By M.D., By Thomas Inman
The call for which has sprung up for this paintings has triggered the writer to make it extra entire than it was once initially. however it couldn't be made ideal with out being multiplied right into a quantity whose measurement will be incompatible with cheapness. while each determine would offer a textual content for an extended discourse, a detailed recognition is needed lest an outline might be built right into a dissertation. during this paintings, the writer is obliged to restrict himself to the reason of symbols, and can't release out into historic and glossy faiths, other than in as far as they're typified by means of sure traditional symptoms.
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Extra info for Ancient Pagan and Modern Christian Symbolism
See Ancient Faiths, second edition, Vol. , pp. 123, and 385-392. 9 PLATE VII. Is a copy of an original drawing. made by a learned Hindoo pundit for Wm. , of London: whilst he was in India studying its mythology. , 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 crux ansata. 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 ot the relative duties of father and mother.
Lines 1256, seq. Fig 4. , fig. 10. It is the reverse of a bronze coin of Vespasian, struck in the 6 island of Cyprus, and represents the conical stone, under whose form Venus was worshipped at Paphos, of which Tacitus remarks, Hist. , c. 3, “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. ” It is remarkable that a male emblem should be said to represent Venus, but the stone was an aërolite, like that which fell at Ephesus, and was said to represent Diana.
1, 1a, and is thus described, “Statuette inédite, de grès houiller ou micacé, d’un brun verdatre. Elle porte par devant, sur une bande perpendiculaire, un légende en caractères Syriaques tres anciens (Cabinet de M. ” 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, par excellence, 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 3 once appeared as a fish, the explanation does not suffice.
Ancient Pagan and Modern Christian Symbolism by M.D., By Thomas Inman