Part 7

this piece of art. The goddess was the patroness of the island of Cnidos and therefore her image was impressed upon the Cnidian coins as the great artist had depicted her. The best copies of the Cnidian

Aphrodite are preserved in the Vatican and in the Glyptothek at Munich.

The Vatican is rich in Venus statues of a similar type which have been worked out in the spirit of Praxiteles, and we here reproduce photographs of what has been called the crouching Venus and also the Venus with the unguent jar.

These statues of Aphrodite in the Vatican and most others produced in the latter portion of the classical period of Greek art are entirely nude, but with the exception of the very latest ones we must grant that they are endowed with divine dignity. An improper feature enters only when nudity betrays either an intentional display, with a pretense of prudery, or an obvious purpose to excite sensuality. Originally these features are foreign to the Greek goddess and develop only with the decay of Hellenic civilization. They appear obtrusively in the so-called Venus of Medici, and worse still in the so-called Venus Kalypygos, in this way justifying to some extent the harsh opinion of Christian pietists who have vitiated our notion of Greek deities down to the present day. From the standpoint here taken I may be permitted to omit entirely any reproduction of pictures of this latest phase of the artistic conception of Venus.

Among the portrayals of Venus we deem two recent discoveries worthy of reproduction on account of their sweetness and gracefulness. One is the Venus of Panderma and the other a bust found in a wrecked ship by sponge divers at the bottom of the sea off the African coast in the Mediterranean. The former was found in a shipwreck near the coast

of Panderma in the year 1884, together with coins of the time of Lysimachos. It is made of Parian marble and shows the goddess standing near a small pillar over which her garment is hung. She is represented at the moment when her hands are tying a long ribbon around her head to hold up her curly hair which falls back behind the ears. Furtwängler and Salomon Reinach have devoted much attention to the statue, the latter in his _Répertoire de la statuaire grecque et romaine_, and both praise highly the beauty of the goddess.

The head of the goddess Venus now preserved in the museum at Bardos near Tunis must have lain hidden for over two thousand years. It had

probably been ordered by lovers of art living in Africa and never reached its place of destination. The shells which cover part of the bust have happily not attacked the features of the goddess and so the beauty of the face is left unmarred.

CLASSICAL HYMNS.

The worship of Aphrodite in the days of classical paganism is best characterized by two hymns attributed to Homer, but it must be understood that this whole class of poetry constitutes Homeric apocrypha of a comparatively late date. We quote the original from the Teubner edition:

ΣΙΣ ΑΦΡΟΔΙΤΗΝ

Κυπρογενῆ Κυθέρειαν ἀείσομαι, ἥτε βροτοῖσι μείλιχα δῶρα δίδωσιν, ἐφ’ ἱμερτῷ δὲ προσώπῳ αἰεὶ μειδιάει καὶ ἐφ’ ἱμερτὸν θέει ἄνθος.

Χαῖρε, θεά, Σαλαμῖνος ἐυκτιμένης μεδέουσα καὶ πάσης Κύπρου: δὸς δ’ ἱμερόεσσαν ἀοιδήν. αὐτὰρ ἐγὼ καὶ σεῖο καὶ ἄλλης μνήσομ’ ἀοιδῆς.

A versified translation of our own reads thus:

“My verse shall praise thee, goddess fair and mighty, Great Queen of Cyprus, glorious Aphrodite Who unto mortals love’s sweet gift bestowest And in the charm of richest beauty glowest. Thou holdest in thy hand the magic flower Whose spell subjects us to thy gentle power. Hail, gracious lady, soother of all woes, Who conquerest by pleasing smiles thy foes.

As we thy beauty worship and admire Inspire my song with thy celestial fire. So shall my muse forever honor thee And her whom thou commendest unto me.”

