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- The lady Touî, statuette in wood
- Statuette in wood 2
- The Soul - front view
- Bronze Cat
- The Soul - back view
- Later Costume of Ethiopian Nobles
- Ethiopian Noble Lady
- Sewn Sleeveless Kalasiris
Sewn Sleeveless Kalasiris - Egyptian king
Egyptian king - Egyptian Queen
Egyptian queen - Egyptian Female Costume
Egyptian Female Costume - An Egyptian Stamp for impressing Bricks
In old Egypt, bricks were impressed by the same method of stamping [as the Assyrians], but not to such an extent as they were in old Assyria. . The cuts annexed represent the face and back of an old Egyptian stamp discovered in a tomb of Thebes. The stamp is five inches long, two and one-quarter inches broad, and half an inch thick, and is fitted to an arched handle. The characters are engraved below the surface of the wood, so that an impression taken from the stamp on the clay would show the engraved characters in relief. The inscription on the stamp has been translated, Amenoph, beloved of truth. Amenoph is supposed, by some authorities, to have been the king of Egypt at the period of the exodus of the Israelites. The characters on the Egyptian and Babylonian bricks are much more neatly executed than would seem necessary for inscriptions on so common a material as clay. - Egyptian Ships in the time of Hatasu
The legal position which Hatasu occupied during the sixteen years that followed the death of Thothmes II. was probably that of regent for Thothmes III., his (and her) younger brother; but practically she was full sovereign of Egypt. It was now that she formed her grand schemes of foreign commerce, and had them carried out by her officers. First of all, she caused to be built, in some harbour on the western coast of the Red Sea, a fleet of ships, certainly not fewer than five, each constructed so as to be propelled both by oars and sails, and each capable of accommodating some sixty or seventy passengers. Of these thirty were the rowers, whose long sweeps were to plough the waves, and bring the vessels into port, whether the wind were favourable or no; some ten or twelve formed the crew; and the remainder consisted of men-at-arms, whose services, it was felt, might be required, if the native tribes were not sufficiently impressed with the advantages of commercial dealings. - Head of Hatasu
Hasheps, or Hatasu, was the daughter of the great warrior king, Thothmes the First, and, according to some, was, during his later years, associated with him in the government. An inscription is quoted in which he assigns to her her throne-name of Ra-ma-ka, and calls her "Queen of the South and of the North," But it was not till after the death of her father that she came prominently forward, and assumed a position not previously held by any female in Egypt, unless it were Net-akret (Nitocris). Her father had left behind him two sons, as well as a daughter; and the elder of these, according to Egyptian law, succeeded him. He reigned as Thothmes-nefer-shau, and is known to moderns as Thothmes the Second. He was, however, a mere youth, of a weak and amiable temper; while Hatasu, his senior by some years, was a woman of great energy and of a masculine mind, clever, enterprizing, vindictive, and unscrupulous. The contrast of their portrait busts is remarkable, and gives a fair indication of the character of each of them. Thothmes has the appearance of a soft and yielding boy: he has a languishing eye, a short upper lip, a sensuous mouth and chin. Hatasu looks the Amazon: she holds her head erect, has a bold aquiline nose, a firmly-set mouth, and a chin that projects considerably, giving her an indescribable air of vigour and resolution. The effect is increased, no doubt, by her having attached to it the male appendage of an artificial beard; but even apart from this, her face would be a strong one, expressive of firmness, pride, and decision. It is thought that she contracted a marriage with her brother, such unions being admissible by the Egyptian marriage law, and not infrequent among the Pharaohs, whether of the earlier or the later dynasties. In any case, it is certain that she took the direction of affairs under his reign, reducing him to a cipher, and making her influence paramount in every department of the government. - Head of Thothmes II
Hasheps, or Hatasu, was the daughter of the great warrior king, Thothmes the First, and, according to some, was, during his later years, associated with him in the government. Her father had left behind him two sons, as well as a daughter; and the elder of these, according to Egyptian law, succeeded him. He reigned as Thothmes-nefer-shau, and is known to moderns as Thothmes the Second. He was, however, a mere youth, of a weak and amiable temper; while Hatasu, his senior by some years, was a woman of great energy and of a masculine mind, clever, enterprizing, vindictive, and unscrupulous. The contrast of their portrait busts is remarkable, and gives a fair indication of the character of each of them. Thothmes has the appearance of a soft and yielding boy: he has a languishing eye, a short upper lip, a sensuous mouth and chin. Hatasu looks the Amazon: she holds her head erect, has a bold aquiline nose, a firmly-set mouth, and a chin that projects considerably, giving her an indescribable air of vigour and resolution. The effect is increased, no doubt, by her having attached to it the male appendage of an artificial beard; but even apart from this, her face would be a strong one, expressive of firmness, pride, and decision. It is thought that she contracted a marriage with her brother, such unions being admissible by the Egyptian marriage law, and not infrequent among the Pharaohs, whether of the earlier or the later dynasties. In any case, it is certain that she took the direction of affairs under his reign, reducing him to a cipher, and making her influence paramount in every department of the government. - Bust of Thothmes I, the first great Egyptian Conqueror
