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# Ancient Egypt, Her Testimony to the Truth of the Bible

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* sister projects: Wikidata item.
(external scan) OCLC:13599864
EGYPT
HER
TESTIMONY
TO THE
TRUTH
* ANCIENT EGYPT
* TESTIMONY TO THE TRUTH OF
* THE BIBLE.
* AN INTERPRETATION OF THE INSCRIPTIONS
* AND PICTURES WHICH REMAIN UPON
* HER TOMBS AND TEMPLES;
* ILLUSTRATED BY VERY NUMEROUS ENGRAVINGS AND COLOURED PLATES.
* WILLIAM OSBURN, JUNIOR,
* MEMBER OF THE COUNCIL OF THE ROYAL SOCIETY OF LITERATURE.
* LONDON:
* SAMUEL BAGSTER AND SONS,
* PATERNOSTER ROW.
* M.DCCC.XLVI

## CONTENTS.

INTRODUCTION.
OBJECT OF THE WORK.—- SOURCES WHENCE THE ANCIENT HISTORY OF EGYPT IS TO BE DERIVED.—ERA OF MENES.—OF THE PYRAMIDS.— OF OSORTASEN I.— OF AMOSIS.—THE EIGHTEENTH DYNASTY.—THE PERIOD OF DECLINE.— NAMES AND TITLES OF THE MONARCHS OF THE EIGHTEENTH DYNASTY
CHAPTER I.
EGYPT FIRST COLONISED FROM THE NORTH EAST.—THE "GREAT RITUAL."—THE SOUL AFTER DEATH.—THE THREE NILES.— FIRST EMIGRANTS FROM SHINAR.—EGYPT FIRST PEOPLED FROM THE EAST.—THE RACES OF MEN.—THE SHEMITES.—THE NEGROES AND THE HAMATHITES.—THE Fouit RACES OF MANKIND.— NATIONS TO THE NORTH AND WEST.—THE DESCENDANTS OF HAM.—MIZRAIM.—THE CANAANITES.—ANCIENT LIMITS OF GEOGRAPHICAL KNOWLEDGE -
1. First Colonisation of Egypt
2. Ancient Geography
CHAPTER II.
THE CANAANITES
1. The Tomb of Pihrai, at Beni Hassan, in Middle Egypt. 2. Wars of Sethos with the Canaanites
CHAPTER III.
WARS OF RAMSES II., SESOSTRIS, AND RAMSES IV., WITH THE CANAANITES
CHAPTER IV.
COSTUMES, ARMS, ETC., OF THE CANAANITISH NATIONS
The Tyrians
The Arvadites and Hermonites
The Sidonians
The Zuzim
The Jebusites
The Hittites
The Amorites
The JSTII I
The Philistines
The Hamathites or Syrians
Vases of the Canaanites
CHAPTER V.
THE CANAANITISH NATIONS (CONCLUDED)
ONOMASTICON
Canaanitish Names at Ipsambul, Thebes, etc. from the Triumphs of Sethos at Karnak
Names of the Places in Judea conquered by Pharaoh Shishak, North external Wall of the Palace at Karnak 158
Chiefs of the Shethites who made a Treaty with Sesostris, in the Twenty-first year of his Reign
Gods of Canaan written in Hieroglyphics on the Temples of Egypt
Characters which represent the Hebrew Letters of Proper Names, in Canaan
CHAPTER VI.
THE SERVICE OF THE TABERNACLE
1. Metals
       Overlaying
       Casting
       Beaten Work
2. Wool, Hair, and Flax
3. Leather
4. Wood mid Carpentry
       The Saw
5. Oil and Spices
12. Precious Stones
CHAPTER VII.
Music
1. Stringed Instruments.—The Harp
       The Lyre
       The Psaltery
       The Lute
2. Wind Instruments
3. Timbrels and similar Instruments
Cymbals
4. Singing
Song
5. The Concerted Music of the Egyptians
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# An act for laying an additional duty upon slaves, imported into this colony

