ILLUSTRATIONS

Amen-Ra,   74. Anch, 12. Anqet, 85. Anubis, 49. Apis, 43. Bast, 49, 94. Beetle,  scarabxus,  38. Composite Animals, 60. Crowns and head-dresses,  17. Divine  Proceeding,  54. Dog-headed Ape, 43. Eye, symbolic, 23. Hathor,  43. Hippopotamus, 60. Horus, 49,  126.      birth of,  124.      giving "life" to Osiris, 115.      triumphant,   129.      "Four  Children"  of,  132. Ibis, 49. Isis,  mourning  over  Osiris,   113. Jackal, 49. Khnemu,  fashioning man, 72. Khnemu and Amen-Ra, 77. Maat, 94. Menat symbol,  23. Mnevis bull, 43. Mut, 85. Osiris, in Judgment hall, 109.      on his throne, 119.      with Isis and Nephthys, 111. Ptah, 88.      Ptah and Ra, 78. Ram, 38. Satet, 85. Set-animal, 60. Staffs and Scepters, 14. Sun of heaven flowing into the sun of the world, 80. Ta-urt, 60. Tet-pillar, 21. Thoth, 43, 49, 98.      Mirror of, 94. Uraeus, or royal serpent, 32. Various Sacred Symbols, 23. Vulture, 32.

 

The mythological studies of Carl Theophilus Odhner explore the application of Emanuel Swedenborg's "Science of Correspondences" to Egyptian, Greek, and Roman myths. Swedenborg, 18th-century scientist, philosopher, and theologian, attributed to the world's myths a consistent inner content of spiritual meanings, veiled in symbolism. His own exegesis was confined primarily to the Testaments; but he demonstrated by profuse examples that the same interpretive key might be used to discover a common origin and a harmony of hidden meaning in all of these survivals of an ancient wisdom.

Mr. Odhner himself wrote at the turn of the century, when secular scholarship in these fields was relatively primitive. Republication of his explorations has been put off for a number of years because of doubts as to their accuracy in some areas of fact -- especially in his often undisciplined etymologies - and instances in which patient scholarship appears the victim of his far-reaching search for grander patterns. The hope has persisted that the suspect elements might be amended, and from time to time various men have begun revisions of the text; unfortunately the press of other duties has kept these efforts from completion.
But Odhner wrote from a unique combination of strengths, and his works show it. He possessed a broad command of Swedenborg's teachings, a wide knowledge of history and ancient languages, and a joyous appreciation of the imagery in Bible and in myth. What seems passe or naive today, his sometimes overreaching enthusiasm, his tendency to scoff at secular scholars, mars only the surface of these warm and vibrant studies.

Today a reawakened interest in the world of antiquity -- new archaeological discoveries, the decoding of antique inscriptions, and new psychological perspectives -- have produced a whole great secular literature on the meaning of myth. In the face of this new material, Odhner's penetrating explorations, inspired and guided by the revealed wonders of genuine correspondences, may be more valuable than ever.

The reprinting of these books does not deny the hope of new work being done which will more accurately answer to modern knowledge. It simply expresses the conviction that, until a better way is opened, our students should not be deprived of the dramatic introduction to the wonders of the ancient past that may be found on almost every page penned by this dynamic guide.

Bryn Athyn, Pa., 1978 Aubrey C. Odhner

Swedenborg, in a paper addressed apparently to the Royal Swedish Academy of Sciences, writes as follows concerning the Egyptian hieroglyphics:

"It is well known that in Egypt there were Hieroglyphics, and that these were inscribed on the pillars and walls of the temples, etc.; and it is known, likewise, that no one at the present day knows what things were signified by them. But they are nothing else than the Correspondences of natural and spiritual things, which were cultivated by the Egyptians in their times more than by any of the people in Asia. The earliest inhabitants of Greece composed their fables according to these correspondences, and the most ancient style was none other than this.

"'I shall add here this new information, that all the things which appear before angels and spirits in the spiritual world, are nothing else but pure Correspondences. For this reason also the whole of the Sacred Scripture was written by Correspondences in order that by means of it, and because it is such, there may be a conjunction of the men of the Church with the angels of heaven. But because the Egyptians -- and with them others in the kingdoms of Asia -- began to turn these Correspondences into idolatries, to which the children of Israel were prone, therefore the latter were forbidden to recall these for any use among themselves, as appears clearly from the first precept of the Decalogue: 'Thou shalt not make unto thee the sculpture of any figure which is in the heavens above, or which is in the earth beneath, or which is in the waters under the earth: thou shalt not bow down thyself to them, nor serve them, for I am Jehovah thy God,' (Deut. 5 : 8, 9), besides many other things elsewhere.

"From that time the Science of Correspondences fell into oblivion and, indeed, gradually to such an extent that scarcely anyone at the present day knows that there ever was such a science, or that it is of any importance. But as the Lord is now about to establish a New Church, which is to be founded upon

the Word, and which is meant by the New Jerusalem in the Apocalypse, it has pleased the Lord to reveal that Science, and thus to open the Word such as it is interiorly in its bosom, i. e., in its internal sense. This was done through me in the arcana coelestia, published at London, and afterwards in the apocalypse revealed, published at Amsterdam.

"Inasmuch as this Science of Correspondences was the Science of sciences among the ancients, whence their wisdom was derived, it is of importance that someone of your Academy should devote labor upon this science, which may be done especially from the Correspondences disclosed in the apocalypse revealed and there demonstrated from the Word. If it should be so desired, / am willing to explain the egyptian hieroglyphics, which are nothing else than Correspondences, and to publish the explanation; nor can this be done by anyone else.

"em. swedenborg."

The italics are Swedenborg's own. The Latin original is published as an appendix to swedenborg's dreams, 1744, (Stockholm, 1860), and a rather faulty translation is given in Tafel's documents, Vol. II, pp. 753-755.

It does not appear that this remarkable paper was ever sent to the Royal Academy, but we can imagine the smiles of incredulity with which it would have been received. But the members of the New Church can realize that Swedenborg alone would have been able to explain the spiritual mysteries of Egypt, and that it remains for scholars connected with some New Church Academy to do so now or in the future. For in spite of the enormous development of modern Egyptology, from a linguistic and historical point of view, the sacred symbols of the ancient Egyptians are still enigmas which can be unfolded by the Science of Correspondences alone.

The Word of the Old and the New Testament abounds in references to Egypt, and the Writings of the New Church are teeming with statements concerning the spiritual significance of Egypt and its hieroglyphics. In the New Church, consequently, there has always been a great expectant interest in these matters, and especially in the Academy of the New Church where, from the beginning, this interest was cultivated by our great founder,

the Rev. William H. Benade. Throughout his life he collected works on Egyptology, and these are now preserved in the Academy's Library. After his visit to Egypt in 1878 he became acquainted with the eminent Egyptologist, Prof. Lanzone, of Turin, and, through the generosity of Mr. John Pitcairn, acquired for the Academy Prof. Lanzone's choice collection of genuine Egyptian antiquities. This unique and invaluable collection is now exhibited in the archeological museum of the Academy, and constitutes, we believe, the most complete collection of mythological figures to be found in America. On his return to Philadelphia Mr. Benade gave a series of lectures on the antiquities of Egypt, and ever afterwards cultivated among his students an ardent interest in this subject.

In extenuation of the audacity of the present writer in attempting to unravel some of the mysteries of ancient Egypt, we can only say that this study has been our "pet hobby" for thirty years, not from a scientific but from a purely mythological and theological point of view. We believe that in the Science of Correspondences we have found the key to the symbols of Egypt, and that on applying the key to the doors of the ancient temples we have found there the Theology of the Ancient Church, in mar-velous prophetic agreement with the universal Theology of the New Church. We know that this claim and our tentative interpretations, will be received with incredulity by many of our brethren in the Church ; they will seem like the births of an overheated imagination, but someone must make a beginning, fearless of ridicule. The illustrations will speak convincingly for themselves, and future scholars will improve upon these our earliest efforts.

Before entering upon an interpretation of the Egyptian system of Mythology, it will be necessary to explain some of the most common emblems or symbols by which the various divinities are distinguished from one another, or which they possess in common. Many of them still remain unexplained, owing to the difficulty of ascertaining their exact natural meaning, for the Egyptologists do not always know what natural objects are represented by some of these symbols. They seem but little interested in this branch of their science and care only for the linguistic

value of the hieroglyphics. We will therefore confine our interpretations to those symbols which are most readily recognizable as to their natural signification, or most self-explanatory to the eye of a New Churchmaan.

E. H. H. = Wallis Budge, Egyptian Heaven and Hell.
E. M. = Budge, Egyptian Magic.
G. E. = Budge, The Gods of the Egyptians.
H. E. = Maspero, History of Egypt.
M. C. = Wilkinson, Manners and Customs of the Ancient Egyptians.
O. E. R. = Budge, Osiris and the Egyptian Resurrection.
R. M. = Wiedemann, Religion of the Ancient Egyptians.
R. M. = Brugsch, Religion und Mythologie der Alten Egypter.

These may be divided into two general classes: first, the conventional or artificial emblems, and, second, the sacred animals. Among the first we have the "anch" or sign of life; the scepters or staffs of various kinds; the crowns, feathers, plumes and other forms of headgear; the "tet-pillar" or tree of degrees; the "neter" or sign of divinity; the "menat" or emblem of joy; etc.

Among the animals we have beasts such as the ram, the bull, cow, and calf, the lion and the cat, the dog-headed ape and the jackal, the "Set" animal, the hippopotamus and the swine; birds such as the hawk, the vulture, the ibis and the sphinx; reptiles such as the "uraeus" or royal serpent, the frog, and the crocodile; and two insects, the "scarabaeus" beetle and the scorpion. The correspondences of the animals are easily determined, but the conventional signs require more study. For the illustrations, copied by our untrained hand, we crave the indulgence of the reader.

Of all the symbols of the Egyptians, the one most frequently seen is the peculiar cross which is known as the "anch" or "crux anchata," -- formed by the combination of a cross and a loop which was, perhaps, originally a circle. Almost every Egyptian divinity carries the "anch" in one of his hands, while with the other he grasps the long staff or scepter, known as the "tcham." The rays proceeding from aten, the god of the solar disk, terminate in hands, each of which extends an "anch" to the worshippers. The resurrected spirit is often represented as rising out of the sepulchre, holding an "anch" in each hand, and on his final entrance into "Amenti" or Heaven, the justified spirit is again presented with the "anch" and the staff, as the symbols of eternal life and spiritual power of progress and usefulness.

While all Egyptologists admit that they do not know the origin of this symbol, or what natural object it represents, they unanimously declare that it signifies life, and especially life after death, eternal life. The reason for this signification they do not profess to know, but they tell us that the earliest Christians in Egypt adopted it as the symbol of the crucifixion, and it is frequently found on the Christian monuments in Egypt."*

To a Newchurchman this interesting symbol suggests many things, -- most obviously the crown of eternal life which is won by the cross of temptations. The signification of the cross, as meaning temptation, suffering, and death, was known to the Ancient Church throughout the world, long before the crucifixion of the Lord made it the most sacred emblem of the Christian faith. Its very form suggests at once the idea of the self-will of man, (the downward stroke), being broken by the level stroke of rational truth, the experience, when successful, resulting in the circle of eternal happiness.

