ,,writings ,,of   
,,solomon ,b4 ,,yehudah ,,ibn4          
,,gebirol1 ,,or ,,avicebron2 ,,the      
,,waterloo ,,medal1 ,,etc4  ,,for ,,sale
 ,,by  ,,edwin ,w4 ,,dayton1 ,,no4 #fda 
,,madison ,,avenue1 ,,new ,,york4       
,,otto ,,harrassowitz1 ,querstrasse ,no4
 #ad1 ,,leipzig4  ,,mile ,,bouillon1    
,no4 #fg1 ,rue de ,richelieu1 ,,paris4  
#ahid4     ,entered according to ,act of
 ,congress1 in the year #ahid1 by       
,,isaac ,,myer1 in the ,office of the   
,librarian of ,congress1 at ,washington4
   ,,all ,,rights ,,of ,,translation    
,,reserved4     ,,introduction4   ,the  

following work is taken in part1 from an
 address delivered by me before1 ,the   
,american ,numismatic and ,archological 
,society1 at its ,hall in the ,city of  
,new ,york1 on ,march #cjth1 #ahic4     
,since that time ,i have been led into a
 train of thought1 having as its basis a
 more philosophical treatment of the    
meaning of the scarabus as a symbol1 in 
the religious metaphysic conception of  
it by the ,ancient ,egyptians1 and have 
added much new matter4 ,i am convinced  
that at the period when we first meet   
with the symbol of the scarabus in      
,egypt1 it was already the symbol and   
tangible expression of an elevated      
religious idea1 embracing that of a     
future life of the human soul1 a        
resurrection of it from the dead1 and   
most likely1 of a reward or punishment  
to it in the future life1 based on its  
conduct when in the terrestrial life4   
,we know from the inscription on the lid
 of the coffin of ,men-kau-,ra1 king of 
the ,i,vth1 the ,memphite ,dynasty1     

7circa #cfcc-cfjj ,b4,c417 and builder  
of the ,third ,pyramid at ,gizeh2 that  
some of the most elevated conceptions of
 the ,per-em-hru1 i4e41 the so-called1  
,book of the ,dead1 were at that time in
 existence as accepted facts4 ,the dead 
one at this early period became an      
,osiris1 living eternally4 ,we have     
every reason to think1 that the use of  
the models of the scarabus as the symbol
 of the resurrection or new-birth1 and  
the future eternal life of the          
triumphant or justified dead1 existed as
 an accepted dogma1 before the earliest 
historical knowledge we have thus far   
been able to acquire of the ,ancient    
,egyptians4  ,it most probably          
ante-dated the epoch of ,mena1 the first
 historical ,egyptian king4 ,how long   
before his period it existed1 in the    
present condition of our knowledge of   
the ancient history and thought of      
,egypt1 it is impossible to surmise4 ,of
 the aborigines of the land of ,egypt we
 do not know nor are we very likely to  

know1 anything4 ,of the race known to us
 as the ,egyptian we can now assert with
 much certainty1 that it was a          
,caucasian people1 and likely came from 
an original home in ,asia4 ,when the    
invader arrived in the valley of the    
,nile1 he appears to have been highly   
civilized and to have had an elevated   
form of religious belief4  ,the oldest  
stel known1 one of which is now in the  
,ashmolean ,museum at ,oxford1 ,england1
 and the other in the ,museum at ,gizeh1
 ,egypt2 were made for the tomb of      
,shera1 who is called on them1 a prophet
 and a royal relative4 ,he was a priest 
of the period of ,sent1 the fifth king  
of the ,i,ind ,dynasty1 who was living  
about #djjj ,b4,c4 ,the stele is shown  
by ,lepsius in his ,auswahl1 ,plate #i1 
and is the earliest example of a        
hieroglyphic inscription known4 ,these  
stel are in the form of a false door4   
,upon these stel of ,shera1 is inscribed
 the ,egyptian prayer for the soul of   
the dead called1 the ,suten-hotep-ta1   

from its first words4 ,the              
,suten-hotep-ta was supposed to have    
been delivered by divine revelation4 ,an
 old text speaks of1 a ,suten-hotep-ta  
exactly corresponding to the texts of   
sacrificial offerings1 handed down by   
the ancients as proceeding from the     
mouth of ,god4#a ,this prayer inscribed 
on the steles mentioned1 asks that there
 may be granted the deceased in the     
other world1 funeral oblations1         
thousands of oxen1 linen bandages1      
cakes1 vessels of wine1 incense1 etc4   
,this shows that at this very early     
period there was a belief in ,egypt of  
the future life of the ,ba1 the         
responsible soul1 and of the ,ka1 the   
vital soul1 of the deceased4 ,the word  
,ka enters into the names of kings      
,ka-kau1 ,nefer-ka-,ra1 and             
,nefer-ka-seker of the ,i,ind ,dynasty  
7#dacc-ciff ,b4,c47 ,in the same        
,dynasty the word ,ba1 the name of the  
responsible soul1 and ,baiu its plural1 
enter into the names ,neter-,baiu and   

,ba-en-neter4 ,ab1 i4e41 the heart1 also
 enters into the name of ,per-ab-sen of 
this ,dynasty4 ,we also have ,ba in the 
name of ,mer-ba-pen1 sixth king of the  
,ist ,dynasty4  ,it was during the reign
 of king ,sent1 that a medical papyrus  
was edited which shows it was the result
 of years of experience4 ,from what we  
have just said it is extremely likely1  
that the body was mummified in ,egypt   
from the earliest period of which we    
have knowledge4  ,manetho says that     
,teta1 the second king of the #ast      
,dynasty1 circa #dcff ,b4,c41 wrote a   
book on anatomy1 and experimented with  
drugs or chemicals4 ,shesh1 the mother  
of this king1 invented a hair wash4#b   
,we can from the foregoing assume with  
some certainty1 that before the         
historical period in ,ancient ,egypt1 a 
religious belief existed1 funeral       
ceremonies1 and an expectation of an    
eternal life of the soul after the death
 of the body of man on this earth2      
whether a belief in rewards or          

punishments to be suffered or enjoyed by
 the soul after such death1 for actions 
done by man in this earthly life1       
existed at that time1 we cannot as yet1 
with certainty1 affirm2 but it is quite 
likely it did4 ,in this connection a    
study of the ,pyramid ,texts published  
by ,maspero in his ,recueil de ,travaux1
 is of great value to the student4  ,an 
element of great value to the student of
 religions is1 that the scarabus symbol1
 is the earliest expression of the most 
ancient idea of the immortality of the  
soul after death that has reached our   
day1 taking us back however to a period 
which may be considered as civilized and
 enlightened and yet1 so encompassed    
with the mists of the past1 that the    
mental eye of to-day cannot grasp that  
past with much tangibility1 and giving  
us almost cause to think1 that the      
doctrine of the immortality of the human
 soul was a remnant of an early divine  
revelation1 or at least1 an advanced    
instinct of early humanity2 for it is a 

curious phase of archaic ,egyptian      
thought1 that the further we go back in 
our investigations of the origins of its
 religious ideas1 the more ideal and    
elevated they appear as to the spiritual
 powers and the unseen world4 ,idolatry 
made its greatest advance subsequent to 
the epoch of the ,ancient ,empire1 and  
progressed until it finally merged      
itself into the animalism of the ,new   
,empire and the gross paganism of the   
,greeks and ,romans4  ,we have not yet  
many religious texts of the ,ancient    
,empire that have been fully studied and
 made known1 but those that have been1  
exhibit an idealism as to the ,supreme  
,deity and a belief in the immortality  
of the soul1 based on the pious1 ethical
 and charitable conduct of man1 which   
speak highly for an early very elevated 
thought in religious ideas4  ,there is  
however one thought which must strike   
the student of religions forcibly1 that 
is the fact1 that the idea of the       
re-birth and future eternal life of the 

pious and moral dead1 existed among the 
,ancient ,egyptians as an accepted      
dogma1 long before the period in which  
,moses is said to have lived4 ,moses has
 been asserted both in the ,new         
,testament 7,acts ,,vii41 #bb71 and by  
the so-called profane writers ,philo and
 ,josephus1 to have been learned in all 
the wisdom and knowledge of the         
,egyptians of his time1 yet we have not 
in the pages of the ,pentateuch1 which  
is usually by the theologians ascribed  
to him1 any direct assertion of the     
doctrine of a future life or of an      
immortality of the human soul1 or of a  
future reward or punishment in a future 
state of the soul4 ,ideas are therein   
set forth however1 of a separation of   
the spiritual part of man into different
 divisions4  ,it may be1 that the       
doctrine of the immortality of the soul 
was not accepted as a religious dogma1  
by the ,hyksos or ,shepherd ,kings1 an  
apparently ,asiatic race1 probably      
,semitic1 of which we have not as yet   

very much knowledge4 ,it is likely that 
it was under the ,hyksos that the       
,hebrew1 ,joseph1 was advanced to high  
honors in ,egypt1 and under their kings1
 that the influx and increase of the    
,hebrew population in ,egypt began and  
prospered4  ,it may be advanced with    
much certainty1 that the ,hebrew people 
residing in ,ancient ,egypt1 must have  
been acquainted with many of the        
,egyptian ideas on the subject of the   
eternal future life of the soul of the  
dead1 and the reward or punishment of it
 in that future life1 for these ideas   
were undoubtedly widely and generally   
known by the ,egyptian people1 and were 
too thoroughly formulated in the active 
and daily life of the ,ancient ,egyptian
 population1 not to have been known by  
the ,hebrews living in daily contact    
with them1 but the ,hebrews may not have
 accepted them as a verity4  ,it may    
have been1 that as the idea of the      
future existence of the soul in its     
perfection1 was based upon the          

mummification and preservation of the   
body of the dead1 so that the ,ka might 
remain with it1 and go out and revisit  
it in the tomb2 and also1 on            
inscriptions either on the walls of the 
tomb or the papyri deposited with the   
body2 that ,moses1 knowing that in his  
wanderings and journeyings1 it would be 
impossible to have performed those      
ceremonies and preliminaries necessary  
under the ,egyptian system1 for the     
proper burial of the corpse2 its        
mummification and the preparation of the
 funeral inscriptions or papyri1        
considered as necessary to be inscribed 
on the walls of the tomb1 or on the     
papyri1 to be buried with the corpse1 so
 as to assist the soul against the      
perils it was supposed it would         
encounter in its journey through the    
,underworld2#c was therefore compelled  
to abandon a dogma based on             
preliminaries and preparations he could 
not1 during such wanderings1 have       
performed4 ,this would be partly an     

explanation of a subject which has for  
many years caused much dispute among    
very erudite theologians4  ,in order to 
get some knowledge of the religious     
philosophical ideas of the ,ancient     
,egyptians1 a thorough study of the     
collection of papyri called1 the        
,per-em-hru or ,book of the ,dead1 is   
absolutely necessary1 also the texts on 
the walls of the tombs of the ,ancient  
,empire especially those found at       
,saqqarah4 ,the work of ,m4 ,edouard    
,naville on the ,per-em-hru lately      
published1 although it refers more      
especially to the ,theban period1 is of 
great value in this investigation1 and  
when it has been translated into a      
modern language by a thoroughly         
competent scholar1 will be a key to open
 many of the now hidden but elevated    
ideas in the religious philosophy of the
 ,ancient ,egyptians4  ,the edition of  
the ,book of the ,dead which ,i have    
quoted from is that of ,m4 ,paul        
,pierret1 conservateur of the ,egyptian 

,museum of the ,louvre1 ,paris1         
,france4#d ,this is founded on the      
,papyrus of ,turin1 which is of about   
the ,x,x,v,ith ,dynasty1 the ,satic     
period2 the translator has also used in 
his work1 the ,egyptian manuscripts of  
the ,louvre to assist in the elucidation
 of his readings of the ,papyrus of     
,turin4 ,his work is an advance on that 
of ,dr4 ,samuel ,birch1 given in #ahfg1 
in the ,vth volume of ,baron von        
,bunsen's work on ,egypt's ,place in    
,universal ,history4 ,a new translation 
of the ,book of the ,dead is now passing
 through the ,english press1 by ,p4 ,le 
,page ,renouf1 ,esq41 but only a few    
chapters thus far have been printed4    
,mr4 ,renouf's work as an ,egyptologist1
 deserves much more attention and credit
 from the learned of both his own and   
other countries1 than it has so far     
received4  ,the following among ,greek  
and other ancient writers have mentioned
 the scarabus1 mostly in connection with
 ,egypt4 ,orpheus1 ,theophrastus1       

,aristophanes1 ,pliny1 ,plutarch1 lian1 
,clement of ,alexandria1 ,porphyry1     
,horapollon1 ,diogenes ,laertius1 who   
cites as works in which it was          
mentioned1 the ,natural ,philosophy by  
,manetho 7circa #bhf-bdg ,b4,c417 the   
,history of the ,philosophy of the      
,egyptians1 by ,hecatus 7of ,abdera8    
circa #cca ,b4,c417 and the writings of 
,aristagoras 7circa #cbe-cjj ,b4,c417   
,eusebius1 ,arnobius1 ,epiphanius and   
,ausonius4  ,the subject has been       
somewhat neglected in modern times4 ,two
 small brochures on the subject were    
published by ,johann ,joachim           
,bellermann1 under the title of2 ,ueber 
die ,scaraben-,gemmen1 nebst ,versuchen 
die darauf befindlichen ,hieroglyphen zu
 erklren1 one in #ahbj1 the other #ahba4
 ,another very small catalogue entitled2
 ,scarabes gyptiens1 figurs du ,muse des
 ,antiquea de sa majest l',empereur1    
,vienne1 de l',imprimerie d',antoine    
,strauss1 #ahbd1 was published in that  
year in ,vienna4 ,none of the above     

contain information of importance on the
 subject4  ,dr4 ,samuel ,birch published
 the first classified collection in his2
 ,catalogue of the collection of        
,egyptian ,antiquities at ,alnwick      
,castle1#e in which he describes #efe   
scarabs1 signets1 etc4 ,in #ahhd the    
,rev4 ,w4,j4 ,loftie published his2 ,an 
,essay of ,scarabs1 ,london1 small #dto1
 no date1 #abe numbered copies printed4 
,it contained a brief essay1 pp4        
,v-,,xxxii41 on scarabs1 and a short    
description of #aib4 ,his collection was
 purchased in #ahij by the ,trustees of 
the ,british ,museum4 ,in the summer of 
#ahgf1 ,i published in1 ,the ,evening   
,telegraph1 of ,philadelphia1           
,pennsylvania1 during the ,centennial   
,exhibition2 two ,essays on ,scarabi and
 ,cicad1 and on those exhibited1        
especially those in the ,egyptian       
,section and those in the ,castellani   
,collection4 ,in #ahhg1 ,dr4 ,e4,a4     
,wallis ,budge1 ,f4,s4,a41 gave a       
description of #aej scarabs in his1     

,catalogue of the ,egyptian ,collection 
of the ,harrow ,school ,museum1 with    
translations of most of the inscriptions
 upon them4 ,in #ahhh1 ,dr4 ,a4,s4      
,murray and ,mr4 ,hamilton ,smith in    
their1 ,catalogue of ,gems1 gave a list 
of scarabs and scaraboids4 ,in #ahhi    
,mr4 ,flinders ,petrie published1       
,historical ,scarabs3 ,a series of      
,drawings from the ,principal           
,collections1 ,arranged                 
,chronologically4 ,this book has only   
nine small pages of description but they
 are valuable4 ,in his1 ,history of     
,egypt1 ,prof4 ,wiedemann has catalogued
 a great many scarabs4 ,i have not seen 
any of the above works except that by   
,bellermann1 that published in ,vienna1 
and those by ,loftie and ,petrie1 all of
 which ,i have in my ,library4 ,since my
 book was printed1 ,i have had my       
attention called to1 ,the ,mummy1       
,chapters on ,egyptian ,funeral         
,archology1 by ,e4,a4 ,wallis ,budge1   
,litt4 ,d41 ,f4,s4,a41 ,cambridge4 ,at  

the ,university ,press1 #ahic4 ,in this 
p4 #bca et seq41 the learned author has 
a very interesting chapter on ,scarabs4 
,,footnotes3  #a ,lepsius1 ,denkmal     
,,iii41 pl4 #ac4  #b ,papyrus ,ebers1   
,bd4 ,,ii41 ,glossarium ,hieroglyphicum1
 by ,stern1 p4 #dg4 ,the ,mummy1 etc41  
by ,e4,a4 ,wallis ,budge1 ,litt4 ,d41   
,f4,s4,a41 etc4 ,cambridge1 #ahic1 pp4  
#agf1 #bai1 #cec4 ,egypt ,under the     
,pharaohs4 ,london1 #ahia1 pp4 #bg1 #bh4
 ,an interesting but condensed account  
of ,ancient ,egyptian medical knowledge1
 with references to the papyri1 is given
 by ,m4 ,maspero in his1 ,histoire      
,ancienne des ,peuples de l',orient1    
,paris1 #ahhf1 pp4 #gc-gg4  #c ,we use  
the word ,underworld advisedly1 it may  
be that the meaning of the word so      
translated1 is that of a higher or      
opposite world to our terrestrial world4
  #d ,le ,livre des ,morts1 des ,anciens
 gyptiens1 traduction complte d'aprs le 
,papyrus de ,turin et les manuscrits du 
,louvre1 accompagne de ,notes et suivie 

d'un ,index analytique4 ,paris1 ,ernest 
,leroux1 #ahhb4  #e ,privately printed  
by the ,duke of ,northumberland4        
,london1 #ahhj4     ,,table ,,of        
,,contents  ,,introduction              
v-xxii  ,,table ,,of ,,contents         
xxiii-xxvii  ,i4  ,forms of the ,word   
,scarabus4 ,veneration of the ,ancient  
,egyptians for the scarabus4 ,entomology
 of the insect4 ,symbolism of according 
to ,plutarch1 ,pliny and ,horapollo4    
,its astronomical value4 ,worship of    
insects by other peoples4 ,symbolism1   
with the ,egyptians1 of the scarabus4   
,uses of it with them                   
#a-ag  ,,ii4  ,manufacture of the       
,scarabi4 ,materials4 ,inscriptions on4 
,different periods of manufacture and   
the peculiarities of4 ,how to judge of  
the epoch4                #ah-bi  ,,iii4
  ,method1 period and antiquity1 of     
engraving the scarab and other forms4   
,use of rings4 ,mention of1 and of      
engraving and sealing1 in the ,old      
,testament4 ,use of cylinder signets by 

the ,egyptians4 ,relations with         
,mesopotamia4 ,carving of diorite and   
other hard stone4 ,the ,egyptians did   
not borrow their engraving and the      
scarab1 from ,mesopotamia4 ,disuse of   
scarabs                 #cj-de  ,,iv4   
,the oldest scarabs4 ,classification and
 value of the scarab to the scholar of  
to-day4 ,large inscribed historical     
scarabs                                 
#df-ef  ,v4  ,where usually found and   
the mode of wearing scarabs by the      
,egyptians1 ,book of the ,dead4         
,egyptian scarabs found in ,mesopotamia4
 ,the scarab in ,christianity           
#eg-fd  ,,vi4  ,the position of the     
scarab in ,ancient ,egyptian religion   
and the ,book of the ,dead4 ,egyptian   
philosophy4 ,advanced intellectuality of
 ,egypt six thousand years ago4 ,deities
 of libraries and learning4 ,ancient    
librarians and books4 ,the division of  
learned men into different branches of  
study4 ,the statements of ,greek writers
 on ,egyptian thought not to be depended

 upon4 ,quotations from the ,book of the
 ,dead on the symbolism of the scarabus 
deity4 ,the symbolism of the ,great     
,sphinx4 ,further quotations from the   
,book of the ,dead1 on the symbolism of 
the scarab deity                        
#fe-ij  ,,vii4  ,importance of the heart
 in the ,ancient ,egyptian religion4    
,immortality of the soul according to   
that religion4 ,symbolism of the scarab 
in their doctrine of such immortality4  
,no thing in this universe absolutely   
destroyed1 only changed4 ,the idea of   
metempsychosis in ,ancient ,egypt4      
,elevated ideas as to the deity4 ,hymn  
to ,ammon-,ra cited4 ,quotations as to  
,egyptian philosophy1 evolution of the  
universe and kosmogony4 ,of ,khepra and 
of ,tum or ,atmu4 ,egyptian psychology  
and its divisions      #ia-abb  ,,viii4 
,forgery of scarabs in modern times4    
,difficulty of detecting such4 ,other   
,egyptian antiquities also counterfeited
 by the present inhabitants of ,egypt   
#abc-abg  ,,ix4  ,phoenician scarabs4   

,manufactured mostly as article of      
trade4 ,used inscribed scarabs as seals 
in commercial and other transactions4   
,many scarabs found in ,sardinia        
#abh-acc  ,x4  ,etruscan scarabs4       
,origin of and where found4 ,copied from
 ,egyptian but with changes in subjects1
 size and ornamentation4 ,the engraving 
of4 ,where usually found4 ,uses by the  
,etruscans4 ,greek and ,roman scarabs4  
,gnostic1 of the ,basilidians           
#acd-adc   ,,appendix ,a                
#ade-aed  ,,index                       
#aee-agg     ,,on ,,scarabs4            
,,forms ,,of ,,the ,,word ,,scarab,,us4 
,,veneration ,,of ,,the ,,ancient       
,,egyptians     ,,for ,,the             
,,scarab,,us4 ,,entomology ,,of ,,the   
,,insect4 ,,symbolism ,,of              
,,according ,,to ,,plutarch1 ,,pliny    
,,and ,,horapollo4 ,,its ,,astronomical 
,,value4 ,,worship ,,of ,,insects ,,by  
,,other ,,peoples4 ,,symbolism1 ,,with  
,,the     ,,egyptians1 ,,of ,,the       
,,scarab,,us4 ,,uses ,,of ,,it ,,with   

,,them4   ,among the many animals1      
insects and creatures1 held in          
veneration as symbols by the ,ancient   
,egyptians2 the one universally in use  
as a symbol from a most remote period1  
were insects of the family of the       
scarabid4  ,the ,greek name of the      
models of these was ,skarabaios1        
,skarabos1 ,karabos1 ,karabis2 the      
,sanskrit1 ,carabha1 which like the     
,latin ,locusta1 designated both the    
lobster and the grasshopper4 ,the ,latin
 name derived from the ,greek1 was1     
,scarabus1 the ,french1 ,scarabe4 ,to   
the people of our day1 the high position
 enjoyed in the religion of ,ancient    
,egypt by this insect1 appears very     
strange1 for to us1 there is nothing    
attractive about it4 ,with that people  
however it held1 for some fifty         
centuries2 the position in their        
religion which the ,latin cross now     
holds with us as ,christians1 and if we 
consider for an instant1 our own        
veneration for the latter2 it would     

doubtless have been considered1 by those
 unfamiliar with our religion1 as also  
based on a veneration for a very strange
 emblem2 for the cross was the          
instrument used by the ,romans for      
punishing with death1 murderers and     
criminals of the lowest type2 and what  
would be thought to-day1 of a man       
worshipping the gallows or the          
guillotine1 or carrying copies modeled  
from the same1 suspended from his neck4 
,however we of to-day all understand the
 emblem of the cross1 and the ,ancient  
,egyptians in their time1 all understood
 the emblem of the scarab4  ,men are    
rarely conscious of the prejudices1     
which really incapacitate them1 from    
forming impartial and true judgments on 
systems alien to their own habits of    
thought4 ,and philosophers who may pride
 themselves on their freedom from       
prejudice1 may yet fail to understand2  
whole classes of psychological phenomena
 which are the result of religious      
practice1 and are familiar to those     

alone to whom such practice is          
habitual4#f ,said ,thespesion to        
,apollonius ,tyanus1 according to the   
biography of the latter1 by             
,philostratus2 ,the ,egyptians do not   
venture to give form to their deities1  
they only give them in symbols which    
have an occult meaning4  ,the family of 
the ,scarabid or ,coprophagi is quite   
large1 the type of the family is the    
genus ,ateuchus1 the members of this    
genus are more frequently found in the  
old world than the new1 and of its forty
 species1 thirty belong to ,africa4     
,the sacred scarab of the ,egyptians was
 termed by ,linnus1 the ,scarabus sacer1
 but later writers have named it1       
,ateuchus sacer4 ,this insect is found  
throughout ,egypt1 the southern part of 
,europe1 in ,china1 the ,east ,indies1  
in ,barbary and at the ,cape of ,good   
,hope1 ,western ,asia and ,northern     
,africa4 ,it is black and about one inch
 in length4  ,there was also another    
species of the scarabus valued by the   

