projection whereby the plaque was fastened to the mummy. The plaque is an interesting example of the survival of ancient Egyptian ideas among the Egyptians after they had embraced Christianity. A counterpart of Anubis who is also represented as a jackal is I! * Up-uatu, V the opener of the ways." Bronze and faïence figures of this god represent him standing and having the head of a jackal.

011

Shu,, and Tefnut, J were emanations of Temu

or Kheperȧ; Shu typified light, heat and air, and Tefnut moisture. In papyri and on coffins Shu is represented in the form of a man, standing with both arms raised, lifting up Nut, or the sky, from the embrace of Geb, the earth. In bronze and faïence figures he is in the form of a man kneeling on his right knee and supporting on his shoulders the sun's disk and the horizon with his upraised arms. There is in the British Museum (11057) a fine example of an aegis in bronze with the heads of Shu and Tefnut,

his sister, upon it. Shu is bearded and wears two pairs of plumes upon his head; Tefnut has the head of a lion and wears a disk and uraeus; B.M. 389 is an example of these gods in faïence. Standing figures of Shu, in faïence, have sometimes on the head.

Hāpi, & &

Нерг,

\\

(the old form of the name appears to be

), the god of the Nile, is depicted as a man,

sitting or standing, holding a table or altar on which are vases for libations, and lotus flowers and fruits, and with a clump of lotus flowers upon his head. He is also represented standing upright, with a table of offerings of plants, fruits and flowers before him (B.M. 11069). On his head he wears I, and in front is

an Utchat,

Khensu, was, under the New Kingdom, associated with Amen-Ra and Mut in the Theban triad, and was god of the moon. In bronze figures he is human-headed, and wears a crescent and disk; in faïence figures he is made like a mummy, and holds sceptres of different shapes in his hands. Khensu Neferhetep was worshipped with great honour at Thebes, and he is said to have played a very prominent part in the Story of the Possessed Princess of Bekhten. Khensu-pa-khart, ลา

, , has all the attributes of Harpokrates, and figures of him in bronze are not common. A very fine specimen is B.M. 11045.

Amen-Rã, and Mut and Khensu formed the great triad of Thebes; the word Amen means “hidden.” Under the New Kingdom Amen usurped the attributes of all the other great gods. Before the expulsion of the Hyksos by Seqenen-Rā his position was that of the local god of Thebes; subsequently he became the national god of Egypt. He was said to be the maker of things above and of things below, and to have more forms than any other god. He made the gods, and stretched out the heavens, and founded the earth; he was lord of eternity and maker of everlastingness. The Egyptians affirmed of him that he was ONE, the ONLY ONE. In bronze figures he stands upon a plinth, he holds the sceptre in his left hand, and on his head he wears the disk and feathers; at times he holds a scimitar (B.M. 28, 29). He is also represented seated on a throne, and the throne was sometimes placed inside a shrine, the top of which was ornamented with uraei, winged disk, etc., and the sides and back with hollow-work figures of Isis, Nephthys, and Osiris (B.M. 11013). On the pedestals he is called "Amen-Rã, lord of the thrones of the world, the president of the Apts (i.e., Karnak), lord of heaven, prince of Thebes,"

is, at times, one of a triad consisting of Amen, Menu, and Rā (B.M. 18681). The faïence figures of this god are similar to those in bronze, and he appears together with the other members of his triad, Mut and Khensu.

Apis or Ḥāpi, "the second life of Ptaḥ,” and the incarnation of Osiris, was the name given to the sacred bull of Memphis, where the worship of this god was most ancient, having been introduced from Heliopolis by Kakau, a king of the IInd dynasty. He was the "living emblem" of Ptaḥ-Seker-Åsår, the triune god of the Egyptian resurrection. He is variously called the son of Ptaḥ," the son of Tmu,' the son of Osiris,' and "the son of Seker." In bronze Ḥāpi is sometimes represented in the form of a man with a bull's head, between the horns of which are a disk and a uraeus wearing a disk. Usually, however, he is in the form of a bull having a disk and a uraeus between the horns; on the back, above the shoulders, is engraved a vulture with outstretched wings, and on the back, over the hind quarters, is a winged scarab. The bull usually stands on a rectangular pedestal, on the sides of which are inscribed the name and titles of the person who had him made; on the same pedestal is frequently a figure of this person kneeling in adoration before him. Figures of Apis in bronze are commoner than those in faïence. According to Herodotus

(II, 27-29) Apis was the calf of a cow incapable of conceiving another offspring; "and the Egyptians say, that lightning descends upon the cow from heaven, and that from thence it brings forth Apis. This calf, which is called Apis, has the following marks: it is black, and has a square spot of white on the forehead; and on the back the figure of an eagle; and in the tail double hairs; and on the tongue a beetle." But there is a mistake in this description, for on the forehead of the Apis Bull B.M. 37448 the blaze is triangular, not four-sided, as Herodotus (III, 28) says, ẻπì tô μetwtw Xevкòv τετράγωνον.

