ch it is returned to the friends who
brought it."

Sir G. Wilkinson gives some further information with regard to the
more expensive mode of embalming. The body, having been prepared with
the proper spices and drugs, was enveloped in linen bandages sometimes
1,000 yards in length. It was then enclosed in a cartonage fitting
close to the mummied body, which was richly painted and covered in
front with a network of beads and bugles arranged in a tasteful form,
the face being laid over with a thick gold leaf, and the eyes made of
enamel. The three or four cases which successively covered the
cartonage were ornamented in like manner with painting and gilding,
and the whole was enclosed in a sarcophagus of wood or stone,
profusely charged with painting or sculpture. These cases, as well as
the cartonage, varied in style and richness, according to the expense
incurred by the friends of the deceased. The bodies thus embalmed were
generally of priests of various grades. Sometimes the skin itself was
covered with gold leaf; sometimes the whole body, the face, or
eyelids; sometimes the nails alone. In many instances the body or the
cartonage was beautified in an expensive manner, and the outer cases
were little ornamented; but some preferred the external show of rich
cases and sarcophagi. Some mummies have been found with the face
covered by a mask of cloth fitting closely to it, and overlaid with a
coating of composition, so painted as to resemble the deceased, and to
have the appearance of flesh. These, according to Sir G. Wilkinson,
are probably of a Greek epoch. Greek mummies usually differed from
those of the Egyptians in the manner of disposing the bandages of the
arms and legs. No Egyptian is found with the limbs bandaged
separately, as those of Greek mummies. On the breast was frequently
placed a scarabaeus in immediate contact with the flesh. These
scarabaei, when of stone, had their extended wings made of lead or
silver. On the cartonage and case, in a corresponding situation above,
the same emblem was also placed, to indicate the protecting influence
of the Deity. The subjects painted upon the cartonage were the four
genii of Amenti, and various emblems belonging to deities connected
with the dead. A long line of hieroglyphics extending down the front
usually contained the name and quality of the deceased, and the
offerings presented by him to the gods; and transverse bands
frequently repeated the former, with similar