Thothmes I. was the grandson of the Aahmes who drove out the Hyksôs. He had thus hereditary claims to valour and military distinction. The Ethiopian blood which flowed in his veins through his grandmother, Nefertari-Aahmes, may have given him an additional touch of audacity, and certainly showed itself in his countenance, where the short depressed nose and the unduly thick lips are of the Cushite rather than of the Egyptian type. His father, Amen-hotep I., was a somewhat undistinguished prince; so that here, as so often, where superior talent runs in a family, it seems to have skipped a generation, and to have leapt from the grand-sire to the grandson. - Head of Nefertari-Aahmes
Aahmes, in contracting his marriage with the Ethiopian princess, to whom he gave the name of Nefertari-Aahmes—or "the good companion of Aahmes"—was, we may be tolerably sure, bent on obtaining a contingent of those stalwart troops whose modern representatives are either the Blacks of the Soudan or the Gallas of the highlands of Abyssinia. - Gallery in the Great Pyramid
The Great Gallery is also of curious construction. Extending for a distance of one hundred and fifty feet, and rising at an angle of 26° 18', it has a width of five feet at the base and a height of above thirty feet. The side walls are formed of seven layers of stone, each projecting a few inches over that below it. The gallery thus gradually contracts towards the top, which has a width of four feet only, and is covered in with stones that reach across it, and rest on the walls at either side. The exact object of so lofty a gallery has not been ascertained; but it must have helped to keep the air of the interior pure and sweet, by increasing the space through which it had to circulate. - Tablet at Sneferu at Wady-Magharah
The first living, breathing, acting, flesh-and-blood personage, whom so-called histories of Egypt present to us, is a certain Sneferu, or Seneferu, whom the Egyptians seem to have regarded as the first monarch of their fourth dynasty. Sneferu—called by Manetho, we know not why, Soris—has left us a representation of himself, and an inscription. On the rocks of Wady Magharah, in the Sinaitic peninsula, may be seen to this day an incised tablet representing the monarch in the act of smiting an enemy, whom he holds by the hair of his head, with a mace. The action is apparently emblematic, for at the side we see the words Ta satu, "Smiter of the nations;" and it is a fair explanation of the tablet, that its intention was to signify that the Pharaoh in question had reduced to subjection the tribes which in his time inhabited the Sinaitic regions. - Figure of Bes
Bes seems also to have been a divinity of the same class {Evil Gods]. He was represented as a hideous dwarf, with large outstanding ears, bald, or with a plume of feathers on his head, and with a lion-skin down his back, often carrying in his two hands two knives. - Figures of Taourt
It was a peculiar feature of the Egyptian religion, that it contained distinctively evil and malignant gods. Set was not, originally, such a deity; but he became such in course of time, and was to the later Egyptians the very principle of evil—Evil personified. Another evil deity was Taour or Taourt, who is represented as a hippopotamus standing on its hind-legs, with the skin and tail of a crocodile dependent down its back, and a knife or a pair of shears in one hand. - Great Hall of Columns at Karnak (Restored)
The greatest of all Seti's works was his pillared hall at Karnak, the most splendid single chamber that has ever been built by any architect, and, even in its ruins, one of the grandest sights that the world contains. Seti's hall is three hundred and thirty feet long, by one hundred and seventy feet broad, having thus an internal area of fifty-six thousand square feet, and covers, together with its walls and pylons, an area of eighty-eight thousand such feet, or a larger space than that covered by the Dom of Cologne, the largest of all the cathedrals north of the Alps. It was supported by one hundred and sixty-four massive stone columns, which were divided into three groups—twelve central ones, each sixty-six feet high and thirty-three feet in circumference, formed the main avenue down its midst; while on either side, two groups of sixty-one columns, each forty-two feet high and twenty-seven round, supported the huge wings of the chamber, arranged in seven rows of seven each, and two rows of six. The whole was roofed over with solid blocks of stone, the lighting being, as in the far smaller hall of Thothmes III., by means of a clerestory. - Head of Neco
