“Thy (Chum-Ram) dwells in Mendes, united as the quadruple god Thmuis. He is the phallus, the lord of the gods. The bull of his mother rejoices in the cow (ahet, the mother) and man fructifies through his semen.” In further inscriptions Hatmehit was directly referred to as the “mother of Mendes.” (Mendes is the Greek form of Bi-neb-did: ram.) She is also invoked as the “Good,” with the additional significance of _ta-nofert_, or “young woman.” The cow as symbol of the mother is found in all possible forms and variations of Hathor-Isis, and also in the female Nun (parallel to this is the primitive goddess Nit or Neith), the protoplasm which, related to the Hindoo Atman,[485] is equally of masculine and feminine nature. Nun is, therefore, invoked as Amon,[486] the original water,[487] which is in the beginning. He is also designated as the father of fathers, the mother of mothers. To this corresponds the invocation to the female side of Nun-Amon, of Nit or Neith. “Nit, the ancient, the mother of god, the mistress of Esne, the father of fathers, the mother of mothers, who is the beetle and the vulture, the being in its beginning. “Nit, the ancient, the mother who bore the light god, Râ, who bore first of all, when there was nothing which brought forth. “The cow, the ancient, which bore the sun, and then laid the germ of gods and men.” The word “nun” has the significance of young, fresh, new, also the on-coming waters of the Nile flood. In a transferred sense “nun” was also used for the chaotic primitive waters; in general for the primitive generating matter[488] which was personified by the goddess Nunet. From her Nut sprang, the goddess of heaven, who was represented with a starry body, and also as the heavenly cow with a starry body. When the sun-god, little by little, retires on the back of the heavenly cow, just as poor Lazarus returns into Abraham’s bosom, each has the same significance; they return into the mother, in order to rise as Horus. Thus it can be said that in the morning the goddess is the mother, at noon the sister-wife and in the evening again the mother, who receives the dying in her lap, reminding us of the Pietà of Michelangelo. As shown by the illustration (from Dideron’s “Iconographie Chrétienne”), this thought has been transferred as a whole into Christianity. Thus the fate of Osiris is explained: he passes into the mother’s womb, the chest, the sea, the tree, the column of Astartes; he is dismembered, re-formed, and reappears again in his son, Hor-pi-chrud.