The mummy was then placed in an upright position on a heap of sand, with its back to the wall and facing the assistants, like the master of some new villa who, having been accompanied by his friends to see him take possession, turns for a moment on the threshold to take leave of them before entering. A sacrifice, an offering, a prayer, and a fresh outburst of grief ensued; the mourners redoubled their cries and threw themselves upon the ground, the relatives decked the mummy with flowers and pressed it to their bared bosoms, kissing it upon the breast and knees. “I am thy sister, O great one! forsake me not! Is it indeed thy will that I should leave thee? If I go away, thou shalt be here alone, and is there any one who will be with thee to follow thee? O thou who lovedst to jest with me, thou art now silent, thou speakest not!” Whereupon the mourners again broke out in chorus: “Lamentation, lamentation! Make, make, make, make lamentation without ceasing as loud as can be made. O good traveller, who takest thy way towards the land of Eternity, thou hast been torn from us! O thou who hadst so many around thee, thou art now in the land which bringest isolation! Thou who lovedst to stretch thy limbs in walking, art now fettered, bound, swathed! Thou who hadst fine stuffs in abundance, art laid in the linen of yesterday!” Calm in the midst of the tumult, the priest stood and offered the incense and libation with the accustomed words: “To thy double, Osiris Nofirhotpû, whose voice before the great god is true!” This was the signal of departure, and the mummy, carried by two men, disappeared within the tomb: the darkness of the other world had laid hold of it, never to let it go again. The chapel was usually divided into two chambers: one, which was of greater width than length, ran parallel to the façade; the other, which was longer than it was wide, stood at right angles with the former, exactly opposite to the entrance. The decoration of these chambers took its inspiration from the scheme which prevailed in the time of the Memphite dynasties, but besides the usual scenes of agricultural labour, hunting, and sacrifice, there were introduced episodes from the public life of the deceased, and particularly the minute portrayal of the ceremonies connected with his burial. [Illustration: 021.jpg NICHE IN THE TOMB OF MENNA] Drawn by Faucher-Gudin, from a photograph by Insinger. These pictorial biographies are always accompanied by detailed explanatory inscriptions; every individual endeavoured thus to show to the Osirian judges the rank he had enjoyed here upon earth, and to obtain in the fields of lalû the place which he claimed to be his due.