summaryrefslogtreecommitdiff
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      Ancient Pagan and Modern Christian Symbolism, by Thomas Inman, M.D.
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The Project Gutenberg EBook of Ancient Pagan and Modern Christian Symbolism, by
Thomas Inman and John Newton

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: Ancient Pagan and Modern Christian Symbolism
       With an Essay on Baal Worship, On The Assyrian Sacred "Grove," And Other

Author: Thomas Inman
        John Newton

Release Date: January 3, 2012 [EBook #38485]
Last Updated: November 17, 2012

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK PAGAN AND MODERN SYMBOLISM ***




Produced by David Widger





</pre>
    <div style="height: 8em;">
      <br /><br /><br /><br /><br /><br /><br /><br />
    </div>
    <h1>
      ANCIENT PAGAN AND MODERN CHRISTIAN SYMBOLISM.
    </h1>
    <p>
      <br />
    </p>
    <h2>
      By Thomas Inman, M.D.
    </h2>
    <blockquote>
      <p>
        Consulting Physician To The Royal Infirmary, Liverpool; Late Lecturer
        Successively On Botany, Medical Jurisprudence, Materia Medica And
        Therapeutics, And The Principles And Practice Of Medicine, Etc.; In The
        Liverpool School Of Medicine; Author Of "Foundation For A New Theory And
        Practice Of Medicine;" A "Treatise On Myalgia;" "On The Real Nature Of
        Inflammation," "Atheroma In Arteries," "The Preservation Of Health,"
        "The Restoration Of Health," "Ancient Faiths Embodied In Ancient Names,"
      </p>
    </blockquote>
    <h4>
      Second Edition, <br /><br /> Revised And Enlarged, <br /><br />
    </h4>
    <h3>
      WITH AN ESSAY ON BAAL WORSHIP, ON THE ASSYRIAN SACRED "GROVE," AND OTHER
      ALLIED SYMBOLS.
    </h3>
    <h4>
      By John Newton, M.R.C.S.E., Etc.
    </h4>
    <p>
      <br />
    </p>
    <div class="fig" style="width:80%">
      <img alt="titlepage (64K)" src="images/titlepage.jpg" width="100%" /><br />
    </div>
    <p>
      <br /> <br /> <br />
    </p>
    <hr />
    <p>
      <br /> <br /> <a name="linkimage-0001" id="linkimage-0001">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/Plate1-Frontispeice.jpg" alt="Frontispiece 009 "
      width="100%" /><br />
    </div>
    <p>
      The woodcuts in the present volume originally appeared in a large work, in
      two thick volumes, entitled Ancient Faiths embodied in Ancient Names. It
      has been suggested to me by many, that a collection of these Figures, and
      their explanation, are more likely to be generally examined than a very
      voluminous book. The one is, as it were, an alphabet; the other, an essay.
      The one opens the eyes; the other gives them opportunities to use their
      vision. The one teaches to read; the other affords means for practice. As
      the larger work endeavours to demonstrate the existence of a state of
      things almost unknown to the British public, so it is necessary to furnish
      overwhelming proof that the allegations and accusations made against
      certain nations of antiquity, and some doctrines of Christianity, are
      substantially true. Consequently, the number of witnesses is greater than
      is absolutely necessary to prove the point.
    </p>
    <p>
      12, Rodney Street, Liverpool,
    </p>
    <p>
      July 1869.
    </p>
    <p>
      The demand which has sprung up for this work has induced the Author to
      make it more complete than it was originally. But it could not be made
      perfect without being expanded into a volume whose size would be
      incompatible with cheapness. When every Figure would supply a text for a
      long discourse, a close attention is required lest a description should be
      developed into a dissertation.
    </p>
    <p>
      In this work, the Author is obliged to confine himself to the explanation
      of symbols, and cannot launch out into ancient and modern faiths, except
      in so far as they are typified by the use of certain conventional signs.
    </p>
    <p>
      A great many who peruse a book like this for the first time, and find how
      strange were the ideas which for some thousands of years permeated the
      religious opinions of the civilised world, might naturally consider that
      the Author is a mere visionary&mdash;one who is possessed of a hobby that
      he rides to death. Such a notion is strengthened by finding that there is
      scarcely any subject treated of except the one which associates religion,
      a matter of the highest aim to man, with ideas of the most intensely
      earthly kind. But a thoughtful reader will readily discern that an essay
      on Symbolism must be confined to visible emblems. By no fair means can an
      author who makes the crucifix his text introduce the subject of the
      Confessional, the Eucharist, or Extreme Unction. Nor can one, who knows
      that Buddha and Jesus alike inaugurated a faith which was unmarked by
      visible symbolism, bring into an interpretation of emblems a comparison
      between the preaching of two such distinguished men. In like manner, the
      Author is obliged to pass over the difference between Judaism,
      Christianity as propounded by the son of Mary, and that which passes
      current for Christianity in Rome and most countries of Europe.
    </p>
    <p>
      All these points, and many more, have been somewhat fully discussed in the
      Author's larger work, so often referred to in this, and to that he must
      refer the curious. The following pages are simply a chapter taken from a
      book, complete perhaps in itself, but only as a brick may be perfect,
      without giving to an individual any idea of the size, style, or
      architecture of the house from which it has been taken. If readers will
      regard these pages as a beam in a building, the Author will be content.
    </p>
    <p>
      8, Vyvyan Terrace,
    </p>
    <p>
      Clifton, Bristol,
    </p>
    <p>
      August, 1874.
    </p>
    <p>
      <br /> <br />
    </p>
    <hr />
    <p>
      <br /> <br />
    </p>
    <p class="toc">
      <a href="#link2H_INTR"> INTRODUCTION. </a>
    </p>
    <p class="toc">
      <a href="#link2H_4_0002"> PAGAN AND CHRISTIAN SYMBOLISM. </a>
    </p>
    <p class="toc">
      <a href="#link2H_APPE"> APPENDIX: THE ASSYRIAN "GROVE" AND OTHER EMBLEMS
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    <h2>
      INTRODUCTION.
    </h2>
    <p>
      It may, we think, be taken for granted, that nothing is, or has ever been,
      adopted into the service of Religion, without a definite purpose. If it be
      supposed that a religion is built upon the foundation of a distinct
      revelation from the Almighty, as the Hebrew is said to be, there is a full
      belief that every emblem, rite, ceremony, dress, symbol, etc., has a
      special signification. Many earnest Christians, indeed, see in Judaic
      ordinances a reference to Jesus of Nazareth. I have, for example, heard a
      pious man assert that "leprosy" was only another word for "sin"; but he
      was greatly staggered in this belief when I pointed out to him that if a
      person's whole body was affected he was no longer unclean (Lev. xiii. 13),
      which seemed on the proposed hypothesis to demonstrate that when a sinner
      was as black as hell he was the equal of a saint. According to such an
      interpreter, the paschal lamb is a type of Jesus, and consequently all
      whom his blood sprinkles are blocks of wood, lintels, and side-posts
      (Exod. xii. 22, 28). By the same style of metaphorical reasoning, Jesus
      was typified by the "scape-goat," and the proof is clear, for one was
      driven away into the wilderness, and the other voluntarily went there&mdash;one
      to be destroyed, the other to be tempted by the devil! Hence we infer that
      there is nothing repugnant to the minds of the pious in an examination
      respecting the use of symbols, and into that which is shadowed forth by
      them. What has been done for Judaism may be attempted for other forms of
      religion.
    </p>
    <p>
      As the Hebrews and Christians believe their religion to be God-given, so
      other nations, having a different theology, regard their own peculiar
      tenets. Though we may, with that unreasoning prejudice and blind bigotry
      which are common to the Briton and the Spaniard, and pre-eminently so to
      the mass of Irish and Scotchmen amongst ourselves, and to the Carlists in
      the peninsula, disbelieve a heathen pretension to a divine revelation, we
      cannot doubt that the symbols, etc., of Paganism have a meaning, and that
      it is as lawful to scrutinise the mysteries which they enfold as it is to
      speculate upon the Urim and Thummim of the Jews. Yet, even this freedom
      has, by some, been denied; for there are a few amongst us who adhere
      rigidly to the precept addressed to the followers of Moses, viz., "Take
      heed that thou enquire not after their gods, saying, How did these nations
      serve their gods?" (Deut. xii. 30.) The intention of the prohibition thus
      enunciated is well marked in the following words, 1 which
      indicate that the writer believed that the adoption of heathen gods would
      follow inquiry respecting them. It is not now-a-days feared that we may
      become Mahometans if we read the Koran, or Buddhists if we study the
      Dhammapada; but there are priests who fear that an inquiry into
      ecclesiastical matters may make their followers Papists, Protestants,
      Wesleyans, Baptists, Unitarians, or some other religion which the
      Presbytery object to. The dislike of inquiry ever attends those who
      profess a religion which is believed or known to be weak.
    </p>
<pre xml:space="preserve">
     * "even so will I do likewise."
</pre>
    <p>
      The philosopher of the present day, being freed from the shackles once
      riveted around him by a dominant hierarchy, may regard the precept in
      Deuteronomy in another light. Seeing that the same symbolism is common to
      many forms of religion, professed in countries widely apart both as
      regards time and space, he thinks that the danger of inquiry into faiths
      is not the adoption of foreign, but the relinquishment of present methods
      of religious belief. When we see the same ideas promulgated as divine
      truth, on the ancient banks of the Ganges, and the modern shores of the
      Mediterranean, we are constrained to admit that they have something common
      in their source. They may be the result of celestial revelation, or they
      may all alike emanate from human ingenuity. As men invent new forms of
      religion now, there is a presumption that others may have done so
      formerly. As all men are essentially human, so we may believe that their
      inventions will be characterised by the virtues and the failings of
      humanity. Again, experience tells us that similarity in thought involves
      similarity in action. Two sportsmen, seeing a hare run off from between
      them, will fire at it so simultaneously that each is unaware that the
      other shot. So a resemblance in religious belief will eventuate in the
      selection of analogous symbolism.
    </p>
    <p>
      We search into emblems with an intention different from that with which we
      inquire into ordinary language. The last tells us of the relationship of
      nations upon Earth, the first of the probable connections of mankind with
      Heaven. The devout Christian believes that all who venerate the Cross may
      hope for a happy eternity, without ever dreaming that the sign of his
      faith is as ancient as Homeric Troy, and was used by the Phoenicians
      probably before the Jews had any existence as a people; whilst an equally
      pious Mahometan regards the Crescent as the passport to the realms of
      bliss, without a thought that the symbol was in use long before the
      Prophet of Allah was born, and amongst those nations which it was the
      Prophet's mission to convert or to destroy. Letters and words mark the
      ordinary current of man's thought, whilst religious symbols show the
      nature of his aspirations. But all have this in common, viz., that they
      may be misunderstood. Many a Brahmin has uttered prayers in a language to
      him unintelligible; and many a Christian uses words in his devotions of
      which he never seeks to know the meaning. "<i>Om manee pani" "Om manee
      padme houm," "Amen" and "Ave Maria purissima</i>" may fairly be placed in
      the same category. In like manner, the signification of an emblem may be
      unknown. The antiquary finds in Lycian coins, and in Aztec ruins, figures
      for which he can frame no meaning; whilst the ordinary church-goer also
      sees, in his place of worship, designs of which none can give him a
      rational explanation. Again, we find that a language may find professed
      interpreters, whose system of exposition is wholly wrong; and the same may
      be said of symbols. I have seen, for example, three distinctly different
      interpretations given to one Assyrian inscription, and have heard as many
      opposite explanations of a particular figure, all of which have been
      incorrect.
    </p>
    <p>
      In the interpretation of unknown languages and symbols, the observer
      gladly allows that much may be wrong; but this does not prevent him
      believing that some may be right. In giving his judgment, he will examine
      as closely as he can into the system adopted by each inquirer, the amount
      of materials at his disposal, and, generally, the acumen which has been
      brought to the task. Perhaps, in an investigation such as we describe, the
      most important ingredient is care in collation and comparison. But a
      scholar can only collate satisfactorily when he has sufficient means, and
      these demand much time and research. The labour requires more time than
      ordinary working folk can command, and more patience than those who have
      leisure are generally disposed to give. Unquestionably, we have as yet had
      few attempts in England to classify and explain ancient and modern
      symbols. It is perhaps not strictly true that there has been so much a
      laxity in the research, of which we here speak, as a dread of making
      public the results of inquiry. Investigators, as a rule, have a respect
      for their own prejudices, and dislike to make known to others a knowledge
      which has brought pain to their own minds. Like the Brahmin of the story,
      they will destroy a fine microscope rather than permit their
      co-religionists to know that they drink living creatures in their water,
      or eat mites in their fruit. The motto of such people is, "If truth is
      disagreeable, cling to error."
    </p>
    <p>
      The following attempts to explain much of ancient and modern symbolism can
      only be regarded as tentative. The various devices contained herein seem
      to me to support the views which I have been led to form from other
      sources, by a careful inquiry into the signification of ancient names, and
      the examination of ancient faiths. The figures were originally intended as
      corroborative of evidence drawn from numerous ancient and modern writings;
      and the idea of collecting them, and, as it were, making them speak for
      themselves, has been an after-thought. In the following pages I have
      simply reprinted the figures, etc., which appear in <i>Ancient Faiths
      embodied in Ancient Names</i> (second edition). I make no attempt to
      exhaust the subject. There are hundreds of emblems which find herein no
      place; and there are explanations of symbols current to which I make no
      reference, for they are simply <i>exoteric</i>.
    </p>
    <p>
      For the benefit of many of my readers, I must explain the meaning of the
      last word italicised. In most, if not in all, forms of religion, there are
      tenets not generally imparted to the vulgar, and only given to a select
      few under the seal of secrecy. A similar reticence exists in common life.
      There are secrets kept from children, for example, that are commonly known
      to all parents; there are <i>arcana</i>, familiar to doctors, of which
      patients have no idea. For example, when a lad innocently asks the family
      surgeon, or his parent, where the last new baby came from, he is put off
      with a reply, wide of the mark, yet sufficient for him. When I put such a
      question to the maids in the kitchen, to which place for a time I was
      relegated, the first answer was that the baby came from the parsley bed.
      On hearing this, I went into the garden, and, finding the bed had been
      unmoved, came back and reproached my informant for falsehood. Another then
      took up the word, and said it was the carrot bed which the baby came from.
      As a roar of laughter followed this remark, I felt that I was being
      cheated, and asked no more questions. Then I could not, now I can,
      understand the <i>esoteric</i> sense of the sayings. They had to the
      servants two distinct significations. The only one which I could then
      comprehend was <i>exoteric</i>; that which was known to my elders was the
      <i>esoteric</i> meaning. In what is called "religion" there has been a
      similar distinction. We see this, not only in the "mysteries" of Greece
      and Rome, but amongst the Jews; Esdras stating the following as a command
      from God, "Some things shalt thou publish, and some things shalt thou show
      secretly to the wise" (2 Esdras xv. 26).
    </p>
    <p>
      When there exist two distinct explanations, or statements, about the
      signification of an emblem, the one "esoteric," true, and known only to
      the few, the other "exoteric," incorrect, and known to the many, it is
      clear that a time may come when the first may be lost, and the last alone
      remain. As an illustration, we can point to the original and correct
      pronunciation of the word [&mdash;Hebrew&mdash;], commonly pronounced
      Jehovah. Known only to a select few, it became lost when these died
      without imparting it; yet what is considered to be the incorrect method of
      pronouncing the word survives until to-day.*
    </p>
<pre xml:space="preserve">
     * It is supposed by some that Jahveh is the proper
     pronunciation of this word, but as the first letter may
     represent, ja, ya, or e, and the third u, v, or o, whilst
     the second and fourth are the soft h, one may read the word
     Jhuh, analogous to the Ju in Jupiter; Jehu, the name of a
     king of Israel; Tahu as it is read on Assyrian inscriptions;
     Jeho, as in Jehoshaphat; Ehoh, analogous to the Evoe or Ewe
     associated with Bacchus; and Jaho, analogous to the J. A. O.
     of the Gnostics. The Greek "Fathers" give the word as if
     equivalent to yave, yaoh, yeho, and too.
</pre>
    <p>
      But the question is not how the word may be pronounced, but how it was
      expressed in sound when used in religion by the Hebrew and other Semitic
      nations, amongst whom it was a sacred secret, or ineffable name, not
      lightly to be "taken in vain."&mdash;&mdash;&mdash;
    </p>
    <p>
      We may fairly assume that, when two such meanings exist, they are not
      identical, and that the one most commonly received is not the correct one.
      But when one alone is known to exist, it becomes a question whether
      another should be sought. If, it may be asked, the common people are
      contented with a fable, believing it true, why seek to enlighten them upon
      its hidden meaning? To show the bearing of this subject, let us notice
      what has always struck me as remarkable. The second commandment declares
      to the Jews, "Thou shalt not make unto thee any graven image, or any
      likeness of anything that is in heaven above, or that is in the earth
      beneath, or that is in the water under the earth; thou shalt not bow down
      thyself to them," etc. (Exod. xx. 4). Yet we find, in Numbers xxi., that
      Jehovah ordered Moses to frame a brazen serpent, whose power was so
      miraculous that those who only looked at it were cured of the evils
      inflicted by thanatoid snakes.
    </p>
    <p>
      Then again, in the temple of the God who is reported to have thus spoken,
      and who is also said to have declared that He would dwell in the house
      that Solomon made for Him, an ark, or box, was worshipped, and over it
      Cherubim were seen. These were likenesses of something, and the first was
      worshipped. We find it described as being so sacred that death once
      followed a profane touching of it (2 Sam. vi. 6, 7), and no fewer than
      50,070 people were done to death at Bethshemesh because somebody had
      ventured to look inside the box, and had tried to search into the mystery
      contained therein (1 Sam. vi. 19). It is curious that the Philistines, who
      must have touched the box to put their strange offerings beside it (see 1
      Sam. vi. 8), were not particularly bothered. They were "profane"; and
      priests only invent stories, which are applicable to the arcana which they
      use in worship, to blind the eyes of and give a holy horror to the people
      whom they govern. How David worshipped the ark as being the representative
      of God we see in 2 Sam. vi. 14, 16, 17, 21.
    </p>
    <p>
      The ark of the covenant was indeed regarded by the Jews much as a saint's
      toe-nail, a crucifix, an image of the Virgin, a bit of wood, or a rusty
      old nail is by the Roman Catholics. So flagrant an apparent breach of the
      second commandment was covered for the common Hebrews by the assertion
      that the mysterious box was a token of God's covenant with His people; but
      that this statement was "exoteric," we feel sure, when we find a similar
      ark existing and used in "the mysteries" of Egypt and Greece, amongst
      people who probably never heard of Jews, and could by no chance know what
      passed in the Hebrew temple.
    </p>
    <p>
      When become dissatisfied with a statement, which is evidently intended to
      be a blind, some individuals naturally endeavour to ascertain what is
      behind the curtain. In this they resemble the brave boy, who rushes upon a
      sheet and turnip lantern, which has imposed upon his companions and passed
      for a ghost. What is a bugbear to the many is often a contemptible reptile
      to the few. Yet there are a great number who would rather run from a
      phantom night after night than grapple with it once, and would dissuade
      others from being bold enough to encounter it. Nevertheless, even the
      former rejoice when the cheat is exposed.
    </p>
    <p>
      As when, by some courageous hand, that which has been mistaken by hundreds
      for a spectre has been demonstrated to be a crafty man, no one would
      endeavour to demonstrate the reality of ghosts by referring to the many
      scores of men of all ranks who had been duped by the apparition thus
      detected; so, in like manner, when the falsehood of an exoteric story is
      exhibited, it is no argument in its favour that the vulgar in thousands
      and many a wise man have believed it. Speaking metaphorically, we have
      many such ghosts amongst ourselves; phantoms, which pass for powerful
      giants, but are in reality perfect shams. Such we may describe by
      comparing them to the apocryphal vampires. It is to me a melancholy thing
      to contemplate the manner in which mankind have, in every age and nation,
      made for themselves bugbears, and then have felt fear at them. We deride
      the African, who manufactures a Fetish, and then trembles at its power,
      but the learned know perfectly well that men made the devil, whom the
      pious fear, just as a negro dreads Mumbo Jumbo.
    </p>
    <p>
      In the fictitious narratives which passed for truth in the dark ages of
      Christianity, there were accounts of individuals who died and were buried,
      and who, after a brief repose in the tomb, rose again. Some imagined that
      the resuscitated being was the identical one who had been interred. Others
      believed that some evil spirit had appropriated the body, and restored to
      it apparent vitality. Whatever the fiction was, the statement remained
      unchallenged, that some dead folk returned to earth, having the same guise
      as when they quitted it. We believe that a similar occurrence has taken
      place in religion. Heathendom died, and was buried; yet, after a brief
      interval, it rose again from its tomb. But, unlike the vampire, its garb
      was changed, and it was not recognised. It moved through Christendom in a
      seductive dress. If it were a devil, yet its clothing was that of a sheep;
      if a wolf, it wore broadcloth. If it ravened, the victims were not pitied.
      Heathenism, by which I mean the manners, morals and rites prevalent in
      pagan times or countries, like a resuscitated vampire, once bore rule
      throughout Christendom, in which term is included all those parts where
      Christian baptism is used by all the people, or the vast majority. In most
      parts it still reigns supreme.
    </p>
    <p>
      When vampires were discovered by the acumen of any observer, they were, we
      are told, ignominiously killed, by a stake being driven through the body;
      but experience showed them to have such tenacity of life that they rose
      again, and again, notwithstanding renewed impalement, and were not
      ultimately laid to rest till wholly burnt. In like manner, the regenerated
      Heathendom, which dominates over the followers of Jesus of Nazareth, has
      risen again and again, after being transfixed. Still cherished by the
      many, it is denounced by the few. Amongst other accusers, I raise my voice
      against the Paganism which exists so extensively in ecclesiastical
      Christianity, and will do my utmost to expose the imposture.
    </p>
    <p>
      In a vampire story, told in <i>Thalaba</i>, by Southey, the resuscitated
      being takes the form of a dearly beloved maiden, and the hero is obliged
      to kill her with his own hand. He does so; but, whilst he strikes the form
      of the loved one, he feels sure that he slays only a demon. In like
      manner, when I endeavour to destroy the current Heathenism, which has
      assumed the garb of Christianity, I do not attack real religion. Few would
      accuse a workman of malignancy who cleanses from filth the surface of a
      noble statue. There may be some who are too nice to touch a nasty subject;
      yet even they will rejoice when some one else removes the dirt. Such a
      scavenger is much wanted.
    </p>
    <p>
      If I were to assert, as a general proposition, that religion does not
      require any symbolism, I should probably win assent from every true Scotch
      Presbyterian, every Wesleyan, and every Independent. Yet I should be
      opposed by every Papist, and by most Anglican Churchmen. But why? Is it
      not because their ecclesiastics have adopted symbolism into their churches
      and into their ritual? They have broken the second commandment of Jehovah,
      and refuse to see anything wrong in their practice or gross in their
      imagery. But they adopt Jehovah rather than Elohim, and break the
      commandments, said to be given upon Sinai, in good company.
    </p>
    <p>
      The reader of the following pages will probably feel more interest therein
      if he has some clue whereby he may guide himself through their labyrinth.
    </p>
    <p>
      From the earliest known times there seems to have been in every civilised
      nation the idea of an unseen power. In the speculations of thoughtful
      minds a necessity is recognised for the existence of a Being who made all
      things&mdash;who is at times beneficent, sending rain and warmth, and who
      at others sends storm, plague, famine, and war. After the crude idea has
      taken possession of the thoughts, there has been a desire to know
      something more of this Creator, and an examination into the works of
      Nature has been made with the view to ascertain the will and designs of
      the Supreme. In every country this great One has been supposed to inhabit
      the heaven above us, and consequently all celestial phenomena have been
      noticed carefully. But the mind soon got weary of contemplating about an
      essence, and, contenting itself with the belief that there was a Power,
      began to investigate the nature of His ministers. These, amongst the
      Aryans, were the sun, fire, storm, wind, the sky, the day, night, etc. An
      intoxicating drink, too, was regarded as an emanation from the Supreme.
      With this form of belief men lived as they had done ere it existed, and in
      their relations with each other may be compared to such high class animals
      as elephants. Men can live peaceably together without religion, just as do
      the bisons, buffaloes, antelopes, and even wolves. The assumption that
      some form of faith is absolutely a necessity for man is only founded on
      the fancies of some religious fanatics who know little of the world.*
    </p>
<pre xml:space="preserve">
     * Whilst these sheets were passing through the press, there
     appeared a work, published anonymously, but reported to be
     by one of the most esteemed theologians who ever sat upon an
     episcopal bench. It is entitled Supernatural Religion.
     London: Longmans, 1874. From it we quote the following, vol.
     ii., p. 489:&mdash;

     "We gain infinitely more than we lose in abandoning belief
     in the reality of Divine Revelation. Whilst we retain pure
     and unimpaired the treasure of Christian Morality, we
     relinquish nothing but the debasing elements added to it by
     human superstition. We are no longer bound to believe a
     theology which outrages reason and moral sense. We are freed
     from base anthropomorphic views of God and His government of
     the universe; and from Jewish Mythology we rise to higher
     conceptions of an infinitely wise and beneficent Being,
     hidden from our finite minds, it is true, in the
     impenetrable glory of Divinity, but whose Laws of wondrous
     comprehensiveness and perfection we ever perceive in
     operation around us. We are no longer disturbed by visions
     of fitful interference with the order of Nature, but we
     recognise that the Being who regulates the universe is
     without variableness or shadow of turning. It is singular
     how little there is in the supposed Revelation of alleged
     information, however incredible, regarding that which is
     beyond the limits of human thought, but that little is of a
     character which reason declares to be the wildest delusion.
     Let no man whose belief in the reality of a Divine
     Revelation may be destroyed by such an inquiry complain that
     he has lost a precious possession, and that nothing is left
     but a blank. The Revelation not being a reality, that which
     he has lost was but an illusion, and that which is left is
     the Truth. If he be content with illusions, he will speedily
     be consoled; if he be a lover only of truth, instead of a
     blank, he will recognise that the reality before him is full
     of great peace.

     "If we know less than we have supposed of man's destiny, we
     may at least rejoice that we are no longer compelled to
     believe that which is unworthy. The limits of thought once
     attained, we may well be unmoved in the assurance that all
     that we do know of the regulation of the universe being so
     perfect and wise, all that we do not know must be equally
     so. Here enters the true and noble Faith&mdash;which is the child
     of reason. If we have believed a system, the details of
     which must at one time or another have shocked the mind of
     every intelligent man, and believed it simply because it was
     supposed to be revealed, we may equally believe in the
     wisdom and goodness of what is not revealed. The mere act of
     communication to us is nothing: Faith in the perfect
     ordering of all things is independent of Revelation.

     "The argument so often employed by Theologians that Divine
     Revelation is necessary for man, and that certain views
     contained in that Revelation are required by our moral
     consciousness, is purely imaginary, and derived from the
     Revelation which it seeks to maintain. The only thing
     absolutely necessary for man is Truth and to that, and that
     alone, must our moral consciousness adapt itself."
</pre>
    <p>
      But as there is variety in the workings of the human mind, so there were
      differences in the way wherein the religious idea was carried out. Some
      regarded the sun and moon, the constellations and the planets, as
      ministers of the unseen One, and, reasoning from what was known to what
      was unknown, argued thus: "Throughout nature there seems to be a dualism.
      In the sky there are a sun and moon; there are also sun and earth, earth
      and sea. In every set of animals there are males and females." An inquiry
      into the influence of the sun brought out the facts that by themselves its
      beams were destructive; they were only beneficent when the earth was moist
      with rain. As the rain from heaven, then, caused things on earth to grow,
      it was natural that the main source of light and heat should be regarded
      as a male, and the earth as a female. As a male, the sun was supposed to
      have the emblems of virility, and a spouse whom he impregnated, and who
      thereby became fertile.
    </p>
    <p>
      In examining ancient Jewish, Phoenician, and other Shemitic cognomens, I
      found that they consisted of a divine name and some attribute of the
      deity, and that the last was generally referable equally to the Supreme,
      to the Sun, as a god, and to the masculine emblem. If the deity was a
      female, the name of her votary contained a reference to the moon and the
      beauties or functions of women. The higher ideas of the Creator were held
      only by a few, the many adopted a lower and more debased view. In this
      manner the sun became a chief god and the moon his partner, and the former
      being supposed to be male and the latter female, both became associated
      with the ideas which all have of terrestrial animals. Consequently the
      solar deity was associated in symbolism with masculine and the moon with
      feminine emblems.
    </p>
    <p>
      An inquiry into antiquity, as represented by Babylonians, Assyrians,
      Egyptians, Phoenicians, Hebrews, Greeks, Etruscans, Romans, and others,
      and into modern faiths still current, as represented in the peninsula of
      India, in the Lebanon, and elsewhere, shows that ideas of sex have been
      very generally associated with that of creation. God has been described as
      a king, or as a queen, or as both united. As monarch, he is supposed to be
      man, or woman, or both. As man differs from woman in certain
      peculiarities, these very means of distinction have been incorporated into
      the worship of god and goddess. Rival sects have been ranged in ancient
      times under the symbol of the T and the O as in later times they are under the
      cross and the crescent. The worship of God the Father has repeatedly
      clashed with that of God the Mother, and the votaries of each respectively
      have worn badges characteristic of the sex of their deity. An illustration
      of this is to be seen amongst ourselves; one sect of Christians adoring
      chiefly the Trinity, another reverencing the Virgin. There is a well-known
      picture, indeed, of Mary worshipping her infant; and to the former is
      given the title <i>Mater Creatoris</i>, "the mother of the Creator." Our
      sexual sections are as well marked as those in ancient Jerusalem, which
      swore by Jehovah and Ashtoreth respectively.
    </p>
    <p>
      The idea of sexuality in religion is quite compatible with a ritual and
      practice of an elaborate character, and a depth of piety which prefers
      starvation to impurity, or, as the Bible has it, to uncleanness. To eat
      "with the blood" was amongst the Hebrews a crime worthy of death; to eat
      with unwashed hands was a dreadful offence in the eyes of the Pharisees of
      Jerusalem; and in the recent famine in Bengal, we have seen that
      individuals would rather die of absolute hunger, and allow their children
      to perish too, than eat bread or rice which may have been touched by
      profane hands, or drink milk that had been expressed by British milkmaids
      from cows' udders. Yet these same Hindoos, the very particular sect of the
      Brahmins, have amongst themselves a form of worship which to our ideas is
      incompatible with real religion. The folks referred to adore the Creator,
      and respect their ceremonial law even more deeply, than did the Hebrews
      after the time of the Babylonish captivity; but they have a secret cult in
      which&mdash;and in the most, matter-of-fact way&mdash;they pay a very
      practical homage to one or other of the parts which is thought by the
      worshipper to be a mundane emblem of the Creator.
    </p>
    <p>
      The curious will find in <i>Essays on the Religion of the Hindus</i>, by
      H. H. Wilson, in the <i>Dabistan</i>, translated by Shea and Troyer (Allen
      and Co., London), 3 vols., 8vo., and in <i>Memoirs of the Anthropological
      Society of London</i> (Trübner and Co.), vols. 1 and 2, much information
      on the method of conducting the worship referred to. The first named
      author thinks it advisable to leave the Brahminic "rubric" for the "Sakti
      Sodhana," for the most part under the veil of the original Sanscrit, and I
      am not disposed wholly to withdraw it.
    </p>
    <p>
      But Christians are not pure; some of my readers may have seen a work
      written by an Italian lady of high birth, who was in early life forced
      into a nunnery, and who left it as soon as she had a chance. In her
      account she tells us how the women in the monastery were seduced by
      reverend Fathers, who were at one time the instruments of vice, at another
      the guides to penitence. Their practice was to instruct their victims that
      whatever was said or done must be accompanied by a pious sentence. Thus,
      "I love you dearly" was a profane expression; but "I desire your company
      in the name of Jesus," and "I embrace in you the Holy Virgin," were
      orthodox. In like manner, the Hindus have prayers prescribed for their
      use, when the parts are to be purified prior to proceeding to extremities,
      when they are introduced to each other, in the agitation which follows,
      and when the ceremony is completed. Everything is done, as Ritualists
      would say, decently and in order; and a pious orgie, sanctified by
      prayers, cannot be worse than the penance ordained by some "confessors" to
      those faithful damsels whose minds are plastic enough to believe that a
      priest is an embodiment of the Holy Ghost, and that they become
      assimilated to the Blessed Virgin when they are overshadowed by the power
      of the Highest (Luke i. 85).