Here is another hymn, not less charming:

ΣΙΣ ΑΦΡΟΔΙΤΗΝ

Αἰδοίην, χρυσοστέφανον, καλὴν Ἀφροδίτην ᾄσομαι, ἣ πάσης Κύπρου κρήδεμνα λέλογχεν εἰναλίης, ὅθι μιν Ζεφύρου μένος ὑγρὸν ἀέντος ἤνεικεν κατὰ κῦμα πολυφλοίσβοιο θαλάσσης ἀφρῷ ἔνι μαλακῷ: τὴν δὲ χρυσάμπυκες Ὧραι δέξαντ’ ἀσπασίως, περὶ δ’ ἄμβροτα εἵματα ἕσσαν: κρατὶ δ’ ἐπ’ ἀθανάτῳ στεφάνην εὔτυκτον ἔθηκαν καλήν, χρυσείην: ἐν δὲ τρητοῖσι λοβοῖσιν ἄνθεμ’ ὀρειχάλκου χρυσοῖό τε τιμήεντος: δειρῇ δ’ ἀμφ’ ἁπαλῇ καὶ στήθεσιν ἀργυφέοισιν ὅρμοισι χρυσέοισιν ἐκόσμεον, οἷσί περ αὐταὶ Ὧραι κοσμείσθην χρυσάμπυκες, ὁππότ’ ἴοιεν ἐς χορὸν ἱμερόεντα θεῶν καὶ δώματα πατρός. αὐτὰρ ἐπειδὴ πάντα περὶ χροὶ κόσμον ἔθηκαν, ἦγον ἐς ἀθανάτους: οἳ δ’ ἠσπάζοντο ἰδόντες χερσί τ’ ἐδεξιόωντο καὶ ἠρήσαντο ἕκαστος εἶναι κουριδίην ἄλοχον καὶ οἴκαδ’ ἄγεσθαι, εἶδος θαυμάζοντες ἰοστεφάνου Κυθερείης. Χαῖῥ ἑλικοβλέφαρε, γλυκυμείλιχε: δὸς δ’ ἐν ἀγῶνι νίκην τῷδε φέρεσθαι, ἐμὴν δ’ ἔντυνον ἀοιδήν. αὐτὰρ ἐγὼ καὶ σεῖο καὶ ἄλλης μνήσομ’ ἀοιδῆς.

Translated into English verse the hymn reads:

“The venerable Lady I adore, Queen Aphrodite, owner of the shore Of seagirt Cyprus. Thither Zephyr’s breeze Had wafted her as babe with gentle ease. While yet unborn, in briny foam lay she Floating on billows of the surging sea, Whence she came forth. The Seasons young and fair With gold-embroidered bridles guided her, They took her to their arms and they caressed The little maid and had her beauty dressed In garments of Ambrosian fabric wrought. And then a crown of golden weight they brought, Three-handled, which above her head they placed. Her soft white neck with carcanets was graced, The strands of which her silver breast adorn In such a way as by the Seasons worn At dances in sylvestrian resort Or in Olympus at their father’s court. They carried up the babe so fair and wee To the immortals, who in ecstacy Began at once to hug and fondle her And kiss her hands. All vowed that they would wear The sacred flower of this divine fair maid At Hymen’s feast in festival parade. Yea, such great charm the Gods e’en never saw; They gazed and wondered and they stood in awe. O goddess, dark-browed, sweet of voice, In thee my song shall glory to rejoice! On us poor mortals here on earth below Life’s palm and heaven’s happiness bestow.

Praised be forever thy divinity, And the fair sex which representeth thee.”