,ancient ,egyptians1 that termed by     
,cuvier1 the ,ateuchus sacer gyptiorum1 
which is larger and wider than the      
others of its family2 it is of green    
golden tints1 and is now found          
principally in ,egypt and ,nubia4       
,pliny1 in his ,natural ,history says3  
,the green scarabus has the property of 
rendering the sight more piercing1      
7i4e41 curing fatigue of the eye from   
its green color17 of those who gaze upon
 it2 hence it is1 that the engravers of 
precious stones use these insects to    
steady their sight4#g ,m4 ,latreille    
thinks2 the species he named ,ateuchus  
gyptiorum1 or hliokantharos1 and which  
is of a green color1 was that which     
especially engaged the attention of the 
,ancient ,egyptians4  ,the ,egyptian    
also held in estimation1 the species    
,buprestis and the ,cantharis and       
,copris1 and used them as he did the    
members of the true family of the       
scarabid1 and ,s4 ,passalacqua found a  
species of ,buprestis1 embalmed in a    

tomb at ,thebes4  ,at least four species
 of beetles appear to have been held in 
veneration and were distinguished1 by   
the absence or presence1 of striated    
elytra4 ,the ,ateuchus sacer is the one 
commonly represented on the monuments4  
,the number of the toes1 thirty1        
symbolized the days of the month1 and   
the movement of the ball1 which it      
manufactured and in which was deposited 
its egg1 symbolized among other things1 
the action of ,ra1 the ,egyptian        
sun-deity1 at midday4  ,the ,egyptian   
soldier wore the scarab as a charm or   
amulet1 to increase bravery2#h the      
women1 to increase fertility4 ,the      
,greeks called it1 ,helio-cantharus1    
and1 not understanding its significance1
 were disposed to ridicule it1 as is    
apparent from the travesty upon it by   
,aristophanes in his comedy of ,peace4  
,pliny also again speaks of it in his   
,natural ,history1 saying3  ,the        
scarabus also1 that forms pellets and   
rolls them along4 ,it is on account of  

this kind of scarabus that the people of
 a great part of ,egypt worship those   
insects as divinities1 an usage for     
which ,apion gives a curious reason1    
asserting1 as he does1 by way of        
justifying the rites of his nation1 that
 the insect in its operations portrays  
the revolution of the sun4 ,there is    
also another kind of scarabus1 which the
 magicians recommend to be worn as an   
amulet--the one that has small horns#i  
thrown backwards--it must be taken up1  
when used for this purpose1 with the    
left hand4 ,a third kind also1 known by 
the name of 'fullo' and covered with    
white spots1 they recommend to be cut   
asunder and attached to either arm1 the 
other kinds being worn upon the left    
arm4#aj  ,in the work on ,egyptian      
hieroglyphics attributed to a writer    
called ,horapollo1 sometimes incorrectly
 called1 ,horus ,apollo1 the first part 
of which shows1 that it was written by a
 person who was well acquainted with the
 ,egyptian monuments and had studied    

them carefully1 we find3 ,to denote an  
only begotten1 or1 generation1 or1 a    
father1 or1 the world1 or1 a man1 they  
delineate a scarabus4 ,and they         
symbolize by this1 an only begotten2    
because the scarabus is a creature      
self-produced1 being unconceived by a   
female2 for the propagation of it is    
unique and after this manner3--when the 
male is desirous of procreating1 he     
takes the dung of an ox1 and shapes it  
into a spherical form like the world2 he
 then rolls it from him by the hinder   
parts from ,east to ,west1 looking      
himself towards the ,east1 that he may  
impart to it the figure of the world    
7for that is borne from ,east to ,west1 
while the course of the stars is from   
,west to ,east27 then having dug a hole1
 the scarabus deposits this ball in the 
earth for the space of twenty-eight     
days1 7for in so many days the moon     
passes through the twelve signs of the  
zodiac47 ,by thus remaining under the   
moon1 the race of scarabi is endued with

 life2 and upon the nine and twentieth  
day after1 having opened the ball1 it   
casts it into the water1 for it is      
aware1 that upon that day the           
conjunction of the moon and sun takes   
place1 as well as the generation of the 
world4 ,from the ball thus opened in the
 water1 the animals1 that is the        
scarabi1 issue forth4 ,the scarabus also
 symbolizes generation1 for the reason  
before mentioned2--and a father1 because
 the scarabus is engendered by a father 
only2--and the world because in its     
generation it is fashioned in the form  
of the world2--and a man1 because there 
is not any female race among them4      
,moreover there are three species of    
scarabi1 the first like a cat1#aa and   
irradiated1 which species they have     
consecrated to the sun from this        
similarity2 for they say that the male  
cat changes the shape of the pupils of  
his eyes according to the course of the 
sun2 for in the morning at the rising of
 the god1 they are dilated1 and in the  

middle of the day become round1 and     
about sunset1 appear less brilliant2    
whence also1 the statue of the god in   
the city of the sun#ab is of the form of
 a cat4 ,every scarabus also has thirty 
toes1 corresponding to the thirty days  
duration of the month1 during which the 
rising sun performs his course4 ,the    
second species is the two-horned and    
bull-formed2 which are consecrated to   
the moon2 whence the children of the    
,egyptians say1 that the bull in the    
heavens is the exaltation of this       
goddess4 ,the third species is1 the     
one-horned and ,ibis-formed1 which they 
regard as sacred to ,hermes 7i4e41      
,thoth47 in like manner as the          
bird4#acad  ,horapollo also says3 ,to   
denote ,hephstos 7,ptah17 they delineate
 a scarabus and a vulture1 and to denote
 ,athena 7,neith17 a vulture and a      
scarabus4#ae  ,the scarabus also had an 
astronomical value and is placed on some
 zodiacs in place of the crab4 ,it may  
be found on the outside1 or square      

planisphere1 of the zodiac of the       
,temple of ,denderah4 ,some archologists
 think it preceded the crab1 as the     
emblem of the division of the zodiac    
called by us1 ,cancer4 ,its emblem1 as  
shown on the ,hindu zodiac1 looks more  
like a beetle or other insect than it   
does like a crab4#af  ,the religious    
feeling for it1 most probably existed   
among the early ,ethiopians1 before the 
migration of the ancient race who were  
the originators of the ,egyptians1 into 
the land on the banks of the ,nile4 ,the
 cult is shown in more modern times by  
the veneration of the ,hottentot for the
 same insect1 and from the worship of   
the ,holy ,cricket by the natives of    
,madagascar4 ,the ,egyptians held the   
scarabus especially sacred to ,amen-,ra1
 i4e41 the mystery of the sun-god4 ,it  
was their symbol of the creative and    
fertilizing power1 of the re-birth1     
resurrection and immortality of the     
soul1 and was1 through this1 connected  
with their astronomical and funeral     

rites and knowledge4 ,it was1 as the    
living insect1 the first living creature
 seen coming to life from the           
fertilizing mud of the ,nile1 under the 
influence of the hot rays of the sun1   
after the subsidence of the inundating  
waters of that river4 ,the royal        
cartouches of their kings is in an oval 
taken from the form of its under side4  
,and this oval form has existed from the
 most remote times that we have any     
knowledge of the cartouch4  ,it is often
 found portrayed1 as if a passenger in a
 boat1 with extended wings2 holding in  
its claws the globe of the sun1 or      
elevated in the firmament1 as the type  
of the creating power of the sun-god    
,ra1 in the meridian4 ,other deities are
 sometimes shown praying to it4#ag      
,ptah the ,creative ,power1 and also    
,khepera1 a kosmogonic deity of the     
highest type1 had the scarab assigned to
 them as an emblem4 ,it was one of the  
forms symbolic of the ,demiurge or      
,maker of our universe4 ,it was also the

 emblem of ,ptah ,tore1 of ,memphis1    
another symbolic form of the creative   
power4 ,it was assigned as an emblem of 
,ptah-,sokari-,osiris1 the pigmy deity  
of ,memphis1 being placed on his head1  
and this deity was sometimes represented
 under the form of a scarab4 ,it was    
also an emblem of ,ra1 the sun deity2   
also1 an emblem of the world or         
universe2 and was1 as ,i have said1     
connected with astronomy and with       
funeral rites1 and the second birth or  
re-birth1 of the soul4  ,another use of 
the scarabus by the ,egyptians was as an
 amulet and talisman1 both for the      
living and the dead2 and for that       
reason1 images1 symbols or words2       
supposed to be agreeable to the deity1  
or to the evil spirit sought to be      
conciliated2 were incised1 or engraved  
in intaglio1 upon the under side4 ,it   
was also used as a signet to impress on 
wax1 clay or other material1 so as to   
fasten up doors1 boxes1 etc41 containing
 valuable things1 so they could not be  

opened without breaking the impression4 
,the engraving on the under surface of  
the scarab was also impressed on wax1   
etc41 to verify the execution of1 or to 
keep secret1 written documents2 and in  
some instances1 the papyrus or linen1   
was written upon1 then rolled up1 and a 
string used to fasten it2 an impression 
of the signet1 made on wax or other     
material1 was then placed on it and the 
string1 so that it could not be opened  
without breaking the impression4  ,in   
very ancient paintings especially those 
in the tombs of the kings of ,thebes1   
the scarabus plays a most remarkable    
part1 as an emblem of the creating first
 source of life1 which passes from it to
 the embryo1 through the intermediary of
 a celestial generator1 who is intended 
to represent the ,makrokosm or great    
,ideal ,man1 as the demiurgos4 ,we find 
the idea of the ,makrokosm or great     
,ideal ,man1 permeating those writings  
termed1 the ,books of ,hermes           
,trismegistos1 which have reached our   

day1 and which1 with some more recent   
matter1 contain much very old1 ,egyptian
 philosophy4#ah ,statements as to the   
,ideal ,prototype and the ,primordial   
,man1 are apparently1 set forth in many 
of the ,ancient ,egyptian writings4     
,,footnotes3  #f ,p4 ,le ,page ,renouf  
in3 ,the ,origin and ,growth of         
,religion1 as illustrated by the        
,religion of ,ancient ,egypt4 ,new      
,york1 ,charles ,scribner's ,sons1 p4   
#f4  #g ,pliny's ,natural ,history4 ,bk4
 ,,xxix41 ch4 #ch end4 ,bohn ed4 by     
,john ,bostock and ,h4,t4 ,riley4       
,london1 #ahef1 ,vol4 ,v41 p4 #daf4  #h 
,plutarch says3 ,the ,egyptian warriors 
had a beetle carved upon their signets1 
because there is no such thing as a     
female beetle2 for they are all males1  
etc4--,of ,isis and ,osiris  #aj1 #gd1  
in ,plutarch's ,morals4 ,wm4 ,w4        
,goodwin's ,english edition4 ,boston1   
#ahgh1 ,vol4 ,,iv41 pp4 #gc1 #acb4      
,comp4 lian ,x41 #ae4  #i ,probably the 
lucanus mentioned in ,bk4 ,,xi41 ch4    

#cd1 supposed to be the same as1 the    
stag beetle4  #aj ,bk4 ,,xxx41 ch4 #cj4 
,bohn ed41 ,vol4 ,v41 p4 #ded4 ,see also
 ,vol4 ,,iii41 p4 #cd2 ,bk4 ,,xi1 ch4   
#cd4  #aa ,there is likely the word eye 
omitted here1 it shining like a cat's   
eye4 ,myer4  #ab ,heliopolis4 ,myer4    
#ac ,the ,ibis which was sacred to      
,thoth4 ,myer4  #ad ,the ,hieroglyphics 
of ,horapollo ,nilous1 by ,alexander    
,turner ,cory4 ,london1 #ahdj4 ,see     
also1 ,horapollinis ,niloi              
,hieroglyphica edidit1 etc41 ,conradus  
,leemans1 ,amstelodami1 #ahce4  #ae     
,ptah ,tore1 the deformed pigmy god of  
,memphis1 has a scarabus on his head1   
and sometimes1 stands on the figure of a
 crocodile4 ,ibid41 ,cory's ed41 p4 #bi4
  #af ,religions de l',antiquit1 etc41  
du ,dr4 ,frd4 ,creuzer1 edition of      
,j4,d4 ,guigniaut4 ,paris1 #ahbe1 ,vol4 
,i41 part #b1 ,hindu plates ,,xvii41    
,egyptian plates ,,xlix4  #ag ,for such 
pictures see1 ,thomas ,j4 ,pettigrew's  
,hist4 of ,egyptian ,mummies4 ,london1  

#ahcd1 ,plate #h1 ,nos1 #a1 #b and #c4  
,wilkinson's ,manners and ,customs of   
the ,ancient ,egyptians1 #bnd ,series4  
,london1 #ahda1 ,vol4 ,,ii41 p4 #bef4   
,scarabes gyptiens1 figurs du ,muse des 
,antiquea de sa majest l'empereur1      
,vienne1 #ahbd4  #ah ,religions de      
l',antiquit1 etc41 du ,dr4 ,frd4        
,creuzer1 refondu1 etc41 par ,j4,d4     
,guigniaut1 ,vol4 ,i41 part #b1 ,note   
#f1 p4 #hba et seq41 p4 #idh et seq41   
,nos4 #ahg and #ahg;a of ,plate         
,,xlviii4 and pp4 #hj1 #hb4 ,as to the  
,makrokosm see1 ,the ,qabbalah1 etc41 by
 ,isaac ,myer4 ,philadelphia1 #ahhh4    
,also2 ,le ,papyrus de ,neb-,qed4       
7,exemplaire hiroglyphique du livre des 
morts7 etc41 by ,thodule ,devria1       
translation by ,paul ,pierret4 ,paris1  
#ahgb1 p4 #i4     ,,ii4                 
,,manufacture ,,of ,,the ,,scarab,i4    
,,materials4 ,,inscriptions ,,on4       
,,different ,,periods ,,of ,,manufacture
 ,,and ,,the ,,peculiarities ,,of4 ,,how
     ,,to ,,judge ,,of ,,the ,,epoch4   

,the representations of the insect are  
among the earliest sculpture of stones  
known1 and were cut in various          
materials1 steatite a species of        
soapstone being one of the earliest     
used4 ,some were perhaps first moulded  
in clay1 dried1 and then cut into shape4
  ,many of those in use in ,egypt were  
carved out of opaque or semi-transparent
 stones1 and those cut in hard stone    
were usually made of some one of the    
following varieties3 green basalt1      
diorite1 granite1 hmatite1 lapis lazuli1
 jasper1 serpentine1 verde antique1     
smalt1 root of emerald1 which is the    
same as plasma or prase#ai cornelian1   
amethyst1 sardonyx1 agate and onyx4     
,those of soft material were cut out of 
steatite1 a soft limestone similar to   
chalk1 but usually they were of a white 
or grayish slaty stone easily cut and   
which stood fire4 ,after having been cut
 into the correct shape1 these were     
glazed in the fire1 with enamels of     
different colors1 usually of a light    

bluish green4 ,those found now of a     
brownish or dirty white color1 have lost
 the original color of the glaze from   
the ravages of time4 ,some were of clay 
only sun-dried1 others of clay burned   
into pottery4 ,they were also made of   
porcelain1 and also1 but rarely1 of     
colored glass4 ,they have also been     
found made of gold1 ivory and even of   
wood4 ,champollion thinks1 that certain 
signets found made of wood or pottery   
bearing the figure of the scarabus in   
intaglio1 were used to mark the victims 
which had been examined and passed as   
proper for the sacrifice4 ,the scarabs1 
as we have remarked1 were usually       
engraved with incised hieroglyphic      
symbols on the under side1 frequently   
with those used on one of his cartouches
 by the reigning pharaoh1 and were then 
worn by their owners to show veneration 
for him1 as the representative of the   
deity upon earth1 or from national      
pride4 ,the names of deities1 officials1
 private persons1 and even only         

monograms or devices1 at later periods1 
were engraved on the bases4 ,the best   
class were usually made of a fine1 hard1
 green basalt2 sometimes they were      
joined to the representation of the     
human heart on which was inscribed      
,life1 ,stability and ,protection4 ,this
 was evidently talismanic4  ,the        
principal period of their manufacture in
 large quantities1 was in the reign of  
,tehuti-mes1 or ,thotmes ,i,i,ird1 of   
the ,x,v,i,i,ith ,dynasty 7circa        
#afjj-aeff ,b4,c47 ,other times were the
 ,x,i,xth and ,x,xth ,dynasties4  ,the  
large and small scarabs form two        
classes4 ,those two to three inches in  
length belong to the larger1 and were   
usually for use inside of the mummies in
 place of the heart4 ,there are also    
some of very large size2 one made of    
basalt now in the ,british ,museum1 is  
five feet high4  ,the making of the     
shape of the scarab in cameo1 in soft   
material was easily done1 and the       
incising of its flat under surface with 

the hieroglyphics not difficult2 the    
artist most likely used1 one or more    
instruments of different sizes1 formed  
at the end like a very small chisel or  
bradawl1 and gouged or punched out the  
figures and inscriptions desired1 before
 the glazing or enameling was put on1   
this gave a flat appearance at the depth
 or bottom of the incised work4 ,on     
those of hard stone they used           
hand-drills or the lathe4  ,i condense  
the following remarks1 adding however   
some of my own1 from a very valuable    
little book recently published by the   
learned egyptologist ,mr4 ,w4,m4        
,flinders ,petrie1 entitled3 ,historical
 ,scarabs4#bj  ,i regret ,mr4 ,petrie's 
lithographic drawings are so blurred    
that they are difficult to read1 and    
hope that he will1 in the near future1  
get out a more artistic and complete    
book on this important subject4#ba  ,he 
shows #b1bbj examples of incised        
historical scarabs4 ,the first genuine  
historical scarabs he gives copies of1  

are those of ,neb-ka of the ,i,i,ird    
,dynasty2 7circa #cicc-cijj ,b4,c47 ,he 
also shows some of the period of        
,nefer-ka-,ra or ,huni1 mentioned in    
,brugsch's ,history of the ,pharaohs1   
pages #bg and #cb2 who lived #chjj      
,b4,c4 ,the name ,ra1 forming part of   
the king's name at this period1 is very 
unusual4 ,it was not used1 as a portion 
of his name1 by any other ,egyptian king
 from the ,ist ,dynasty to the second   
king of the ,i,vth or ,great ,pyramid   
,dynasty1 named ,tatf-,ra4 ,the next    
king to him was ,khaf-,ra4 ,the reign of
 ,tatf-,ra was preceded by that of      
,khufu1 the ,kheops of the ,greek       
writers1 builder of the ,great ,pyramid2
 7circa #cgcc-cgjj ,b4,c47  ,the scarabs
 of the time of ,khufu are all small and
 of fine work but without elaboration1  
and the colors are delicate1 beautiful  
and permanent4 ,under ,khaf-,ra or      
,khefren1 there was a deterioration2 the
 work is inferior and the glazing has   
often perished1 indeed good glazes are  

rare after this period until the ,x,ith 
,dynasty2 7circa #bejj ,b4,c47 ,the     
glazes of this latter period are hard1  
unalterable and of fine colors1 some    
under the ,x,i,ith are fine but often   
they are decomposed4 ,blue is a special 
color of this time and it is also used  
in the sculpture4 ,under ,pepi1 ,i,vth  
,dynasty1 7circa #cbcc ,b4,c417 the     
scroll pattern first arises as a system1
 but is not found continuously in the   
scarabs of his period4 ,in the ,x,i,ith 
,dynasty1 7#bdff-bbff ,b4,c417 the      
continuous scroll pattern was developed1
 it became general in the ,x,i,i,ith1   
7circa #bbcc ,b4,c417and ,x,i,vth       
,dynasties1 and lingered as far as the  
,x,i,xth 7#adjj ,b4,c47  ,brown scarabs 
were originally green glazed but have   
faded1 white were originally blue1      
excepting possibly some of ,amen-hotep  
,i,i,ird4 ,there are also white and     
gray1 without any glaze remaining1 which
 were originally blue or green4  ,the   
cowroids1 with a rope border on the     

back1 are of the ,hyksos period4  ,the  
,x,v,i,i,ith ,dynasty 7#agjj-adjj       
,b4,c417 begins with some of a poor     
style but it soon disappeared4 ,the     
peculiarity of the first part of this   
,dynasty is the dark green glaze--rather
 greyish--this was followed by those of 
brilliant tints in the time of          
,amen-hotep ,i,i,ird1 7#aejj-adcc       
,b4,c417 those of red1 yellow1 violet1  
chocolate and other colors4 ,they are   
never met with later4  ,at the end of   
the ,x,v,i,i,ith ,dynasty1 pottery rings
 came into general use and are more     
frequently met with than scarabs4 ,their
 range is from ,amen-hotep ,i,i,ird to  
,rameses ,i,ind4  ,in the ,x,v,i,i,ith  
,dynasty the art of glazing             
deteriorated1 and most of the scarabs of
 this period have now lost their        
original colors1 and are at present only
 browns and greys4  ,under ,rameses     
,i,ind and his successors the work is   
poorly done4  ,in the ,x,x,i,vth 7the   
,satic ,period1 circa #gcc ,b4,c417 and 

in the ,x,x,vth ,dynasties1 there was a 
revival and better work and glaze and   
there remain of this time some fine     
examples4  ,the ,x,x,v,ith 7#fff-ebh    
,b4,c4 ,satic17 was poor in results but 
the work neat4 ,the scarab form had     
nearly run its course and continued1 in 
a debased style1 until the close of the 
native monarchy with the ,x,x,xth       
,dynasty 7circa #cgh ,b4,c47  ,place had
 much to do with the difference between 
scarabs1 local styles of manufacture    
made more differences than various      
,dynasties4 ,this is a subject very     
difficult to investigate2 we have but   
few sources of information on this      
subject4 ,at ancient ,tanis 7now called 
by the ,arabs1 ,san17 they are all of   
schist1 rough and small1 the glaze      
nearly always gone2 within a short      
distance from there1 at ,nebesheh1 they 
are usually of pottery with bright      
apple-green glazes2 at ,naukratis1 the  
,ancient ,egyptian name of which was ,am
 and which was a city in the time of the

 ,x,i,ith ,dynasty1 they are mostly of  
soft glazed pottery1 or1 of a blue      
paste1 and nearly all are small2 in the 
ruins of this city was found a factory  
for making ,greek scarabs in imitation  
of the ,egyptian style4#bb ,it is said1 
that those with scroll border1 are from 
the ancient city of ,abydos4  ,a curious
 thing is1 the re-issue of those of an  
earlier king by a later monarch1        
examples of these are1 re-issues under  
queen ,hatshepsu 7circa #afjj ,b4,c417  
and ,tehuti-mes ,i,i,ird 7circa         
#afjj-aeff ,b4,c417 of the ,x,v,i,i,ith 
,dynasty4 ,the earlier and later names  
are often on one scarab4 ,we cannot     
therefore be sure of the age of a       
scarab1 even from the inscription1 as it
 may be of a period subsequent to the   
king named on it4 ,however these        
re-issues were only in a few special    
periods4 ,one point to be noted is1 we  
find similar work and color in the      
majority of those made under each       
pharaoh1 and such style is different    

from that of any earlier or later age2  
through this we have a guide as to the  
original dating of most scarabs from the
 ,i,vth ,dynasty to the end4 ,no        
subsequent period shows us similarities 
to the majority of the scarabs of any   
one king4  ,to the unlearned probably   
all scarabs look alike1 but to an eye   
educated on the subject1 the            
peculiarities of each ,dynasty1 and even
 of separate reigns1 become evident4    
,the value of scarabs to the historian  
is therefore great1 as the study of     
scarabs will reveal1 the names of kings 
unknown heretofore from any of the other
 monuments so far discovered4           
,,footnotes3  #ai ,this is chalcedony   
penetrated by minute green fibres of    
hornblende4 ,it is now found principally
 in ,india and ,china4 ,the color is    
frequently equal to that of the finest  
emerald1 but the yellow patches or black
 spots running through it1 distinguish  
its species4 ,ancient specimens have    
been found free of these marks and very 

transparent4 ,they may have had a method
 in ancient times of freeing the stone  
from these spots4  #bj ,historical      
,scarabs4 ,a series of ,drawings from   
the ,principal ,collections4 ,arranged  
chronologically1 by ,w4,m4 ,flinders    
,petrie1 author of1 ,pyramids and       
,temples of ,gizeh1 etc4 ,london1 ,d4   
,nutt1 #ahhi4  #ba ,i have generally    
used in this work the ordinary well     
known forms of the ,egyptian proper     
names1 such as ,rameses1 ,thotmes1      
,amen-hotep1 etc41 instead of the more  
unusual1 but more correct and learned1  
names3 ,ra-messu1 ,tehuti-mes1          
,amen-hetep1 etc4 ,the dates are based  
on those of ,dr4 ,heinrich              
,brugsch-,bey4  #bb ,ten ,years ,digging
 in ,egypt1 etc41 by ,w4,m4 ,flinders   
,petrie4 ,london1 #ahib1 p4 #de4        
,,iii4      ,,method1 ,,period ,,and    
,,antiquity1 ,,of ,,engraving ,,the     
,,scarab ,,and ,,other     ,,forms4     
,,use ,,of ,,rings4 ,,mention ,,of1     
,,and ,,of ,,engraving ,,and ,,sealing1 

