"Homage to thee, O thou who hast come as Khepera, Khepera the creator of the gods. Thou risest and thou shinest, and thou makest light to be in thy mother Nut (i.e., the sky); thou art crowned king of the gods. Thy mother Nut doeth an act of homage unto thee with both her hands. The laud of Manu (i.e., the land where the sun sets) receiveth thee with satisfaction, and the goddess Maāt embraceth thee both, at morn and at eve. [24] Hail, all ye gods of the Temple of the Soul, [25] who weigh heaven and earth in the balance, and who provide divine food in abundance! Hail, Tatunen, thou One, thou Creator of mankind and Maker of the substance of the gods of the south and of the north, of the west and of the east! O come ye and acclaim Rā, the lord of heaven and the Creator of the gods, and adore ye him in his beautiful form as he cometh in the morning in his divine bark. "O Rā, those who dwell in the heights and those who dwell in the depths adore thee. The god Thoth and the goddess Maāt have marked out for thee [thy course] for each and every day. Thine enemy the Serpent hath been given over to the fire, the serpent-fiend Sebau hath fallen down headlong; his arms have been bound in chains, and thou hast hacked off his legs; and the sons of impotent revolt shall nevermore rise up against thee. The Temple of the Aged One [26] (i.e., Rā) keepeth festival, and the voice of those who rejoice is in the mighty dwelling. The gods exult when they see thy rising, O Rā, and when thy beams flood the world with light. The Majesty of the holy god goeth forth and advanceth even unto the land of Manu; he maketh brilliant the earth at his birth each day; he journeyeth on to the place where he was yesterday."

But though we know nothing about the period of the origin in Egypt of the belief in the existence of an almighty God who was One, the inscriptions show us that this Being was called by a name which was something like Neter, [1] the picture sign for which was an axe-head, made probably of stone, let into a long wooden handle. The coloured picture character shews that the axe-head was fastened into the handle by thongs of leather or string, and judging by the general look of the object it must have been a formidable weapon in strong, skilled hands. A theory has recently been put forward to the effect that the picture character represents a stick with a bit of coloured rag tied to the, but it will hardly commend itself to any archaeologist. The lines which cross the side of the axe-head represent string or strips of leather, and indicate that it was made of stone which, being brittle, was liable to crack; the picture characters which delineate the object in the latter dynasties shew that metal took the place of the stone axe-head, and being tough the new substance needed no support. The mightiest man in the prehistoric days was he who had the best weapon, and knew how to wield it with the greatest effect; when the prehistoric hero of many fights and victories passed to his rest, his own or a similar weapon was buried with him to enable him to wage war successfully in the next world. The mightiest man had the largest axe, and the axe thus became the symbol of the mightiest man. As he, by reason of the oft-told narrative of his doughty deeds at the prehistoric camp fire at eventide, in course of time passed from the rank of a hero to that of a god, the axe likewise passed from being the symbol of a hero to that of a god. Far away back in the early dawn of civilization in Egypt, the object which I identify as an axe may have had some other signification, but if it had, it was lost long before the period of the rule of the dynasties in that country.