nce of Osiris. The
figures called a comb and a looking-glass are the lingal emblems of the
sacred Phallic worship. The whole hierograph thus combines, in an
extremely simple and instructive unity, the symbolisation of Apis,
Osiris, Uphon, and Isis, Phallos, Pater AEther, and Mater Terra, Lingam
and Yoni, Vishnu, Brama, and Sarsaswete, with their Saktes, Yang and
Yiri, Padwadevi, Viltzli-pultzli, Baal, Dhanandarah, Sulivahna and Mumbo
Jumbo."

The honest transcripts in the club book clear away a great deal of that
unknown which is so convertible into the magnificent. It was extremely
perplexing to understand that the elephant was profusely represented
upon memorials familiar to the eyes of the inhabitants of Scotland, at a
period, if we might credit some theories, anterior to the time when
Roman soldiers were appalled in the Punic war by the sudden apparition
of unknown animals of monstrous size and preternatural strength. The
whole flood of oriental theory was let loose by this evidence of
familiarity with the usages of Hindostan. But it is pretty evident,
when we inspect him closely, that the animal, though a strange beast of
some peculiar conventional type, is no elephant. That spiral winding-up
of his snout, which passed for a trunk, is a characteristic refuge of
embryo art, repeated upon other parts of the animal. It is necessitated
by the difficulty which a primitive artist feels in bringing out the
form of an extremity, whatever it may be--snout, horn, or hoof. He finds
that the easiest termination he can make is a whirl, and he makes it
accordingly. Thus the noses, the tails, the feet of the characteristic
monster of the sculptured stones, all end in a whirl, as the final
letter of an accomplished and dashing penman ends in a flourish. The
same difficulty is met in repeated instances on these stones by another
ingenious resource. Animals are united or twined together by noses or
tails, to enable the artist to escape the difficulty of executing the
extremities of each separately.

There is a propensity to believe that whatever is old must have
something holy and mysterious about it. It is difficult to suppose that,
in making an ornament, men who would be so venerable, were they alive
now, as our ancestors of many centuries ago, can have been in the
slightest degree affected by the pomps and vanities of this wicked
world. Hence there is never a quaint Gothic decoration, floral or
animal, but it must be symbolic o