,,in ,,the ,,old ,,testament4 ,,use ,,of
 ,,cylinder ,,signets ,,by ,,the        
,,egyptians4     ,,relations ,,with     
,,mesopotamia4 ,,carving ,,of ,,diorite 
,,and ,,other ,,hard     ,,stone4 ,,the 
,,egyptians ,,did ,,not ,,borrow ,,their
 ,,engraving ,,and ,,the     ,,scarab1  
,,from ,,mesopotamia4 ,,disuse ,,of     
,,scarabs4   ,the art of the lapidary is
 asserted in the ,book of ,enoch1 to    
have been taught to mankind by the angel
 ,azazel1#bc chief of the angels who    
took to themselves wives from among the 
daughters of men4 ,the most ancient     
method consisted1 in obtaining a flat   
surface by rubbing or scraping1 with    
corundum or other hard and wearing      
stone1 the stone to be engraved4 ,if a  
very hard stone1 the incising or cutting
 was done by drilling1 wearing and      
polishing1 through attrition1 by means  
of a wooden or metal point1 kept in     
connection with a silicious sand or     
corundum1 by the medium of oil or water2
 and also1 by the use of the punch and  

of the wheel4 ,the ,greek artists likely
 used powdered emery and copper drills4 
,bronze and iron drills1 and those of   
other metals may have been used at a    
very early period4 ,pliny says1 corundum
 was used in the form of a splinter     
fixed in an iron style4 ,the ancients   
also appear at a very early period1 to  
have used diamond dust and oil1 and     
diamond splinters1 framed in iron4  ,it 
has been shown by recent investigations1
 that the ,ancient ,egyptians1 before   
the building of the ,great ,pyramid2 cut
 diorite1 syenite and other very hard   
stone1 by means of saws1 some of them   
nine feet long1 having jeweled teeth    
inserted2 and that they excavated the   
centre of large blocks of hard stones   
for use as sarcophagi1 etc41 by means of
 tubular or circular hollow drills1 the 
cutting surface of which was armed with 
jewels4 ,they then took out the core and
 broke down the partitions between the  
drilled holes1 with the chisel and      
hammer1 and thus made large excavations 

in the block of hard stone4 ,they also  
used lathes at a most archaic period in 
cutting diorite and other hard          
stones4#bd ,they also used the          
bow-drill1#be ,they also may have known 
and used boort4  ,as early as the first 
,theban ,dynasty1 the ,x,i,ith ,egyptian
 7#bdff-bbff ,b4,c417 the ,dynasty in   
which lived the ,amen-em-hats and the   
,usertsens1 the great early art period  
of the ,egyptian empire1#bf the         
,egyptians engraved on amethyst1 jasper 
and rock crystal1 and at that early     
period did some of the most beautiful   
work remaining to us of their           
glyptography4 ,the signets however were 
not always in scarab form1 they were    
sometimes squares or parallelograms4#bg 
,there is now in the ,museum of the     
,louvre in ,paris1 ,france1 the finest  
old cameo in the world4 ,it is of the   
reign of ,amen-em-hat ,i,i,ird of the   
,x,i,ith ,dynasty1 7#bcjj ,b4,c47 ,this 
was the first ,theban ,dynasty and is a 
very rare period for ,egyptian cameo    

work1 as they then usually incised their
 engraving on precious stones and did   
not engrave them in relief4#bh ,the     
stone is a square sardonyx and is       
engraved in relief1 with great fineness 
on one side1 with a figure the name of  
which can be read ,ha-ro-bes1 the other 
side is incised and has the figure of a 
pharaoh killing a prisoner1 whom he     
holds by the beard1 with a mace2 the    
cartouch reads1 ,ra-en-ma1 i4e41        
,amen-em-hat ,i,i,ird4 ,the intaglio    
work on this side is not equal to that  
in cameo1 on the other4  ,there is yet  
in existence the signet ring of the     
celebrated ,queen ,hatshepsu 7circa     
#afjj-aeff ,b4,c47 ,it is made of fine  
turquoise1 cut in the form of a scarab1 
perforated longitudinally and hung on a 
swivel4 ,on the under side is engraved  
the family name of the ,queen4#bi ,there
 also exists the signet ring of         
,amen-hotep ,i,ind1 7#aeff-aecc ,b4,c417
 having inserted in it a fine green     
glazed scarab4#cj  ,the description of  

the working and engraving of precious   
stones in the ,v,i,ith century before   
our era1 is given in ,ezekiel#ca where  
addressing the king of ,tyre1 he says3  
,thou art covered with precious stones  
of all kinds1 with the ruby1 emerald1   
diamond1 hyacinth1 onyx1 jasper1        
sapphire1 carbuncle1 sardonyx and gold4 
,the wheels and drills of the           
lapidaries1 were prepared in thy service
 for the day in which thou wert created4
  ,the use of the signet ring is        
frequently mentioned in the ,old        
,testament4#cb ,there1 are also the     
phrases1 ,sealed up in a bag2#cc ,a book
 that is sealed2#cd ,written evidence   
sealed2#ce ,sealed with clay2#cf        
,sealing with the signet of the king4#cg
 ,there are also many places referring  
to the use of seals in the ,new         
,testament4  ,in ,genesis1 we find      
,thamar asking from ,judah1 his seal1   
seal string and staff2 in pledge4#ch ,in
 the same book1 but referring to a much 
later period1#ci ,pharaoh takes his     

signet ring1 in which was likely set a  
scarab1 from his hand and puts it on the
 hand of ,joseph1 so as to confer       
sovereign authority upon him4#dj  ,in   
,exodus1#da mention is made of the      
engraving of ,shoham stones as a signet1
 i4e41 in intaglio1 as done by          
,betzaleel for the ephod of the ,high   
,priest1 and for his breastplate1       
engraved in the same way2 these were    
hard precious stones4 ,we do not know   
with certainty the names of these stones
 in ,english4 ,the ,hebrew names of     
those on the first row of the ephod1    
are2 odem1 piteda1 bareketh2 second row1
 nophesh1 saphir1 yahlome2 third row1   
leshme1 shevo1 a'halama2 fourth and last
 row1 tarshish1 shokam1 yoshph4  ,some  
archologists argue1 that the original   
form of the ,egyptian seal was that of a
 cylinder1 and from thence would deduce1
 that the ,egyptians1 or at the least   
,egyptian art1 came from ,mesopotamia4  
,i would now say1 that ,i do not believe
 that fact can be correctly deduced1    

from the cylindrical form sometimes used
 in ,egypt4 ,the cylinder perforated is 
only a form of the bead1 and beads were 
one of the earliest forms of decoration 
and ornament1 used by primitive man4    
,the earliest shape of genuine seals    
known and used in ,egypt1 is that in the
 scarab form and that form is peculiarly
 ,egyptian2 cylinders however were      
sometimes used by that people in early  
times4 ,the ,egyptians at a time1 to us 
beyond all positive history1 took       
advantage of and used the intaglio seal1
 so as to secure1 by its impression1 the
 authenticity of personal acts whether  
done by the sovereign1 his chancellor1  
or his treasurer1 or by private         
individuals2 and they sometimes made use
 of signets of a cylindrical form1 which
 they applied upon clay or wax1 but such
 were not frequently used in ,egypt4    
,the cartouch of the earliest known     
king1 ,mena1 7#ddjj ,b4,c417 is in the  
form of the outline of the under side of
 the scarab4  ,it was because of its    

shape1 the oval1 ellipse1 or ring form  
of the line around the cartouch1 it not 
having an end2 that the pharaohs1 always
 having in mind immortality1 have placed
 their names within that form4 ,the     
incised oval capable of producing       
millions of impressions1 would also be  
thought of as an emblem of reproduction1
 renewment and eternity4  ,indeed in all
 the different epochs of its greatness1 
we will find used in ,egypt1 a few      
cylinders of hard stone upon which are  
well engraved cartouches4 ,there is one 
in serpentine in the ,national ,library 
of ,paris bearing the name of ,khufu or 
,kheops1 of the ,i,vth ,dynasty1 7#cgcc 
,b4,c417 builder of the ,great ,pyramid 
at ,gizeh4 ,they have been found of     
soapstone made in the period of the     
,i,vth ,dynasty1 and of schist enameled 
green1 of the periods of ,amen-em-hat   
,ist1 ,amen-em-hat ,i,ind and of        
,sovkhotpu ,i,i,ird1 pharaohs of the    
,x,i,ith and ,x,i,i,ith ,dynasties4     
,these were royal cylinders4 ,after the 

,x,v,i,i,ith ,dynasty such are very rare
 in that form4  ,the cylinders1 says a  
very learned writer upon ,oriental      
,glyptic ,art2 whatever may be their    
material1 have never shown the mark of a
 foreign influence upon the soil of     
,egypt4 ,nevertheless the relations of  
,egypt and ,chaldea date from the very  
highest antiquity4#db ,scarabs became   
unfashionable in ,egypt in the ,x,i,ith 
,dynasty and cylinders were largely     
used4 ,they were used by the ,usertsens 
and the ,amen-em-has1 but after the     
,x,i,ith ,dynasty cylinders are rare in 
,egypt4 ,the shape of the cartouch does 
not appear to have been changed4  ,rings
 came into fashion with ,amen-hotep     
,i,i,ird and died out under ,rameses    
,i,ind1 the last king whose name we find
 on a bezel4 ,i do not deny that        
relations existed from the most archaic 
periods between the people of           
,mesopotamia and those of ,egypt1 the   
discoveries of the magnificent sculpture
 in and beautifully incised writing on1 

green diorite2 one of the hardest1      
toughest1 and heaviest1 stones known2   
found at ,telloh by ,m4 de ,sarzec1     
which had to be brought in large blocks 
from the quarries of ,sinai2 take us    
back to the most remote period1 in which
 we have any knowledge of the           
inhabitants of ,lower ,mesopotamia4 ,one
 of the most wonderful ancient statues  
in existence is that of king ,khaf-,ra  
of the ,i,vth ,dynasty1 the ,khephren of
 the ,greek writers1 builder of the     
second ,great ,pyramid of ,gizeh1 7circa
 #cfff ,b4,c417 now in the ,museum of   
,gizeh1 ,egypt4 ,this statue1 a full    
sized portrait-statue1 is made of green 
diorite highly polished and is a        
magnificent work of ,egyptian art4 ,its 
base is inscribed3 ,image of the ,golden
 ,horus1 ,khephren1 beautiful god1 lord 
of diadems4#dc ,this shows1 that the    
,egyptians worked the quarries of       
diorite at ,sinai and sculptured in it1 
about #djjj ,b4,c4#dd ,the figures found
 at ,telloh are in a seated position1   

are sculptured in archaic ,egyptian     
style1 and are covered with beautifully 
incised writing4#de  ,i also know from  
the cuneiform inscriptions1 that        
relations existed between the ,first    
,empire of ,chaldea and the pharaohs of 
the ,great ,pyramids of ,gizeh1 as early
 as the reign of the ,chaldean king     
,naram-,sin2 7circa #cgee ,b4,c47       
,subsequent to the periods cited1 there 
exist a number of historical facts      
showing the knowledge of each other1    
possessed by the inhabitants of the     
valley of the ,nile and the people of   
,mesopotamia4#df  ,the same specialist  
in ,oriental glyptics1 says3 ,the       
efforts of some learned men to discover 
traces of a reciprocal influence have   
been fruitless4 ,the pyramids of ,egypt 
have no affinity with those of ,chaldea1
 the sculpture of ,egypt does not       
resemble in anything that of ,nineveh or
 ,caleh2 would the glyptic art have     
escaped that individual development     
which characterizes the two peoples8 ,i 

think not2 at least we have no proof of 
it4#dg  ,and a very erudite archologist 
of our day1 ,hodder ,m4 ,westropp1      
holds2 that the ,assyrian cylinders came
 into that country from ,egypt and did  
not come from ,assyria into ,egypt4#dh  
,scarabs went out of use under the      
so-called ,heretic kings of the         
,x,v,i,i,ith ,dynasty4 ,some fine enamel
 work on other subjects was made in this
 period1 showing that art had not       
degenerated1 indeed the discoveries made
 in the ruins of ,khuaten1 the present  
town called ,tell-el-,amarna1 show      
remains of magnificent monuments        
sculptured in the period of the ,heretic
 kings of ,egypt1 7circa #adff-adjj     
,b4,c47  ,the scarab became again in use
 in the time of ,hor-em-heb and ,sethi  
,i41 and rings again became fashionable 
in ,egypt4  ,after the fall of the      
,ramessidian kings1 the priestly        
,dynasty of ,her-hor does not appear to 
have made use of them very largely4 ,in 
the recent great discovery at           

,dayr-el-,baharee very few were found1  
and none bearing the name of ,her-hor or
 his immediate family4  ,,footnotes3    
#bc ,the ,book of ,enoch1 etc41 by ,rev4
 ,george ,h4 ,schodde1 ,ph4,d4 ,andover1
 #ahhb1 pp4 #fg1 #fh4  #bd ,ten ,years  
,digging in ,egypt1 #ahha-ahia1 by      
,w4,m4 ,flinders ,petrie1 etc4 ,the     
,religious ,tract ,soc4 ,london1 #ahib1 
pp4 #ai1 #bj1 #bf et seq41 #aai4  #be   
,ibid41 p4 #aai4  #bf ,egypt ,under the 
,pharaohs1 etc41 by ,heinrich           
,bragsch-,bey4 ,london1 #ahia1 p4 #hj et
 seq4  #bg ,m4 ,menant in1 ,les ,pierres
 ,graves de la ,haute-,asie4 ,paris1    
#ahhf1 ,part ,,ii41 p4 #aic et seq4  #bh
 ,ibid41 p4 #aid4  #bi ,recueil de      
,travaux ,relatifs  la ,philol4 et      
l',archol4 gypt1 etc41 publi sous la    
direction de ,g4 ,maspero4 ,paris1      
#ahhh1 ,vol4 ,x41 p4 #abf4  #cj ,ibid4  
#ca ,,xxviii41 #ac4 ,comp4 ,de ,luynes1 
,numismatique des ,satrapies1 p4 #ga4   
,g4 ,perrot and ,c4 ,chipiez1 ,histoire 
de l',art ,phnicie1 ,vol4 ,,iii41 p4    

#fcb4  #cb ,i ,kings1 ,,xxi41 #h2 ,deut4
 ,,xxxii41 #cd2 ,neh4 ,,ix41 #ch1 ,,xi41
 #a2 ,esth4 ,,viii41 #h1 #aj4  #cc ,job 
,,xiv41 #ag4  #cd ,isa4 ,,xxix41 #aa2   
,dan4 ,,ix41 #bd1 ,,xii41 #di4  #ce     
,jer4 ,,xii41 #aj1 ,,xxxii41 #aa1 #ad1  
#dd4  #cf ,job ,,xxxviii41 #ad2 ,isa4   
,,viii41 #af4  #cg ,dan4 ,,vi41 #ag2    
,esth4 ,,iii41 #ab1 ,,viii41 #h1 #aj2 ,i
 ,kings1 ,,xxi41 #h4  #ch ,gen4         
,,xxxviii41 #ah1 #be1 #bf4  #ci ,ibid4  
,,xll1 #db4  #dj ,brugsch-,bey says3    
,the immigration of ,joseph into ,egypt 
was about #agcj ,b4,c41 near the time of
 the reign of the ,hyksos ,king1 ,nub4  
,egypt ,under the ,pharaohs4 ,london1   
#ahia1 p4 #abj et seq4  #da ,,xxxix41   
#f1 #g1 #aj1 #ad4  #db ,m4 ,joachim     
,menant1 ,les ,pierres ,graves de la    
,haute-,asie4 ,recherches sur la        
,glyptique ,orientale4 ,paris1 #ahhf1   
,part ,,ii41 p4 #aig4  #dc ,bragsch-,bey
 in his1 ,egypt ,under the ,pharaohs4   
,london1 #ahia1 p4 #cf et seq4  #dd ,m4 
,auguste ,mariette1 ,outlines of        

,ancient ,egyptian ,history1 makes the  
,i,vth ,dynasty begin at #dbce ,b4,c4   
#de ,dcouvertes en ,chalde par ,m4      
,ernest de ,sarzec1 etc4 ,ouvrage       
accompagn de planches1 etc4 ,paris1     
#ahhd1 et seq4 ,see also1 ,article in   
,harper's ,magazine1 ,january1 #ahid1   
and ,qabbalah1 etc41 by ,isaac ,myer4   
,philadelphia1 #ahhh1 p4 #bcg et seq4   
#df ,see the instances given by ,m4     
,menant in his ,les ,pierres ,graves de 
la ,haute-,asie4 ,recherches sur la     
,glyptique ,orientale1 etc4 ,paris1     
#ahhf1 p4 #aig et seq4  #dg ,ibid41 p4  
#bjj4  #dh ,hand-book of ,archology4    
,london1 #ahfg1 pp4 #bec1 #bhi4         
,recently ,dr4 ,fritz ,hommel1 in his1  
,der babylonische ,ursprung der         
gyptischen ,kultur1 ,mnchen1 #ahib1 has 
endeavored to prove the contrary4       
,,iv4      ,,the ,,oldest ,,scarabs4    
,,classification ,,and ,,value ,,of     
,,the ,,scarab ,,to     ,,the ,,scholar 
,,of ,,to-,,day4 ,,large ,,inscribed    
,,historical ,,scarabs4   ,the oldest   

scarabs1 as to which one can feel any   
certainty of their being genuine1 are   
those ,i have mentioned bearing the name
 of ,neb-,ka incised on the under       
surface4 ,this pharaoh was of the       
,i,i,ird ,dynasty and was living        
according to ,brugsch-,bey1 7#cicc-cijj 
,b4,c47#di ,that would make #e1hbf years
 past according to ,brugsch4 ,auguste   
,mariette would make it much more       
ancient4  ,these scarabs were made of   
pottery and glazed a pale green4 ,it has
 been stated by some archologists that  
the oldest scarabs were not engraved1   
the under part being made to represent  
the legs of the beetle folded under its 
body1 but this is only a supposition1 as
 the age can only be determined with any
 certainty1 by the inscriptions incised 
on the under part and those not so      
inscribed1 may be of different periods1 
some of very late times4  ,the forms    
usually met with in the tombs are1      
first2 those with the lower part as a   
flat level surface for the purpose of   

having an inscription incised upon it2  
those having the engraving incised upon 
such a surface2 and those with the legs 
inserted under them in imitation of     
nature4 ,sometimes the head and thorax  
are replaced by a human face1 and       
occasionally the body or the elytra have
 the form of the ,egyptian royal cap4   
,they often hold between the fore-legs  
representations of the sun4  ,the       
smaller scarabs have as subjects        
engraved upon them1 representations of  
the ,egyptian deities1 the names of the 
reigning pharaohs1 of queens1 animals1  
religious symbols1 sacred1 civil and    
funeral emblems1 names of priests1      
nobles1 officers of state and private   
individuals1 ornaments1 plants1 and     
sometimes dates and numbers written in  
ciphers4 ,some have upon them mottoes1  
such as3 ,good ,luck1 ,a ,happy ,life1  
etc41 being used for sealing letters1   
etc41 and as presents4 ,the larger sized
 have frequently texts and parts of     
chapters from the ,book of the ,dead4   

,we can therefore make a general        
classification of scarabs into3  ,i4    
,mythological or ,religious1 containing 
subjects1 figures or inscriptions1      
connected with kosmogony1 kosmology1 or1
 religion4  ,,ii4 ,historical1          
containing royal cartouches and names of
 men1 and figures relating to civil     
customs4  ,,iii4 ,physiographical1      
containing animals or plants connected  
with consecrated symbols4  ,,iv4        
,funereal1 connected with the ,ka or    
life of the mummy in this world1 and    
with the journey of his ,ba or          
responsible soul1 through the           
under-world4  ,v4 ,talisman or ,amulets1
 to preserve the wearer from injury in  
this world1 by men or by evil spirits4  
,,vi4 ,signets or ,seals for official   
use1 to verify documents or evidence1   
protect property and correspondence1    
etc4  ,,vii4 ,and others1 which have    
upon them only ornamental designs1 as to
 which we cannot1 up to this time1      
ascertain the meaning4  ,the ,historical

 scarabs are of great value in          
ascertaining or displaying1 in          
chronological series1 the cartouches or 
shield names1 if ,i may be permitted    
thus to term them1 of the monarchs of   
,egypt2 going from the most remote      
antiquity of the ,egyptian kingdom1 to  
,a4,d4 #bjj4  ,the ,ancient ,egyptians1 
remarks the ,rev4 ,mr4 ,loftie1 in his  
admirable little book2 ,of ,scarabs1 p4 
#cj et seq41 happy people1 had no money 
on which to stamp the image and         
superscription of their ,pharaohs4 ,a   
collection of scarabs1 inscribed with   
the names of kings1 stands therefore to 
,egyptian history as a collection of    
coins stands to the history of the      
younger nations of the earth4 ,the day  
must come when our ,universities and    
other bodies of learned folk1 will study
 the beginnings of things as they are   
presented in ,egyptian history1 and some
 knowledge of these curious little      
objects will become indispensable to an 
educated man 99 99 99 99 ,the collection

 now arranged in the ,british ,museum is
 second to none4  ,i would also say1    
those in the ,louvre at ,paris1 are now 
arranged chronologically4 ,a good       
collection is also in the ,egyptian     
,museum at ,gizeh1 collected by ,m4     
,mariette2 formerly it was very fine4   
,mr4 ,w4,m4 ,flinders ,petrie asserts#ej
 that most have been stolen1 and further
 says3 ,i hear that they were mainly    
sold to ,general ,cesnola for ,new      
,york4 ,if these are in the possession  
of the ,metropolitan ,museum of ,new    
,york ,city1 it possesses a genuine and 
rare collection of scarabs4  ,a large   
number of scarabs bear the names of the 
pharaonic kings2 this is not strange    
when we remember that the pharaoh was   
,horus1 ,khepera1 and also a son of ,ra 
and of ,osiris4 ,these cartouches are   
those of kings of orthodox ,egyptian    
descent1 we do not find the names of the
 ,greek ,ptolemies upon them1 the ,roman
 ,emperors1 as conquerors1 sometimes    
used them but that does not prove their 

abstract right to do so4  ,the latest1  
in the collection belonging to ,france1 
is of ,nectanebo the last native        
pharaoh1 7circa #cjj ,b4,c47  ,some of  
them1 as did those of ,thotmes ,i,i,ird1
 bear the inscription1 ,ra-men-kheper1  
i4e41 ,ra1 the sun-god establishes the  
future resurrection4 ,this is found on  
fully one-half of the specimens from the
 ,x,v,i,i,ith ,dynasty down4  ,the art  
of making the scarabs as ,i have said   
before1 varies with the epochs4 ,the    
most elegantly finished are those of the
 time of the ,i,vth ,dynasty 7#cgcc-cfjj
 ,b4,c417 that of the ,great ,pyramids2 
in the ,x,i,ith ,dynasty 7#bdff-bbff    
,b4,c417 fine work again appears1 then  
comes inartistic work4 ,again with the  
,x,v,i,i,ith ,dynasty 7#agjj-adcc       
,b4,c417 arises another period of       
splendor1 and the art after again       
deteriorating revived under the         
,x,x,v,ith1 the ,satic ,dynasty1        
7#fff-ebh ,b4,c47  ,amenophis 7or       
,amen-hotep7 ,i,i,ird of the            

,x,v,i,i,ith ,dynasty1 the ,memnon of   
the ,greeks1#ea 7circa #aejj-adff       
,b4,c417 had a number of large scarabs  
made1 their object was not sepulchral   
nor were they to be used as talisman1   
but they apparently were made for the   
incising upon them1 of purely historical
 inscriptions2 such monuments are       
exceedingly rare and are almost limited 
to the time of this ,pharaoh4 ,in the   
great building erected by him1 now known
 as the ,temple of ,luxor1 were found   
four of these great inscribed scarabs4  
,rosellini has given copies and         
explanations of two of them4 ,dr4       
,samuel ,birch has given a translation  
of them1 which ,i think is subject to   
revision4#eb ,one relates to the        
marriage of ,amen-hotep ,i,i,ird in the 
tenth year of his reign1 with his queen 
,thya1 7,taia1 or ,thai27 a second      
relates to the same subject and to the  
arrival of ,thya and ,gilukipa in       
,egypt1 with #cag women2 a third1 now in
 the ,vatican1 mentions a tank or sacred

 lake1 made for the queen ,thya1 in the 
eleventh year and third month of his    
reign1 to celebrate the ,festival of the
 ,waters1 on which occasion he entered  
it1 in a boat of the most gracious ,disk
 of ,ra1 i4e41 the sun-god4 ,this       
substitution of the boat of the ,disk of
 ,ra for the usual boat of ,amen-,ra1 is
 the first indication of a new1 or      
heretical1 sun worship4#ec  ,one in the 
,museum of the ,louvre 7,no4 #ehj-gdg1  
,vitrine ,n47 reads3 ,the living ,horus1
 the bull strong through the ,ma1 the   
sovereign of the two regions1 supporter 
of the laws and preserver of the land   
7country17 the ,horus triumphant and    
great by his valor1 vanquisher of the   
,asiatics1 king of ,upper and ,lower    
,egypt1 ,ra-ma-neb 7the prenomen of the 
king17 son of the sun1 ,amenophis       
,,iii41 giving life4 ,the queen ,taia   
living4  ,account of the lions brought  
from ,asia by his ,majesty1 namely3 from
 the first year to the tenth1 savage    
lions #ajb4  ,another in the same       

,museum 7#ehb-ghg1 ,vitrine ,n47 ,this  
begins1 as the preceding1 with an eulogy
 of ,amenophis ,,iii4 and follows with3 
,the principal consort ,taia1 living1   
the name of her father 7is7 ,auaa4 ,the 
name of her mother 7is7 ,tuaa1 ,she is  
the consort of the victorious king whose
 frontiers 7extend7 to the south as far 
as ,ka ro 7or1 ,karai1 perhaps ,soudan17
 to the north as far as ,naharina1 i4e41
 ,mesopotamia4 ,there are many other    
historical scarabs in this ,museum but  
these have the longest and most         
important inscriptions4  ,another scarab
 of this ,pharaoh is in the collection  
of the ,rev4 ,w4,j4 ,loftie1 of ,london1
 ,england4 ,it is large1 #c- inches long
 by #b- inches wide1 it is made of      
steatite and glazed2 it tells3 ,the     
number of fierce lions brought in by his
 majesty1 and killed by him1 from the   
beginning of his first 7year7 to the    
tenth year of his reign1 were #ajb4ed   
,,footnotes3  #di ,egypt ,under the     
,pharaohs1 etc4 ,london1 #ahia1 p4 #bj4 

#ej ,historical ,scarabs1 etc41 by      
,w4,m4 ,flinders ,petrie4 ,london1      
#ahhi1 p4 #ad4  #ea ,egypt ,under the   
,pharaohs1 by ,brugsch-,bey4 ,london1   
#ahia1 pp4 #bje1 #bjf1 #bjh4  #eb       
,records of the ,past1 ,vol4 ,,xii41 p4 
#cg et seq4  #ec ,bunsen4 ,egypt's      
,place in ,hist41 etc41 ,,iii41 p4 #adb1
 etc42 also ,records of ,past1 above    
cited4  #ed ,an ,essay of ,scarabs1 by  
,w4,j4 ,loftie1 ,b4,a41 ,f4,s4,a4       
,london1 7#abe copies printed17 pp4 #cg1
 #ch4     ,v4      ,,where ,,usually    
,,found ,,and ,,the ,,mode ,,of         
,,wearing ,,scarabs ,,by ,,the          
,,egyptians4 ,,book ,,of ,,the ,,dead4  
,,egyptian ,,scarabs ,,found ,,in       
,,mesopotamia4 ,,the ,,scarab ,,in      
,,christianity4   ,the small sized      
scarabs were usually incised with       
hieroglyphics and perforated            
longitudinally2 they are generally found
 on the breasts of mummies next the skin
 or suspended from the neck1 by a wire  
of gold or other metal1 or a string     

going through them1 or worn like a ring 
stone on the forefinger of the left     
hand2 and sometimes1 grasped inside of  
the closed left hand4 ,the inscriptions 
on them usually run from right to left4 
,one method of wearing them by the      
living1 a very ancient one1 was by      
stringing them on a cord or a wire1 so  
that they could be worn as a bracelet on
 the wrist1 a necklace around the       
throat1 or as a pendant to a necklace4  
,the engraved base serving not only as  
an amulet but also as the private signet
 of the owner4 ,soldiers wore them      
suspended around the neck1 as a talisman
 when going into battle and also to     
instil courage in them during the fray4 
,but the most usual mode of mounting    
them by the living1 was as a stone for a
 finger ring on a swivel1 or a wire1    
passing through the longitudinal        
perforation and then curved into a ring 
shape2 this was usually worn on the     
forefinger of the left hand1 as that    
finger was thought by the ,egyptians1 to

 contain a nerve leading directly to the
 heart2 the engraved part was turned    
next to the flesh4 ,m4 ,mariette says1  
that the mummies of the ,x,ith ,dynasty 
nearly always have a scarab on the      
little finger of the left hand4#ee      
,sometimes they were made of baked clay 
or cut in steatite1 with the head of a  
hawk1 cow1 ram1 dog1 cat1 lion1 or even 
of a man1 and such have been found      
buried with the mummies4 ,those found on
 the breasts of mummies embalmed most   
carefully and expensively1 and in       
immediate contact with the flesh1 have  
sometimes bodies of stone with extended 
wings1 as if flying2 these wings        
sometimes having been made of metal1    
frequently of gold1 and at other times  
of cut stone4#ef ,those found made of   
stone with extended wings1 also had the 
latter often made of lead or silver2    
when of blue pottery1 the wings were    
generally made of the same material4    
,on the lids of the outer cases of many 
coffins1 especially of the finest2 the  

position over the breast of the mummy   
was occupied by a large winged scarabus1
 moulded apparently1 of pasteboard or of
 successive layers of gummed linen1 and 
then beautifully painted in colors4     
,this was to act as the protector       
,khepra1 of the ka or immaterial        
vitality of the sahu or mummy4 ,the     
,egyptians had a complicated psychology 
which we will refer to more fully       
hereafter4  ,those within the coverings 
were most probably put inside of the    
mummy wrappings to act as talisman1 like
 the writing upon the linen wrappings1  
and the bandelettes inscribed with texts
 from the ,book of the ,dead1 or1 the   
,shait an ,sensen1 i4e41 ,book of the   
,breathings of ,life1 and as also were  
enclosed1 copies of entire chapters and 
parts1 of the ,book of the ,dead1       
written upon papyrus or linen2 or       
inscribed on the large stone scarabs1   
which were put in the body of the       
corpse1 to take the place of the heart1 
the last having been deposited with the 

lungs1 in the jar of ,tuamautef1 one of 
the four ,canopic jars4 ,the idea being 
to drive away evil spirits1 supposed to 
be injurious to the passage of the soul 
of the dead1 upon its journey through   
the under-world to the new birth and    
power of transformation1 in the eternal 
heaven of the ,egyptians4  ,there       
appears to have been two divisions of   
that eternal heaven1 one called ,aar and
 ,aanru1 the place in which agricultural
 labors were performed1 and the other   
,hotep1 the place of repose4 ,both are  
mentioned in the ,book of the ,dead4    
,indeed some chapters of the ,book of   
the ,dead were only inscribed on the    
linen winding sheet of the mummy1 and   
the texts of the ,c,l,i,vth chapter were
 only recovered recently1 upon the      
unrolling of the mummy of ,tehuti-mes1  
or ,thotmes1 ,i,i,ird 7#afjj ,b4,c417 of
 the ,x,v,i,i,ith ,dynasty1 the great   
warrior king of ,egypt1 found a few     
years past at ,dayr-el-,baharee2        
inscribed upon his linen winding sheet4 

