In our look at Facsimile 3 from the Book of Abraham it’s important to keep in mind its original purpose.
Funerary documents have been found in tombs of the pharaohs all throughout Egypt. They were inscribed for a few purposes, one of which was to provide the deceased pharaoh instructions on how to get to heaven. The scrolls were also produced to provide instructions on how to mummify people after death and they also provided a great pictorial of their gods and the ceremonies they believed would happen once they reached heaven.
As with Facsimile 1 and 2, there’s ample evidence to show that Smith didn’t have a clue as to what he was doing when he tried to translate this vignette. In his limited life experience and ignorance of the Egyptian language and lifestyle his interpretation of this vignette was all wrong. We also know the Facsimile 3 scroll is part of Facsimile 1 because they both contain the name of Osiris Hôr, the deceased person this vignette was for. In addition to all those clues it was carefully noted by Klaus Baer, a well respected Egyptologist, the Facsimiles and scrolls were the same size indicating they were meant to be one.
One of the key components of knowing Facsimile 3 isn’t a correct interpretation is the appearance of anachronistic words in its text. In the text from the Book of Abraham we see a handful of words that Smith claims were used in Abraham’s timeframe, but in reality these words weren’t part of the Chaldean or Egyptian language until well after the time Abraham lived.
Another clue this is false comes from his interpretation of the vignette. Most Egyptologists believe this was a ceremony of the gods welcoming pharaoh into heaven after he completed his journey in the afterlife. You’ll see in the side by side comparison below how Smith’s version once again tries to insert the theory Abraham was living with or around the pharaoh.
The scene in Facsimile 3 actually comes from chapter 125 in the Book of the Dead. We know this because of Egyptologists’ interpretation of the hieroglyphs above and under the gods and pharaoh in the scene.
Smith’s interpretation also shows his limited knowledge about the gods of Egypt, in particular Anubis. As you’ll see Smith allowed his disdain for blacks to bleed into his interpretation of this Facsimile. His reference to the last figure on the vignette serves as a good example of how he automatically assumed this man had to be a slave because of his skin color.
The truth is that it’s the Egyptian god Anubis. Again, Smith’s interpolation of his experiences in nineteenth century America shows his inexperience and untrustworthiness for being a prophet of God.
The hieroglyph of each figure’s name is in the bottom right side of each explanation. These can also be seen in the hieroglyphs above each figure in the facsimile.
The information I’ve provided here is just a microcosm of the amount of info out there on this subject. Once you Google something into your browser you’ll see a plethora of available info to study!
I retrieved the interpretations of these gods and the history of this facsimile from a few sources:
Dialogue, A Journal of Mormon Thought, Volume 3, Autumn 1968, pgs 125-127
Joseph Smith As a Translator by Reverend F.S. Spaulding
Egyptology and the Book of Abraham by Stephen Thompson
As always we pray diligently for the salvation of each and every Mormon. I’m absolutely convinced if God could save someone like me He can save anyone!
If you’re LDS please take a look at these things and ask yourself if the Lord would allow false interpretations of something so important be in the scripture you need to follow to spend eternity with Him. I have to say that’d be a strange thing.
With Love in Christ;
Michelle
1 Cor 1:18
| Figure
No. |
Joseph
Smith |
True
Egyptian Interpretation |
| 1 | Abraham sitting upon
Pharaoh’s throne, by the politeness of the king, with a crown upon his head, representing the Priesthood, as emblematical of the grand Presidency in Heaven; with the scepter of justice and judgment in his hand.
|
Gods of Ancient Egypt
were represented by their various headdresses as well as writings surrounding the figure. While they sometimes had different figures representing the same god the differences also gave information about the nature of that god and the circumstances they used it for, i.e. strength, fertility, knowledge, power, et al. The first figure is the god Osiris. His power and popularity has been well established from the earliest dynastic periods in Egypt. He’s the only god referred to as simply “god” and is known as the king of the underworld. He can also be referred to as other gods such as the god of agriculture. He’s typically seen wearing a white Atef crown with plumes of red feathers on either side of his head. The feathers represent Djedu (Busiris), the cult center of Osiris. Also make note of the Inscriptions above his head defining what is going on. It says; “Recitation by Osiris, Foremost of the Westerners, Lord of Abydos(?), the great god forever and ever(?)”. |
| 2 | King Pharaoh,
whose name is given in the characters above his head. |
This isn’t the pharaoh
or even a man. This is the goddess Isis, the wife of Osiris! The object in her hand is an ankh. The ankh is the symbol of life and appears in hieroglyphic texts all over Egypt. Many Egyptian gods are seen in hieroglyphs holding them which represented their immortality. The symbol and message is also extended to the pharaohs as well. The inscription above her head reads “Isis the great, the god’s mother”. In this hieroglyph she’s wearing a vulture headdress with the horns of a cow and a sun disk. She absorbed many other goddess identities in Egypt. |
| 3 | Signifies Abraham in
Egypt (as given also in Figure 10 of Facsimile No. 1) |
The offering of a libation
for Osiris is also found in Facsimile 2, figures 2 & 3. This is present in nearly all drawings with other major gods. It’s topped with papyrus blossoms and lotus. “Altar, with the offering of the deceased, surrounded with lotus flowers, signifying the offering of the defunct.”—Theodule Deveria |
| 4 | Prince of Pharaoh,
King of Egypt, as written above the hand. |
This isn’t a prince
or a pharaoh or a king or even a male. This is the female goddess of justice, Ma’at. She’s identified by the feather on her head and the inscription above her hand. Although personified in many hieroglyphs she’s actually an idea representing balance and the divine order of Egypt. The inscription says; “Ma’at, mistress of the gods”. In this hieroglyph she is seen leading figure 5 who is deceased into the presence of Osiris. |
| 5 | Shulem, one of the king’s
principal waiters, as represented by the characters above his hand. |
This isn’t a waiter.
This is Hôr who is being led by the goddess Ma’at (figure #4) into the presence of Osiris (figure #1) who is sitting on the throne. The inscription above his head gives us his name as well as a message that says; “The Osiris Hôr being justified forever”. Klaus Baer said this about Figure 5; “Facsimile No. 3: shows a man (5) his hand raised in adoration and a cone of perfumed grease and a lotus flower on his head (ancient Egyptian festival attire), being introduced by Maat (4), the goddess of justice, and Anubis (6), the guide of the dead, into the presence of Osiris (1), enthroned as king of the Netherworld…”
|
| 6 | Olimlah, a slave
belonging to the prince. |
Again, Joseph has
this one wrong too. Figure 6 in this vignette is none other than the god Anubis. He’s shown here as supporting the deceased which is Hôr. Anubis helped guide Hôr with the spells in the funeral book and helped lead him into the presence of the god Osiris. We know this is Anubis because he’s always black in addition to having a jackal head – the point on the top of his head is part of a jackal’s ear. The inscription above his head reads; “Recitation by Anubis, who makes protection(?), foremost of the embalming booth,…” |
| Below
Vignette |
“O gods of…gods of
the Caverns, gods of the north, south, west and east, grant well-being to Osiris Hôr, justified…” – Klaus Baer |
|
| Above
Vignette |
“Over the whole scene
is a canopy with stars painted on it to represent the sky. The whole scene comes from a mortuary papyrus…” – Klaus Baer |
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