DOCSLIB.ORG

The Death-Mask and Other Ghosts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Death-Mask and Other Ghosts CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library f>R 4699.E842D2 The death-mask and other ghosts. 3 1924 013 456 953 Cornell University Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013456953 THE DEATH-MASK THE DEATH-MASK AND OTHER GHOSTS BY Mrs. H. D. EVERETT. LONDON , ii^ PHILIP ALLAN ^ CO., QUALITY COURT, CHANCE^iY , LAWe!, W.C. 1920. PRINTED BY WHITBHHAD BROS., WOLVERHAMPTON. r-:''- ... CONTENTS. PACB The Death- Mask - ] Parson Clench 18 The Wind of Dunowe .17 Nevill Nugent's Legacy • 67 The Crimson Blind 92 Fingers of a Hand 115 The Next Heir - - - 128 Anne's Little Ghost - 188 Over the Wires - - 208 A Water-Witch - 223 The Lonely Road 253 A Girl in White 261 A Perplexing Case - 279 Beyond the Pale 298 THE DEATH MASK. ' ' Yes, that is a portrait of my wife. It is considered to be a good likeness. But of course she was older-looking towards the last." ' Enderby and I were on our way to the smoking-room after dinner, and the picture hung on the staircase. We had been chums at school a quarter of a century ago, and later on at college; but I had spent the last decade out of England. I returned to find my friend a widower of four years' standing. And a good job too, I thought to myself when I heard of it, for I had no great liking for the late Gloriana. Probably the sentiment, or want of sentiment, Ijad been mutual : she did not smile on me, but I doubt if she smiled on any of poor Tom Enderby's bachelor cronies. The picture was certainly like her. She was a fine woman, with aquiline features and a cold eye. The artist had done the features B 2 THE DEATH MASK. justice—and the eye, which seemed to keep a steely watch on all the comings and goings of the house out of which she had died. We made only a brief pause before the portrait, and then went on. The smoking- room was an apartment built out at the back of the house by a former owner, and shut off by double doors to serve as a nursery. Mrs. Enderby had no family, and she disliked the smell of tobacco. So the big room was made over to Tom's pipes and cigars; and if Tom's friends wanted to smoke, they must smoke there or not at all. I remembered the room and the rule, but I was not prepared to find it still existing. I had expected to light my after dinner cigar over the dessert dishes, now there was no presiding lady to consider. We were soon installed in a couple of deep- cushioned chairs before a good fire. I thought Enderby breathed more freely when he closed the double doors behind us, shutting off the dull formal house, and the staircase and the picture. But he was not looking well ; there hung about him an unmistakable air of depression. Could he be fretting after Gloriana? Perhaps during their married years, he had fallen into the way of depending on a woman to care for him. It is pleasant enough when the woman is the right sort ; but I shouldn't myself have fancied being cared for by the late Mrs. Enderby. And, if the fretting was a fact, it would be easy to find a remedy. Evelyn has a couple of pretty "' THE Death mask. a sisters, and we would have him over to stay at our place. ' ' You must run down and see us, " I said presently, pursuing this idea. " I want to introduce you to my wife. Can you come " next week ? His face lit up with real pleasure. "I should like it of all things," he said heartily. "But a qualification came after. The cloud settled back over him and he sighed. " That is, if I can get away." " " Why, what is to hinder you? " It may not s^n much to stay for, but I—I have got in the way of stopping here—^to keep things together." He did not look at me, but leaned over to the fender to knock the ash off his cigar. " Tell you what, Tom, you are getting hipped living by yourself. Why don't you sell the house, or let it off just as it is, and " try a complete change ? " I can't sell it. I'm only the tenant for ' life. It was my wife's. " Well, I suppose there is nothing to prevent you letting it? Or if you can't let it, you might shut it up. " There is nothing legal to prevent " me ! The emphasis was too fine to attract notice, but I remembered it after. " Then, my dear fellow, why not? Knock about a bit, and see the world. But, to my thinking, the best thing you could do would be to marry again." ' 4 THE DEATH MASK. I He shook his head drearily. " Of course it is a delicate ihatter to urge upon a widower. But you have paid the utmost ceremonial respect. Four years, you know. The greatest stickler for propriety would deem it ample. " It isn't that. Dick, I—I've a great mind to tell yfeu rather a queer story." He puffed hard at his smoke, and stared into the red coals in the pauses. " But I don't know ' what you'd think of it. Or think of me. " Try me," I said. " I'll give you my opinion after. And you know I'm safe to confide in." " I sometimes think I should feel better if I told it. It's—it's