The nature of Venus as the mother of the universe, the mistress of existence, and the representative of all that is charming and lovely endeared her to the philosopher as well as to the poet, and so in Rome at a later day even the freethinker among classical poets, Titus Lucretius, dedicated to her his philosophical book of poetry, _De rerum natura_, in these often quoted words:[44]

“Mother of Rome, delight of Gods and men, Dear Venus that beneath the gliding stars Makest to teem the many-voyaged main And fruitful lands--for all of living things Through thee alone are evermore conceived, Through thee are risen to visit the great sun-- Before thee, Goddess, and thy coming on, Flee stormy wind and massy cloud away; For thee the dedal Earth bears gentle flowers; For thee wide waters of the unvexed deep Smile, and the hollows of the sérene sky Glow with diffusèd radiance for thee! For soon as comes the springtime face of day, And procreant gales blow from the West unbarred. First fowls of air, smit to the heart by thee, Foretoken thy approach, O thou Divine, And leap the wild herds round the happy fields Or swim the bounding torrents. Then amain, Seized with the spell, all creatures follow thee Whithersoever thou walkest forth to lead; And thence through seas and mountains and swift streams, Through leafy homes of birds and greening plains. Kindling the lure of love in every breast, Thou bringest the eternal generations forth. Kind after kind. And since ’tis thou alone Guidest the Cosmos, and without thee naught Is risen to reach the holy shores of light, Nor aught of joyful or of lovely born, Thee do I crave co-partner in that verse Which I presume on Nature to compose For Memmius mine, whom thou hast willed to be Peerless in every grace at every hour-- Wherefore, indeed, Divine one, give my words Immortal charm. Lull to a timely rest O’er sea and land the savage works of war, For thou alone hast power with public peace To aid mortality; since he who rules The savage works of battle, puissant Mars, How often to thy bosom flings his strength, O’ermastered by the eternal wound of love-- And there, with eyes and full throat backward thrown, Gazing, my Goddess, open-mouthed at thee, Pastures on love his greedy sight, his breath Hanging upon thy lips? Him thus reclined Fill with thy holy body, round, above! Pour from those lips soft syllables to win Peace for the Roman, glorious Lady, peace! For in a season troublous to the state Neither may I attend this task of mine With thought untroubled, nor may mid such events The illustrious scion of the Memmian house Neglect the civic cause.”

* * * * *

The temples of Aphrodite lie in ruins, and her worship is abandoned; but the ideal of womanhood which she represented has remained to this day, and will remain so long as mankind will continue to exist on earth. The artist of the statue of Milo has left us an unsurpassed interpretation of this ideal which even in its mutilated condition is noble and beautiful. At the same time nature does not cease to actualize the type in every living woman that has been born into the world. Each one of them with all her individual traits, her preferences and even her feminine faults is a specimen of the eternal ideal of womanhood--the divinity of love, of grace, of charm, of beauty, a source of inspiration as well as of physical and intellectual creativeness.

The ancient paganism has passed away and will never come back, but because its superstitions are gone we need no longer scorn its gods. We can recognize their grandeur, their nobility, their beauty, yea their truth; and if we contemplate the representation of their ideals in Greek art, we must own that the Venus of Milo is not the least among them.

INDEX.

Adonis, Death of, 76.

Æneas, 74.

Æschylus, 74.

Agesander or Alexander of Antioch, 14, 17, 20, 21, 51.

Alcamenes, 154, 157-159.

Alcard, 44.

Alcuin Bible, 133-135.

Amazon, Etymology of, 63.

Anchises, 68; and Aphrodite, 74, 75.

Antiochus Euergetes, 150.

Antiochus Soter, 17.

Aphrodite, and Ares, 155-157; as a universal principle, 65, 73; Birth of, 62, 69; Cypris, 65; Etymology of the name, 62, 64; Euploia, 162; Pandemos, 67; Sosandra, 154, 156; Urania, 67, 74; Worship of, 55, 68-75.

Apple, emblem of mother-goddess, 98; emblem of Venus, 25; held in hand, 7, 9, 10, 12, 14, 25, 30, 33, 44, 45, 47; Melos means, 1, 25; of empire, 39-40.

Archaic Venus, 154-155.

Ares, Aphrodite and, 155-157.

Artemis, 149.

Astarte, 69, 107; A later, 105; and the Dove, 100; in Cyprus, 106, 110; Sargent’s, 108, 110; Worship of, 55.