    </p>
    <p>
      There being, then, in "religion" a strong sensual element, ingenuity has
      been exercised to a wonderful extent in the contrivance of designs, nearly
      or remotely significant of this idea, or rather union of the conceptions
      to which we have referred. Jupiter is a Proteus in form; now a man, now a
      bull, now a swan, now an androgyne. Juno, or her equivalent, is sometimes
      a woman, occasionally a lioness, and at times a cow. All conceivable
      attributes of man and woman were symbolised; and gods were called by the
      names of power, love, anger, desire, revenge, fortune, etc. Everything in
      creation that resembled in any way the presumed Creator, whether in name,
      in character, or in shape, was supposed to represent the deity. Hence a
      palm tree was a religious emblem, because it is long, erect, and round; an
      oak, for it is hard and firm; a fig-tree, because its leaves resemble the
      male triad. The ivy was sacred from a similar cause. A myrtle was also a
      type, but of the female, because its leaf is a close representation of the
      <i>vesica piscis</i>. Everything, indeed, which in any way resembles the
      characteristic organs of man and woman, became symbolic of the one or the
      other deity, Jupiter or Juno, Jehovah or Astarte, the Father or the
      Virgin. Sometimes, but very rarely, the parts in question were depicted <i>au
      naturel</i>, and the means by which creation is effected became the
      mundane emblem of the Almighty; and two huge phalli were seen before a
      temple, as we now see towers or spires before our churches, and minarets
      before mosques. (Lucian, <i>Dea Syria</i>.)
    </p>
    <p>
      Generally, however, it was considered the most correct plan to represent
      the organs by some conventional form, understood by the initiated, but not
      by the unlearned. Whatever was upright, and longer than broad, became
      symbolic of the father; whilst that which was hollow, cavernous, oval, or
      circular, symbolised the mother. A sword, spear, arrow, dart, battering
      ram, spade, ship's prow, anything indeed intended to pierce into something
      else was emblematic of the male; whilst the female was symbolised as a
      door, a hole, a sheath, a target, a shield, a field, anything indeed which
      was to be entered. The Hebrew names sufficiently indicate the plan upon
      which the sexes were distinguished; the one is a <i>zachar</i>, a
      perforator or digger, and the other <i>nekebah</i>, a hole or trench, i,
      e. male and female.
    </p>
    <p>
      These symbols were not necessarily those of religious belief. They might
      indicate war, heroism, prowess, royalty, command, etc., or be nothing more
      than they really were. They only symbolised the Creator when they were
      adopted into religion. Again, there was a still farther refinement; and
      advantage was taken of the fact, that one symbol was tripliform, the other
      single; one of one shape, and the other different. Consequently, a
      triangle, or three things, arranged so that one should stand above the
      two, became emblematic of the Father, whilst an unit symbolised the
      Mother.
    </p>
    <p>
      These last three sentences deserve close attention, for some individuals
      have, in somewhat of a senseless fashion, objected, that a person who can
      see in a tortoise an emblem of the male, and in a horse-shoe an effigy of
      the female organ, must be quite too fantastical to deserve notice. But to
      me, as to other inquirers, these things are simply what they appear to be
      when they are seen in common life. Yet when the former creature occupies a
      large space in mythology; when the Hindoo places it as the being upon
      which the world stands, and the Greeks represent one Venus as resting upon
      a tortoise and another on a goat; and when one knows that in days gone by,
      in which people were less refined, the [&mdash;Greek&mdash;] was displayed
      where the horse-shoe is now, and that some curiously mysterious attributes
      were assigned to the part in question; we cannot refuse to see the thing
      signified in the sign.
    </p>
    <p>
      Again, inasmuch as what we may call the most prominent part of the
      tripliform organ was naturally changeable in character, being at one time
      soft, small, and pendent, and at another hard, large, and upright, those
      animals that resembled it in these respects became symbolical. Two
      serpents, therefore, one Indian, and the other Egyptian, both of which are
      able to distend their heads and necks, and to raise them up erect, were
      emblematic, and each in its respective country typified the father, the
      great Creator. In like manner, another portion of the triad was regarded
      as similar in shape and size to the common hen's egg. As the celebrated
      physiologist, Haller, remarked, "<i>Omne vivum ex ovo</i>" every living
      thing comes from an egg; so more ancient biologists recognised that the
      dual part of the tripliform organ was as essential to the creation of a
      new being as the central pillar. Hence an egg and a serpent became a
      characteristic of "the Father," El, Ab, Ach, Baal, Asher, Melech, Adonai,
      Jahu, etc. When to this was added a half moon, as in certain Tyrian coins,
      the trinity and unity were symbolised, and a faith expressed like the one
      held in modern Rome, that the mother of creation is co-equal with the
      father; the one seduces by her charms, and the other makes them fructify.
    </p>
    <p>
      To the Englishman, who, as a rule, avoids talking upon the subject which
      forms the basis of many an ancient religion, it may seem incredible that
      any individual, or set of writers, could have exercised their ingenuity in
      finding circumlocutory euphemisms for things which, though natural, are
      rarely named. Yet the wonder ceases when we find, in the writings of our
      lively neighbours, the French, a host of words intended to describe the
      parts referred to, which correspond wholly with the pictorial emblems
      adopted by the Greeks and others.
    </p>
    <p>
      As English writers have, as a rule, systematically avoided making any
      distinct reference to the sexual ideas embodied in ancient Paganism, so
      they have, by their silence, encouraged the formation of a school of
      theology which has no solid foundation, except a very animal one. As each
      individual finds out this for himself, it becomes a question with him how
      far the information shall be imparted to others. So rarely has the
      determination to accuse the vampire been taken, that we can point to very
      few English books to which to refer our readers. We do not know one such
      that is easily accessible; K. Payne Knight's work, and the addition
      thereto, having been privately printed, is not often to be found in the
      market. To give a list of the foreign works which the author has
      consulted, prior to and during the composition of his book on Ancient
      Faiths, would be almost equivalent to giving a catalogue of part of his
      library. He may, however, indicate the name of one work which is unusually
      valuable for reference, viz., <i>Histoire abrégée des Differens Cultes</i>,
      par J. A. Dulaure, 2 vols., small 8vo., Paris, 1825. Though out of print,
      copies can generally be procured through second-hand booksellers. Another
      work, <i>'Récherches sur les Mystères de Paganisme</i>, by St. Croix, is
      equally valuable, but it is very difficult to procure a copy.
    </p>
    <p>
      The ancient Jews formed no exception to the general law of reverence for
      the male emblem of the Creator; and though we would, from their
      pretensions to be the chosen people of God, gladly find them exempt from
      what we consider to be impurities, we are constrained to believe that,
      even in the worship of Jehovah, more respect was given to the symbol than
      we, living in modern times, think that it deserves. In their Scriptures we
      read of Noah, whose infirm temper seems to have been on a par with his
      weakness for wine, cursing one of his three sons because, whilst drunk, he
      had negligently exposed his person, and the young man had thought the
      sight an amusing one. Ham had no reverence for the symbol of the Creator,
      but Shem and Japhet had, and covered it with a veil as respectfully as if
      it had been the ineffable framer of the world (Gen. ix. 21-27). As our
      feelings of propriety induce us to think that the father was a far greater
      sinner than the son, we rejoice to know that the causeless curse never
      fell, and that Ham, in the lands of Canaan, Assyria, and Babylonia, and
      subsequently in Carthaginian Spain, were the masters of those Hebrews,
      whose main force, in old times, lay in impotent scoldings, such, as
      Shakespeare puts into the mouth of Caliban.
    </p>
    <p>
      One of the best proofs of the strong sexual element which existed in the
      religion of the Jews is the fact that Elohim, one of the names of the
      Creator amongst the Hebrews, is represented, Gen. xvii. 10-14, as making
      circumcision a sign of his covenant with the seed of Abraham; and in order
      to ascertain whether a man was to be regarded as being in the covenant,
      God is supposed to have looked at the state of the virile organ, or&mdash;as
      the Scripture has it&mdash;of the hill of the foreskin. We find, indeed,
      that Jehovah was quite as particular, and examined a male quite as closely
      as Elohim: for when Moses and Zipporah were on their way from Midian to
      Egypt, Exod. iv. 24, Jehovah having looked at the "trinity" of Moses' son,
      and having found it as perfect as when the lad was born, sought to slay
      him, and would have done so unless the mother had mutilated the organ
      according to the sacred pattern. Again, we find in Josh. v. 2, and in the
      following verses, that Jehovah insisted upon all the Hebrew males having
      their virile member in the covenant condition ere they went to attack the
      Canaanites. We cannot suppose that any scribe could dwell so much as
      almost every scriptural writer does upon the subject of circumcision, had
      not the masculine emblem been held in religious veneration amongst the
      Jewish nation.
    </p>
    <p>
      But the David who leaped and danced, obscenely as we should say, before
      the ark&mdash;an emblem of the female creator&mdash;who purchased his wife
      from her royal father by mutilating a hundred Philistines, and presenting
      the foreskins which he had cut off therefrom "in full tale" to the king (1
      Sam. xviii. 27, 2 Sam. iii. 14), who was once the captain of a monarch who
      thought it a shame beyond endurance to be abused, tortured, or slain by
      men whose persons were in a natural condition (1 Sam. xxxi. 4), and who
      imagined that he, although a stripling, could conquer a giant, because the
      one had a sanctified and the other a natural member&mdash;is the man whom
      we know as the author of Psalms with which Christians still refresh their
      minds and comfort their souls. The king who, even in his old age, was
      supposed to think so much of women that his courtiers sought a lovely
      damsel as a comfort for his dying bed, is believed to have been the author
      of the noble nineteenth Psalm, and a number of others full of holy
      aspirations. It is clear, then, that sexual ideas on religion are not
      incompatible with a desire to be holy. The two were co-existent in
      Palestine; they are equally so in Bengal.
    </p>
    <p>
      We next find that Abraham, the cherished man of God, the honoured
      patriarch of the Jews, makes his servant lay his hand upon the master's
      member, whilst he takes an oath to do his bidding, precisely like a more
      modern Palestinian might do; and Jacob does the same with Joseph. See Gen.
      xxiv. 8, and xlvii. 29.
    </p>
    <p>
      As it is not generally known that the expression, "under my thigh," is a
      euphemism for the words, "upon the symbol of the Creator," I may point to
      two or three other passages in which the <i>thigh</i> (translated in the
      authorised version <i>loins</i>) is used periphrastically: Genesis xxxv.
      2, xlvi. 26; Exod. i. 5. See Ginsburg, in Kitto's <i>Biblical Cyclopadia</i>,
      vol. 8, p. 848, 8. v. Oath.
    </p>
    <p>
      I have on two occasions read, although I failed to make a note of it, that
      an Arab, during the Franco-Egyptian war, when accused by General Kleber of
      treachery, not only vehemently denied it, but when he saw himself still
      distrusted, he uncovered himself before the whole military staff, and
      swore upon his trinity that he was guiltless. In the Lebanon, once in each
      year, every female considers it her duty to salute with her lips the
      reverenced organ of the Old Sheik.
    </p>
    <p>
      Again we learn, from Deut. xxiii. 1, that any unsanctified mutilation of
      this part positively entailed expulsion from the congregation of the Lord.
      Even a priest of the house of Aaron could not minister, as such, if his
      masculinity had been in any way impaired (Lev. xxi. 20); and report says
      that, in our Christian times, Popes have to be privately perfect; see also
      Deut. xxv. 11, 12. Moreover, the inquirer finds that the Jewish Scriptures
      teem with promises of abundant offspring to those who were the favourites
      of Jehovah; and Solomon, the most glorious of their monarchs, is described
      as if he were a Hercules amongst the daughters of Thespius. Nothing can
      indicate the licentiousness of the inhabitants of Jerusalem more clearly
      than the writings of Ezekiel.* If, then, in Hebrew law and practice, we
      find such a strong infusion of the sexual element, we cannot be surprised
      if it should be found elsewhere, and gradually influence Christianity.
    </p>
<pre xml:space="preserve">
     * See Ezekiel xxii. 1-30, and compare Jerem. v. 7, 8.
</pre>
    <p>
      We must next notice the fact, that what we call impurity in religious
      tenets does not necessarily involve indecency in practice. The ancient
      Romans, in the time of the early kings, seem to have been as proper as
      early Christian maidens. It is true that, in the declining days of the
      empire, exhibitions that called forth the fierce denunciations of the
      fathers of the Church took place; but we find very similar occurrences in
      modern Christian capitals. In Spartan days, chastity and honesty were not
      virtues, but drunkenness was a vice. In Christian England, drunkenness is
      general, and we cannot pride ourselves upon universal honesty and
      chastity. It is not the national belief, but the national practice, which
      evidences a people's worth. Spain and Ireland, called respectively
      "Catholic" and "the land of saints," cannot boast of equality with
      "infidel" France and "free-thinking" Prussia. England will be as earnest,
      as upright, and as civilised, when she has abandoned the heathen elements
      in her religion, as when she hugs them as if necessary to her spiritual
      welfare. Attachment to the good parts of religion is wholly distinct from
      a close embrace of the bad ones; and we believe he deserves best of his
      country who endeavours to remove every possible source of discord. None
      can doubt the value of the order, "Do to others as you would wish others
      to do to you." If all unite to carry this out, small differences of
      opinion may at once be sunk. How worthless are many of the dogmas that
      people now fight about, the following pages will show.
    </p>
    <p>
      In our larger work we have endeavoured to show that there may be a deep
      sense of religion, a feeling of personal responsibility, so keen as to
      influence every act of life, without there being a single symbol used. The
      earnest Sakya Muni, or Buddha, never used anything as a sacred emblem; nor
      did Jesus, who followed him, and perhaps unconsciously propagated the
      Indian's doctrine. When the Apostles were sent out to teach and preach,
      they were not told to carry out any form of ark or crucifix. To them the
      doctrine of the Trinity was unknown, and not one of them had any
      particular reverence for her whom we call the Virgin Mary, who, if she was
      '<i>virgo intacta</i>' when Jesus was born, was certainly different when
      she bore his brothers. Paul and Peter, though said to be the fathers of
      the Roman Church, never used or recommended the faithful to procure for
      themselves "a cross" as an aid to memory. The early Christians recognised
      each other by their deeds, and never had, like the Jews, to prove that
      they were in covenant with God, by putting a mutilated part of their body
      into full view. We, with the Society of Friends, prefer primitive to
      modern Christianity.
    </p>
    <p>
      In the following pages the author has felt himself obliged to make use of
      words which are probably only known to those who are more or less
      "scholars." He has to treat of parts of the human body, and acts which
      occur habitually in the world, which in modern times are never referred to
      in polite society, but which, in the period when the Old Testament was
      written, were spoken of as freely as we now talk of our hands and feet. In
      those days, everything which was common was spoken of without shame, and
      that which occurred throughout creation, and was seen by every one, was as
      much the subject of conversation as eating and drinking is now. The
      Hebrew-writers were extremely coarse in their diction, and although this
      has been softened down by subsequent redactors, much which is in our
      modern judgment improper still remains. For example, where we simply
      indicate the sex, the Jewish historians used the word which was given to
      the symbol by which male and female are known; for example, in Gen. i. 27,
      and v. 2, and in a host of other places, the masculine and feminine are
      spoken of as <i>zachar</i> and <i>nekebah</i>, which is best translated as
      "borers" and "bored." Another equally vulgar way of describing men is to
      be found in 1 Kings xiv. 10. But these observations would not serve us
      much in symbolism did we not know that they were associated with certain
      euphemisms by which when one thing is said another is intended; for an
      illustration let us take Isaiah vii. 20, and ask what is meant by the
      phrase, "the hair of the feet"? It is certain that the feet are never
      hairy, and consequently can never be shaved. Again, when we find in Gen.
      xlix. 10, "the sceptre shall not depart from Judah, nor a lawgiver from
      between his feet," and compare this with Deut. xxviii. 57, and 2 Kings
      xviii. 27, where the words are, in the original, "the water of their
      feet," it is clear that symbolic language is used to express something
      which, if put into the vernacular, would be objectionable to ears polite.
      Again, in Genesis xxiv. 2 and xlvii. 29, and in Heb. xi. 21, it is well
      known to scholars that the word "thigh" and "staff" are euphemisms to
      express that part which represents the male. In Deut. xxiii. 1, we have
      evidence, as in the last three verses quoted, of the sanctity of the part
      referred to, but the language is less refined. Now-a-days our ears are not
      attuned to the rough music which pleased our ancestors, and we have to use
      veiled language to express certain matters. In the following pages, the
      words which I select are drawn from the Latin, Greek, Sanscrit, Shemitic,
      or Egyptian. Hea, Ann, and Asher replace the parts referred to in Deut.
      xxiii. 1; Osiris, Asher, Linga, Mahadeva, Siva, Priapus, Phallus, etc.,
      represent the Hebrew <i>zachar </i>; whilst Isis, Parvati, Yoni, Sacti,
      Astarte, Ishtar, etc., replace the Jewish <i>nekebah</i>. The junction of
      these parts is spoken of as Ashtoreth, Baalim, Elohim, the trinity and
      unity, the androgyne deity, the arba, or mystic four, and the like.
    </p>
    <p>
      I will only add, that what I refer to has long been known to almost every
      scholar except English ones. Of these a few are learned; but for a long
      period they have systematically refrained from speaking plainly, and have
      written in such a manner as to be guilty not only of <i>suppressio veri</i>
      but of <i>suggestio falsi</i>.
    </p>
    <p>
      After reading thus far, I can imagine many a person saying with
      astonishment, "Are these things so?" and following up his thoughts by
      wondering what style of persons they were, or are, who could introduce
      into religion such matters as those of which we have treated.
    </p>
    <p>
      In reply, I can only say that I have nothing extenuated, and set down
      nought in malice. But the first clause of the assertion requires
      modification, for in this volume there are many things omitted which I
      have referred to at length in my larger work. In that I have shown, not
      only that religious fornication existed in ancient Babylon, but that there
      is reason to believe that it existed also in Palestine. The word [&mdash;Hebrew&mdash;]
      <i>Kadesh</i>, which signifies "pure, bright, young, to be holy, or to be
      consecrated," is also the root from which are formed the words <i>Kadeshah</i>
      and <i>Kadeshim</i>, which are used in the Hebrew writings, and are
      translated in our authorised version "whore" and "sodomite." See Bent,
      xxiii. 17.
    </p>
    <p>
      Athanasius tells us something of this as regards the Phoenicians, for he
      says, (<i>Oratio Contr. Gent</i>., part i., p. 24.) "Formerly, it is
      certain that Phoenician women prostituted themselves before their idols,
      offering their bodies to their gods in the place of first fruits, being
      persuaded that they pleased the goddess by that means, and made her
      propitious to them."
    </p>
    <p>
      Strabo mentions a similar occurrence at Comana, in Pontus, book xiii., c.
      iii. p. 86&mdash;and notices that an enormous number of women were
      consecrated to the use of worshippers in the temple of Venus at Corinth.
    </p>
    <p>
      Such women exist in India, and the priests of certain temples do
      everything in their power to select the loveliest of the sex, and to
      educate them so highly as to be attractive.
    </p>
    <p>
      The customs which existed in other places seem to have been known in
      Jerusalem, as we find in 1 Kings xiv. 24., XV. 12, that <i>Kadeshim</i>
      were common in Judea, and in 2 Kings xxiii. 7, we discover that these
      "consecrated ones" were located "by the temple," and were associated with
      women whose business was "to make hangings for the grove." What these
      tissues were and what use was made of them will be seen in Ezekiel xvi.
      16.
    </p>
    <p>
      Even David, when dancing before the ark, shamelessly exposed himself.
      Solomon erected two pillars in the porch of his temple, and called them
      Jachin and Boaz, and added pomegranate ornaments. We have seen how Abraham
      and Jacob ordered their inferiors to swear by putting the hand upon "the
      thigh"; and we have read of the atrocities which occurred in Jerusalem in
      the time of Ezekiel. Yet the Jews are still spoken of as God's chosen
      people, and the Psalmist as a man after God's own heart.
    </p>
    <p>
      But without going so far back, let us inquire into the conduct of the
      sensual Turks, and of the general run of the inhabitants of Hindostan.
      From everything that I can learn&mdash;and I have repeatedly conversed
      with those who have known the Turks and Hindoos familiarly&mdash;these are
      in every position in life as morally good as common Christians are.
    </p>
    <p>
      My readers must not now assert that I am either a partisan or a special
      pleader when I say this; they must consider that I am making the
      comparison as man by man. I do not, as missionaries do, compare the most
      vicious Mahomedan and Brahmin with the most exemplary Christian; nor do I,
      on the other hand, compare the best Ottoman and Indian with Christian
      criminals; but I take the whole in a mass, and assert that there is as
      large a percentage of good folks in India and Turkey as there is in Spain
      and France, England or America.
    </p>
    <p>
      The grossest form of worship is compatible with general purity of morals.
      The story of Lucretia is told of a Pagan woman, whilst those of Er and
      Onan, Tamar and Judah relate to Hebrews. David, who seduced Bathsheba, and
      killed her husband, was not execrated by "God's people," nor was he
      consequently driven from his throne as Tarquin was by the Romans.
    </p>
    <p>
      In prowess and learning, the Babylonians, with their religious
      prostitution, were superior to the "chosen people." Of the wealth and
      enterprise of the Phoenicians, Ancient History tells us abundance.
    </p>
    <p>
      There are probably no three cities in ancient or modern times which
      contain so many vicious individuals as London, Paris, and New York. Yet
      there are none which history tells us of that were more powerful. No
      Babylonian army equalled in might or numbers the army of the Northern
      United States. Nineveh never wielded armies equal to those of the French
      Napoleon and the German William, and Rome never had an empire equal to
      that which is headed by London.
    </p>
    <p>
      The existence of personal vice does not ruin a nation in its collective
      capacity. Nor does the most sensual form of religion stunt the prosperity
      of a people, so long as the latter do not bow their necks to a priesthood.
    </p>
    <p>
      The greatest curse to a nation is not a bad religion, but a form of faith
      which prevents manly inquiry. I know of no nation of old that was
      priest-ridden which did not fall under the swords of those who did not
      care for hierarchs.
    </p>
    <p>
      The greatest danger is to be feared from those ecclesiastics who wink at
      vice, and encourage it as a means whereby they can gain power over their
      votaries. So long as every man does to other men as he would that they
      should do to him, and allows no one to interfere between him and his
      Maker, all will go well with the world.
    </p>
    <p>
      Whilst the following sheets were going through the press, my friend Mr.
      Newton, who has not only assisted me in a variety of ways, but who has
      taken a great deal of interest in the subject of symbolism, gave me to
      understand that there were some matters in which he differed very strongly
      from me in opinion. One of these was as to the correct interpretation of
      the so-called Assyrian grove; another was the signification of one of
      Lajard's gems, Plate iv., Fig. 3; and the most conspicuous of our
      divergencies was respecting the fundamental, or basic idea, which prompted
      the use in religion of those organs of reproduction which have, from time
      immemorial, been venerated in Hindostan, and, as far as we can learn, in
      Ancient Egypt, Babylonia, Assyria, Tyre, Sidon, Carthage, Jerusalem,
      Etruria, Greece, and Rome, as well as in countries called uncivilised. I
      feel quite disposed to acquiesce in the opinions which my old friend has
      formed respecting the Assyrian grove, but I am not equally ready to assent
      to his other opinions.
    </p>
    <p>
      Where two individuals are working earnestly for the elucidation of truth,
      there ought, in my opinion, to be not only a tolerance of disagreement,
      but an honest effort to submit the subject to a jury of thoughtful
      readers.
    </p>
    <p>
      As I should not feel satisfied to allow any other person to express my
      opinions in his words, it seemed to me only fair to Mr. Newton to give him
      the facility of enunciating his views in his own language. It was
      intended, originally, that my friend's observations upon the "grove"
      should be followed by a dissertation upon other relics of antiquity&mdash;notably
      upon that known as Stonehenge&mdash;but circumstances have prevented this
      design being carried into execution.
    </p>
    <p>
      When two individuals who have much in common go over the same ground, it
      is natural, indeed almost necessary, that they should dwell upon identical
      topics. Hence it will be found that there are points which are referred to
      by us both, although possibly in differing relationship.
    </p>
    <p>
      As my own part of the following remarks were printed long before I saw Mr.
      Newton's manuscript, I hope to be pardoned for allowing them to stand. The
      bulk of the volume will not be increased to the extent of a full page.
    </p>
    <p>
      If I were to be asked the reason why I differ from Mr. Newton in his
      exalted idea about the adoption of certain bodily organs as types, tokens,
      or emblems of an unseen and an inscrutable Creator, my answer would be
      drawn from the observations made upon every known order of priesthood,
      from the most remote antiquity to the present time. No matter what the
      creed, whether Ancient or Modern, the main object of its exponents and
      supporters is to gain over the minds of the populace. This has never yet
      been done, and probably never will be attempted, by educating the mind of
      the multitude to think.
    </p>
    <p>
      In Great Britain we find three sets of hierarchs opposed to each other,
      and all equally, by every means in their power, prohibit independent
      inquiry.
    </p>
    <p>
      A young Romanist convert, as we have recently seen, is discouraged from
      persevering in the study of history and logic; a Presbyterian is
      persecuted, as far as the law of the land permits, if he should engage in
      an honest study of the Bible, of the God which it presents for our
      worship, and of the laws that it enforces. A bishop of the Church of
      England is visited by the puny and spiteful efforts of some of his nominal
      equals if he ventures to treat Jewish writings as other critics study the
      tomes of Livy or of Herodotus.
    </p>
    <p>
      One set of men have banded together to elect a god on earth, and endeavour
      to coerce their fellow-mortals to believe that a selection by a few old
      cardinals can make the one whom they choose to honour "infallible."
    </p>
    <p>
      Another set of men, who profess to eschew the idea of infallibility in a
      Pope, assume that they possess the quality themselves, and endeavour to
      blot out from the communion of the faithful those who differ from them "on
      points which God hath left at large."
    </p>
    <p>
      Surely, when with all our modern learning, thought, and scientific
      enquiry, hierarchs still set their faces against an advance in knowledge,
      and quell, if possible, every endeavour to search after truth, we are not
      far wrong when we assert, that the first priests of barbarism had no
      exalted views of such an abstract subject as life, in the higher and
      highest senses, if indeed in any sense of the word.
    </p>
    <p>
      Another small point of difference between my friend and me is, whether
      there has been at any time a figured representation of a <i>kakodoemon</i>&mdash;except
      since the beginning of Christianity&mdash;and if, by way of stretching a
      point, we call Typhon&mdash;Satan or the Devil&mdash;by this name, as
      being opposed to the <i>Agathodoemon</i>, whether we are justified in
      providing this evil genius with wings. As far as I can judge from Chaldean
      and Assyrian sculptures, wings were given to the lesser deities as our
      artists assign them to modern angels. The Babylonian Apollyon, by whatever
      name he went, was winged&mdash;but so were all the good gods. The
      Egyptians seem to have assigned wings only to the favourable divinities.
      The Jews had in their mythology a set of fiery flying serpents, but we
      must notice that their cherubim and seraphim were all winged, some with no
      less than three pairs&mdash;much as Hindoo gods have four heads and six,
      or any other number of arms.
    </p>
    <p>
      Mr. Newton assumes that the dragon mentioned in Rev. xii. was a winged
      creature, but it is clear from the context, especially from verses 14 and
      15, that he had no pinions, for he was unable to follow the woman to whom
      two aerial oars had been given.
    </p>
    <p>
      The dragon, as we know it, is, I believe, a mediæval creation; such a
      creature is only spoken of in the Bible in the book of Revelation, and the
      author of that strange production drew his inspiration on this point from
      the Iliad, where a dragon is described as of huge size, coiled like a
      snake, of blood-red colour, shot with changeful hues, and having three
      heads. Homer, Liddell, and Scott add&mdash;used [&mdash;Greek&mdash;]
      indifferently for a serpent. So does the author of Rev. in ch. xx. 2. I
      have been unable to discover any gnostic gem with anything like a modern
      dragon on it.
    </p>
    <p>
      Holding these views, I cannot entertain the proposition that the winged
      creatures in the very remarkable gem already referred to are evil genii.
    </p>
    <p>
      In a question of this kind the mind is perhaps unconsciously biassed by
      comparing one antiquarian idea with another. A searcher amongst Etruscan
      vases will see not only that the angel of death is winged, but that Cupid,
      Eros, or by whatever other name "desire" or love goes, frequently hovers
      over the bridal or otherwise voluptuous couch, and attends beauty at her
      toilet. The Greeks also gave to Eros a pair of wings, intended, it is
      fancied, to represent the flutterings of the heart, produced when lovers
      meet or even think of each other. Such a subordinate deity would be in
      place amongst so many sexual emblems as Plate iv. Fig. 3 contains, whilst
      a <i>koakdoemon</i> would be a "spoil sport," and would make the erected
      serpents drop rather than remain in their glory.
    </p>
    <p>
      These matters are apparently of small importance, but when one is studying
      the signification of symbolical language, he has to pay as close an
      attention, and extend the net of observation over as wide a sea as a
      scholar does when endeavouring to decipher some language written in
      long-forgotten characters, and some divergence of opinion between
      independent observers sharpens the intellect more than it tries the
      temper.
    </p>
    <p>
      <br /> <br />
    </p>
    <hr />
    <p>
      <br /> <br /> <a name="link2H_4_0002" id="link2H_4_0002">
      <!--  H2 anchor --> </a>
    </p>
    <div style="height: 4em;">
      <br /><br /><br /><br />
    </div>
    <h2>
      PAGAN AND CHRISTIAN SYMBOLISM.
    </h2>
    <h3>
      PLATE II.
    </h3>
    <p>
      <a name="linkimage-0002" id="linkimage-0002">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/054.jpg" alt="Plate II 054 " width="100%" /><br />
    </div>
    <p>
      This is taken from a photograph of a small bronze image in the Mayer
      collection of the Free Museum, in Liverpool. The figure stands about nine
      inches high, and represents Isis, Horus, and the fish. It is an apt
      illustration of an ancient custom, still prevalent amongst certain
      Christians, of reverencing a woman, said to be a virgin, giving suck to
      her child, and of the association of Isis, Venus, and Mary with the fish.
      Friday, for example, is, with the Romanists, both "fish day," and "dies
      Veneris." Fish are known to be extraordinarily prolific. There was a
      belief that animals, noted for any peculiarity, imparted their virtues to
      those who ate them; consequently, tigers' flesh was supposed to give
      courage, and snails to give sexual power. The use of fish in connubial
      feasts is still common. Those who consider it pious or proper to eat fish
      on Venus' day, or Friday, proclaim themselves, unconsciously, adherents to
      those heathen ideas which deified parts about which no one now likes to
      talk. The fish has in one respect affinity with the mandrake.
    </p>
    <p>
      Since the first publication of this work, a friend has suggested to me
      another reason, besides its fertility, for the fish being emblematic of
      woman. From his extensive experience as a surgeon, and especially among
      the lower order of courtesans, he has repeatedly noticed during the hot
      months of the year that the parts which he had to examine have a very
      strong odour of fish. My own observations in the same department lead me
      to endorse his assertion. Consequently, I think that in warm climates,
      where the utmost cleanliness can scarcely keep a female free from odour,
      scent, as well as other attributes, has had to do with the selection of
      the fish as an emblem of woman.
