THE BOOK OF ABRAHAM.
513
No. I.
HIEROGLYPHICS REPRESENTING THE RESURRECTION OF OSIRIS.
INTERPRETATION
| By the Mormon Prophet. | By the Hieroglyphists. |
|---|---|
| Fig. I. The angel of the Lord. | Fig. I. The soul of Osiris, under the form of a hawk (which should have a human head). |
| II. Abraham fastened upon an altar. | II. Osiris coming to life on his funeral couch, which is in the shape of a lion. |
| III. The idolatrous priest of Elkenah attempting to offer up Abraham as a sacrifice. | III. The god Anubis (who should have a jackal's head) effecting the resurrection of Osiris. |
| IV. The altar for sacrifice by the idolatrous priest standing before the gods of Elkenah, Libnah, Mahmackrah, Korash, and Pharaoh. | IV. The funereal-bed of Osiris, under which are placed the four sepulchral vessels called canopes, each of them surmounted by the head of the four genii. |
| V. The idolatrous god of Elkenah. | V. Kebh-son-iw, with a hawk's head. |
| VI. The idolatrous god of Libnah. | VI. Tioumautew, with a jackal's head. |
| VII. The idolatrous god of Mahmackrah. | VII. Hâpi, with a dog's head. |
| VIII. The idolatrous god of Korash. | VIII. Amset, with a human head. |
| IX. The idolatrous god of Pharaoh. | IX. The sacred crocodile, symbolic of the god Sebet. |
| X. Abraham in Egypt. | X. Altar laden with offerings. |
| XI. Design to represent the pillars of heaven as understood by the Egyptians. | XI. An ornament peculiar to Egyptian art. |
| XII. Raukeeyang, signifying expanse, or the firmament over our heads; but in this case, in relation to this subject, the Egyptians meant it to signify Shaumau, to be high, or the heavens, answering to the Hebrew Shaumahyeem. | XII. Customary representation of ground in Egyptian paintings. (The word Shauman is not Egyptian, and the Hebrew word ( Hebrew characters) is badly copied.
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M. Devéria observes, with respect to this papyrus, that he never saw the resurrection of Osiris represented in funerary MSS. He is of opinion that, if it exists, it must be extremely rare, and that if the present figure be not a modern imitation of the great bas-reliefs in which this mythological scene is rep-