Asurbanipal, 79, 80.

Athene, 69, 77, 79; Worship of, 56.

Athens, 54, 56, 67.

Babylon, Trinity in, 98.

Bacchus, 14.

Bain, F. W., 128.

Bajot, 5_n_.

Bardos, 168, 169.

Battle on the beach, 43, 46-47, 49.

Bell, T., 31.

Bellona, 77.

Beltis, 73, 145, 151.

Benten, 110, 113.

Bethel, 148-150.

Birth, of Aphrodite, 62, 69, 70; of Syrian goddess, 71.

Boghaz-Köi, 103-105.

Bottonis, Antonio, 2, 45.

Bottonis, Yorgos, a Greek peasant, 2, 5, 9, 10, 11, 13, 44.

Bottonis, Yorgos, Jr., 45.

Brassempouy, Venus of, 146.

Brest, Louis, 3, 46.

Buddha, Kwan-Yon as the, 112, 115.

Cæsar, 74, 75.

Capua, 55.

Carolsfeld, Schnorr von, 140-141.

Carus, _The Bride of Christ_, 107; _Soul of Man_, 126.

Castro in Melos, 2, 12, 45, 46.

_Century Magazine_, 2, 6.

Charm of statue, 26, 27.

“Chevrette,” 3, 5.

Christian Trinity, 98-99.

Christianity, 56, 74, 144.

Chthonian Venus, 75, 83, 85.

Clarac, Count de, 13, 15, 50; Report of, 48.

Cnidian Venus, 160-163, 172.

Cnidos, 73, 163.

Condition of statue, 9-10, 24, 43, 45, 48, 49.

Conybeare, F. C., 56.

Conze, 21.

Corinth, Hierodules in, 74.

Coronet, 24.

Creation, Greek legend of, 62; Maori legend of, 63_n_.

Creuzer, 36.

Crouching Venus, 163, 164, 166.

Cyprian Aphrodite, 154.

Cyprus, 76, 107; Astarte in, 106, 110.

Date of statue, 20, 52.

David, 15.

Debay, Auguste, 15; Drawing of, 16, 21.

Del Mar, Alexander, 37, 39-40.

Del Mar, Francisca Paloma, 37, 38.

Demeter, 69.

Descent into Hades, 76, 83-95.

Description of statue, 6-8, 22-25, 41, 42, 45, 51, 52.

Diana of Ephesus, 149, 152-153.

Dionæa, 67.

Dione, 65.

Discovery of statue, 2, 5-6, 44.

Dodona, 67.

Doré, Gustave, 139, 141.

Dove, 98, 102; Astarte and the, 100; Venus sending out the, 36, 37.

Egypt, Trinity in, 98.

Eleusinian mysteries, 83.

Ephesus, Diana of, 149, 152-153.

Epithets of Aphrodite, 65, 67.

Eros, 27, 28, 65, 77_n_, 83; in the underworld, 84; Statue of, 28.

“Estafette,” 3, 4, 43, 46, 47.

Eve, Adam and, in art, 132-141; Apple of, 127, 138; Creation of, 125, 127, 135, 138, 140.

Fanaticism, 27, 60.

Farnell, Lewis Richard, 83.

Ferry, Jules, 52; Report of, 45-47.

Figulus, Nigidius, 71.

Fish, 103; Isis with the, 102; Kwan-Yon with the, 110-111; of the Euphrates, 71; on Friday, 117.

Foam-born, 62, 69.

Fragments, 2, 6, 10, 11, 12_n_, 13, 43, 47, 53.

Freer, Charles L., 114.

Freya, 117-120.

Furtwängler, 167; Restoration by, 33.

“Galaxidion,” 46, 48.

Gauttier, 5_n_.

Gerhard, 154.

Ghiberti, 135-138.

Gilchrist, Edward, 86_n_.

Glyptothek, 165.