Neco, the son of Psamatik I., from the moment that he ascended the throne, resolved to make the bold stroke for empire from which his father had held back. Regarding his mercenary army as a sufficient land force, he concentrated his energies on the enlargement and improvement of his navy, which was weak in numbers and of antiquated construction. Naval architecture had recently made great strides, first by the inventiveness of the Phœnicians, who introduced the bireme, and then by the skill of the Greeks, who, improving on the hint furnished them, constructed the trireme. Neco, by the help of Greek artificers, built two fleets, both composed of triremes, one in the ports which opened on the Red Sea, the other in those upon the Mediterranean. He then, with the object of uniting the two fleets into one, when occasion should require, made an attempt to re-open the canal between the Nile and the Red Sea, which had been originally constructed by Seti I. and Ramesses II., but had been allowed to fall into disrepair. The Nile mud and the desert sand had combined to silt it up. - Burning of Incense
The conventional Egyptian representation of the burning of incense and the pouring of libations - Binding and pulling grain in the Egypt of the pharaohs
Binding and pulling grain in the Egypt of the pharaohs - Anhai bowing before her father and mother. The Elysian Fields. From the Papyrus of Anhai (XXIInd dynasty)
Anhai bowing before her father and mother. The Elysian Fields. From the Papyrus of Anhai (XXIInd dynasty) - The weighing of the heart of the scribe Ani in the Balance in the presence of the gods
The weighing of the heart of the scribe Ani in the Balance in the presence of the gods. - The soul of Rā
The soul of Rā (1) meeting the soul of Osiris (2) in Tattu, The cat (i.e., Rā) by the Persea tree (3) cutting off the head of the serpent which typified night. - The Elysian Fields of the Egyptians according to the Papyrus of Nebseni (XVIIIth dynasty)
The Elysian Fields of the Egyptians according to the Papyrus of Nebseni (XVIIIth dynasty) - The Elysian Fields of the Egyptians according to the Papyrus of Ani (XVIIIth dynasty)
The Elysian Fields of the Egyptians according to the Papyrus of Ani (XVIIIth dynasty) - The Creation
The god Nu rising out of the primeval water and bearing in his hands the boat of Rā, the Sun-god, who is accompanied by a number of deities. In the upper portion of the scene is the region of the underworld which is enclosed by the body of Osiris, on whose head stands the goddess Nut with arms stretched out to receive the disk of the sun. - Isis suckling Horus in the papyrus swamp
1. Isis suckling her child Horus in the papyrus swamps. 2. Thoth giving the emblem of magical protection to Isis. 3. Amen-Rā presenting the symbol of "life" to Isis. 4. The goddess Nekhebet presenting years, and life, stability, power, and sovereignty to the son of Osiris. 5. The goddess Sati presenting periods of years, and life, stability, power, and sovereignty to the son of Osir - Horus, the son of Isis, leading the scribe Ani into the presence of Osiris, the god and judge of the dead
Horus, the son of Isis, leading the scribe Ani into the presence of Osiris, the god and judge of the dead; before the shrine of the god Am kneels in adoration and presents offerings. - Akhnaton driving with his Wife and Daughter
Akhnaton driving with his Wife and Daughter - Akhnaton and Nefertiti with their three Daughters
The charm of family life, and the sanctity of the relationship of husband and wife, parents and children, seems to have been an important point of doctrine to him. He urged his nobles, also, to give their attention to their families; and in the tomb of Panehesy, for example, one may see representations of that personage sitting with his wife and his three daughters around him. - Akhnaton and his Wife and Children
In his capacity as Pharaoh and “son of God,” Akhnaton demanded and received a very considerable amount of ceremonial homage; but he never blinded himself to the fact that he was primarily but a simple man. He most sincerely wished that his private life should be a worthy example to his subjects, and he earnestly desired that it should be observed in all its naturalness and simplicity. He did his utmost to elevate the position of women and the sanctity of the family by displaying to the world the ideal conditions of his own married life. He made a point of caressing his wife in public, putting his arm around her neck in the sight of all men. As we have seen, one of his forms of oath was, “As my heart is happy in the Queen and her children....” He spoke of his wife always as “Mistress of his happiness, ... at hearing whose voice the King rejoices.” “Lady of grace” was she, “great of love” and “fair of face.” Every wish that she expressed, declared Akhnaton, was executed by him. Even on the most ceremonious occasions the queen sat beside her husband and held his hand, while their children frolicked around them; for such things pleased that gentle father more than the savour of burnt-offerings. It is seldom that the Pharaoh is represented in the reliefs without his family; and, in opposition to all tradition, the queen is shown upon the same scale of size and importance as that of her husband. Akhnaton’s devotion to his children is very marked, and he taught his disciples to believe that God was the father, the mother, the nurse, and the friend of the young. Thus, though “son of God,” Akhnaton preached the beauty of the human family, and laid stress on the sanctity of marriage and parenthood. - Thothmes IV. slaying Asiatics