queer enough to be laughable. But it hasn't been any laughing matter tome." He threw the stump of his cigar into the fire, and turned to me. And then I saw how pale he was, and that a dew of perspiration was breaking out on his white face. ' ' I was very much of your opinion, Dick : I thought I should be happier if I married again. And I went so far as to get engaged. But the engagement was broken off, and I am going to tell you why. " My wife was some time ailing before she died, and the doctors were in consultation. But I did not know how serious her complaint was till the last. Then they told me there was no hope, as coma had set in. But it was possible, even probable, that there would be a ' THE DEATH MASK. 5 revival of consciousness before death, and for this I was to hold myself ready. " I daresay you will write me down a coward, but I dreaded the revival : I was ready to pray that she might pass away in her sleep. I knew she held exalted views about the marriage tie, and I felt sure if there were any last words she would exact a pledge. I could not at such a moment refuse to promise, and I did not want to be tied. You will recollect that she was my senior. I was about to be left a widower in middle life, and in the natural course of things I had a good " many years before me. You see 1 " My dear fellow, I don't think a promise so extorted ought tp bind you. It isn't " fair ! " "Wait and hear me. I was sitting here, miserable enough, as you- may suppose, when the doctor came to fetch me to her room. Mrs. Enderby was conscious and had asked for me, but he particularly begged me not to agitate her in any way, lest pain should return. She was lying stretched out in the bed, looking already like a corpse. " ' Tom,' she said, ' they tell me I am dying, and there is something I want you to promise. " I groaned in spirit. It was all up with me, I thought. But she went on. " ' When I am dead and in my coffin, I want you to cover my face with your own hands. Promise me tjfiis.' ; 6 THE DEATH MASK. " It was not in the very least what I expected. Of course I promised. " ' I want you to cover my face with a set particular handkerchief on which . I a value. When the time comes, open the cabinet to the right of the window, and you will find it in the third drawer from the top. You cannot mistake it, for it is the only thing in the drawer.' " That was every word she said, if you believe me, Dick. She just sighed and shut her eyes as if she was going to sleep, and she never spoke again. Three or four days later they came again to ask me if I wished to take a last look, as the undertaker's men were about to close the coffin. " I felt a great reluctance, but it was necessary I should go. She looked as if made of wax, and was colder than ice to touch. I opened the cabinet, and there, just as she said, was a large handkerchief of very fine cambric, lying by itself. It was embroidered with a monogram device in all four corners, and was not of a sort I had ever seen her use. I spread it out and laid it over the dead face and then what happehed was rather curious.
Load more

Recommended publications
  • MOUND CITY GROUP National Monument • Ohio the by About 500 B.C
    MOUND CITY GROUP National Monument • Ohio THE By about 500 B.C. the A "VI OTIT The Hopewell are best prehistoric Indians we now t s TT-^.T-vTy^i known for their high HOPEWELL call Hopewell had O 1 lA-IN D1IN Kj artistic achievements and developed a distinctive /o fMr c ce f PEOPLE culture in the Middle PREHISTORIC ; 7 " ° West. For perhaps 1,000 years these people flourished; erecting earth mounds their cultural zenith being here in the Scioto Valley of I IN DILVIN overdead the remainsFro of theirih ra southern Ohio. But by about A.D. 500 the Hopewell CULTURE , - :k :f -l culture had faded. Hundreds of years later European ordinary wealth or burial settlers found only deserted burial mounds and offerings found in the mounds, archeologists have learned ceremonial earthworks to hint at this vanished culture. a great deal about these prehistoric people. They were excellent artists and craftsmen and worked with a great variety of material foreign to Ohio. Copper from the Lake Superior region was used for earspools, headdresses, breastplates, ornaments, EFFIGY PIPE OF STONE ceremonial objects, and tools. Stone tobacco pipes were Since Mound City was WITH INLAID SHELL beautifully carved to represent the bird and animal MOUND CITY primarily a ceremonial life around them. From obsidian they made COPPER BREASTPLATE — 1800 center for the dead, delicately chipped ceremonial blades. Fresh-water much of the information pearls from local streams, quartz and mica from the YEARS obtained from it Blue Ridge Mountains, ocean shells from the 6 M und CH G produced a great many spectacular objects, most concerns the burial EXPLORATION^ ° \ T interesting of which were a large number of stone AGO Gulf of Mexico, grizzly bear teeth from the West—all es customs of the people.