The "anch" was represented in various elaborate forms, and in the book of the dead it is often provided with a pair of human arms and legs. In Fig. 3 (Plate i) of our illustrations the "anch" clearly represents the regenerated human soul, with delicate arms raised in adoration of the heavenly Sun. To us this simple symbol is full of tender and touching religious affection.

Closely connected with the "anch" is a symbol named "shen," which consists simply of a circle touching a horizontal line beneath it. "This amulet," says Wallis Budge in his work on egyptian magic, p. 61, "is intended to represent the sun's orbit, and it became the symbol of an undefined period of time, i. e. eternity; it was laid upon the body of the dead with a view of giving to it life which should endure as long as the sun revolved in its orbit in the heavens." To us it seems more likely that it represents the Sun of the eternal world and for this reason eternity itself.

2. staffs and scepters. symbols of the power of good and truth in ultimates.

Next to the "anch," the most common conventional symbol of the ancient Egyptians is the peculiar staff or scepter called "tcham" or "user," which every male divinity holds in his left hand. (Fig.1, Plate 2). It consists of a long rod, with two prongs at the nether end, and is surmounted with the head of a "cucupha," an unknown but evidently gentle animal, whose ears terminate in a feather. (Fig. 2.)* The Egyptologists are unanimous in declaring that the back part of the ear represents a feather, and the whole, therefore, is a startling combination of the bird and the beast forms. Birds, with their wings and feathers, signify intellectual things, doctrinals and truths, and the feather, as will be seen, was the universal emblem of truth among the Egyptians. Gentle beasts, on the other hand, represent affections and goods, and the handle of the staff, therefore, represents the conjunction of good and truth, while the staff itself signifies the power of good and truth in ultimates.

A staff signifies the power and forces of life from truth and good. In the original tongue a staff is so-called from its being leaned upon and affording support, which, in the spiritual world, is effected through truth and good. (A. 9098.)

As a "rod" represents the power of truth, that is, the power of good through truth, kings carried scepters, and the scepters were formed like short rods; for kings represent the Lord as to truth, and the scepter signifies the power which they have, not through dignity, but through the truth which must command, and no other truth than that which is from good.(A. 4876.)

The "tcham" scepter is often seen in combination with the "anch" and the "tet" or pillar of degrees, (Fig. 3), and a representation of thoth, the scribe of the gods, shows this divinity holding a bowl, in which is seen the "anch" enclosed on each side by a staff. (Fig. 4.) The staff represents the Divine Truth in ultimates and thus most especially the letter of the Word which supports the internal sense and contains it in its fulness and

*Maspero, history of egypt, [H. E.], vol. ii, p. 29. Wallis Budge, the gods of the egyptians, [G. E.], vol. i, p. 520.

power. The pillar of degrees, as shall be shown, represents the three degrees of the internal sense, and the "anch" signifies spiritual life. Fig. 3, therefore, represents the whole of the Word, with its life and spirit from good and truth, contained in their fulness and power in the sense of the letter. And Fig. 4, -- the symbol of thoth, who stands for the whole Ancient Word, -- signifies the letter of that Word, enclosing its internal spirit and life.

This staff or scepter was, like the "anch," presented to every justified spirit upon his final entrance into heaven, and the two "were deemed the greatest gifts bestowed by the Deity upon man." (Wilkinson, M. C., Vol. V, 283).

osiris, -- who represents the risen Lord in His glorified Human, judging "the quick and the dead," -- is often seen holding this staff in his two hands, together with the shepherd's crook and the flagellum or whip, (Fig. 5). The staff prophetically signified Him who is the Word incarnate and glorified. The shepherd's crook stands for His priestly office, the power of Divine Good gently leading the justified to the rewards of heavenly life. And the flagellum or whip stands for his royal office, the power of Divine Truth, by which evildoers are punished and cast into hell.

The staff held by the female divinities is a stalk of the papyrus plant, (Fig. 6), from which paper was made in ancient times. This plant, therefore, became the symbol of books, and especially the sacred books of the Ancient Word. The ark of "bulrushes.' (Exod. 2:3), in which the infant Moses was hidden, was made of the papyrus reed, and we may thus see why this ark represents the letter of the Word. In the hands of the goddesses, however, the papyrus staff represents more particulary the affection of truth, the love of the Word.

3. crowns and head-dresses. symbols of love and wisdom.

The crowns and head-dresses of the Egyptian divinities are of many and curious shapes. The simplest of all is the Feather of the goddess maat, (Fig. 1, Plate 3), which has furnished us the key to the interpretation of the other coronal emblems.

The name of the symbolic feather, as of the goddess, is moat, which means "what is straight," a rod, rule, canon, and it came to mean everything that is "right, true, truth; what is real, genuine, upright, righteous, just, steadfast, unalterable." (Wallis Budge, G. E., I:417). "The reason for the association of the ostrich feather with Maat, the goddess of truth, is unknown, as is also the primitive conception which underlies the name, but it is certainly very ancient, and probably dates from pre-dynastic times." (Ibid, p. 416). To a Newchurchman, however, the reason is not far to seek. The feather is the constituent part of a wing, and wings signify doctrines of spiritual truth, the systematic and orderly arrangement of truths in a series, by means of which the mind is elevated into higher regions of thought. Such were the wings of Pegasus; such are the "wings" of the angels. Thus the "great eagle with great wings and many feathers," in Ezechiel 17:7, "signifies the truths of faith, with an abundance of the knowledges of truth and good." (A. 8764; E. 281). The feather became the universal emblem of truth from the fact, also, that from time immemorial the quill has been used as the writer's pen, ("pen," from the Latin penna, means a feather), and writing -- strange to say -- was used originally for no other purpose than to communicate truth.

This correspondence having been established, we may now discover the meaning of the two crowns of Upper and Lower Egypt, (Figs. 2 and 3), which, when united, resemble a champagne bottle in an ice-cooler. The crown of Lower Egypt (called "tesher") evidently represents a vessel for drawing water, and the curled feather, which is always seen rising out of it, is the general emblem of truth. The combination, therefore, suggests the faculty of the understanding containing the truths of wisdom, and as a divine crown it would seem to represent the Divine Wisdom whence the Divine Truth is derived. It is always painted a red color, because wisdom is of good.

That this is the meaning of the red crown became a certainty when we discovered the signification of the crown of Upper Egypt (called "hetch"), the key to which was furnished by an ancient picture in which it was represented as a sheaf of wheat tied together near the top. Now, wheat is a general representa-

tive of good, and the will of good, and when used in a divine crown it represents the Divine Will, the Divine Love which consists of nothing but the Divine Good. The crown of Upper Egypt is always painted white, to show that Love is of Wisdom. The two crowns, taken together (Fig. 3, called the "pshent" crown), signify therefore the spiritual and the celestial, the understanding and the will, truth and good, faith and charity, and in the supreme sense the Divine Love within the Divine Wisdom.

Applying this key, the mysteries of the whole Mythology of Egypt opened up as if by magic, for the key fitted into every door. Whenever a divinity carries the lower crown he represents some quality of the Divine Spiritual, and whenever he carries the upper crown he represents some quality of the Divine Celestial. This never fails, and it is confirmed by all the scientific facts of Egyptology.

Sometimes the crown of Lower Egypt is in the background, as in Fig. 4, to signify that the celestial characteristics are more prominent in the divinity represented. Fig. 5 shows the headdress of the goddess sati, who represents the celestial heaven. The vulture beneath the crown is the symbol of maternal love and protection, and the horns signify the power of celestial love. The "atef" crown consists of the crown of Upper Egypt alone together with a pair of feathers, and is shown either in profile, as in Fig. 6, or in full view, as in Fig. 7. The latter rests upon a pair of ram's horns and shows also the two suns, the Sun of the upper world and the sun of nature. Both figures represent celestial good with its own truth.

The "ureret" crown, symbol of Amen-Ra, consists of two long double feathers or plumes, (Fig. 8), painted red, blue and green, in alternating sections. Its very form suggests at once something "standing forth," and, like Amen-Ra himself, it represents in fact the Divine Existere, the Divine in its first manifestation and proceeding out of the Infinite Esse.

A crown signifies the wisdom which is of good, (A. 9930), and the Divine Good, from which is the Divine Wisdom, (E.272). The golden crown seen on the Son of Man in Rev. 14:14, signifies the Divine Wisdom from His Divine Love, (R. 643). The reason a crown signifies wisdom is that all things which clothe a man derive their signification from that part of

the body which they invest or distinguish. A crown, therefore, signifies wisdom, because it is a distinction for the head, by which is understood wisdom, because wisdom has there its residence, (E. 126).

4. the "tet"-pillar, or tree of degrees. symbol of heaven as the "maximus homo."

Another very common symbol is the Pillar or "Tree of Degrees," of which thousands of little images, in clay or stone, have been found in the mummy cases. The hieroglyphic name has been variously read as "tet," "tat," or "didu"; we do not know which is the correct name, but for the sake of convenience we shall call it "tet."

All the Egyptologists agree that it is "the emblem of stability," but as to its further signification there have been all sorts of speculations. "The 'didu' has been variously interpreted," observes Maspero. "It has been taken for a kind of Nilometer, or a sculptor's or modeler's stand, or a painter's easel, or an altar with four superimposed tables, or a sort of pedestal bearing four door-lintels, or a series of four columns placed one behind another, of which the capitals only are visible, one above the other, etc. According to the Egyptian theologians, it represented the spine of Osiris." (H. E. 1:184). Maspero himself believes that it represents "the trunk of a tree, disbranched, and then set up in the ground. The symbol was afterwards so conventionalized as to represent four columns seen in perspective, one capital overlapping another; it thus became the image of the four pillars which uphold the world." (Ibid, p. 111). Dr. Budge, on the other hand, is certain that it is "intended to indicate the four branches of a roof-tree of a house, which were turned to the four cardinal points." (G. E., II:125). Others, again, hold that it represents "the sycamore tree, in the trunk of which the body of Osiris was hidden by Isis," but all agree that "it became a symbol of the highest religious importance," (W. Budge, egyptian magic, p.44).

Comparing the various pictures of the "Tree of Degrees," we have become convinced that it was originally a representation of a palm-tree, (Fig. 1, Plate 4), but its natural origin is of less interest than its spiritual signification. We believe that it stands in

general for (a) the Tree of Life, which figures so prominently in all the ancient mythologies, and that in prophetic anticipation it signifies (b) the glorified body of the Risen Lord, who Himself is the Tree of Life.