Greek, legend of creation, 62; philology, 63; religion, 27.

Guerber, H. A., 117, 119.

Hades, Descent into, 76, 83-95.

Halo, 39-40.

Hasse and Henke, 32, 33.

Hawk, Human-headed, 98.

Heine, Heinrich, 27.

Helios, 40.

Hephæstos, 68.

Hera (Juno), 24; Worship of, 56.

Heracles, 14, 127; Etymology of, 63.

Hermae, 6, 7, 8, 13.

Hermes, 14; (psychopompos), 83.

Hesiod, 62.

Hesperides, Apple of the, 127.

Hierapolis, 102.

Hirt, 77.

History of the statue, 52-60.

Holy Ghost, 98.

Homer, 65.

Homeric hymns, 171-176.

Hypatia, 60.

Idols, Beginning of, 150.

Iduna, Apples of, 127.

India, Trinity in, 98.

Inscription, on plinth, 15, 17; Votive, 8, 13-14, 50.

Isis, and Horus, 99; and the fish, 102, 103; Worship of, 55.

Istar, 71, 79, 80, 81, 107; and Tammuz, 86; Carrying in procession the symbol of, 97; on coin of Tarsus, 150; Worship of, 55.

Istar’s Descent to Hell, 85-95.

Jeremias, Dr. Alfred, 85.

Jesus, 84.

Jowett, 122-126.

Kalamis, 154, 156.

Kalypygos, Venus, 166.

Kanachus, 154.

K’ang Hi, 116.

Kirchhoff, 17.

Kronos, 62.

Kwan-Yon, as the Buddha, 112, 115; by Li Lung-mien, 114; Poem on, 112; with the fish, 110-111.

Lady, 69, 73, 78, 96, 145.

Lakshmi, 147.

Lang, Andrew, 63_n_.

Lange, M., 49.

Lenormant, Charles, 11, 50.

Lenormant, F., 99, 101.

Leonard, William Ellery, 176_n_.

Life, Secret of, 143.

“Lionne,” 4.

Louvre, 4, 10, 12, 25, 43, 48, 49, 53, 158; Authorities of the, 14, 17, 42, 50.

Love, Goddess of, 22, 39, 64, 74, 75, 76, 83, 117-120, 144, 178; Goddess of sexual, 67.

Lucian, 103.

Lucretius, Titus, 176.

Ludovisi relief, 70-73.

Lung-mien, Li, 114.

Lysimachos, 167.

Lysippos, 52.

Magna Dea, 96ff.

Man, Origin of, 122; Primitive, 142.

Maori legend of creation, 63_n_.

Marcellus, Viscount, 3, 9, 14, 39, 43, 53; Report of, 11-13.

Marduk, 105.

Mary, Virgin, 64, 69, 71, 110, 115, 120; Worship of, 37, 56.

Matriarchy, 96, 97.

Matterer, Lieutenant, 44, 47.

Max, Gabriel, 141-143.

Measurements of statue, 7-8.

Medici, Venus of, 166.

Melos, 1, 2, 45, 46, 47; Inhabitants of, 39, 53; Name of, 1, 7; Site of, 6.

Michelangelo, 138, 140.

Mirror, Venus with, 30, 31.

Montaiglon, M. A., 5_n_.

Morusi, Nikolai, 3, 4.

Mother-goddess, The, 22, 68, 77, 96ff, 117, 120, 144.

Murillo, 109, 110.

Mutilation of statue, 7, 24, 27, 40, 42-43, 49, 53.

National Museum, 157, 158.

Navigation, Goddess of, 107.

Nebo, 81.

Nudity in art, 166; of statue, 22, 24, 41.

Ohnefalsch-Richter, 106.

Oiconomos, 3.

_Open Court_, 110.

Oriental influence, 70-71, 96.

Original, Statue an, 20-21.

Orvieto, 135, 136.

Overbeck, 20.

Paganism, 55, 135, 178; End of, 60, 68, 73.