When Thothmes IV. ascended the throne he was confronted by a very serious political problem. The Heliopolitan priesthood at this time was chafing against the power of Amon, and was striving to restore the somewhat fallen prestige of its own god Ra, who in the far past had been the supreme deity of Egypt, but had now to play an annoying second to the Theban god. Thothmes IV., as we shall presently be told by Akhnaton himself,[8] did not altogether approve of the political character of the Amon priesthood, and it may have been due to this dissatisfaction that he undertook the repairing of the great Sphinx at Gizeh, which was in the care of the priests of Heliopolis. The sphinx was thought to represent a combination of the Heliopolitan gods Horakhti, Khepera, Ra, and Atum, who have been mentioned above; and, according to a later tradition, Thothmes IV. had obtained the throne over the heads of his elder brothers through the mediation of the Sphinx—that is to say, through that of the Heliopolitan priests. By them he was called “Son of Atum and Protector of Horakhte, ... who purifies Heliopolis and satisfies Ra,” and it seems that they looked to him to restore to them their lost power. The Pharaoh, however, was a physical weakling, whose small amount of energy was entirely expended upon his army, which he greatly loved, and which he led into Syria and into the Sudan. His brief reign of somewhat over eight years, from 1420 to 1411 B.C., marks but the indecisive beginnings of the struggle between Amon and Ra, which culminated in the early years of the reign of his grandson Akhnaton. - The Artist Auta
There are only two artists of the period who are known by name. The one was a certain Auta, who is represented in a relief dating from some eight years after the change in the art had taken place. It is a significant fact that this personage held the post of master-artist to Queen Tiy; and it is possible that in him and his patron we have the originators of the movement. The king, however, was now old enough to take an active interest in such matters; and the other artist who is known by name, a certain Bek, definitely states that the king himself taught him. Thus there is reason to suppose that the young Pharaoh’s own hand is to be traced in the new canons, although they were instituted when he was but fifteen years old - The Art of Akhnaton compared with Archaic Art
1. The head of Akhnaton. From a contemporary drawing. 2. The head of a king. From an archaic statuette found by Professor Petrie at Abydos. 3. The head of Akhnaton. From a contemporary drawing. 4. The head of a prince. From an archaic tablet found by Professor Petrie at Abydos. 5. An archaic statuette found by Professor Petrie at Diospolis, showing the large thighs found in the art of Akhnaton. - An Example of the Friendly Relations between Syria and Egypt
In the twelfth year of his reign, the tribute of the vassal kingdoms reached such a high value that a particular record was made of it, and scenes showing its reception were sculptured in the tombs of Huya and Meryra II. An inscription beside the scene in the tomb of Huya reads thus:— Year twelve, the second month of winter, the eighth day.... The King ... and the Queen ... living for ever and ever, made a public appearance on the great palanquin of gold, to receive the tribute of Syria and Ethiopia, and of the west and the east. All the countries were collected at one time, and also the islands in the midst of the sea; bringing offerings to the King when he was on the great throne of the City of the Horizon of Aton, in order to receive the imposts of every land and granting them [in return] the breath of life. - The hieroglyphics describe the dance
A favourite figure dance was universally adopted throughout the country, in which two partners, who were usually men, advanced toward each other, or stood face to face upon one leg, and having performed a series of movements, retired again in opposite directions, continuing to hold by one hand and concluding by turning each other round. - Egyptian Crotola or Castanets
Egyptian Crotola or Castanets - Egyptian Drums
Egyptian Drums - Group of Harps and other musical instruments
Group of Harps and other musical instruments - Sistra
A framework with loose metal bars inserted, sometimes with metal rings added, shaken by the hand. - Damsels singing to the Sound of Timbrels
The next natural step for the use of music would be that of victory and triumph. The first notice of this kind is the song of Miriam. And here we may rightly conjecture the introduction of an Egyptian, and therefore cultured element. " Miriam took a timbrel in her hand, and all the women went out after her with timbrels and with dances " (Exod. xv. 2o). - Egyptian Harp, showing its original bow-like shape