    [Show full text]
  • THE DEATH-MASKS of DEAN SWIFT by T
    THE DEATH-MASKS OF DEAN SWIFT bY T. G. WILSON THE practice of making death-masks is of considerable antiquity, dating at least from the fifteenth century. Originally it had two purposes. One was to form the head of an effigy used in the funeral ceremonies of kings, queens, princes and other distinguished persons. A life-sized wooden effigy was made which was clothed and carried on the coffin in the funeral procession, the head and hands being covered with life-like wax modelling. This was used as a substitute for the body at funeral ceremonies which might take place long after the latter had been buried. Many of these effigies are still to be seen in West- minster Abbey. Two copies of the death-mask of Oliver Cromwell are extant, one in wax and one in plaster of paris. He died on 3 September I658, and his remains were quietly buried three weeks later. Nevertheless a wax effigy in full panoply ofstate was exhibited for several months afterwards in Somerset House while the state funeral did not take place until 22 October.John Evelyn tells us: He was carried from Somerset House in a velvet bed ofstate, drawn by six horses, housed in the same; the pall held by his new Lords; Oliver lying in effigy, in royal robes, and crowned with a crown, sceptre, and globe, like a king. The pendants and guidons were carried by the officers of the army; the Imperial banners, achievements, &c. by the heralds in their coats; a rich caparisoned horse, embroidered all over with gold; a knight of honour, armed cap-a-pii.
    [Show full text]
  • Face and Mask
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. For us the most entertaining surface in the world Is that of the human face. Georg Christoph Lichtenberg, Sudelbücher, F. 88 introDUction: Defining tHe sUbject 1 A history of the face? It is an audacious undertaking to tackle a subject that defies all categories and leads to the quintessential image with which all humans live. For what, actually, is “the face”? While it is the face that each of us has, it is also just one face among many. But it does not truly become a face until it interacts with other faces, seeing or being seen by them. This is evident in the expression “face to face,” which designates the immediate, perhaps inescapable, interaction of a reciprocal glance in a moment of truth between two human beings. But a face comes to life in the most literal sense only through gaze and voice, and so it is with the play of human facial expressions. To exaggerate a facial expression is to “make a face” in order to convey a feeling or address someone without using words. To put it differ- ently, it is to portray oneself using one’s own face while observing conventions that help us understand each other. Language provides many ready examples of figures of speech that derive from facial animation. The metaphors we all automatically use about facial expressions are particularly revealing. “To save face” or “to lose face” are typical of these.
    [Show full text]
  • Death's Rebirth
    DEATH'S REBIRTH THE ORIGINS OF NECROMANCY BY ADAM GRAHAM DEATH'S REBIRTH THE ORIGINS OF NECROMANCY A fan made supplement for 2nd Edition Warhammer Fantasy Roleplay Written By Adam Graham Edited By Dawn Lewis Additional Material By Jude Hornborg and Jerzy Smialek Proofread By Jude Hornborg and Steven Lewis Page Background Image By Nuchylee - FreeDigitalPhotos.net This document is completely unofficial and in no way endorsed by Games Workshop Limited. WARHAMMER FANTASY ROLEPLAY, THE WARHAMMER FANTASY ROLEPLAY LOGO, WFRP, CHAOS, THE CHAOS DEVICE, THE CHAOS LOGO, CITADEL, CITADEL DEVICE, DARKBLADE, 'EAVY METAL, FORGE WORLD, GAMES WORKSHOP, GAMES WORKSHOP LOGO, GOLDEN DEMON, GREAT UNCLEAN ONE, GW, THE HAMMER OF SIGMAR LOGO, HORNED RAT LOGO, KEEPER OF SECRETS, KHEMRI, KHORNE, THE KHORNE LOGO, LORD OF CHANGE, NURGLE, THE NURGLE LOGO, SKAVEN, THE SKAVEN SYMBOL DEVICE, SLAANESH, THE SLAANESH LOGO, TOMB KINGS, TZEENTCH, THE TZEENTCH LOGO, WARHAMMER, WARHAMMER WORLD LOGO, WHITE DWARF, THE WHITE DWARF LOGO, AND ALL ASSOCIATED MARKS, NAMES, RACES, RACE INSIGNIA, CHARACTERS, VEHICLES, LOCATIONS, UNITS, ARTEFACTS, ILLUSTRATIONS AND IMAGES FROM THE WARHAMMER WORLD ARE EITHER ®, TM AND/OR © COPYRIGHT GAMES WORKSHOP LTD 2000-2011, VARIABLY REGISTERED IN THE UK AND OTHER COUNTRIES AROUND THE WORLD. USED WITHOUT PERMISSION. NO CHALLENGE TO THEIR STATUS INTENDED. ALL RIGHTS RESERVED TO THEIR RESPECTIVE OWNERS. Spirits blow Across the plain Khemri's dead Knows no more pain Cold and black Rising to the sky Forged with the souls Of the slaves that died Blue lightning Crawls across its peak The Usurper comes Our hearts turn weak He threw down our gods Before our eyes Calls to the grave And all the dead rise Death will come Without a sound Pray the walls fall on us So our body's not found Sung by the children during the Usurper's siege of Mahrak.
