* The consort, or life-giving energy of Vishnu.** As in French, the name for the male organ and for life isthe same in sound, though not in spelling or gender.
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.
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 theasherahof the Hebrew scriptures, translated "grove" in the English version. How far the view was correct we shall now proceed to examine.
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 wasEl, Il, or Al, = the strong, the mighty one; or its pluralElohim, as expressing His many powers and manifestations. Another name wasBaal or Bel,—the lord, which also had a plural form,Baalim. 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:
"Hear us, Baal! whether thou be a god or a goddess."
Though he is of the masculine gender in the Hebrew, the lord, yet Baal is called [———], = 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 ofBaal was Beltis, Ishtar, and Ashtarte. 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 orAsharah; plural,Asharthtranslated 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, forAsharahmay be regarded as another name for the goddessAshtoreth, 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 theAsharah? 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.
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.
* The lupanars at Pompeii were distinguished by a sign overthe street door, representing the erect phallus, painted orcarved, and having the words underneath, "Hie habitatfélicitas."
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 "multimammia" 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 amiphletzethto an Asherah ("an idol in a grove," A. V.)miphletzeth, is rendered by the Vulgate "simulacrum Priapi." The word is derived frompalatz, "to be broken," "terrified," or the cognate,phalash, palash, "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 [———]phallus, 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 thephalluswas carried in procession, were derived from the east. Compare also the Latinpales, Englishpale, pole, = Maypole. 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.
See Figs. 15, 16.
We can now look upon the very symbols themselves, which were so used—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:—"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:—"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, "Asherah" 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.
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.
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.
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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—"O king, live for ever" (Dan. v. 10). He, like the gods, never dies. "Le Roi est mort; Vive le Roi" 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. Theglansis 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,a part of a symbol stands for the whole; 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.
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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. Themiphletzethwhich Queen Maachah placed in or near the Asherah, probably resembled these Assyrian phalli, or the Asherim.
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.
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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,daleth, = a door, has the shape of a tent-door, as on the Moabite stone, A, and also in the Greek [———] But another form, perhaps as ancient, is D, which, when placed in its proper position, would be [—], the very form of the Asherah.* In the plural, this word stands for thelabia pudendi, [————], "because it shut not up thedoorsof the womb," Job iii. 10.** We infer from Numbers xxv. 6-8, that in the rites of Baal-peor, theKadeshoth, or women devoted to the god, offered themselves to his worshippers each in a peculiar bower or small arched tent, called aqubbah. The part also through which Phinehas drove his spear (see Num. xxv. 8), the woman's vulva, is also calledqobbah, 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 SpanishAl-cova, and ourAlcove." In the Latin also, the wordfornix, a vault, an arch, meant a brothel, and from it was derivedfornicatio. 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 thekadeshah, the living embodiment of the goddess, the analogy to the Asherah became complete, as we shall now show.
* The first letter, Aleph, = an ox, is, even on the Moabitestone, written thus, and has become the modern A. In theearlier hieroglyph it must have been thus V. The Egyptianhieroglyph for ten is Compare the Greek [—] and LatinDecem.** The first of the Orphic Hymns is addressed to the goddessArtemisias (Prothnraia) or the Door-keeper, who presidedover childbirths, like the Roman Diana Lucina.
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,Tamarin Phoenician and Hebrew, thephoenixin Greek, was formerly abundant in Palestine and the neighbouring regions. The wordPhoenicia(Acts xi. 19, xv. 8) is derived fromphoinix, as the country of palms; like the "Idumeo palmo" of Virgil. Palmyra, the city of the sun, was called in the HebrewTamar(1 Kings ix. 18). In Vespasian's famous coin, "Judoa capta," 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,Hist, des differens Cultes.)
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Again, the Greek name for the palm-tree,phoenix, 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—In strength. No wonder Solomon fell to worship Astarte, Chemosh, and Milcom.
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,always with seven branches(like the golden candlestick, Ex. xxv.), as on the shekel represented Plate xvii., Fig. 4. The Assyrian tree hasalwaysthe same number, and the tufts of foliage (symbolising the entire female tree) which deck the margins of the mystic D—apt emblems of fertility—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.
Thus, then, we explain the greatest symbol in Eastern worship,—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 hisAncient Faiths, 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 famouscrux ansata(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.
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—evidently Astarte, the moon-goddess, the Queen of Heaven—stands on a ship, the mystic Argha or Ark, holding in one hand a crozier, in the other the cross. (Plate xvii., Fig. 7.)
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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 thePsalter of the Blessed Virgin, 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 findSanta Maria della Rosa, that flower being consecrated to her. Hence it is often represented in her hand. Dante writes
"Here is the Rose,Wherein the Word Divine was made incarnate."
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.)
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.
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—a part being taken for the whole—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 Greekpuramis, 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.*
* In Astrology, the conjunction of Jupiter and Venus wasconsidered the most fortunate of all; such as kings andprinces should be born under.
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."
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.
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.
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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.
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.
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