is cut a figure of the composite god who has a bird's body, human legs and arms, and the heads of four rams surmounted by the triple crown. He represents the fusion of the attributes of the Ram of Mendes and Osiris of Tetu. On the right of the god is a lotus sceptre with the hawk of Her-Beḥut, the great god, standing upon it; on the left is a papyrus sceptre with plumes, and the name Tem-nefer-akhu-taui,

are the words, "I am Horus Mehen,"

Above this

which may

give the name of the Horus sculptured on the cippus. By the right leg of the god is a hawk-headed crocodile called "Horus, dweller in his towns (?) "+**, and by the left leg another hawkheaded crocodile wearing a pair of horns and a disk, V, upon his head, and called Åmen-renf,

www. K

On the flat surface on the right of the god are cut the names and figures of the following gods: (1) Horus, lord of Ḥeben,

; (2) Thoth, lord of Khemenu, lord of the words of

of a hippopotamus and holding a serpent and a scorpion; (8) Ptaḥ, in the form of a dwarf, standing upon; (9) The scorpion-goddess

Serqit, lady of life,

f; (10) Nebt-hetep wearing

and standing between two serpents, each hand grasping one of them. On the flat surface on the left of the god are cut the names and figures of the following gods and goddesses: (1) The goddess Urithḥekau, lady of, standing upon a crocodile, having

a bird on its head. She wears on her head a disk to which two scorpions are attached; in her right hand she holds a serpent, and in her left a serpent and a scorpion; (2) the crocodile-god Meketh, S; (3) the lion-headed serpent Usrit, ; (4) the goddess Isis suckling Horus among the papyrus plants,

•Y. The

serpent-goddesses Nekhebit and Uatchit form a canopy over her with their bodies, and on each side of her seat is a protective

scorpion; (5) the crocodile-god Sebek, |~; (6) Horus, son of

Isis, carrying a serpent as a weapon; (7) the Golden Horus,

40

with the symbol of eternity, Q; (8) the goddess Isis-Serqit, She has horns and disk,, on her head, her body is that of a scorpion, the two (sic) tails of which form her legs; (9) a youthful god (Horus ?) holding a whip and seated on a crocodile under the protection of a serpent; he seems to be called "the

vivifier of the gods," 977; (10) the goddess Uatchit,

80, in

the form of a serpent having the tail coiled round a papyrus plant: she wears the Crown of the North (the Red Crown); (11) the two gods Ḥu,, and Saa,, each of whom is seated and holds a knife. The front of the convex pedestal, the edges, and the back are covered with lines of hieroglyphs containing addresses to the gods, goddesses and sacred animals whose forms are cut upon the cippus, and adjurations to them to protect from evil hap, poison of all kinds, and noxious animals and reptiles, the body and soul of the person who had it made.

On the smaller cippi the sculptured figures vary in details, and the inscriptions are much abridged, only the opening words of the address to the gods being given (B.M. 30745). In this example Åmen-Ra is referred to as the creator of protection and life, In B.M. 27373 Herpakhrat

19

AA (sic)

is seen standing on three pairs of crocodiles, and his hands grasp the sceptres of the South and North as well as the serpents, scorpions, etc. On the reverse the god of chief importance is Thoth, who stands under a winged disk; on one side of him is Horus and on the other is Anḥer. Below is a second scene representing Isis giving birth to Horus, and the attendant gods Horus the Elder and Anubis(?). This shows that the idea of resurrection and rebirth was associated with the cippus of Horus. In some cippi of Horus the head of Bes is so large that it stands above the top of the tablet, of which it becomes the chief feature. A good example is B.M. 958, which is 17 inches in height and is made of wood. The front of the cippus is uninscribed, and on the back, below a row of figures of gods, are eighteen lines of hieroglyphs written in yellow paint on a black ground, and containing magical prayers of a character different from those found on the cippi described above. Another cippus, which dates from the Ptolemaïc Period (B.M. 957), exhibits interesting peculiarities as regards the arrangement of reliefs and text. Horus wears an elaborate collar, and a pendent amulet of the heart, Ỡ, hangs on his breast. On the back, cut in outline, we have: (1) Horus as a hawk, wearing the crowns of the North and South, perched in triumph on the back of an oryx (?), which symbolizes his victory over Āpep, the personification of evil. In front of him is the god Menu, ithyphallic, and with raised arm, and by his

side are figures of his special symbol and the circular hut which formed his original sanctuary. Behind Horus are figures of Thoth, the master-designer of the universe, and Khnemu, the chief craftsman. (2) A group of six gods and goddesses, among them being Rā and Horus, and the Beetle of Kheperȧ. (3) A dwarf with an Utchat,

, above his head, a god spearing a serpent (compare the Vignettes to Chapters XXXV and XXXVII of the Saïte Recension of the Book of the Dead), an animal seated with a uraeus behind him, and a company of eight gods, four human-headed and four ibis-headed. These last probably represent the Ogdoad of the city of Khemenu, the home of the cult of Thoth. The inscription is mutilated, but sufficient of it remains to show that it contains an adjuration to all fiends and noxious creatures and reptiles to halt and make no attack upon those who are under the protection of the gods whose figures are cut on this cippus. For Horus defeated and slew the Arch-fiend Apep, the Father of Evil, and the same fate must come upon every lesser fiend and devil. In the latter part of the Ptolemaïc and Roman periods models of the cippus of Horus were made of steatite, and were worn as amulets.