,as the winding sheet was the only      
proper place for this text1 and as it is
 unique1 it likely would not ever have  
been known1 if this ,pharaoh's mummy had
 not been discovered unmutilated4  ,the 
small scarabs were usually placed upon  
the eyes or the breast1 sometimes over  
the stomach4 ,they were strung into a   
net to cover the corpse and were sewed  
on the wrappings4 ,as many as three     
thousand have been found in one tomb4   
,egyptian scarabs were found by ,mr4    
,layard1 in his explorations on the     
banks of the ,khabour in ,mesopotamia1  
at ,arban2 and he gives plates of the   
same4#eg ,three are of the reigns of the
 ,egyptian kings ,thotmes ,i,i,ird1 and 
one of ,amenophis ,i,i,ird4 ,they are   
mostly of steachist1 and of the         
,x,v,i,i,ith ,dynasty4 ,he found one of 
hard stone1 an agate1 engraved with an  
,assyrian emblem4#eh ,he also found at  
,nimrd2 cubes of bronze upon which were 
scarabs with outstretched wings1 inlaid 
in gold1#ei and bronze bowls with       

conventional forms of the scarab1 rather
 ,phoenician than ,egyptian1 in the     
centre of the inside4#fj  ,after the    
,christian era the influence of cult of 
the scarab was still felt4 ,st4         
,ambrose1 ,archbishop of ,milan1 calls  
,jesus3 ,the good ,scarabus1 who rolled 
up before him the hitherto unshapen mud 
of our bodies4#fa ,st4 ,epiphanius has  
been quoted as saying of ,christ3 ,he is
 the scarabus of ,god1 and indeed it    
appears likely that what may be called1 
,christian forms of the scarab1 yet     
exist4 ,one has been described as       
representing the crucifixion of ,jesus2 
it is white and the engraving is in     
green1 on the back are two palm         
branches2 many others have been found   
apparently engraved with the ,latin     
cross4#fb  ,,footnotes3  #ee ,cat4 of   
the ,museum of ,boulak1 p4 #cd4  #ef    
,pettigrew1 ,hist4 of ,mummies1 p4 #bbj4
  #eg ,discoveries in the ,ruins of     
,nineveh and ,babylon1 etc41 by ,austen 
,h4 ,layard1 ,m4,p4 ,new ,york1 #ahec1  

p4 #bhj et seq4  #eh ,ibid41 p4 #eie4   
#ei ,ibid41 p4 #aif4  #fj ,ibid41 p4    
#ahf4  #fa ,works1 ,paris1 #afhf1 ,vol4 
,i41 col4 #aebh1 ,no4 #aac4 ,egyptian   
,mythology and ,egyptian ,christianity1 
etc41 by ,samuel ,sharpe4 ,london1      
#ahfc1 p4 #c4  #fb ,an ,essay of        
,scarabs1 by ,w4,j4 ,loftie1 ,b4,a41    
,f4,s4,a41 pp4 #eh1 #ei4     ,,vi4      
,,the ,,position ,,of ,,the ,,scarab    
,,in ,,ancient ,,egyptian ,,religion    
,,and ,,the     ,,book ,,of ,,the       
,,dead4 ,,egyptian ,,philosophy4        
,,advanced ,,intellectuality     ,,of   
,,egypt ,,six ,,thousand ,,years ,,ago4 
,,deities ,,of ,,libraries ,,and        
,,learning4 ,,ancient ,,librarians ,,and
 ,,books4 ,,the ,,division ,,of         
,,learned     ,,men ,,into ,,different  
,,branches ,,of ,,study4 ,,the          
,,statements ,,of ,,greek     ,,writers 
,,on ,,egyptian ,,thought ,,not ,,to    
,,be ,,depended ,,upon4 ,,quotations    
,,from ,,the ,,book ,,of ,,the ,,dead   
,,on ,,the ,,symbolism ,,of ,,the       

,,scarab,,us     ,,deity4 ,,the         
,,symbolism ,,of ,,the ,,great ,,sphinx4
 ,,further ,,quotations     ,,from ,,the
 ,,book ,,of ,,the ,,dead1 ,,on ,,the   
,,symbolism ,,of ,,the ,,scarab ,,deity4
   ,as ,i have already said3 the larger 
scarabs are usually found in the body of
 the mummy in place of the heart1 which 
was always taken out of the corpse and  
placed in one of the visceral vases1    
that of ,tuamautef4 ,the scarab was a   
symbol of the re-birth1 resurrection and
 the eternal life of the soul1          
pronounced pure at the psychostasia2 and
 we know from the ,book of the ,dead1   
that at the moment of resurrection1 in  
analogy to the beginning of terrestrial 
life1 it was the heart that was asserted
 to be given to the dead so as to       
receive the first vitality of the second
 birth1 it was through the heart that   
the mummy would revive1 thence the      
inscribed scarab was placed in the mummy
 in the place formerly occupied by its  
heart when in terrestrial life4         

,sometimes the representation of a human
 heart was engraved on the scarabus4    
,the small scarabs are not often found  
inside of the mummy4 ,but frequently    
large stone scarabs have been found in  
it in the place of the heart1 on which1 
incised in very small characters1 are   
portions of the ,book of the ,dead4     
,those usually inscribed are1 the       
,x,x,xth chapter or those parts of the  
,l,x,i,vth1 line #cd1 or of the         
,x,x,v,i,ith chapters1 which relate to  
the heart of a man4 ,they begin usually 
with the formula3 ,my heart which comes 
from my mother1 my heart which is       
necessary for my transformations1 etc4  
,they are1 following the commands in the
 ,book of the ,dead1 frequently set in  
gold1 sometimes in bronze1 and sometimes
 are incised with the shape of the      
hieroglyph for the heart4  ,at some very
 remote period1 so remote that we cannot
 even surmise its date1 the scarabus    
symbol was considered as embodying not  
only the idea of the creator but also1  

the idea of the life beyond the grave in
 eternal futurity4 ,some scholars assert
 that the ,egyptians rejected every     
abstraction and did not have any        
philosophy4 ,this ,i do not and cannot  
believe from my investigations of their 
learning1 but ,i do think1 that we have 
not yet grasped nor understood that     
philosophy in its fullness1 from the few
 remnants of it which have reached our  
day4 ,the oldest texts and monuments    
show1 a high condition of culture and   
thought as well as artistic feeling2 the
 unknown deity was idealized and never  
represented to the eye on the monuments 
of early times2 the ,great ,sphinx1     
itself a philosophical abstraction1 was 
made long before the historical period2 
and the ,book of the ,dead1 shows       
beneath its pages1 a hidden religious   
metaphysical philosophy not yet         
unraveled4 ,this was1 likely1 secretly  
taught by word of mouth as ,qabbalah or 
,oral ,tradition to the initiates1 and  
was never put into writing4 ,some of    

these ideas we have just grasped1 for   
instance1 we now have some knowledge of 
the ,egyptian divisions of the spiritual
 or immaterial part of man1 of his      
psychology1 and upon studying these     
divisions one can readily imagine1 a    
secret religious philosophy accompanying
 those separations of the spiritual in  
man4 ,we are also obtaining some        
knowledge1 of their idea of ,god and of 
their kosmology and kosmogony4  ,six    
thousand years ago ,egypt had attained  
great advancement4 ,its religion was    
established4 ,it possessed a language   
and writing4 ,art under the ,i,vth and  
,vth ,dynasties had reached a height    
which the following ,dynasties#fc never 
surpassed4 ,it had an especially        
complicated administration1 the result  
of many years4 ,the ,egyptians had civil
 grades and religious grades1 bishops as
 well as prefects4 ,registration of land
 surveys existed4 ,the pharaoh had his  
organized court1 and a large number of  
functionaries1 powerfully and wisely    

arranged1 gravitated around him4        
,literature was honored and books were  
composed on morals1 some of which have  
reached our day4 ,this was under the    
,ancient ,empire during which existed   
the builders of the ,pyramids4#fd ,the  
deities of literature and of libraries  
already existed1 they were ,thoth1 the  
,greek ,hermes2 ,atmu1 of ,thebes2 ,ma  
or ,maat1 goddess of the harmony of the 
entire universe1 or its law of          
existence1 and of righteousness2 ,pacht1
 the mistress of thoughts2 ,safekh1     
goddess of books1 who presided over the 
foundations of monuments and who was    
venerated at ,memphis as early as the   
,i,vth ,dynasty2 ,selk1 who was also the
 goddess of libraries4  ,in one of the  
tombs at ,gizeh1 a great functionary of 
the first period of the ,v,ith ,dynasty 
7circa #ccjj ,b4,c417 takes the title   
of3 ',governor of the ,house of ,books4'
 ,this simple mention incidentally      
occurring between two titles1 more      
exalted1 would suffice1 in the absence  

of others1 to show us the extraordinary 
development which had been reached in   
the civilization of ,egypt at that time4
 ,not only had that people a literature1
 but that literature was sufficiently   
large to fill libraries2 and its        
importance was so great1 that one of the
 functionaries of the court was         
especially attached to the care and     
preservation of the royal library4 ,he  
had1 without doubt1 in his keeping with 
the contemporaneous works1 the books    
written under the first ,dynasties1     
books of the time of ,mena and perhaps  
of kings anterior to ,mena4 ,the works  
in the library would be composed of     
religious works2 chapters of the ,book  
of the ,dead1 copied after authentic    
texts preserved in the ,temples2        
scientific treatises on geometry1       
medicine and astronomy2 historic books  
in which were preserved the sayings and 
doings of the ancient kings1 together   
with the number of the years of their   
lives and the exact duration of their   

reigns2 manuals of philosophy and       
practical morals and perhaps some       
romances1 etc4#fe  ,the learned of that 
ancient people followed special lines of
 study and thought4 ,there was a        
division of them known as the           
,herseshta1 or ,teachers of ,mysteries4 
,these were subdivided1 among other     
divisions into3 ,the ,mystery ,teachers 
of ,heaven1 or1 the astronomers and     
astrologers2 ,the ,mystery ,teachers of 
,all ,lands1 or1 the geographers and    
those who studied other peoples and     
countries2 ,the ,mystery ,teachers of   
the ,depth1 likely1 the possessors of a 
knowledge of minerals1 mining1 varieties
 of rocks1 etc42 ,mystery ,teachers of  
the ,secret ,word1 doubtless those      
interested in abstract thought1         
religious metaphysics and philosophy2   
,mystery ,teachers of the ,sacred       
,language1 men who devoted themselves to
 grammar and the form of writing2       
,mystery ,teachers of ,pharaoh1 or1 'of 
all the commands of ,pharaoh1' wise men1

 likely private scribes and secretaries 
of the king2 ,mystery ,teachers who     
examine ,words1 likely learned men who  
sat as judges to hear complaints1 and   
sift the opposing statements of         
litigants and witnesses4 ,the learned   
writers known as scribes were also      
divided into many branches4#ff  ,we     
cannot accept the statements of most of 
the ,greek authors upon this subject1   
for the study of the last few years of  
the ,ancient ,egyptian papyri and other 
remains1 shows that they either did not 
know or they willfully misrepresented1  
,egyptian abstract thought2 about the   
only works1 outside of the papyri and   
the monuments1 from which we can gather 
as to it with any sureness1 meagre      
details2 are the writings attributed to 
,hermes ,trismegistos2 the ,osiris and  
,isis1 of ,plutarch2 the work ascribed  
to ,horapollon1 and the book of         
,iamblichus1 entitled3 ,a ,treatise on  
the ,mysteries4 ,the ,greek writers upon
 ,ancient ,egypt1 ,herodotus1 ,diodorus 

,siculus1 ,strabo1 ,thales1 ,plato1     
,pythagoras1 ,solon1 and others1 of less
 note2 give but little assistance1      
indeed in many cases their statements   
are misleading4 ,it is a question yet to
 be solved1 as to how much of the       
foundations of the philosophy of        
,pythagoras1 ,plato1 ,solon and other   
,greek writers1 were obtained from the  
learned men of ,egypt or their          
writings4#fg  ,chapter ,,xxx4 of the    
,per-em-hru1 or1 ,book of the ,dead1 has
 frequently in the papyrus copies1 a    
picture of the soul of the dead in      
adoration before a scarabus set upright 
upon a support4 ,this chapter is        
entitled3 ,chapter of not allowing the  
heart of a man to have opposition made  
to it in the divine inferior region4 ,it
 says towards the end3 ,this chapter is 
to be said over a scarabus of hard      
stone1 formed and set in gold1 which    
should be placed in the breast of the   
man1 after the opening of the mouth has 
been made and the head anointed with    

oil2 then the following words shall be  
said over him in right of a magical     
charm3 ',my heart which comes to me from
 my mother1 my heart which is necessary 
to me for my transformations4' ,see1    
,appendix ,a4  ,the whole of this       
chapter was frequently engraved upon the
 large scarabs1 which were placed in the
 breasts of the mummies in place of the 
heart4  ,the ,l,x,i,vth chapter of the  
,book of the ,dead1 is one of the oldest
 of the entire collection and line #cd  
et seq41 uses the same language as to   
the heart1 and says3 ,put it on a       
scarabus of hard stone set in gold1 in  
the breast of the mummy1 having engraved
 on it3 ',my heart is my mother1' etc4  
,this chapter is fuller than the other  
just cited4  ,the ,c,l,x,i,i,ird        
chapter1 lines #i1 #aj1 says3 ,o ,amen  
bull-scarabus1 master of the eyes3      
',terrible with the pupil of the eye' is
 thy name4 ,the ,osiris 99 99 99 7here  
the name of the deceased was inserted17 
is the emanation of thy two eyes4 ,that 

is1 ,amen is here invoked as the        
bull-symbol of generation and also as   
the scarabus1 that is1 as the creator   
who has engendered himself4  ,chapter   
,,clxv4 of the same book1 has as a      
vignette or picture3 ,the god ,khem1    
ithyphallic1 with the body of a scarab1 
etc41 line #aa reads3 ,i do all thy     
words4 ,saying 7them7 over the image of 
the god raising the arm1 having the     
double plume upon his head1 the legs    
separated and the body of the scarabus4 
,the rising sun or ,horus1 in whose arms
 it was asserted1 the dead arose into   
the upper life1 was represented by the  
scarabus under the name of ,khepra1     
,khepera1 or ,khepri1 this name among   
its other meanings signifying3 ,the     
itself transforming1 and this is        
hieroglyphically written by the use of  
the scarabus4 ,the body of ,khepera as a
 deity is surmounted in some of the     
representations1 by a scarab in place of
 a human head4  ,in chapter ,,xxiv4 of  
the ,book of the ,dead1 we read3 ,khepra

 transforms itself1 7or1 gives itself a 
form to itself17 on high1 from the thigh
 of its mother4 ,this is more fully     
developed in a papyrus in the ,louvre   
which reads3 ,the majesty of this great 
god attains that reign 7the twelfth     
division of the subterranean world1     
responding to the twelfth hour of the   
night17 which is the end of absolute    
darkness4 ,the birth of this great god1 
when it became ,khepra1 took place in   
that region 99 99 99 ,it went out from  
the inferior region4 ,it joined the boat
 mad4 ,it raised itself above the thighs
 of ,nut4  ,o ,khepra who created itself
 on high1 from the thigh of its mother1 
i4e41 ,nu1 or ,nut4#fh  ,nut was the    
goddess personifying the vault of       
heaven1 the sky1 and the space1 in which
 the sun was supposed to have been born4
 ,the scarab it must be remembered was  
in the ,egyptian thought1 an androgyne4 
,in a papyrus now in ,turin1 ,italy1 we 
may read3 ,i am ,khepera1 the morning2  
,ra1 the midday2 ,tum1 the evening4 ,it 

is said of ,khepra as of ,horus1 that it
 produced the ,ma1 i4e41 the law or     
harmony which uphold the universe1 and  
it is merged with a form of ,horus1     
under the name of3 ,harmakhis-,khepra   
who gives itself its form4 ,one of the  
parts played by ,khepra in ,ancient     
,egyptian thought1 is condensed in that 
figure which we find on the top of some 
of the ,osirian naos's or arks1 the     
scarab in the middle of the disk        
emerging from the horizon4  ,the        
perpetuity of the transformations or the
 power to become1 whenever it pleased1  
the form it desired2 was everywhere     
recalled to the mind of the people of   
,ancient ,egypt1 by the symbolic figure 
of the scarab1 the hieroglyph of the    
words3 ,to become1 to be1 to be         
existing1 as also creator1 an amulet of 
power above all others4 ,khepra in its  
bark is ,har-em-,khu 7or1 ,harmakhis7   
himself1 7chapter ,,xvii4 ,book of the  
,dead1 line #gi47 ,the latter is the sun
 re-born every day at sunrise in the    

,east under the name of ,horus1 it is3  
,horus in the horizon1 the conqueror of 
darkness4 ,the scarab as                
,tum-,ra-,khepra is the1 illuminator of 
the double earth at its going out of the
 under-world1 great god1 and master of  
the ,ma3 that is1 of the ,harmony and   
,law1 whereby the universe came into    
being and exists4  ,the similarity      
attached to the idea in the symbolism of
 the sphinx1 causes the close student of
 ,egyptology to see1 that the scarab and
 the sphinx represent similar ideas4    
,the ,great ,sphinx of ,gizeh near the  
,great ,pyramids1 is an image of        
,ra-,harmakhis or1 ,horus in the two    
horizons1 7the rising and the setting   
sun27 one of the names of the sphinx is 
seshep 7i4e41 to make the light47 ,the  
sphinx is said to be1 an emblem of      
energy and force united to intellect1 it
 is one of the very earliest of the     
,ancient ,egyptian emblems1 that of     
,gizeh was old and needing repairs when 
the ,pyramids were being built2 7circa  

#cgcc ,b4,c47 ,that abstraction does not
 appear to me1 to be beyond the         
philosophy of the archaic ,egyptians4   
,the head of the ,great ,sphinx         
signified the ,khu1 or intellectual part
 of the soul1 in their psychology2 and  
the lion-shaped body1 signified force1  
vitality or energy1 the life principle  
or ,ka4#fi  ,the promise of the         
resurrection of the soul was symbolized1
 by the ,great ,sphinx of ,gizeh1 old at
 the beginning of the ,ancient ,empire2 
by the ,phoenix1 and by the ,scarab1 the
 antiquity of the symbolism of which no 
,egyptologist has yet fathomed4 ,we have
 it set forth in writing on the         
inscriptions of the earliest            
,dynasties4#gj  ,on a stele found       
between the paws of the ,great ,sphinx  
of ,gizeh is3 ,the majesty of this      
beautiful god speaks by its own mouth1  
as a father speaks to his child1 saying3
 ,look to me1 let thine eye rest on me1 
my son ,thutmes6 ,i1 thy father1        
,harmakhu-,khepra-,ra-,tum1 ,i give thee

 the kingdom4 ,this monarch was ,thutmes
 ,i,vth 7#aecc ,b4,c47#ga  ,in the      
interior of the pyramid of ,mer-en-,ra  
7or ,mirinri ,ist17 #cbjj ,b4,c41 was   
inscribed on the walls3 ,and they       
installing this ,mihtimsaouf ,mirini    
upon their thrones at the head of the   
divine ,nine1 mistress of ,ra1 it who   
has its dwelling fixed1 because they    
cause that ,mihtimsaouf ,mirini may be  
as ,ra1 in its name of the ,scarabus1   
and thou hast entered as to thyself as  
,ra1 etc4#gb  ,salutation to thee       
,tumu1#gc salutation to thee1           
,scarabus-god1 who art thyself2 thou who
 liftest up1 in that holding thy name of
 lifter up 7'from the earth1' 'the      
stairway1' or 'stairs1'7 and who art    
7,khopiru7 in this1 holding the name of 
the ,scarabus-god 7,khopiru76           
,salutation to thee ,eye of ,horus1 whom
 it has furnished with its two creating 
hands 7,tumu17 etc4#gd  ,chapter        
,,xvii41 line #ge1 of the ,book of the  
,dead1 reads3 ,o ,khepra in its boat6   

the society of the gods is its body1 in 
other words1 it is ,eternity4  ,chapter 
,,xxiv41 lines #a1 #b1 say3 ,i am       
,khepra who gives to itself a form on   
high1 from the thigh of its mother1     
making a wolf-dog1 for those who are in 
the celestial abyss1 and the phoenix1   
for those who are among the divine      
chiefs4 ,that is1 as ,harmakhis4        
,chapter ,,xv41 lines #c1 #d1 read3     
,salutation to thee1 ,harmakhis-,khepra 
who to itself gives a form to itself6   
,splendid is thy rising in the horizon1 
illuminating the double earth with thy  
rays4 ,the same chapter1 line #dg1      
reads3 ,khepra1 father of the gods6 ,he 
7the defunct7 has never any more injury 
to fear1 thanks to that deliverance4    
,chapter ,,cxxxiv41 line #b1 says3      
,homage to ,khepra in its boat who every
 day overthrows ,apap4 ,comp41 chapter  
,,cxxx41 line #ba1 ,,xli41 line #b4     
,apap was the evil serpent1 the         
executioner of the gods1 that is1 the   
principal evil one2 and ,khepra1 the    

scarabus deity1 overthrows the principal
 evil one1 every day1 according to this 
text4  ,the ,osiris 99 99 99 7name of   
the defunct was inserted in this blank17
 is considered as a lord of eternity1 he
 is considered as ,khepra1 he is lord of
 the diadem1 he is in the eye of the    
sun1 etc41 says chapter ,,xlii41 lines  
#ab1 #ac et seq4  ,and in chapter       
,,xvii41 which is one of the oldest     
chapters of the ,per-em-hru1 lines #gf1 
#gg1 #gh1 is2 ,o ,khepra in thy boat6   
7i4e41 as ,harmakhis7 the body of the   
gods is even thy body1 or so to say1 it 
is ,eternity4 ,save ,osiris 99 99 99    
from those watching judges 7i4e41 ,isis 
and ,nephthys17 to whom the master of   
spells has entrusted1 at his pleasure1  
the watching of his enemies--whom the   
executioner will strike--and from whose 
observation none escape4 ,let me not    
fall under their sword2 let me not go   
into their place of torture2 let me not 
remain supplicating in their abodes2 let
 me not come into their place for       

execution2 let me not sit down in their 
boilers2 let me not do those things     
which are done by those whom the gods   
detest1 etc4  ,further according to the 
,book of the ,dead1 the soul of the dead
 man1 says3 ,i fly among those of the   
divine essence1 ,i become in it1 ,khepra
 444 ,i am that1 which is in the bosom  
of the gods4 7,chapter ,,lxxxiii41 lines
 #a1 #b47  ,another text reads3 ,o it   
who establishes the mysteries which are 
in me1 produce the transformations as   
,khepra1 going out of the condition of  
the disk so as to give light 7or1 to    
enlighten47 ,chapter ,,lxiv41 line #af4 
7,comp4 also chapter ,,xciii47  ,another
 text says3 ,i give vigor to the        
murdering sword which is in the hand of 
,khepra against the rebels4 7,chapter   
,,xcv41 line #c47  ,khepra is also      
called1 ,tum-,khepra4 7,chapter ,,cxli41
 line #f47  ,reaching the eternal abode1
 the soul1 says3 ,i am intact1 intact as
 my father ,osiris-,khepra1 of whom the 
image is1 the man whose body is not     

decomposed4 7,chapter ,,cliv41 lines #a1
 #b47  ,on articles of furniture1 on    
toys1 on the coffins of mummies1 on     
papyri and linen and other monuments1   
the scarabus appears and sets off in a  
strong light1 the ,egyptian belief in   
the resurrection and re-birth of the    
pious dead4 ,the very idea of the       
transformation is shown1 by the         
hieroglyph of the scarab for the word   
,kheper1 i4e41 to be1 to become1 to     
raise up4 ,one of the most urgent       
prayers to be found in many places1 in  
the ,book of the ,dead as made by the   
deceased1 is1 that he may go out of the 
under-world to the higher regions of    
light1 and have power to go forth as a  
living soul1 to take all the forms which
 may please him4 ,chabas says as to     
this3 ,we know that such was the        
principal beatitude of the elect in the 
,egyptian heaven2 it allowed the faculty
 of transformation into all the universe
 under the form wished for4 ,the god    
,khepra with folding wings symbolized   

these metamorphoses4  ,it figures       
continually in the sepulchral paintings 
on the walls of the hypogea of ,thebes1 
and it announces the second birth of the
 soul to the future eternal life4 ,some 
figures have the scarab over the head1  
sometimes in place of the head4 ,in the 
,great ,temple at ,edfu a scarab has    
been found portrayed with two heads1 one
 of a ram1 the symbol of ,amen1 or      
,ammon2 the hidden or mysterious highest
 deity of the priesthood especially of  
,thebes2 the other of a hawk1 the symbol
 of ,horus1 holding in its claws a      
symbol of the universe4#ge ,it may      
symbolize by this form1 the rising sun  
and the coming of the ,spring sun of the
 vernal equinox in the zodiacal sign of 
the ram1 but more likely has a much     
deeper religious meaning4#gf            
,represented with the head and legs of a
 man the scarab was an emblem of ,ptah4 
,,footnotes3  #fc ,unless it be the     
,x,i,ith4 ,myer4  #fd ,la ,galerie de   
l'gypte ,ancienne1 etc41 by ,aug4 ,ed4  