    </p>
    <p>
      Still further, I have been informed by another friend that in Yorkshire,
      and I understand in other counties of England, the <i>double entente</i>
      connected with the fish is so marked that it is somewhat difficult to
      render it into decent phraseology. It will suffice to say that in the
      county mentioned, Lais or Phryne would be spoken of as "a choice bit of
      fish," and that a man who bore on his features the stamp which is
      imprinted by excessive indulgence, would be said to have indulged too much
      in "a fish diet." I do not suppose that in the Yorkshire Ridings the folks
      are unusually well acquainted with mythology, yet it is curious to find
      amongst their inhabitants a connection between Venus and the Fish,
      precisely similar to that which has obtained in the most remote ages and
      in far distant climes.
    </p>
    <p>
      It is clear from all these facts that the fish is a symbol not only of
      woman, but of the yoni.
    </p>
    <p>
      PLATE II.
    </p>
    <p>
      Is supposed to represent Oannes, Dagon, or some other fish god. It is
      copied from Lajard, <i>Sur le Culte de Venus</i>, pl. xxii., 1, la, and is
      thus described, "Statuette inédite, de grès houiller ou micacé, d'un brun
      verdâtre. Elle porte par devant, sur une bande perpendiculaire, un légende
      en caractères Syriaques très anciens (<i>Cabinet de M. Lambert, à Lyon</i>)."
      I can find no clue to the signification of the inscription. It would seem
      paradoxical to say that there is something in common between the
      bull-headed deity and Oannes. It is so, nevertheless. One indicates, <i>par
      excellence</i>, physical, and the other sexual, power. That Oannes may,
      for the Assyrians, represent a man who played a part with them similar to
      that of Penn among the Indians of Pennsylvania, I do not deny; but, when
      we find a similar fish-god in Philistia and Hindostan, and know that
      Crishna once appeared as a fish, the explanation does not suffice. It is
      curious that Jesus of Nazareth should be called "a fish"; but this only
      proves that the religion of Christ has been adulterated by Paganism.
    </p>
    <p>
      Figs. 1 and 4 are illustrations of the antelope as a religious emblem
      amongst the Assyrians. The first is from Layard's <i>Nineveh</i>, and in
      it we see carried in one hand a triply branched lotus; the second, showing
      the regard for the spotted antelope, and for "the branch," is from
      Bonomi's <i>Nineveh and its Palaces</i>.
    </p>
    <p>
      Fig. 2 illustrates Bacchus, with a mystic branch in one hand, and a cup in
      the other; his robe is covered with spots arranged in threes. The branch
      is emblematic of the <i>arbor vitæ</i>, or tree of life, and its powers of
      sprouting. Such a symbol is, by outsiders, figured on the houses of newly
      married couples amongst the Jews of Morocco, and seems to indicate the
      desire of friends that the man will show that he is vigorous, and able to
      have many sprouts from the tree of life. It will be noticed that on the
      fillet round the god's head are arranged many crosses. From Hislop's <i>Two
      Babylons</i>, and Smith's <i>Dictionary</i>, p. 208.
    </p>
    <p>
      Figs. 8 and 5 are intended to show the prevalence of the use of spots on
      priestly dresses; they are copied from Hislop's <i>Two Babylons</i>, and
      Wilkinson, vol. vi., pi. 88, and vol. iv., pp. 841, 858. For an
      explanation of the signification of spots, see Plate iv., Fig. 6, infra.
    </p>
    <p>
      Fig. 1 represents an Assyrian priest worshipping by presentation of the
      thumb, which had a peculiar signification. Sometimes the forefinger is
      pointed instead, and in both cases the male is symbolised. It is taken
      from a plate illustrating a paper by E. C. Ravenshaw, Esq., in <i>Journal
      of Royal Asiatic Society</i>, vol. xvi., p. 114. Amongst the Hebrews, and
      probably all the Shemitic tribes, <i>bohen</i>, the thumb, and <i>ezba</i>,
      the finger, were euphemisms. They are so in some parts of Europe to the
      present day.* The hand thus presented to the grove resembles a part of the
      Buddhist cross, and the shank of a key, whose signification is described
      in a subsequent page.
    </p>
    <p>
      PLATE III. <a name="linkimage-0003" id="linkimage-0003">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/059.jpg" alt="Plate Iii. 059 " width="100%" /><br />
    </div>
    <p>
      PLATE IV. <a name="linkimage-0004" id="linkimage-0004">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/062.jpg" alt="Plate Iv. 062 " width="100%" /><br />
    </div>
    <p>
      Fig. 2 is a Buddhist emblem; the two fishes forming the circle represent
      the mystic yoni, the sacti of Mahadeva, while the triad above them
      represents the mystic trinity, the triune father, Siva, Bel, or Asher,
      united with Anu and Hea. From <i>Journal of Royal Asiatic Society</i>,
      vol. xviii., p. 892, plate ii.
    </p>
    <p>
      Fig. 3 is a very remarkable production. It originally belonged to Mons.
      Lajard, and is described by him in his second <i>Memoire</i>, entitled <i>Recherches
      sur le Culte, les Symboles, les Attributs, et les Monumens Figurés de
      Vénus</i> (Paris, 1837), in pages 32, <i>et seq</i>., and figured in plate
      I., fig. 1. The real age of the gem and its origin are not known, but the
      subject leads that author to believe it to be of late Babylonian
      workmanship. The stone is a white agate, shaped like a cone, and the
      cutting is on its lower face. The shape of this gem indicates its
      dedication to Venus. The central figures represent the androgyne deity,
      Baalim, Astaroth, Elohim, Jupiter genetrix, or the bearded Venus Mylitta.
      On the left side of the cutting we notice an erect serpent, whose rayed
      head makes us recognise the solar emblem, and its mundane representative,
      <i>mentula arrecta</i>; on a spot opposite to the centre of the male's
      body we find a lozenge, symbolic of the yoni, whilst opposite to his feet
      is the amphora, whose mystic signification may readily be recognised; it
      is meant for Ouranos, or the Sun fructifying Terra, or the earth, by
      pouring from himself into her.
    </p>
<pre xml:space="preserve">
     * A friend has informed me, for example, that he happened,
     whilst at Pesth, to look at a gorgeously dressed and
     handsome young woman. To his astonishment she pointed her
     thumb precisely in the manner adopted by the Assyrian
     priests; this surprised the young man still farther, and
     being, as it were, fascinated, he continued to gaze. The
     damsel then grasped the thumb by the other hand; thus
     indicating her profession. My friend, who was wholly
     inexperienced in the ways of the world, only understood what
     was meant when he saw my explanation of Fig. 1.
</pre>
    <p>
      The three stars over the head of the figure, and the inverted triangle on
      its head, are representations of the mythological four, equivalent to the
      Egyptian symbol of life (figs. 31, 82). Opposite to the female are the
      moon, and another serpent, which may be recognised by physiologists as
      symbolic of <i>tensio clitoridis</i>. In a part corresponding to the
      diamond, on the left side, is a six-rayed wheel, emblematic, apparently,
      of the sun. At the female's feet is placed a cup, which is intended to
      represent the passive element in creation. As such it is analogous to the
      crescent moon, and is associated in the Roman church with the round wafer,
      the symbol of the sun; the wafer and cup thus being synonymous with the
      sun and moon in conjunction. It will be observed that each serpent in the
      plate is apparently attacked by what we suppose is a dragon. There is some
      difficulty in understanding the exact idea intended to be conveyed by
      these; my own opinion is that they symbolise Satan, the old serpent that
      tempted Eve, viz., fierce lust, Eros, Cupid, or desire, which, both in the
      male and female, brings about the arrectation which the serpents figure.
      It is not to be passed by without notice, that the snake which represents
      the male has the tail so curved as to suggest the idea of the second and
      third elements of the trinity. Monsieur Lajard takes the dragons to
      indicate the bad principle in nature, i. e., darkness, night, Ahriman,
      etc. On the pyramidal portion of the gem the four sides are ornamented by
      figures&mdash;three represent animals remarkable for their salacity, and
      the fourth represents Bel and Ishtar in conjunction, in a fashion which
      can be more easily imagined than described in the mother tongue. The
      learned will find the position assumed in Lucretius, <i>Dê Rerum Naturâ</i>,
      book iv., lines 1256, seq.
    </p>
    <p>
      Fig. 4 is also copied from Lajard, plate i., fig. 10. It is the reverse of
      a bronze coin of Vespasian, struck in the island of Cyprus, and represents
      the conical stone, under whose form Venus was worshipped at Paphos, of
      which Tacitus remarks, Hist, ii., c. 8, "the statue bears no resemblance
      to the human form, but is round, broad at one end and gradually tapering
      at the other, like a goal. The reason of this is not ascertained." It is
      remarkable that a male emblem should be said to represent Venus, but the
      stone was an aerolite, like that which fell at Ephesus, and was said to
      represent Diana. It is clear that when a meteoric stone falls, the chief
      priests of the district can say that it is to be taken as a representative
      of their divinity.
    </p>
    <p>
      My very ingenious friend, Mr. Newton, suggests that the Venus in question
      was androgyne; that the cone is a male emblem, within a door, gateway, or
      delta, thus resembling the Assyrian grove. It is certain that the
      serpents, the two stars, and the two candelabra, or altars with flame,
      favour his idea.
    </p>
    <p>
      Fig. 5 represents the position of the hands assumed by Jewish priests when
      they give the benediction to their flock. It will be recognised that each
      hand separately indicates the trinity, whilst the junction of the two
      indicates the unit. The whole is symbolic of the mystic Arba&mdash;the
      four, i, e., the trinity and unity. One of my informants told me that,
      being a "cohen" or priest, he had often administered the blessing, and,
      whilst showing to me this method of benediction, placed his joined hands
      so that his nose entered the central aperture. On his doing so, I remarked
      "<i>bene nasatus</i>," and the expression did more to convince him of the
      probability of my views than anything else.
    </p>
    <p>
      Fig. 6, modified in one form or another, is the position assumed by the
      hand and fingers, when Homan and Anglican bishops or other hierarchs give
      benediction to their people. A similar disposition is to be met with in
      Indian mythology, when the Creator doubles himself into male and female,
      so as to be in a position to originate new beings. Whilst the right hand
      in Plate VII. symbolises the male, the left hand represents the mystic
      feminine circle. In another plate, which is to be found in Moor's <i>Hindu
      Pantheon</i>, there is a similar figure, but draped fully, and in that the
      dress worn by the celestial spouse is covered with groups of spots
      arranged in triads and groups of four. With regard to the signification of
      spots, we may notice that they indicated, either by their shape or by
      their name, the emblem of womankind. A story of Indra, the Hindoo god of
      the sky, confirms this. He is usually represented as bearing a robe
      covered with eyes; but the legend runs that, like David, he became
      enamoured of the wife of another man, who was very beautiful and seen by
      chance, but her spouse was one whose austere piety made him almost equal
      to Brahma. The evil design of Indra was both frustrated and punished. The
      woman escaped, but the god became covered with marks that recalled his
      offence to mind, for they were pictures of the yoni. These, by the strong
      intercession of Brahma with the Rishi, were changed by the latter into
      eyes. This story enables us to recognise clearly the hidden symbolism of
      the Hindoo and Egyptian eye, the oval representing the female, and the
      circle the male lodged therein&mdash;i.e., the androgyne creator.
    </p>
    <p>
      PLATE V. <a name="linkimage-0005" id="linkimage-0005">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/067.jpg" alt="Plate V. 067 " width="100%" /><br />
    </div>
    <p>
      Is a copy of a mediæval Virgin and Child, as painted in Della Robbia ware
      in the South Kensington Museum, a copy of which, was given to me by my
      friend, Mr. Newton, to whose kindness I am indebted for many illustrations
      of ancient Christian art. It represents the Virgin and Child precisely as
      she used to be represented in Egypt, in India, in Assyria, Babylonia,
      Phoenicia, and Etruria; the accident of dress being of no mythological
      consequence. In the framework around the group, we recognise the triformed
      leaf, emblematic of Asher; the grapes, typical of Dionysus; the wheat
      ears, symbolic of Ceres, <i>l'abricot fendu</i>, the mark of womankind,
      and the pomegranate <i>rimmon</i>, which characterises the teeming mother.
      The living group, moreover, are placed in an archway, <i>delta</i>, or
      door, which is symbolic of the female, like the <i>vesica piscis</i>, the
      oval or the circle. This door is, moreover, surmounted by what appear to
      be snails, whose supposed virtue we have spoken of under Plate i. This
      identification of Mary with the Sacti is strong; by-and-by we shall see
      that it is as complete as it is possible to be made.
    </p>
    <p>
      PLATE VI. <a name="linkimage-0006" id="linkimage-0006">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/070.jpg" alt="Plate Vi. 070 " width="100%" /><br />
    </div>
    <p>
      Is a copy of figures given in Bryant's <i>Ancient Mythology</i>, plates
      xiii., xxviii., third edition, 1807. The first two illustrate the story of
      Palemon and Getus, introducing the dolphin. That fish is symbolic of the
      female, in consequence of the assonance in Greek between its name and that
      of the womb, <i>delphis and delphus</i>. The tree symbolises the <i>arbor
      vitæ</i>, the life-giving sprout; and the ark is a symbol of the womb. The
      third figure, where a man rests upon a rock and dolphin, and toys with a
      mother and child, is equally suggestive. The male is repeatedly
      characterised as a rock, hermes, menhir, tolmen, or upright stone, the
      female by the dolphin, or fish. The result of the junction of these
      elements appears in the child, whom both parents welcome. The fourth
      figure represents two emblems of the male creator, a man and trident, and
      two of the female, a dolphin and ship. The two last figures represent a
      coin of Apamea, representing Noah and the ark, called <i>Cibotus</i>.
      Bryant labours to prove that the group commemorates the story told in the
      Bible respecting the flood, but there is strong doubt whether the story
      was not of Babylonian origin. The city referred to was in Phrygia, and the
      coin appears to have been struck by Philip of Macedon. The inscription
      round the head is [&mdash;Greek inscription&mdash;]See <i>Ancient Faiths</i>,
      second edition, Vol. ii.., pp. 128, and 885-892.
    </p>
    <p>
      The Supreme Spirit in the act of creation became two-fold; the RIGHT SIDE
      WAS MALE, THE LEFT WAS PRAKRITI, SHE IS OF ONE FORM WITH BRAMAH.
    </p>
    <p>
      She is Maya, eternal and imperishable, such as the Spirit, such is the
      inherent energy. (The Sacti) as the Faculty burning is inherent in pure.
    </p>
    <p>
      (Bramah Vaivartta Puranu, Professor Wilson.)
    </p>
    <p>
      <a name="linkimage-0007" id="linkimage-0007">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/073.jpg" alt="073 " width="100%" /><br />
    </div>
    <p>
      ARDANARI-ISWARA.
    </p>
    <p>
      From an original drawing by Chrisna Swami, Punoit.
    </p>
    <p>
      PLATE VII.
    </p>
    <p>
      Is a copy of an original drawing made by a learned Hindoo pundit for Wm.
      Simpson, Esq., of London, whilst he was in India studying its mythology.
      It represents Brahma supreme, who in the act of creation made himself
      double, i.e. male and female. In the original the central part of the
      figure is occupied by the triad and the unit, but far too grossly shown
      for reproduction here. They are replaced by the <i>crux ansata</i>. The
      reader will notice the triad and the serpent in the male hand, whilst in
      the female is to be seen a germinating seed, indicative of the relative
      duties of father and mother. The whole stands upon a lotus, the symbol of
      androgyneity. The technical word for this incarnation is "Arddha Nari."
    </p>
    <p>
      PLATE VIII. <a name="linkimage-0008" id="linkimage-0008">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/075.jpg" alt="Plate Iii. 075 " width="100%" /><br />
    </div>
    <p>
      Is Devi, the same as Parvati, or Bhavani. It is copied from Moor's <i>Pantheon</i>,
      plate xxx. The goddess represents the feminine element in the universe.
      Her forehead is marked by one of the symbols of the four creators, the
      triad, and the unit. Her dress is covered with symbolic spots, and one
      foot peculiarly placed is marked by a circle having a dot in the interior.
      The two bear the same signification as the Egyptian eye. I am not able to
      define the symbolic import of the articles held in the lower hands. Moor
      considers that they represent scrolls of paper, but this I doubt. The
      raised hands bear the unopened lotus flower, and the goddess sits upon
      another.
    </p>
    <p>
      PLATE IX. <a name="linkimage-0009" id="linkimage-0009">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/078.jpg" alt="Plate Ix. 078 " width="100%" /><br />
    </div>
    <p>
      Consists of six figures, copied from Maurice's <i>Indian Antiquities</i>,
      vol. vi., p. 278, and two from Bryant's <i>Mythology</i>, vol. ii., third
      edition, pp. 203 and 409. All are symbolic of the idea of the male triad:
      a central figure, erect, and rising above the other two. In one an altar
      and fire indicate, mystically, the linga; in another, the same is
      pourtrayed as a man, as Madaheva always is; in another, there is a tree
      stump and serpent, to indicate the same idea. The two appendages of the
      linga are variously described; in two instances as serpents, in other two
      as tree and <i>concha</i>, and snake and shell. The two last seem to
      embody the idea that the right "egg" of the male germinates boys, whilst
      the left produces girls; a theory common amongst ancient physiologists.
      The figure of the tree encircled by the serpent, and supported by two
      stones resembling "tolmen," is very significant. The whole of these
      figures seem to point unmistakably to the origin of the very common belief
      that the male Creator is triune. In Assyrian theology the central figure
      is Bel, Baal, or Asher; the one on the right Ann, that on the left Hea.
      See <i>Ancient Faiths</i>, second edition, Vol. i., pp. 88-85. *
    </p>
    <p>
      There are some authors who have treated of tree and serpent worship, and
      of its prevalence in ancient times, without having, so far as I can see,
      any idea of that which the two things typify. The tree of knowledge, the
      tree of life, the serpent that tempted Eve, and still tempts man by his
      subtlety, are so many figures of speech which the wise understand, but
      which to the vulgar are simply trees and snakes. In a fine old bas-relief
      over the door of the Cathedral at Berne, we see an ancient representation
      of the last judgment. An angel is dividing the sheep from the goats, and
      devils are drawing men and women to perdition, by fixing hooks or pincers
      on the portions of the body whence their sins sprang. One fat priest, nude
      as our risen bodies must be, is being savagely pulled to hell by the part
      symbolised by tree and serpent, whilst she whom he has adored and vainly
      sought to disgrace, is rising to take her place amongst the blest. It is
      not those of the sex of Eve alone that are inveigled to destruction by the
      serpent.
    </p>
<pre xml:space="preserve">
     * For those who have not an opportunity of consulting the
     work referred to, I may observe that the Assyrian godhead
     consisted of four persons, three being male and one female.
     The principal god was Asher, the upright one, the equivalent
     of the Hindoo Mahadeva, the great holy one, and of the more
     modern Priapus. He was associated with Anu, lord of solids
     and of the lower world, equivalent to the "testis," or egg
     on the right side. Hea was lord of waters, and represented
     the left "stone." The three formed the trinity or triad. The
     female was named Ishtar or Astarte, and was equivalent to
     the female organ, the yoni or vulva&mdash;the [Greek] of the
     Greeks. The male god in Egypt was Osiris, the female Isis,
     and these names are frequently used as being euphemistic,
     and preferable to the names which are in vulgar use to
     describe the male and female parts.
</pre>
    <p>
      PLATE X. <a name="linkimage-0010" id="linkimage-0010">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/081.jpg" alt="Plate X. 081 " width="100%" /><br />
    </div>
    <p>
      Contains pagan symbols of the trinity or linga, with or without the unity
      or yoni.
    </p>
    <p>
      Fig. 1 represents a symbol frequently met with in ancient architecture,
      etc. It represents the male and female elements, the pillar and the half
      moon.
    </p>
    <p>
      Fig. 2 represents the mystic letters said to have been placed on the
      portal of the oracle of Delphi. By some it is proposed to read the two
      letters as signifying "he or she is;" by others the letters are taken to
      be symbolic of the triad and the unit. If they be, the pillar is a very
      unusual form for the yoni. An ingenious friend of mine regards the upright
      portion as a "slit," but I cannot wholly agree with him, for in Fig. 1 the
      pillar cannot be looked upon as an aperture.
    </p>
    <p>
      Fig. 3 is a Hindoo sectarial mark, copied from Moor's <i>Hindu Pantheon</i>,
      and is one out of many indicating the union of the male and female.
    </p>
    <p>
      Fig. 4 is emblematic of the virgin and child. It identifies the two with
      the crescent. It is singular that some designers should unite the moon
      with the solar symbol, and others with the virgin. We believe that the
      first indicate ideas like that associated with Baalim, and Ashtaroth in
      the plural, the second that of Astarte or Venus in the singular. Or, as we
      may otherwise express it, the married and the immaculate virgin.
    </p>
    <p>
      Fig. 5 is copied from Sharpe's <i>Egyptian Mythology</i>, p. 15. It
      represents one of the Egyptian trinities, and is highly symbolic, not only
      indicating the triad, here Osiris, Isis, and Nepthys, but its union with
      the female element. The central god Osiris is himself triune, as he bears
      the horns symbolic of the goddess Athor and the feathers of the god Ra.
    </p>
    <p>
      Fig. 6 is a Hindoo sectarial mark, from Moor's <i>Hindu Pantheon</i>. The
      lozenge indicates the yoni. For this assertion we not only have evidence
      in Babylonian gems, copied by Lajard, but in Indian and Etruscan designs.
      We find, for example, in vol. v., plate xlv., of <i>Antiquités Etrusques</i>,
      etc., par. F. A. David (Paris, 1785), a draped female, wearing on her
      breast a half moon and mural crown, holding her hands over the middle spot
      of the body, so as to form a "lozenge" with the forefingers and thumbs.
      The triad in this figure is very distinct; and we may add that a trinity
      expressed by three balls or three circles is to be met with in the
      remotest times and in most distant countries.
    </p>
    <p>
      Figs. 7, 8, 9 and 10 are copied from Cabrera's account of an ancient city
      discovered near Palenque, in Guatemala, Spanish America (London, 1822).
      Although they appear to have a sexual design, yet I doubt whether the
      similarity is not accidental. After a close examination of the plates
      given by Cabrera, I am inclined to think that nothing of the ling-yoni
      element prevailed in the mind of the ancient American sculptors. All the
      males are carefully draped in appropriate girdles, although in some a
      grotesque or other ornament, such as a human or bestial head, a flower,
      etc., is attached to the apron or "fall" of the girdle, resembling the
      sporran of the Highlander and the codpiece of mediæval knights and others.
      I may, however, mention some very remarkable sculptures copied; one is a
      tree, whose trunk is surrounded by a serpent, and whose fruit is shaped
      like the <i>vesica piscis</i>; in another is seen a youth wholly
      unclothed, save by a cap and gaiters, who kneels before a similar tree,
      being threatened before and behind by some fierce animal. This figure is
      peculiar, differing from all the rest in having an European rather than an
      American head and face. Indeed, the features, etc., remind me of the late
      Mr. Cobden, and the cap is such as yachting sailors usually wear. There is
      also another remarkable group, consisting apparently of a man and woman
      standing before a cross, proportioned like the conventional one in use
      amongst Christians. Everything indicates American ideas, and there are
      ornaments or designs wholly unlike any that I have seen elsewhere. The man
      appears to offer to the cross a grotesque human figure, with a head not
      much unlike Punch, with a turned-up nose, and a short pipe shaped like a
      fig in his mouth. The body is well formed, but the arms and thighs are
      rounded off like "flippers" or "fins." Besting at the top of the cross is
      a bird, like a game cock, ornamented by a necklace. The male in this and
      the other sculptures is beardless, and that women are depicted, can only
      be guessed at by the inferior size of some of the figures. It would be
      unprofitable to carry the description farther.
    </p>
    <p>
      Figs. 11, 12 are from vol. i., plates xix. and xxiii. of a remarkably
      interesting work, <i>Recherches sur l' origine, l' esprit, et les progrès
      des Arts de la Grèce</i>, said to be written by D'Harcanville, published
      at London, 1785. The first represents a serpent, coiled so as to symbolise
      the male triad, and the crescent, the emblem of the yoni.
    </p>
    <p>
      Fig. 12 accompanies the bull on certain coins, and symbolises the sexual
      elements, <i>le baton et l'anneau</i>. They were used, as the horse-shoe
      is now, as a charm against bad luck, or vicious demons or fairies.
    </p>
    <p>
      Fig. 13 is, like figure 5, from Sharpe's <i>Egyptian Mythology</i>, p. 14,
      and is said to represent Isis, Nepthys, and Osiris; it is one of the many
      Mizraite triads. The Christian trinity is of Egyptian origin, and is as
      surely a pagan doctrine as the belief in heaven and hell, the existence of
      a devil, of archangels, angels, spirits and saints, martyrs and virgins,
      intercessors in heaven, gods and demigods, and other forms of faith which
      deface the greater part of modern religions.
    </p>
    <p>
      Figure 14 is a symbol frequently seen in Greek churches, but appears to be
      of pre-Christian origin.* The cross we have elsewhere described as being a
      compound male emblem, whilst the crescent symbolises the female element in
      creation.
    </p>
    <p>
      Figure 15 is from D'Harcanville, <i>Op. Cit</i>., vol. i., plate xxiii. It
      resembles Figure 11, <i>supra</i>, and enables us by the introduction of
      the sun and moon to verify the deduction drawn from the arrangement of the
      serpent's coils. If the snake's body, instead of being curved above the 8
      like tail, were straight, it would simply indicate the linga and the sun;
      the bend in its neck, however, indicates the yoni and the moon.
    </p>
    <p>
      Figure 16 is copied from plate xvi., fig. 2, of <i>Recueil de Pierres
      Antiques Gravés</i>, folio, by J. M. Raponi (Rome, 1786). The gem
      represents a sacrifice to Priapus, indicated by the rock, pillar, figure,
      and branches given in our plate. A nude male sacrifices a goat; a draped
      female holds a kid ready for immolation; a second man, nude, plays the
      double pipe, and a second woman, draped, bears a vessel on her head,
      probably containing wine for a libation.
    </p>
    <p>
      Figure 17 is from vol. i. <i>Récherches</i>, etc., plate xxii. In this
      medal the triad is formed by a man and two coiled serpents on the one side
      of the medal, whilst on the reverse are seen a tree, surrounded by a
      snake, situated between two rounded stones, with a dog and a conch shell
      below. See <i>supra</i>, Plate ix., Fig. 6.
    </p>
    <p>
      PLATE XI. <a name="linkimage-0011" id="linkimage-0011">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/087.jpg" alt="Plate Xi. 087 " width="100%" /><br />
    </div>
    <p>
      With two exceptions, Figs. 4 and 9,&mdash;exhibits Christian emblems of
      the trinity or linga, and the unity or yoni, alone or combined; the whole
      being copied from Pugin's <i>Glossary of Ecclesiastical Ornament</i>
      (London, 1869).
    </p>
    <p>
      Fig. 1 is copied from Pugin, plate xvii., and indicates a double union of
      the trinity with the unity, here represented as a ring, <i>Vanneau</i>.
    </p>
<pre xml:space="preserve">
     * There is an able essay on this subject in No. 267 of the
     Edinburgh Review&mdash;which almost exhausts the subject&mdash;but is
     too long for quotation here.
</pre>
    <p>
      Figs. 2, 8, are from Pagin, plate xiv. In figare 2, the two covered balls
      at the base of each limb of the cross are extremely significant, and if
      the artist had not mystified the free end, the most obtuse worshipper must
      have recognised the symbol. We may add here that in the two forms of the
      Maltese cross, the position of the lingam is reversed, and the egg-shaped
      bodies, with their cover, are at the free end of each limb, whilst the
      natural end of the organ is left unchanged. See figs. 85 and 86. This form
      of cross is Etruscan. Fig. 8 is essentially the same as the preceding, and
      both may be compared with Fig. 4. The balls in this cross are uncovered,
      and the free end of each limb of the cross is but slightly modified.
    </p>
    <p>
      Fig. 4 is copied in a conventional form from plate xxxv., fig. 4, of <i>Two
      Essays on the Worship of Priapus</i> (London, 1865). It is thus described
      (page 147): "The object was found at St. Agati di Goti, near
      Naples.......It is a <i>crux ansata</i> formed by four phalli, with a
      circle of female organs round the centre; and appears by the look to have
      been intended for suspension. As this cross is of gold, it had no doubt
      been made for some personage of rank, possibly an ecclesiastic." We see
      here very distinctly the design of the egg- and sistrum- shaped bodies.
      When we have such an unmistakable bi-sexual cross before our eyes, it is
      impossible to ignore the signification of Figs. 2 and 8, and Plate xii.,
      Figs. 4 and 7.
    </p>
    <p>
      Figs. 5, 6 are from Pugin, plates xiv. and xv., and represent the trinity
      with the unity, the triune god and the virgin united in one.
    </p>
    <p>
      Fig. 7 represents the central lozenge and one limb of a cross, figured
      plate xiv. of Pugin. In this instance the Maltese cross is united with the
      symbol of the virgin, being essentially the same as Fig. 9, <i>infra</i>.
      It is a modified form of the <i>crux ansata</i>.
    </p>
    <p>
      Fig. 8 is a compound trinity, being the finial of each limb of an
      ornamental cross. Pugin, plate xv.
    </p>
    <p>
      Fig. 9 is a well-known Egyptian symbol, borne in the hand of almost every
      divinity. It is a cross, with one limb made to represent the female
      element in creation. The name that it technically bears is <i>crux ansata</i>,
      or "the cross with a handle." A reference to Fig. 4 serves to verify the
      idea which it involves.
    </p>
    <p>
      Fig. 10 is from Pugin, plate xxxv. In this figure the cross is made by the
      intersection of two ovals, each a <i>vesica piscis</i>, an emblem of the
      yoni. Within each limb a symbol of the trinity is seen, each of which is
      associated with the central ring.
    </p>
    <p>
      Fig. 11 is from Pugin, plate xix., and represents the <i>arbor vitæ</i>,
      the <i>branch</i>, or tree of life, as a triad, with which the ring is
      united.
    </p>
    <p>
      It has been said by some critics that the figures above referred to are
      mere architectural fancies, which never had pretensions to embody a
      mystery; and that any designer would pitch upon such a style of
      ornamentation although profoundly ignorant of the doctrine of the trinity
      and unity. But this assumption is not borne out by fact; the ornaments on
      Buddhist topes have nothing in common with those of Christian churches;
      whilst in the ruined temple of the sun at Marttand, India, the trefoil
      emblem of the trinity is common. Grecian temples were profusely ornamented
      therewith, and so are innumerable Etruscan sculptures, but they do not
      represent the trinity and unity. It has been reserved for Christian art to
      crowd our churches with the emblems of Bel and Astarte, Baalim and
      Ashtoreth, linga and yoni, and to elevate the phallus to the position of
      the supreme deity, and assign to him a virgin as a companion, who can
      cajole him by her blandishment, weary him by wailing, or induce him to
      change his mind by her intercessions. Christianity certainly requires to
      be purged of its heathenisms.
    </p>
    <p>
      PLATE XII. <a name="linkimage-0012" id="linkimage-0012">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/091.jpg" alt="Plate Xii. 091 " width="100%" /><br />
    </div>
    <p>
      Contains both pagan and Christian emblems.
    </p>
    <p>
      Fig. 1 is from Pugin, plate xviii., and is a very common finial
      representing the trinity. Its shape is too significant to require an
      explanation; yet with such emblems our Christian churches abound, that the
      Trinity may never be absent from the minds of man or woman!
    </p>
    <p>
      Fig. 2 is from Pugin, plate xxi. It is a combination of ideas concealing
      the union patent in Fig. 4, Plate xi., <i>supra</i>.
    </p>
    <p>
      Fig. 3 is from Moor's <i>Hindu Pantheon</i>. It is an ornament borne by
      Devi, and symbolises the union of the triad with the unit.
    </p>
    <p>
      Fig. 4 is from Pugin, plate xxxii. It is a double cross made up of the
      male and female emblems. It is a conventionalised form of Fig. 4, Plate
      xi., <i>supra</i>. Such eight-rayed figures, made like stars, seem to have
      been very ancient, and to have been designed to indicate the junction of
      male and female.
    </p>
    <p>
      Fig. 5 is from Pugin, plate xvii., and represents the trinity and the
      unity.
