It is in funerary inscriptions that the heart of man, touched by the mystery of the tomb, lays bare its aspirations with the greatest frankness and simplicity. Moved by the desire to escape annihilation on the one hand and posthumous sufferings on the other, it is there that he addresses his most ardent appeals to the supreme power, and allows us to arrive at a clear understanding of his ideas as to the action, the character, and the power of the divinity. At Memphis, Abydos, and Thebes, documents of this kind have been found in thousands, the figures accompanying them serving as commentaries upon their text, and helping us to clear up all doubts as to their nature. We thus have voices speaking from the depths of every Egyptian tomb; but the Chaldaean sepulchre is mute. It has neither inscriptions, nor bas-reliefs, nor paintings. No Assyrian burial-place has yet been found. Dedications, phrases of homage to this or that divinity, the names and distinguishing epithets of the gods, all these have been met with in Mesopotamia; sometimes _in situ_, as artistic decorations, sometimes in engraved fragments of unknown origin. We may say the same of the different divine types. Sometimes we find them in monumental sculpture, more often on those seals which we call _cylinders_. But how obscure, incomplete, and poor such documents are in comparison with the long pages of hieroglyphs in which the Pharaohs address their gods or make them speak for themselves! How infinitely inferior in expression and significance to the vast pictures which cover the walls of the Theban temples and bring all the persons of the Egyptian pantheon before us in their turn! What hope is there that excavations in Chaldaea and Assyria will ever provide us with such remains as those groups of statues which fill our museums, in which the effigy of a single god is repeated hundreds of times with every variation of type, pose, and attribute given to it by the Egyptian theosophy? On the one hand, what abundance, we may say what super-abundance; on the other, what poverty, what gaping breaches in the chain of material history! Among the gods and genii, whose names have come down to us, how few there are whose images we can surely point to; and, again, what a small number of figures we have upon which we can put a name without fear of error! To write the history of these beliefs is a difficult task, not only because the _idols_, as they would once have been called, are few, and the Chaldaeo-Assyrian inscriptions historical and narrative rather than religious and dogmatic, but also because the interpretation of the texts, especially of the most ancient, is much less advanced than that of the hieroglyphs. When documents in the old language, or at least written in the primitive ideographic characters, are attacked, the process is one of divination rather than of translation in the strict sense of the word.