,mariette-,bey4 ,paris1 #ahgh1 pp4 #df1 
#dg4  #fe ,histoire ,ancienne des       
,peuples de l',orient1 by ,g4 ,maspero4 
,paris1 #ahhf1 p4 #fh et seq4  #ff      
,brugsch-,bey in1 ,egypt ,under the     
,pharaohs4 ,london1 #ahia1 pp4 #be1 #bf4
 ,as to the knowledge of the ,ancient   
,egyptians2 ,comp4 ,egyptian ,science   
from the ,monuments and ,ancient ,books1
 treated as a general introduction to   
the ,history of ,science1 by ,n4,e4     
,johnson1 ,b4,a41 etc4 ,london1 7#ahia87
 ,ten ,years ,digging in ,egypt1        
#ahha-ahia1 by ,w4,m4 ,flinders ,petrie1
 etc4 ,london1 #ahib1 pub4 by ,the      
,religious ,tract ,society4  #fg ,comp4 
,la ,morale gyptienne1 etc41 by ,e4     
,amelineau4 ,paris1 #ahib4 ,introd4 pp4 
,,lxxxii4 et seq41 ,,xx4 et seq4 ,ritual
 ,funraire de ,pamonth1 by ,m4 ,eugne   
,revillout4 ,paris1 #ahhi4  #fh ,le     
,papyrus de ,neb-,qed 7exemplaire       
hiroglyphique du ,livre des ,morts17    
reproduit1 etc41 par ,thodule ,devria   
avec la traduction du texte par ,paul   

,pierret conservateur-adjoint du ,muse  
gyptien du ,louvre4 ,paris1 #ahgb1 pl4  
,,iii41 col4 #ac1 #ad1 p4 #c4  #fi      
,comp4 as to the ,sphinx1 ,egypt ,under 
the ,pharaohs1 by ,heinrich             
,brugsch-,bey4 ,london1 #ahia1 pp4 #cg1 
#ch1 and especially p4 #aii et seq4     
,also ,g4 ,maspero in his1 ,histoire    
,ancienne des ,peuples de l',orient4    
,paris1 #ahhf1 pp4 #bh1 #ej1 #fd1 #bji4 
#gj ,comp4 ,recherches sur les monum4   
qu'on peut attribuer aux six premires   
,dynasties de ,manethon1 etc41 by ,m4   
,le vicomte ,emmanuel de ,roug4 ,paris1 
,imp4 ,imper41 #ahff4 ,recueil de       
,travaux ,relatifs  la ,philol4 et      
l',arch4 gypt4 et ,assyri1 edited by    
,maspero1 ,vol4 ,,iii4 and ,,iv41 #ahhb 
et seq4  #ga ,comp4 ,egypt ,under the   
,pharaohs1 etc41 by ,heinrich           
,brugsch-,bey4 ,london1 #ahia1 p4 #aii  
et seq4 ,the ,nile4 ,notes for          
,travellers in ,egypt by ,e4,a4 ,wallis 
,budge4 ,litt4 ,d41 ,f4,s4,a4 ,london1  
#ahib1 pp4 #aid-e4 ,hist4 of the        

,egyptian ,relig41 by ,dr4 ,c4,p4       
,tiele1 trans4 by ,james ,ballingal4    
,boston1 #ahhb1 p4 #ha et seq4  #gb     
,recueil de ,travaux ,relatifs  la      
,philol4 et  l',arch4 gypt41 etc41 publi
 de sous la direction de ,g4 ,maspero1  
,vol4 ,,xi41 fas4 ,i1 pp4 #b1 #c4 ,see  
also as to mention of ,tumu1 the        
,scarabus1 in the pyramid of ,pepi ,,ii4
 7,nefer-ka-,ra7 #caff ,b4,c4 ,ibid41   
,vol4 ,,xii41 pp4 #add1 #aec4  #gc ,tumu
 or ,tmu was also called ,hor-em-khu1   
i4e41 ,horus on the horizon1 or1 the    
rising sun1 he was the deity ,harmakhis 
of the ,greeks2 his symbol1 as before   
mentioned1 was the ,great ,sphinx4      
,egypt ,under the ,pharaohs1 by         
,brugsch-,bey4 ,london1 #ahia1 pp4 #aii1
 #bja4 ,as to ,tum1 see ,supra4  #gd    
,recueil1 etc41 before cited1 ,vol4     
,,xii41 p4 #afj et seq41 #ahi1 #aij4    
,pyramid of ,pepi ,,ii4 ,see also the   
,book of the ,dead1 ,turin ,mss4 ch4    
,,cxli41 ,a4 #f2 ,ibid41 ch4 ,,xvii4    
beginning2 ,ibid41 ch4 ,,lxxix41 l4 #a2 

,ibid41 ch4 ,,lxxviii41 l4 #ab4  #ge    
,religions de l',antiquit1 etc41 by     
,j4,d4 ,guigniaut1 founded on the       
,german work of ,dr4 ,frd4 ,creuzer4    
,paris1 #ahbe1 ,vol4 ,i41 part #b1 pl4  
,,xlviii41 #ahg;b4 ,compare the other   
curious figures of the scarabus in this 
volume1 also p4 #idh et seq4  #gf ,comp4
 ,wilkinson1 ,manners1 etc41 of the     
,ancient ,egyptians1 #bnd series1       
,london1 #ahda1 ,vol4 ,,ii41 p4 #bfj1   
,vol4 ,i41 pp4 #bej1 #bef4     ,,vii4   
,,importance ,,of ,,the ,,heart ,,in    
,,the ,,ancient ,,egyptian ,,religion4  
,,immortality ,,of ,,the ,,soul         
,,according ,,to ,,that ,,religion4     
,,symbolism ,,of     ,,the ,,scarab ,,in
 ,,their ,,doctrine ,,of ,,such         
,,immortality4 ,,no ,,thing ,,in        
,,this ,,universe ,,absolutely          
,,destroyed1 ,,only ,,changed4 ,,the    
,,idea ,,of     ,,metempsychosis ,,in   
,,ancient ,,egypt4 ,,elevated ,,ideas   
,,as ,,to ,,the ,,deity4     ,,hymn ,,to
 ,,ammon-,,ra ,,cited4 ,,quotations ,,as

 ,,to ,,egyptian ,,philosophy1          
,,evolution ,,of ,,the ,,universe ,,and 
,,kosmogony4 ,,of ,,khepra ,,and ,,of   
,,tum ,,or     ,,atmu4 ,,egyptian       
,,psychology ,,and ,,its ,,divisions4   
,the human heart1 the first life        
principle of human existence and        
regeneration1 the first apparent        
individuality of embryonic human life2  
was symbolized1 in the ,per-em-,hru1    
i4e41 the ,book of the ,dead1 by        
,khepra1 the scarabus deity2 this is one
 reason why the texts 7chapters ,,xxx4  
and ,,xxvii41 see also ,,lxiv417 which  
related to the heart1 were those usually
 inscribed on the funeral scarabi1 and  
consecrated to the preservation of the  
heart of the dead4 ,the condition of    
death was described by the ,egyptian    
expression3 ,the one whose heart does   
not beat4 ,the resurrection or re-birth 
from the dead only began1 according to  
the ,egyptian idea1 when this organ1 so 
essential and necessary to all animal   
life1 was returned to the deceased ,ba1 

i4e41 responsible soul1 by the decree of
 ,osiris and the judges of the dead1    
which ,thoth registers3 ,to him is      
accorded that his heart may be in its   
place4 ,indeed most of the texts of the 
,per-em-,hru1 as we have seen1 are      
dedicated to the preservation of the    
heart of the dead one4 ,the philosophic 
student can therefore from this1 at once
 see1 the great value of the scarabus   
symbol to the whole religious           
thought-world of ,ancient ,egypt4 ,it   
was the symbol1 when returned to the    
dead1 of the regenerated and resurrected
 life of the dead one to the heavenly   
regions of the blessed for all eternity1
 to the second birth in the regions of  
eternal rest and happiness4  ,taking as 
a model the daily course of the sun1    
which rising in the morning as ,horus2  
reaching the zenith at noon as ,ra2     
setting in the evening1 in the regions  
of darkness as ,tum2 and absent during  
the night and until the morrow as       
,osiris2 upon which1 victorious over the

 chaotic darkness1 it arose in triumph  
again as ,horus2 the birth and journey  
of man on earth1 was considered by the  
,ancient ,egyptians as similar to the   
solar journey2 and death1 the end of    
that journey1 was assimilated to the    
course of the sun when at night it was1 
according to their astronomical         
knowledge1 supposed to be in the ,lower 
,regions or ,underworld1 the abode of   
,osiris4 ,when he died1 the ,egyptian   
became as ,osiris1 the nocturnal sun2   
resurrected1 he became ,horus1 the      
new-born and rising sun2 in midday1 he  
was ,ra4 ,horus was3 ,the ,old ,one who 
rejuvenated himself4 ,such a re-birth of
 the dead to immortality1 was the       
recompense promised by the ,egyptian    
religion1 to the soul of the man pious  
and good during this life1 but the      
wicked were to be tortured1 transformed 
into lower forms1 or annihilated4#gg    
,matter1 according to it1 does not      
perish but only changes and the earth   
itself1 was deified as ,seb1 ,isis1     

,ta-nen1 and ,ptah-,tatunen4  ,what then
 did matter become1 it was transformed1 
the deities were transformed4 ,matter   
was transformed1--this is explained to  
us through the symbolism of the scarab1 
the hieroglyph of the word ,kheper1     
i4e41 to be1 to exist1 to become1 to    
create1 to emanate2 of which1 as ,i have
 said1 the ,great ,sphinx is the symbol1
 and has therefore the philosophical    
value of creator and created4#gh ,god   
and ,his universe1 existence and change 
or transformation1 death and            
dissolution1 all which were only        
considered as regeneration and re-birth 
in another form4 ,thence becomes        
apparent to us1 the great value and     
importance to the ,egyptian people of   
the symbolism of the scarab1 it was1 to 
them1 the emblematic synthesis of their 
religion as to-day to ,christians1 the  
,latin or the ,greek cross1 is the      
emblematic synthesis of ,latin or ,greek
 ,christianity4 ,the philosophic        
,egyptian1 thought1 the atoms and       

molecules of all bodies and of all      
matter1 were never destroyed or lost1   
they were always in motion but were only
 transformed and changed1 by death or   
the dissolution of forms4 ,death on this
 earth did not destroy the personality  
of the human being1 that continued      
beyond death on our earth1 and as to    
those who had been good and pious during
 their life here1 their personality     
continued eternally2 but the punishment 
of the wicked was1 the annihilation of  
that personality or an immobility which 
was almost the same4 ,the work entitled1
 ,hermes ,trismegistos1 contains a resum
 of that idea1 saying1 among other      
things3 ,what was composed is divided4  
,that division is not ,death1 it is the 
analysis of a combination2 but the aim  
of that analysis is not destruction1 it 
is the renewment4 ,what is in effect the
 energy of life8 ,is it not movement8   
,what then is there in this world1      
immovable8#gi  ,the everlasting         
interchange of life and death1 flows    

throughout all the religious philosophy 
of the ,ancient ,egyptians2 basing      
itself on the continual return of day   
from night and of day to night1 and upon
 the apparent course of the sun1 they   
seem to have formulated the idea of the 
immortality of the soul of man after    
death4  ,herodotus tells us1#hj that the
 ,egyptians believed1 that the soul of  
the departed passed into an animal1 and 
after having gone through all the ranks 
of the animal world1 was at the end of  
three thousand years reunited to the    
human body2 but from the remains of the 
,egyptian religion we have to-day1 next 
to nothing has been found that will     
confirm this statement1 but much that   
shows the ,greek authors were frequently
 in error4 ,in the realm of the dead1   
according to the texts of the ,book of  
the ,dead1 7chapter ,,lxxxix4 and other 
places17 the responsible soul or ,ba of 
the deceased1 may become a sparrow-hawk1
 an adder1 a crocodile-headed being1    
etc41 but only to deceive its demon     

enemies2#ha not until after this1 is the
 ,khu1 the intellectual soul1 which     
accompanies the ,ba1 which is           
represented under the symbolized form of
 a sparrow-hawk with a human head1      
reunited to the ,ba4 ,this however all  
occurs1 not on earth1 but in the realms 
of the dead4 ,the ,ancient ,egyptian    
believed1 that as the setting of the sun
 was an actual separation of the body   
and soul of the sun-god2 and its rising1
 a reunion of the two2 so it happened to
 the future of the spiritual of man1 and
 that after man's death on this earth1  
his spirit1 as did that of the sun-god2 
would arise again to life1 but it would 
be to a life of immortality in a higher 
sphere4 ,i am inclined also to think1   
that they believed the spiritual body of
 the new-born child came down from the  
sun-disk or from some very exalted      
sphere4#hb  ,the following quotations   
from ,eugne ,grbaut's translation in    
,french1 of the ,hymn to ,ammon-,ra1 are
 important for an understanding of the  

positions of ,khepra and of ,turn during
 the ,theban ,dynasties4  ,hail to thee 
,ra1 lord of the maat1 7the7 mysterious 
in his shrine4 ,master 7i4e41 father7 of
 the gods1 ,khepra in its boat1 7it7    
sending forth the word 7i4e41 the       
creative word17 the gods came into      
existence4 ,hail god ,tum1 maker of     
intelligent beings1 who determines their
 manner of existence1 artisan of their  
existences2 7and who7 distinguishes     
7their7 colors1 one from the other4#hc  
,author of humanity1 making the form of 
all things to become 7or1 former who    
produced every thing27 it is in thy name
 of ,tum-,khepra4#hd ,khepra is father  
of the gods and the producer of the     
maat4#he  ,the deities go out of the    
mouth of their father ,khepra1 and are  
nourished by the maat1 i4e41 the        
,harmony or ,law of the universe2#hf men
 go out of its eyes1 that is from the   
light of the deity1 and it is this light
 which vivifies the entire universe4    
,the ,hymn says3 ,o ,form1 ,,one1       

producing all things1 the ,,one1 who art
 ,alone2 producing existences6 ,men come
 forth from ,its two eyes1 the gods come
 into existence from ,its ,word4 ,author
 of the green pastures1 which nourish   
the cattle1 and of the nutritious plants
 for the use of mankind4 ,it who maketh 
that fishes live in the rivers and the  
winged fowl in the air2 who giveth the  
breath of life to 7the germ7 in the egg4
 ,it maketh to live birds of all        
species1 and likewise the insects which 
creep and also those which fly4 ,it     
maketh provision for the rats in their  
holes1 and nourisheth the birds that are
 on the trees4 ,hail to ,thee1 ,o       
,author of the totality of all forms4   
,the ,,one who art alone1 yet numberless
 through ,thy extended arms3 watching   
over all humanity when it sleeps1       
seeking the good of ,its creatures4#hg  
,i have used the neuter ,it and not ,he1
 the ,egyptian idea of the highest deity
 was1 that it was androgenic not        
masculine4 ,although it would seem that 

this ,hymn1 of which ,i have cited but a
 small portion1 applied to ,ammon-,ra1  
yet it expressly says1 that3 ,its name  
is also ,tum 7or1 ,atmu17--,khepra4#hh  
,another text reads3 ,o ,bull of the    
western region#hi concealed in the      
concealed region 7i4e41 ,amenti or the  
,underworld7 from whom emanates all the 
gods 7and all7 the goddesses who are    
with him6 ,the ,osiris1 the ,hathor 99  
99 99 7the name of the dead was inserted
 here7 the justified 7or1 triumphant17  
comes towards thee2 the becoming which  
is in the becoming of all things when   
they become4#ij ,powerful lords1        
beneficent1 divine1 judging the speech  
7words7 of the inhabitants of the       
countries2 lords of ,truth6#ia ,hail to 
thee6 gods1 essence of the essences     
without their bodies1 ruling the        
generations of ,ta-nen 7i4e41 of this   
earth7 and the births 7begettings7 in   
the temple of ,mesxen#ib 7they raise the
 generations87 from the first essence of
 the divine essences1 third greatness   

above the father of their fathers2      
invoking the soul from its ,almightiness
 when are produced its ,desires 7,will27
 adoring their ,father in his           
glorifications2 divine ,prototypes of   
the ,types of all that exists1 ,fathers 
and ,mothers of the solar disk1 ,forms1 
,great ,ancients1 ,divine ,essences1    
first from ,atum 7i4e41 chaos17         
emanating humanity2 causing to emerge   
the forms of all forms2 lords of the    
divine sustenance2 homage to thee6      
,lords from everlasting1 possessing     
eternity1 etc4#ic ,all that is done and 
said upon earth has its source in the   
heights1 from whence the essences are   
dispensed to us with measure and        
equilibrium2 and there is not anything1 
which does not emanate from on high and 
which does not return thereto4#id  ,the 
verb ,kheper usually translated to be1  
to exist1 to become1 also has the       
meaning of to roll or revolve4 ,the sun 
apparently rolled or revolved around the
 earth4 ,in the ,british ,museum1 in a  

hieratic papyrus 7,no4 #aj1ahh17        
,khepera is identified with the deity   
,neb-er'-ter1 and the latter says1 in   
it3--,i am ,he 7,it87 who evolved       
,himself 7,itself87 under the form of   
the god ,khepera4 ,i1 the evolver of    
evolutions1 evolved ,myself1 the evolver
 of all evolutions1 after a multitude of
 evolutions and developments which came 
forth from ,my mouth4#ie ,there was not 
any heaven1 earth was not1 animals which
 move upon the earth and reptiles       
existed not in that place4 ,i           
constructed their forms out of the inert
 mass of watery matter4 ,i did not find 
any place upon which ,i could stand4 ,by
 the power which was in ,my ,will ,i    
laid the foundation 7of things7 in the  
form of the god ,shu#if and ,i created  
7emanated87 for them every attribute    
which they have4 ,i alone existed1 for  
,i had not1 as yet1 made ,shu emanate   
from ,me1 and ,i had not ejected the    
spittle which became ,tefnut 7i4e41 the 
deity or personification of1 moisture47 

,there did not exist any other to work  
with ,me4 ,by ,my own ,will ,i laid the 
foundation of all things1 and the       
evolutions of things1 and the evolutions
 which took place from the evolutions of
 their births1 which took place through 
the evolutions of their offspring1      
became multiplied4 ,my shadow#ig was    
united with ,me1 and produced ,shu and  
,tefnut from the emanation of ,myself1  
99 99 99 thus from one deity ,i became  
three deities 99 99 99 ,i gathered      
together ,my members and wept over them1
 and from the tears which fell from ,my 
eye1 men and women sprung into          
existence4  ,the duplicate copy of this 
chapter reads3 ,i developed ,myself from
 the primeval matter which ,i made4 ,my 
name is ,osiris1 the germ of primeval   
matter4 ,i have worked ,my ,will to its 
full extent in this earth1 ,i have      
spread abroad 7or1 expanded ,myself17   
and fitted it 99 99 99 ,i uttered ,my   
,name as a ,word of ,power1 from ,my own
 mouth1 and ,i straightway developed    

,myself by evolution4 ,i evolved ,myself
 under the form of the evolutions of the
 god ,khepera1 and ,i developed ,myself 
out of the primeval matter which has    
evolved multitudes of evolutions from   
the beginning of time4 ,no-thing existed
 on this earth 7before ,me17 ,i made all
 things4 ,there was none other who      
worked with ,me at that time4 ,i made   
all evolutions by means of that soul1   
which ,i raised up there from inertness 
out of the watery matter4#ih ,this is a 
most important papyrus for a knowledge  
of ,ancient ,egyptian philosophy4  ',in 
the beginning3 ,when there was not yet  
heaven1 when there was not yet earth1   
when there were not yet men1 when the   
gods were not yet born1 when there was  
not yet death4'#ii ,nu alone was        
existing1 the water 7or humid7 principle
 of all things1 and in that primordial  
water1 ,tumu1 the father of the         
gods4#ajj ,the day of creation came1    
,shu raised the waters upon the         
staircase which is in ,khmunu4#aja ,the 

earth was made even under his feet1 as a
 long united table2 heaven appeared     
above his head as a ceiling of iron 7or 
steel7 upon which rolled the divine     
,ocean4 ,hor 7,horus7 and his sons      
,hapi1 ,amsit 7or ,mestha17 ,tuamautef  
and ,qebhsennuf1 the gods of the four   
cardinal points1 went out at once and   
posted themselves at the four corners of
 the inferior table1 and received the   
four angles of the firmament upon the   
point of their sceptres2 the sun        
appeared and the voice of the god1 the  
first day is arisen and the world was   
thereafter constituted1 such as it ought
 to ever remain6#ajb  ,glory of all     
things1 ,god1 the divine and the divine 
nature4 ,principles of the beings2 ,god1
 the ,intelligence1 nature and matter4  
,wisdom manifests the universe1 of which
 the divine is the principle1 the       
nature1 energy1 necessity1 the end and  
the renewing4  ,there was darkness      
without limit over the abyss and the    
water1 and a subtle and intelligent     

spirit1 contained in chaos by the divine
 power4 ,then gushed forth the holy     
light1 and under the sand 7i4e41 the    
atomic dryness7 the elements went forth 
from the humid essence1 and all the gods
 distributed the fecundity of nature4   
,the universe being in confusion and    
disorder1 the buoyant elements ascended1
 and the heavier were established as a  
foundation under the damp sand1 7and7   
everything became separated by fire and 
suspended1 so as to be raised by the    
spirit4#ajc  ,the ,ancient ,egyptians   
made many more statements which         
undoubtedly referred to an unknown1     
all-powerful1 ideal deity of the highest
 order1 ,i have a great number of such1 
but will not bring them forward in this 
writing2 ,i refer the reader for some   
quotations on this subject1 to the      
valuable writings of ,mr4 ,p4 ,le ,page 
,renouf1 especially to his2 ,religion of
 ,ancient ,egypt 7,hibbert ,lectures for
 #ahgi71 which ,i have already cited in 
several places4  ,it will be seen from  

these quotations1 that ,khepra1 the     
scarabus deity1 especially as           
,tum-,khepra2 occupied a most elevated  
position1 ,i might say the most         
elevated1 of all the religious          
conceptions of the ,ancient ,egyptians1 
for beyond it1 was the unknown ideal    
deity whom none could form a conception 
of4 ,khepra was asserted to have        
generated and caused to come into       
existence1 itself through itself1 it    
united in itself1 the male and female   
principles of life4 ,it was androgenic4 
,the scarabus was the hieroglyph of the 
creator1 the to be1 to become1 to exist1
 the eternal1 the coming into being from
 chaotic non-being1 also the itself     
transforming or becoming1 the emanating 
or creating power1 also1 the universe4  
,khepra was ,father of the gods1        
connected with the idea of the rising of
 the sun from the darkness of night1    
,khepra was used to typify the          
resurrection from the dead of the       
spirits of men4 ,it represented the     

active and positive in antithesis to    
,atmu1 or ,tum4 ,with ,atmu as ,atmu    
7or1 ,tum7-,khepra1 it represented the  
positive and negative united1 spirit and
 matter4  ,atmu1 ,tum or ,tmu1 was the  
symbol of the eternal night or darkness 
of ,chaos1 which preceded the emanation 
of light1 it was the type of senility   
and absolute death1 the negative and    
end4 ,it was the nocturnal or hidden    
sun1 as ,horus was the rising sun1 and  
,ra the risen sun1 proceeding in its    
course each day through the firmament4  
,tum was not however considered as      
absolutely inert1 it was the precursor  
of the rising sun1 and the point of     
departure of the setting sun1 and was   
the nocturnal sun1 and was also a point 
of departure into existence1 of all the 
created and emanated in the universe4   
,it1 as well as ,khepra1 in some of the 
texts is called ,father of the gods4#ajd
  ,this deity was the unknown and       
inaccessible1 primordial deity of chaos1
 existing alone in the abyss1 before the

 appearance of ,light4 ,one of the texts
 reads3  ,homage to thee1 sun at its    
setting1 ,tum-,harmakhis1 god renewing  
and forming itself in itself1 double    
essence4 99 99 ,hail to thee author of  
the gods1 who hast suspended heaven for 
the circulation of thy two eyes1 author 
of the earth in its extent1 and from    
whom the light is1 so as to give to all 
men the sensation of the sight of his   
fellow creature4#aje  ,it is of the     
greatest importance to an understanding 
of the ,egyptian religion and           
philosophy1 and especially of the       
,per-em-hru1 the so-called1 ,book of the
 ,dead2 that the ,egyptian psychology be
 comprehended2 in order to enable the   
reader to do this1 ,i have prepared the 
following condensed statement of the    
same4      ,i4 ,the ,body was called    
,khat4 ,this was embalmed and then      
placed     in the tomb4      ,,ii4 ,the 
,soul was called1 ,ba or ,bai1 plur4    
,baiu4 ,this was     the part of the    
spiritual which was thought to contain  

the     elements necessary for the      
world-life of a man1 such as            
judgment1 conscience1 etc4 ,it seems to 
be the same termed     psuke or psyche  
by the ,greeks4 ,this ,ba performed the 
pilgrimage in the underworld1 and was   
judged for the conduct of     the man it
 inhabited in this world1 by ,osiris and
 the ,forty-two     judges4 ,it was     
usually represented as a bird1          
especially as a     human-headed        
sparrow-hawk4 ,it fluttered to and fro  
between this     world and the next1    
sometimes visiting the mummy in its     
tomb4 ,it     was sometimes represented 
as a crane1 at others as a lapwing4 ,it 
is paralleled by the ,rua'h of the      
,hebrew ,qabbalah4      ,,iii4 ,the     
,intellectual part of man's spirit was  
called1 ,xu or     ,khu4 ,it was        
considered as part of the flame detached
 from the     upper divine fire4 ,freed 
from mortality it wandered through      
space and had the power of keeping      
company with or haunting     humanity1  

