Everyone in these days is familiar with those colossal stone figures of Rameses, Osiris, Thotmes, and others in the sands of Egypt. Their heavy, placid countenances, almost seeming to dream, while their inert arms and hands hold forth the insignia of autocrats of Egypt under the Pharaohs.

In Egypt, especially in the earlier or more remote dynasties, man seems to have had the intention of handing down to posterity the records of his power, his possessions, and of his own appearance, on great stone statues, obelisks, and basso-rilievos, in the most indestructible manner.

Besides the colossal stone bequests created for generations unborn, happily they produced the same portraitures and cartouches in miniature gems. The majority of the temple decorations in stone have crumbled, while we can possess and enjoy the glyptic relics which have survived the ravages of time uninjured.

SOMMERVILLE COLLECTION.

EGYPTIAN.

Among the Scarabei are especially interesting examples larger in size termed funereal; No. 1476 in my University Collection is one of those Scarabei which were buried with the dead, sometimes on the breast underneath the wrappings, and sometimes within the body of the mummy in the place of the heart. The heart was embalmed separately in a vase, and placed under the protection of the genius Duaoumautew. This doubtlessly was done because the heart was considered indispensable for the resurrection, yet it could not be placed in the body until it had been upon the scales and had passed the judgment of Osiris. When the sentence was favorable it was promised that “his heart shall be returned to its original cavity.” The heart, the principle of existence and regeneration, was symbolized by the Scarabeus. This is why texts relative to the heart were inscribed on funereal Scarabei. On this Scarabeus the deceased speaks, saying: “I hope that my soul shall speedily quit or rise from the regions infernal, and, reappearing on earth, may do all that pleases it.”

Also No. 1479, a funereal Scarabeus, interesting from the fact that the inscription contains part of the 30th chapter of the Book of the Dead—that is, the chapter concerning the heart: “My heart, which comes to me from my mother—my heart, necessary to my existence on earth—do not raise thyself against me among or before the chief divinities.” These were the superior gods, whom the Egyptians supposed to be in the immediate surrounding or presence of Isis.

The remainder of the inscription is less legible. On the first line is the name of Osiris Jam (all the dead had Osiris prefixed to their names); on the last line is the name of his father, which is indistinct; it was evidently the same as the name of a plant, and ending with M, but cannot be defined; that is, it is inscribed “son of ——,” and then the unintelligible name alluded to.

Also No. 1457, a funereal Scarabeus, on which the deceased, speaking, expresses hopes, continually repeated, that his soul may have a happy voyage, happy relief, and transport from the inevitable transitory domain to which all are consigned.

Also No. 1480, Egyptian Scarabeus, containing a vow or wish, a vase representing a libation. The sum of the rendering of the inscription is: “I dedicate my life to truth, and hope for cooling breezes and libations.”

And No. 1461. The inscription expresses a vow or wish: “Nefer Khet Neb”—“All things good (for thee)!”—a New Year’s wish.

There were artisans who engraved the larger funereal Scarabei and kept them ready made on sale, so that in the event of a man dying unexpectedly in youth or the prime of life who had not thought to prepare for his sojourn in the tomb, his family repaired to these shops, and, choosing a Scarabeus to their taste or liking, purchased it; the engraver then added the name of the deceased, and they placed it under the wrappings of the mummy.

These traffickers also did a thriving trade with the living: many provided themselves in advance. There were always a variety from which to choose; the engraver had them for every taste. They were inscribed with just such vows or wishes for the future and the repose or the enjoyment of the soul, or the commending of the soul to the patronage and protection of some special god or deess, as the case might demand for a man or a woman. Often selections were given from the poetic devotional writings of their mentors, and frequently we meet with selections from the Book of the Dead.

We find shreds and examples of the costumes of the occupants of graves of other ancient nations. These garments were made, as now, that the body might be decorously placed at rest. This we also find in Egypt, the mummy-wrappings concealing and protecting the Scarabei presenting this beautiful sentiment, indeed unique—a symbol that was worn in life, emblematic of its ephemeral tenure and of the ultimate resurrection from death and the grave; a symbol that accompanied its owner to the narrow home, not to ornament it, but as a token of that tenant’s belief that this would be only a brief occupancy; a symbol ready to be worn when that tenant should enter on his resurrection into an eternal lease of joy in a world beyond.