The variable part of these terms is usually written in an oblong rectangle, terminated at the lower end by a number of lines portraying in a summary way the façade of a monument, in the centre of which a bolted door may sometimes be distinguished: this is the representation of the chapel where the double will one day rest, and the closed door is the portal of the tomb.* The stereotyped part of the names and titles, which is represented by the figure of the god, is placed outside the rectangle, sometimes by the side of it, sometimes upon its top: the hawk is, in fact, free by nature, and could nowhere remain imprisoned against his will.
* This is what is usually known as the “Banner Name;”
indeed, it was for some time believed that this sign
represented a piece of stuff, ornamented at the bottom by
embroidery or fringe, and bearing on the upper part the
title of a king. Wilkinson thought that this “square title,”
as he called it, represented a house. The real meaning of
the expression was determined by Professor Flinders Petrie
and by myself.
This artless preamble was not enough to satisfy the love of precision which is the essential characteristic of the Egyptians. When they wished to represent the double in his sepulchral chamber, they left out of consideration the period in his existence during which he had presided over the earthly destinies of the sovereign, in order to render them similar to those of Horus, from whom the double proceeded.
They, therefore, withdrew him from the tomb which should have been his lot, and there was substituted for the ordinary sparrow-hawk one of those groups which symbolize sovereignty over the two countries of the Nile—the coiled urasus of the North, and the vulture of the South, [—]; there was then finally added a second sparrow-hawk, the golden sparrow-hawk, [—], the triumphant sparrow-hawk which had delivered Egypt from Typhon. The soul of Snofrai, which is called, as a surviving double, [—], “Horus master of Truth,” is, as a living double, entitled “[—]” “[—]” the Lord of the Vulture and of the “Urous,” master of Truth, and Horus triumphant.*
* The Ka, or double name, represented in this illustration
is that of the Pharaoh Khephren, the builder of the second
of the great pyramids at Gîzeh; it reads “Horu usir-Hâîti,”
Horus powerful of heart.
On the other hand, the royal prince, when he put on the diadem, received, from the moment of his advancement to the highest rank, such an increase of dignity, that his birth-name—even when framed in a cartouche and enhanced with brilliant epithets—was no longer able to fully represent him. This exaltation of his person was therefore marked by a new designation. As he was the living flesh of the sun, so his surname always makes allusion to some point in his relations with his father, and proclaims the love which he felt for the latter, “Mirirî,” or that the latter experienced for him, “Mirnirî,” or else it indicates the stability of the doubles of Râ, “Tatkerî,” their goodness, “Nofirkerî,” or some other of their sovereign virtues. Several Pharaohs of the IVth dynasty had already dignified themselves by these surnames; those of the VIth were the first to incorporate them regularly into the royal preamble.