and even of entering into and taking    
possession of the     body of a living  
man4 ,the ,egyptians spoke of being     
possessed     with a khu as we would say
 of a being possessed by a              
spirit4#ajf ,it was considered as a     
luminous spirit4 ,it was the            
,intelligence and answers to the ,nous  
of the ,greeks and the     ,neshamah of 
the ,hebrew ,qabbalah4      ,,iv4 ,the  
,shadow or ,shade was called1 ,khaibit4 
,this created the     ,individuality1   
and was an important part of the        
personality4     ,there was a valley in 
which the ,shades were1 in the          
,underworld4     ,it was restored to the
 soul in the second life4 ,they are     
frequently mentioned in the ,per-em-hru4
 ,his shadow1 would     early attract   
the attention of the primitive man4     
,v4 ,the ,name was called1 ,ren4 ,this  
was the ,personality1 that              
something1 which continued to know      
itself as a distinct     individual1    
through every change of the atoms and   

appearances of     the body4 ,in the    
,per-em-hru was written3 ,the ,osiris   
7then the     name of the dead was      
inserted47 ,it was restored eternally to
     the soul in the second life4 ,the  
,ba retained the ,ren in its     journey
 through the ,underworld4      ,,vi4    
,the life or ,double was called1 ,ka1   
plur4 ,kau4 ,this was     the vital     
principle1 necessary to the existence of
 man as an     animal being on this     
earth4 ,it was a spiritual double1 a    
second     perfect exemplar or copy1 of 
his flesh1 blood1 etc41 body2 but     of
 a matter less dense than corporeal     
matter1 but having all its     shape and
 features1 being child1 man1 or woman1  
as the living     had been4 ,it dwelt   
with the mummy in the tomb and had a    
semi-material form and substance1 and ,i
 am inclined to think1     from the     
texts1 it had power to leave the tomb   
when it pleased     but always returned4
 ,its emblem was the ankh or crux       
ansata4     ,it was something like the  

higher ,nephesh of the ,hebrew          
,qabbalah4 ,the sacrificial food left in
 the tombs and the     pictures on their
 walls were for the benefit of the ,ka4 
,the     ,ka corresponded to the ,latin1
 genius4 ,its original meaning     may  
have been image2#ajg it was like the    
,greek eidolon1     i4e41 ghost4 ,the   
funeral oblations were made to the image
 or     ,ka4 ,the ,ka was a spiritual   
double of the man1 a kind of            
prototype in the ,upper ,world1 of the  
man in the ,lower ,world1 our           
earth4#ajh      ,,vii4 ,the ,mummy or   
the ,husk was called1 ,sahu4 ,it was the
 body     after embalmment4 ,his body is
 in the condition of being true2     it 
will not perish4#aji ,the ,sahu was     
considered a true being     as it was   
assumed that it would always remain the 
same4 ,it was     like the lower form of
 the ,nephesh of the ,hebrew ,qabbalah4 
,the     atoms of the mummy-body were   
still intact held together by the       
cohesion of the particles4 ,this        

cohesion was looked upon as a           
spiritual energy keeping the particles  
together1 in the form of     the mummy4 
,the word ,sahu may sometimes refer to  
this living     personality4            
,,viii4 ,the ,heart was called ,ab4     
,this was thought to be the seat     of 
life1 the life being in the blood1 and  
the embryonic life     starting with the
 pulsations of the heart4 ,see1         
,appendix ,a4  ,the ,ba1 performed the  
journey through the ,underworld         
accompanied by the ,name and ,shadow1   
until it reached the ,hall of ,judgment2
 if pronounced pure1 the ,heart was then
 given it4 ,the ,name1 ,shadow and      
,heart1 then awaited reunion with the   
,khu and ,ka for the condition of final 
immortality and the power to make the   
transformations4 ,the body was embalmed 
and the ,ka dwelt in the sepulchre with 
it1 but went in and out of the tomb4    
,the ,khu also accompanied the ,ba in   
its journey through the ,underworld and 
assisted it1 but in case of an adverse  

judgment in the ,hall of ,osiris and the
 decree of annihilation2 the ,khu fled  
back to its immortal source of life and 
light4  ,not any of these1 by its own   
nature1 could exist for any length of   
time entirely separated from the others2
 if left to itself1 that so separated1  
would in time dissolve into new elements
 and if it were the soul1 it would die a
 second time1 the personality and       
individuality would then perish and     
become annihilated2 this was the much   
feared1 second death4 ,this however     
might be prevented by the piety of the  
survivors1 in repeating the prayers and 
litanies and performing the lustrations 
and sacrifices1 for the dead4 ,the lot  
to do this usually fell to the eldest   
son and in default of sons1 to the      
daughters1 etc41 no relations existing1 
the dead persons' slaves could perform  
it4 ,the priests were also left         
annuities to perform perpetually1 the   
sacred duties to the dead4 ,embalmment  
preventing for centuries1 decomposition2

 continued prayers1 devotions and       
offerings would save1 it was believed1  
the ,ka1 the ,ba1 and the ,khu1 from the
 second death1 and procure for them what
 was necessary to prolong their         
existence4 ,the ,ka1 they thought1 never
 quitted the place where the mummy was  
except at some time to return4 ,the ,ba1
 and the ,khu went away from it to      
follow the gods1 but they continually   
returned as would a traveler who        
re-entered his house after an absence4  
,the tomb was the defunct's eternal     
dwelling house on earth1 the houses of  
the living were only as inns or stopping
 places4 ,in case of a judgment in favor
 of the ,ba in the ,hall of ,osiris1 the
 ,khu united to the ,ba1 ,khaibet1 ,ab1 
,ka1 etc41 rose up to the ,egyptian     
heaven1 and the whole united was able to
 make whatever transformations pleased  
it4  ,,footnotes3  #gg ,comp4 ,hist4 of 
the ,egypt4 ,relig41 by ,dr4 ,c4,p4     
,tiele4 ,london1 #ahib1 pp4 #hi1 #abg1  
#aci4  #gh ,most likely the ,egyptian   

idea was to emanate more than to create4
  #gi ,louis ,mnard's edition4 ,paris1  
#ahfg1 p4 #hi4  #hj ,book ,,ii41 ch4    
#abc4  #ha ,hist4 of the ,egypt4        
,relig41 by ,c4,p4 ,tiele1 pp4 #dg1 #ga4
  #hb ,comp4 ,hist1 of the ,egypt4      
,relig41 by ,c4,p4 ,tiele4 ,london1     
#ahij1 p4 #abg4 ,the ,book of the ,dead4
 ,fac-simile of the ,papyrus of ,ani1   
etc41 notes by ,p4 ,le ,page ,renouf4   
,london1 #ahij1 p4 #af1 note4 ,see also 
supra reference to the ,mesxen4 ,a      
similar idea is in the ,zohar1 compare  
,qabbalah1 etc41 by ,isaac ,myer4       
,philadelphia1 #ahhh1 pp4 #cig1 #chh1   
#chi1 #ajh et seq41 #aij1 #aif1 #dah1   
and many other places4  #hc ,hymne      
,ammon-,ra des papyrus gyptiens du ,muse
 de ,boulaq1 traduit et comment1 by     
,eugne ,grbaut1 etc4 ,paris1 #ahgd1 p4  
#aa4  #hd ,ibid41 p4 #bh4 ,see also1 pp4
 #aae1 #abj-abb1 #bie4  #he ,ibid41 pp4 
#aab1 #aae4  #hf ,as to the meaning of  
the important word maat1 see1 ,religion 
of ,ancient ,egypt1 by ,p4 ,le ,page    

,renouf--,hibbert ,lectures for #ahgi4  
,new ,york1 pp4 #gc et seq42 #abc et    
seq4 ,hymne  ,ammon-,ra1 last before    
cited1 notes p4 #aaj et seq4  #hg ,hymne
  ,ammon-,ra1 p4 #af et seq4  #hh       
,ibid41 pp4 #bg1 #bh4  #hi ,comp4 ,hymne
  ,ammon-,ra1 by ,e4 ,grbaut1 pp4 #c1   
#d1 and notes to same1 p4 #ci et seq4   
#ij ,or1 the changing which is in the   
changing of all things when they change4
  #ia ,that is3 ,lords of maat1 i4e41 of
 the harmony of the universe4  #ib      
,place of the soul's birth4 ,this refers
 to the upper prototypic world4 ,the    
same idea is in the ,zohar4  #ic        
,catalogue des ,manuscrits gyptiens1    
etc41 au ,muse gypt4 du ,louvre1 par    
,feu ,thodule ,devria4 ,paris1 #ahha1   
,no4 #cbhc2 pp4 #adc1 #add4 ,comp4      
,herms ,trismgiste1 par ,louis ,mnard1  
second ed4 ,paris1 #ahfg1 pp4 #ahh1     
#aij1 #aag et seq42 #adg4  #id ,herms   
,trismgiste1 edition last cited1 p4     
#bah4  #ie ,by the ,word or ,logos4 ,the
 ,logos occupied an important position  

in the ,ancient ,egyptian religion4 ,see
 my ,article on the subject in1 ,the    
,oriental ,review1 ,january-,february1  
#ahic1 p4 #bj et seq4  #if ,shu         
corresponds to the ,makrokosm1 the      
primordial ,adam or androgenic ,adam    
,qadmon1 of the first chapter of the    
,hebrew ,book of ,genesis4 ,as to ,shu1 
see3 ,history of the ,egypt4 ,relig41 by
 ,dr4 ,c4,p4 ,tiele4 ,boston1 #ahhb1 pp4
 #hd1 #he1 #aee1 #aef4  #ig ,the ,hebrew
 ,she-kheen-ah1 or ,glory8  #ih ,the    
,nile4 ,notes for ,travellers in ,egypt1
 by ,e4,a4 ,wallis ,budge1 ,litt4 ,d41  
,f4,s4,a41 etc41 second ed4 ,london1    
#ahib1 p4 #afe et seq4  #ii             
,inscriptions in the pyramid of ,pepi   
,i41 l4 #ffd 7circa #cbcc-cbjj ,b4,c417 
in the ,recueil de ,travaux ,relatifs   
la ,philol41 et  l',arch4 gypt41 etc41  
,vol4 ,,viii41 p4 #ajd4  #ajj ,comp4    
,the ,per-em-hru or1 ,book of the ,dead1
 edition of ,ed4 ,naville1 ch4 ,,xvii41 
l4 #c1 #d4 ,in the passage cited from   
,pepi1 ,i4 #ffd et seq41 ,tumu is also a

 primordial deity and its female sakti  
or principle1 is ,nu or ,nut1 the sky4  
#aja ,it is from this action that the   
deity was named ,shu from the root1 ,shu
 to lift up1 to raise4 ,later1 through a
 pun1 he obtained the meaning of        
,luminous4 ,comp4 also ,naville's ed4 of
 the ,per-em-hru last cited1 l4 #d et   
seq4  #ajb ,g4 ,maspero in the ,revue de
 l',hist4 des ,religions4 ,le ,livre des
 ,morts1 ,vol4 ,,xv41 pp4 #bfi1 #bgj4   
#ajc ,herms ,trismgistos1 second ed41 by
 ,louis ,mnard4 ,paris1 #ahfg4 pp4 #bg1 
#bh4 ,hermetis ,trismegisti ,poemander2 
ad fidem codicum manu scriptorum        
recognovit1 by ,gustavus ,parthey4      
,berolini1 #ahed1 p4 #ca4 ,the word sand
 is used to symbolize the positive or   
atomic dryness1 and damp sand1 the      
atomic humidity1 or the negative4  #ajd 
,book of the ,dead1 ch4 ,,xvii41 l4     
#a-d2 ,,xv41 l4 #bh1 #bi1 #dc1 #dg2     
,,lxxix41 l4 #a1 #b2 ,,lxxviii41 l4 #ab4
 ,hymne  ,ammon-,ra1 by ,eugne ,grbaut4 
,paris1 #ahgd1 pp4 #aa1 #bh1 #aab1 #aae1

 #abj-abb1 #bie4  #aje ,paul ,pierret1  
tudes gyptol41 ,i41 #ha4  #ajf ,f4      
,chabas1 l'gyptologie4 ,paris1 #ahgh1   
,vol4 ,,ii41 p4 #ajc4  #ajg ,comp4      
,trans4 ,soc4 ,biblical ,literature1    
,vol4 ,,vi41 pp4 #did-ejh4  #ajh ,comp4 
,religion of ,ancient ,egypt by ,p4 ,le 
,page ,renouf1 p4 #aec et seq4  #aji    
,mythe d' ,horus1 by ,e4 ,naville4      
,,viii4      ,,forgery ,,of ,,scarabs   
,,in ,,modern ,,times4 ,,difficulty ,,of
 ,,detecting     ,,such4 ,,other        
,,egyptian ,,antiquities ,,also         
,,counterfeited ,,by ,,the     ,,present
 ,,inhabitants ,,of ,,egypt4   ,m4      
,prisse says3#aaj ,most of the fellahs  
who inhabit the land1 formerly ,memphis 
and ,thebes1 live only from the products
 of their finds4 ,constrained to cease  
from their lucrative researches1 they   
are reduced to the counterfeiting of    
figurines1 amulets and the other objects
 of art which they formerly found in the
 earth4 ,necessity the mother of        
industry has caused them in a short time

 to make wonderful progress4 ,without   
any practice in the arts1 and with the  
rudest tools1 some of the peasants have 
carved scarabs and beautiful statuettes 
and ornamented them with hieroglyphic   
legends4 ,they very well know that      
cartouches add much value to the        
antiquities1 and they are never in want 
of copies of them either from the great 
monuments or the original scarabs4 ,they
 use in making the copies a limestone of
 fine and compact grain1 soapstone1     
serpentine and alabaster4 ,the objects  
made of limestone are daubed with       
bitumen taken from the mummies1 or from 
the colors taken away from the paintings
 in the hypogea1 finally some are       
covered uniformly with a brilliant      
pottery glaze which renders1 it is true1
 the forms rather blurred and not easy  
to see1 but which resembles in a        
surprising manner1 antiquities which the
 action of fire or of earth1 impregnated
 with saltpetre1 have slightly damaged4 
,the feigned hieroglyphs therein are    

mistaken for those as to which the work 
has been neglected4 ,their statuettes   
recall the figurines of poor ware1 which
 the ,ancient ,egyptians placed in so   
great a number in their tombs4 ,in spite
 of their imperfections1 the fellahs    
have been perfectly successful in       
deceiving most of the travelers1        
generally grossly ignorant of           
antiquities4 ,hard stones1 such as      
basalt1 green jasper1 burnt serpentine1 
green feldspar1 chalcedony1 cornelian1  
etc41 upon which the rude tools of the  
fellahs would not have worked1 would    
have become1 for the amateurs in        
antiquities1 the only pieces of         
authentic origin2 but the ,jews of      
,cairo1 also as rapacious and more able 
than the ,arabs1 have engraved with the 
wheel1 scarabs and amulets denuded of   
legends2 and finally have entirely      
counterfeited them1 so that all these   
little objects are now very much        
suspected1 and their appreciation       
to-day1 demands understanding of the    

text much more than knowledge of        
,egyptian art4  ,not only the tourists1 
the people of leisure from ,europe1 who 
bring back from all the classic lands   
some antiquities1 in place of           
observation and study1 which are not    
sold2 purchase these falsified          
antiquities1 but also people who pride  
themselves upon having a knowledge of   
archology1 often buy them4 ,most of the 
collections of the ,museums of ,europe  
contain1 more or less1 objects          
fabricated in our day in ,egypt4        
',luxor' says ,m4 ,mariette1 'is a      
centre for fabrications in which        
scarabs1 statuettes and even steles1 are
 imitated with an address which often   
leads astray the most instructed        
antiquary4'  ,mr4 ,henry ,a4 ,rhind#aaa 
writing in #ahfb says3 ,there is now at 
,thebes an arch-forger of scarabi--a    
certain ,ali ,gamooni1 whose endeavors1 
in the manufacture of these much sought 
after relics1 have been crowned with the
 greatest success4 99 99 ,scarabi of    

elegant and well finished descriptions1 
are not beyond the range of this curious
 counterfeiter4 ,these he makes of the  
same material as the ancients used--a   
close-grained1 easily cut               
limestone--which1 after it is cut into  
shape and lettered1 receives a greenish 
glaze by being baked on a shovel with   
brass filings4 ,ali not content with    
closely imitating1 has even aspired to  
the creative2 so antiquarians must be on
 their guard lest they waste their time 
and learning1 on antiquities of a very  
modern date4#aab  ,,footnotes3  #aaj    
,collections d',antiquits gypt4 au      
,caire1 p4 #a et seq4  #aaa ,thebes2 its
 ,tombs and their ,tenants1 ancient and 
modern4 ,london1 #ahfb4  #aab ,ibid41   
pp4 #bec-bee4 ,comp4 ,gliddon1          
,indigenous ,races1 p4 #aib note4       
,,ix4      ,,phoenician ,,scarabs4      
,,manufactured ,,mostly ,,as ,,article  
,,of ,,trade4     ,,used ,,inscribed    
,,scarabs ,,as ,,seals ,,in ,,commercial
 ,,and ,,other     ,,transactions4      

,,many ,,scarabs ,,found ,,in           
,,sardinia4   ,archologists frequently  
find in lands bordering on the shores of
 the ,mediterranean sea1 scarabs and    
scarabeoids1 on which are engraved      
subjects which are ,egyptian1 ,chaldean1
 ,assyrian1 ,hittite or ,persian2 they  
were intended apparently to be used as  
signets1 and were incised with short    
inscriptions in ,phoenician1 and        
sometimes1 in ,aramaic or in ,hebrew1   
giving the name of the owner of the     
signet4  ,these had been mostly         
manufactured in their entirety1 as      
articles of trade1 for sale by the      
ancient merchants of ,tyre and ,sidon1  
or they were ,egyptian1 ,assyrian or    
other originals upon which1 ,phoenician 
lapidaries had engraved the name of the 
later ,phoenician owner4 ,in spite of   
not being an artistic people producing  
works of originality1 this people1 the  
great mariners and merchants of         
antiquity1 had in an eminent degree the 
genius of assimilation or adaptation1   

and manufactured cylinders1 cones1      
spheroids1 scarabs and signets of all   
kinds1 at first for themselves1 and     
afterwards as an article of sale to the 
people with whom they traded4  ,they    
also used seals in their commercial and 
maritime transactions1 which they       
surrounded with the same formalities    
which we find in ,assyria1 ,babylonia   
and ,chaldea4 ,when they dealt with     
these last mentioned peoples1 the       
,phoenicians came into contact with     
nations1 whose most unimportant         
transactions were put into writing by a 
scribe1 and sealed in the presence of   
witnesses1 with the seal of the         
contracting parties4 ,they therefore in 
dealing with these people were obliged  
to have and use signets4#aacaad ,such   
contracts have been found dating between
 #gde-gbi ,b4,c4  ,in the island of     
,sardinia have been found numerous      
intaglios under the form of scarabs1    
they were apparently used as signets4   
,the under parts are incised with       

,egyptian1 ,assyro-,chaldean or ,persian
 subjects4 ,in the necropolis of        
,tharros1 an early ,phoenician colony   
situated near the present ,torre di ,san
 ,giovanni di ,sinis1 have been found   
more than #fjj scarabs ornamented with  
,egyptian1 ,assyrian and ,persian       
subjects2#aae and one might believe a   
colony which came from ,egypt or        
,assyria settled there4 ,these scarabs  
are usually cut in dark green jasper1   
some are made of cornelian1 others of a 
glass-paste1 rarely in amethyst or      
sardonyx4 ,the work is variable         
sometimes carefully done1 but none of   
the scarabs have the clearness of those 
found in ,egypt1 nor of the             
,assyro-,chaldean of ,asia4 ,most of    
these scarabs1 which are always made in 
nearly the same form1 were mounted1 some
 in gold and others in silver2 also     
sometimes in other metals which the     
corrosions from age had already caused  
to disappear when they were found4      
,these intaglios can be divided from the

 nature of the subjects into three      
varieties4 ,the first those imitating   
the ,egyptian2 the second1 the          
,assyro-,chaldean2 and the third1 the   
,persian4 ,all these scarabs are of     
,phoenician manufacture1 but they were  
probably made in ,sardinia1 as the      
remains of the workshops and materials  
used in making them1 have been found    
there4 ,they do not go back of #ejj     
,b4,c4 ,the ,phoenicians in their       
colonies1 showed no more originality in 
their work than they did in the mother  
country1 and have been only the         
intermediary agents between the         
civilization of the ,orient and that of 
the ,occident4 ,this people even        
counterfeited ,egyptian manufactures and
 antiquities in order to sell them1 and 
the borrowings in their own religion    
show1 they were governed more by the    
gains of trade than the desires or      
depths of piety4 ,there are a number in 
the ,cesnola collection in the          
,metropolitan ,museum of ,art in ,new   

,york ,city4  ,there is a magnificent   
scarab in green jasper in the ,british  
,museum1 but where it was produced is   
not known4 ,it appears to be from the   
chisel of an ,egyptian artist4 ,the base
 however has been engraved by another2  
its subject is clearly ,assyrian1 in the
 style of work done with the drill1 by  
the artists of ,calah4 ,in the field of 
the signet is a symbol unknown to       
,assyria or ,egypt1 below this is       
evidently the ,egyptian ankh or crux    
ansata and below this is the            
inscription3 7,signet7 of ,hodo1 the    
,scribe4 ,this a beautiful specimen of  
the intelligent work of the             
,phoenicians4  ,,footnotes3  #aac ,such 
contracts written on terra cotta1 have  
been found sealed with impressions of   
the finger nails on the margin of the   
terra cotta before it was baked2 others 
have had something as to the act done1  
referred to on the margins1 written in  
,phoenician letters4 ,there has been    
found an example of this as early as    

#ghc ,b4,c4  #aad ,menant4 ,les ,pierres
 ,graves de la ,haute-,asie1 p4 #baa et 
seq4  #aae ,crespi1 ,catalogo1 p4 #ach1 
,no4 #a4     ,x4      ,,etruscan        
,,scarabs4 ,,origin ,,of ,,and ,,where  
,,found4 ,,copied ,,from     ,,egyptian 
,,but ,,with ,,changes ,,in ,,subjects1 
,,size ,,and ,,ornamentation4     ,,the 
,,engraving ,,of4 ,,where ,,usually     
,,found4 ,,uses ,,by ,,the ,,etruscans4 
,,greek ,,and ,,roman ,,scarabs4        
,,gnostic1 ,,of ,,the ,,basilidians4    
,the archaic people of ancient ,etruria 
did not make cameos1 their gems were    
intaglios and were incised on the under 
side1 on forms shaped in the model of   
the scarabus or beetle4 ,the use of the 
form therefore was most likely derived  
from those used in the valley of the    
,nile4 ,the ,etruscan scarabs were      
however not correct representations2    
they were conventional and exaggerated  
resemblances of the insect4  ,the       
,etruscan scarabus is found in different
 parts of ,italy1 quite frequently at   