It is to be noted that the "tet" is always and exclusively the symbol of osiris, the God-man, who was born on earth, who blessed mankind with his wise teachings and beneficent rule, who was treacherously slain by the power of evil, but arose after death in his whole human but glorified body, to reign henceforth as the Divine Judge of the other world. Hence we often find the "tet" represented in the form of the mummied body of Osiris, holding the flagellum and the shepherd's crook.

And since it is the Divine of the Lord that makes Heaven, the "tet" also represents (c) Heaven in its three degrees, as pictured, somewhat grotesquely, in Fig. 2. The lowest degree, which is furnished with two horizontal lines, appears to signify the natural heaven with its two divisions. The second degree, which is represented with a pair of eyes, clearly signifies the spiritual heaven, the heaven of intelligence. The third degree, forming the forehead, is the celestial heaven, above which there are two other degrees, colored dark, which perhaps represent the super-celestial regions, immediately beneath the Sun of the spiritual world. This remarkable figure is copied from Wilkinson's manners and customs, Vol. VI, plate 25.

Another wonderful representation, (Fig. 3, copied from the same work, Vol. IV, p. 253), shows a man kneeling upon the earth and upholding the "tet" with his hands; above his head is a small sun. The "tet" itself shows a pair of arms and the usual three degrees, above which a scarab is standing with its forelegs raised in adoration of a higher sun. The meaning of the figure is self-evident to a Newchurchman and could well be used as an illustration of the doctrine that the human race beneath the natural sun is the support and basis of Heaven as a Grand Man. The scarab represents human life in ultimates and in inmosts, the whole of which is, or should be, directed solely to the worship of the Lord in His heavenly Sun.

Figure 4, (copied from Wilkinson, M. C., Vol. VI, plate 23), shows the god ptah in the mummied form of Osiris, holding in

his hands the staff and the "anch," and behind him is the Tree of Degrees. The staff, as has been shown, represents the Divine Truth in ultimates. ptah, as a mummy, with face and hands bare, represents the letter of the Word, which in itself would be dead but for the spiritual truth which in some places shines through it, (compare S. S. 55). The pillar behind him represents the Word in the heavens, i. e. the three degrees of the internal sense.

Besides the symbols described in the preceding pages there are many other conventional or conventionalized emblems, of which we shall mention only the most prominent.

The "symbolic eye," called "utat or "utchat," is one of the most common of the symbols and is frequently found as an amulet made of glazed faience, wood, precious stones, silver, or gold, Whole necklaces, made of nothing but these eyes, were wrapped around the mummies within and also outside the cloth wrapping, and in the inscriptions the eye was placed wherever the emblem of "understanding" seemed appropriate. Sometimes it was furnished with a pair of wings, or wings and legs, or with a pair of arms in a worshipping attitude (Fig. 3), or holding the "anch" in the hands. It is usually seen as a single eye, either the left or the right, but very often both eyes are represented, and sometimes it is seen in triple or quadruple forms. It was a most popular amulet, as its possession was supposed to confer safety and happiness under the protection of the all-seeing eye of God, and as a word the "utat" or "utchat" means "good health, safety and happiness." (Budge, the mummy, p. 264). The whole land of Egypt, among its other designations, was called "the land of the Eye," (Wilkinson, M. C., V:48), perhaps from the national self-consciousness that the science of correspondences was cultivated and understood in Egypt more than in other parts of the Ancient Church.

The Eye was especially associated with the worship of ptah and thoth, the gods of the written Word, and it is strange that not one of the Egyptologists has been able to hit upon the simple meaning of the Eye in front of these gods. They know that both Ptah and Thoth, (who really are one and the same divinity), sig-

nify "revelation," but to the learned the Eye means simply "good luck," instead of its obvious signification as the understanding of the Word. But they do not know that the Ancient Church had a Word of its own. The Eye was not confined to these two divinities, however, but is found in connection with almost every god, and it is associated especially with the sacred boats or barges which so often are seen carrying the images of the various gods.

The association of Boats with religious ceremonies was not confined to Egypt, but is found in the rituals of many other ancient nations, especially Greece, where the image of Pallas Athene was carried about in a boat in the annual Panathenian festival. This was observed also in Rome, in the festival of Minerva on the Nineteenth day of June, and the reason was that Minerva or Pallas Athene represents Divine Doctrine, springing immediately from the brow of Divine Wisdom, and a boat signifies the same, -- Divine Doctrine drawn from the Word, laden within with the good things of spiritual life. (A. 6385). This spiritual ship is made of the beams of rational truths well fitted together, -- a system of interior truths absolutely needed in order to navigate in safety -- to interpret correctly -- the deep waters of the Word in the letter. This religious significance of a boat or ship was carried over into the Christian Church, without any understanding of its meaning. Little models of ships were preserved in the reliquaries of the churches throughout the Middle Ages and may still be seen in some of the old country churches in Europe, (the present writer has seen it more than once), and it is quite possible that the term "the nave" of a church (from navis, ship), is derived from this source. In ancient Egypt, however, every divinity had his own sacred boat, (which was carried about without touching water), for every god represented some general principle of religion, and each general principle had its own chapter of doctrine. And on each boat there was painted an Eye, or several eyes, because the value of each doctrine depends upon the correct understanding thereof. The boat, shown in Fig. 10, is copied from the work of Dr. Wallis Budge, entitled the egyptian heaven and hell, Vol. I, p. 23, where it is called "the Boat of the Full Moon." (The title of this work suggests an association of ideas connected with Swedenborg's work on heaven and hell, and the

suspicion that the distinguished author is acquainted with Swedenborg is confirmed by the numerous and truly spiritual ideas which are found throughout his many works. In learning and intelligence Dr. Budge stands facile princeps among the Egyptologists of past and present, and his sincere and simple faith in the One-ness of God and in the reality of life after death, make his works a pleasure to read. German and French Egyptologists are, nearly all of them, skeptics, materialists and atheists, and their attempts to interpret the lofty mythology of Egypt are simply ludicrous and, what is worse, "unscientific." According to them, alt religion is based on the worship of dead matter. Osiris is the Nile, Isis the fruitful mud of the Nile, etc. But the English Egyptologists, such as Wilkinson, Rawlinson, Sayce, and especially Dr. Budge, show a more rational spirit, derived from the light of the Christian Religion, -- and, with the last-named, the new and true Christian Religion may have had some unacknowledged influence.)

The menat, (Fig. 4, 5 and 6), is a curious emblem, the origin of which is not fully determined. It is sometimes carried in the hand by the gods, but is usually seen pendent from the back of the neck. It is always painted a light color and is said to be symbolic of joy and pleasure, (Budge, G. E., I:430). As a word "menat" means death and a happy ending, and, to judge from its form and its position behind the head, it would seem to signify happiness after death from the conjugial of good and truth. Fig. 6 is the special symbol of hathor, the goddess of beauty, joy and conjugial love.

neter, (Fig. 6 and 7), is supposed to represent an axe and is the universal emblem of Divinity. One axe signifies the One God (Osiris) ; many axes mean a company of gods; three axes stand for all the gods. (Budge, book of the dead, Vocabulary, p. 182.) The axe evidently represents truth in its power, and hence dominion and authority; it was for this reason the Roman "lie-tors" carried an axe in a bundle of rods in front of the chief magistrates, and it may have been from a similar reason that the axe became the symbol of divinity among the ancient Egyptians, but the subject is involved in considerable obscurity.

The curious emblem shown in Fig. 9 is introduced here simply

in order to invite suggestions from our readers as to its possible meaning. It is often seen proceeding from the knees of the gods, but we have not been able to find any notice of it in the works on Egyptology, and it has proved too difficult for our unaided ingenuity. The tail, which is seen hanging behind the divinities, without touching their bodies, remains another mystery.

There are many other conventional emblems, of minor importance, which are more easily interpreted and which will be noticed in connection with the various gods and goddesses.

Swedenborg, accompanied by an angel guide, once visited the heaven of the Silver Age. "We came first to a hill on the border between the east and the south, and while we were on its sloping height he pointed out to me a very extended region of country and far away as it were a mountainous eminence, and between it and the hill on which we stood there was a valley, and beyond that a plain and an acclivity gently rising from it.*

"We descended the hill to cross the valley, and we saw here and there on either side images of wood and stone carved in the likeness of men, and of various beasts, birds, and fishes. I asked the angel, 'What are these ? Are they idols ?'

"He replied, 'Certainly not! They are figures representative of various moral virtues and spiritual truths. With the people of that age there was a knowledge of Correspondences; and as every man, beast, bird, and fish, corresponds to some quality, therefore each sculptured form represents some aspect of virtue or truth, and a number of them together represent the virtue or the truth itself in a general comprehensive form. These, in Egypt, were called hieroglyphics." (C. L. 76.)

And in the work on divine providence we read:

Amongst the ancients there was the science of correspondences, which is also the science of representations, the very science of the wise, which was especially cultivated in Egypt; hence their hieroglyphics. From their science of correspondences they knew the signification of animals of every kind, also the signification of all kinds of trees, and of mountains, hills, rivers and fountains, and of the sun, the moon, and the stars. And as all their worship was representative, consisting of pure correspondences, they therefore worshipped on mountains and hills and in groves and gardens. And for this reason also they consecrated fountains, and in their adoration of

*The view was such as might be gained by the mind's eye looking eastward from the Libyan hills over the valley of the Nile towards the mountains of Canaan and Sinai, and beyond these the plane of Babylonia and the plateau of Assyria.

God they turned their faces to the rising sun. And they furthermore made sculptured horses, oxen, calves, lambs, and also birds, fishes, and serpents, and in their houses and other places they arranged these in series according to the spiritual things of the Church to which they corresponded or which they represented. They also placed such things in their temples, in order to call to mind the holy things which they signified. After a time, when the science of correspondences had been forgotten, their posterity began to worship the very sculptures as in themselves holy, not knowing that their fathers of ancient times had not seen any holiness in these things, but only that they represented and therefore signified holy things according to correspondences. (D. P. 255.)

The custom of representing spiritual goods and truths, and their opposite evils and falsities, in the form of symbolic animals, arose from the representatives seen in the world of spirits in the days when the ancients enjoyed open communion with the other world. Here angels and spirits and their various affections and thoughts are actually seen represented in the forms of the animal world, especially when viewed at a distance, for on closer approach the human forms appear. And the reason for this is that as man was created in the image and likeness of God, so animals were created in a more or less remote likeness of man, in correspondence to human thoughts and affections.

To the Greeks and Romans, -- among whom the Ancient Church itself had never existed, -- the symbolic animals of Egypt were a source of merriment and ridicule. Thus Antiphanes, in his lycon, speaking jestingly of the Egyptians, says: "Clever as they are reputed in other things, they show themselves doubly so in thinking the eel equal to the gods; for surely it is more worthy of honor than any deity, since we have only to give prayers to the gods; but upon the eel we must spend at least twelve drachms or more, -- merely to smell it, -- so perfectly holy is this animal!" And Juvenal, in his I5th Satire, thus lashes the superstitions of Egypt: "Who knows what monsters mad Egypt can worship? This place adores a crocodile; this one venerates an ibis full of serpents; whole towns worship a dog, but nobody Diana," etc. But to such ignorant misapprehensions the Egyptian priests replied, in a conversation with the wisest man of Athens: "O Solon, Solon, you Greeks are always children, nor is there among you such a thing as an aged Grecian.