    </p>
    <p>
      Fig. 6 is a Buddhist emblem from Birmah, <i>Journal of Royal Asiatic
      Society</i>, vol. xviii., p. 392, plate i., fig. 62. It represents the
      short sword, <i>le bracquemard</i>, a male symbol.
    </p>
    <p>
      Fig. 7. is from Pagin, plate xvii. See Plate xi., Fig. 3, <i>supra</i>.
    </p>
    <p>
      Figs. 8, 9, 10, 11, 12 are Buddhist (see Fig. 6, supra), and symbolise the
      triad.
    </p>
    <p>
      Figs. 13, 14, 15, 16, 17 are from Pugin, and simply represent the trinity.
    </p>
    <p>
      Figs. 18 and 19 are common Grecian emblems. The first is associated with
      Neptune and water, the second with Bacchus. With the one we see dolphins,
      emblems of the womb, the name of the two being assonant in Greek; with the
      other, the saying, <i>sine Baccho et Cerere friget Venus</i>, must be
      coupled.
    </p>
    <p>
      PLATE XIII. <a name="linkimage-0013" id="linkimage-0013">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/094.jpg" alt="Plate Xiii. 094 " width="100%" /><br />
    </div>
    <p>
      Consists of varions emblems of the triad and the unit, drawn almost
      exclusively from Grecian, Etruscan, Roman, and Indian gems, figures,
      coins, or sculptures, Maffei's <i>Gemme Antiche Figurate</i>, Raponi's <i>Recueil</i>,
      and Moor's <i>Hindu Pantheon</i>, being the chief authorities.
    </p>
    <p>
      PLATE XIV. <a name="linkimage-0014" id="linkimage-0014">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/096.jpg" alt="Plate Xiv. 096 " width="100%" /><br />
    </div>
    <p>
      Is a copy of a small Hindoo statuette in the Mayer Collection in the Free
      Museum, Liverpool. It probably represents Parvati, the Hindoo virgin, and
      her child. The right hand of the figure makes the symbol of the yoni with
      the forefinger and thumb, the rest of the fingers typifying the triad. In
      the palm and on the navel is a lozenge, emblematic of woman. The child,
      perhaps Crishna, equivalent to the Egyptian Horus and the Christian Jesus,
      bears in its hand one of the many emblems of the linga, and stands upon a
      lotus. The monkey introduced into the group plays the same part as the
      cat, cow, lioness, and ape in the Egyptian mythology, being emblematic of
      that desire which eventuates in the production of offspring.
    </p>
    <p>
      Fig. 1, the cupola, is well known in modern Europe; it is equally so in
      Hindostan, where it is sometimes accompanied by pillars of a peculiar
      shape. In one such compound the design is that of a cupola, supported by
      closely placed pillars, each of which has a "capital," resembling "the
      glans" of physiologists; in the centre there is a door, wherein a nude
      female stands, resembling in all respects Figure 61, except in dress and
      the presence of the child. This was copied by the late Mr. Sellon, from a
      Buddhist Dagopa in the Jumnar Cave, Bombay Presidency, a tracing of his
      sketch having been given to me by William Simpson, Esq., London.
    </p>
    <p>
      The same emblem may be found amongst the ancient Italians. Whilst I was
      staying in Malta during the carnival time in 1872, I saw in all directions
      men and women selling cakes shaped like the yoni shown in Fig. 1. These
      sweetmeats had no special name, but they came in and went out with the
      carnival.
    </p>
    <p>
      Fig. 2 represents Venus standing on a tortoise, whose symbolic import will
      be seen by referring to Fig. 74, <i>infra</i>. It is copied from Lajard,
      <i>Sur le Culte de Venus</i>, plate iiia., fig. 5, and is stated by him to
      be a drawing of an Etruscan candelabrum, existing in the Royal Museum at
      Berlin. In his account of Greece, Pausanias mentions that he saw one
      figure of Venus standing on a tortoise, and another upon a ram, but he
      declines to give the reason of the conjunction.
    </p>
    <p>
      Is a representation of Siva, taken from Moor's <i>Hindu Pantheon</i>,
      plate xiii. Siva is supposed to be the oldest of the Indian deities, and
      to have been worshipped by the aborigines of Hindostan, before the Aryans
      invaded that country. It is thought that the Vedic religion opposed this
      degrading conception at the first, but was powerless to eradicate it.
      Though he is yet the most popular of all the gods, Siva is venerated, I
      understand, chiefly by the vulgar. Though he personifies the male
      principle, there is not anything indecent in pictorial representations of
      him. In one of his hands is seen the trident, one of the emblems of the
      masculine triad; whilst in another is to be seen an oval sistram-shaped
      loop, a symbol of the feminine unit. On his forehead he bears an eye,
      symbolic of the Omniscient, the sun, and the union of the sexes.
    </p>
    <p>
      As it has been doubted by some readers, whether I am justified in
      regarding the sistrum as a female emblem, I append here a quotation from
      Socrates' <i>Ecclesiastical History</i>, Bohn's translation, p. 281, seq.
      In Rome, in the early time of Theodosius, "when a woman was detected in
      adultery.... they shut her up in a narrow brothel, and obliged her to
      prostitute herself in a most disgusting manner; causing little bells to be
      rang at the time.... As soon as the emperor was apprised of this indecent
      usage, he would by no means tolerate it; but having ordered the <i>Sistra</i>
      (for so these places of penal prostitution were denominated) to be pulled
      down," &amp;c. One can as easily see why a female emblem should mark a
      brothel in Rome as a male symbol did at Pompeii.
    </p>
    <p>
      PLATE XVI. <a name="linkimage-0016" id="linkimage-0016">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/101.jpg" alt="Plate Xvi. 101 " width="100%" /><br />
    </div>
    <p>
      <a name="linkimage-0017" id="linkimage-0017">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/104.jpg" alt="104 " width="100%" /><br />
    </div>
    <p>
      This Figure represents Assyrian priests offering in the presence of what
      is supposed to be Baal&mdash;or the representative of the sun god and of
      the grove. The first is typified by the eye, with wings and a tail, which
      make it symbolic of the male triad and the female unit. The eye, with the
      central pupil, is in itself emblematic of the same. The grove represents
      mystically <i>le verger de Cypris</i>. On the right stands the king; on
      the left are two priests, the foremost clothed with a fish's skin, the
      head forming the mitre, thus showing the origin of modern Christian
      bishops' peculiar head-dress. Arranged about the figures are, the sun; a
      bird, perhaps the sacred dove, whose note, <i>coa</i> or <i>coo</i>, has,
      in the Shemitic, some resemblance to an invitation to amorous
      gratification; in Latin <i>coi</i>, <i>coite</i>; the oval, symbol of the
      yoni; the basket, or bag, emblematic of the scrotum, and apparently the
      lotus. The trinity and unity are carried by the second priest.
    </p>
    <p>
      Figure 2 is copied from an ancient copper vase, covered with Egyptian
      hieroglyphic characters, found at Cairo, and figured in a book entitled <i>Explication
      des divers monument singuliers, qui ont rapport à la religion des plus
      anciens peuples</i>, par le R. P. Dom.......á Paris, 1739.
    </p>
    <p>
      <a name="linkimage-0018" id="linkimage-0018">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/105.jpg" alt="105 " width="100%" /><br />
    </div>
    <p>
      The group of figures represents Isis and Horus in an unusual attitude.
      They are enclosed in a framework of the flowers of the Egyptian bean, or
      of the lotus. This framework may be compared to the Assyrian "grove," and
      another in which the Virgin Mary stands. The bell was of old a symbol of
      virginity, for Eastern maidens wore them until marriage (see Isa. iii.
      16). The origin of this custom was the desire that every maiden should
      have at her marriage, or sale, that which is spoken of in the Pentateuch
      as "the token of virginity." It was supposed that this membrane,
      technically called "the <i>hymen</i>" might be broken by too long a stride
      in walking or running, or by clambering over a stile or wall. To prevent
      such a catastrophe, a light chain or cord was worn, under or over the
      dress, at the level of the knees or just above. Its length only permitted
      a short step and a mincing gait. Slight bells were used as a sort of
      ornament, and when the bearer was walking their tinkling was a sort of
      proclamation that the lady who bore them was in the market as a virgin.
      After "the flower" had been plucked, the bells were no longer of use. They
      were analogous to the virgin snood worn on the head of Scotch maidens.
      Isis bears the horns of a cow, because that animal is equally noted for
      its propensity to seek the male and its care to preserve the offspring. As
      the bull with a human head, so a human being with cow's horns, was made to
      represent a deity. The solar orb between the horns, and the serpent round
      the body, indicate the union with the male; an incongruous conjunction
      with the emblem of the sacred Virgin, nevertheless a very common one. In
      some of the coins pictured by E. P. Knight, in <i>Worship of Priapus</i>,
      etc., a cow caressing her sucking calf replaces Isis and Horus, just as a
      bull on other coins replaces Dionysus. The group is described in full in
      <i>Ancient Faiths</i>, second edition, Vol. i., pp. 53, 54.
    </p>
    <p>
      <a name="linkimage-0019" id="linkimage-0019">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/106.jpg" alt="106 " width="100%" /><br />
    </div>
    <p>
      Figures 3, 4, are taken from Ginsburg's <i>Kabbalah</i>, and illustrate
      that in the arrangement of "potencies" two unite, like parents, to form a
      third. Sometimes we see also how three such male attributes as splendour,
      firmness, and solidity join with beauty to form the mystic <i>arba</i>,
      the trinity and unity.
    </p>
    <p>
      <a name="linkimage-0020" id="linkimage-0020">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/107.jpg" alt="107 " width="100%" /><br />
    </div>
    <p>
      Figures 5, 6, are copies from figures found in Carthage and in Scotland,
      from Forbes Leslie's Early <i>Races of Scotland</i>, vol. i., plate vi.,
      p. 46 (London, 1866). This book is one to which the reader's attention
      should be directed. The amount of valuable information which it contains
      is very large, and it is classified in a philosophical, and, we may add,
      attractive manner. The figures represent the <i>arbor vitæ</i>.
    </p>
    <p>
      Figure 7 is from Bonomi, page 292, <i>Nineveh and its Palaces</i> (London,
      1865). It apparently represents the mystic yoni, door, or delta; and it
      may be regarded as an earlier form of the framework in Plate iv. It will
      be remarked, by those learned in symbols, that the outline of the hands of
      the priests who are nearest to the figure is a suggestive one, being
      analogous to the figure of a key and its shank, whilst those who stand
      behind these officers present the pine cone and bag, symbolic of Ann, Hea,
      and their residence.
    </p>
    <p>
      <a name="linkimage-0021" id="linkimage-0021">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/108.jpg" alt="108 " width="100%" /><br />
    </div>
    <p>
      It is to be noticed, and once for all let us assert our belief, that every
      detail in a sculpture relating to religion has a signification; that the
      first right hand figure carries a peculiarly shaped staff; and that the
      winged symbol above the yoni consists of a male archer in a winged circle,
      analagous to the symbolic bow, arrow, and target. The bow was an emblem
      amongst the Romans, and <i>arcum tendere</i> was equivalent to <i>arrigere</i>.
      In the <i>Golden Ass</i> of Apuleius we find the metaphor used in his
      account of his dealings with amorous frolicsome Fotis, "Ubi primam
      sagittam sævi cupidinis in ima procordia mea delapsam excepi, arcum, meum
      et ipse vigore tetendi."
    </p>
    <p>
      Again, we find in Petronius&mdash;
    </p>
<pre xml:space="preserve">
     Astra igitur mea mens arcum dum tendit in ilia.
     Ex imo ad summum viva sagitta volat.
</pre>
    <p>
      Figures 8 to 14 are representations of the goddess mother, the virgin and
      child, Ishtar or Astarte, Mylitta, Ceres, Rhea, Venus, Sacti, Mary, Yoni,
      Juno, Mama Ocello.
    </p>
    <p>
      Fig. 8 is a copy of the deified woman or celestial mother, from Idalium,
      in Cyprus. Fig. 9 is from Egypt, and is remarkable for the cow's horns
      (for whose signification see Vol. i., p. 54, Ancient Faiths, second
      edition), which here replace the lunar crescent, in conjunction with the
      sun, the two being symbolic of hermaphroditism, whilst above is a seat or
      throne, emblematic of royalty.
    </p>
    <p>
      <a name="linkimage-0022" id="linkimage-0022">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/109.jpg" alt="109 " width="100%" /><br />
    </div>
    <p>
      The two figures are copied from Rawlinson's <i>Herodotus</i>, vol. ii., p.
      447, in an essay by Sir Gardiner Wilkinson, wherein other illustrations of
      the celestial virgin are given. Fig. 10 is a copy of plate 59, Moor's
      Hindu Pantheon, wherein it is entitled, "Crishna nursed by Devaki, from a
      highly finished picture." In the account of Crishna's birth and early
      history, as given by Moor (Op. Cit., pp. 197, et seq.), there is as strong
      a resemblance to the story of Christ as the picture here described has to
      papal paintings of Mary and Jesus. Fig. 11 is an enlarged representation
      of Devaki. Fig. 12 is copied from Rawlinson's <i>Ancient Monarchies</i>,
      vol. iii., p. 899. Fig. 13 is a figure of the mother and child found in
      ancient Etruria at Volaterra; it is depicted in Fabretti's Italian
      Glossary, plate xxvi., figure 349.
    </p>
    <p>
      <a name="linkimage-0023" id="linkimage-0023">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/110.jpg" alt="110 " width="100%" /><br />
    </div>
    <p>
      It is described as a marble statue, now in the Guarnacci Museum. The
      letters, which are Etruscan, and read from right to left, may be thus
      rendered into the ordinary Latin characters from left to right, MI: GANA:
      LARTHIAS ZANL: VELKINEI: ME - SE.; the translation I take to be, "the
      votive offering of Larthias (a female) of Zanal, ( = Zancle = Messana in
      Sicily), (wife) of Velcinius, in the sixth month." It is uncertain whether
      we are to regard the statue as an effigy of the celestial mother and
      child, or as the representation of some devout lady who has been spared
      during her pregnancy, her parturition, or from some disease affecting
      herself and child. Analogy would lead us to infer that the Queen of Heaven
      is intended. Figure 14 is copied from Hislop's <i>Two Babylons</i>; it
      represents Indranee, the wife of Indra or Indur, and is to be found in
      Indur Subba, the south front of the Caves of Ellora, Asiatic Researches,
      vol. vi., p. 893.
    </p>
    <p>
      <a name="linkimage-0024" id="linkimage-0024">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/111.jpg" alt="111 " width="100%" /><br />
    </div>
    <p>
      Indra is equivalent to Jupiter Tonans, and is represented as seated on an
      elephant; "the waterspout is the trunk of this elephant, and the iris is
      his bow, which it is not auspicious to point out," Moor's <i>Pantheon</i>,
      p. 260. He is represented very much as if he were a satyr, Moor's <i>Pantheon</i>,
      p. 264; but his wife is always spoken of as personified chastity and
      propriety. Indranee is seated on a lioness, which replaces the cow of
      Isis, the former resembling the latter in her feminine and maternal
      instincts.
    </p>
    <p>
      Figures 15, 16, are copies of Diana of the Ephesians; the first is from
      Hislop, who quotes Kitto's <i>Illustrated Commentary</i>, vol. v., p. 250;
      the second from Higgins' <i>Anacalypsis</i>, who quotes Montfauçon, plate
      47. I remember to have seen a figure similar to these in the Royal Museum
      at Naples.
    </p>
    <p>
      <a name="linkimage-0025" id="linkimage-0025">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/112.jpg" alt="112 " width="100%" /><br />
    </div>
    <p>
      The tower upon the head represents virginity (see <i>Ancient Faiths</i>,
      second edition, Vol. i., p. 144); the position of the hand forms a cross
      with the body: the numerous breasts indicate abundance; the black colour
      of Figure 16 indicates the ordinary tint of the feminine <i>lanugo</i>,
      the almost universal colour of the hair of the Orientals being black about
      the yoni as well as on the head; or, as some mythologists imagine,
      "Night," who is said to be one of the mothers of creation. (See <i>Ancient
      Faiths</i>, second edition, Vol. n., p. 882.) The emblems upon the body
      indicate the attributes or symbols of the male and female creators.
    </p>
    <p>
      <a name="linkimage-0026" id="linkimage-0026">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/113.jpg" alt="113 " width="100%" /><br />
    </div>
    <p>
      Figure 17 is a complicated sign of the yoni, delta, or door of life. It is
      copied from Bonomi's <i>Palaces of Nineveh</i>, p. 809.
    </p>
    <p>
      Figure 18 signifies the same thing; the priests adoring it present the
      pine cone and basket, symbolic of Ann, Hea, and their residence. Compare
      the object of the Assyrian priest's adoration with that adored by a
      Christian divine, in a subsequent figure. (See <i>Ancient Faiths</i>,
      second edition, Vol. I., p. 88, et seq., and Vol. n., p. 648.)
    </p>
    <p>
      <a name="linkimage-0027" id="linkimage-0027">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/114.jpg" alt="114 " width="100%" /><br />
    </div>
    <p>
      Figure 19 is copied from Lajard (Op. Cit.), plate xxii., fig. 5. It is the
      impression of an ancient gem, and represents a man clothed with a fish,
      the head being the mitre; priests thus clothed, often bearing in their
      hand the mystic bag, are common in Mesopotamian sculptures; two such are
      figured on Figs. 63, 64, infra. In almost every instance it will be
      recognised that the fish's head is represented as of the same form as the
      modern bishop's mitre.
    </p>
    <p>
      <a name="linkimage-0028" id="linkimage-0028">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/115.jpg" alt="115 " width="100%" /><br />
    </div>
    <p>
      Figure 20 represents two equilateral triangles, infolded so as to make a
      six-rayed star, the idea embodied being the androgyne nature of the deity,
      the pyramid with its apex upwards signifying the male, that with the apex
      downwards the female. The line at the central junction is not always seen,
      but the shape of the three parallel bars reappears in Hindoo frontlet
      signs in conjunction with a delta or door, shaped like the "grove" in Fig.
      17; thus showing that the lines serve also to indicate the masculine
      triad. The two triangles are also understood as representing fire, which
      mounts upwards, and water, which flows downwards. Fire again is an emblem
      of the sun, and water of the passive or yielding element in nature. Fire
      also typifies Eros or Cupid. Hymen is always represented carrying a torch.
      It is also symbolic of love; e.g., Southey writes.
    </p>
<pre xml:space="preserve">
     "But love is indestructible,
     Its holy flame for ever burneth;
     From heaven it came,
     To heaven returneth."
</pre>
    <p>
      And again, Scott writes&mdash;
    </p>
<pre xml:space="preserve">
     "It is not phantasy's hot fire
     Whose wishes, soon as granted, fly," &amp;c.
</pre>
    <p>
      Figures 21, 22, are other indications of the same fundamental idea. The
      first represents Nebo, the Nahbi, or the navel, characterised by a ring
      with a central mound.
    </p>
    <p>
      <a name="linkimage-0029" id="linkimage-0029">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/116.jpg" alt="116 " width="100%" /><br />
    </div>
    <p>
      The second represents the circular and upright stone so common in Oriental
      villages. The two indicate the male and female; and a medical friend
      resident in India has told me, that he has seen women mount upon the lower
      stone and seat themselves reverently upon the upright one, having first
      adjusted their dress so as to prevent it interfering with their perfect
      contact with the miniature obelisc. During the sitting, a short prayer
      seemed flitting over the worshippers' lips, but the whole affair was soon
      over.
    </p>
    <p>
      Whilst upon this subject, it is right to call attention to the fact that
      animate as well as inorganic representatives of the Creator have been used
      by women with the same definite purpose. The dominant idea is that contact
      with the emblem, a mundane representative of the deity, of itself gives a
      blessing. Just as many Hindoo females seek a benefaction by placing their
      own yoni upon the consecrated linga, so a few regard intercourse with
      certain high priests of the Maharajah sect as incarnations of Vishnu, and
      pay for the privilege of being spouses of the god. In Egypt, where the
      goat was a sacred animal, there were some religious women who sought good
      luck by uniting themselves therewith. We have heard of British professors
      of religion endeavouring to persuade their penitents to procure purity by
      what others would call defilement and disgrace. And the "cord of St.
      Francis" replaces the stone "linga." Sometimes with this "cord" the rod is
      associated; and those who have read the trial of Father Gerard, for his
      seduction of Miss Cadiére under a saintly guise, will know that
      Christianity does not always go hand in hand with propriety.
    </p>
    <p>
      With the Hindoo custom compare that which was done by Liber on the grave
      of Prosumnus (<i>Arnobius adverma Gentes</i>, translated by Bryce and
      Campbell, T. and T. Clark, Edinburgh, pp. 252, 258), which is far too
      gross to be described here; and as regards the sanctity of a stone whose
      top had been anointed with oil, see first sentence of paragraph 89, ibid,
      page 81. The whole book will well repay perusal.
    </p>
    <p>
      Figures 28, 24, are discs, circles, aureoles, and wheels, to represent the
      sun. Sometimes the emblem of this luminary is associated with rays, as in
      Plate iii., Fig. 8, and in another Figure elsewhere. Occasionally, as in
      some of the ancient temples in Egypt discovered in 1854, the sun's rays
      are represented by lines terminating in hands. Sometimes one or more of
      these contain objects as if they were gifts sent by the god; amongst other
      objects, the <i>crux ansata</i> is shown conspicuously. In a remarkable
      plate in the Transactions of the <i>Royal Society of Literature</i>
      (second series, vol. i., p. 140), the sun is identified with the serpent;
      its rays terminate in hands, some holding the handled cross or <i>tau</i>,
      and before it a queen, apparently, worships. She is offering what seems to
      be a lighted tobacco pipe, the bowl being of the same shape as that
      commonly used in Turkey; from this a wavy pyramid of flame rises. Behind
      her, two female slaves elevate the sistrum; whilst before her, and
      apparently between herself and her husband, are two altars occupied by
      round cakes and one crescent-shaped emblem.
    </p>
    <p>
      <a name="linkimage-0030" id="linkimage-0030">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/118.jpg" alt="118 " width="100%" /><br />
    </div>
    <p>
      The aureole was used in ancient days by Babylonian artists or sculptors,
      when they wished to represent a being, apparently human, as a god. The
      same plan has been adopted by the moderns, who have varied the symbol by
      representing it now as a golden disc, now as a terrestrial orb, again as a
      rayed sphere. A writer, when describing a god as a man, can say that the
      object he sketches is divine; but a painter thinks too much of his art to
      put on any of his designs, "this woman is a goddess," or "this creature is
      a god"; he therefore adds an aureole round the head of his subject, and
      thus converts a very ordinary man, woman, or child into a deity to be
      reverenced; modern artists thus proving themselves to be far more skilful
      in depicting the Almighty than the carpenters and goldsmiths of the time
      of Isaiah (xl. 18, 19, xli. 6, 7, xliv. 9-19), who used no such
      contrivance.
    </p>
    <p>
      Figure 24 is another representation of the solar disc, in which it is
      marked with a cross. This probably originated in the wheel of a chariot
      having four spokes, and the sun being likened to a charioteer. The
      chariots of the sun are referred to in 2 Kings xxiii. 11 as idolatrous
      emblems. Of these the wheel was symbolic. The identification of this
      emblem with the sun is very easy, for it has repeatedly been found in
      Mesopotamian gems in conjunction with the moon. In a very remarkable one
      figured in Rawlinson's <i>Ancient Monarchies</i>, vol. ii., p. 249, the
      cross is contrived as five circles. It is remarkable that in many papal
      pictures the wafer and the cup are depicted precisely as the sun and moon
      in conjunction. See Pugin's Architectural Glossary, plate iv., fig. 5.
    </p>
    <p>
      <a name="linkimage-0031" id="linkimage-0031">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/119.jpg" alt="119 " width="100%" /><br />
    </div>
    <p>
      Figures 25, 26, 27, are simply varieties of the solar wheel, intended to
      represent the idea of the sun and moon, the mystic triad and unit, the
      "arba," or four. In Figure 26, the mural ornament is introduced, that
      being symbolic of feminine virginity. For explanation of Figure 27, see
      Figures 85, 86.
    </p>
    <p>
      Figure 28 is copied from Lajard, Op. Cit., plate xiv. F. That author
      states that he has taken it from a drawing of an Egyptian stèle, made by
      M. E. Prisse (<i>Monum. Egypt</i>., plate xxxvii.), and that the original
      is in the British Museum. There is an imperfect copy of it in Rawlinson's
      <i>Herodotus</i>, vol. ii.
    </p>
    <p>
      <a name="linkimage-0032" id="linkimage-0032">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/120.jpg" alt="120 " width="100%" /><br />
    </div>
    <p>
      The original is too indelicate to be represented fully. Isis, the central
      figure, is wholly nude, with the exception of her head-dress, and neck and
      breast ornaments. In one hand she holds two blades of corn apparently,
      whilst in the other she has three lotus flowers, two being egg-shaped, but
      the central one fully expanded; with these, which evidently symbolise the
      mystic triad, is associated a circle emblematic of the yoni, thus
      indicating the fourfold creator. Isis stands upon a lioness; on one side
      of her stands a clothed male figure, holding in one hand the <i>crux
      ansata</i>, and in the other an upright spear. On the opposite side is a
      male figure wholly nude, like the goddess, save his head-dress and collar,
      the ends of which are arranged so as to form a cross. His hand points to a
      flagellum; behind him is a covert reference to the triad, whilst in front
      Osiris offers undisguised homage to Isis. The head-dress of the goddess
      appears to be a modified form of the crescent moon inverted. It is not
      exclusively Egyptian, as it has been found in conjunction with other
      emblems on an Assyrian obelisc of Phallic form.
    </p>
    <p>
      <a name="linkimage-0033" id="linkimage-0033">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/121.jpg" alt="121 " width="100%" /><br />
    </div>
    <p>
      Figures 29, 30, 31, 32, represent the various triangles and their union,
      which have been adopted in worship. Figure 29 is said to represent fire,
      which amongst the ancient Persians was depicted as a cone, whilst the
      figure inverted represents water.
    </p>
    <p>
      <a name="linkimage-0034" id="linkimage-0034">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/122.jpg" alt="122 " width="100%" /><br />
    </div>
    <p>
      Figure 33 is an ancient Hindoo emblem, called Sri Iantra. The circle
      represents the world, in which the living exist; the triangle pointing
      upwards shows the male creator; and the triangle with the apex downwards
      the female; distinct, yet united. These have a world within themselves, in
      which the male is uppermost. In the central circle the image to be
      worshipped is placed. When used, the figure is placed on the ground, with
      Brahma to the east, and Laksmi to the west. Then a relic of any saint, or
      image of Buddha, like a modern papal crucifix, is added, and the shrine
      for worship is complete. It has now been adopted in Christian churches and
      Freemasons' lodges.
    </p>
    <p>
      It will be noticed that the male emblem points to the rising sun, and the
      female triangle points to the setting sun, when the earth seems to receive
      the god into her couch.
    </p>
    <p>
      <a name="linkimage-0035" id="linkimage-0035">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/123.jpg" alt="123 " width="100%" /><br />
    </div>
    <p>
      Figure 34 is a very ancient Hindoo emblem, whose real signification I am
      unable to divine. It is used in calculation; it forms the basis of some
      game, and it is a sign of vast import in sacti worship.
    </p>
    <p>
      A coin, bearing this figure upon it, and having a central cavity with the
      Etruscan letters SUPEN placed one between each two of the angles, was
      found in a fictile urn, at Volaterræ, and is depicted in Fabretti's <i>Italian
      Glossary</i>, plate xxvi., fig. 858, bis a. As the coin is round, the
      reader will see that these letters may be read as Supen, Upens, Pensu,
      Ensup, or Nsupe. A search through Fabretti's <i>Lexicon</i> affords no
      clue to any meaning except for the third. There seems, indeed, strong
      reason to believe that <i>pensu</i> was the Etruscan form of the Pali <i>panca</i>,
      the Sanscrit <i>pânch</i>, the Bengalli <i>pânch</i>, and the Greek <i>penta</i>,
      i. e., five. Five, certainly, would be an appropriate word for the
      pentangle. It is almost impossible to avoid speculating upon the value of
      this fragment of archæological evidence in support of the idea that the
      Greeks, Aryans, and Etruscans had something in common; but into the
      question it would be unprofitable to enter here.
    </p>
    <p>
      But, although declining to enter upon this wide field of inquiry, I would
      notice that whilst searching Fabretti's <i>Glossary</i> my eye fell upon
      the figure of an equilateral triangle with the apex upwards, depicted
      plate xliii., fig. 2440 ter. The triangle is of brass, and was found in
      the territory of the Falisci. It bears a rude representation of the
      outlines of the soles of two human feet, in this respect resembling a
      Buddhist emblem; and there is on its edge an inscription which may be
      rendered thus in Roman letters, KAYI: TERTINEI. POSTIKNU, which probably
      signifies "Gavia, the wife of Tertius, offered it." The occurrence of two
      Hindoo symbols in ancient Italy is very remarkable. It must, however, be
      noticed that similar symbols have been found on ancient sculptured stones
      in Ireland and Scotland. There may be no emblematic ideas whatever
      conveyed by the design; but when the marks appear on Gnostic gems, they
      are supposed to indicate death, i. e., the impressions left by the feet of
      the individual as he springs from earth to heaven.
    </p>
    <p>
      <a name="linkimage-0036" id="linkimage-0036">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/124.jpg" alt="124 " width="100%" /><br />
    </div>
    <p>
      Figures 35, 36, are Maltese crosses. In a large book of Etrurian
      antiquities, which came casually under my notice about twenty years ago,
      when I was endeavouring to master the language, theology, etc., of the
      Etruscans, but whose name, and other particulars of which, I cannot now
      remember; I found depicted two crosses, made up of four masculine triads,
      each <i>asher</i> being erect, and united to its fellows by the gland,
      forming a central diamond, emblem of the yoni. In one instance, the limbs
      of the cross were of equal length; in the other, one <i>asher</i> was
      three times as long as the others. A somewhat similar cross, but one
      united with the circle, was found some time ago near Naples. It is made of
      gold, and has apparently been used as an amulet and suspended to the neck.
      It is figured in plate 35 of <i>An Essay on the Worship of the Generative
      Powers during the Middle Ages</i> (London, privately printed, 1865). It
      may be thus described: the centre of the circle is occupied by four oblate
      spheres arranged like a square; from the salient curves of each of these
      springs a yoni (shaped as in Figure 59), with the point outwards, thus
      forming a cross, each ray of which is an egg and fig. At each junction of
      the ovoids a yoni is inserted with the apex inwards, whilst from the broad
      end arise four ashers, which project beyond the shield, each terminating
      in a few golden bead-like drops. The whole is a graphic natural
      representation of the intimate union of the male and female, sun and moon,
      cross and circle, Ouranos and Ge. The same idea is embodied in Figure 27,
      p. 86, but in that the mystery is deeply veiled, in that the long arms of
      the cross represent the sun, or male, indicated by the triad; the short
      ones, the moon, or the female (see Plate xi. Fig. 4).
    </p>
    <p>
      The Maltese cross, a Phoenician emblem, was discovered cut on a rock in
      the island from which it takes its name. Though cruciform, it had nothing
      Christian about it; for, like the Etruscan ones referred to above, it
      consisted of four lingas united together by the heads, the "eggs" being at
      the outside. It was an easy thing for an unscrupulous priesthood to
      represent this "invention" of the cross as a miracle, and to make it
      presentable to the eyes of the faithful by leaving the outlines of Anu and
      Hea incomplete. Sometimes this cross is figured as four triangles meeting
      at the points, which has the same meaning, Generally, however, the Church
      (as may be seen by a reference to Pugin's <i>Glossary of Ecclesiastical
      Ornament</i>) adopts the use of crosses where the inferior members of the
      trinity are more or less central, as in our Plate xi., Figs. 2, 8, and as
      in the Figures 40, 41, 42, <i>infra</i>. When once a person knows the true
      origin of the doctrine of the Trinity&mdash;one which is far too improper
      to have been adopted by the writers of the New Testament&mdash;it is
      impossible not to recognise in the signs which are symbolic of it the
      thing which is signified.