    [Show full text]
  • Sarah Miriam Peale's Mary Leypold Griffith and the Staging Of
    Sarah Miriam Peale’s Mary Leypold Griffith and the Staging of Republican Motherhood Sarah Leary In 1841, Sarah Miriam Peale painted a portrait of a longings.1 Unfortunately, Peale’s death mask of Mary Griffith young Mary Leypold Griffith (Figure 1). Mary sits on the floor. doesn’t survive, but it would have looked somewhat like the Her left leg is gracefully crossed over the right. Her vibrant, life mask taken a few months prior to Lincoln’s assassination red dress stands out against the nondescript background. She (Figure 2). Such masks developed from the tradition of death holds a white ribbon that she cuts to form a jagged pattern, masks and offer insight into what Peale’s mask of Mary may and yet looks up from this activity to the viewers. But her have looked like. The Griffith family also lent Peale a minia- mature expression and poise seem incommensurate with her ture of Mary (also lost) to aid in her representation of their age. Without the benefit of the object label, a viewer would daughter. These aids were supposed to help Peale represent assume that Mary is four or five – old enough to wield scissors Mary as she appeared and lived in the days before she died, and to understand the educational materials that surround but Peale took several liberties with Mary’s appearance her. But in point of fact, Mary Griffith died of Scarlet Fever at that aged her beyond her years and introduced books and the age of two and a half in 1841 – the same year in which symbols that allude to the future role Mary never fulfilled.
    [Show full text]
  • Six Faces of Death
    SIX FACES OF DEATH A dark fantasy adventure for characters of 11th to 13th level An alien being, dark omens, and vanishing ships send the adventurers to a mysterious island newly appeared in the Sea of Swords. But can the characters uncover the mysteries of the Changing Island in time to save Faerûn from a terror from another plane? Design and Cartography by Jason Bradley Thompson Editing and Development by Scott Fitzgerald Gray Beyond the Material Plane lie dimensions where gods Preparation and Planning and devils dwell, and where pure ideals are embodied Six Faces of Death is a dark fantasy adventure featuring in physical form. One such place is Mechanus, the plane countless fiends, mind control, strange physical of ultimate law, where the geometric modrons maintain transformations, and dead bodies by the thousands. absolute order. Another is Acheron, home to endless Before running the scenario, you’ll want to make sure that battlefields of law and evil, where reborn warriors fight your players are aware that the adventure features plenty eternal conflicts of metal and blood. of dark imagery and horror themes. Even then, you might No stars or suns appear in the skies of Acheron—only want to downplay some of the more graphic descriptions floating metal cubes hurtling through the void. One of contained herein, according to your own sensibilities as a DM and the ages and sensitivities of your players. these was Cube 1717, designed by a mad derro architect The adventure is also a dangerous one—and might named Avnas, and ruled by a powerful devil named prove a challenge even for powerful 11th-to-13th-level Earl Andromalius—a servant of the god of tyranny, characters! On the bright side, though, the scenario Lord Bane.