All your souls are juvenile, neither containing any ancient opinion derived from remote tradition, nor any learning hoary from its existence in former periods of time." (Plato, in timaeus, p. 467.)

Sir J. Gardner Wilkinson observes, in this connection: "In justice, therefore, some allowance should be made for the allegorical religion of the Egyptians; and when we reflect that it contained many important truths, founded upon early revelations made to mankind, and treasured up in secret to prevent their perversion, we may be disposed to look more favorably on the doctrines they entertained, and to understand why it was considered worthy of the divine legislator [Moses] to be 'learned in all the wisdom of the Egyptians.' " (manners and customs, vol. iv, p. 166.)

The symbolic animals of Egypt may be divided into four classes, according to their natural qualities:

First, a few clean and useful animals, such as the ram, the bull, the cow and the calf, naturally representing good and noble things.

Second, a great number of beasts, in themselves unclean or evil, but possessing certain particular properties which enabled them to represent qualities of good and truth; these included the lion and the cat, the dog-headed ape and the jackal, the hawk, the vulture and the ibis, the royal serpent, the frog and the beetle.

Third, certain unclean and evil animals always representing infernal things; among these we have the hippopotamus and the swine, the crocodile, and the scorpion.

Fourth, composite animals, of a purely mythological character, such as the sphinx, the "Set" animal, the phoenix, etc., representing either good or evil, according to their varying forms.

In the present study, however, it seems necessary to consider these animals in the order of the frequency of their representation, taking up first those which have the most general and inclusive signification.

The most common of all the symbolic animals is the "uraeus" or royal serpent which meets us everywhere on the monuments; his winged emblem surmounts the "pylon" or gateway of every temple; his head and inflated chest protrude from the crown or head-dress of every god and king. He is, par excellence, the national emblem of Egypt, which in its very geographical formation by the winding path of the Nile resembles a serpentine beast.

The royal serpent of Egypt was, by the Roman writers, named "Uraeus," from the Egyptian arart, which is connected with the Coptic word ouro, "a king," while by the Greeks it was named "basilisk," from basileus, "king." It is a species of cobra, (Fig. I, plate 6; copied from Maspero. H. E. 1:42), a small, black, poisonous asp, still abounding in Egypt; when approached it will erect its head and inflate its throat and chest in readiness to dart forward. Its bite is frequently fatal, but it is quite easily tamed by the serpent charmers and, if well fed with milk, it will even become a pet, permitting children to play with it. This quality, perhaps, is what is referred to in the words of Isaiah II :8: "The sucking child shall play upon the hole of the viper, and upon the den of the basilisk shall the weaned child thrust his hand."

A conventionalized and winged form of the "uraeus" is shown in Fig. 2. Its puffed-up chest is a vivid image of the inflated pride of sensual science. Fig. 3 is the national emblem of Egypt: two great wings extending from a solar disk encircled by two basilisks. This is the figure which is always found above the pylons of the temples; the sun signifies love, the serpent wisdom in ultimates, and the wings the doctrines of scientific truth, protecting the worship of a sensual church.

Fig. 5, (Budge, Ib. 1: 147), shows a serpent with a human head, and in front three anch crosses and a pair of tongues. With this may be compared the image of the Philistine god, Dagon, "who was like a man above and a fish below; this image was so devised because a man signifies intelligence, and a fish knowledge, and these two make one." (S. 23.)

Below this figure we have two serpents (Figs. 6, 7, Budge, Ib.

1: 237), one carrying on his back the crown of Upper Egypt with a human head on either side and the other carrying the crown of Lower Egypt with one head in front. The latter represents, perhaps, science as the means of progress in the human understanding, while the former indicates that science is, or should be, more especially the means of progress in the doubly human virtue of charity and the good of life.

The papyrus stalk with a winding serpent, (Fig. 8), is very commonly seen in the hands of the goddesses, and seems to represent the power of the affection and perception of scientific truth.

As to the spiritual meaning of the serpent there is a great deal of information in the Writings.

By serpents, in the Word, are signified sensual things which are the ultimates of the life of man. The reason is that all animals signify the affections of man, and the affections of angels and spirits in the spiritual world also appear at a distance like animals, and the merely sensual affections appear like serpents. This is because serpents creep on the ground and lick up the dust; and sensuals are the lowest things of the understanding and the will, for they stand forth next to the world and are nourished from its objects and delights, which affect only the material senses of the body. Harmful serpents, which are of many kinds, signify the sensuals which are dependent on evil affections, which make the interiors of the mind with those who are insane from falsities of evil; and harmless serpents signify the sensuals which are dependent on good affections, which make the interiors of the mind with those who are wise from truths of good. (R. 455.)

To the Egyptians, therefore, the serpent -- cautiously raising his head to look about him -- because the special symbol of the prudence, circumspection and astuteness which constitute the wisdom of the natural man; it is to be remembered that the Lord Himself taught His disciples to be "wise as serpents and innocent as doves." Nay, the Lord Himself assumed a human sensual nature which He glorified or made Divine, and this Divine Sensual was prophetically represented by the brazen serpent on the cross, which brought healing to those bitten by the fiery flying serpents, if they looked to it. This Divine Sensual is the visible and audible form of the Divine Human now revealed in the 3

Writings of the New Church, and only by looking to Him can men be saved from the deadly influence of modern sensual science and modern sensual life. Here alone is our protection, for the brazen serpent "signifies the Divine Sensual of the Lord who alone exercises circumspection and Providence." (A. 179, 425; E. 70.)

We may understand, therefore, how the royal serpent of Egypt came to signify in the supreme sense the Divine Wisdom itself, and hence Divine Science, the science of Divine things, and especially the science of correspondences, which was the science of sciences in Egypt. In the Garden of Eden this serpent was a harmless, useful and necessary thing, created by God Himself, for the celestial man could not have existed in this world unless endowed with an ultimate sensual nature. This serpent, with them, was the possessor of "the tree of science," for all knowledges must first be imbibed by means of the external senses. It became a seductive and poisonous beast only when the men of the Golden Age permitted the appearances of the senses to over-rule the voice of celestial perception which spoke from within.

Throughout the subsequent ages, for good and for evil, the role of the serpent has been played by Egypt. In the Ancient Church the science of correspondences reached its highest development in Egypt, and from this spiritual science there gradually developed, a priori, the beginnings of natural sciences such as astronomy, geometry, mathematics, chemistry, geography, etc. In classical times Egypt was the great international university, where men such as Herodotus, Pythagoras, Plato and possibly Aristotle pursued their studies, and after the Macedonian conquest the "Museum" at Alexandria not only contained the greatest library in the world but was for centuries the home of the leading lights of science. Here also the Hebrew Scriptures were first translated into Greek, and here Philo, the Jew, laid the foundation for the Neo-platonic school of philosophy. But corruption, also, went hand in hand with the great scientific development; from the beginning of historic times Magic flourished in Egypt by means of correspondences perverted, turning religion into superstition and spreading moral corruption far and wide.

The destruction of Egypt through the influence of a perverted science found a fitting symbol in the suicide of Cleopatra by the poison of the basilisk.

In the Christian Church, also, Egypt at first proved a blessing, and then a deadly curse. The catechumenal school at Alexandria became the first Christian university, where the Christian Theology received its first scientific development at the hands of Clement and Origen. But the new light was soon extinguished by the jealousy of the hierarchy. Alexandria became the centre of gnostical heresies, (gnosis means a pretended hidden "knowledge"), and from this tree of science there came forth a two-headed serpent to seduce the Christian Church with Arianism on the one hand, and Athanasianism on the other, -- both based originally on Egyptian tritheism.

As the "Uraeus" is the royal emblem of gods and kings, so the "Mut" or royal vulture is the emblem of goddesses and queens, who almost always wear a representation of this bird upon their heads, in place of a crown or head-dress: the head of the vulture protruding in front, with the wings falling down on either side of the lady's neck, and the tail feathers extending from the back (Fig. 11. Plate 6), the whole made into a kind of helmet, generally of gold. And as the winged "uraeus" is placed above the pylons of the temples, so the vulture is represented with widespread wings (Fig. 10) on the ceilings of the temples, in the central avenues of the portico, and on the under side of the lintels of the doors which lead to the sanctuary. As an amulet a golden vulture was placed on the neck of the mummy on the day of the funeral, for this was supposed to carry with it the protection of "Mother" Isis. (Budge, the mummy, p. 260.)

The name of this vulture, mut, -- written with the hieroglyphics for a vulture, a female breast, an egg, and a woman, -- is the regular word for "mother," and as such this animal is the special symbol of the goddess mut, who, as the female counterpart of amen-ra represents "mother nature," the "great world mother," or the idea of motherhood itself. It is known in Egypt under

the Arabic name rdkham, which is identical with the Hebrew word racham, a "gier-eagle," as it is translated in the Authorized Version, (Levit. 11:18 and Deut. 14:17). The Hebrew root racham means originally "womb," and hence "mother love, mercy, compassion," and the name was given to the Egyptian vulture on account of her intense love for her young. (Gesenius Heb. Lex.)

This maternal instinct accounts for the Egyptian choice of an otherwise unclean bird to represent maternal love and protection, though it was venerated also on account of its great usefulness in removing dead bodies, offal, and other impurities which, if left on the ground, might cause great damage in the hot climate of Egypt. On this account it is treated with great consideration by the modern Mohammedans of Egypt, to whom it is known as "Pharaoh's hen." (Wilkinson M. C., V:2O3.) According to Budge "the cult of the vulture is extremely ancient in Egypt, and dates probably from pre-dynastic times, for one of AElian the oldest titles of the Pharaohs of Egypt is 'Lord of the city of the Vulture (Nekhebet or Eileithyiapolis), lord of the city of the uraeus' (Uatchet, or Buto), and it is found engraved on monuments of the late prae-dynastic and early archaic periods. [a Roman writer in the time of Alexander Severus] . . . says that all vultures are females, and no male vulture was ever known; to obtain young they turn their backs to the south, or south-east wind, which fecundates them, and they bring forth young after three years." (G. E. 11:372.)

The vulture, like the eagle and the hawk, can have nothing but an evil correspondence, both being in themselves evil beasts. But even as evil men by certain external qualities may represent heavenly and Divine things, so the maternal instinct in the vulture makes a basis for a good representation. And on comparing the qualities of the vulture and the eagle, we find that they have a very similar signification, so much so that we may clearly interpret the symbol of the vulture by the meaning of the eagle.

We read in Deuteronomy that Jehovah found Israel "in a desert land and in a waste howling wilderness; He led him about, He instructed him, He kept him as the apple of His eye. As an

eagle stirreth up her nest, fluttereth over her young, spreadeth abroad her wings, taketh them, beareth them on her wings, so Jehovah alone did lead him." (32:10-12.)