When Apis was dead he was called Asar Häpi,

or Serapis by the Greeks, and he is represented on coffins in the form of a bull with disk and uraeus on his head; on his back is the mummy of the deceased, above which the soul, in the form of a hawk, is seen hovering. The place where the Apis bulls that lived at Memphis were buried was called the Serapeum, and Mariette discovered at Sakkârah their tombs, dating from the time of Amenḥetep III down to that of the Roman Empire. Above each tomb of an Apis bull was built a chapel, and it was the series of chapels that formed the Serapeum properly so called.

The Mnevis bull,, was worshipped at Heliopolis, and is thought by some to represent the same symbolism, and to be identical in form with Apis; he is called the "renewing of the life of Rā."

Mestȧ, Ḥāpi, Tuamutef and Qebḥsenuf, the four children of Horus, are common in glazed faïence, but rare in hard stone, gold, silver, bronze and wax.

Sati,, Anqit, and Khnemu formed the triad of Elephantine, and Sati seems to resemble Nephthys in some of her attributes. She usually stands upright, holding in her right hand, and in her left. The British Museum possesses one example (110) in bronze, in which she is represented seated. On her head she wears the crown of Upper Egypt, in the front of which is a uraeus; a pair of horns follows the contour of the White Crown, and above them is a star. No. 11143 is a fine bronze figure of a woman, standing upright upon a pedestal; her right arm hangs by her side, but her left arm is bent, and her hand, holding an object, is laid upon her breast. She has the same head-dress as No. 110, and seems to be the same goddess. The British Museum possesses one example also in faïence (13664) in which the goddess stands upright.

Sebek,, represented the destroying power of the sun, and his worship is as old as the VIth dynasty. In bronze (B.M. 22924) he stands upright, and has the head of a crocodile surmounted by horns, disk, plumes and uraei, which have disks and horns

"the leader of the celestial regions," which

Shu supports, is usually represented wearing plumes, and holding >^^′, neb mãb, “lord of the dart.”

a dart; he is at times called

n

D,

see the

This god is represented in relief, standing upright and wearing plumes;
in his right hand he holds and in his left the sceptre 1;
glazed faïence pendant B.M. 11335. His sceptre is usually composed
and arranged perpendicularly one above the other. He
is sometimes called Ån-ḥer Shu sa Rā, “ An-ḥer Shu, the son of Rā.”

of f,

Bes,, a god whose worship in Egypt dates from a very remote period, seems to have possessed a double character. He is represented as a grotesque person with horns and eyes on a level with the top of his head, his tongue hangs out, and he has bandy legs. He wears a crown of feathers on his head, and a leopard's skin thrown round his body. As a warrior, or the god of war, he is armed with a shield and sword, and sometimes he has a bow; he was also the god of music and the dance, and in this character he is represented as a tailed creature, half man, half animal, playing a harp, or striking cymbals together and dancing. It is thought that he symbolized the destructive power of Nature, and in this capacity he is identified in the Book of the Dead with Set; as the god of joy and pleasure figures of him are carved upon the koḥl jars, and other articles used by Egyptian ladies in their toilet. The worship of this god seems to have been introduced into Egypt from, Neter ta, i.e., the land which was situated by the eastern bank of the Nile, supposed by the Egyptians to be the original home of the gods. Figures of this god in bronze and faïence are very common, and they represent him as described above. Some figures of him in faïence are 14 inches high, and are sometimes in relief and sometimes "in the round.” A large mould used for making flat figures of the god was presented to the British Museum (20883) by the late F. G. Hilton Price, F.S.A., who obtained it from Bubastis. The beautiful figure in the round in blue-glazed faïence (B.M. 28112) is about 14 inches high. A remarkable example of the use of the head and face of this god is furnished by a bronze bell in the British Museum (6374). The plumes on his head form the handle, and the head, hollowed out, forms the bell.