    </p>
    <p>
      It may readily be supposed that those who have knowledge of the heathenish
      origin of many of the cherished doctrines of the so-called Christian
      church, cannot remain enthusiastic members of her communion; and it is
      equally easy for the enlightened philosopher to understand why such
      persons are detested and abused by the ignorant, and charged with being
      freethinkers, sceptics, or atheists. Sciolism is ever intolerant, and
      theological hatred is generally to be measured by the mental incapacity of
      those who indulge in the luxury. But no amount of abuse can reduce the
      intrinsic value of facts. Nor will the most fiery persecution demonstrate
      that the religion of Christ, as it appears in our churches and cathedrals,
      especially if they are papal, is not tainted by a mass of paganism of
      disgusting origin.
    </p>
    <p>
      <a name="linkimage-0037" id="linkimage-0037">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/126.jpg" alt="126 " width="100%" /><br />
    </div>
    <p>
      Figure 37 is copied from the <i>Journal of the Royal Asiatic Society</i>,
      vol. xviii., p 898, plate 4. It is a Buddhist emblem, and represents the
      same idea under different aspects. Each limb of the cross represents the
      <i>fascinum</i> at right angles with the body, and presented towards a
      barleycorn, one of the symbols of the yoni. Each limb is marked by the
      same female emblem, and terminates with the triad triangle; beyond this
      again is seen the conjunction of the sun and moon. The whole therefore
      represents the mystic curba, the creative four, by some called Thor's
      hammer. Copies of a cross similar to this have been recently found by Dr.
      Schliemann in a very ancient city, buried under the remains of two others,
      which he identifies as the Troy of Homer's Iliad.
    </p>
    <p>
      <a name="linkimage-0038" id="linkimage-0038">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/127.jpg" alt="127 " width="100%" /><br />
    </div>
    <p>
      Figures 38 to 42 are developments of the triad triangle, or trinity. If
      the horizontal limb on the free end of the arm were to be prolonged to
      twice its length, the most obtuse would recognise <i>Asher</i>, and the
      inferior or lower members of the "triune."
    </p>
    <p>
      Figure 43 is by Egyptologists called the 'symbol of life.'
    </p>
    <p>
      It is also called the 'handled cross,' or <i>crux ansata</i>. It
      represents the male triad and the female unit, under a decent form. There
      are few symbols more commonly met with in Egyptian art than this. In some
      remarkable sculptures, where the sun's rays are represented as terminating
      in hands, the offerings which these bring are many a <i>crux ansata</i>,
      emblematic of the truth that a fruitful union is a gift from the deity.
    </p>
    <p>
      Figures 44, 45, are ancient designs, in which the male and female elements
      are more disguised than is usual. In Fig. 44 the woman is indicated by the
      dolphin.
    </p>
    <p>
      <a name="linkimage-0039" id="linkimage-0039">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/128.jpg" alt="128 " width="100%" /><br />
    </div>
    <p>
      Figures 48, 49, represent the trefoil which was used by the ancient
      Hindoos as emblematic of the celestial triad, and adopted by modern
      Christians. It will be seen that from one stem arise three
      curiously-shaped segments, each of which is supposed to resemble the male
      <i>scrotum, "purse," "bag," or "basket</i>.".
    </p>
    <p>
      Figure 50 is copied from Lajard, Culte de Venus, plate i., fig. 2. He
      states that it is from a gem cylinder in the British Museum. It represents
      a male and female figure dancing before the mystic palm-tree, into whose
      signification we need not enter beyond saying that it is a symbol of
      Asher. Opposite to a particular part of the figures is to be seen a
      diamond, or oval, and a <i>fleur de lys</i>, or symbolic triad. This gem
      is peculiarly valuable, as it illustrates in a graphic manner the meaning
      of the emblems in question and how the "lillies of France" had a pagan
      origin.
    </p>
    <p>
      <a name="linkimage-0040" id="linkimage-0040">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/129.jpg" alt="129 " width="100%" /><br />
    </div>
    <p>
      Figures 51 to 60 are varions representations of the union of the four, the
      arba, the androgyne, or the linga-yoni.
    </p>
    <p>
      Figure 61. In modern Christian art this symbol is called <i>vesica piscis</i>,
      and is sometimes surrounded with rays. It commonly serves as a sort of
      framework in which female saints are placed, who are generally the
      representatives of the older Juno, Ceres, Diana, Venus, or other
      impersonations of the feminine element in creation. We should not feel
      obliged to demonstrate the truth of this assertion if decency permitted us
      to reproduce here designs which naughty youths so frequently chalk upon
      walls to the disgust of the proper part of the community. We must,
      therefore, have resort to a religious book, and in a subsequent figure
      demonstrate the meaning of the symbol unequivocally.
    </p>
    <p>
      <a name="linkimage-0041" id="linkimage-0041">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/130.jpg" alt="130 " width="100%" /><br />
    </div>
    <p>
      Figure 62 represents one of the forms assumed by the sistrum of Isis.
      Sometimes the instrument is oval, and occasionally it terminates below in
      a horizontal line, instead of in an acute angle. The inquirer can very
      readily recognise in the emblem the symbol of the female creator. If there
      should be any doubt in his mind, he will be satisfied after a reference to
      Maffei's <i>Gemme Antiche Figurate</i> (Rome, 1707), vol. ii., plate 61,
      wherein Diana of the Ephesians is depicted as having a body of the exact
      shape of the sistrum figured in Payne Knight's work on the remains of the
      worship of Priapus, etc. The bars across the sistrum show that it denotes
      a pure virgin (see <i>Ancient Faiths</i>, second edition, Vol. n., pp.
      743-746). On its handle is seen the figure of a cat&mdash;a sacred animal
      amongst the Egyptians, for the same reason that Isis was figured sometimes
      as a cow&mdash;viz., for its salacity and its love for its offspring.
    </p>
    <p>
      <a name="linkimage-0042" id="linkimage-0042">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/131.jpg" alt="131 " width="100%" /><br />
    </div>
    <p>
      Figures 63 to 66 are all drawn from Assyrian sources.
    </p>
    <p>
      <a name="linkimage-0043" id="linkimage-0043">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/132.jpg" alt="132 " width="100%" /><br />
    </div>
    <p>
      The central figure, which is probably the biblical "grove," represents the
      delta, or female "door." To it the attendant genii offer the pine cone and
      basket. The signification of these is explained subsequently. I was unable
      at first to quote any authority to demonstrate that the pine cone was a
      distinct masculine symbol, but now the reader may be referred to Maffei,
      <i>Gemme Antiche Figurate</i> (Rome, 1708), where, in vol. iii., he will
      see a Venus Tirsigera.
    </p>
    <p>
      The goddess in plate 8, is nude, and carries in her hand the tripliform
      arrow, emblem of the male triad, whilst in the other she bears a thyrsus,
      terminating in a pine or fir cone. Now this cone and stem are carried in
      the Bacchic festivities, and can be readily recognised as <i>virga cum ovo</i>.
      Sometimes the thyrsus is replaced by ivy leaves, which, like the fig, are
      symbolic of the triple creator. Occasionally the thyrsus was a lance or
      pike, round which vine leaves and berries were clustered; Bacchus <i>cum
      vino</i> being the companion of Venus <i>cum cerere</i>. But a stronger
      confirmation of my views may be found in a remarkable group (see Fig. 124
      infra). This is entitled <i>Sacrifizio di Priapo</i>, and represents a
      female offering to Priapus. The figure of the god stands upon a pillar of
      three stones, and it bears a thyrsus from which depend two ribbons. The
      devotee is accompanied by a boy, who carries a pine- or fir- cone in his
      hand, and a basket on his head, in which may be recognised a male effigy.
      In Figure 64 the position of the advanced hand of each of the priests
      nearest to the grove is very suggestive to the physiologist. It resembles
      one limb of the Buddhist cross, Fig. 37, <i>supra</i>. The finger or thumb
      when thus pointed are figurative of Asher, in a horizontal position, with
      Anu or Hea hanging from one end. Figure 65 is explained similarly. It is
      to be noticed that a door is adopted amongst modern Hindoos as an emblem
      of the sacti (see Figs. 152, 153, <i>infra</i>).
    </p>
    <p>
      <a name="linkimage-0044" id="linkimage-0044">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/133.jpg" alt="133 " width="100%" /><br />
    </div>
    <p>
      My friend Mr. Newton, who has taken great interest in the subject of
      symbolism, regards these "groves" as not being simply emblems of the yoni,
      but of the union of that part with the lingam, or mystic palm tree. As his
      ideas are extremely ingenious, and his theory perfect, I have requested
      him to introduce them at the end of this work.
    </p>
    <p>
      Figures 67, 68, 69, are fancy sketches intended to represent the "sacred
      shields" spoken of in Jewish and other history. The last is drawn from
      memory, and represents a Templar's shield. According to the method in
      which the shield is viewed, it appears like the <i>os tincæ</i> or the
      navel. Figures 70, 71, represent the shape of the sistrum of Isis, the
      fruit of the fig, and the yoni. When a garment of this shape is made and
      worn, it becomes the "pallium" donned alike by the male and female
      individuals consecrated to Roman worship.
    </p>
    <p>
      King, in his <i>Ancient Gnostics</i>, remarks: "The circle of the sun is
      the navel, which marks the natural position of the womb&mdash;the navel
      being considered in the microcosm as corresponding to the sun in the
      universe, an idea more fully exemplified in the famous hallucination of
      the Greek anchorites touching the mystical 'Light of Tabor,' which was
      revealed to the dèvotee after a fast of many days, all the time staring
      fixedly upon the region of the navel, whence at length this light streamed
      as from a focus." Pages 158, 154.
    </p>
    <p>
      <a name="linkimage-0045" id="linkimage-0045">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/134.jpg" alt="134 " width="100%" /><br />
    </div>
    <p>
      Figures 72, 73, represent an ancient Christian bishop, and a modern nun
      wearing the emblem of the female sex. In the former, said (in <i>Old
      England Pictorially Illustrated</i>, by Knight) to be a drawing of St.
      Augustine, the amount of symbolism is great. The "nimbus" and the tonsure
      are solar emblems; the pallium, the feminine sign, is studded with phallic
      crosses; its lower end is the ancient T the mark of the masculine triad;
      the right hand has the forefinger extended, like the Assyrian priests
      whilst doing homage to the grove, and within it is the fruit, <i>tappuach</i>,
      which is said to have tempted Eve. When a male dons the pallium in
      worship, he becomes the representative of the trinity in the unity, the <i>arba</i>,
      or mystic four. See <i>Ancient Faiths</i>, second edition, Vol. n., pp.
      915-918.
    </p>
    <p>
      I take this opportunity to quote here a pregnant page of King's <i>Gnostics
      and their Remains</i>, (Bell &amp; Daldy, London, 1864). To this period
      belongs a beautiful sard in my collection representing Serapis,... whilst
      before him <i>stands</i> Isis, holding in one hand the sistrum, in the
      other a wheatsheaf, with the legend... 'Immaculate is our lady Isis,' the
      very terms applied afterwards to that personage who succeeded to her form
      (the 'Black Virgins,' so highly reverenced in certain French Cathedrals
      during the middle ages, proved, when examined critically, basalt figures
      of Isis), her symbols, rites, and ceremonies.... Her devotees carried into
      the new priesthood the former badges of their profession, the obligation
      to celibacy, the tonsure, and the surplice, omitting, unfortunately, the
      frequent ablutions prescribed by the ancient creed. The sacred image still
      moves in procession as when Juvenal laughed at it, vi. 530.
    </p>
    <p>
      <a name="linkimage-0046" id="linkimage-0046">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/135.jpg" alt="135 " width="100%" /><br />
    </div>
    <p>
      Escorted by the tonsured surpliced train. Her proper title, Domina, the
      exact translation of Sanscrit Isi, survives with slight change in the
      modern Madonna, Mater Domina.
    </p>
    <p>
      By a singular permutation the flower borne by each, the lotus&mdash;ancient
      emblem of the sun and fecundity&mdash;now re-named the lily, is
      interpreted as significant of the opposing quality. The tinkling
      sistrum... is replaced by... the bell, taken from Buddhist usages.... The
      erect oval symbol of the Female Principle of Nature became the Vesica
      Piscis, and the Crux Ansata, testifying the union of the male and female
      in the most obvious manner, is transformed into the orb surmounted by the
      cross, as an ensign of royalty. Pp. 71, 72.
    </p>
    <p>
      <a name="linkimage-0047" id="linkimage-0047">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/136.jpg" alt="136 " width="100%" /><br />
    </div>
    <p>
      Figure 74 is a well known Christian emblem, called "a foul anchor." The
      anchor, as a symbol, is of great antiquity. It may be seen on an old
      Etruscan coin in the British Museum, depicted in <i>Veterum Popvlorum et
      Regum Nummi</i>, etc. (London, 1814), plate ii., fig. 1. On the reverse
      there is a chariot wheel. The foul anchor represents the crescent moon,
      the yoni, ark, navis, or boat; in this is placed the mast, round which the
      serpent, the emblem of life in the "verge," entwines itself. The cross
      beam completes the mystic four, symbolic alike of the sun and of
      androgeneity. The whole is a covert emblem of that union which results in
      fecundity. It is said by Christians to be the anchor of the soul, sure and
      steadfast. This it certainly cannot be, for a foul anchor will not hold
      the ground.
    </p>
    <p>
      Figures 75 to 79 are Asiatic and Egyptian emblems in use amongst
      ourselves, and receive their explanation similarly to preceding ones.
    </p>
    <p>
      Figure 80 is copied from Godfrey Higgins' <i>Anacalypsis</i>, vol. ii.,
      fig. 27. It is drawn from Montfauçon, vol. ii., pi. cxxxii., fig. 6. In
      his text, Higgins refers to two similar groups, one which exists in the
      Egyptian temple of Ipsambal in Nubia, and is described by Wilson, <i>On
      Buddhists and Jeynes</i>, p. 127, another, found in a cave temple in the
      south of India, described by Col. Tod, in his <i>History of Raj-pootanah</i>.
      The group is not explained by Montfauçon. It is apparently Greek, and
      combines the story of Hercules with the seductiveness of Circe. The tree
      and serpent are common emblems, and have even been found in Indian temples
      in central America, grouped as in the woodcut.
    </p>
    <p>
      <a name="linkimage-0048" id="linkimage-0048">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/137.jpg" alt="137 " width="100%" /><br />
    </div>
    <p>
      <a name="linkimage-0049" id="linkimage-0049">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/138.jpg" alt="138 " width="100%" /><br />
    </div>
    <p>
      Figure 81 is copied from Lajard, <i>Culte de Venus</i>, plate xix., fig.
      11, The origin of this, which is a silver statuette in that author's
      possession, is unknown. The female represents Venus bearing in one hand an
      apple; her arm rests upon what seems to be a representative of the mystic
      triad (the two additions to the upright stem not being seen in a front
      view) round which a dolphin for 'womb' is entwined, from whose mouth comes
      the stream of life. The apple plays a strange part in Greek and Hebrew
      mythology. The story of "the apple of discord," awarded by Paris to Venus,
      seems to indicate that where beauty contends against majesty and wisdom
      for the love of youth, it is sure to win the day. We learn from Arnobius
      that a certain Nana conceived a son by an apple (Op, Cit., p. 286),
      although in another place the prolific fruit is said to have been a
      pomegranate. Mythologically, that writer sees no difficulty in the story,
      for those who affirm that rocks and hard stones have brought forth. In the
      Song of Solomon, apples and the tree that bears them are often referred
      to; and we have in Ch. ii. 5 the curious expression, "Comfort me with
      apples, for I am sick of love." We are familiar with the account of Eve
      being tempted by the same fruit. Critics imagine that as the apple in
      Palestine is not good eating, the quince is meant; if so, we know that a
      leaf of that tree is to be seen in every amorous picture found in Pompeii,
      the plant having been supposed to increase virile power. Others imagine
      that the citron is intended, whose shape makes it an emblem of the testis.
      However this may be decided, it is tolerably clear, from all the tales and
      pictures in which a fruit like the apple figures, that the emblem
      symbolised a desire for an intimate union between the sexes. The reader
      will doubtless remember how, in Genesis xxx, Leah is represented as
      purchasing her husband's company for a night by means of mandrakes, the
      result being the birth of Issachar; and in the well-known story of the
      Creation we find that the apple gives birth to desire, as shown in the
      recognition for the first time of the respective nudity of the couple,
      which was followed immediately, or as soon as it was possible afterwards,
      by sexual intercourse and the conception of Cain.
    </p>
    <p>
      <a name="linkimage-0050" id="linkimage-0050">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/139.jpg" alt="139 " width="100%" /><br />
    </div>
    <p>
      Figure 82 is from Lajard (Op. Cit.), plate xivb, fig. 3.
    </p>
    <p>
      The gem is of unknown origin, but is apparently Babylonish; it represents
      the male and female in conjunction: each appears to be holding the symbol
      of the triad in much respect, whilst the curious cross suggests a new
      reading to an ancient symbol.
    </p>
    <p>
      I have of late heard it asserted, by a man of considerable learning,
      though of a very narrow mind in everything which bears upon religious
      subjects, that there is no proof that the sun was commonly regarded as a
      male, or the moon as a female; and he based his strange assertion solely
      upon the ground that in German and some other languages the sun was
      represented by a feminine, and the moon by a masculine noun. The argument
      is of no value, for [&mdash;Greek&mdash;] and other Greek and Latin names
      of the yoni, are masculine nouns, and Virga and Mentula, the Roman words
      for the Linga, are feminine. In Hindostan, the sun is always represented
      as a God; the moon is occasionally a male, and sometimes a female deity.
      In ancient Gaulish and Scandinavian figures, the sun was always a male,
      and the moon a female. Their identification will be seen in Figure 118&mdash;as
      their conjunction is in the one before us&mdash;in the position of the
      individuals, and in the <i>fleur-de-lys</i> and oval symbol.
    </p>
    <p>
      <a name="linkimage-0051" id="linkimage-0051">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/140.jpg" alt="140 " width="100%" /><br />
    </div>
    <p>
      Figure 88 may be found in Fabretti's <i>Corpus Inscriptionum Italicarum</i>
      (Turin, 1867), plate xxv., fig. 808 f. The coins which bear the figures
      are of brass, and were found at Volaterræ. In one the double head is
      associated with a dolphin and crescent moon on the reverse, and the
      letters Velathri, in Etruscan. A similar inscription exists on the one
      containing the club. The club, formed as in Figure 88, occurs frequently
      on Etruscan coins. For example, two clubs are joined with four balls on a
      Tudertine coin, having on the reverse a hand apparently gauntleted for
      fighting, and four balls arranged in a square. On other coins are to be
      seen a bee, a trident, a spear head, and other tripliform figures,
      associated with three balls in a triangle; sometimes two, and sometimes
      one. The double head with two balls is seen on a Telamonian coin, having
      on the reverse what appears to be a leg with the foot turned upwards. In a
      coin of Populonia the club is associated with a spear and two balls,
      whilst on the reverse is a single head. I must notice, too, that on other
      coins a hammer and pincers, or tongs, appear, as if the idea was to show
      that a maker, fabricator, or heavy hitter was intended to be symbolised.
      What that was is further indicated by other coins, on which a head appears
      thrusting out the tongue. At Cortona two statuettes of silver have been
      found, representing a double-faced individual. A lion's head for a cap, a
      collar, and buskins are the sole articles of dress worn. One face appears
      to be feminine, and the other masculine, but neither is bearded. The
      pectorals and the general form indicate the male, but the usual marks of
      sex are absent. On these have been found Etruscan inscriptions (1) v.
      cvinti arntias CULPIANSI ALP AN TURCE; (2) V. CVINTE ARNTIAS SELANSE TEZ
      alpan TUBCE. Which may be rendered (1) "V. Quintus of Aruntia, to Culpian
      pleasing, a gift"; (2) "V. Quintus of Aruntia to Vulcan pleasing gave a
      gift," evidently showing that they were ex voto offerings.
    </p>
    <p>
      <a name="linkimage-0052" id="linkimage-0052">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/141.jpg" alt="141 " width="100%" /><br />
    </div>
    <p>
      Col. Forbes Leslie's Early Races of Scotland. In plate 49 it is associated
      with a serpent, apparently the cobra. The design is spoken of as "the
      spectacle ornament," and it is very commonly associated with another
      figure closely resembling the letter Z. It is very natural for the
      inquirer to associate the twin circles with the sun and earth, or the sun
      common amongst the sculptured stones in Scotland. Four varieties may be
      seen in plate 48 of sun and moon. On one Scottish monument the circles
      represent wheels, and they probably indicate the solar chariot. As yet I
      have only been able to meet with the Z and "spectacle ornament" once out
      of Scotland; it is figured on apparently a Gnostic gem (<i>The Gnostics
      and their Remains</i>, by C. W. King, London, 1864, plate ii., fig. 5). In
      that we see in a serpent cartouche two Z figures, each having the down
      stroke crossed by a horizontal line, both ends terminating in a circle;
      besides them is a six-rayed star, each ray terminating in a circle,
      precisely resembling the star in Plate in., Fig. 8, supra. I can offer no
      satisfactory explanation of the emblem.
    </p>
    <p>
      <a name="linkimage-0053" id="linkimage-0053">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/142.jpg" alt="142 " width="100%" /><br />
    </div>
    <p>
      Figures 85, 86, represent a Yorkshire and an Indian stone circle. The
      first is copied from <i>Descriptions of Cairns, Cromlechs, Kistvaens, and
      other Celtic, Druidical, or Scythian Monuments in the Dekkan</i>, by Col.
      Meadows Taylor, <i>Transactions of the Royal Irish Academy</i>, vol. xxiv.
      The mound exists at Twizell, Yorkshire, and the centre of the circle
      indicates an ancient tomb, very similar to those found by Taylor in the
      Dekkan; this contained only one single urn, but many of the Indian ones
      contained, besides the skeleton of the great man buried therein, skeletons
      of other individuals who had been slaughtered over his tomb, and buried
      above the kistvaen containing his bones; in one instance two bodies and
      three heads were found in the principal grave, and twenty other skeletons
      above and beside it. A perusal of this very interesting paper will well
      repay the study bestowed upon it. Figure 86 is copied from Forbes Leslie's
      book mentioned above, plate 59. It represents a modern stone circle in the
      Dekkan, of very recent construction. The dots upon the stones represent
      dabs of red paint, which again represent blood. The circles are similar to
      some which have been found in Palestine, and give evidence of the presence
      of the same religious ideas existing in ancient England and Hindostan, as
      well as in modern India. The name of the god worshipped in these recent
      shrines is Vetal, or Betal. It is worth mentioning, in passing, that there
      is a celebrated monolith in Scotland called the Newton Stone, on which are
      inscribed, evidently with a graving tool, an inscription in the Ogham, and
      another in some ancient Aryan character (see Moore's Ancient Pillar Stones
      of Scotland).
    </p>
    <p>
      <a name="linkimage-0054" id="linkimage-0054">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/143.jpg" alt="143 " width="100%" /><br />
    </div>
    <p>
      Figure 87 indicates the solar wheel, emblem of the chariot of Apollo. This
      sign is a very common one upon ancient coins; sometimes the rays or spokes
      are four, at others they are more numerous. Occasionally the tire of the
      wheel is absent, and amongst the Etruscans the nave is omitted. The solar
      cross is very common in Ireland, and amongst the Romanists generally as a
      head dress for male saints.
    </p>
    <p>
      <a name="linkimage-0055" id="linkimage-0055">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/144.jpg" alt="144 " width="100%" /><br />
    </div>
    <p>
      Figure 88 is copied from Hyslop, who gives it on the authority of Col.
      Hamilton Smith, who copied it from the original collection made by the
      artists of the French Institute of Cairo. It is said to represent Osiris,
      but this is doubtful. There is much that is intensely mystical about the
      figure. The whip, or flagellum, placed over the tail, and the head passing
      through the yoni, the circular spots with their central dot, the horns
      with solar disc, and two curiously shaped feathers (?), the calf reclining
      upon a plinth, wherein a division into three is conspicuous, all have a
      meaning in reference to the mystic four.
    </p>
    <p>
      I have long had a doubt respecting the symbolic meaning of the scourge.
      Some inquirers have asserted that it is simply an emblem of power or
      superiority, inasmuch as he who can castigate must be in a higher position
      than the one who is punished. But of this view I can find no proof. On the
      other hand, any one who is familiar with the effect upon the male produced
      by flagellation, and who notices that the representations of Osiris and
      the scourge show evidence that the deity is in the same condition as one
      who has been subjected to the rod, will be disposed to believe that the
      flagellum is an indication or symbol of the god who gives to man the power
      to reproduce his like, or who can restore the faculty after it has faded.
      It is not for a moment to be supposed that a deity who was to be
      worshipped would be depicted as a task-master, whose hands are more
      familiar with punishment than blessing.
    </p>
    <p>
      <a name="linkimage-0056" id="linkimage-0056">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/145.jpg" alt="145 " width="100%" /><br />
    </div>
    <p>
      Figure 89 is taken from Lajard's <i>Culte de Venus</i>, plate i., fig. 14,
      and is an enlarged impression of a gem. A similar figure is to be found in
      Payne Knight's work <i>On the Worship of Priapus</i>. In both instances
      the female is fringed with male emblems. In the one before us a fish,
      apparently a dolphin, is borne in one hand. In the other the woman is
      bearded. These are representations of Ashtaroth&mdash;the androgyne deity
      in which the female predominates.
    </p>
    <p>
      Fig. 90 represents an ancient Italian form of the Indian Ling Yoni. It is
      copied from a part of the Frontispiece of Faber's <i>Dissertation on the
      Cabiri</i>, where it is stated that the plate is a copy of a picture of a
      nymphoeum found when excavating a foundation for the Barbarini Palace at
      Rome. It deserves notice, because the round mound of masonry surmounted by
      the short pillars is precisely similar to similar erections found in
      Hindostan on the East and America on the West, as well as in varions parts
      of Europe. The oval in the pediment and the solitary pillar have the same
      meaning as the Caaba and hole&mdash;the upright stone and pit revered at
      Mecca long before Mahomet's time&mdash;the tree serves to identify the
      pillar, and <i>vice versa</i>. Apertures were common in ancient sepulchral
      monuments, alike in Hindostan and England; one perforated stone is
      preserved as a relic in the precincts of an old church in modern Rome. The
      aperture is blackish with the grease of many hands, which have been put
      therein whilst their owners took a sacred oath. We have already remarked
      how ancient Abraham and a modern Arab have sworn by the Linga; it is
      therefore by no means remarkable that some of a different form of faith
      should swear by the Yoni.
    </p>
    <p>
      <a name="linkimage-0057" id="linkimage-0057">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/146a.jpg" alt="146 " width="100%" /><br />
    </div>
    <p>
      <br />
    </p>
    <div class="fig" style="width:80%">
      <img alt="146b (16K)" src="images/146b.jpg" width="100%" /><br />
    </div>
    <p>
      <br />
    </p>
    <p>
      Figure 91 is stated by Higgins, Anacalypm, p. 217, to be a mark on the
      breast of an Egyptian mummy in the Museum of University College, London.
      It is essentially the same symbol as the <i>crux ansata</i>, and is
      emblematic of the male triad and the female unit.
    </p>
    <p>
      Figure 92 is simply introduced to show that the papal tiara has not about
      it anything particularly Christian, a similar head-dress having been worn
      by gods or angels in ancient Assyria, where it appeared crowned by an
      emblem of "the trinity." We may mention, in passing, that as the Romanists
      adopted the mitre and the tiara from "the cursed brood of Ham," so they
      adopted the episcopalian crook from the augurs of Etruria, and the
      artistic form with which they clothe their angels from the painters and
      um-makers of Magna Gracia and Central Italy.
    </p>
    <p>
      <a name="linkimage-0058" id="linkimage-0058">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/147.jpg" alt="147 " width="100%" /><br />
    </div>
    <p>
      Figure 98 is the Mithraic lion. It may be seen in Hyde's <i>Religion of
      the Ancient Persians</i>, second edition, plate i. It may also be seen in
      vol. ii., plates 10 and 11, of Maffei's <i>Gemme Antiche Figurate</i>
      (Rome, 1707). In plate 10 the Mithraic lion has seven stars above it,
      around which are placed respectively, words written in Greek, Etruscan and
      Phoenician characters, ZEDCH. TELKAN. TELKON. TELKON. QIDEKH. UNEULK.
      LNKELLP., apparently showing that the emblem was adopted by the Gnostics.
      It would be unprofitable to dwell upon the meaning of these letters. After
      puzzling over them, I fancy that "Bad spirits, pity us," "Just one, I call
      on thee," may be made out by considering the words to be very bad Greek,
      and the letters to be much transposed.
    </p>
    <p>
      <a name="linkimage-0059" id="linkimage-0059">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/148.jpg" alt="148 " width="100%" /><br />
    </div>
    <p>
      Figure 94 is copied by Higgins, <i>Anacalypsis</i>, on the authority of
      Dubois, who states, vol. iii., p. 88, that it was found on a stone in a
      church in France, where it had been kept religiously for six hundred
      years. Dubois regards it as wholly astrological, and as having no
      reference to the story told in Genesis. It is unprofitable to speculate on
      the draped figures as representatives of Adam and Eve. We have introduced
      it to show how such tales are intermingled with Sabeanism.
    </p>
    <p>
      <a name="linkimage-0060" id="linkimage-0060">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/149.jpg" alt="149 " width="100%" /><br />
    </div>
    <p>
      Figure 95 is a copy of a gem figured by Layard (<i>Nineveh and Babylon</i>,
      p. 156), and represents Harpocrates seated on a lotus, adoring the mundane
      representative of the mother of creation. I have not yet met with any
      ancient gem or sculpture which seems to identify the yoni so completely
      with various goddesses.
    </p>
    <p>
      Compare this with Figure 138, <i>infra</i>, wherein the Figure 95. emblem
      is even more strikingly identified with woman, and with the virgin Mary.
      Those who are familiar with the rude designs too often chalked on
      hoardings, will see that learned ancients and boorish moderns represent
      certain ideas in precisely similar fashion, and will understand the mystic
      meaning of O &mdash;&mdash; I have elsewhere called attention to the idea
      that a sight of the yoni is a source of health, and a charm against evil
      spirits; however grotesque the idea may be, it has existed in all ages,
      and in civilised and savage nations alike. A rude image of a woman who
      shamelessly exhibits herself has been found over the doors of churches in
      Ireland, and at Servatos, in Spain, where she is standing on one side of
      the doorway, and an equally conspicuous man on the other. The same has
      been found in Mexico, Peru, and in North America. Nor must we forget how
      Baubo cured the intense grief of Ceres by exposing herself in a strange
      fashion to the distressed goddess. Arnobius, <i>Op. Cit</i>., pp. 249,
      250.
    </p>
    <p>
      As I have already noticed modern notions on the influence produced by the
      exhibition of the yoni on those who are suffering, the legend referred to
      may be shortly described. The goddess, in the story, was miserable in
      consequence of her daughter, Proserpine, having been stolen away by Pluto.
      In her agony, snatching two Etna-lighted torches, she wanders round the
      earth in search of the lost one, and in due course visits Eleusis. Baubo
      receives her hospitably; but nothing that the hostess does induces the
      guest to depose her grief for a moment. In despair the mortal bethinks her
      of a scheme, shaves off what is called in Isaiah "the hair of the feet"
      and then exposes herself to the goddess. Ceres fixes her eyes upon the
      denuded spot, is pleased with the strange form of consolation, consents to
      take food and is restored to comfort.
    </p>
    <p>
      <a name="linkimage-0061" id="linkimage-0061">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/150.jpg" alt="150 " width="100%" /><br />
    </div>
    <p>
      Figure 96 is copied from plate 22, fig. 8, of Lajard's <i>Culte de Venus</i>.
      He states that it is an impression of a cornelian cylinder, in the
      collection of the late Sir William Ouseley, and is supposed to represent
      Oannes, or Bel and two fish gods, the authors of fecundity. It is thought
      that Dagon of the Philistines resembled the two figures supporting the
      central one.