It is the instruction in the truths and goods of faith which is here described, and is compared to an eagle. (A. 3901.)

Their instruction in truths, guarding from falsities, and the opening of the interiors of their minds so that they may come into the light of Heaven and thus into the understanding of truth and good, which is intelligence, is described by an "eagle," its nest on high, its brooding over its young, and carrying them upon its wings. (E. 281.)

It is the work of education, therefore, that was especially symbolized by the royal vulture of Egypt, for this work is the especial use of the maternal love of Heaven and the Church, as represented by the goddesses and queens of Egypt. For the work of Education was developed in Egypt as nowhere else in the Ancient Church, and Egypt as a whole, as has been shown, was the great international university of the ancient world.

"The fourth animal was like a flying eagle," (Rev. 4:7), signifies the Divine Truth of the Word as to cognitions and thence understanding. By "flying eagles" are signified the cognitions from which comes understanding, for while they are flying they know and see; they also have sharp eyes and see clearly, and the eyes signify understanding. "To fly" signifies to. perceive and instruct and, in the supreme sense, to look out for and provide. (R. 244.)

A "flying eagle" signifies the appearance of the Divine Protection and Providence in ultimates as to intelligence and as to clear-sightedness on every side. (E. 281.)

The "face of an eagle," (Ezech. 1:10), signifies circumspection and thence Providence. . . . Such was the signification of an eagle in the Ancient Church. (A. 3901.)

"Flying things of the lowest sort, which are insects, signify truths or falsities which are more ignoble and obscure, such as are those things which belong to the Sensual." (A. 7441.)

"Flying insects signify such things as are of the thought, thus truths or falsities, but in the extremes of man." (A. 9331.)

Egypt as a whole represents the lowest or sensual degree of the human mind, and hence, consciously or unconsciously, the

Egyptians were led to adopt some of the lowest forms of animal life -- such as the serpent and the beetle -- as symbols of the high -est principles. As the serpent with them represented wisdom in ultimates and hence in the inmost, so the beetle represented to them life in ultimates and hence all life, life itself, for the ultimate is the containant of the whole.

The particular beetle which was chosen for this supreme representation, (Fig.1, plate 7), belongs to a very numerous group of dung-feeding Lamellicorns, (i. e., beetles having antennae terminating in a set of flat lamellae or little plates). The Greeks gave to this beetle the name of skarabeios, -- a word of unknown meaning, -- but the Egyptians called it khepera, which means both esse and fieri, "being" and "becoming;" it also means "to roll, to

evolve," -- a fact which should encourage the evolutionists in looking to the beetle as their racial ancestor.

The scarabaeus beetle "is generally of a black hue, but amongst them are to be found some adorned with the richest metallic colors. A remarkable peculiarity exists in the structure and situation of the hind legs, which are placed so near the extremity of the body, and so far from each other, as to give the insect a most extraordinary appearance when walking. This peculiar formation is nevertheless particularly serviceable to its possessors in rolling the balls of excrementitious matter in which they enclose their eggs." (Budge, the mummy, p. 232.)

The scarabseus is said to be born at the edge of the desert and spends the half of its life in crawling down to the bank of the Nile. Here the female gathers a ball of dung and mud, from one to two inches in diameter, and deposits in it a great number of eggs. The male and the female then take turns in rolling the ball back to the edge of the desert, where they bury it in a hole in the sand, to be hatched out by the heat of the sun. They usually drag it along with their hind legs, but are often seen carrying it on their heads with the front legs.

There is scarcely any difference, externally, between the male and the female of the species, and hence there arose the notion that there were no females among them, but that all were male. On this account the scarabaeus came to typify the idea of "the Only-begotten of the Father," the medium of original creation. A survival of this ancient conception still remains in Upper Egypt and Nubia, for "to this day the insect is dried, pounded, and mixed with water, and then drunk by women who believe it to be an unfailing specific for the production of large families." (Budge, G. E., II:38i.)

The beetle was especially associated with ra, the sun-god, -- partly, perhaps, on account of the round shape of its ball, which contains the germs of a new generation as the ball of the sun contains the germs of all life in the universe, -- and partly, also, because the scarabaeus becomes especially lively during the hottest hours of the day, flying about in the sunlight when all other creatures seek shade and rest. Hence the sun-god is often represented with a beetle on the top of his head, or with a beetle

instead of a head. (Fig. 2.) Very often, also, the scarabaeus is shown with a small red ball behind him, and a large red ball in front, the two representing the nether and the upper sun.

The resurrection of man in a spiritual body was also "symbolized by the germs of life rolled up in the egg-balls of the beetle, and the power which made those to become living creatures was that which made man's spiritual body to come into being.'' (Budge, G. E., I: 357.) "It was this idea which was at the root of the Egyptian custom of wearing figures of the beetle, and of placing them in the tombs and on the bodies of the dead; the myriads of scarabs which have been found in all parts of Egypt testify to the universality of this custom." (Ibid.) These scarabs, made of black or green stone, often contain brief inscrip- -tions, stating the name of the deceased, with prayers or sacred formulas supposed to be useful in the other life. (Fig. 3.)

Of all the symbolic animals of Egypt, the ram has the highest and holiest correspondence. While seldom used as an hiero-glyphic, he is seen most frequently in the shape of a sphinx, either in his own entire form, or as a ram with a human head, of with the body of a lion, or in various other combinations. Long avenues of these majestic sphinxes, beautifully carved and polished, are seen among the ruins of Upper Egypt, sometimes extending for miles, as in the case of the great avenue leading from Karnak to Luxor. These avenues of sphinxes represented to the Egyptians the stream of the Divine Providence, everywhere leading, guarding and protecting. This symbolic ram was furnished with two pair of horns, -- one pair curving down and forwards, the other, long, flat and twisted, extending upwards and sideways, -- (Figs. 4 and 5, plate 7) to represent the Divine Power of Love extending everywhere.

The ram was the special symbol of two divinities, khnemu and osiris. The former stands at the head of the Egyptian Pantheon and represents the Infinite itself, the supreme Esse, the Divine Father of all creation. The ram, as the father of the flock, was the fitting symbol of the Divine Fatherhood, and hence Khnemu was almost always represented as a man with the head

of a ram; he is also painted a dark blue, to signify the invisible Divine.

When associated with Osiris, the ram is a prophetic symbol of the Lord in His Divine Human, the "Lamb of God," the God-Man who has rendered visible the Infinite Divine. Hence Osiris is often represented with a pair of ram's horns, and he himself is called "the Ram, lord of Tattu," which means judge of the dead in the under world, or world of spirits. (Budge, G. E. I:103.) The Greeks, mistaking this for "Amend," or Heaven, made the Osiris ram known as the "Ram of Mendes," in whom the soul of Osiris was supposed to dwell. Mendes was also identified with a town in ancient Egypt, where a sacred ram was kept in honor of Osiris. Like the Apis-bull, this ram was distinguished by certain peculiar markings, and when one ram died his successor was sought for with great diligence throughout the country, and, when found, consecrated with great festivities.

As the sheep in general corresponds to celestial affections, the goods of charity and innocence, so the ram, as the male of the sheep, corresponds to the truth of celestial good, and the power of this truth. And in the supreme sense the ram signifies "the internal of the Lord's Divine Human united to the Divine good of His Divine love, which was in Himself," (A. 10052, 10076), that is, the union or unition of Osiris with Khnemu.

5. the Cow and the bullock.

It is a curious fact that the more a people is steeped in the doctrine of salvation by faith alone, the more do they worship merely natural good. Of spiritual charity they have no conception and do not wish to hear, but natural good, kindness, "helpfulness," "altruism," are to them the summum bonum, as long as it does not necessitate the shunning of spiritual evils as sins against God.

This fact lies at the bottom of the worship of the bovine species among the faith-alone branches of the Hamitic race, nations such as the Babylonians, Phoenicians and Egyptians. The worship of the bull and the cow first arose among the Chaldeans, the direct descendants of Ham, in the idolatry of Enlil and Ishtar, and spread thence on the one hand to Canaan, where the Phoenicians

worshipped the bull-headed Baal and the cow-headed Ashtoreth, and on the other hand to Egypt, where the bull became the special symbol of Osiris, "the Lord" par excellence, and the cow the symbol of Hathor, the goddess of beauty and love.

To an agricultural people, such as the Egyptians, the bull and the cow naturally represented that which is most good and useful on the natural plane, furnishing as they do not only food-products such as milk, cream, butter, cheese and meat, but also service as beasts of burden. Thus the cow, by her usefulness, gentleness and beauty, (even the Romans spoke of "cow-eyed Juno" as the type of beauty), came to represent not only goodness in general, but that highest form of domestic good which we call conjugial love. This love they termed "Hathor" and represented it as a cow coming forth from the mountains of "Amend" or Heaven. (Fig. 2, plate 8.) And the bull, on account of his great strength, fecundating power, and mightiness in battle, they looked upon as representing the truth of natural good, in which all interior forms of good and truth reside in their generative potency and fulness of power. Hence they regarded the sacred bull at first as the special representative of Osiris, the prophecied Redeemer, and afterwards as the incarnation of that god.

Greek and Roman writers, such as Herodotus, Plutarch, AElian, Ammianus Marcellinus, Diodorus Siculus and Pliny, relate many marvelous stories of the sacred bull, Apis, (in Egyptian Hap or Hapi), but their accounts are so full of manifest absurdities and contradictions that we can adopt as facts only those few features which they have in common and which agree with the discoveries of modern Egyptology.

From these sources we learn that the veneration of the bull, Apis, is of unknown antiquity, dating from prae-dynastic times, and that it continued to the last period of Egyptian history. According to Herodotus, (book II:27-29), the sacred bull, which was always kept at Memphis, was black, with certain peculiar white markings, having a square white spot on the forehead, on the back the figure of an eagle, the outlines of a beetle on the tongue, and double hairs in the tail. But in the numerous antique bronze figures of the Apis, he is usually represented with

a triangular piece of silver in his forehead, between his horns a solar disk and a serpent, on the back above the forelegs a vulture, (not an eagle), then the outlines of a square saddle cloth, and over the hind quarters a winged scarab. (Fig. 1, plate 8.)

At Memphis the sacred bull was tended with the utmost care in a special temple and by a special priesthood. Here he was washed daily in hot baths, the body anointed with precious unguents, perfumed with sweetest odors, fed with the choicest food, watered from a special well, rested on the softest bedding, etc. His birthday was celebrated annually in a festival of seven days, when he was led about garlanded amidst the adoring shouts of the populace. It is said that he was allowed to live only twenty-five years, when he was disposed of, carefully embalmed and buried at enormous expense, while all Egypt went into mourning until his successor had been found. Each Apis was buried in a rock-hewn tomb, and a small chapel was built over it. The chain of these subterranean tombs at Memphis was called the Sera-peum, and in later times it became known as "the Labyrinth," which may still be seen at Sakkara.