The Statutes at Large, The Statutes at Large of the Virginia House of Burgesses, by William Waller Hening, November, 1769
An act for laying an additional duty upon slaves, imported into this colony
I. WHEREAS it is found expedient by this present general assembly, that an additional duty should be laid upon all slaves imported or brought into this colony, to be paid by the buyers: Be it therefore enacted, by the Governor, Council, and Burgesses, of this present General Assembly, and it is hereby enacted, by the authority of the same, That from and after the passing of this act, there shall be levied and paid to our sovereign lord the king, his heirs and successors, for all slaves imported or brought into this colony for sale, either by land or water, from any port or place whatsoever, by the buyer or purchaser, ten per centum on the amount of each respective purchase, over and above the several duties already laid upon slaves imported or brought into this colony, as aforesaid, by any act or acts of Assembly now subsisting in this colony; which said additional duty shall be paid, collected, and accounted for, in such manner and form, and according to such rules, and under such penalties and forfeitures, as are mentioned, prescribed, and appointed for paying, collecting, and accounting, for the duties already imposed upon slaves imported or brought into the said colony, by the several acts of assembly now in force.
II. And be it further enacted, that the said duty be, and the same is hereby appropriated for and towards defraying the contingent charges of this government, and to and for such other use and uses as the general assembly, from time to time, shall direct and appoint.
III. And be it further enacted, by the authority aforesaid, That the execution of this act shall be suspended until his majesty's approbation thereof shall be obtained; and that from and after obtaining the same, this act shall continue and be in force for and during the term of seven years, and no longer.
# Anecdotes of Great Musicians/Anecdote 282

282.—PROLIFIC COMPOSERS.
If it is true that of the making of books there is no end, it would seem to the student of musical history that the same might be said of operas. Nearly every young composer, at one time or other in his career, feels called upon to inflict an opera on an already long-suffering world. But we should not object to this, for it does the composer "a power o' good," and doesn't harm the world any, for but a small percentage of the operas ever reach the point of a public presentation.
It will be noticed in the following list that the composers most celebrated for the value of their operas are not those who turned out the largest number. A great work must naturally represent a great brain, and long and intense application of it. It is not to be expected that he who does twenty things should do them as well as he who does two. So, other things being equal, we would naturally expect greater works where there has not been such a continuous flow of them.
Perhaps the composer most prolific of operas was Reinhart Keiser, who has 120 to his credit, although one authority claims that Piccinni wrote 133 operas. Alessandro Scarlatti composed 115; Pacini and Piccinni each 80; Donizetti, 70; Mercadante, 60; Auber, 50; Händel, 43; Coccia, 40; Rossini, 39; Halévy, 32; Verdi, 29; Ricci, 28; Haydn, 24; Mozart, 23; ​Meyerbeer, 15; Gounod, 13; Wagner, 13; and Bellini, 10; while from Beethoven's colossal mind there came but one lone opera.
# Anecdotes of Great Musicians/Anecdote 288

288.—A PECULIAR VISITING CARD.
In Haydn's old age he resided in quiet repose at his villa at Grumpendorff, near Vienna. When he wished to remind some old friend of his uncertain health and of his still lingering on this planet, he would send him one of his cards, on which was engraved a passage from the close of his last quartet. The music consisted of but a dozen notes of melody; but the rhythm was halting and the ending had no cadence. It was well suited to the words he had added underneath, which ran:—
"Hin ist alle meine kraft, Alt und schwach bin ich."
"All my strength has left me, Old and weak am I."
# Anecdotes of Great Musicians/Anecdote 286

286.—HAYDN'S LAST APPEARANCE.
Haydn was a very religious man, and at the same time conscientious and modest. That he recognized the source of his musical talent and rendered unto God the things that are God's, is shown in the following incident:—
In 1808, shortly before Haydn's death, a grand performance of his oratorio of the "Creation" took place in Vienna. Haydn was present, an old man of seventy-six years. He was so feeble as to be wheeled into the theater in a chair. This was the last time that the venerable composer made his appearance in public, and then it was only as a listener, his age and state of health precluding any active performance.
The audience greeted the old man with great enthusiasm, and when, in the course of the work, the orchestra and chorus arrived at the place where there is a sudden change from the minor to the major, at the words "And there was light," they created a tumult of applause.
The old composer struggled to his feet, and mustering up all his strength cried in reply to the applause of the audience, in as loud a tone as he was able:—
"No, no! not from me, but from thence, from heaven above, comes all!" at the same time pointing upward.
He fell back in his chair exhausted by the excitement, and was hastily removed to his home, never again to come before his beloved Austrian public.
# Anecdotes of Great Musicians/Anecdote 283