,chiusi1 in ,tuscany1 which was formerly
 ancient ,etruria2 from whence1 the name
 ,etruscan for those found in this part 
of ,italy1 has been derived4  ,they were
 usually manufactured of common red     
sard1 such as is now often met with in  
the beds of ,italian torrents1 but      
,etruscan scarabs have also been found  
made of sardonyx1 cornelian1 onyx and   
agate1 also1 but rarely1 of chalcedony4 
,the ancient inhabitants of ,italy      
followed the ,egyptian form in making   
the representation except1 that the back
 and the wing cases of the scarab are   
set much higher than the ,egyptian1 and 
there is usually a raised ridge running 
along the junction1 also the legs are   
cut out on the side1 and a slight       
difference exists in the ornamentation  
and engraving of the wing cases4 ,the   
stones have been rubbed into shape      
apparently by corundum4 ,few exceed an  
inch1 and most are not over half an inch
 in length1 whereas the ,egyptian were  
from the size of our ordinary house fly 

to those a number of feet across4 ,the  
material of the ,etruscan is also always
 semi-transparent1 except those burned  
which has made the sard opaque4 ,the    
flat side or base was engraved with     
intaglio4 ,this engraving though in     
early examples rude and done with the   
drill1 was in later times1 improved by  
the use of the wheel1 diamond dust and  
the diamond point1 and by the polishing 
of both the surface and the incised     
parts1 and also1 by the addition1 both  
at the sides and around the engraved    
base1 of an ornamental border of small  
strokes following each other closely1   
resembling in some specimens1 the       
milling of a coin2 in others1 it is like
 a widely linked chain or string of     
beads1 or a loosely twisted cable1 and  
in others like the ornamentation known  
as egg moulding4  ,in ,egyptian scarabs 
the flat or under part of the stone1    
which is the side engraved in intaglio1 
has representations of deities or       
hieroglyphs2 in the ,etruscan1 the      

subjects engraved in intaglio on the    
base1 are representations of animals1   
wild or domestic1 or are those derived  
from ,egyptian1 ,assyrian or ,babylonian
 sources1 and after acquaintance with   
the ,greeks1 subjects derived from early
 ,greek myths1 especially the deeds of  
,herakles and of the heroes of the      
,trojan ,war1 of those of ,thebes and   
the sports of the ,palstra4  ,sometimes 
the name of the subject was engraved on 
one side of it1 and occasionally the    
wearer's name or a word of mystic       
meaning1 rarely symbols or figures of   
the ,etruscan gods or chimras4 ,the     
engraving is of great service to the    
historian and student of the glyptic    
art1 as the subjects show the transition
 from ,assyrian1 ,egyptian1 and ,persian
 forms and figures1 to the archaic      
,greek and the best period of stone     
engraving4  ,many of the ,etruscan      
examples have been found at ,prneste1   
the modern ,palestrina1 and in the      
necropolis of ,clusium2 some of those   

found there1 have engraved on the base  
the lotus flower with four-winged       
figures of archaic ,etruscan form1 the  
kynokephallos ape1 the sacred asp or    
urus of ,egypt1 the winged sun of       
,thebes and the bull ,apis2 on others   
are figures copied from ,assyrian       
originals2 on others are ,herakles      
fighting the lion1 ,herakles stealing   
the tripod of ,apollo and discovered by 
the latter2 ,ajax and ,cassandra1 a     
,harpy1 etc4 ,some of these have been   
found in tombs and other places with the
 color changed to an opaque white by the
 action of fire4 ,these have been burned
 with the body of their owner when he   
was cremated4  ,the ,etruscans have     
evidently borrowed the form without     
caring for the cult2 there does not     
appear with them any mysterious1        
religious or astronomical meaning1 nor  
the veneration for it1 which existed    
among the old ,egyptians2 but no doubt1 
the representation was considered as a  
talisman or preservative amulet and was 

worn as such1 but in many instances     
likely1 only as a matter of ornament in 
dress4  ,they were pierced like those of
 ,egypt longitudinally1 and one method  
of wearing them1 was1 by stringing them1
 intermingled with beads1 as a necklace1
 but they were also worn as a signet    
stone in a ring with a swivel1 so they  
could be turned and the incised part    
used as a seal by the owner4  ,i think  
it likely that the ,etruscans at first1 
purchased the scarabs from the          
,phoenician traders whose merchant      
ships1 as ,i have said in the preceding 
chapter1 trafficked in ornaments and    
jewelry at an early period1 and who     
likely1 at first1 may have brought some 
from ,egypt and afterwards manufactured 
scarabs as an article of barter4  ,there
 is one peculiarity to be noted in the  
glyptography of the ,etruscans1 the     
absence of a transitional period between
 the extremely rude designs of the early
 style1 made almost entirely by the use 
of the drill1 and the intaglios of the  

most beautiful finish in low relief4    
,mr4 ,king1 in his work on ,antique     
,gems1 says3 ,while the first class     
offers caricatures of men and animals1  
the favorite subjects being figures     
throwing the discus1 fawns with amphora1
 cows with sucking calves1 or the latter
 alone1 the second gives us subjects    
from the ,greek mythology1 especially   
scenes from ,homer and the tragedians1  
among which1 the stories of ,philoctetes
 and ,bellerophon occur with remarkable 
frequency4 ,i think the rudely made are 
likely of ,etruscan or ,phoenician      
manufacture1 the finely executed of     
,greek4  ,the inscriptions on ,etruscan 
stones are nearly always the names of   
the persons represented on them4 ,there 
are but few exceptions to this4 ,we may 
therefore divide ,etruscan glyptography 
into3  ,i4 ,etruscan scarabs1 with      
,etruscan or ,assyrian subjects4  ,,ii4 
,etruscan scarabs1 with archaic ,greek  
subjects4  ,there are many more of the  
latter than the former4 ,the ,greek     

subjects most frequently met with1 refer
 to actions by ,herakles1 ,perseus1     
,tydeus1 ,theseus1 ,peleus1 ,ulysses1   
,achilles and ,ajax4  ,the time of      
manufacture and use by the ,etruscans   
was most probably before the ,i,i,ird   
century ,b4,c41 at which time1 ,etruria 
was conquered by the ,romans1 its       
manufactures destroyed and its artists  
taken to ,rome4  ,the ,greeks borrowed  
the form from the ,egyptians1 but       
improved on the engraving1 which they   
made more natural and artistic2 finally 
they suppressed the insect but preserved
 the oval form of the base4 ,the ,romans
 also adopted1 it may be surmised from  
the ,etruscans1 the scarab signet and   
retained its form until the later days  
of the ,republic4 ,winckelmann1 says3   
,those with the figures or heads of     
,serapis or ,anubis incised upon them   
are of this period4#aaf ,i think it     
likely1 that those with this deity upon 
them may go back to the period of the   
,ptolemys4  ,at the end of the ,ist or  

beginning of the ,i,ind century ,a4,d41 
arose the gnostic ,egyptian sect called 
the ,basilidians4 ,they introduced an   
amulet or talisman4 ,it was made oval in
 the form of the base of the ,egyptian  
scarab4 ,such talisman were usually made
 of black ,egyptian basalt1 sometimes of
 sard or other hard stones4 ,upon them  
were engraved mysterious hieroglyphs and
 figures1 called ,abraxas1 and they are 
known as ,abraxoides4 ,among the figures
 engraved was frequently that of the    
scarabus4 ,montfaucon has given a number
 of them in his ,antiquities4#aag       
,chifflet has also given several4#aah   
,,footnotes3  #aaf ,winckelmann1 ,art4  
#b1 c4 #a4  #aag ,vol4 ,,ii41 part #b1  
p4 #cci4 ,ed4 of ,paris4  #aah ,comp4   
,fosbrooke ,encyc4 of ,antiq4 ,london1  
#ahbe1 part ,i41 p4 #bjh4     ,,appendix
 ,a4   ,the heart of man was considered 
to be the source from whence proceeded1 
not only the beginnings of life but also
 the beginnings of thought4 ,it was     
symbolized by the scarab4 ,examples of  

the heart have been found1 some with a  
representation of the human head at the 
top of them1 and of human hands crossed 
over them2 and others1 having a figure  
of the soul in the shape of a hawk with 
outstretched wings1 incised on one side 
of the model4  ,since the foregoing     
chapters were put in type1 which were   
based on the ,book of the ,dead as      
published by ,m4 ,paul ,pierret in a    
,french translation1 from the ,turin    
papyrus and the papyri in the ,louvre1  
as mentioned in my ,introduction2 the   
,translation and ,commentary of ,the    
,egyptian ,book of the ,dead by ,p4 ,le 
,page ,renouf1 ,esq41,a ,parts ,i4 and  
,,ii41 have appeared4  ,mr4 ,renouf's   
translation is based on ,das gyptische  
,todtenbuch der ,,xviii4 bis ,,xx4      
,dynastie by ,m4 ,edouard ,naville1,b   
and is from papyri of the ,theban       
,dynasties and from a very much older   
period than that of the ,turin papyrus4 
,the chapters so far given in ,mr4      
,renouf's translation which relate to   

the heart1 are the #bfth1 #bgth1 #bhth1 
#bi;,a1 #bi;,b1 #cj;,a1 and #cj;,b4     
,they are as follows3       ,,chapter   
,,xxvi4      ,chapter whereby the ,heart
 is given to a person in the            
,netherworld4       ,he saith3 ,heart1,c
 mine to me1 in the place of ,hearts6   
,whole     ,heart6 mine to me in the    
place of ,whole ,hearts6      ,let me   
have my ,heart that it may rest within  
me2 but ,i shall     feed upon the food 
of ,osiris1 on the eastern side of the  
mead of     amaranthine flowers4        
,be mine a bark1 for descending the     
stream and another1 for     ascending4  
,i go down into the bark wherein thou   
art4      ,be there given to me my mouth
 wherewith to speak1 and my feet     for
 walking2 and let me have my arms       
wherewith to overthrow my               
adversaries4      ,let two hands from   
the ,earth open my mouth3 ,let ,seb1 the
     ,erpa,d of the gods1 part my two   
jaws2 let him open my two     eyes which
 are closed1 and give motion to my two  

hands which are     powerless3 and let  
,anubis give vigour to my legs1 that ,i 
may     raise myself up upon them4      
,and may ,sechit1 the divine one1 lift  
me up2 so that ,i may arise     in      
,heaven and issue my behest in ,memphis4
      ,i am in possession of my ,heart1 
,i am in possession of my ,whole        
,heart1 ,i am in possession of my arms  
and ,i have possession of my     legs4  
,i do whatsoever my ,genius 7,ka87      
willeth1 and my ,soul 7,ba87     is not 
bound to my ,body 7,khat87 at the gates 
of ,amenta4         ,,chapter ,,xxvii4  
,chapter whereby the ,heart of a person 
is not taken from him in     the        
,netherworld4       ,o ye gods who seize
 upon ,hearts and who pluck out the     
,whole     ,heart2 and whose hands      
fashion anew the ,heart of a person     
according to what he hath done2 lo now1 
let that be forgiven to     him by you4 
,hail to you1 ,o ye ,lords of           
,everlasting ,time and ,eternity6       
,let not my ,heart be torn from me by   

your fingers4      ,let not my ,heart be
 fashioned anew according to all the    
evil     things said against me4        
,for this ,heart of mine is the ,heart  
of the god of mighty names     7i4e41   
,thoth17 of the great god whose words   
are in his members1     and who giveth  
free course to his ,heart which is      
within him4      ,and most keen of      
insight is his ,heart among the gods4   
,ho to me6     ,heart of mine2 ,i am in 
possession of thee1 ,i am thy master1   
and     thou art by me2 fall not away   
from me2 ,i am the dictator whom        
thou shalt obey in the ,netherworld4    
,,chapter ,,xxviii4      ,chapter       
whereby the ,heart of a person is not   
taken from him in     the ,netherworld4 
,o ,lion-,god6      ,i am ,unbu,e and   
what ,i abominate is the block of       
execution4      ,let not this ,whole    
,heart of mine be torn from me by the   
,divine     ,champions,f in ,heliopolis4
      ,o thou who clothest ,osiris and  
hast seen ,sutu4      ,o thou who       

turnest back after having smitten him1  
and hast     accomplished the overthrow4
      ,this ,whole ,heart of mine       
remaineth weeping over itself in 7the7  
presence of ,osiris4      ,its strength 
proceedeth from him1 it hath obtained it
 by prayer     from him4      ,i have   
had granted to it and awarded to it1 the
 glow of heart at     the hour of the   
god of the ,broad ,face1 and have       
offered the     sacrificial cakes in    
,hermopolis4      ,let not this ,whole  
,heart of mine be torn from me4,g ,it is
 ,i who     entrust to you its place1   
and vehemently stir your ,whole ,heart  
towards it in ,sechit-hotepit and the   
years of triumph over all     that it   
abhors1 and taking all provisions at    
thine appointed     time from thine hand
 after thee4      ,and this ,whole      
,heart of mine is laid upon the tablets 
of ,tmu1     who guideth me to the      
caverns of ,sutu and who giveth me back 
my     ,whole ,heart which hath         
accomplished its desire in 7the7        

presence     of the ,divine ,circle     
which is in the ,netherworld4      ,the 
sacrificial joint and the funereal      
raiment1 let those who     find them    
bury them4         ,,chapter ,,xxixa4   
,chapter whereby the ,heart of a person 
may not be taken from him     in the    
,netherworld4       ,back thou          
,messenger,h of thy god6 ,art thou come 
to carry off by     violence this ,whole
 ,heart of mine1 of the ,living4,i ,the 
gods     have regard to my offerings and
 fall upon their faces1 all             
together1 upon their own earth4,j       
,certain chapters referring to the      
,heart were incised upon hard           
precious stones1,k and used as amulets  
and talisman4 ,the ,x,x,v,ith     upon  
,lapis-lazuli1 the ,x,x,v,i,ith on green
 ,felspar1 the ,x,x,xth on              
,serpentine4 ,the following was usually 
incised on ,carnelian4         ,,chapter
 ,,xxixb4      ,chapter of the ,heart2  
upon ,carnelian4       ,i am the ,heron1
 the ,soul of ,ra1 who conducts the     

,glorious ones     to the ,tuat4        
,it is granted to their ,souls 7,baiu87 
to come forth upon the     ,earth1 to do
 whatsoever their ,genius 7,ka87        
willeth4      ,it is granted to the     
,soul 7,ba87 of the ,osiris 7the name of
 the     deceased was inserted here7 to 
come forth upon the ,earth to do        
whatsoever his ,genius 7,ka87 willeth4  
,,chapter ,,xxxa4      ,chapter whereby 
the ,heart of a person is not kept back 
from him     in the ,netherworld4       
,heart mine which is that of my ,mother1
 ,whole ,heart mine which     was that  
of my coming upon ,earth1      ,let     
there be no estoppel against me through 
evidence2 let not     hindrance be made 
to me by the ,divine ,circle2 let there 
not be a     fall of the ,scale,l       
against me in 7the7 presence of the     
great     god1 ,lord of ,amenta4        
,hail1 to thee1 ,heart mine2 ,hail to   
thee1 ,whole ,heart mine1 ,hail     to  
thee1 ,liver mine6      ,hail to you1 ye
 gods who are on the side lock1         

conspicuous by     your sceptres1       
announce my glory to ,ra and convey it  
to     ,nehabkau4      ,and lo1 though  
he be buried in the deep deep ,grave1   
and bowed     down to the region of     
annihilation1 he is glorified there4    
,,chapter ,,xxxb4       ,heart mine     
which is that of my ,mother1 ,whole     
,heart mine which is     that of my     
birth1      ,let there be no estoppel   
against me through evidence1 let no     
hindrance be made to me by the ,divine  
,circle2 fall thou not     against me in
 7the7 presence of him who is at the    
,balance4      ,thou art my ,genius     
7,ka87 who art by me1 the ,artist who   
givest     soundness to my limbs4       
,come forth to the bliss towards which  
we are bound2      ,let not those       
,ministrants,m who deal with a man      
according to     the course of his life 
give a bad odour to my ,name4           
,pleasant for us1 pleasant for the      
listener1 is the joy of the             
,weighing of the ,words4      ,let not  

lies be uttered in the presence of the  
great god     7,osiris87 ,lord of       
,amenta4      ,lo6 how great art thou as
 the ,triumphant one4  ,this chapter is 
found upon numerous papyri and scarabs4 
,the differences in the texts are many1 
the principal may be considered as in   
the #cj;,a and #cj;,b1 of ,naville's    
,text4  ,the oldest copy we have on a   
scarab1 is on that of king ,sebak-em-saf
 of the ,x,i,i,ith ,dynasty4 ,in the    
,british ,museum1 ,no4 #ghgf4 ,dr4      
,samuel ,birch has described it,n in his
 study on the ,formulas relating to the 
,heart4 ,he says3 ,this amulet is of    
unusual shape2 the body of the insect is
 made of a remarkably fine green jasper 
carved into the shape of the body and   
head of the insect4 ,this is inserted   
into a base of gold in the shape of a   
tablet4 99 99 99 ,the legs of the insect
 are 99 99 99 of gold and carved in     
relief 99 99 99 ,the hieroglyphs are    
incised in outline1 are coarse1 and not 
very legible4,o  ,,footnotes3  ,a       

,privately printed for1 ,the ,society of
 ,biblical ,archology4 ,london1 #ahic4  
,b ,berlin1 ,asher und ,co41 #ahhf4     
,einleitung1 in #dto1 v42 #bjd p42 #a;er
 ,band1 ,text und ,vignetten1 in folio1 
,,ccxii4 pl41 #b;e ,band1 ,varianten1   
#ddg p4  ,c ,the ,egyptian texts have   
two names for the ,heart4 ,one ab1 the  
other1 hatu4 ,ab used as connected with 
lively motion4 ,the word hatu seems to  
include not only the heart properly to  
say1 but also the lungs1 and by it the  
heart was likely considered also in     
connection with the larynx and the      
respiratory organs of man4 ,mr4 ,renouf 
uses in his translation1 for the latter1
 the expression2 ,whole ,heart4  ,d     
,see1 ,trans4 ,soc4 ,bibl4 ,arch41      
,,xii41 p4 #cei4  ,e ,one of the names  
of the solar god4  ,f ,likely the       
,forty-two ,judges of the ,psychostasia4
 ,myer4  ,g ,m4 ,pierret stops his      
translation of this chapter here1       
saying3 ,the end of this chapter is     
absolutely unintelligible2 the variants 

of the hieratic manuscripts do not make 
it clear4  ,h ,the same as1 angel1 or   
one sent4  ,i ,that is1 of the saved1 of
 those declared re-born1 in opposition  
to the heart of the wicked1 those       
adjudged to be annihilated or suffer the
 second death4  ,j ,the most ancient    
copies of this chapter are found1 one on
 the coffin of ,amamu1 the other on that
 of ,horhotep4 ,mission4 ,arch4 ,fran4  
au ,caire1 ,tom4 ,i41 p4 #aeg1 l4       
#cce-ccg4 ,they are not perfect4 ,the   
papyrus of ,ani contains an imperfect   
copy of the chapter4  ,k ,see1 ,zeits1  
#ahhj1 ,einige inedita by ,prof4 ,ebers4
  ,l ,that is at the ,psychostasia or   
weighing of the ,ba1 or responsible     
soul1 of the defunct4 ,myer4  ,m ,this  
refers likely to the ,forty-two ,judges 
in the ,psychostasia4 ,myer4  ,n        
,zeitschr1 #ahgj1 p4 #cb4  ,o ,see      
further on the subject of the ,heart1   
,zeitschr1 #ahff1 #fi et seq41 #ahfg1   
pp4 #af1 #ed1 and ,dr4 ,samuel ,birch   
in1 ,catalogue of ,egyptian ,antiquities

 in ,alnwick ,castle1 p4 #bbd4          
,,index4   ,aanru1 the ,egyptian heaven1
 #fa4 ,see1 ,hotep4  ,aar1 ,see1 ,aanru1
 #fa4  ,ab4 ,the ,heart1 ,introd4 ix41  
#aai1 #ade et seq4 ,see1 ,heart4        
,abraxas gems1 #adc4  ,abydos4 ,scarabs 
of1 #bg1 #bh4  ,amen1 #gg4 ,see1 ,ammon4
  ,amen-em-hat ,,iii4 ,fine cameo of1   
#cc1 #cd4  ,amen-hotep ,,ii4 ,signet    
ring of1 #ce4  ,amen-hotep1 or          
,amenophis ,,iii1 ,scarabs of1 #be1 #ec1
 #ed1 #ee1 #ef4  ,amenophis ,,iii4      
,scarabs of1 found in ,mesopotamia1 #fb1
 #fc4  ,amen-,ra4 ,the scarabus sacred  
to1 #ac4  ,amenta1 #adh1 #aeb1 #aed4    
,see1 ,amenti4  ,amenti1 #ajb4 ,see1    
,amenta4  ,ammon or ,amen1 #hi1 #ij4    
,ammon-,ra4 ,hymn to1 #ii et seq4       
,amsit1 #ajh4  ,androgene4 ,the scarabus
 an1 #gi4  ,androgenic idea as to the   
scarabus1 #g1 note4  ,ankh1 #aah4 ,see1 
,crux ansata4  ,annihilated4 ,the       
wicked1 at the psychostasia1 adjudged to
 be1 #id1 #if4  ,annihilation4 ,the     
region of1 glorification even in1 #aec4 

,annuities perpetual1 left the priests  
to perform the sacred duties to   the   
dead1 #aba4  ,anubis1 #adg4  ,apap1 the 
,evil ,one1 #hf4  ,aristophanes         
ridicules the use of the scarabus1 #g   
,assyrian contracts sealed1 #abi1 #acj  
and note4  ,astrologers1 #gc4           
,astronomers1 #gc4  ,astronomy4 ,the    
scarabus in1 #ab1 #ac4  ,ateuchus4 ,the 
,genus1 #d1 #e1 #f4  ,ateuchus sacer    
gyptiorum1 #e1 #f4  ,ateuchus sacer4    
,symbolism of the1 #f4  ,athena 7,neith7
 symbolized by a vulture and scarabus1  
#ab4  ,atmu or ,tum1 #gj1 #ajb1 #aab4   
,see1 ,tum and ,tmu4  ,atmu-,khepera1   
#aab4  ,atoms and molecules according to
 the ,ancient ,egyptians1 are not       
destroyed1 #ie1 #if4  ,atum1 #ajc4      
,azazel4 ,the ,angel1 taught the art of 
the lapidary to mankind1 #cj4   ,ba or  
,bai1 plur4 ,baiu1 the responsible soul1
 ,introd4 ix41 #ib1 #ih1   #aad1 #aae1  
#adh1 #aeb4   was judged in the ,hall of
 ,osiris1 #aai1 #abj4   usually         
represented as a human headed           

sparrow-hawk1 but sometimes as   a crane
 and at others1 as a lapwing1 #aae4     
,balance4 ,the1 #aeb1 #aec4  ,basilidian
 amulets1 #adc4  ,bibliography of the   
scarabus1 ,introd4 xix4 et seq4  ,birch1
 ,dr4 ,samuel1 on a scarab of           
,sebak-em-saf1 #aed4   ,his edition of  
the ,book of the ,dead1 ,introd4 xviii4 
his writings as to the scarabus1        
,introd4 xx4   his ,formulas relating to
 the ,heart1 #aed4  ,birth4 ,the second1
 and resurrection from the dead1 #hi1   
,introd4 vi4   et seq4  ,body4 ,the1    
called ,khat1 #aad4  ,book of the ,dead1
 ,introd4 xvi4 et seq41 #fj1 #ff1 #ge1  
#gf1 #hf1 #ib4   ,see1 ,dr4 ,samuel     
,birch1 ,m4 ,paul ,pierret1 ,p4 ,le     
,renouf1 ,m4 ,edouard   ,naville4       
shows a hidden religious metaphysic1    
#fh4   some chapters only inscribed on  
the winding-sheet of the mummy1 #fa4    
,chapters relating to the ,heart1 #fg   
and ,appendix ,a4   as to ,khepra in it1
 #he4 ,see1 ,khepra4   ,edouard         
,naville's translation of1 #adf1        

,introd4 xvii4   ,p4 ,le ,page ,renouf's
 translation of1 #ade et seq41 ,introd4 
xviii4  ,books4 ,ancient1 #gb4  ,boort4 
,use of1 and diamond dust1 #ca1 #cb4    
,buprestis4 ,the1 held in estimation1   
#f4   ,cakes4 ,the sacrificial1 ,introd4
 ix41 #aeb4  ,cameo4 ,finest1 in the    
world1 #cc1 #cd4  ,cancer4 ,scarabus    
anciently used in ,egypt1 to represent  
the zodiacal   sign now called1 #ab4    
,carnelian4 ,the ,,xxixb4 chapter of the
 ,book of the ,dead1 usually incised    
on1 #aea4  ,cartouch4 ,reason of the    
shape of the oval line around the1 #ad1 
#ch1 #ci4  ,cartouches4 ,royal1 oval    
form of the1 taken from the shape of the
   underside of the scarabus1 #ad1 #ch1 
#ci4  ,champions4 ,the ,divine1 #adi4   
,chaos1 #ajc1 #ajg1 #ajh1 #aab1 #aac4   
,christ called the scarabus of ,god1    
#fc4  ,christian scarabs1 #fc1 #fd4     
,circle4 ,the ,divine1 #aej1 #aeb1 #aec4
  ,coprophagi4 ,family of the1 #d4      
,corundum4 ,use of1 in engraving hard   
stones1 #ca4  ,cowroids are of the      

,hyksos period1 #be4  ,crab4 ,zodiacal  
sign of the1 #ab4  ,creation1 #ii et    
seq4  ,creator and created1 #ie1 #ii et 
seq4  ,cricket4 ,the ,holy1 ,veneration 
of the natives of ,madagascar for1 #ac4 
,cross4 ,position held by of the ,latin1
 as a symbol1 #c1 #ie4   ,latin and     
,greek1 #ie4  ,crux ansata1 an emblem of
 the ,ka or vitality1 #aah4  ,cylinders4
 ,engraved1 used in ,egypt1 #ci1 #dj4   
not an evidence from their use in ,egypt
 that they came from ,mesopotamia4      
,dead4 ,book of the1 ,see1 ,book of the 
,dead4  ,death did not according to the 
,ancient ,egyptian1 destroy the         
personality of man1 #if4   ,the ,second1
 #id1 #if1 #abj1 #aba1 #aec4  ,deities  
of ,literature and ,libraries1 #gj4     
,deities4 ,the1 transformed1 #id4       
,deity4 ,the ,supreme1 ,ideas as to1 in 
,ancient ,egypt1 ,introd4 xii41 xiii4   
,the ,highest1 an androgene1 #aja1 #ajb4
  ,diodorus ,siculus1 #ge4   his        
writings cannot always be depended upon4
 ,ibid4  ,division of the spiritual in  

man1 #aad et seq4  ,double4 ,the        
spiritual1 called the ,ka1 #aag4 ,see1  
,ka4  ,drills4 ,use of1 in ancient      
times1 in cutting hard precious and     
other   stones1 #ca4   ,early ,assyrian 
sealed contracts1 #acj and note4        
,eidolon1 #aah4 ,see1 ,ka4  ,egypt4     
,aborigines of the land of1 ,our        
knowledge of the1 ,introd4 vii4   art   
in1 six thousand years ago1 #fi4   its  
civilization six thousand years ago1    
#gj4   ,hebrews in1 ,introd4 xiv4       
ideas as to the ,supreme ,deity in      
,ancient1 ,introd4 xii4   idolatry in1  
,introd4 xii4   six thousand years ago1 
had a language1 religion and writing1   
#fi4   ,see1 ,introd4  ,egyptians4 ,the 
,ancient1 highly civilized1 #fi et seq41
 ,introd4 vii4   race of the ,ancient1  
was ,caucasian1 ,introd4 vii4           
,ancient1 thought as to the             
spiritual-world and its inhabitants1    
elevated1 ,introd4 xii4   signets1 #ae1 
#af1 #ch et seq4   used symbols1 having 
an occult meaning1 to designate their   

deities1 #d4  ,emanation or ,creation of
 all things1 #ajj et seq4  ,emery4 ,use 
of1 #ca4  ,engraving of precious stones4
 ,antiquity of the art of1 #cj et seq41 
#cc4  ,engraving4 ,method of engraving  
in ancient times1 #ca4   on scarabs1    
#bj1 #ba1 #bb1 #dh1 #ea1 #eb4  ,enamels 
on scarabs1 #ai4  ,enoch4 ,book of1     
cited1 #cj4  ,entomology of the         
scarabid1 #d et seq4  ,ephod4 ,engraved 
stones in the ,hebrew ,high ,priest's1  
#cg4  ,erpa4 ,the1 of the gods1 #adg4   
,etruscan glyptography has not a        
transitional period1 #adj4  ,etruscan   
scarabs1 #acd et seq4   divisions of1   
according to subjects engraved thereon1 
#ada4   form of1 #ace1 #acf4   usually  
of a conventional form1 #acd1 #ace1     
#acf4   manufacture of1 #acf1 #acg4     
material of1 #ace4   time of manufacture
 and use of1 #adb4   where found1 #acd  
et seq41 #ach4   method of wearing1     
#aci4   worn as amulets and for         
ornament1 #aci4   those having a white  
opaqueness have been burned1 #aci4      

subjects engraved on1 #acg1 #ach1 #adj1 
#ada4  ,etruscans at first purchased the
 scarabs from ,phoenicians1 #adj4       
borrowed the form of the scarab but did 
not care for the cult1 #aci4  ,eternal  
life of the soul of man1 ,introd4 vi41  
vii41 ix41 x41 xi41   xii41 xiii4 ,see1 
the ,second ,death4  ,eternity4 ,lords  
of1 #adh4  ,eternity of the soul of the 
good1 #if4 ,see1 ,introduction4         
,ethiopians4 ,religious feeling for the 
scarabus among the1 #ab1 #ac4  ,evil    
,one1 is ,apap1 #hf4  ,evolution in the 
,egyptian philosophy1 #ii et seq41 #ajd 
et seq4  ,ezekiel's4 ,the prophet1      
description of the working and engraving
 of1   precious stones1 #ce4   ,face4   
,broad1 ,the god of the1 #aej4          
,felspar4 ,the ,x,x,v,i,ith chapter of  
the ,book of the ,dead1 incised on      
green1 #aea4  ,forgery of scarabs1 #abc 
et seq4  ,future rewards or punishments 
to the soul1 ,introd4 vi41 vii41 x41 xi4
   ,see1 ,annihilation1 ,wicked1        
,heaven1 ,psychostasia1 ,second ,death4 