To find a new Apis was the next most important "new business" of the nation. The calf had to be born on the day when the old Apis died, and had to have the same peculiar markings. Every herd in Egypt was minutely searched, and lucky was the owner of the herd in which the Apis was found. All Egypt went wild with rejoicing, and the bull-calf, after forty days of purification, was installed in his new honors amidst great festivities. For the use of the Apis was more than merely ornamental or representative; he was, in fact, the chief living oracle in Egypt, being consulted on all important national affairs. If he ate certain food offered to him, it was a good omen; if he refused, a bad omen. If he went into one of his stalls, the prospects were favorable; if into another, unfavorable, etc.

Besides the Apis-bull at Memphis, there was another sacred bull, called Mnevis, (Fig. 3), kept at Hieropolis, to the northeast of modern Cairo, and there are reasons to believe that this one was the model of the "golden calf" made and worshipped by the Israelites at Mount Sinai. Hierapolis or On, the most ancient shrine in Egypt, was in the neighborhood of the land of

Goshen, where the Israelites had sojourned, and Joseph, it will be remembered, had married the daughter of the priest of On. The Mnevis of On, moreover, is colored bright yellow on the monuments, while the Apis is painted black and white. But no images of either of them, actually made of gold, have been found in Egypt, for reasons easily imagined.

Living or dead, the Apis was connected with Osiris. When dead, the soul of the old Apis went to join Osiris, while the soul of Osiris immediately filled the new Apis. The combined souls were called "Ausar-Hapi," or Osiris-Apis, whom the Greeks called Serapis. This divinity was represented with the mummied body of Osiris, having the head of a bull, on his head the sun and the moon, and the two feathers of Amen-Ra; in his hands the full regalia of staffs and sceptres, and on his side a breastplate of divination. Under the form of Serapis, the combined worship of Osiris and Apis survived the rest of the old Egyptian cult, and his image and temple were not destroyed until the fourth century A. D.

The bulls and cows, adored by the Egyptians, were usually represented as young bullocks and heifers, and hence these images are spoken of as "calves" in the letter of the Word. Thus we read in Jeremiah 46:20 that "Egypt is a very beautiful cow-calf," -- the historical sense evidently referring to the national worship of Hathor. And of the sacred "calves" in Egypt we read as follows in the Writings:

For the sake of illustration, take the worship of the calf with the Egyptians. They knew what a calf represented, namely, the good of charity; and so long as they knew this and thought of this when they saw calves, or when in their feasts of charity they made the calf ready, and afterwards when calves were made use of in sacrifices, they thought sanely and together with the angels in heaven, to whom a calf stands for the good of charity. But when they began to make calves of gold, and placed them in their temples and worshipped them, they then thought insanely and together with the infernals. Thus they turned a true representative into a false one. (A. 7779.)

The reason the children of Israel made themselves a golden calf and worshipped it as Jehovah, was that the Egyptian idolatry remained in their hearts. ... In Egypt, the chief of the idols were cow-calves and bull-calves of gold, for the reason that a cow-calf signified scientific truth,

which is the truth of the natural man, and a bull-calf the good thereof, which is the good of the natural man; also because gold signifies good. . . . But when the representatives of celestial things there were turned into idolatry and finally into magic, then, there as elsewhere, the very representative images became idols and began to be worshipped. Hence came the idolatry of the ancients and the magic of the Egyptians. (A. 9391.)

By a "bullock" in the Word is represented "what is celestial natural, or, what is the same, natural good," (A. 2180), and in the supreme sense "the Divine Natural of the Lord." (A. 2830.) This is the reason why the Apis was considered the special representative of Osiris, for even as the Egyptians knew from the Ancient Word that the Lord as a Divine Man would glorify His Sensual degree, (which they represented by the royal serpent), so they represented the whole of the Natural with Him, glorified both as to truth and as to good, by the Apis of Osiris, whom they termed "the bull of the other world."

Among the sacred animals of Egypt, one of the most curious is the Cynocephalus or Dogheaded Ape, which, usually painted green, is frequently seen on the monuments and in the papyri. This ape, in Egyptian called aan or aanau, was in ancient times, as at present, brought from upper Nubia and the Sudan, which is its native habitat and where it is still regarded as an extremely clever beast, in intelligence superior even to man.

At sunrise these apes set up a mighty chattering in the forests and they were on this account regarded by the ancient Egyptians as incarnations of "the spirits of the dawn, which, having sung hymns of praise whilst the sun was rising, turned into apes as soon as he had risen." (Budge, G. E., II: 365.) On account of their supposed cleverness, also, they were generally represented as companions of thoth, the god of science, literature and the written Word, and are almost invariably seen standing in the sacred boat of this Ibis-headed divinity, with forepaws stretched out in an attitude of adoration. Sometimes the ape is seen alone, holding a small Ibis in his hand, and sometimes he is associated with ra, the sun-god, or khonsu, the moon-god, always in a

boat, and always in a worshipful attitude. The Egyptians supposed that he was singing hymns in praise of the god whom he is facing.

In the remarkable "judgment-scenes" in the book of the dead, -- representing the final judgment upon man in the world of spirits, -- the Cynocephalus is seated on top of the pillar which supports the great Balance, in the scales of which the heart of the man is weighed against the "feather of truth." Being regarded as skilled in the science of numbers and measurements and as "the genius of the equilibrium and the equinoxes," the duty of the ape in the weighing of the soul was to watch the pointer and report to thoth, (who is standing by with pencil and pad in his hands), when the beam is exactly level. He appears again in a scene representing the judgment upon a wicked spirit, who in the form of a dejected-looking pig is being driven away in a boat by two apes with whips. (Wilkinson, vol. VI., plate 87.) The head of the Cynocephalus also forms the cover of one of the four funerary urns in which were sealed up some of the entrails of the mummy and which were deposited in its sepulchre. The first urn is crowned with the head of a man, the second with a hawk, the third with a jackal, and the fourth with an ape; these were known as the "four genii of Amend" or "the four children of Horus," which, we believe, originally represented the four divisions of heaven: the man, the celestial heaven; the hawk, the spiritual; the jackal, the celestial natural; and the ape, the spiritual natural.

In attempting to interpret the Cynocephalus as a symbol we must consider the signification of the dog as well as the ape. Dogs generally correspond to unclean lusts, but they also have a good signification. "Dogs are the appetites of saying and teaching such things as are of doctrine. When the appetites are good, the dogs are good; and when the appetites are evil, so are the dogs." (D. 4853.) For instance, the three hundred Israelites "who lapped water with their hands as a dog lappeth," in Judges 7:5, signify "those who have an appetite for truths; thus who, from some natural affection strive to know truths." (E. 455.) In a good sense, therefore, dogs, on account of their humility, obedience and faithfulness, represent those who are the lowliest

within the Church, and also the Gentiles outside the Church. (A. 7784, 9231.)

Apes, similarly, in general correspond to falsities and crazy persuasions, notions that are rational and human in appearance only, but they also have a good signification, as in I Kings 10:22, where we read that "once in three years there came the navy of Tharshish, bringing gold and silver, ivory, apes and peacocks to Solomon," all these tributes signifying "the truths and goods of the external Church." (E. 514.) From all these considerations we judge that the Dog-headed Ape stands as the representative of simple good spirits of the lowest order, or angels of the spiritual-natural heaven; in other words, affections of the natural truth revealed in the letter of the Word and the simple love of justice and fairness. Hence the association of the ape with thoth, the letter of the Word; and hence his position in the . scene of the judgment. The illustration of the ape in the boat, (Fig. 3, plate 8), with the Eye above his hands and facing Thoth, seems to us to speak as clearly as the words of the Psalmist: "The opening of Thy words giveth light; it giveth understanding to the simple." (Ps. 119:130.)

The Jackal, which is always associated with anubis, the god of the burial and the resurrection, is a canine animal which in external appearance and internal structure is very similar to the domestic dog, especially a shepherd's dog; it has a long head, a very pointed muzzle and grayish-yellow fur, and is, in fact, regarded by some naturalists as representing that original stock from which the dog is supposed to have evolved. Though extremely shy and cunning, he is easily tamed, when in captivity, and becomes quite gentle and obedient, but on account of his offensive odor he is seldom adopted as a pet.

Of distinctly nocturnal habits, the jackals of Egypt come forth at sunset from the caves and holes in the mountains of the desert, hunting in packs, prowling about the ancient ruins, (Fig. 1, plate 9), prying on the henroosts and vineyards of farms and villages, and making the night hideous with their peculiarly mournful howling. A shriek from one member of the pack is the signal

for a general chorus of screams, barks and dismal whines, which often sound like the wailing cries of a child lost in the wilderness, and this is kept up during the greater part of the night.

This melancholy concert may account in part for the association of the wicked jackal with a gentle and benevolent divinity such as Anubis, as it probably reminded the ancient Egyptians of the lamentations and dirges of the mourners at a funeral party. The full figure of the animal is seldom represented on the monuments, but Anubis himself is always depicted as a human figure with the head of a jackal, (Fig. 2, plate 9), always painted black, to suggest night and death; the god is generally seen bending over the bier on which rests the body of the dead, gently stroking him into renewed life, and then conducting the resurrected spirit in his spiritual body into the judgment hall of Osiris in the intermediate world.

Just as the significance of the Egyptian vulture can be explained only by that of the eagle, so the symbolic meaning of the jackal can be solved only by the correspondence of the closely related dog. Those Greek and Roman authors who have written on Egypt, all supposed that the head of Anubis was simply the head of a dog who watched over the spirit of man in life and in death, because the dog, as Plutarch observes, "is equally watchful by day and by night." Wilkinson admits that "it is difficult to distinguish between the jackal and the fox-dog." (M. C. 5 :i43), and Wallis Budge regards it as proved that the Egyptians themselves "did not carefully distinguish between the wolf, the jackal, and the dog." (G. E. 11:367.). We may regard it as settled, then, that the ancient Egyptians looked upon the jackal as nothing but a species of dog whom they associated with the ideas of death, burial and resurrection, not only because of his mournful howling, but also because of his nocturnal habits, his habitat in the mountains and deserts where the dead were buried, and his prowling about the tombs at night. Thus they adopted him as the symbol and representative of those gentle spirits who stand guard over the dead body, who assist in the process of resuscitation, and who introduce the resurrected man into his new and spiritual life. (Comp. H. H. 449, 450.)

Obedience is the one great virtue of a good dog, and obedience, simple and unquestioning obedience to the will of the Lord, is the distinguishing virtue of the angels of the lowest or natural heaven, especially of those of the celestial natural heaven, even as obedience is in general the virtue that introduces man into the life of regeneration. Death and burial represent nothing else than the death of the self-life and resurrection into the regenerate life. Hence we conclude that even as the dog-headed ape of Thoth represents the simple affection of knowing and understanding the natural truth of the letter of the Word, and thus the angels of the spiritual-natural heaven, so the jackal of Anubis represents the affection of obeying this same truth in life, and thus the angels of the celestial-natural heaven.

