LECTURES. 45 
party mount into the hills, to a platform whereon opens a suite of 
chambers hewn out of the solid rock. Here they at length lay the 
body. In the room are painted all the scenes of his life, which the 
double of the dead man can live over by looking at them. Here he 
sees the farmer ploughing, the huntsman and fisherman at the sport, 
the tradesman at his shop, the warrior in the fight. The double is 
content so long as he has food. When the stores brought are 
exhausted, all he has to do, is to pick out some fine fat heifer in the 
fields, follow it through all the stages of its life, till he arrives at the 
butcher’s, sees it killed, cooked and set on table, and as the picture on 
the wall stretches out his hand to takea slice and eat, the double who 
looks on feels his pangs of hunger satisfied. 
This account has been given at length, because 
it is the key to nearly all burial customs which we 
see elsewhere. The idea is that the double or 
ghost has a life like the man’s. The primitive 
custom was to bury the dead in his own house, 
with all his belongings, to shut it up and leave him. 
This was done in Peru under the Inca rule, and 
is still done in Dahomey (where however, only 
one room is,shut up). In California the house is 
burnt. Sometimes the canoes are staved in, and 
his other goods destroyed ; the idea being, that 
as the man has died, so his property must be © 
killed to go with him. Wives and slaves are often — 
sacrificed for the same purpose. The next stage 
is to build him a little hut zear his house, or over ~ 
the grave. Last year I saw in a little village in — 
Greece a Cemetery ; over every grave was a little © 
wooden hutch, where yearly a light is burned on © 
the anniversary of the death. The third stage is 
to make a coffin in the shape of a house. Thus — 
Egyptian mummy cases often take the shape of a 
house or a pyramid. Urns in the shape of prim- 
itive huts have been found in Italy; and two fine ones are now 
in the British Museum. Sometimes the urn is made in rudimentary 
human shape. Two such urns, drawn in the Museum at Turin, you see 
at the side above. Of the three queer squat figures on the next page, 
which belong to me, (1) and (3) come from Italy, and (2) from Peru. 
It is remarkable how much they are alike. All this trouble is taken — 
to make the ghost happy, and keep him from haunting the living. 