283.—MUSIC FOR THE EYE.
Composers get queer ideas into their heads sometimes. Some think they can represent storms and battles in music; but they always take pains to tell one in plain type just what is supposed to be going on, thus showing the inadequacy of music to depict concrete ideas. One old composer, Kuhnau, undertook to illustrate the Bible by clavichord sonatas, but it is not recorded that he made any converts to religion thereby or that his exegesis was satisfactory to the theologians. Another, Matheson, Händel's rival, undertook to represent a rainbow when setting music to the words, "And there was a rainbow round the throne." He made the notes on the full score look like an arch beginning and ending in the low double bass notes, the apex being in the piccolo part. While this might give a faint idea of a rainbow to the eye, we doubt if it would to the ear.
# Anecdotes of Great Musicians/Anecdote 289

289.—ORIGIN OF THE NAME "KREUTZER SONATA."
The great composers frequently dedicated their works to friends or patron princes whose names are known to us only by this fact of their appearing on the title pages of some masterpiece.
Sometimes, musicians who were famous in their own day have had their very names forgotten in our times, were it not that some such dedication keeps their memory alive.
So it was with Rudolph Kreutzer, once a famous violinist and composer. To him Beethoven dedicated his great sonata for violin and piano, Opus 47, the sonata universally known as the "Kreutzer Sonata."
But it was only an accident and a whim of the composer's that gave Kreutzer this celebrity. Beethoven had intended to dedicate this sonata to Bridgetower, a young violinist of his day, and, by the way, a native of Africa. But before the sonata was published Beethoven and Bridgetower quarreled over a very commonplace subject, i.e., a young lady.
As a result, the friendship was broken off and Bridgetower's name erased from the title page and that of Kreutzer substituted. But the peculiar part of it is that Beethoven is said to have known Kreutzer but slightly, and more than that, never to have seen him!
# Anecdotes of Great Musicians/Anecdote 29

29.—THE MUSIC BUT NOT THE FACE.
While the great composers have, as a general thing, had remarkably retentive memories for musical matters, some of them were not so good at remembering other things. Rossini was one of these. He had a remarkably poor memory for names but could remember faces. On one occasion he met Bishop, the English composer, and, recognizing him, started to greet him with:
"Oh! my dear Mr. ——," but he could get no farther. The name was gone. But to show Bishop that he remembered the man, if not the name, he began to whistle Bishop's chorus, "When the Wind Blows." This was a compliment that the "English Mozart," as Bishop has been called, was not slow to recognize.
# Anecdotes of Great Musicians/Anecdote 281

281.—BEETHOVEN'S FRIENDS.
Beethoven was fortunate in finding friends during all of his career who would humor his caprices and could understand his whims.
When quite young he lost his mother, and this was a great blow to the loving son. Beethoven looked upon his mother as his dearest and best friend. After her death he wrote: "Who was happier than I while I could yet pronounce the sweet name of mother? There was once some one to hear me when I said 'mother.' But to ​whom can I address that name now? Only to the silent pictures of her which my fancy paints." Fortunately he found a second mother in Mrs. Breuning, in whose house at Bonn he soon came to be regarded as one of the children. He spent the greater part of every day with the Breuning family, who were, as Schindler says, his guardian angels, and his friendship with whom was never interrupted for a moment during his whole life.
Soon after his arrival in Vienna Beethoven was fortunate enough to make the acquaintance of the Prince and Princess Lichnowsky, who seem at once to have taken the young musician to their hearts, and who treated him almost like an adopted son. The Prince gave him an allowance of 600 florins, while the Princess did her best to spoil him—finding everything that the young man did or left undone, right, clever, original, and amiable. In later years Beethoven, when speaking of these good friends, said: "They would have brought me up with grandmotherly fondness, which was carried to such a length that very often the Princess was on the point of having a glass shade made to put over me so that no unworthy person might touch or breathe upon me." The Lichnowskys do not appear to have been alone in this treatment of the young composer, for we are told that his eccentricities met with indulgence and even admiration from high and low, and that there was a time when the name Beethoven had become a general password to which everybody gave way.
But Beethoven's friends had much to suffer from his suspicious disposition. When the Ninth symphony was produced, in 1824, it was given with great success, but the receipts were painfully meagre. Beethoven, as usual, accused his friends of defrauding him. Six months later he saw his error and begged Schindler and Duport to forgive him. He was extremely suspicious, and at times would not trust his best friends. But when convinced of his wrong, he would try to make peace in so hearty a manner that they would forgive ​every insult and vexation they had received at his hands. In a repentant note to Schindler, after one of these outbursts, he says:—
"What an abominable picture of myself you have shown me! I am not worthy of your friendship. I did not meditate a base action; it was thoughtlessness which urged me to my unpardonable conduct toward you. I fly to you, and in an embrace ask for my lost friend; and you will restore him to me,—to your contrite, faithful, and loving friend, Beethoven."
# Anecdotes of Great Musicians/Anecdote 284

