in walking, art now fettered, bound, swathed!  Thou who hadst fine stuffs in abundance, art laid in the linen of yesterday!” Calm in the midst of the tumult, the priest stood and offered the incense and libation with the accustomed words:  “To thy double, Osiris Nofirhotpu, whose voice before the great god is true!” This was the signal of departure, and the mummy, carried by two men, disappeared within the tomb:  the darkness of the other world had laid hold of it, never to let it go again.

The chapel was usually divided into two chambers:  one, which was of greater width than length, ran parallel to the facade; the other, which was longer than it was wide, stood at right angles with the former, exactly opposite to the entrance.  The decoration of these chambers took its inspiration from the scheme which prevailed in the time of the Memphite dynasties, but besides the usual scenes of agricultural labour, hunting, and sacrifice, there were introduced episodes from the public life of the deceased, and particularly the minute portrayal of the ceremonies connected with his burial.

[Illustration:  021.jpg niche in the tomb of Menna]

     Drawn by Faucher-Gudin, from a photograph by Insinger.

These pictorial biographies are always accompanied by detailed explanatory inscriptions; every individual endeavoured thus to show to the Osirian judges the rank he had enjoyed here upon earth, and to obtain in the fields of lalu the place which he claimed to be his due.

The stele was to be found at the far end of the second chamber; it was often let in to a niche in the form of a round-headed doorway, or else it was replaced by a group of statues, either detached or sculptured in the rock itself, representing the occupant, his wives and children, who took the place of the supporters of the double, formerly always hidden within the serdab.  The ceremony of the “Opening of the Mouth” took place in front of the niche on the day of burial, at the moment when the deceased, having completed his terrestrial course, entered his new home and took possession of it for all eternity.  The object of this ceremony was, as we know, to counteract the effects of the embalming, and to restore activity to the organs of the body whose functions had been suspended by death.  The “man of the roll” and his assistants, aided by the priests, who represented the “children of Horus,” once more raised the mummy into an upright position upon a heap of sand in the middle of the chapel, and celebrated in his behalf the divine mystery instituted by Horus for Osiris.  They purified it both by ordinary and by red water, by the incense of the south and by the alum of the north, in the same manner as that in which the statues of the gods were purified at the beginning of the temple sacrifices; they then set to work to awake the deceased from his sleep:  they loosened his shroud and called back the double who had escaped