    </p>
    <p>
      Figure 97 is a side view of plate 1. The idol represents a female. Dagon,
      the fish god, male above, piscine below, was one of the many symbols of an
      androgyne creator. In the first of the Avatars of Vishnu, he is
      represented as emerging from the mouth of a fish, and being a fish
      himself; the legend being that he was to be the saviour of the world in a
      deluge which was to follow. See Moor's <i>Hindu Pantheon</i>, and
      Coleman's <i>Mythology of the Hindus</i>.
    </p>
    <p>
      <a name="linkimage-0062" id="linkimage-0062">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/151a.jpg" alt="151 " width="100%" /><br />
    </div>
    <p>
      Figure 98 is a fancy sketch of the <i>fleur-de-lys</i>, the lily of
      France. It symbolises the male triad, whilst the ring around it represents
      the female. The identification of this emblem of the trinity with the
      tripliform Mahadeva, and of the ring with his sacti, may be seen in the
      next figure.
    </p>
    <p>
      <br />
    </p>
    <div class="fig" style="width:80%">
      <img alt="151b (4K)" src="images/151b.jpg" width="100%" /><br />
    </div>
    <p>
      <br />
    </p>
    <p>
      Figure 99, which we have already given on page 46, is one of great value
      to the inquirer into the signification of certain symbols. It has been
      reintroduced here to show the identification of the eye, fish, or oval
      shape, with the yoni, and of the <i>fleur-de-lys</i> with the lingam,
      which is recognised by the respective positions of the emblems in front of
      particular parts of the mystic animals, who both, on their part, adore the
      symbolic palm tree, with its pistil and stamens. The rayed branches of the
      upper part of the tree, and the nearness to it of the crescent moon, seem
      to indicate that the palm was a solar as well as a sexual emblem.
    </p>
    <p>
      <a name="linkimage-0063" id="linkimage-0063">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/152.jpg" alt="152 " width="100%" /><br />
    </div>
    <p>
      The great similarity of the palm tree to the ancient round towers in
      Ireland and elsewhere will naturally strike the observer. He will perhaps
      remember also that on certain occasions dancing, feasting, and debauchery
      were practised about a round tower in Wicklow, such as were practised
      round the English may-pole, the modern substitute of the mystic palm tree.
      We have now humanised our practice, but we have not purified our land of
      all its veiled symbols.
    </p>
    <p>
      In some parts, where probably the palm tree does not flourish, the pine
      takes its place as an emblem. It was sacred to the mother of the gods,
      whose names, Rhoea, Ceres, Cybele, are paraphrastic of the yoni. We learn
      from Araobius, <i>Op. Cit.</i>, p. 239, that on fixed days that tree was
      introduced into the sanctuary of that august personage, being decorated by
      fleeces and violets. It does not require any recondite knowledge to
      understand the signification of the entrance of the pine into the temple
      of the divine mother, nor what the tree when buried in the midst of a
      fleece depicts. Those who have heard of the origin of the Spanish Royal
      Order of the Golden Fleece know that the word is an enphemism for the <i>lanugo</i>
      of the Romans. Parsley round a carrot root is a modern symbol, and the
      violet is as good an emblem of the lingam as the modern pistol.
    </p>
    <p>
      It has long been known that the ancient custom of erecting a may-pole,
      surrounding it with wreaths of flowers, and then dancing round it in wild
      orgy, was a relic of the ancient custom of reverencing the symbol of
      creation, invigorated by the returning spring time, without whose powers
      the flocks and herds would fail to increase. It will not fail to attract
      the notice of my readers, that a pine cone is constantly being offered to
      the sacred "grove" by the priests of Assyria.
    </p>
    <p>
      <a name="linkimage-0064" id="linkimage-0064">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/153.jpg" alt="153 " width="100%" /><br />
    </div>
    <p>
      Figures 100, 101, represent the Buddhist cross and one of its arms. The
      first shows the union of four phalli. The single one being a conventional
      form of a well-known organ. This form of cross does not essentially differ
      from the Maltese cross. In the latter, Asher stands perpendicularly to Anu
      and Hea; in the former it is at right angles to them. "The pistol" is a
      well-known name amongst our soldiery, and four such joined together by the
      muzzle would form the Buddhist cross. Compare Figure 37, <i>ante</i>.
    </p>
    <p>
      Figures 102, 108, 104, indicate the union of the four creators, the
      trinity and the unity. Not having at hand any copy of an ancient key, I
      have used a modern one; but this makes no essential difference in the
      symbol.
    </p>
    <p>
      Figures 105, 106, are copied from Lajard, <i>Sur le Culte de Venus</i>,
      plate ii. They represent ornaments held in the hands of a great female
      figure, sculptured in bas relief on a rock at Yazili Kaia, near to Boghaz
      Keni, in Anatolia, and described by M. C. Texier in 1834. The goddess is
      crowned with a tower, to indicate virginity; in her right hand she holds a
      staff, shown in Figure 106; in the other, that given in Figure 105, she
      stands upon a lioness, and is attended by an antelope. Figure 105 is a
      complicated emblem of the four.
    </p>
    <p>
      <a name="linkimage-0065" id="linkimage-0065">
      <!-- IMG --></a>
    </p>
    <p>
      <br />
    </p>
    <div class="fig" style="width:80%">
      <img alt="154a (27K)" src="images/154a.jpg" width="100%" /><br />
    </div>
    <p>
      <br /> <br />
    </p>
    <div class="fig" style="width:80%">
      <img alt="154b (63K)" src="images/154b.jpg" width="100%" /><br />
    </div>
    <p>
      <br />
    </p>
    <p>
      Figures 107, 108, 109, are copied from Moor's <i>Hindu Pantheon</i>, plate
      lxxxiii. They represent the lingam and then yoni, which amongst the Indians
      are regarded as holy emblems, much in the same way as a crucifix is
      esteemed by certain modern Christians.
    </p>
    <p>
      <a name="linkimage-0066" id="linkimage-0066">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/155.jpg" alt="155 " width="100%" /><br />
    </div>
    <p>
      In worship, <i>ghee</i>, or oil, or water, is poured over the pillar, and
      allowed to run off by the spout. Sometimes the pillar is adorned by a
      necklace, and is associated with the serpent emblem. In Lucian's account
      of Alexander, the false prophet, which we have condensed in <i>Ancient
      Faiths</i>, second edition, there is a reference to one of his dupes, who
      was a distinguished Roman officer, but so very superstitious, or, as he
      would say of himself, so deeply imbued with religion, that at the sight of
      a stone he would fall prostrate and adore it for a considerable time,
      offering prayers and vows thereto. This may by some be thought quite as
      reasonable as the practice once enforced in Christian Rome, which obliged
      all persons in the street to kneel in reverence when an ugly black doll,
      called "the bambino," or a bit of bread, over which some cabalistic words
      had been muttered, was being carried in procession past them. Arnobins, <i>Op,
      Cit</i>., p. 81, says, "I worshipped images produced from the furnace,
      gods made on anvils and by hammers, the bones of elephants, paintings,
      wreaths on aged trees; whenever I espied an anointed stone, and one
      bedaubed with olive oil, as if some person resided in it, I worshipped it,
      I addressed myself to it, and begged blessings from a senseless stock."
      Compare Gen. xxviii. 18, wherein we find that Jacob set up a stone and
      anointed it with oil, and called the place Bethel, and Is. xxvii. 19, xl.
      20, xliv. 10-20.
    </p>
    <p>
      I copy the following remarks from a paper by Mr. Sellon, in <i>Memoirs of
      the London Anthropological Society</i>, for 1868-4. Speaking of Hindostan,
      he remarks, "As every village has its temple so every temple has its
      Lingam, and these parochial Lingams are usually from two to three feet in
      height, and rather broad at the base. Here the village girls, who are
      anxious for lovers or husbands, repair early in the morning. They make a
      lustration by sprinkling the god with water brought from the Ganges; they
      deck the Linga with garlands of the sweet-smelling bilwa flower; they
      perform the <i>mudra</i>, or gesticulation with the fingers, and, reciting
      the prescribed <i>mantras</i>, or incantations, they rub themselves
      against the emblem, and entreat the deity to make them fruitful mothers of
      <i>pulee-pullum</i> (i.e., child fruit).
    </p>
    <p>
      "This is the celebrated Linga puja, during the performance of which the <i>panchaty</i>,
      or five lamps, must be lighted, and the <i>gantha</i>, or bell, be
      frequently rung to scare away the evil demons. The <i>mala</i>, or rosary
      of a hundred and eight round beads, is also used in this puja."
    </p>
    <p>
      See also Moor's <i>Hindu Pantheon</i>, plate xxii, pp. 68, 69, 70. Again,
      in the <i>Dabistan</i>, a work written in the Persian language, by a
      travelled Mahometan, about a. d. 1660, and translated by David Shea, for
      the Oriental Translation Fund of Great Britain and Ireland (8 vols., 8vo.,
      Allen and Co., Leadenhall Street, London), we read, vol. ii., pp. 148-160,
      "The belief of the Saktian is that Siva, that is, Mahadeva, who with
      little exception is the highest of deities and the greatest of the
      spirits, has a spouse whom they call <i>Maya</i> Sakti.....With them the
      power of Mahadeva's wife, who is Bhavani, surpasses that of the husband.
      The zealous of this sect worship the <i>Siva Linga</i>, although other
      Hindoos also venerate it. <i>Linga</i> is called the virile organ, and
      they say, on behalf of this worship, that as men and all living beings
      derive their existence from it, adoration is duly bestowed upon it. As the
      linga of Mahadeva, so do they venerate the <i>bhaga</i>, that is, the
      female organ. A man very familiar with them gave the information that,
      according to their belief, the high altar, or principal place in a mosque
      of the Mussulmans, is an emblem of the <i>bhaga</i>. Another man among
      them said that as the just-named place emblems the bhaga, the minar or
      turret of the mosque represents the linga." The author then goes on to
      describe the practices of the sect, which may be summed up in the words&mdash;the
      most absolute freedom of love.
    </p>
    <p>
      <i>Apropos</i> of the Mahometan minaret and Christian church towers and
      spires, I may mention that Lucian describes the magnificent temple of the
      Syrian goddess as having two vast phalli before its main entrance, and how
      at certain seasons men ascended to their summit, and remained there some
      days, so as to utter from thence the prayers of the faithful.
    </p>
    <p>
      <a name="linkimage-0067" id="linkimage-0067">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/158.jpg" alt="158 " width="100%" /><br />
    </div>
    <p>
      Figures 110, 111, both from Moor, plate lxxxvi., are forms of the <i>argha</i>,
      or sacred sacrificial cup, bowl, or basin, which represent the yoni, and
      some other things besides. See Moor, <i>Hindu Pantheon</i>, pp. 898, 894.
    </p>
    <p>
      Figure 112. Copied from Rawlinson's <i>Ancient Monarchies</i>, vol. i., p.
      176, symbolises Ishtar, the Assyrian representative of Devi, Parvati,
      Isis, Astarte, Venus, and Mary. The virgin and child are to be found
      everywhere, even in ancient Mexico.
    </p>
    <p>
      <a name="linkimage-0068" id="linkimage-0068">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/159.jpg" alt="159 " width="100%" /><br />
    </div>
    <p>
      Figure 118 is copied from Lajard, <i>Sur le Culte de Venus</i>, plate
      xix., fig. 6, and represents the male and female as the sun and moon, thus
      identifying the symbolic sex of those luminaries. The legend in the
      Pehlevi characters has not been interpreted.
    </p>
    <p>
      Figure 114 is taken from a mediæval woodcut, lent to me by my friend, Mr.
      John Newton, to whom I am indebted for the sight of, and the privilege to
      copy, many other figures. In it the virgin Mary is seen as the Queen of
      Heaven, nursing her infant, and identified with the crescent moon, the
      emblem of virginity. Being before the sun, she almost eclipses its light.
      Than this, nothing could more completely identify the Christian mother and
      child with Isis and Horus, Ishtar, Venus, Juno, and a host of other pagan
      goddesses, who have been called 'Queen of Heaven,' 'Queen of the Universe'
      'Mother of God,' 'Spouse of God,' the 'Celestial Virgin,' the 'Heavenly
      Peace Maker,' etc.
    </p>
    <p>
      Figures 115, 116, are common devices in papal churches and pagan
      symbolism. They are intended to indicate the sun and moon in conjunction,
      the union of the triad with the unit. I may notice, in passing, that Mr.
      Newton has showed to me some mediæval woodcuts, in which the young
      unmarried women in a mixed assemblage were indicated by wearing upon their
      foreheads a crescent moon.
    </p>
    <p>
      <a name="linkimage-0070" id="linkimage-0070">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/160.jpg" alt="160 " width="100%" /><br />
    </div>
    <p>
      Figure 117 is a Buddhist symbol, or rather a copy of Maityna Bodhisatwa,
      from the monastery of Gopach, in the valley of Nepaul.
    </p>
    <p>
      <a name="linkimage-0071" id="linkimage-0071">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/161.jpg" alt="161 " width="100%" /><br />
    </div>
    <p>
      It is taken from Journal of Royal Asiatic Society, vol. xviii., p. 894.
      The horse-shoe, like the <i>vesica piscis</i> of the Roman church,
      indicates the yoni; the last, taken from some cow, mare, or donkey, being
      used in eastern parts where we now use their shoes, to keep off the evil
      eye. It is remarkable that some nations should use the female organ, or an
      effigy thereof, as a charm against ill luck, whilst others adopt the male
      symbol. In Ireland, as we have previously remarked, a female shamelessly
      exhibiting herself, and called Shelah-na-gig, was to be seen in stone over
      the door of certain churches, within the last century.
    </p>
    <p>
      From the resemblance in the shape of the horse-shoe to the "grove" of the
      Assyrian worshippers, and from the man standing within it as the symbolic
      pine tree stands in the Mesopotamian, "Asherah," I think we may fairly
      conclude that the Indian, like the Shemitic emblem, typifies the union of
      the sexes&mdash;the androgyne creator.
    </p>
    <p>
      That some Buddhists have mingled sexuality with their ideas of religion,
      may be seen in plate ii. of Emil Schlagintweit's <i>Atlas of Buddhism in
      Tibet</i>, wherein Vajarsattva, "The God above all," is represented as a
      male and female conjoined. Rays, as of the sun, pass from the group; and
      all are enclosed in an ornate oval, or horse-shoe, like that in this
      figure. Few, however, but the initiated would recognise the nature of the
      group at first sight.
    </p>
    <p>
      <a name="linkimage-0072" id="linkimage-0072">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/162.jpg" alt="162 " width="100%" /><br />
    </div>
    <p>
      I may also notice, in passing, that the goddess Doljang (a.d. 617-98) has
      the stigmata in her hands and feet, like those assigned to Jesus of
      Nazareth and Francis of Assisi.
    </p>
    <p>
      Figure 118 is a copy of the medal issued to pilgrims at the shrine of the
      virgin at Loretto. It was lent to me by Mr. Newton, but the engraver has
      omitted to make the face of the mother and child black, as the most
      ancient and renowned ones usually are.
    </p>
    <p>
      Instead of the explanation given in <i>Ancient Faiths</i>, Vol. ii., p.
      262, of the adoption of a black skin for Mary and her son, D'Harcanville
      suggests that it represents night, the period during which the feminine
      creator is most propitious or attentive to her duties. It is unnecessary
      to contest the point, for almost every symbol has more interpretations
      given to it than one. I have sought in vain for even a plausible reason
      for the blackness of sacred virgins and children, in certain papal
      shrines, which is compatible with decency and Christianity. It is clear
      that the matter will not bear the light.
    </p>
    <p>
      <a name="linkimage-0073" id="linkimage-0073">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/163.jpg" alt="163 " width="100%" /><br />
    </div>
    <p>
      Figure 119 is from Lajard, Op. Cit., plate iii., fig. 8. It represents the
      sun, moon, and a star, probably Venus.
    </p>
    <p>
      The legend is in Phoenician, and may be read LNBRB. Levy, in Siegel und
      Gemmen, Breslau, 1869, reads the legend [&mdash;&mdash;&mdash;], LKBRBO,
      but does not attempt to explain it.
    </p>
    <p>
      Figure 120 is also from Lajard, plate i., fig. 8. It represents an act of
      worship before the symbols of the male and female creators, arranged in
      three pairs. Above are the heavenly symbols of the sun and moon. Below are
      the male palm tree, and the barred [&mdash;&mdash;&mdash;], identical in
      meaning with the sistrum, i. e., <i>virgo intacta</i>. Next come the male
      emblem, the cone, and the female symbol, the lozenge or yoni.
    </p>
    <p>
      <a name="linkimage-0074" id="linkimage-0074">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/164.jpg" alt="164 " width="100%" /><br />
    </div>
    <p>
      Figure 121 represents also a worshipper before the barred female symbol,
      surmounted by the seven-rayed star, emblem of the male potency, and of the
      sun or the heavens. It will be noticed&mdash;and the matter is significant&mdash;that
      the hand which is raised in adoration is exactly opposite the conjunction
      of the two. Compare this with Fig. 95, where the female alone is the
      object of reverence.
    </p>
    <p>
      Lajard and others state that homage, such as is here depicted, is actually
      paid in some parts of Palestine and India to the living symbol; the
      worshipper on bended knees offering to it, <i>la bouche inférieure</i>,
      with or without a silent prayer, his food before he eats it. A
      corresponding homage is paid by female devotees to the masculine emblem of
      any very peculiarly holy fakir, one of whose peculiarities is, that no
      amount of excitement stimulates the organ into what may be called creative
      energy. It has long been a problem how such a state of apathy is brought
      about, but modern observation has proved that it is by the habitual use of
      weights. Such homage is depicted in Picart's <i>Religious Ceremonies of
      all the People in the World</i>, original French edition, plate 71.
    </p>
    <p>
      <a name="linkimage-0075" id="linkimage-0075">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/165.jpg" alt="165 " width="100%" /><br />
    </div>
    <p>
      Figure 122 is copied from Bryant's <i>Ancient Mythology</i>, third
      edition, vol. iii., p. 193. That author states that he copied it from
      Spanheim, but gives no other reference. It is apparently from a Greek
      medal, and has the word CAMIÛN as an inscription. It is said to represent
      Juno, Sami, or Selenitis, with the sacred peplum. The figure is remarkable
      for showing the identity of the moon, the lozenge, and the female. It is
      doubtful whether the attitude of the goddess is intended to represent the
      cross.
    </p>
    <p>
      As in religious Symbolism every detail has a signification, we naturally
      speculate upon the meaning of the beads which fringe the lower part of the
      diamond-shaped garment. We have noticed in a previous article that the
      Linga when worshipped was sometimes adorned with beads, which were the
      fruit of a tree sacred to Mahadeva; in the original of fig. 4, plate xi.
      <i>supra</i>, the four arms of the cross have a series of beads depending
      from them. On a very ancient coin of Citium, a rosary of beads, with a
      cross, has been found arranged round a horse-shoe form; and beads are
      common ornaments on Hindoo Divinities. They may only be used for
      decoration and without religious signification; if they have the last, I
      have not been able to discover it.
    </p>
    <p>
      <a name="linkimage-0076" id="linkimage-0076">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/166.jpg" alt="166 " width="100%" /><br />
    </div>
    <p>
      Figure 128 is a composition taken from Bryant, vol. iv., p. 286. The rock,
      the water, the crescent moon as an ark, and the dove hovering over it, are
      all symbolical; but though the author of it is right in his grouping, it
      is clear that he is not aware of its full signification. The reader will
      readily gather their true meaning from our articles upon the Ark and
      Water, and from our remarks upon the Dove in <i>Ancient Faiths</i>, second
      edition.
    </p>
    <p>
      Figure 124 is copied from Maffei's <i>Gemme Antiche Figurate</i>, vol. 8,
      plate xl. In the original, the figure upon the pillar is very
      conspicuously phallic, and the whole composition indicates what was
      associated with the worship of Priapus.
    </p>
    <p>
      <a name="linkimage-0077" id="linkimage-0077">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/167.jpg" alt="167 " width="100%" /><br />
    </div>
    <p>
      This so-called god was regarded much in the same light as 'St. Cosmo and
      St. Damian were at Iseraia, and St. Foutin in Christian France. And it is
      not at all surprising that a church, which has deified or made saints of a
      spear and cloak, under the names Longinus and Amphibolus, should also
      adopt the "god of the gardens," and consecrate him as an object for
      Christian worship, and give him an appropriate name and emblem. But the
      patron saint of Lampsacus was not really a deity, only a sort of saint,
      whose business it was to attend to certain parts. The idea of guardian
      angels was once common, see Matt, xviii. 10, where we read, that each
      child has a guardian in heaven, who looks after his infantile charge. As
      the pagan Hymen and Lucina attended upon weddings and parturitions, so the
      Christian Cosmo and Damian attended to spouses, and assisted in making
      them fruitful. To the last two were offered, by sterile wives, wax
      effigies of the part left out from the nude figure in our plate. To the
      heathen saint, we see a female votary offer quince leaves, equivalent to
      <i>la feuille de sage</i>, egg-shaped bread, apparently a cake; also an
      ass's head; whilst her attendant offers a pine cone. This amongst the
      Greeks was sacred to Cybele, as it was in Assyria to Astarte or Ishtar,
      the name given there to 'the mother of all saints.' The basket contains
      apples and phalli, which may have been made of pastry. See Martial's <i>Epigrams</i>,
      b. xiv. 69. This gem is valuable, inasmuch as it assists us to understand
      the signification of the pine cone offered to the 'grove,' the equivalent
      of <i>le Verger de Cypris</i>. The pillar and its base are curiously
      significant, and demonstrate how completely an artist can appear innocent,
      whilst to the initiated he unveils a mystery.
    </p>
    <p>
      <a name="linkimage-0078" id="linkimage-0078">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/168.jpg" alt="168 " width="100%" /><br />
    </div>
    <p>
      Figures 125, 126, 127, are various contrivances for indicating decently
      that which it was generally thought religious to conceal, <i>la bequile,
      au les instrumens</i>.
    </p>
    <p>
      Figure 128 represents the same subject; the cuts are grouped iso as to
      show how the knobbed stick, <i>le bâton</i>, becomes converted either into
      a bent rod, <i>la verge</i>, or a priestly crook, <i>le bâton pastoral</i>.
      There is no doubt that the episcopal crozier is a presentable effigy of a
      very private and once highly venerated portion of the human frame, which
      was used in long by-gone days by Etruscan augurs, when they mapped out the
      sky, prior to noticing the flight of birds. Perhaps we ought to be
      grateful to Popery for having consecrated to Christ what was so long used
      in that which divines call the service of the devil.
    </p>
    <p>
      <a name="linkimage-0079" id="linkimage-0079">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/169.jpg" alt="169 " width="100%" /><br />
    </div>
    <p>
      Figures 129, 130, 131, are, like the preceding four, copied from various
      antique gems; Fig. 129 represents a steering oar, <i>le timon</i>, and is
      usually held in the hand of good fortune, or as moderns would say "Saint
      Luck," or <i>bonnes fortunes</i>; Fig. 180 is emblematic of Cupid, or
      Saint Desire; it is synonymous with <i>le dard, or la pique</i>; Fig. 131
      is a form less common in gems; it represents the hammer, <i>le marteau qui
      frappe l'enclume et forge les enfans</i>. The ancients had as many
      pictorial euphemisms as ourselves, and when these are understood they
      enable us to comprehend many a legend otherwise dim; e. g., when Fortuna,
      or luck, always depicted as a woman, has for her characteristic <i>le
      timon</i>, and for her motto the proverb, "Fortune favours the bold." we
      readily understand the <i>double entente</i>. The steering oar indicates
      power, knowledge, skill, and bravery in him who wields it; without such a
      guide, few boats would attain a prosperous haven.
    </p>
    <p>
      <a name="linkimage-0080" id="linkimage-0080">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/170.jpg" alt="170 " width="100%" /><br />
    </div>
    <p>
      Figure 132 is copied from plate xxix. of Pugin's Glossary of
      Ecclesiastical Ornament (Lond., 1868). The plate represents "a pattern for
      diapering," and is, I presume, thoroughly orthodox. It consists of the
      double triangle, see Figures 20, 80, 81, 82, pp. 82, 88, the emblems of
      Siva and Parvati, the male and female; of Rimmon the pomegranate, the
      emblem of the womb, which is seen to be full of seed through the "<i>vesica
      piscis," la fente, or la porte de la vie</i>. There are also two new
      moons, emblems of Venus, or <i>la nature</i>, introduced. The crown above
      the pomegranate represents the triad, and the number four; whilst in the
      original the group which we copy is surrounded by various forms of the
      triad, all of which are as characteristic of man as Rimmon is of woman.
      There are also circles enclosing the triad, analogous to other symbols
      common in Hindostan.
    </p>
    <p>
      <a name="linkimage-0081" id="linkimage-0081">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/171.jpg" alt="171 " width="100%" /><br />
    </div>
    <p>
      Figure 133 is copied from Moor's <i>Hindu, Pantheon</i>, pi. ix., fig. 8.
      It represents Bhavhani, Maia, Devi, Lakshmi, or Kamala, one of the many
      forms given to female nature. She bears in one hand the lotus, emblem of
      self-fructification,&mdash;in other similar figures an effigy of the
      phallus is placed,&mdash;whilst in the other she holds her infant Krishna,
      Crishna, or Vishnu. Such groups are as common in India as in Italy, in
      pagan temples as in Christian churches. The idea of the mother and child
      is pictured in every ancient country of whose art any remains exist.
    </p>
    <p>
      <a name="linkimage-0082" id="linkimage-0082">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/172.jpg" alt="172 " width="100%" /><br />
    </div>
    <p>
      Figure 184 is taken from plate xxiv., fig. 1, of Moor's <i>Hindu Pantheon</i>.
      It represents a subject often depicted by the Hindoos and the Greeks,
      viz., androgynism, the union of the male and female creators. The
      technical word is Arddha-Nari. The male on the right side bears the
      emblems of Siva or Mahadeva, the female on the left those of Parvati or
      Sacti. The bull and lioness are emblematic of the masculine and feminine
      powers. The mark on the temple indicates the union of the two; an aureole
      is seen around the head, as in modern pictures of saints. In this drawing
      the Ganges rises from the male, the idea being that the stream from
      Mahadeva is as copious and fertilising as that mighty river. The metaphor
      here depicted is common in the East, and is precisely the same as that
      quoted in Num. xxiv. 7, and also from some lost Hebrew book in John vii.
      38. It will be noticed, that the Hindoos express androgyneity quite as
      conspicuously, but generally much less indelicately, than the Grecian
      artists.
    </p>
    <p>
      <a name="linkimage-0083" id="linkimage-0083">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/173.jpg" alt="173 " width="100%" /><br />
    </div>
    <p>
      Figure 135 is a common Egyptian emblem, said to signify eternity, but in
      truth it has another meaning. The serpent and the ring indicate <i>l'
      andouille and l' anneau</i>. The tail of the animal, which the mouth
      appears to swallow, is <i>la queue dans la bouche</i>. The symbol
      resembles the <i>crux ansata</i> in its signification, and imports that
      life upon the earth is rendered perpetual by means of the union of the
      sexes. A ring, or circle, is one of the symbols of Venus, who carries
      indifferently this, or the triad emblem of the male. See Maffei's <i>Gemme</i>,
      vol. iii., page 1, plate viii.
    </p>
    <p>
      Figure 136 is the <i>vesica piscis</i>, or fish's bladder; the emblem of
      woman and of the virgin, as may be seen in the two following woodcuts.
    </p>
    <p>
      <a name="linkimage-0084" id="linkimage-0084">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/174.jpg" alt="174 " width="100%" /><br />
    </div>
    <p>
      Figures 137, 138, are copied from an ancient Rosary of the Blessed Virgin
      Mary, printed at Venice, 1524, with a license from the Inquisition; the
      book being lent to me by my friend, Mr. Newton. The first represents the
      same part as the Assyrian "grove." It may appropriately be called the Holy
      Yoni. The book in question contains numerous figures, all resembling
      closely the Mesopotamian emblem of Ishtar. The presence of the woman
      therein identifies the two as symbolic of Isis, or <i>la nature</i>; and a
      man bowing down in adoration thereof shows the same idea as is depicted in
      Assyrian sculptures, where males offer to the goddess symbols of
      themselves. Compare Figs. 68, 64, 65, 66, pp. 48 seq.
    </p>
    <p>
      If I had been able to search through the once celebrated Alexandrian
      library, it is doubtful whether I could have found any pictorial
      representation more illustrative of the relationship of certain symbolic
      forms to each other than is Figure 138. A circle of angelic heads, forming
      a sort of sun, having luminous rays outside, and a dove, the emblem of
      Venus, dart a spear (<i>la pique</i>) down upon the earth (<i>la terré</i>),
      or the virgin. This being received, fertility follows.
    </p>
    <p>
      <a name="linkimage-0085" id="linkimage-0085">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/175.jpg" alt="175 " width="100%" /><br />
    </div>
    <p>
      In Grecian story, Ouranos and Ge, or heaven and earth, were the parents of
      creation; and Jupiter came from heaven to impregnate Alcmena. The same
      mythos prevailed throughout all civilised nations. Christianity adopted
      the idea, merely altering the names of the respective parents, and
      attributed the regeneration of the world to "holy breath" and Mary. Every
      individual, indeed, extraordinarily conspicuous for wisdom, power,
      goodness, etc., is said to have been begotten on a woman by a celestial
      father. Within the <i>vesica piscis</i>, artists usually represent the
      virgin herself, with or without the child; in the figure before us the
      child takes her place. It is difficult to believe that the ecclesiastics
      who sanctioned the publication of such a print could have been as ignorant
      as modern ritualists. It is equally difficult to believe that the latter,
      if they knew the real meaning of the symbols commonly used by the Roman
      church, would adopt them.
    </p>
    <p>
      The last two figures, symbolic of adoration before divine sexual emblems,
      afford me the opportunity to give a description of a similar worship
      existent in Hindostan at the present time. My authority is H. H. Wilson,
      in <i>Essays on the Religion of the Hindoos</i>, Trübner and Co., London.
      "The worshippers," he remarks, vol. i., p. 240, "of the Sakti, the power
      or energy of the divine nature in action, are exceedingly numerous amongst
      all classes of Hindoos&mdash;about three-fourths are of this sect, while
      only a fifth are Vaishnavas and a sixteenth Saivas. This active energy is
      personified, and the form with which it is invested depends upon the bias
      of the individuals. The most favourite form is that of Parvati, Bhavani,
      or Durga, the wife of Siva, or Mahadeva."
    </p>
    <p>
      "The worship of the female principle, as distinct from the divinity,
      appears to have originated in the literal interpretation of the
      metaphorical language of the Vedas, in which the <i>will or purpose to
      create</i> the universe is represented as originating from the creator,
      and consistent with him as his bride." "The Samaveda for example, says,
      the creator felt not delight being alone; he wished another, and caused
      his own self to fall in twain, and thus became husband and wife. He
      approached her, and thus were human beings produced." A sentiment or
      statement which we may notice in passing is very similar to that
      propounded in Genesis, ch. i. 27, and v. 1, 2, respecting Elohim&mdash;viz.,
      that he created man and woman in his own image, i.e., as male and female,
      bisexual but united&mdash;an androgyne.
    </p>
    <p>
      "This female principle goes by innumerable cognomens, inasmuch as every
      goddess, every nymph, and all women are identified with it. She&mdash;the
      principle personified&mdash;is the mother of all, as Mahadeva, the male
      principle, is the father of all."
    </p>
    <p>
      "The homage rendered to the Sakti may be done before an image of any
      goddess&mdash;Prakriti, Lakshmi, Bhavani, Durga, Maya, Parvati, or Devi&mdash;just
      in the same way as Romanists may pray to a local Mary, or any other. But
      in accordance with the weakness of human nature, there are many who
      consider it right to pay their devotions to the thing itself rather than
      to an abstraction. In this form of worship six elements are required,
      flesh, fish, wine, women, gesticulations and <i>mantras</i> which consist
      of various unmeaning monosyllabic combinations of letters of great
      imaginary efficacy."