284.—SCHUMANN'S MADNESS.
The border-land between great genius and insanity is narrower than we sometimes realize. Some of the great minds in the music life have passed over the dividing line; some have come back to a correct mental balance, but others suffered this mental affliction until relieved by the Grim Reaper.
It is not generally known that Hans von Bülow spent some time in an asylum. But such was the case, and the rest and quiet restored his tired and slightly unbalanced mind to its usual strength.
Next to Beethoven in intensity of thought and feeling, stands Robert Schumann. It was perhaps the continual habit of mental concentration and overtaxing his ​physical and mental energies that hastened the painful malady that caused his death. Some twelve years before this occurred, he began to be afflicted with excruciating pains in the head, sleeplessness, and other troubles caused by a disarrangement of the mental and nervous systems, such as fear of death and strange auricular delusions.
A visit to Italy and its relaxation from work gave him some relief and he returned to Germany; and during the three years that followed he penned some of his finest works, such as his Second symphony, "The Rose's Pilgrimage" and music to Byron's "Manfred." For eight years after this Italian journey Schumann was continually occupied with composition and directing concerts, but during the latter part of this period the pain in his head had so increased as to make him unaccountable for his actions. In fact, at one time in 1854, he attempted to end his life by jumping into the river Rhine. The malady now seized him with a grasp that was loosened only for short intervals.
In spite of the loving care of Madame Schumann, who was a celebrated pianiste and one of the ablest exponents of his works, this great composer was obliged to end his days, in 1856, in a private insane asylum near Bonn, the birth-place of Beethoven.
# Answer to the Blue Bonnet

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* Answer to the blue bonnet, &c, Scottish chapbook
* "Answer to the Blue Bonnet", poem
# Answer to the Blue Bonnet (poem)

* "Answer to the Blue Bonnet" in Answer to the blue bonnet, &c (c. 1820)
* "Answer to the Blue Bonnet" in Battle of Waterloo (c. 1820)
# Answer to the blue bonnet, &c/Answer to the Blue Bonnet

ANSWER TO THE BLUE BONNET.
Farewell to all sorrows, with joy now I'll sing Since Charles has return'd as free as a king, Its long seven years since he bade me adieu, But now he has return'd with his bonnet so ⟨blue⟩
He cried out—be constant, that day we did ⟨part⟩ That word was so heavy it sunk in my heart, But like a moving turtle, the campaign stood⟨through⟩ But now he has ⟨returned⟩ with his bonnet so blue
Some said he was wounded, some said he ⟨was⟩ slain, Which made me lament—and he alive upon ⟨the⟩ plain, With joy transported my senses all flew, When I saw my dear charmer and his bonnet ⟨so⟩ blue.
I fainted with joy, in his arms I did fall, My cheeks they did willow, my lips turned ⟨pale⟩ Then he cried out, Dear lassie, thy senses renew For it's I thy dear Charles and his bonnet so ⟨blue.⟩
For the war is now over, and alive I remain, Unto thy sweet arms I am safe back again, ​The cannons did thunder, balls and arrows they flew, No danger came over me, and my bonnet so blue.
When with danger surrounded, for death I resign'd, The thoughts of my jewel was still in my mind; In the midst of hot battles my grief was for you, When I thought to lie there with my bonnet so blue.
In sorrow I left thee, why now dost thou ſaint, When alive I'm preserv'd, and now to thee sent? I am chaste, true, and loyal, thy joys to renew, I'll still wear my plaid and my bonnet so blue.
It's true, my dear lassie, our dangers were great, We fought for our King, our country and state, For to keep our plaids, because they are new, That the Scotch may for ever wear bonnets so blue.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
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# Andrew Clark