,genius4 ,the1 the ,ka1 #aah1 #adh1     
#aeb1 #aec4 ,see1 ,ka4  ,geographers1   
#gc4  ,ghost4 ,see1 ,ka1 ,khu1 ,eidolon4
  ,gnostic amulets with the scarabus    
portrayed on them1 #adc4  ,god1 #aji1   
#aaj1 #aaj1 ,introd4 xii4 et seq4  ,god 
and ,his universe1 #ie et seq4  ,gnostic
 amulets1 #adc4  ,good4 ,the soul of    
the1 is eternal1 #if4  ,grammarians1    
#gc4  ,grave4 ,glorification in the     
deep1 #aec4  ,great ,sphinx4 ,the1 a    
philosophical abstraction1 #fh4 ,see1   
,sphinx4  ,greek authors1 statements of 
as to ,ancient ,egyptian abstract       
thought1 #gd4  ,greek authors1 cannot be
 depended upon4 ,ibid4  ,greek and other
 writers1 who mention the scarabus1     
,introd4 xviii41 xix4  ,greek scarabs1  
#adb4   made in the ,egyptian style1 a  
manufactory for such was at ,naukratis1 
#bg4  ,greeks called the scarabus the   
,helio-cantharus1 #g4   ,hard stones4   
,egyptian method of cutting1 #cb4 ,see1 
,engraving1 also ,scarabs4  ,hapi1 #ajh4
  ,harmakhis-,khepra1 #hj1 #he4 ,see1   

,khepra4  ,harmakhu-,khepra-,ra-,tum1   
#hc4  ,harmony and law of the universe1 
#gi1 #ii1 #ajj4   this was called the   
,ma1 #ha4 ,see1 ,ma4  ,hathor1 #ajb4    
,hatshepsu4 ,scarabs of ,queen1 #bh4    
,signet of1 #cd4  ,heart4 ,the1 was     
called ,ab1 #aai4 ,see1 ,ab1 also       
,appendix ,a4   the1 #ff1 #ib4 ,see1    
,appendix ,a4   considered as the source
 of life and also the place of the      
thoughts1 #ade4   curious               
representations in connection with the1 
#ade4   was symbolized by the scarab1   
#adf4   was symbolized by ,khepra1 the  
scarabus deity1 #ib4 ,see1 ,khepra4     
scarabs to take the place of the1 #fj1  
#fa1 #ff4   whole1 meaning of this      
expression1 #adf4   the1 in the ,book of
 the ,dead1 #ge1 #gf1 and ,appendix ,a4 
,heaven4 ,the ,egyptian eternal heaven1 
#fa4 ,see1 ,aanru and ,hotep4  ,hebrew  
,high ,priest1 names of precious stones 
in his ,ephod1 #cg4  ,hebrews in ,egypt 
must have had knowledge of1 the         
,egyptian belief in   the immortality of

 the soul and its future reward or      
punishment1   ,introd4 xiv4 et seq4     
,hebrew ,qabbalah4 ,see1 ,qabbalah4     
,helio-cantharus4 ,greek name for the   
scarabus1 #g4  ,hephstos 7,ptah7        
symbolized by a scarabus and vulture1   
#ab4  ,heretic kings4 ,scarabs not in   
use by the1 #dd4  ,hermes ,trismegistos 
cited or quoted1 #gd1 #if1 #aji1 #aaj4  
,hermopolis1 #aej4  ,herodotus1 #ge4    
quoted1 #ig4  ,heron4 ,the1 #aea4       
,herseshta4 ,see1 ,teachers of          
,mysteries4  ,historical scarabs1 #di et
 seq4   value of1 to the historian1 #ej4
  ,horapollo quoted as to the scarabus1 
#h1 #i1 #aj1 #aa1 #ab4  ,horapollon1    
#gd4 ,see1 ,horapollo4  ,hor-em-khu1    
#hd1 note4  ,horus1 #gg1 #ic1 #id1 #ajh1
 #aab4   the eye of1 #hd4  ,horus1      
,hor-em-,khu and ,khepra1 #hj1 #ha4     
,hotep4 ,a division of the ,egyptian    
eternal heaven1 #fa4  ,hottentot4       
,veneration for the scarabus by the1    
#ac4  ,hyksos4 ,the1 ,introd4 xiv4      
,hyksos period4 ,scarabs of the1 #be4   

,iamblichus1 #gd4  ,ideal ,prototype1   
#af1 #ag4 ,see1 ,prototypes4  ,idolatry 
in ,egypt1 ,introd4 xii4                
,individuality4 ,the1 #aaf4             
,immortality of the soul1 #ih4 ,see the 
,introduction4   the scarabus the symbol
 of the1 #ac4 ,see also1 ,scarabs1      
,scarabus4   ,soul1 and the             
,introduction1 also ,appendix ,a4       
,incising of scarabs1 #bb4              
,intellectual part of man's spirit1     
#aae1 #aaf4 ,see1 ,khu4  ,isis1 #hf1    
#id4   ,jesus called1 the good          
,scarabus1 #fc4   crucifixion of        
portrayed on a scarab1 #fd4  ,jeweled   
drills and saws4 ,use of1 #ca1 #cb4     
,joseph under the ,hyksos1 ,introd4 xiv4
  ,joseph4 ,the signet ring given by    
,pharaoh to1 #cf and note4  ,josephus1  
,introd4 xiii4  ,judges1 #gc4  ,judgment
 of the soul1 in the ,hall of ,osiris1  
effect of1 #abj1 #aba4   ,see1          
,psychostasia4   ,ka4 ,the1 ,introd4    
ix41 xv41 #fj1 #hb1 #adh1 #aeb1 #aec4   
,see1 ,appendix ,a1   also the ,double1 

and ,division of the ,spiritual4   dwelt
 with mummy1 had a semi-material form   
and substance in the   shape of the dead
 one1 and had power to go and return    
when it   pleased1 #aag1 #aah4  ,ka4 ,it
 was the ,vitality or ,double4 ,plural1 
,kau1 #aag et seq4  ,ka and ,khu4 ,union
 of the1 #abj1 #aba4 ,see1 ,khu4        
,khaf-,ra1 ,khephren or ,khefren4       
,scarabs of the period of1 #bd4         
,khaf-,ra4 ,see1 ,khephren4  ,khaibit4  
,the1 was the ,shade or ,shadow of the  
dead1 #aaf4 ,parallels the   ,tzelem of 
the ,hebrew ,qabbalah4  ,khat1 was the  
,body1 #aad1 #adh4  ,khem1 #gg4  ,kheper
 means1 to become1 to raise up1 #hh1    
#hi1 #ie1 #ajd1 #aaa1 #aab4  ,kheper as 
the emanator or creator1 #aja et seq41  
#ajg et seq4  ,khepera 7,khepra74 #ajd  
et seq4 ,see1 ,khepra4  ,khephren4      
,statue of1 in diorite1 #da1 #db4 ,see1 
,khaf-,ra4  ,khepra1 #ii1 #ajj1 #aaa1   
#aab4  ,khepra4 ,the ,scarabus deity1   
#hf4  ,khepra1 also called ,khepera1 a  
form of the maker of the ,universe which

   had the scarab as an emblem1 #ad1 #ii
 et seq4   was also called1 ,tum-,khepra
 also ,osiris-,khepra1 #hh4   was the   
symbol of the ,heart1 #ib1 #ic4   was   
the transformer1 #gh4   in the ,book of 
the ,dead1 #gh et seq41 #he4   as       
,harmakhis1 #he1 #hf4   in the bosom of 
the gods1 #hg4   against the rebels1    
#hh4   as the ,enlightener1 #gh1 #gi4   
is ,eternity1 #hf4   is the producer of 
the transformations1 #hg1 #hh1 #hi4     
,khepra overthrows ,apap1 the           
evil-serpent1 #he1 #hf4  ,khepri4 ,see1 
,khepra4  ,khmunu1 #ajh4  ,khopiru1 #hd4
  ,khu4 ,the1 #hb1 #ih4   the           
,intellectual part of man's spirit1     
#aae1 #aaf4   in case of adverse        
judgment on the ,ba1 the ,khu fled back 
to its   immortal source1 #abj4  ,khu   
and ,ka4 ,union of the1 #abj1 #aba4     
,khufu4 ,scarabs of the period of1 #bd4 
,lapidary1 ,antiquity of the art of the1
 #cj4  ,lapis-lazuli4 ,the ,x,x,v,ith   
,chapter of the ,book of the ,dead1     
incised on1 #aea4  ,lathes4 ,use of1    

#bb1 #cb4  ,librarians4 ,ancient1 #ga4  
,libraries4 ,ancient1 #ga1 #gb4  ,life  
and death4 ,the interchange of1 #ig4    
,living4 ,the1 the saved or re-born1    
#aea and note4  ,logos4 ,the1 #aje and  
note1 #ajg4 ,see1 ,word4   ,ma1 #ha1    
#gi4 ,see1 ,maat4  ,maat4 ,the ,law or  
,harmony of all created1 #gj1 #ii1 #ajj 
and note4  ,makrokosm4 ,the1 #af1 #ag   
and note4  ,manufacture of scarabi1 #ah 
et seq41 #bg4  ,manufacture4 ,periods   
of1 #ba et seq4  ,materials used in     
manufacture1 #ah1 #ai1 #bj4  ,matter is 
only transformed1 #id4  ,mead of        
amaranthine flowers1 #adg4  ,medical    
papyrus1 ,introd4 ix41 x4  ,men governed
 by their prejudices1 #c4  ,mena1       
,introd4 vii41 #gb4   his cartouche     
inside of the oval form taken from the  
underside of   the scarab1 #ch4         
,men-kau-,ra4 ,inscription on the coffin
 of1 ,introd4 vi4  ,mer-en-ra1 #hc4     
,mesopotamia and its relations with     
,egypt1 #da1 #db1 #dc1 #dd4             
,mesopotamia4 ,egyptian scarabs found   

in1 #fb1 #fc4  ,messenger4 ,the1 of thy 
god1 #aea4  ,messenger1 the same as     
angel1 #aea note4  ,mestha1 #aji4       
,mesxen4 ,the reservoir from which came 
the new souls1 #ii note1 #ajc1   #ajd4  
,see1 ,souls4  ,metaphysicians4         
,religious1 #gc4  ,metempsychosis4      
,mistaken ideas as to ,egyptian1 #ig et 
seq4  ,mineralogists1 #gc4  ,mirini ,i41
 #hc1 #hd4  ,motion in all things1 #if1 
#ig4  ,moses4 ,reason why he may have   
omitted putting the doctrine of the     
future life of the soul in the          
,pentateuch1 ,introd4 xv4 et seq4       
,moses and belief in the immortality of 
the soul1 ,introd4 xiii41 et seq4       
,mysteries4 ,the ,teachers of1 #gb4     
,mummy called the1 ,husk1 also the      
,sahu1 #aah1 #aai4   ,names of precious 
stones in the ,ephod of the ,hebrew     
,high ,priest1 #cg4  ,naukratis4        
,scarabs of1 #bg4  ,naville4 ,m4        
,edouard1 edition of the ,book of the   
,dead1 ,introd4 xvii41 #adf4  ,nebesheh4
 ,scarabs of1 #bg4  ,neb-ka4 ,scarabs   

of1 #bc1 #df4  ,nehabkau1 #aec4         
,nephesh of the ,hebrew ,qabbalah1 and  
the lower vitality of the ,mummy or     
,sahu1 #aah1 #aai4  ,nephthys1 #hf4     
,neshamah4 ,the1 of the ,hebrew         
,qabbalah1 #aaf4  ,nine4 ,the divine1   
#hc4  ,nothing destroyed1 only          
transformed1 #ie1 #if4  ,nous4 ,the1 of 
the ,greeks1 #aaf4  ,nu or1 the ,sky1   
#ajh4 ,see1 ,nut4  ,nut1 #gi4   ,oldest 
scarabs1 #df4  ,osiris1 #ic1 #id1 #ajf1 
#adg1 #adi4   the dead one became an    
,osiris1 ,introd4 vi4   ,pacht was the  
,mistress of thoughts1 #gj4  ,papyrus   
,ebers4 ,introd4 x41 note4  ,papyrus4   
,medical1 ,introd4 x4  ,pentateuch4     
,hebrew1 no idea in it1 of the          
immortality of the soul and   its future
 reward or punishment1 ,introd4 xiii4 et
 seq4  ,per-em-hru4 ,see1 ,book of the  
,dead4  ,pepi ,i4 ,scarabs of the period
 of1 #bd4  ,personality4 ,the1 #aaf1    
#aag1 #aai1 #abj4  ,philo4 ,introd4     
xiii4  ,philosophers1 #gc4   failure of1
 to understand psychological phenomena1 

#c4  ,philosophy4 ,ancient ,egyptian1   
#fh4   of the ,ancient ,egyptians not   
yet understood1 #fh4  ,philostratus     
quoted1 #d4  ,phoenician scarabs1 #abh  
et seq4  ,phoenicians4 ,the1 were       
copyists1 #acb4  ,phoenician            
manufactures of cylinders1 signets1     
etc41 #abi et seq4  ,pierret4 ,m4 ,paul1
 his edition of the ,book of the ,dead1 
,introd4 xvii41   xviii41 #ade4  ,plato1
 #ge4  ,pliny quoted as to the scarabus1
 #g et seq4  ,plutarch1 #gd4   quoted1  
#g1 note4  ,prayers and litanies for the
 dead1 #aba4  ,precious stones4 ,hard1  
,chapters of the ,book of the ,dead     
incised on1 #aea4   hard1 used in making
 scarabs1 #ah1 #ai1 #cc1 #aea4   in the 
,ephod of the ,hebrew ,high ,priest1    
#cg4  ,primordial ,man4 ,the1 #af1 #ag  
and note4  ,prototypes4 ,the1 #ajc1     
#ajd4 ,see1 ,mesxen1 also ,souls4       
,psyche1 #aad1 #aae4 ,see also1 ,soul4  
,psychology4 ,ancient ,egyptian1 #aad et
 seq4   and the ,hebrew ,qabbalah4      
,ibid4  ,psychology4 ,ancient ,egyptian1

 as yet only partly understood1 #fi4    
,psychostasia4 ,the1 or weighing of the 
soul of the dead1 #adi1 #aeb1 #aec4     
,see1 ,future rewards and punishments of
 the soul4  ,ptah1 #ij4   the scarab an 
emblem of1 he was one of the forms of   
the creative   power1 #ab1 #ad4         
,ptah-,sokari-,osiris1 was sometimes    
represented under the form of a         
scarab1 #ae4  ,ptah-,tatunen1 #id4      
,ptah-,tore1 #ab note4  ,punishment in  
the ,underworld1 #hg4 ,see1             
,annihilation1 also1 ,psychostasia4     
,pythagoras1 #ge4   ,qabbalah4 ,the     
,oral ,tradition or1 #fi4   of the      
,hebrews and the psychology of the      
,ancient ,egyptians1 #aae et seq4   the 
,rua'h of the ,hebrew ,qabbalah1 #aae4  
the ,nephesh of the ,hebrew ,qabbalah1  
#aah1 #aai4   the ,neshamah of the      
,hebrew ,qabbalah1 #aaf4  ,qebhsennuf1  
#aji4   ,ra1 #gi1 #hc1 #ic1 #id1 #aab1  
#aea1 #aec4   the scarabus as the symbol
 of the creating power of ,ra1 #ad1 #ae1
 #hd4   when used as part of the king's 

name1 #bc4  ,ra-,harmakhis1 #ha4        
,rameses ,,ii4 ,scarabs of the period   
of1 #bf4  ,ren1 the ,name or            
,personality1 #aaf1 #aag1 #aai1 #abj4   
,renouf4 ,p4 ,le ,page1 his edition of  
the ,book of the ,dead1 ,introd4        
xviii41 ,appendix ,a4  ,resurrection    
from the dead1 #ib1 #ic1 #abb4   was    
symbolized by the scarab1 ,introd4 v41  
vi41 vii4 ,see1 ,immortality   of the   
soul1 also1 ,soul4  ,resurrection of the
 soul1 symbolized by the ,great ,sphinx1
 #hb4 ,see1   ,introduction1 also1      
,sphinx4  ,regeneration and re-birth1   
#ie4 ,see1 ,introduction4 ,see1 ,soul4  
,rings4 ,use of1 #dj1 #da4  ,roman      
scarabs1 #adb4  ,rua'h4 ,the1 of the    
,hebrew ,qabbalah1 #aae4   ,sacrificial 
victims4 ,those examined and passed as  
right1 marked with   signets having on  
them the figure of the scarabus1 #bj4   
,safekh1 goddess of books1 #gj1 #ga4    
,satic period4 ,scarabs of the1 #bf4    
,sahu4 ,the1 or ,mummy1 #fj1 #aah1 #aai4
   may refer sometimes to the living    

personality of the mummy1 #aai4         
,sardinia4 ,scarabs found in1 #acj1     
#aca4  ,sardinian scarabs4 ,division    
according to the subjects1 #aca1 #acb4  
age of1 #acb4  ,scarab as a signet1 #g4 
as an amulet1 #g4   the symbol of the   
,heart1 #ff1 #fg1 #ade4 ,see1 ,heart4   
,chapter ,,xxxb4 of the ,book of the    
,dead on a1 #aed4   a beautiful         
,assyrian in the ,british ,museum1 #acc 
the synthesis of the ,egyptian religion1
 #ie4   a symbol of the re-birth1       
resurrection and eternal life1 of the   
soul   pronounced pure1 #ff4   the      
hieroglyph of1 ,to become1 etc41 also1  
creator1 #hj4 ,see1 ,horapollo4         
,scarab4 ,a representation of with two  
heads1 one of a ram1 the other of   a   
hawk1 #hi1 #ij4   the oldest known1 that
 of ,neb-ka1 #bc1 #df4   an emblem of   
,ptah1 #ac1 #ad4  ,scarabus4 ,name of in
 different languages1 #b4   entomology  
of1 #d1 #e1 #f4   where found1 #d4   the
 hieroglyph of to be1 the emanating or  
creating1 etc41 in1 #aab4   ,see1       

,kheper4   the first living creature    
seen coming to life1 from the mud of the
   ,nile1 #ac4   symbolism of the1 #f4  
the symbol of1 creative and fertilizing 
power1 #g1 #h1 #ac4   the symbol of     
re-birth1 resurrection and immortality  
of the soul1 #ac4   ,see1 ,introduction4
   an early symbol of the idea of a     
future life of the soul1 and its        
resurrection1 and likely of its future  
reward or punishment1   ,introd4 vi41   
vii41 xi4   emblem of the re-birth and  
resurrection of the dead1 #hh4   a      
symbol of the resurrection in the       
heavenly regions1 #ib1 #ic4   held the  
position among the ,ancient ,egyptians  
which the ,latin cross   holds with us1 
#b4   as an emblem of the creating      
source of life1 portrayed on the tombs  
of the ancient ,theban kings1 #af4   an 
amulet or talisman1 #ae4   astronomical 
value of the1 #ab4   an early symbol of 
the zodiacal sign now called ,cancer1   
#ab4  ,scarabus and the ,heart in the   
,book of the ,dead1 #ge et seq4   ,see1 

,appendix ,a4   varieties of the1       
according to ,pliny1 #g1 #h4   meaning  
of according to ,horapollo1 #h1 #i1 #aj1
 #aa1 #ab4   veneration of the          
,hottentot for1 #ac4   sacred to        
,amen-,ra1 #ac4   winged1 #ei1 #fj4     
,bibliography as to the1 ,introd4 xix4  
et seq4  ,scarabi4 ,manufacture of1 #ah 
et seq4  ,scarabid4 ,the family of1 #d4 
,scarabs4 ,art in making1 #eb1 #ec4     
forms of usually met with1 #dg1 #dh4    
difference as to large and small1 #ba4  
divisions of1 #dh1 #di4   where and how 
worn by the living1 #eh4   put in place 
of the ,heart inscribed with chapters   
from the ,book of   the ,dead1 #fg4     
,see1 ,appendix ,a1 also ,heart4   where
 found on mummies1 #eg1 #eh1 #ei1 #fj1  
#fb4   representations of1 with the head
 of a cow1 ram et seq41 #ei4   set in   
gold1 #ei4   engraving on1 #dh4         
symbols engraved on1 #bj1 #ba4   age of 
those not engraved on the under or flat 
part1 #df1 #dg4   unfashionable in the  
,x,i,ith ,dynasty1 #dj4   the oldest    

thus far known1 #df4 ,see1 ,neb-ka4     
difficult to judge of the age of1 #bh4  
,see1 ,forgery4   historical1 #bc et    
seq41 #di et seq4   great value of a    
knowledge of1 to the historian1 #bi4    
,scarabs4 ,knowledge of the age of1 #bi4
   re-issue of1 by a later monarch1 #bh4
   ,etruscan1 #acd et seq4 ,see1        
,etruscan4   the material in which      
,etruscan1 were made1 #ace1 #acf4       
,phoenician1 #abh et seq4   ,sardinian1 
#acj1 #aca4   forgery of1 #abc et seq4  
,seals4 ,egyptian1 some archologists    
incorrectly claim1 that they came   from
 ,mesopotamia1 #cg1 #ch et seq4         
,sealing mentioned in the ,old          
,testament1 #ce1 #cf4   ,phoenician1    
#abi et seq4  ,seb1 #id1 #adg4          
,sebak-em-saf4 ,king1 copy of ,chapter  
,,xxxb of the ,book of the ,dead on a   
scarab of1 #aed4  ,sechit1 #adg4        
,sechit-hotepit1 #aej4  ,selk goddess of
 libraries1 #ga4  ,sent4 ,king1 ,introd4
 viii41 ix41 x4  ,serpentine4 ,the      
,x,x,xth ,chapter of the ,book of the   

,dead1 incised on1 #aea4  ,shade4 ,the1 
of the dead1 #aaf4  ,shait an ,sensen4  
,the1 #fj4  ,shepherd ,kings4 ,see1     
,hyksos4  ,shera4 ,steles from the tomb 
of1 ,introd4 viii4  ,shesh4 ,very       
ancient recipe of the queen ,shesh for  
washing the hair1   ,introd4 x4  ,shu1  
#ajf1 #ajh4  ,signet4 ,the scarab as a1 
#g1 #ae1 #af4  ,signet ring4 ,mention of
 the1 in the ,old ,testament1 #ce1 #cf4 
,signets ,egyptian1 sometimes squares or
 parallelograms1 #cc4  ,soldiers wore   
the scarab to increase bravery1 #g1 and 
note4  ,solon1 #ge4  ,soul4 ,the        
responsible1 called the ,ba4 ,see1 ,ba4 
,soul4 ,immortality of the1 #ih4 ,see1  
,introduction4  ,soul4 ,immortality of  
the1 and the writings attributed to     
,moses1   ,introd4 xiii4 et seq4  ,soul 
of the good was eternal1 #if4  ,soul of 
the wicked was destroyed1 #if4  ,souls4 
,the reservoir of1 #ii and note4 ,note4 
,comp4 ,hermes ,trismegistos4   ,book4  
,the ,virgin of the ,world1 and ,book4  
,the ,initiations or ,asclepios4        

,sphinx4 ,the ,great1 an abstraction1   
#ha4   was an image of ,ra-,harmakhis1  
#ha4   was ,harmakhu-,khepra-,ra-,tum1  
#hc4   the philosophical value of the   
,great1 #ie4   the ,great1 meaning of1  
#hb1 #hc4  ,statues of diorite1 #da1    
#db4  ,stele of the ,great ,sphinx1 #hc4
  ,stel4 ,oldest known1 ,introd4 vii41  
viii4  ,strabo1 #ge4  ,sutu4 ,the       
caverns of1 #aej4  ,suten-hotep-ta4     
,the1 ,introd1 viii41 ix4  ,symbolism of
 the scarabus1 according to ,pliny1 #g4 
,see1 ,scarabus   and ,scarabs4         
,tamar4 ,see1 ,thamar4  ,ta-nen1 #id1   
#ajc4  ,tanis4 ,scarabs of1 #bg4        
,tefnut1 #ajf4  ,teta4 ,king1 ,introd4  
x4  ,thales1 #ge4  ,thamar or ,tamar1   
#cf4  ,thespesion quoted1 #d4  ,thoth1  
#gj1 #gd1 #adh4 ,see1 ,hermes           
,trismegistos4  ,thotmes ,,iii41 #ba1   
#bh4   scarabs of1 found in             
,mesopotamia1 #fb4   ,chapter ,,cliv4 of
 the ,book of the ,dead1 on his         
winding-sheet1 #fa1 #fb4  ,thotmes      
,,iv41 #hc4  ,tmu1 #aej4  ,tuamautef1   

#aji4   content of the vase of1 #fa1    
#ff4  ,tuat4 ,the1 #aea4  ,tum or ,atmu1
 #gi1 #ic1 #ii1 #ajb4 ,see1 ,atmu4  ,tum
 not inert1 #aab1 #aac4                 
,tum-,harmakhis1 #aac4  ,tum-,khepra1   
#ajj1 #aaa4  ,tumu1 #hd and note1 #ajh4 
,telloh4 ,statues found at1 #da1 #db4   
,transformations4 ,power of the dead to 
make1 #hg1 #hh1 #hi4   ,underworld4     
,the1 called ,amenti and ,amenta1 #ajb1 
#adh1 #aeb1 #aed1 ,introd4 xvi4   the   
,egyptian word so translated1 may apply 
to a higher or opposite   world to ours1
 ,introd4 xvi41 note4  ,universe4       
,evolution of the1 #ii et seq41 #ajd et 
seq41 #ajf et seq4   emanation of the1  
according to ,hermes ,trismegistos1     
#aji1 #aaj4   production of the1 #ajj1  
#aja4   ,vital principle of the human   
being after death1 the ,ka1 #aag4 ,see1 
,ka4   ,wicked punished1 #id4 ,see      
,soul1 also1 ,future reward1 etc4       
,wicked4 ,the soul of the1 annihilated  
and destroyed1 #if4  ,women wore the    
scarab1 #g4  ,word4 ,the1 #aje and note1

 #ajg4 ,see1 ,logos4   production or    
creation1 by the1 #aja et seq4          
,zodiac4 ,emblem on the ,hindu1         
resembles more a beetle than a crab1    
#ab4   of ,denderah4 ,scarabus on the1  
#ab4  ,zodiacs4 ,the scarabus in some   
zodiacs in place of the crab1 #ab4      
99       99       99       99       99