DRAUGHTS AND DRAUGHT-BOARDS

THE Egyptians called the draught-board

오오오오

, meant "to play at draughts." Variant forms are

stant and a

www

sethent. The draughtsman was

called, ab, meaning perhaps the "thing that danced or was moved about," and the receptacle for the men

☐ (?)

men.

A

The commonest hieroglyph for draught-board is, and as this sign occurs in the oldest inscriptions, it is clear that in some form or other the game of draughts was played under the earliest dynasties ; it may even have been played in the predynastic period. tradition preserved by a Greek writer attributes the invention of the game to the god Thoth. The oldest known draught-board was discovered by the late Mr. Ayrton (see his Cemetery at El-Mahasna, pl. 17); it is made of Nile mud, and on it are marked 12 squares, arranged in three rows, each row containing four squares. The pieces are in the form of little round stones. Draught-boards made of pieces of sandstone or bits of broken pottery, and having the same number of squares, may be seen in use in many parts of the Sûdân and Egypt at the present day. The oldest draught-boards

were made of single blocks of wood, with the squares on one or both sides. Thus the specimen published by Prisse d'Avennes (Mon. Ég., pl. 49) had thirty squares on one side and twenty on the other, arranged thus:

The larger specimens contain a drawer which holds the draughtsmen. The pieces of each of the two players were different in shape and size, as we may see from the drawings on the monuments. At first flat stones or bits of pottery, like counters, and small round stones served as pieces, but under the New Kingdom the pieces became symmetrical in shape, and their tops terminated in heads of men, lions, jackals, etc. Thus the draughtsmen which were made for Queen Hatshepsut were in the form of a lion's head,; one in ivory and several in wood are in the British Museum (Nos. 21580, 21592, etc.). When these were presented to the Museum by Mr. J. Haworth some authorities declared them to be modern forgeries, but beyond all doubt they are genuine. In another set of draughtsmen 10 have heads of Bes and 7 have heads of Ånpu (Anubis, B.M. No. 24668, etc.). Among royal draughtsmen may be mentioned those of Pharaoh Necho (about 650 B.C.),

made

of limestone (B.M. No. 38254). The game of draughts was greatly beloved by all classes of Egyptians at all periods, and a draughtboard with men was considered to be necessary for the happiness of the dead in the Other World. In the Papyrus of Ani we see him, with his wife Tutu by his side, seated in a bower moving the pieces on a draught-board. Who his opponent was is unknown, but we may assume that he had one, or perhaps many, from whom he expected to gain some advantage or possession. Two draught-boards were among the funerary equipment of Queen Hatshepsut; one was made of acacia wood and ivory, and had a sliding drawer, and the other was inlaid with ivory and squares of blue-glazed Egyptian

porcelain. In the former one of the squares is inscribed with †,

nefer, indicating probably that the player who succeeded in moving his piece on to it won the game. Both boards are in the British Museum (Nos. 21576, 21577). The "Satirical Papyrus" in the British Museum (No. 10016) shows us a picture of the lion and unicorn playing a game of draughts; each has four pieces on the board and a piece in one paw, and the general appearance of the lion suggests that he is the victor. Much information about the game of Egyptian draughts will be found in Falkener, E., Games Ancient and Oriental and How to Play Them, London, 1892.

TOYS, BALLS, DOLLS, ETC.

THE balls with which women and men as well as children played were made of strips of linen rolled up tightly or cases of linen or leather filled with some substance like bran. Under the New Kingdom balls made of glazed Egyptian porcelain coloured blue and black were placed in the tombs as votive offerings. Games in which sticks or bats were used in playing with balls were apparently unknown. Many varieties of dolls are known. The commonest form is made of a piece of flat wood, in which the shape of the body is roughly outlined, painted with squares, triangles or lines in various colours; a mass of short strings of mud beads represents the hair. Most of them are girl-dolls. Some are made of mud, others of stone and earthenware, and the bronze doll has sometimes movable arms (B.M. No. 37162). In a few cases the form and features are carefully cut, and such dolls might almost be regarded as portrait figures. Toys in the form of animals with movable limbs are tolerably common. Thus in the British Museum we have a man with a movable figure of a dog (No. 26254), an elephant that had movable legs (No. 17059), and a cat with inlaid eyes of crystal and movable jaw (No. 15671). In the Leyden Museum is a crocodile with a movable jaw.

HYPOCEPHALI

TOWARDS the end of the Saïte Recension of the Book of the Dead there is found a Chapter entitled " Chapter of making heat to be under the head of the deceased," and it contains a short series of spells, the recital of which, it was thought, would enable the head of a man to retain its natural heat in the tomb. The Rubric of the Chapter says that it must be "written upon a sheet of new papyrus and placed under the head of the deceased. Then great warmth shall be in every part of his body, even like that which was in him when he was upon earth." The Rubric goes on to say that the Chapter possesses very great power, because it was composed by the Cowgoddess, the mother of Ra, and that she recited it when he was about to set in the West, and that when she did so the god was immediately surrounded by fire which kept warmth in his body during the hours of the night. The Legend of the Cow and Rā is, no doubt, very ancient, but the custom of writing the Chapter upon papyrus and placing it under the head of the mummy in its coffin seems not to be older than the XXVIth dynasty. About that time the Egyptians began to write extracts from Chapter CLXII upon a circular sheet of papyrus, and to add to it several Vignettes, with descriptive texts, and a prayer to Amen-Ra. This sheet was gummed on a piece of linen stiffened with plaster, and moulded to the back of the head of the mummy in the coffin; it was trimmed into a