The history of the Harp may be traced with much the same clearness. The twanging of the bow probably suggested the original idea; and the variation of sound was obtained by lengthening and shortening a multiplicity of strings. These were made, at first, of some fibrous material, or the long hair of animals. Perhaps even the tresses of wives and daughters were turned to such musical use, as we read in the Greek and Roman historians that the bows of the Carthaginians were thus supplied with strings in their last war with the Romans. Harps, too, like the bow, were portable, about four feet long; and all Oriental harps, so far as we can judge from surviving sculptures, unlike ours, had no front pillar. Their bow-like shape and characteristics long remained. Without entering at greater length on their further and later development, we can easily imagine how soon the need of pegs for tightening and loosening the strings was felt; how a sounding-board was found to add to the body of sound; how Strings of fibre or hair were supplanted by those of catgut, of steel, and even of silver. Whether the fingers or whether the quill and plectrum were the first manipulators of the strings, is a matter of debate. Certainly fingers were made long before either quills or plectra! Be it as it may, after these latter had been introduced, hammers wielded by the hand in due time followed. And thus we see how the "stringed instruments" of primaeval and ancient days became the parent of the dulcimer, the spinet, the harpsichord, and the piano. - Double Pipes
".. put two such pipes into the mouth, and you get the double Egyptian and Assyrian pipe, such as may be still seen sculptured on their monuments. In the holes or apertures of some of these pipes, which have been discovered in the tombs and other places, small straws have been found, plainly intended to act the part of reeds in our modern oboes and clarionets. " - Wagon and Boat, from a mummy bandage
A singular instance of the wagon and funeral-boat in combination has been found on the bandage of a mummy, now preserved in the collection of S. d'Athanasi. It is supposed by some modern authors that Herodotus, in speaking of the religious ceremonies in honor of Mars, as performed in the city of Pampremis, refers to this vehicle. Among other things, he tells us that the priests placed an image in a wooden temple, gilded all over, which they carried to a sacred dwelling; "then the few who were left about the image draw a four-wheeled carriage containing the temple and the image." - Elegant Sledge-Hearse
A very showy affair is found in the next illustra-tion, rivaling the mourning equipages of modern times. Among other figures appear emblems of stability and security on the side panels. In this instance the undertaker removed a portion of the paneling so as to expose the head of the mummy-case. It would seem from this, that the modern practice of showing a coffin through a glass side is of great antiquity. Indeed, we seldom find anything new that has not an antiquarian origin, thus verifying the words of the wise man, "There is no new thing under the sun." - Egyptian Sledge-Hearse
In one instance, as in the figure, taken from a tomb in Thebes, — an attendant is shown, pouring some kind of a liquid from a jar upon the ground, over which the sledge is drawn, to facilitate its progress. Examples of this nature are frequently seen in Egyptian bass-reliefs, depicting the removal of heavy loads. On this sledge-hearse the mummy-case, enclosing the corpse, is distinctly observed. With characteristic tenderness, two females steady the mummy as it moves along over the rough surface of the ground; the priest, meanwhile, mounted in front, scroll in hand, recites a panegyric, or perhaps delivers a funeral oration in honor of the dead. - An Egyptian Funeral Cortege
It need not be inferred from what we have written that all bodies were hidden away in the tomb. On the contrary, many were consumed on the funeral pile, some were buried in the earth, while others again, after they had come from the embalmer's shop, were kept in the house for years, until finally they were deposited in the catacombs. The mourning for a good king lasted the space of seventy days, during which the people sang hymns commemorating his virtues, reading their garments, and covering their heads with mud and dust, some three hundred persons of both sexes coming together twice each day to publicly sing a funeral dirge, the entire nation abstaining from meat and other dainties during the whole time. On the last day of mourning, or in some instances many months afterward, the time for sepulture arrived. Supposing that an embalmed king is to be laid away, perhaps in a tomb on which a lifetime of preparation has been bestowed, the body is now brought out from the closet, where it has been carefully stored since the funeral ceremonies were performed, and given to the undertaker, who comes with a sledge-hearse, as shown in the engraving. The several figures are thus arranged: in the center appear the sacred cows, decked with elegant blankets and ornamental head and neck gear, which last (of a peculiar pattern) is found attached to the heads of all female animals, in Egyptian bass-reliefs, drag-ropes in this case being fastened to the horns, evidently " more for ornament than use," two attendants furnishing the motive-power, while the