“In the Clementine Recognitions it is announced that the father anointed his son with ‘oil[‘oil] that was taken from the wood of the Tree of Life, and from this anointing he is called the Christ:’[Christ:’] whence the Christian name. This again is Egyptian. Horus was the anointed son of the father. The mode of anointing him from the Tree of Life, portrayed on the monuments, is very primitive indeed; and the Horus of Egypt was continued in the Gnostic Christ, who is reproduced upon the Gnostic stones as the intermediate link betwixt the Karest and the Christ, also as the Horus of both sexes.”[sexes.”] (“The name and nature of the Christ.”—Gerald Massey.)
Mr. G. Massey connects the Greek Christos or Christ with the Egyptian Karest, the “mummy type of immortality,” and proves it very thoroughly. He begins by saying that in Egyptian the “Word of Truth” is Ma-Kheru, and that it is the title of Horus. Thus, as he shows, Horus preceded Christ as the Messenger of the Word of Truth, the Logos or the manifestor of the divine nature in humanity. In the same paper he writes as follows:
The Gnosis had three phases—astronomical, spiritual, and doctrinal, and all three can be identified with the Christ of Egypt. In the astronomical phase the constellation Orion is called the Sahu or mummy. The soul of Horus was represented as rising from the dead and ascending to heaven in the stars of Orion. The mummy-image was the preserved one, the saved, therefore a portrait of the Saviour, as a type of immortality. This was the figure of a dead man, which, as Plutarch and Herodotus tell us, was carried round at an Egyptian banquet, when the guests were invited to look on it and eat and drink and be happy, because, when they died, they would become what the image symbolised—that is, they also would be immortal! This type of immortality was called the Karest, or Karust, and it was the Egyptian Christ. To Kares means to embalm, anoint, to make the Mummy as a type of the eternal; and, when made, it was called the Karest; so that this is not merely a matter of name for name, the Karest for the Christ.
This image of the Karest was bound up in a woof without a seam, the proper vesture of the Christ! No matter what the length of the bandage might be, and some of the mummy-swathes have been unwound that were 1,000 yards in length, the woof was from beginning to end without a seam.... Now, this seamless robe of the Egyptian Karest is a very tell-tale type of the mystical Christ, who becomes historic in the Gospels as the wearer of a coat or chiton, made without a seam, which neither the Greek nor the Hebrew fully explains, but which is explained by the Egyptian Ketu for the woof, and by the seamless robe or swathing without seam that was made for eternal wear, and worn by the Mummy-Christ, the image of immortality in the tombs of Egypt.
Further, Jesus is put to death in accordance with the instructions given for making the Karest. Not a bone must be broken. The true Karest must be perfect in every member. “This is he who comes out sound; whom men know not is his name.”
In the Gospels Jesus rises again with every member sound, like the perfectly-preserved Karest, to demonstrate the physical resurrection of the mummy. But, in the Egyptian original, the mummy transforms. The deceased says: “I am spiritualised. I am become a soul. I rise as a God.” This transformation into the spiritual image, the Ka, has been omitted in the Gospel.
This spelling of the name as Chrest or Chrést in Latin is supremely important, because it enables me to prove the identity with the Egyptian Karest or Karust, the name of the Christ as the embalmed[embalmed] mummy, which was the image of the resurrection in Egyptian tombs, the type of immortality, the likeness of the Horus, who rose again and made the pathway out of the sepulchre for those who were his disciples or followers. Moreover, this type of the Karest or Mummy-Christ is reproduced in the Catacombs of Rome. No representation of the supposed historic resurrection of Jesus has been found on any of the early Christian monuments. But, instead of the missing fact, we find the scene of Lazarus being raised from the dead. This is depicted over and over again as the typical resurrection where there is no real one! The scene is not exactly in accordance with the rising from the grave in the Gospel. It is purely Egyptian, and Lazarus is an Egyptian mummy! Thus Lazarus, in each representation, is the mummy-type of the resurrection; Lazarus is the Karest, who was the Egyptian Christ, and who is reproduced by Gnostic art in the Catacombs of Rome as a form of the Gnostic Christ, who was not and could not become an historical character.
Further, as the thing is Egyptian, it is probable that the name is derived from Egyptian. If so, Laz (equal to Ras) means to be raised up, while aru is the mummy by name. With the Greek terminal[terminal] s this becomes Lazarus. In the course of humanising the mythos the typical representation of the resurrection found in the tombs of Rome and Egypt would become the story of Lazarus being raised from the dead. This Karast type of the Christ in the Catacombs is not limited to Lazarus.
By means of the Karest type the Christ and the Christians can both be traced in the ancient tombs of Egypt. The mummy was made in this likeness of the Christ. It was the Christ by name, identical with the Chrestoi of the Greek Inscriptions. Thus the honoured dead, who rose again as the followers of Horus-Makheru, the Word of Truth, are found to be the Christians οι χρηστοι, on the Egyptian monuments. Ma-Kheru is the term that is always applied to the faithful ones who win the crown of life and wear it at the festival which is designated ‘Come thou to me’—an invitation by Horus the Justifier to those who are the ‘Blessed ones of his father, Osiris’—they who, having made the Word of Truth the law of their lives, were the Justified—οι χρηστοι, the Christians, on earth.
In a fifth century representation of the Madonna and child from the cemetery of St. Valentinus, the new-born babe lying in a box or crib is also the Karest, or mummy-type, further identified as the divine babe of the solar mythos by the disk of the sun and the cross of the equinox at the back of the infant’s head. Thus the child-Christ of the historic faith is born, and visibly begins in the Karest image of the dead Christ, which was the mummy-type of the resurrection in Egypt for thousands of years before the Christian era. This doubles the proof that the Christ of the Christian Catacombs was a survival of the Karest of Egypt.