The Lion is usually associated with ra, or horus, or deities of a solar character, the great, round, yellow face of the king of beasts calling to mind the solar disk, his fiery eyes and terrible power recalling the fierce heat of the Egyptian sun, etc. Dawn and sunset were represented as two lions, seated back to back, supporting between them the horizon over which the sun is seen travelling.

Thus far go the somewhat obvious "interpretations" of modern Egyptologists, to whom the idea of both the lion and sun representing the Sun of spiritual life would seem like "wild allegorizing." They know, however, that the lion as an hieroglyphic signifies power, and as a phonetic sign stands for the letter R, because this sound expresses power. Spiritually considered, the lion, in his fighting and conquering strength, represents "the good of celestial love and the derivative truth in its power, and in the opposite sense the evil of the love of self in its power." (A. C. 6367.) To "roar like a lion" signifies an ardent affection to defend Heaven and the Church, and thus to save the angels of Heaven and the men of the Church, which is done by destroying the falsities of evil by means of Divine Truth and its power." (A. E. 601.) And the Lord in His Divine Human, who from His own power subjugated the hells and reduced all things into order, is "called 'the lion of the tribe of Judah' from the Omnipotence

which is of His Divine Love and His Divine Truth thence." (Ibid.) This power He exercised through His Word, in which the Divine Truth is in its fulness, in its holiness and in its power, and hence "a lion signifies the Divine Truth of the Word as to power; and as the Lord is the Divine Truth itself, or the Word, He is called a lion." (A. R. 265.)

It was on this account that the cherubim seen by Ezechiel and John "had the face of a lion, from the omnipotence of Divine truth from the Divine good, which is of Providence," (A. C. 6367), for the cherubim represent the power of the Word in the letter guarding and protecting the internal sense. Hence "because lions represent power, guard, and protection against falsities and evils, there were two lions at the sides of the ivory throne of Solomon, and twelve lions upon its six steps." (A. E. 278.)

This also was the origin of the sphinxes of Egypt, which were of various forms, but most commonly figures of lions with human head. "The Egyptians placed statues of lions at the doors of their palaces and tombs to guard both the living and the dead, and to keep evil spirits and fleshly foes from entering into the gates to do harm to those who were inside them." (Budge, G. E. II:361.) For the ancients were well aware of the protective sphere of the celestial angels, whom the sphinxes represent, "because where these come, the evil flee away, for the evil cannot endure their presence; it is these who are signified by 'an old lion.'" (A. C. 6369.)

The "great Sphinx" guarding the pyramids of Ghizeh is the noblest example of these leonine cherubim, even as it is without doubt the most ancient monument in Egypt, antedating the pyramids themselves. Exactly facing the rising sun, it was placed there not only as a protector of the vast necropolis of Memphis, but also, we believe, to represent the Divine Providence itself guarding the whole land of Egypt and the Church there. For from the east came the Egyptians themselves and all their light, and from the east came the worst of their enemies in a spiritual as well as a natural sense.

Inasmuch as a lion signifies not only the Lord as to the Divine Truth, but likewise Heaven and the Church in respect to that Truth from the Lord," (A. E. 601), therefore the Egyptians rep-

resented a very prominent goddess, named bast, with the head of a lioness. (Fig. 3, plate 9; G. E. I:444.) Concerning this divinity there has been much speculation; the Greeks identified her with Diana or Athene, (both erroneously), and she is generally known as "the cat-headed goddess," though her head is unmistakably that of a lioness. Wallis Budge has given us the clue to the signification of bast, when he informs us that the name bast is derived from bes, the word for fire, and that he regards this goddess "as a personification of the power of the sun, which makes itself known in the form of heat." (G. E. I :447.)

On the basis of this natural interpretation, which is supported by the evidence of all modern Egyptologists, we conclude that Bast, the lioness-headed "lady of the East," goddess of fire and heat, represents the same as the Greek Hestia or Vesta, goddess of the hearth and of the sacred fire: i. e., celestial good, which simply means the celestial love of the Divine Truth.

This identification of Bast with Vesta suggests an explanation of the extraordinary veneration of cats in Egypt, which caused so much merriment in the rest of the classical world. As at the present day, so in ancient times Egypt was swarming with cats, and they were regarded as so sacred that, as Cicero observes, "never did anyone hear tell of a cat having been killed by an Egyptian," while Diodorus Siculus tells a story of a Roman who was lynched by an Egyptian mob because he had accidentally killed a cat. When a cat died in a house, all the inmates shaved their eyebrows as a sign of mourning, and the body of the sacred puss was embalmed with great care, ceremoniously buried, and sometimes carried from great distances to Bubastis, the center of the worship of Bast, where thousands of cat-mummies have been found. This veneration for cats in the end proved the ruin of Egyptian independence, for it is related that Cambyses, when invading Egypt in 528 B. C., collected a great quantity of cats and placed them in front of his army at the fateful battle of Pelusium. The Egyptians, rather than hitting the sacred animals with their arrows, turned tail and fled, and left the country open to the Persians.

The constant association of the cat with Bast, the Egyptian Vesta, goddess of the fire and the hearth, does not require a far-

fetched explanation. As in Greece and in other countries of the ancient world, so also in Egypt the domestic hearth and the everburning fire upon it were regarded as most sacro-sanct in the private life of the family. And the cats constantly crouching by the fireside, thus became the companions of Bast and partakers of her supreme sanctity.

Among the symbolic birds of Egypt the most prominent are the hawk and the Ibis, the former sacred to horus, the latter to thoth. Birds, with their power of elevating themselves from the ground and of proceeding rapidly on higher planes, represent rational and intellectual affections which "on the wings of thought" lift themselves from earthly things to higher and wider perspectives. (A. C. 3901; A. E. 282, 1100.)

The hawk, keen-eyed and swift, serenely soaring in highest air, was to the Egyptians a symbol of the Divine in the heavens, which is the Divine Truth proceeding from the Divine Intelligence. Hence this bird is always associated with horus, who is sometimes represented simply as a hawk, sometimes as a hawk

with human head, or as a human figure with a hawk's head. (Fig. 4, plate 9; G. E. I.: 466). In order to emphasize the idea of "intelligence," the sculptors adorned the face of the hawk with peculiar conventional features, making prominent its sharp eyes. That "to fly" signifies to proceed, is evident without any arguments, and it is equally self-evident that Horus, the son of Osiris, represents the Divine Proceeding. An inscription which we found in Dr. Budge's egyptian heaven and hell, and which we here reproduce, describes Horus as always "journeying, journeying, travelling." (E. H. H. I:115.)

The banks of the Nile are teeming with all kinds of water fowls, but the reasons why among all these the Ibis was selected for extraordinary honors will perhaps never be fully known. There seems to be nothing very remarkable about this bird, which at the present day is seldom found in Egypt. Its native habitat is Nubia and Sudan, but in ancient times it must have been very common throughout Egypt, as mummies of the bird are found in all parts of the country. Bronze figurines are also very common and on the monuments and in the papyri it is one of the most familiar figures. It is the constant companion of thoth, "the god of the divine words," and the god himself is invariably represented with the head of an Ibis. (Fig. 6, plate 9.)

On account of its religious associations the bird is known to zoologists as the Ibis religiosa; its body measures about two feet six inches, and it has long black legs, white and black plumage, short tail, and a very long black bill, curved and slender. (Fig.

5, plate 9.) It does not, as far as is known, consume any greater quantity of reptiles than other water fowls, but Herodotus reports that it was revered because "it destroyed the winged serpents which were brought over into Egypt from the deserts of Libya by the west wind," and the ancient priests related that Thoth, when pursued by Set, the evil power, saved himself by assuming the form of an Ibis. The name of Thoth (tehuti) is, in fact, derived from tehu, which is the most ancient name of the Ibis.

We are not able to give the particular correspondence of the Ibis, but its general significance seems clear. It is a bird of the water and as such signifies the affections of natural and sensual truth, such as stands forth in the letter of the Word. It is typically "a bird out of Egypt," (Hosea 11 :11), which signifies "the scientific intellectual," (A: C. 1186), and it may be that the sight of this bird, standing on the bank of the Nile and gazing into the waters, as it were, in deep meditation, reminded the ancient Egyptians of an earnest student of the Ancient Word inquiring into the mysteries hidden in the letter. Hence, perhaps, its association with thoth, and hence the figure of the sacred eye, which almost always accompanies the picture of the Ibis.

Among the animals which never have a good signification, but always represent evils and falsities, we need to note only the hippopotamus, the swine, the scorpion and the crocodile.

A. the hippopotamus. The name of this ugly and useless monster is certainly a libel on the noble horse, for it should be called a river-swine rather than a river-horse. It is no longer found anywhere in Egypt, but was very common in ancient times, and it was by no means regarded as sacred or worshipped, as the Egyptologists assert, but was feared, hated and killed, as is proved by frequent scenes representing the hunting of the beast. In the day-time wallowing lazily in the mud, at night they left the river, coming up in troops to cultivated ground, where they did immense damage to the growing crops, by their ponderous tread destroying even more than they could devour. Though generally harmless to people, they are apt to become ferocious when pursued, capsizing boats or crushing them between their enormous jaws.

According to Plutarch, the hippopotamus "was reckoned amongst the animals emblematic of the Evil Being," (Wilkinson, M. C. vol. V:178), and the goddess ta-urt, the female counterpart of set, the evil power itself, is always depicted with the head and body of the hippopotamus, long and flaccid breasts, hind quarters of a lion, and back and tail of a crocodile; in her hands she holds the emblem of lasciviousness, -- most certainly a repulsive combination of sinister suggestions. (Fig. 2, plate 10.)

The hippopotamus is not mentioned either in the Scriptures or the Writings, but as a great and evil beast of the river of Egypt it clearly corresponds to evil in general, more especially the evil of perverted sensual scientifics. As a convincing illustration we reproduce a picture representing Horus, standing victoriously upon the back of a chained hippopotamus and driving a spear into its head. (Fig. 1, plate 10. Budge, G. E. I:494.)

B. the swine. That the swine represents filthy lusts is known by common perception. In Egypt this animal was always associated with Set or Typhon. In the book of the dead, (chapter 112), we are told that Ra one day said to Horus: "Let me see what is coming to pass in thine eye," and having looked he said to Horus, "Look at that black pig." Horus thereupon looked and immediately felt that a great injury had been done to his eye, and he said to Ra, "Verily, my eye seemeth as if it were an eye upon which Suti had inflicted a blow." The text goes on to say that the black pig was none other than Suti (Set), who had transformed himself into a black pig and had aimed the blow which had damaged the eye of Horus. As the result of this, the god Ra ordered his companion gods henceforth to regard the pig as an abominable animal. (G. E. II:368.)