    [Show full text]
  • Alina Szapocznikow, 1962 – 1972
    Press Release To Exalt the Ephemeral: Alina Szapocznikow, 1962 – 1972 29 October – 21 December 2019 Opening reception: Tuesday 29 October, 6 – 8 pm Hauser & Wirth New York, 69th Street New York, NY… In a brief but explosively inventive career, Alina Szapocznikow (1926 – 1973) radically re- conceptualized sculpture as a vehicle for exploring, liberating, and declaring bodily experience, from the ecstatic, to the harrowing, to the uncanny. Beginning 29 October 2019, Hauser & Wirth will present ‘To Exalt the Ephemeral: Alina Szapocznikow, 1962 – 1972,’ a selection of sculptural works that together survey the expressive force of the Polish artist’s material innovations in the last decade of her life. This is the gallery’s first solo exhibition devoted to Szapocznikow since undertaking representation of her estate in May 2018. The details of Szapocznikow’s biography have been well documented. Born in Poland to a Jewish family in 1926, she survived the horrors of concentration camps as a teenager. In the postwar years, moving from Prague to Paris, she ultimately abandoned the Socialist Realism endorsed by the Polish government, as well as the prevailing winds of modernist abstraction, to embrace Surrealist tendencies and the Pop-influenced New Realism of the Paris avant-garde, championed by Pierre Restany. Working furiously as she cycled through phases of artistic growth, Szapocznikow engaged themes related to the body with full intensity. She succumbed to cancer in 1973, at the age of 46. In the last decade of her life, Szapocznikow’s pioneering engagement with new materials acquired particular focus and force, yielding works that dramatically challenged the traditional language of sculpture and presaged approaches central to art today.
    [Show full text]
  • (Rev. 10-90) Historic Name Nettles. Isaac. Gravestones
    NPS Form 10-900 OMB No. 1024-0018 (Rev. 10-90) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES NAT. Rii;:r REGISTRATION FORM 1. Name of Property historic name Nettles. Isaac. Gravestones other names/site number N/A 2. Location street & number E side Mt. Nebo Rd. (Co. 867). 0.5 mi S of Co. 19 not for publication N/A city or town Carlton________________________________ vicinity X state Alabama code AL county Clarke code 025 zip code 36545 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this X nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property X meets __ does not meet the National Register Criteria. I recommend that this property be considered significant _ nationally _ statewide X locally. (__ See continuation sheet for additional iments.) Him Signature of certifying official Date Alabama Historical Commission (State Historic Preservation Office) State or Federal agency and bureau In my opinion, the property __ meets _ does not meet the National Register criteria. (__ See continuation sheet for additional comments.) Signature of commenting or other official Date State or Federal agency and bureau 4. National Park Service Certification I hereby certify that this property is: ignatutB of the Keepe Date of Action [j entered in the National Register 971 [ ] See continuation sheet.
    [Show full text]
  • A Survey of Contemporary Death Art
    MORTALITY A SURVEY OF CONTEMPORARY DEATH ART MORTALITY A SURVEY OF CONTEMPORARY DEATH ART Curated by Donald Kuspit Assisted by Robert Curcio 2 Death Mon Amour Donald Kuspit, Curator The skull is a symbol of death, not any old Thus, the ambivalence about the skull, the was once part of has decayed, disappeared death, but the death “within oneself,” the hatred of death that makes it at home in hell, into oblivion, leaving it stranded in abstraction, death that is not only “the farthest extreme of the love of death that lifts it to heaven, like a strangely unnatural however natural, numi- destructiveness that we can conceive of,” but sort of mysterious man in the radiant moon— nous however down to earth—oddly sublime my very own death, the death that owns me for death is radiant with strange life in the por- even as it symbolizes our alienation from our the way I own my skull, the one and only gen- traits of it in the exhibition, especially in those self, for that is what the fear of death is. uine memento mori.1 But, strangely enough, of Lynn Stern. all skulls look more or less the same, seem Abstraction is peculiarly obscene, for it is hid- impersonally identical—can I find my own The skull, however much it is a symbol of den behind the scenic representation it sup- skull in a pile of skulls, say in the catacombs death, and however much it is nameless—any ports. It is the aesthetic underpinning, often of my unconscious? Freud said we can’t imag- skull could be anybody else’s skull—is in an unconsciously experienced, of the consciously ine our own death—it’s too great a narcissis- aesthetic class of its own, a sort of aesthetic known pictured scene, inseparable from and tic insult, a wound to self-esteem, impossible thing in itself, for it epitomizes the aesthetic immanent in it, the subliminal truth in the fic- to heal—and, anyway, there’s no time in the issue: reconciling opposites while conveying tional fact.