    </p>
    <p>
      "The ceremonies are mostly gone through in a mixed society, the Sakti
      being personified by a naked female, to whom meat and wine are offered and
      then distributed amongst the company. These eat and drink alternately with
      gesticulations and mantras&mdash;and when the religious part of the
      business is over, the males and females rush together and indulge in a
      wild orgy. This ceremony is entitled the <i>Sri Chakra or Purnabhisheka</i>,
      the Ring or Full Initiation."
    </p>
    <p>
      In a note apparently by the editor, Dr. Rost, a full account is given in
      Sanscrit of the <i>Sakti Sodhana</i>, as they are prescribed in the <i>Devi
      Rahasya</i>, a section of the <i>Rudra Yâmala</i>, so as to prove to his
      readers that the <i>Sri Chakra</i> is performed under a religious
      prescription.
    </p>
    <p>
      We learn that the woman should be an actress, dancing girl, a courtesan,
      washerwoman, barber's wife, flower-girl, milk-maid, or a female devotee.
      The ceremony is to take place at midnight with eight, nine, or eleven
      couples. At first there are sundry mantras said, then the female is
      disrobed, but richly ornamented, and is placed on the left of a circle
      (Chakra) described for the purpose, and after sundry gesticulations,
      mantras, and formulas she is purified by being sprinkled over with wine.
      If a novice, the girl has the radical mantra whispered thrice in her ear.
      Feasting then follows, lest Venus should languish in the absence of Ceres
      and Bacchus, and now, when the veins are full of rich blood, the actors
      are urged to do what desire dictates, but never to be so carried away by
      their zeal as to neglect the holy mantras appropriate to every act and to
      every stage thereof.*
    </p>
<pre xml:space="preserve">
     * The above quotations from Wilson's work are selections
     from his and his Editor's account. In the original the
     observations extend over eighteen pages, and are too long to
     be given in their entirety: the parts omitted are of no
     consequence.
</pre>
    <p>
      <a name="linkimage-0086" id="linkimage-0086">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/178.jpg" alt="178 " width="100%" /><br />
    </div>
    <p>
      It is natural that such a religion should be popular, especially amongst
      the young of both sexes.
    </p>
    <p>
      Figures 139 to 158 are copied from Moor's <i>Hindu Pantheon</i>; they are
      sectarial marks in India, and are usually traced on the forehead. Many
      resemble what are known as "mason's marks," i. e., designs found on tooled
      stones, in various ancient edifices, like our own, "trade marks." They are
      introduced here to illustrate the various designs employed to indicate the
      union of the "trinity" with the "unity," and the numerous forms
      representative of "<i>la nature" A priori</i>, it appears absurd to
      suppose that the eye could ever have been symbolical of anything but
      sight; but the mythos of Indra, given in <i>Ancient Faiths</i>, second
      edition, Vol. n., p. 649, and p. 7 <i>supra</i>, proves that it has
      another and a hidden meaning. These figures are alike emblematic of the
      "trinity," "the virgin," and the "four." Figure 154 is from Pugin, plate
      v., figure 3. It is the outline of a pectoral ornament worn by some Roman
      ecclesiastic in Italy, a. d. 1400; it represents the Egyptian crux ansata
      under another form, the T signifying the triad.
    </p>
    <p>
      <a name="linkimage-0087" id="linkimage-0087">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/179.jpg" alt="179 " width="100%" /><br />
    </div>
    <p>
      Figures 155, 156, are different forms of the sistrum, one of the emblems
      of Isis. In the latter, the triple bars have one signification, which will
      readily suggest itself to those who know the meaning of the triad. In the
      former, the emblem of the trinity, which we have been obliged to
      conventionalise, is shown in a distinct manner. The cross bars indicate
      that Isis is a virgin. The cat at the top of the instrument indicates
      "desire," Cupid, or Eros. Fig. 155 is copied from plate ix., R. P.
      Knight's <i>Worship of Priapus</i>.
    </p>
    <p>
      Figure 157 represents the cup and wafer, to be found in the hands of many
      effigies of papal bishops; they are alike symbolic of the sun and moon,
      and of the elements in the Eucharist. See Pugin, plate iv., figs. 5, 6,
      represents a temple in a conventional form; whilst below, Ceres appears
      seated within a horse-shoe shaped ornament.
    </p>
    <p>
      <a name="linkimage-0088" id="linkimage-0088">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/180.jpg" alt="180 " width="100%" /><br />
    </div>
    <p>
      <a name="linkimage-0089" id="linkimage-0089">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/181.jpg" alt="181 " width="100%" /><br />
    </div>
    <p>
      This, amongst other symbols, tends to show what we have so frequently
      before observed, that the female in creation is characterised by a great
      variety of designs, of which the succeeding woodcuts give us additional
      evidence.
    </p>
    <p>
      Figure 159 represents the various forms symbolic of Juno, Isis, Parvati,
      Ishtar, Mary, or woman, or the virgin.
    </p>
    <p>
      Figures 160, 161, 162, are copied from Audsley's <i>Christian Symbolism</i>
      (London, 1868). They are ornaments worn by the Virgin Mary, and represent
      her as the crescent moon, conjoined with the cross (in Fig. 160), with the
      collar of Isis (in Fig. 161), and with the double triangle (in Fig. 162).
    </p>
    <p>
      <a name="linkimage-0090" id="linkimage-0090">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/182.jpg" alt="182 " width="100%" /><br />
    </div>
    <p>
      Figure 163 represents a tortoise. When one sees a resemblance between this
      creature's head and neck and the linga, one can understand why both in
      India and in Greece the animal should be regarded as sacred to the goddess
      personifying the female creator, and why in Hindoo myths it is said to
      support the world.
    </p>
    <p>
      In the British Museum there are three Assyrian obeliscs, all of which
      represent, in the most conspicuous way, the phallus, one of which has been
      apparently circumcised. The body is occupied with an inscription recording
      the sale of land, and also a figure of the reigning king, whilst upon the
      part known as the <i>glans penis</i> are a number of symbols, which are
      intended apparently to designate the generative powers in creation. The
      male is indicated by a serpent, a spear head, a hare, a tiara, a cock, and
      a tortoise. The female appears under precisely the same form as is seen on
      the head of the Egyptian Isis, Fig. 28. The tortoise is to this day a
      masculine emblem in Japan. See Figs. 174, 175.
    </p>
    <p>
      But there is no necessity for the animal itself always to be depicted,
      inasmuch as I have discovered that both in Assyrian and Greek art the
      tortoise is pourtrayed under the figure which resembles somewhat the
      markings upon the segments into which the shell is divided. In symbolism
      it is a very common thing for a part to stand for the whole; thus an egg
      is made to do duty for the triad; and a man is sometimes represented by a
      spade. A woman is in like manner represented by a comb, or a mirror; and a
      golden fleece typifies in the first place the "grove," which it
      overshadows, and the female who possesses both.
    </p>
    <p>
      <a name="linkimage-0091" id="linkimage-0091">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/183.jpg" height="82" width="91" alt="183 " /><br />
    </div>
    <p>
      It has been stated on page 19 <i>supra</i>, that Pausanias mentions having
      seen at some place in Greece one figure of Venus standing on a tortoise,
      and another upon a ram, but he leaves to the ingenious to discover why the
      association takes place.
    </p>
    <p>
      It was this intimation which led me to identify the tortoise as a male
      symbol. Any person who has ever watched this creature in repose, and seen
      the action of the head and neck when the quadruped is excited, will
      recognise why the animal is dear to the goddess of amorous delight, and
      that which it may remind her of. In like manner, those who are familiar
      with the ram will know that it is remarkable for persistent and excessive
      vigour. Like the cat, whose salacity caused it to be honoured in Egypt,
      the ram was in that country also sacred, as the bull was in Assyria and
      Hindostan.
    </p>
    <p>
      In fact, everything which in shape, habits, or sound could remind mankind
      of the creators and of the first part of creation was regarded with
      reverence. Thus tall stones or natural pinnacles of rock, the palm, pine,
      and oak trees, the fig tree and the ivy, with their tripliform leaves, the
      mandrake, with its strange human form, the thumb and finger, symbolised
      Bel, Baal, Asher, or Mahadeva. In like manner a hole in the ground, a
      crevice in a rock, a deep cave, the myrtle from the shape of its leaf, the
      fish from its scent, the dolphin and the mullet from their names, the dove
      from its note, and any umbrageous retreat surrounded with thick bushes,
      were symbolic of woman.
    </p>
    <p>
      So also the sword and sheath, the arrow and target, the spear and shield,
      the plough and furrow, the spade and trench, the pillar by a well, the
      thumb thrust between the two fore-fingers or grasped by the hand, and a
      host of other things were typical of the union which brings about the
      formation of a new being.
    </p>
    <p>
      I cannot help regarding the sexual element as the key which opens almost
      every lock of symbolism, and however much we may dislike the idea that
      modern religionists have adopted emblems of an obscene worship, we cannot
      deny the fact that it is so, and we may hope that with a knowledge of
      their impurity we shall cease to have a faith based upon a trinity and
      virgin&mdash;a lingam and a yoni. Some may cling still to such a doctrine,
      but to me it is simply horrible&mdash;blasphemous and heathenish.
    </p>
    <p>
      <a name="linkimage-0092" id="linkimage-0092">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/184.jpg" alt="184 " width="100%" /><br />
    </div>
    <p>
      Figures 164, 165, represent a pagan and Christian cross and trinity. The
      first is copied from B. P. Knight (plate x., fig. 1), and represents a
      figure found on an ancient coin of Apollonia. The second may be seen in
      any of our churches to-day.
    </p>
    <p>
      Figure 166 is from an old papal book lent to me by Mr. Newton, <i>Missale
      Romanum</i>, illustrated by a monk (Venice, 1509). It represents a
      confessor of the Roman church, who wears the <i>crux ansata</i>, the
      Egyptian symbol of life, the emblem of the four creators, in the place of
      the usual <i>pallium</i>.
    </p>
    <p>
      <a name="linkimage-0093" id="linkimage-0093">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/185a.jpg" alt="185 " width="100%" /><br />
    </div>
    <p>
      It is remarkable that a Christian church should have adopted so many pagan
      symbols as Rome has done. Figure 167 is copied from a small bronze figure
      in the Mayer collection in the Free Museum, Liverpool. It represents the
      feminine creator holding a well marked lingam in her hand, and is this
      emblematic of the four, or the trinity and the virgin.
    </p>
    <p>
      <br />
    </p>
    <div class="fig" style="width:80%">
      <img alt="185b (61K)" src="images/185b.jpg" width="100%" /><br />
    </div>
    <p>
      <br />
    </p>
    <p>
      Figure 168 represents two Egyptian deities in worship before an emblem of
      the male, which closely resembles an Irish round tower.
    </p>
    <p>
      <a name="linkimage-0094" id="linkimage-0094">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/186.jpg" alt="186 " width="100%" /><br />
    </div>
    <p>
      Figure 169 represents the modern <i>pallium</i> worn by Roman priests. It
      represents the ancient sistrum of Isis, and the yoni of the Hindoos. It is
      symbolic of the celestial virgin, and the unit in the creative four. When
      donned by a Christian priest, he resembles the pagan male worshippers, who
      wore a female dress when they ministered before the altar or shrine of a
      goddess. Possibly the Hebrew ephod was of this form and nature.
    </p>
    <p>
      Figure 170 is a copy of an ancient <i>pallium</i>, worn by papal
      ecclesiastics three or four centuries ago.. It is the old Egyptian symbol
      described above. Its common name is <i>crux ansata</i>, or the cross with
      a handle.
    </p>
    <p>
      Figure 171 is the albe worn by Roman and other ecclesiastics when
      officiating at mass, etc. It is simply a copy of the chemise ordinarily
      worn by women as an under garment.
    </p>
    <p>
      <a name="linkimage-0095" id="linkimage-0095">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/187.jpg" alt="187 " width="100%" /><br />
    </div>
    <p>
      Figure 172 represents the <i>chamble</i> worn by papal hierarchs. It is
      copied from Pugin's <i>Glossary</i>, etc. Its form is that of the <i>vesica
      piscis</i>, one of the most common emblems of the yoni. It is adorned by
      the triad. When worn by the priest, he forms the male element, and with
      the chasuble completes the sacred four. When worshipping the ancient
      goddesses, whom Mary has displaced, the officiating ministers clothed
      themselves in feminine attire. Hence the use of the chemise, etc. Even the
      tonsured head, adopted from the priests of the Egyptian Isis, represents
      "l' anneau;" so that on head, shoulders, breast and body, we may see on
      Christian priests the relics of the worship of Venus, and the adoration of
      woman! How horrible all this would sound if, instead of using veiled
      language, we had employed vulgar words. The idea of a man adorning
      himself, when ministering before God and the people, with the effigies of
      those parts which nature as well as civilisation teaches us to conceal,
      would be simply disgusting, but when all is said to be mysterious and
      connected with hidden signification, almost everybody tolerates and many
      eulogise or admire it!
    </p>
    <p>
      <a name="linkimage-0096" id="linkimage-0096">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/188.jpg" alt="188 " width="100%" /><br />
    </div>
    <p>
      <a name="link2H_APPE" id="link2H_APPE">
      <!--  H2 anchor --> </a>
    </p>
    <div style="height: 4em;">
      <br /><br /><br /><br />
    </div>
    <h2>
      APPENDIX: THE ASSYRIAN "GROVE" AND OTHER EMBLEMS
    </h2>
    <h3>
      By John Newton, M.R.C.S.
    </h3>
    <p>
      The study of sacred symbols is as yet in its infancy. It has hitherto been
      almost ignored by sacerdotal historians; and thus a rich mine of knowledge
      on the most interesting of all subjects&mdash;the history of the Religious
      Idea in man&mdash;remains comparatively unexplored. The topic has a
      two-fold interest, for it equally applies to the present and the past. As
      nothing on earth is more conservative than religion, we have still a world
      of symbolism existing amongst us which is far older than our sects and
      books, our creeds and articles, a relic of a forgotten, pre-historic past.
      Untold ages before writing was invented, it is believed that men attempted
      to express their ideas in visible forms. Yet how can a savage, who is
      unable to count his fingers up to five, and has no idea of abstract
      number, apart from things, whose habits and thoughts are of the earth,
      earthy, form a conception of the high and holy One who inhabiteth
      eternity? Even under the highest forms of ancient civilisation, abundant
      proofs exist that the imagination of men, brooding over the idea of the
      Unseen and the Infinite, were bounded by the things which were presented
      in their daily experience, and which most moved their passions, hopes and
      fears. Through these, then, they attempted to embody such religious ideas
      as they felt. They could not teach others without visible symbols to
      assist their conceptions; and emblems were rather crutches for the halting
      than wings to help the healthy to soar. Mankind in all ages has clung to
      the visible and tangible. The people care little for the abstract and
      unseen. The Israelites preferred a calf of gold to the invisible Jehovah;
      and sensuous forms of worship still fascinate the multitude.
    </p>
    <p>
      Whilst studying a collection of symbols, gathered from many climes and
      ages, such as this volume presents, I feel sure that every intelligent
      student will have asked himself more than once&mdash;Is there not some key
      which unlocks these enigmas, some grand idea which runs through them all,
      connecting them like a string of beads? I believe that there is, and that
      it is not far to seek. What do men desire and long for most? <i>Life</i>.
      "Skin for skin; all that a man hath will he give for his life," is a
      saying as true now as in the days of Job. "Give me back my youth, and I
      will give you all I possess," was said by the aged Voltaire to his
      physician. And our poet laureate has sung,
    </p>
<pre xml:space="preserve">
     'Tis Life, whereof our nerves are scant,
     O life, not death, for which we pant;
     More life, and fuller, that I want.
</pre>
    <p>
      But we must add, as necessarily contained in the idea of Life in its
      highest sense, <i>those things which make Life desirable</i>.
    </p>
    <p>
      This fulness of life has been the <i>summum bonum</i>, the highest good,
      which mankind has sighed for in every age and clime. For this the
      alchemists toiled, not to advance chemistry, but to discover the Elixir of
      Life and the Philosopher's Stone. But what nature refused to science, the
      gods, it was believed, would surely give to the pious! and the glorious
      prize referred to has been promised by every religion. "I am come that
      they might have Life, and that they might have it more abundantly." Life
      is the reward which has been promised under every system, including that
      of the founder of Christianity. A Tree of Life stood in the midst of that
      Paradise which is described in the book of Genesis; and when the first
      human couple disobeyed their Maker's command, they were punished by being
      cut off from the perennial fount of vitality, lest they should eat its
      fruit and thus live for ever; and in a second Paradise, which is promised
      to the blessed by the author of the book of Revelation, a tree of life
      shall stand once more "for the healing of the nations." To the good man is
      promised, in the Hebrew Scriptures, long life, prosperity, and a numerous
      offspring. "Thy youth is renewed like the eagle's."* Ps. ciii. 5.
    </p>
    <p>
      In the wondrous theology of Ancient Egypt, which at length is open to us,
      the "Ritual of the Dead" celebrates the mystical reconstruction of the
      body of the deceased, whose parts are to be reunited, as those of Osiris
      were by Isis; the trials are recorded through which the deceased passes,
      and by which all remaining stains of corruption are wiped away; and the
      record ends when the defunct is born again glorious, like that Sun which
      typified the Egyptian resurrection.**
    </p>
<pre xml:space="preserve">
     * St. Paul points oat (Eph. vi. 2) that to only one of the
     ten commandments is a promise added. And what is the
     promise? "That thy days may be long." (Exod. xx. 12.) See
     also Psalm cxxxiii. 3, "the blessing, even life for
     evermore."

     ** Apuleius, who had been initiated into the mysteries of
     Isis, informs us that long life was the reward promised to
     her votaries. (Metam. cap. xi.)
</pre>
    <p>
      In the ancient mythology of India, it is recounted that of old the gods in
      council united together to procure, by one supreme effort, the Amrita cup
      of immortality, which, after the success of their scheme, they partake of
      with their worshippers. Even for the Buddhist, his cold, atheistical creed
      promises a Nirvana, an escape from the horrors of metempsychosis, a haven
      of eternal calm, where "there shall be no more death, neither sorrow nor
      crying, neither shall there be any more pain, for the former things are
      passed away;" "there the weary be at rest." Rev. xxi. 4, Job iii. 17.
    </p>
    <p>
      This idea of tranquillity is in striking contrast to the heaven promised
      by the religion of the north of Europe, which was the one most congenial
      to a people whose delight was in conquest and battle. Those who had led a
      life of heroism, or perished bravely in fight, ascended to Valhalla; and
      the eternal manhood which awaited them there was to be passed in scenes
      that were rapture to the imagination of a Dane or a Saxon. Every day in
      that abode of bliss was to be spent in furious conflict, in the struggle
      of armies and the cleaving of shields; but at evening the conflict was to
      cease; every wound to be suddenly healed. Then the contending warriors
      were to sit down to a banquet, where, attended by lovely maidens, they
      could feast on the exhaustless flesh of the boar Sæhrimnir, and drink huge
      draughts of mead from the skulls of those enemies who had not attained to
      the glories of Valhalla.
    </p>
    <p>
      The paradise promised to the faithful by Mahomet is full of sensuous
      delights. The Arabian prophet dwells with rapture on its gardens and
      palaces, its rivers and bowers. Seventy-two houris, or black-eyed girls,
      rejoicing in beauty and ever-blooming youth, will be created for the use
      of the meanest believer; a moment of pleasure will be prolonged to a
      thousand years, and his powers will be increased a hundred-fold to render
      him worthy of his felicity.
    </p>
    <p>
      Thus we see that in all these great historical faiths the prize held out
      to the true believer has this in common, viz., <i>Life, overflowing,
      ever-renewed, with the addition of those things which make life desirable
      for men</i>; whether they are sensuous pleasures, or those which, under
      the loftier ideal of Christianity, are summed up in <i>Life, both temporal
      and eternal, in the light of God</i>.
    </p>
    <p>
      Such being the case, we might anticipate that the symbols of every
      religion would reproduce, in some shape or other, the ideal which is
      common to all. The earliest and rudest faiths were content with gross and
      simple emblems of life. In the later and more refined forms of worship,
      the ruder types were highly conventionalised, and replaced by a more
      intricate and less obvious symbolism.
    </p>
    <p>
      We proceed now to investigate the more primitive emblems. The origin of
      life is, even to us, with all our lights, as great a mystery as it was to
      the ancients. To the primitive races of mankind the formation of a new
      being appeared to be a constant miracle, and men very naturally used as
      tokens of life, and even worshipped, those objects or organs by which the
      miracle appeared to be wrought. Thus, the glorious sun, that "god of this
      world," the source of life and light to our earth, was early adored, and
      an effigy thereof used as a symbol. Mankind watched with rapture its rays
      gain strength daily in the Spring, until the golden glories of Midsummer
      had arrived, when the earth was bathed during the longest days in his
      beams, which ripened the fruits that his returning course had started into
      life. When the sun once more began its course downwards to the Winter
      solstice, his votaries sorrowed, for he seemed to sicken and grow paler at
      the advent of December, when his rays scarcely reached the earth, and all
      nature, benumbed and cold, sunk into a death-like sleep. Hence feasts and
      fasts were instituted to mark the commencement of the various phases of
      the solar year, which have continued from the earliest known period, under
      various names, to our own times.
    </p>
    <p>
      The daily disappearance and the subsequent rise of the sun, appeared to
      many of the ancients as a true resurrection; thus, while the east came to
      be regarded as the source of light and warmth, happiness and glory, the
      west was associated with darkness and chill, decay and death. This led to
      the common custom of burying the dead so as to face the east when they
      rose again, and of building temples and shrines with an opening towards
      the east. To effect this, Vitruvius, two thousand years ago, gave precise
      rules, which are still followed by Christian architects.
    </p>
    <p>
      Sun-worship was spread all over the ancient world. It mingled with other
      faiths and assumed many forms.* Of the elements, fire was naturally chosen
      as its earthly symbol. A sacred fire, at first miraculously kindled, and
      subsequently kept up by the sedulous care of priests or priestesses,
      formed an important part of the religions of Judea, Babylonia, Persia,
      Greece and Rome, and the superstition lingers amongst us still.
    </p>
<pre xml:space="preserve">
     * We may point out that, according to all the Gospels,
     Christ expired towards sunset, and the sun became eclipsed
     as he was dying. He rose again exactly at daybreak.
</pre>
    <p>
      So late as the advent of the Reformation, a sacred fire was kept ever
      burning on a shrine at Kildare, in Ireland, and attended by virgins of
      high rank, called "<i>inghean au dagha</i>," or daughters of fire. Every
      year is the ceremony repeated at Jerusalem of the miraculous kindling of
      the Holy Fire at the reputed sepulchre, and men and women crowd to light
      tapers at the sacred flame, which they pass through with a naked body.
      Indeed, solar myths form no unimportant part of ancient mythology. Thus
      the death of nature in the winter time, through the withdrawal of the sun,
      was supposed to be caused by the mourning of the earth-goddess over the
      sickness and disappearance into the realms of darkness of her husband and
      mate, the sun.
    </p>
    <p>
      Mr. Fox Talbot has lately given the translation of an Egyptian poem, more
      than three thousand years old, and having for its subject the descent of
      Ishtar into Hades. To this region of darkness and death the goddess goes
      in search of her beloved Osiris, or Tammuz. This Ishtar is identical with
      the Assyrian female in the celestial quartette, the later Phoenician
      Astarte, "The Queen of Heaven with crescent horns," the moon-goddess, also
      with the Greek Aphrodite and Roman Venus; and the Egyptian legend
      reappears in the west as the mourning of Venus for the loss of Adonis.
    </p>
    <p>
      Again, the fable of Ceres mourning the death of her daughter Proserpine is
      another sun-myth. The Roman Ceres was the Greek [&mdash;&mdash;&mdash;&mdash;&mdash;],
      Mother Earth, who through the winter time wanders inconsolable.
      Persephone, her daughter, is the vegetable world, whose seeds or roots lie
      concealed underground in the darkness of winter. These, when Spring comes
      with its brightness, bud forth and dwell in the realms of light during a
      part of the year, and provide ample nourishment for men and animals with
      their fruits. The sun, being the active fructifying cause in nature, was
      generally regarded as male. Thus, in the Jewish scriptures, he is compared
      to "a bridegroom coming out of his chamber" (Ps. xix. 5), i.e., as a man
      full of generative, procreative vigour. The moon and the earth, being
      receptive were naturally regarded as female.
    </p>
    <p>
      At the vernal equinox, the ancients celebrated the bridal of the sun and
      the earth. Yet, inasmuch as the orbs of heaven and the face of nature
      remain the same from year to year, and perpetually renew light and life,
      themselves remaining fresh in vigour and unharmed by age, the ancients
      conceived the bride and mate of the sun-god as continuing ever virgin.
      Again, as the ancient month was always reckoned by the interval between
      one new moon and the next,&mdash;an interval which also marks a certain
      recurring event in women, that ceases at once on the occurrence of
      pregnancy,&mdash;the lunar crescent became a symbol of virginity, and as
      such adorns the brow of the Greek Artemis and Roman Diana. This was used
      as a talisman at a very remote period, and was fixed over the doors of the
      early lake-dwellers in Switzerland, like the horse-shoe is to modern
      side-posts. With the sun and moon were often associated the five visible
      planets, forming a sacred seven,&mdash;a figure which is continually
      cropping up in religious emblems.
    </p>
    <p>
      So much for the great cosmic symbols of Life. But the primitive races of
      mankind found others nearer home, and still more suggestive&mdash;the
      generative parts in the two sexes, by the union of which all animated
      life, and mankind, the most interesting of all to human beings, appeared
      to be created. This reverence for, or worship of, the organs of
      generation, has been traced to a very early period in the history of the
      human race. In a bone-cave recently excavated near Venice, and beneath its
      ten feet of stalagmite, were found bones of animals, flint implements, a
      bone needle, and a phallus in baked clay. And if we turn to those savage
      tribes who still reproduce for us the prehistoric past, this form of
      religious symbolism meets as everywhere. In Dahomey, beyond the Ashantees,
      it is, according to Captain Barton, most uncomfortably prominent. In every
      street of their settlements are priapic figures. The "Tree of Life" is
      anointed with palm oil, which drips into a pot or shard placed below it,
      and the would-be mother of children prays before the image that the great
      god Legba would make her fertile.
    </p>
    <p>
      Burton tells us that he peeped into an Egba temple or lodge, and found it
      a building with three courts, of which the innermost was a sort of holy of
      holies. Its doors had carvings on them of a leopard, a fish, a serpent,
      and a land tortoise. The first two of these are female symbols, the two
      latter emblems of the male. There were also two rude figures representing
      their god Obatala, the deity of life, who is worshipped under two forms, a
      male and a female. Opposite to these was the male symbol or phallus,
      conjoined <i>in coitu</i> with the female emblem. Du Chaillu met with some
      tribes in Africa who adore the female only. His guide, he informs us,
      carried a hideous little image of wood with him, and at every meal he
      would take the little fetish out of his pocket, and pour a libation over
      its <i>feet</i> before he would drink himself.
    </p>
    <p>
      We know that a similar superstition prevailed in Ireland long after the
      advent of Christianity. There a female, pointing to her symbol, was placed
      over the portal of many a church as a protector from evil spirits; and the
      elaborate though rude manner in which these figures were sculptured shows
      that they were considered as objects of great importance. It was the
      universal practice among the Arabs of Northern Africa to stick up over the
      door of their house or tent the genital parts of a cow, mare, or female
      camel, as a talisman to avert the influence of the evil eye. The figure of
      this organ being less definite than that of the male, it has assumed in
      symbolism very various forms. The commonest substitution for the part
      itself has been a horse-shoe, which is to this day fastened over many of
      the doors of stables and shippons in the country, and was formerly
      supposed to protect the cattle from witchcraft. From a lively story by
      Beroalde de Verville, we learn that in France a sight of the female organ
      was believed, as late as the sixteenth century, to be a powerful charm in
      curing any disease in, and for prolonging the life of, the fortunate
      beholder.
    </p>
    <p>
      As civilisation advanced, the gross symbols of creative power were cast
      aside, and priestly ingenuity was taxed to the utmost in inventing a crowd
      of less obvious emblems, which should represent the ancient ideas in a
      decorous manner. The old belief was retained, but in a mysterious or
      sublimated form. As symbols of the male, or active element in creation,
      the sun, light, fire, a torch, the phallus or linga, an erect serpent, a
      tall straight tree, especially the palm and the fir or pine, were adopted.
      Equally useful for symbolism were a tall upright stone (menhir), a cone, a
      pyramid, a thumb or finger pointed straight, a mast, a rod, a trident, a
      narrow bottle or amphora, a bow, an arrow, a lance, a horse, a bull, a
      lion, and many other animals conspicuous for masculine power. As symbols
      of the female, the passive though fruitful element in creation, the
      crescent moon, the earth, darkness, water, and its emblem a triangle with
      the apex downwards, "the yoni," a shallow vessel or cup for pouring fluid
      into (<i>cratera</i>), a ring or oval, a lozenge, any narrow cleft, either
      natural or artificial, an arch or doorway, were employed. In the same
      category of symbols came a ship or boat, the female date-palm bearing
      fruit, a cow with her calf by her side, the fish, fruits having many
      seeds, such as the pomegranate, a shell (<i>concha</i>), a cavern, a
      garden, a fountain, a bower, a rose, a fig, and other things of suggestive
      form, etc.
    </p>
    <p>
      These two great classes of conventional symbols were often represented <i>in
      conjunction with</i> each other, and thus symbolised in the highest degree
      the great source of life, ever originating, ever renewed. The Egyptian
      temple at Denderah has lately been explored by M. Mariette. In a niche of
      the Holy of Holies he discovered the sacred secret. This was simply a
      golden sistrum (see <i>ante</i>, pp. 44 and 70), an emblem formed by
      uniting the female oval O with the male sacred Tau T; and thus identical
      in meaning with the coarse emblem seen by Captain Burton in the African
      idol temple. A similar emblem is the linga standing in the centre of a
      yoni, the adoration of which is to this day characteristic of the leading
      dogma of Hindu religion. There is scarcely a temple in India which has not
      its lingam; and in numerous instances this symbol is the only form under
      which the great god Siva is worshipped. (See <i>ante</i>, pp. 72, 78.)
    </p>
    <p>
      The linga is generally a tall, polished, cylindrical, black stone,
      apparently inserted into another stone formed like an elongated saucer,
      though in reality the whole is sculptured out of one block of basalt. The
      outline of the frame, which reminds us of a Jew's harp (the conventional
      form of the female member), is termed <i>argha or yoni</i>. The former, or
      round perpendicular stone, the type of the virile organ, is the <i>linga</i>.
      The entire symbol, to which the name <i>lingyoni</i> is given, is also
      occasionally called <i>lingam</i>. This representative of the union of the
      sexes typifies the divine <i>sacti</i>, or productive energy, in union
      with the procreative, generative power seen throughout nature. The earth
      was the primitive <i>pudendum, or yoni</i>, which is fecundated by the
      solar heat, the sun, the primitive <i>linga</i>, to whose vivifying rays
      man and animals, plants and the fruits of the earth, owe their being and
      continued existence. These "lingas" vary in size from the tiny amulets
      worn about the neck, to the great monoliths of the temples. Thus the
      lingam is an emblem of the Creator, the fountain of all life, who is
      represented in Hindu mythology as uniting in Himself the two sexes.
    </p>
    <p>
      Another symbol, the <i>caduceus</i>, older than Greek and Roman art, in
      which it is associated with Esculapius and Hermes, the gods of health and
      fertility, has precisely the same signification as the sistrum and the
      lingam. This is made clear enough in the following extract from a letter
      by Dr. C. E. Balfour, published in Fergusson's <i>Tree and Serpent Worship</i>,
      1878. "I have only once seen living snakes in the form of the Esculapian
      rod. It was at Ahmednuggar, in 1841, on a clear moonlight night. They
      dropped into the garden from the thatched roof of my house, <i>and stood
      erect</i>."