* Search for titles containing or beginning with: "Andrew Clark."
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* "Clark, Sir Andrew," in Encyclopædia Britannica (11th ed., 1911)
* "Clark, Andrew," in Dictionary of National Biography, 1901 supplement, London: Smith, Elder, & Co. (1901) in 3 vols.
# Andrew Carnegie

* Search for titles containing or beginning with: "Andrew Carnegie."
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* Andrew Carnegie (1835–1919), founder of the Carnegie Steel Company and Carnegie Endowment for International Peace and benefactor of numerous libraries
* "Andrew Carnegie" (1922), an essay by Stuart Pratt Sherman
# Andrew Fuller

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## See also

* Works about Andrew Fuller
# Ante-Nicene Fathers/Volume VI/Arnobius/Adversus Gentes/Book V/Chapter XIV

14. What say you, O races and nations, given up to such beliefs? When these things are brought forward, are you not ashamed and confounded to say things so indecent? We wish to hear or learn from you something befitting the gods; but you, on the contrary, bring forward to us the cutting off of breasts, the lopping off of men’s members, ragings, blood, frenzies, the self-destruction of maidens, and flowers and trees begotten from the blood of the dead. Say, again, did the mother of the gods, then, with careful diligence herself gather in her grief the scattered genitals with the shed blood? With her own sacred, her own divine hands, did she touch and lift up the instruments of a disgraceful and indecent office? Did she also commit them to the earth to be hid from sight; and lest in this case they should, being uncovered, be dispersed in the bosom of the earth, did she indeed wash and anoint them with fragrant gums before wrapping and covering them with his dress? For whence could the violet’s sweet scent have come had not the addition of those ointments modified the putrefying smell of the member? Pray, when you read such tales, do you not seem to yourselves to hear either girls at the loom wiling away their tedious working hours, or old women seeking diversions for credulous children, and to be declaring manifold fictions under the guise of truth? Acdestis appealed to Jupiter to restore life to his paramour: Jupiter would not consent, because he was hindered by the fates more powerful than himself; and that he might not be in every respect very hard-hearted, he granted one favour—that the body should not decay through any corruption; that the hair should always grow; that the least of his fingers alone in his body should live, alone keep always in motion. Would any one grant this, or support it with an unhesitating assent, that hair grows on a dead body,—that part perished, and that the rest of his mortal body, free from the law of corruption, remains even still?

## Footnotes

* ↑ Lit., “flows.”
* ↑ Lit., “herself with sacred, herself with divine.”
* ↑ [γραώδεις μύθους, 1 Tim. iv. 7. Compare Ignatius, vol. i. p. 62, note 3. But even the old wives’ tales among Hebrews were clean in contrast with the horrible amusements here imputed even to the girls at the loom, and children, among the Gentiles.]
* ↑ Lit., “spoke with.”
* ↑ i.e., the part cut off and buried separately.
# Ante-Nicene Fathers/Volume VI/Arnobius/Adversus Gentes/Book V/Chapter XIX

19. We shall pass by the wild Bacchanalia also, which are named in Greek Omophagia, in which with seeming frenzy and the loss of your senses you twine snakes about you; and, to show yourselves full of the divinity and majesty of the god, tear in pieces with gory mouths the flesh of loudly-bleating goats. Those hidden mysteries of Cyprian Venus we pass by also, whose founder is said to have been King Cinyras, in which being initiated, they bring stated fees as to a harlot, and carry away phalli, given as signs of the propitious deity. Let the rites of the Corybantes also be consigned to oblivion, in which is revealed that sacred mystery, a brother slain by his brothers, parsley sprung from the blood of the murdered one, that vegetable forbidden to be placed on tables, lest the manes of the dead should be unappeasably offended. But those other Bacchanalia also we refuse to proclaim, in which there is revealed and taught to the initiated a secret not to be spoken; how Liber, when taken up with boyish sports, was torn asunder by the Titans; how he was cut up limb by limb by them also, and thrown into pots that he might be cooked; how Jupiter, allured by the sweet savour, rushed unbidden to the meal, and discovering what had been done, overwhelmed the revellers with his terrible thunder, and hurled them to the lowest part of Tartarus. As evidence and proof of which, the Thracian bard handed down in his poems the dice, mirror, tops, hoops, and smooth balls, and golden apples taken from the virgin Hesperides.

## Footnotes

* ↑ Cf. iv. 24.