    [Show full text]
  • Ancient Egyptian Death Masks (Page 1 of 2)
    ART/DT: Ancient Egyptian Death Masks (Page 1 of 2) Ancient Egyptians were mummified when they died and the body preserved then wrapped in linen. Pharaohs were mummified with amulets and jewels inside the linen wrappings and then, buried in lots of coffins inside coffins to protect the body. Tutankhamun’s body was put inside a solid, gold coffin with a gold death mask that showed the boy king’s face. The coffin was placed inside two elaborately painted wooden coffins, which fitted inside each other. Then it was placed inside a red quartz sarcophagus, to keep the safe. This was placed inside four gold shrines, each one bigger than the last. Task: Above are some pictures of death masks. The purpose of the death masks, or burial masks, was to provide the dead with a face in the afterlife. Death masks were made for both Egyptian men and women. The Ancient Egyptians also made use of masks during sacred ceremonies and rituals. Your task is to design and make your own death mask for a pharaoh! You can use paints, materials to make a collage, colouring pencils, papier-mache and more! It is completely up to you, but be as creative as you can. Look at the following examples for some inspiration. Examples: ART/DT: Ancient Egyptian Death Masks (Page 2 of 2) Here is a template that you can copy if you need to. Remember to include the main features of a death mask and use bright colours! . Why not listen to some Ancient Egyptian music whilst working creatively? https://www.youtube.com/watch?v=GI6dOS5ncFc Keeping Safe at Home (Page 1 of 1) With an adult, talk about keeping safe and discuss different ways to keep safe.
    [Show full text]
  • Casting Presence the Death Mask of Sir Thomas Lawrence As a Site of Remembrance
    Casting Presence The death mask of Sir Thomas Lawrence as a site of remembrance Emily Knight Formerly University of Oxford, United Kingdom ABSTRACT – When Sir Thomas Lawrence died in 1830, plaster casts were made of his face and right hand. The death mask was placed inside a wooden box with a lid that contained a mezzotint of the artist in life, his chalk, stubs, pencil, and a lock of his hair. This curious collection of objects formed a temporal bridge from past to present, operating as a site of remembrance that surpassed mere physical description. The experience of lifting a lid filled with traces of the artist’s life to reveal the death mask concealed beneath, presented the viewer with the absolute and unalterable finality of death. The various elements that contribute to the presentation of Lawrence’s death mask declare his existence through trace, touch and abject remains. They mark the point at which commemoration and deified celebration made way for a more encompassing and personal memorial on the brink of the Victorian Age. This article will discuss this key moment in early nineteenth-century visual culture, before photography emerged as the predominant mode of automatic reproduction. It will consider how this process of remembrance created an experience of death that was both haptic and optic, exact and emotional, thereby revealing the contemporary desire to be immersed in the contemplation of a life lived and a fascination with mankind’s inevitable end. journal of the lucas graduate conference | 29 castIng presence INTRODUCTION The death mask of Sir Thomas Lawrence (1769-1830) moulded into the shape of his head (Fig.
    [Show full text]
  • Ancient Egyptian Mummies Ancient Egyptian Mummies
    Ancient Egyptian Mummies Ancient Egyptian Mummies Ancient Egyptians believed that there was a life after death called the 1. Why did Egyptians 'afterlife.' They also believed that a body had to be preserved after preserve the bodies of death so that a person could safely reach the afterlife. dead people? 2. Who usually got made into And so, they Egyptians made mummies to preserve the dead bodies of mummies? kings, queens and nobles. Mummification was a long, expensive 3. Why did Egyptians use the process that took about 70 days to complete. Egyptians used the chemical natron? chemical natron to dry out the body and prevent it from rotting away. 4. What happened to the organs? First, the organs such as the stomach, intestines, lungs, and liver were 5. Where were the canopic removed from the body and preserved with natron. The organs were jars placed? then put in jars called 'canopic jars' to be placed next to the body. The 6. What happened to the brain was then pulled out of the head through the nose using a long brain? hook. 7. How long was the body dried? Then the body was covered with natron and dried for about 40 days. 8. Why was the body stuffed? After that, the inside of the body was stuffed so that it would keep its 9. What was the body shape. Then the body was wrapped in bandages. Finally, a religious wrapped in? ceremony was held to help the dead reach the afterlife. Ancient Egyptian Beliefs Ancient Egyptian Beliefs Ancient Egyptians believed that there was a life after death called the 'afterlife.' They believed that the afterlife was a 'Field of Reeds' where 1.
    [Show full text]