    </p>
    <p>
      "They were all cobras, and <i>no one could have seen them without at once
      recognising that they were in congress</i>. Natives of India consider that
      it is most fortunate to witness serpents so engaged, and believe that if a
      person can throw a cloth at the pair so as to touch them with it, the
      material becomes a representative form of Lakshmi,* of the highest virtue,
      and is preserved as such." The serpent, which casts its skin and seems to
      renew its youth every year, has been used from remotest times as a living
      symbol of generative energy, and of immortality; indeed, in the most
      ancient Eastern languages, the name for the serpent also signifies life.**
      It has been usually worshipped as the <i>Agathodoemon</i>, the god of good
      fortune, life, and health; though in the Hebrew scriptures, and elsewhere,
      we meet with a good and a bad serpent&mdash;Oriental dualism. The <i>Kakodoemon</i>,
      however, is usually represented as winged&mdash;the Dragon, as in the
      following example.
    </p>
<pre xml:space="preserve">
     * The consort, or life-giving energy of Vishnu.

     ** As in French, the name for the male organ and for life is
     the same in sound, though not in spelling or gender.
</pre>
    <p>
      In the remarkable Babylonian seal, Plate iv., Fig. 8, the deity is
      represented as uniting in himself the male and the female. On each side is
      a serpent, as the emblem of the life flowing from the Creator; that on the
      male side, having round his head the solar glory, is compared to the
      sun-god, as the active principle in creation; that on the female side,
      over whose head is the lunar crescent, to the moon- and earth- goddess,
      the passive principle in creation. Both are attacked by a winged dragon,
      the kakodoemon, or the evil principle. This is according to the ancient
      Chaldean doctrine of two creations of living beings, the one good and the
      other malign. The Chinese still think that an eclipse is caused by the
      efforts of a furious dragon to destroy the sun and moon; and Apollo, the
      sun-god, destroying the serpent Python, has reappeared on our coin as St.
      George killing the dragon. Even Apollyon appears in old paintings with
      huge wings, like those of a bat.
    </p>
    <p>
      Having thus explained what appears to be the key to a wide range of
      religious symbolism, and shown its application in many cases, we shall
      further apply it to unlock the famous object of Assyrian worship. Soon
      after the discoveries of Botta and Layard were published, it was
      conjectured that this strange object, so continually represented as being
      adored, might be the <i>asherah</i> of the Hebrew scriptures, translated
      "grove" in the English version. How far the view was correct we shall now
      proceed to examine.
    </p>
    <p>
      The religion of the East at a very remote period appears to have been the
      worship of one God, under several names. The most primitive was <i>El, Il,
      or Al</i>, = the strong, the mighty one; or its plural <i>Elohim</i>, as
      expressing His many powers and manifestations. Another name was <i>Baal or
      Bel</i>,&mdash;the lord, which also had a plural form, <i>Baalim</i>. The
      first word is continually used in the Hebrew scriptures, and applied both
      to the true God and the gods of the nations. Baal is only once thus
      applied, Hosea ii. 16; yet Balaam, inspired by God, prophesies from the
      high places of Baal. This name, though so appropriate to the Almighty,
      became abhorrent to the Jews when it was so frequently associated with
      idolatry, and a new cognomen, or "the Supreme," was adopted by them, viz.,
      Jehovah, = the Eternal, the Ever-Living One, the Creator; see Exod. iii.
      14. "Baal" was the supreme god of all the great Syro-Phoenician nations,
      with the insignificant exception of the Jews; and when the latter migrated
      into Canaan they were surrounded on all sides by his worshippers. Towns,
      temples, men, including even a son of Saul, of David and of Jonathan,
      viz., Eshbaal, Meribbaal, and Beelida, were called after him. As the
      sun-god, Baal-Hammon, Song of Sol. viii. 11; 2 Kings xxiii. 5; he was
      worshipped on high places, Num. xxii. 41; and an image of the sun appeared
      over his altars, 2 Chron. xxxiv. 4. As the generative and productive
      power, he was worshipped under the form of the phallus, Baal-Peor; and
      youths and maidens, even of high birth, prostituted themselves in his
      honour or service; Num. xxv.; 2 Kings xxiii. 7. As the creator, he was
      represented to be of either or of both sexes; and Arnobius tells us that
      his worshippers invoked him thus:
    </p>
<pre xml:space="preserve">
     "Hear us, Baal! whether thou be a god or a goddess."
</pre>
    <p>
      Though he is of the masculine gender in the Hebrew, the lord, yet Baal is
      called [&mdash;&mdash;&mdash;], = the lady, in the Septuagint; Hos. ii. 8;
      Zeph. i. 4; and in the New Testament, Romans xi. 4. At the licentious
      worship of this androgyne, or two-sexed god, the men on certain occasions
      wore female garments, whilst the women appeared in male attire,
      brandishing weapons. Each of this god's names had a female counterpart;
      and the feminine form of <i>Baal was Beltis, Ishtar, and Ashtarte</i>. As
      he was the sun-god, she was the moon-goddess. Now, whilst the masculine
      name (as Bël or Bâl, Baal, Baalim,) appears nearly one hundred times in
      the Hebrew Old Testament, the feminine equivalent is only found three
      times in the singular Ashtoreth, and six times in the plural Ashtaroth;
      always in association with Baal-worship. Knowing, as we do, the immense
      diffusion of her worship amongst the Babylonians, Assyrians, and
      Phoenicians, this appears strange. There is a word of the feminine gender
      occurring in the Hebrew twenty-four times, viz., Asherah or <i>Asharah</i>;
      plural, <i>Asharth</i> translated in the Septuagint and Latin vulgate, a
      tree, or "grove," in which they have been followed by most modern
      versions, including the English. This supplies the void, for <i>Asharah</i>
      may be regarded as another name for the goddess <i>Ashtoreth</i>, as is
      plainly seen by the following passages: "They forsook Jehovah and served
      Baal and Ashtoreth;" Judges ii. 18; whilst in the following chapter we
      read, "They forgot Jehovah their God, and served the Baalim and the
      Asharoth;" iii. 7. What, then, was the <i>Asharah</i>? It was of wood, and
      of large size; the Jews were ordered to cut it down; Exod. xxxiv. 18,
      etc.; and Gideon offered a bullock as a burnt sacrifice with the wood of
      the Asherah. Occasionally it was of stone. It was carved or graven as an
      image; 2 Kings xxi. 7. It often stood close to the altar of Baal; Judges
      vi. 25 and 80; 1 Kings xvi. 82, 88; 2 Chron. xxxiii. 8. Usually on high
      places and under shady trees; 1 Kings xiv. 28; Jer. xvii. 2; but one was
      erected in the temple of Jehovah by Manasseh; 2 Kings xxi. 7. It had
      priests; 1 Kings xviii. 19; and its worship was as popular as that of
      Baal; for whilst the priests of "the Baal" were four hundred and fifty,
      those of "the Asherah" were four hundred, who ate at the table of Queen
      Jezebel, daughter of Ethbaal, king of Sidon. It was sometimes surrounded
      with hangings, and was worshipped by both sexes with licentious rites; 2
      Kings xxiii. 7; Ezek. xvi. 16. As Baal was associated with sun-worship, so
      was the Asherah with that of the moon; 2 Kings xxi. 8; 2 Chron. xxxiv. 4.
    </p>
    <p>
      Besides these Asheroth, female emblems of Baal, there were Asherim, male
      emblems of Baal, "symbolising his generative power" (Furst, Hebrew
      Lexicon), which are mentioned sixteen times in the Hebrew scriptures. It
      is only found in the plural, and must have been a multiple representation
      of the singular, Asher, which means "to be firm, strong, straight,
      prosperous, happy," * and cognate with the Phoenician (Osir), "husband,"
      "lord," an epithet of Baal.
    </p>
<pre xml:space="preserve">
     * The lupanars at Pompeii were distinguished by a sign over
     the street door, representing the erect phallus, painted or
     carved, and having the words underneath, "Hie habitat
     félicitas."
</pre>
    <p>
      Doubtless this was also identical with the Egyptian Osiris, = the sun, =
      the phallus. He was said to have suffered death like the sun; and Plutarch
      tells us that Isis, unable to discover all the remains of her husband,
      consecrated the phallus as his representative. Thus "the Asharim" were
      male symbols used in Baal-worship, and sometimes consisted of multiple
      phalli, of which the branch carried by an Assyrian priest, in Plate iii.
      Fig. 4, is a conventional form. They were then counterparts of the "<i>multimammia</i>"
      of Greek and Roman worship.* This is confirmed by a curious passage, 1
      Kings xv. 13 (repeated 2 Chron. xv. 16). We learn (xiv. 28) that the Jews,
      under Rehoboam, son of Solomon, having lapsed into idolatry, had "built
      them high places, images, and Asharim ("groves," A. V.) on every high
      hill, and under every green tree; and that there were also consecrated
      ones ("sodomites," A. V.) in the land." But Asa, his brother, on
      succeeding to the throne, swept away all these things, and (xv. 18)
      deposed the queen mother, Maachah, because she had made a <i>miphletzeth</i>
      to an Asherah ("an idol in a grove," A. V.) <i>miphletzeth</i>, is
      rendered by the Vulgate "simulacrum Priapi." The word is derived from <i>palatz</i>,
      "to be broken," "terrified," or the cognate, <i>phalash, palash</i>, "to
      break or go through," "to open up a way;" a word or root found in the
      Hebrew, Phoenician, Syriac, and Ethiopie. Doubtless the Greek [&mdash;&mdash;&mdash;]
      <i>phallus</i>, was hence derived, since it has no independent meaning in
      Greek; and Herodotus and Diodorus expressly assert that the chief gods of
      Greece and their mysteries, especially the Dionysiac or Bacchic revels, in
      which the <i>phallus</i> was carried in procession, were derived from the
      east. Compare also the Latin <i>pales</i>, English <i>pale, pole</i>, =
      May<i>pole</i>. A similar word, with a corresponding meaning, exists in
      the Sanscrit. Thus, then, according to the Hebrew scriptures, there were
      two chief symbols used in the worship of Baal, one male, the other female.
    </p>
    <p>
      See Figs. 15, 16.
    </p>
    <p>
      We can now look upon the very symbols themselves, which were so used&mdash;perhaps
      the most remarkable in existence. It is well known that the Chaldeans,
      from whom all other nations derived their religion, astronomy, and
      science, gave the name of Bel or Baal to their chief god. In the most
      ancient inscription yet deciphered, written in the Babylonian and Arcadian
      languages, a king rules by "the favour of Bel." Another name for Baal is
      Assur, or Asher, from whom Assyria is named. In the cuneiform inscriptions
      of Sennacherib, the great king of Assyria, Nineveh is called "the city of
      Bel," and "the city beloved by Ishtar." In another inscription he says of
      the king of Egypt:&mdash;"the terror of Ashur and Ishtar overcame him and
      he fled." Assurbanipal thus commences his annals "The great warrior, the
      delight of Assur and Ishtar, the royal offspring am I." In a cuneiform
      inscription of Nebobelzitri, we read:&mdash;"Nineveh the city, the delight
      of Ishtar, wife of Bel." Again, "Beltis, the consort of Bel." "Assur and
      Beltis, the gods of Assyria." Thus we see that Baal and Bel were identical
      with Assur, and Ashur. Doubtless, then, "<i>Asherah</i>" is the last name
      with the feminine termination (as Ish = man, Ishah=woman), and is
      identical with Ishtar, Ashteroth, Astarte and Beltis. The Septuagint has
      rendered "Asherah" by "Astarte," in 2 Chron. xv. 16, and the Vulgate by
      "Astaroth," in Judges iii. 7. Herodotus described (b.c. 450) the great
      temple of Belus at Babylon, and its seven stages dedicated to the sun,
      moon, and planets, on the top of which was the shrine. This contained no
      statue, but there was a golden couch, upon which a chosen female lay, and
      was nightly visited by the god. Now, therefore, that the palaces of the
      Assyrian kings, and their "chambers of imagery," have been by great good
      fortune laid open to us, we might expect to discover the long-lost
      symbolism of Baal-worship. And so we have.
    </p>
    <p>
      To commence with the simplest. The (Ashcrim) is seen as the mystic
      palm-tree, the tree of life, Fig. 99; the phallic pillar putting forth
      branches like flames, Fig. 65; and the tree with seven phalloid branches,
      so common on Assyrian and Babylonian seals, Plate xvii., Fig. 4. See also
      the remarkable Syrian medals, Plate xvii., Fig. 2, on which is represented
      Baal as the sun-god, holding the bow, and surrounded by phalli.
    </p>
    <p>
      Or, least conventional of all, the simple phallus, of which there are two
      remarkable specimens in the British Museum. Each of these is about two and
      a half feet high, and once guarded the bounds of an estate. Among the
      Greeks and Romans, boundaries were also marked by a phallic statue of
      Hermes, the god of fertility. These Assyrian emblems have doubtless often
      been honoured with rural sacrifice. Themselves the most expressive symbol
      of life, they are also covered with its conventional emblems.
    </p>
    <p>
      <a name="linkimage-0098" id="linkimage-0098">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/207.jpg" alt="207 " width="100%" /><br />
    </div>
    <p>
      A back view of one is given, Figure 174. The body is mainly occupied with
      a full length portrait of the great king. For as the Assyrians represented
      the Deity, the source of all life, by the phallus, so the monarch was the
      god of this lower world, the incarnation of God on earth. He was the
      source of life to the empire, and as such was addressed&mdash;"O king,
      live for ever" (Dan. v. 10). He, like the gods, never dies. "<i>Le Roi est
      mort; Vive le Roi</i>" The ensigns of royalty were also those of the
      creator-god. Accordingly, his garments and crown are embroidered with that
      sacred emblem, the Asherah. He bears the strung-bow and arrows, emblems of
      virile power, borne afterwards by the sun-god Apollo, and the western son
      of Venus. An erect serpent occupies the other side, and ends with forky
      tongue near the orifice. The <i>glans</i> is covered with symbols. On the
      summit is a triad of sun emblems; beneath are three altars, over two of
      which are the glans-shaped caps, covered with bulls' horns, always worn by
      the Assyrian guardian angels, and intense emblems of the male potency. For
      in ancient symbolism, <i>a part of a symbol stands for the whole</i>; as
      here, the horns represent the bull, and the glans the phallus. Above the
      third altar is a tortoise, whose protruded head and neck reminded the
      initiated of the phallus; and the altars are covered with a pattern drawn
      from the tortoise scales. We have, besides, a vase with a rod inserted,
      emblem of sexual union, and a cock, with wings and plumage ruffled,
      running after a hen in amorous heat. The glans only of the other is
      copied.
    </p>
    <p>
      <a name="linkimage-0099" id="linkimage-0099">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/208.jpg" alt="208 " width="100%" /><br />
    </div>
    <p>
      Fig. 175. At the top are the sun-symbols, as before. Beneath is the
      horse-shoe-like head-dress of Isis, and there are two altars marked with
      the tortoise-emblem in front. Over both rises the erect serpent, and upon
      one lies the head of an arrow or a dart, both male symbols. The <i>miphletzeth</i>
      which Queen Maachah placed in or near the Asherah, probably resembled
      these Assyrian phalli, or the Asherim.
    </p>
    <p>
      And now we come to the Asherah, a much more complex and difficult symbol
      than any other which we have named. This object has long puzzled
      antiquarians, and though it is continually recurring in the sculptures
      from Nineveh, it has not yet been fully explained. In Fig. 176 we see it
      worshipped by human figures, with eagles' heads and wings, who present to
      it the pine-cone, = the testis, and the basket, =the scrotum (?), intense
      emblems of the male creator.
    </p>
    <p>
      <a name="linkimage-0100" id="linkimage-0100">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/209.jpg" alt="209 " width="100%" /><br />
    </div>
    <p>
      Fig. 177 it is adored by the king and his son or successor, with their
      attendant genii. The kings present towards it a well-known symbol of life
      and good fortune, the fist with the forefinger extended, or "the phallic
      hand." Here, then, we have evidently the Asherah, or Ashtaroth-symbol, the
      female Baal, the life-producer, "the door" whence life issues to the
      world. As such the goddess is here symbolised as an arched door-way. In
      the Phonician alphabet, the fourth letter, <i>daleth</i>, = a door, has
      the shape of a tent-door, as on the Moabite stone, A, and also in the
      Greek [&mdash;&mdash;&mdash;] But another form, perhaps as ancient, is D,
      which, when placed in its proper position, would be [&mdash;], the very
      form of the Asherah.* In the plural, this word stands for the <i>labia
      pudendi</i>, [&mdash;&mdash;&mdash;&mdash;], "because it shut not up the
      <i>doors</i> of the womb," Job iii. 10.** We infer from Numbers xxv. 6-8,
      that in the rites of Baal-peor, the <i>Kadeshoth</i>, or women devoted to
      the god, offered themselves to his worshippers each in a peculiar bower or
      small arched tent, called a <i>qubbah</i>. The part also through which
      Phinehas drove his spear (see Num. xxv. 8), the woman's vulva, is also
      called <i>qobbah</i>, the one word being derived from the other, according
      to Onkelos, Aquila, and others. Qubbah means, according to Fürst, Heb.
      Lex., "something hollow and arched, an arched tent, like the Arabic El.
      Kubba, whence the Spanish <i>Al-cova</i>, and our <i>Alcove</i>." In the
      Latin also, the word <i>fornix</i>, a vault, an arch, meant a brothel, and
      from it was derived <i>fornicatio</i>. Qubbah is translated by the LXX.,
      kaminos, "an oven or arched furnace" (Liddell and Scott); but it meant
      also the female parts. See Herodotus v. 92 (7). Thus, then, the Alcove was
      itself a symbol of woman, as though a place of entrance and emergence, and
      whence new life issues to the world. And when the male worshipper of Baal
      entered to the <i>kadeshah</i>, the living embodiment of the goddess, the
      analogy to the Asherah became complete, as we shall now show.
    </p>
<pre xml:space="preserve">
     * The first letter, Aleph, = an ox, is, even on the Moabite
     stone, written thus, and has become the modern A. In the
     earlier hieroglyph it must have been thus V. The Egyptian
     hieroglyph for ten is Compare the Greek [&mdash;] and Latin
     Decem.

     ** The first of the Orphic Hymns is addressed to the goddess
     Artemisias (Prothnraia) or the Door-keeper, who presided
     over childbirths, like the Roman Diana Lucina.
</pre>
    <p>
      The central object in the Assyrian "grove" is a male date-palm, which was
      well known as an emblem of Baal, the sun, the phallus, and life. This
      remarkable tree, <i>Tamar</i> in Phoenician and Hebrew, the <i>phoenix</i>
      in Greek, was formerly abundant in Palestine and the neighbouring regions.
      The word <i>Phoenicia</i> (Acts xi. 19, xv. 8) is derived from <i>phoinix</i>,
      as the country of palms; like the "<i>Idumeo palmo</i>" of Virgil.
      Palmyra, the city of the sun, was called in the Hebrew <i>Tamar</i> (1
      Kings ix. 18). In Vespasian's famous coin, "<i>Judoa capta</i>," Judoa is
      represented as a female sitting under a palm-tree. The tree can at once be
      identified by its tall, straight, branchless stem, of equal thickness
      throughout, crowned at the top with a cluster of long, curved,
      feather-like branches, and by its singularly wrinkled bark. All these
      characteristics are readily recognised in the highly conventional forms of
      the religious emblem, even in the ornament on the king's robe, fig. 174.
      The date-palm is dioecious, the female trees, which are sometimes used as
      emblems, being always distinguished by the clusters of date fruit. "Thy
      stature is like to a palm-tree, thy breasts to clusters" (Cant. vii. 7).
      "The righteous shall flourish like the palm-tree" (Ps. xcii. 12), fruitful
      and ever green. "They are upright as the palm-tree, but speak not" (Jer.
      x. 8-5). The prophet is evidently describing the making of an Asherah.
      There was a Canaanite city called Baal-Tamar, = Baal, the palm-tree,
      designated so, it is probable, from the worship of Baal there "under the
      form of a priapus-column," says Fürst, Heb. Lex. The real form was
      doubtless an "Asherim," a modified palm-tree, as we have already shown.
      Palm-branches have been used in all ages as emblems of life, peace, and
      victory. They were strewn before Christ. Palm-Sunday, the feast of palms,
      is still kept. Even within the present century, on this festival, in many
      towns of France, women and children carried in procession at the end of
      their palm-branches a phallus made of bread, which they called,
      undisguisedly, "la pine," whence the festival was called "La Fête des
      Pinnes." The "pine" having been blest by the priest, the women carefully
      preserved it during the following year as an amulet. (Dulaure, <i>Hist,
      des differens Cultes.</i>)
    </p>
    <p>
      <a name="linkimage-0101" id="linkimage-0101">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/213.jpg" alt="213 " width="100%" /><br />
    </div>
    <p>
      Again, the Greek name for the palm-tree, <i>phoenix</i>, was also the name
      of that mythical Egyptian bird, sacred to Osiris, and a symbol of the
      resurrection. With some early Christian writers, Christ was "the Phoenix."
      The date-palm is figured as a tree of life on an Egyptian sepulchral
      tablet, older than the Exodus, now preserved in the museum at Berlin. Two
      arms issue from the top of the tree; one of which presents a tray of dates
      to the deceased, whilst the other gives him water, "the water of life."
      The tree of life is represented by a date-palm on some of the earliest
      Christian mosaics at Rome. Something very like the Assyrian Asherah, or
      sacred emblem, was sculptured on the great doors of Solomon's temple, by
      Hiram, the Tyrian (1 Kings vii. 18-21). We read "he carved upon them
      carvings of cherubims and palm-trees and open flowers, and spread gold
      upon the cherubims and palm-trees" (1 Kings vi. 82-35). He also erected
      two phallic pillars in front of the Temple, Jachin and Boaz, = It stands&mdash;In
      strength. No wonder Solomon fell to worship Astarte, Chemosh, and Milcom.
    </p>
    <p>
      Although to our modern ideas the mystical tree, symbol of life and
      immortality, seems out of place in Judaism, yet no sooner did the Jews
      possess a national coinage under the Maccabees than the palm-tree
      reappears, <i>always with seven branches</i> (like the golden candlestick,
      Ex. xxv.), as on the shekel represented Plate xvii., Fig. 4. The Assyrian
      tree has <i>always</i> the same number, and the tufts of foliage
      (symbolising the entire female tree) which deck the margins of the mystic
      D&mdash;apt emblems of fertility&mdash;have also invariably seven
      branches. This may remind us of the seven visible spheres that move around
      our earth "in mystic dance," and of Balak's offering, upon seven altars,
      seven bulls and seven rams (Num. xxiii. 1; Rev. ii. 1) The mystic door is
      also barred, like the Egyptian sistrum carried by the priestesses of Isis,
      to represent the inviolable purity and eternal perfection which were
      associated with the idea of divinity. When Mary, the mother of Jesus, took
      the place in Christendom of "the great goddess," the dogmas which
      propounded her immaculate conception and perpetual virginity followed as a
      matter of course.
    </p>
    <p>
      Thus, then, we explain the greatest symbol in Eastern worship,&mdash;it is
      the "Tree of Life in the midst of the Garden," which has remained so long
      a mystery. To Dr. Inman belongs the distinguished merit of having first
      broken ground in the right direction. In his <i>Ancient Faiths</i>, vol.
      1, 1868, he identified the Assyrian "Asherah" with the female "door of
      life," and pointed out its analogy to the barred sistrum. We have seen
      that it is really much more complex, being precisely analogous in meaning
      to the famous <i>crux ansata</i> (Fig. 170), the central mystery of
      Egyptian worship; to the lingam or lingyoni of India (Fig. 109), the great
      emblem of Siva-worship; and to the caduceus of Greece and Rome. As
      represented on the Assyrian sculptures, it is always substantially the
      same. Probably this stereotyped form was the result of a gradual
      refinement upon some rude primitive type, perhaps as coarse as that seen
      by Captain Burton in the African idol-temple.
    </p>
    <p>
      To exhibit all the strange developments and modifications which this idea
      has assumed in the religious symbolism of Eastern and Western nations
      would require a large volume. But the subject is so rich in varied
      interest that we cannot conclude without taking a glance at it. First, the
      simple O, barred, is reproduced with a contraction towards the base, as in
      the Indian "yoni," and the Egyptian sistrum, used in the worship of Isis.
      Second, within the O was represented the goddess herself, as revealed
      within her own symbol. This is illustrated in Plate xvii., Fig. 5, where
      Demeter or Ceres is thus depicted, with her cornucopia, from a bronze coin
      of Damascus. Thirdly, but much more commonly, the goddess holds in her
      hands emblems of the male potency in creation, and thus completes the
      symbol. As in the coin figured Plate xvii., Fig. 8, the goddess, standing
      within the O, the portico of her temple, holds in her right hand the
      cross, that most ancient emblem of the male and of life. In the beautiful
      Greek coin of Sidon next figured, the goddess&mdash;evidently Astarte, the
      moon-goddess, the Queen of Heaven&mdash;stands on a ship, the mystic Argha
      or Ark, holding in one hand a crozier, in the other the cross. (Plate
      xvii., Fig. 7.)
    </p>
    <p>
      <a name="linkimage-0102" id="linkimage-0102">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/217.jpg" alt="217 " width="100%" /><br />
    </div>
    <p>
      Under Christianity, the Virgin Mary, who, as Queen of Heaven, stands on
      the crescent moon, is pictured beneath the mystic doorway, with (the God
      as) a male child in her arms. See Plate xviii., copied from the woodcut
      title to the <i>Psalter of the Blessed Virgin</i>, printed at Czenna, in
      old Prussia, 1492. Like Isis, she is the mother and yet the spouse of God,
      "clothed with the sun, and having the moon under her feet" (Rev. xii. 1).
      The upper half of the picture is very like the Assyrian scenes. On either
      side is a king, Frederick III. and his son the Emperor Maximilian, at
      their devotions. The alcove is of roses, an emblem of virginity. The
      famous Mediæval "Romaunt de la Rose" turns upon this. Among the many
      titles given to "the Virgin" in Mediæval times, we find <i>Santa Maria
      della Rosa</i>, that flower being consecrated to her. Hence it is often
      represented in her hand. Dante writes
    </p>
<pre xml:space="preserve">
     "Here is the Rose,
     Wherein the Word Divine was made incarnate."
</pre>
    <p>
      In Plate xviii., the Virgin goddess is seated with the God-child in a
      bower, exactly the shape of the Assyrian, composed of fruits highly
      significant of sex, as has already been explained. In some Hindoo
      pictures, the child is naked, having the member erect, and also making the
      phallic hand, with the right forefinger erected. (Plate xiv., Fig. 14.)
    </p>
    <p>
      In other conventional forms we have male symbols only within the female O.
      This is a very numerous class. In the Fig. 3, Plate xvii., we see the
      fir-tree or pine take the place of the palm-tree, and in Fig. 6, Plate
      xvii., the cone. On this remarkable medal of Cyprus is a representation of
      the temple of Venus at Paphos, famous even in the days of Homer. (Odyss.
      viii. 862.) The worship of that divinity is said to have been imported
      into Cyprus from the East. The goddess united both sexes in her own
      person, and was served by castrated priests. We see here, within the
      innermost sanctum of the temple, a cone as emblem of the male; and the
      meaning is further pointed by the sun-emblem above, inserted within the
      crescent moon.
    </p>
    <p>
      Let us next examine how the cone came to be used as a masculine emblem. If
      we turn to Figs. 174 and 175, it will be seen that the "glans" was
      particularly honoured as the head of the phallus; it was also the part
      dedicated to God by effusion of blood in the rite of circumcision. This
      "acorn" is conical or dome-shaped, and thus&mdash;a part being taken for
      the whole&mdash;the cone or pyramid was used as a conventional symbol of
      the male creator. Placed on a stem it is frequently represented as
      worshipped on Assyrian bas reliefs. See Fig. 177. It was also a symbol of
      fire, the sun, and life; as such it formed a fitting monument for the
      Egyptian kings. Our word pyramid is from the Greek <i>puramis</i>, itself
      derived from pur, Jire, and puros, wheat, because pyramid-shaped cakes of
      wheat and honey were used in the Bacchic Fig. 177. rites. It played an
      important part in sun-worship. The emperor Heliogabalus (who, as his name
      implies, had been a priest of Baal, the sun-god, in Syria,) established
      the Syrian worship at Rome. He himself drove the golden chariot of the
      sun, drawn by six white horses, through the streets of Rome to a splendid
      new temple on the Palatine mount, the god being represented by a conical
      black stone, said to have fallen from heaven; and which the emperor
      removed from a temple of the sun, at Emesa, in Syria. At a subsequent
      period, an image of the moon-goddess, or Astarte, was brought by his
      orders from a celebrated fane at Carthage to Rome, and there solemnly
      married with licentious rites to the sun-god, amidst general rejoicing.*
    </p>
<pre xml:space="preserve">
     * In Astrology, the conjunction of Jupiter and Venus was
     considered the most fortunate of all; such as kings and
     princes should be born under.
</pre>
    <p>
      A curious parallel to these mystic nuptials of the Assyrian god and
      goddess may be found in some of the religious ceremonies of the modern
      Hindoos. Fergusson tells us that "the most extraordinary buildings
      connected with Hindu temples are the vast pillared colonnades or
      choultries. By far their most important application is when used as
      nuptial halls, in which the mystic union of a male and female divinity is
      celebrated once a year."
    </p>
    <p>
      Again, in Indian mythology, the pyramid plays an important part. It
      belongs to Siva, = the sun, = fire, = the phallus, = life. By one complex
      symbol, very common on ancient Hindoo monuments in China and Thibet, the
      universe was thus represented. Notice the upward gradation. Earth + water
      = this globe. The creator-god, whose emblem, flame, mounts upwards, is the
      author and representative of all life upon it; he is the connecting link,
      united by the crescent moon with heaven. The arrow- or spear- head
      inserted within the crescent is an earth emblem of Siva; like the lingam
      it typified the divine source of life, and also the doctrine that perfect
      wisdom was to be found only in the combination of the male and female
      principles in nature. It decorates the roofs of the Buddhist monasteries
      in Thibet, and like the sacred lotus flower and the linga, both of which
      became emblems of Buddha, was derived from older faiths. Other
      interpretations may suggest themselves. This will enable us to understand
      the remarkable sculptures of the second or third century, from the
      Amravati Tope, Plate xix., which present so many points in common with the
      religious symbols of the Chaldeans. In Fig. 2 we see a congregation of
      males and females, the sexes being separated, worshipping a linga, or
      stone conical pillar, on the front of which is sculptured the sacred tree,
      with branches like flames; three symbols of life in one. It rises from a
      throne, on the seat of which are placed the two emblems of earth and
      water. In the other figure, the sacred tree takes the place of the linga,
      rising above the throne, as if from the trisul or trident, male emblems of
      Siva. Winged figures, Garudas, attend it above, floating over the heads of
      the worshippers. An intrusion of the newer faith is also to be recognised,
      as the feet of Buddha are sculptured before the throne.
    </p>
    <p>
      In the mysteries of Mithra, the symbols in Fig. 178 were also employed.
      They represented the elements to which the soul ought to be successively
      united in passing through the new birth.
    </p>
    <p>
      <a name="linkimage-0105" id="linkimage-0105">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/221.jpg" alt="221 " width="100%" /><br />
    </div>
    <p>
      We will add but two more emblems, culled from medieval heraldry, Figs. 179
      and 180, in both of which the Asherah, the "grove" of Baal-worship, will
      be at once recognised; the arrow and the cross, symbols of the male
      creator, taking the place of the mystic palm-tree.
    </p>
    <p>
      In all these, from the rudest to the most complex, we are thus able to
      trace a common idea, viz., a feeling after God, as the Life and Light of
      the Universe, and an attempt to express a common hope in visible forms.
    </p>
    <p>
      <a name="linkimage-0106" id="linkimage-0106">
      <!-- IMG --></a>
    </p>
    <div class="fig" style="width:80%">
      <img src="images/222.jpg" alt="222 " width="100%" /><br />
    </div>
    <div style="height: 6em;">
      <br /><br /><br /><br /><br /><br />
    </div>
<pre xml:space="preserve">





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