third acts as conductor. In the foreground are four more representatives of the genus homo. First, we notice the priest, as indicated by the peculiarity of his dress. He appears in the act of anointing the dead body with sacred oil, or some other liquid, from a vessel of peculiar shape. Just in front of the priest, squatting near the earth, we find a mercenary mourner, her hair disheveled, her breasts exposed, and her hands fixed in the position most expressive of grief, no doubt crying as sincerely as in hired mourning it has ever been done. Around the third figure centers the greatest interest, since it represents the dead dressed in cerements for the tomb, to which the body is now about to be carried. The fourth, supporting the corpse in a leaning position, represents an attendant, who, in all probability, officiates both as priest and undertaker. - Egyptian bronze representing a flying man
In the Hall of the Gods, in the Egyptian Museum, there is a small bronze plaque of great antiquity, where we see in relief a man flying the two extended wings. It is true that we agree to consider this piece as a symbolic composition rather than as the representation of an aircraft. - Ancient Egyptian flute concert
A flute-concert is painted on one of the tombs in the pyramids of Gizeh and dates, according to Lepsius, from an age earlier than B.C. 2000. Eight musicians are performing on flutes. Three of them, one behind the other, are kneeling and holding their flutes in exactly the same manner. Facing these are three others, in a precisely similar position. A seventh is sitting on the ground to the left of the six, 13with his back turned towards them, but also in the act of blowing his flute, like the others. An eighth is standing at the right side of the group with his face turned towards them, holding his flute before him with both hands, as if he were going to put it to his mouth, or had just left off playing. He is clothed, while the others have only a narrow girdle round their loins. Perhaps he is the director of this singular band, or the solo performer who is waiting for the termination of the tutti before renewing his part of the performance. The division of the players into two sets, facing each other, suggests the possibility that the instruments were classed somewhat like the first and second violins, or the flauto primo and flauto secondo of our orchestras. The occasional employment of the interval of the third, or the fifth, as accompaniment to the melody, is not unusual even with nations less advanced in music than were the ancient Egyptians. - A supposed monumental head of Sesostris
The most renowned monarch that ever reigned over Egypt was Sesostris. The date of his reign is not precisely known; but there is a carving in stone, lately found in Egypt among the ruins of an ancient city. which is more than three thousand years old, and supposed to be a portrait of him. It is doubtless the oldest portrait in existence. This king formed the design of conquering the world, and set out from Egypt with more than a million of foot soldiers, twenty-four thousand horsemen, and twenty-seven thousand armed chariots. His ambitious projects were partially successful. He made great conquests, and wherever he went he caused marble pillars to be erected, and inscriptions to be engraved on them, so that future ages might not forget his renown. The following was the inscription on most of the pillars: - SESOSTRIS, KING OF KINGS, HAS CONQUERED THIS TERRITORY BY HIS ARMS. But the marble pillars have long ago crumbled into dust, or been buried under the earth; and the history of Sesostris is so obscure, that some writers have even doubted whether he made any conquest's at all. - Egyptian Corset
Egyptian Corset - Serapis
This trinity consisted of the god Serapis (= Osiris + Apis), the goddess Isis (= Hathor, the cow-moon goddess), and the child-god Horus. In one way or another almost every other god was identified with one or other of these three aspects of the one God, even the sun god Mithras of the Persians. - Racial Types (after Champollion)
From Egyptian Tomb paintings - Pharaoh Rameses III as Osiris (Sarcophagus relief)
Ramses III as Osiris—between the goddesses Nephthys and Isis.... Relief on the cover of the sarcophagus (at Cambridge). After Sharpe. Inscription (round the edges of cover), as far as decipherable. “Osiris, King of Upper and Lower Egypt, lord of the two countries ... son of the Sun, beloved of the gods, lord of diadems, Rameses, prince of Heliopolis, triumphant! Thou art in the condition of a god, thou shalt arise as Usr, there is no enemy to thee, I give to thee triumph among them....” Budge, Catalogue, Egyptian Collection, Fitzwilliam Museum, Cambridge. - Pharaoh Chephren
The earlier Pharaohs were not improbably regarded as incarnations of the dominant god. The falcon god Horus sits behind the head of the great statue of Chephren. It was Cheops and Chephren and Mycerinus of this IVth Dynasty who raised the vast piles of the great and the second and the third pyramids at Gizeh. These unmeaning sepulchral piles, of an almost incredible vastness, erected in an age when engineering science had scarcely begun, exhausted the resources of Egypt through three long reigns, and left her wasted as if by a war.