C. the scorpion is frequently depicted on the monuments; it is generally associated with the powers of evil, but sometimes the goddess Isis is represented with a scorpion on her head. This, however, means that the goddess had overcome the evil represented by the scorpion, for it was quite common, both in Egypt and in Greece, to affix to the deities symbols of the enemies which they had vanquished. Scorpions are frequently mentioned in the Word, and by them and their poisonous tails are

signified "adroit reasonings from falsities through which they persuade and thus cause injury." (A. C. 10071.) "By a scorpion is signified a deadly persuasion. For a scorpion, when it strikes a man, induces a stupor on his members, and if the wound is not healed it causes death." (A. R. 425, 428.)

D. the crocodile, like the scorpion, was naturally regarded as the incarnation of falsity and evil, of death and all the powers of darkness. Owing originally to the fear which it inspires, it afterwards came to be regarded as sacred in some districts in Egypt, while diligently hunted in other, often neighboring districts. This sometimes led to bloody naval combats between the worshippers and the hunters of the crocodiles. As to their signification we learn that "they who are in falsities from evil appear as basilisks and crocodiles," (A. R. 601). "In the Word, the deceitful are signified by crocodiles." (Ibid. 624.)

Our account of the symbolic animals would not be complete without a brief consideration of a purely mythological and representative class of beasts, such as the phoenix, the "Set"-animal, the hell-dog, and a great variety of composite animals. These fabulous forms are not mere figments of imagination, but are actually to be seen in the world of spirits, and they were seen there by those in the Ancient Church who still possessed the open eye. We read that "in the world of spirits there are presented to view animals such as horses, oxen, sheep, etc., together with other animals of various kinds, sometimes such as are never seen on the earth but are only representative." (A. C. 2179.) All these animals are spiritual appearances formed out of the sphere-substances of the spirits and they vary according to the affections of the spirits. "There are as many spheres as there are affections, and compositions of affections," (A. C. 1505), and hence also "there are seen composite animals like those seen by the prophets and described in the Word." (A. E. 1200.) Swedenborg states that he had seen there such composite animals, as, for instance, "a monster rising out of the earth, with seven heads, his feet like those of a bear and his mouth like a lion's, altogether

like the beast which is described in Apoc. 13: 1, 2." (A. R. 926.) A person who in the life of the body had studied the things of the memory only was seen at a distance as an animal combining in parts the forms of a horse, a cow, and a dog. (S. D. 4011.)

A. The phoenix or "Bennu" was a fabulous bird well known throughout the ancient world, but originating probably in Egypt.
"This bird is said to have created itself, and to have come into being from out of the fire which burned on the top of the sacred
Persea tree of Hieropolis; it was essentially a Sun-bird, and was a symbol both of the rising sun and of the dead sun-god Osiris,
from whom it sprang and to whom it was sacred. The Bennu not only typified the new birth of the sun each morning, but in
the earliest period of dynastic history it became the symbol of I the resurrection of mankind, for a man's spiritual body was be
lieved to spring from the dead physical body, just as the living sun of today had its origin in the dead sun of yesterday." (Wal-
lis Budge, G. E. II:371.)

B. The "set"-animal is so called partly because it is unlike any known beast, and partly because it is always associated with
set, the power of Evil. His pictures look like the combined caricatures of a tapir, sheep, camel and ass; it is always of a dead
black color, and adorned with ludicrous clipped ears and a long upstanding tail, bifurcated at the end. (Fig. 3, plate 10; Budge,
the mummy, p. 277; G. E. II:242.) The original may have been some night-prowling beast of thieving and wicked disposi
tion, and it may have been hunted and slain with such diligence that it became extinct in Egypt even in prehistoric times. It is
reported that an animal remarkably like the "Set" has recently been found in the forests of the pigmy people in central Africa. i

The combined figures of set and the hawk-headed horus,  (Fig. 4, plate 10), strikingly represent the contrast of light and
darkness, truth and falsity, keen-eyed intelligence and weak-eyed folly. But more will be said of Set in the story of Osiris.

C. The hell-dog was a composite animal having the head of a crocodile, the forequarters of a wolf, or perhaps lion, and the hindquarters of an hippopotamus, the whole nevertheless leaving the impression of a barking dog. (Fig. 6, plate 10; G. E. II:

144.) Its name in Egyptian is "Am-mit," and this name is said to mean "the eater of the dead," or "the devourer of the unjustified," (Budge, G. E. I: 60), because it was supposed to devour the souls of all those who had been weighed and found wanting in the judgment hall of Osiris. (Ib. II: 146.) In the judgment scenes it is always depicted as "the Accusing Spirit" seated on the closed portals of hell and reporting to Osiris all the evil things that could be found against the spirit who is being weighed, while on the other hand all the good things the man had done in his natural life are represented by cakes, fruits, onions, etc., piled on an altar in front of the merciful god. It is one of those frequent Egyptian illustrations that would seem to have the power to convince even a hardened sceptic.

D. Beside the fabulous animals mentioned above there are a great number of other composite beasts of the most curious combinations, such as the leopard with the head of a serpent, (Fig. 5, plate 10; G. E. I: 59), a winged lion with the head of an eagle, the indescribable animal called "Sak," (Fig. 8, plate 10; G. E. I:60), and the leopard with a human head and a pair of wings in the middle of his back. (Fig. 7, plate 10.) This latter brings strongly to mind one of the four beasts seen by Daniel, which was "like a leopard which had four wings upon his back," the leopard signifying the Word falsified, and the wings signifying the confirmations of falsity by means of perverted intellectual reasonings. (A. R. 575; A. E. 780.)

"From ancient times the Egyptians knew Jehovah, because the Ancient Church had been in Egypt." (A. C. 7097.) Under the name jehovah the one true God was worshipped universally in the Ancient Church; to the men of the Silver Age in its purity this name was the Divine name, and to them it involved the whole of all theology and religion. But so holy is this name, so replete with Divine arcana, that "when Divine worship had been perverted in Egypt, they were no longer permitted to worship Jehovah, and at last not even to know that Jehovah was the God of the Ancient Church, lest they should profane the name of Jehovah," (A. C. 7097; 5702), as is evident from the reply of Pharaoh to Moses: "Who is the Jehovah, whose name I must hear, to send away Israel? I know not the Jehovah." (Ex. 5:2.)

This loss of the knowledge of Jehovah must have taken place at a very early period of the decline of the Ancient Church in Egypt, -- probably in pre-dynastic times, for the most ancient records that have been deciphered bear no trace of the name. There are, indeed, certain minor divinities whose names faintly resemble the sacred name, but these have been so variously trans-scribed by the Egyptologists that the connection must be considered doubtful.

But while the knowledge of the sacred name seems to have been utterly lost even among the highest ranks of the Egyptian hierarchy, a knowledge of the Unity of the Godhead lingered with the priesthood even to the end of the nation.

In the esoteric religions of antiquity this knowledge was guarded with jealous care by those who had been initiated into the sacred mysteries, while the common people, more and more tending to sensualism and superstition, were suffered to remain in gross polytheism, lest ignorance and vice should profane the last remnants of spiritual truth. Such, at least, was the pretence of the hierarchy.

Sir J. Gardner Wilkinson, in his manners and customs of

the ancient egyptians, was, perhaps, the first Egyptologist who clearly recognized the essential monotheism of the Egyptian religion. "The priests who were initiated into, and who understood the mysteries of their religion, believed in one Deity alone; and, in performing their adorations to any particular member of their Pantheon, addressed themselves directly to the sole ruler of the universe, through that particular form.

"Each form, (whether called Ptah, Amun, or any other of the figures representing various characters of the Deity), was one of His attributes; in the same manner as our expressions 'the Creator,' 'the Omniscient,' 'the Almighty,' or any other title, indicate one and the same Being; and hence arose the distinction between the great Gods and those of an inferior grade, which were physical objects, as the sun and the moon; or abstract notions of various kinds, as 'valor,' 'strength,' 'intellectual gifts,' and the like, personified under different forms.

"Upon this principle it is probable that gods were made of the virtues, the senses, and, in short, every abstract idea which has reference to the Deity or man; and we may therefore expect to find, in this catalogue, intellect, might, wisdom, creative power, the generative and productive principles, thought, will, goodness, mercy, compassion, divine vengeance, prudence, temperance, fortitude, fate, love, hope, charity, joy," etc. (Vol. 4, pp. 172-I73-)

"Though the priests were aware of the nature of their gods, and all those who understood the mysteries of the religion looked upon the Divinty as a sole and undivided Being, the people, not admitted to a participation of those important secrets, were left in perfect ignorance respecting the objects they were taught to adore; and every one was not only permitted, but encouraged, to believe the real sanctity of the idol, and the actual existence of the god whose figure he beheld." (Ibid. p. 175.)

"It is still doubtful if the Egyptians really represented, under any form, their idea of the unity of the Deity; it is not improbable that His name, as with the Jews, was regarded with such profound respect as never to be uttered; and the Being of Beings, 'who is, and was, and will be,' was, perhaps, not even referred to in the sculptures, nor supposed to be approachable, unless under

the name and form of some deified attribute, indicative of His power and connection with mankind." (Ibid. p. 178.)

Dr. Wallis Budge, after showing that the Egyptian term seklier neter, (in the Prisse Papyrus), should be translated "Divine Providence" and not "fate," asks this question: "Who then is the God whose power and providence and government of the world are here proclaimed? The answer to this question is that the God referred to is God, whose power men of the stamp of Ptah-hetep discerned even at the remote period in which he lived, and whose attributes they clearly distinguished; He was in their opinion too great to be called anything else but God, and though, no doubt, they offered sacrifices to the gods in the temple of Memphis, after the manner of their countrymen, they knew that God was an entirely different Being from those 'gods.' " (G. E. I:126.)

"We have no means of saying whether this idea of oneness or unity was first applied to Ra or to some more ancient god such as Horus, but it is, in the writer's opinion, quite certain that it existed in the minds of the educated classes of Egypt in the earliest times, and that in all periods it was the central point of their conceptions of God." (Ibid. p. 133.)

According to the late Prof. C. T. Tiele in his histoire comparee des ANCIENNES religions, the Symbolism of Egypt "being misunderstood by the ignorant folk, produced serious errors, and the forms under which the Egyptians represented their gods, and which are repellant to our refined tastes, answered in their minds to an idea of divinity which was purer and more spiritual than the noble and beautiful forms of the gods of Hellas. The ignorant felt no repugnance to monstrous representations be-cause they appeared as representations having a profound and mysterious meaning; the learned understood the meanings of the  symbols, and paid their adoration through them to the truth of which they were the coverings. In other words, the uneducated loved a plurality of gods, while the priests and educated classes who could read and understand books, adopted the idea of One God, the creator of all beings in heaven and on earth, who, for want of a better word, were called 'gods.' "

De Rouge, writing in the revue archeologique, (1860, p. 73), says: "The unity of a supreme and self-existent Being, his eternity, his almightiness, and eternal reproduction thereby as God; the attributing of the creation of the world and of all living beings to the supreme God; the immortality of the soul, completed by the dogma of punishments and rewards; such is the sublime and persistent base which, notwithstanding all deviations and all mythological embellishments, must secure for the beliefs of the ancient Egyptians a most honorable place among the religions of antiquity."