Panderma, Venus of, 166-168.

Paphos, 73.

Paul, St., 84.

Pausanias, 54, 76, 154_n_.

Pedestal, 14, 17, 20.

Penitential psalm, 78.

Pergamum, 21, 52.

Persephone, 76; Myth of, 83.

Phidias, 52, 54, 73, 154, 162.

Philology of Greeks, 63.

Pinches, Theodore G., 78.

Pindar, 74.

Plato, 62, 67, 121, 124, 128_n_.

Pluto, 83.

Polytheism, 68.

Pomegranate, 83, 98, 127; emblem of Venus, 76; held in hand, 158.

Pompeian Venus, 154-155.

Praxiteles, 52, 160-163.

Preller, 76_n_, 154.

Prometheus, Etymology of, 63.

Purchase of statue, 3-4, 9.

Queen of heaven, 64, 69, 74, 96, 116.

Rabbit, 103.

_Record-Herald_, 44, 50.

Reinach, Salomon, 167.

Restorations, 27-41.

Rivière, Marquis de, 4, 9.

Robert, Commander, 46.

Roscher, 63_n_, 71_n_, 153, 154_n_, 155_n_, 156, 162.

Sailors, French, 4, 10, 49; Turkish, 46.

Saloman, Geskel, 20; Restorations by, 34, 35.

Sargent’s Astarte, 108, 110.

Schliemann, 107.

Scopas, 52.

Sculptor of the statue, 13, 21, 51, 52, 53.

Selene, 40.

Semiramis, 101.

Shield and pencil, Venus with, 29, 31.

Sistine Madonna, 25.

Socrates, 121.

Sophia, 99; The gnostic, 98.

Soul, Egyptian, 98, 99.

Springer, Anton, 134.

Star of the sea, 120.

Steinthal, H., 63_n_.

Swastika, 107.

Syrian goddess, 96, 103; Birth of, 71.

Tacitus, 73.

Talbot, H. Fox, 79, 81.

Tammuz, 86.

Taylor, 63_n_.

Theodosius, 39.

Thiers, 45, 47.

T’ien Hou, 116.

Titian, 66, 67.

Tiumman, 79, 80; Head of, 82.

Tomb of Aphrodite, 76.

Toulon, 5.

Tralles, Head of, 19, 20, 21.

Tree of life, 127.

Trinities, 98.

Turkish brig, 43, 46, 48.

Unguent jar, Venus with the, 165, 166.

Uranus and Gaia, 62.

Urville, Dumont d’, 3, 13, 14, 42-43, 44, 47; Report of, 5-9.

Valentin, Veit, 25; Restoration by, 37, 41.

Vatican, 152, 160-163, 164, 165.

Venice, Doves of, 103.

Venus Erycina, 77_n_; Genetrix, 69, 75, 159; Kalypygos, 166; of Milo; full figure, 16, 23; of Milo; head, _fr._, 18, 57, 59; of Milo; restored, 29, 30, 31, 32, 33, 34, 35, 38; on the swan, 55, 56; Proserpina, 154; Urania, 74; Victrix, 75, 77, 78, 79; Victrix, Statue called, 45, 47, 48; Vulgaris, 74.

Victory, Venus of Milo as, 31.

War, Goddess of, 77-82.

Wings, 99.

Woermann, 102_n_.

Woman, Origin of, 127-132.

Zealotry, Outbursts of, 58.

Zeus, 65.

FOOTNOTES:

[1] Published under the title “Relation d’une expédition hydrographique dans le Levant et la mer-Noire de la gabarre de Sa Majesté la _Chevrette_, commandée par M. Gauttier, capitaine de vaisseau, dans l’année 1820,” in _Annales maritimes et coloniales de Bajot_, 1821, and reprinted in _Archives de l’art français, publiés sous la direction de M. A. Montaiglon_, II series, Vol. II, 1863, pp. 202ff.

[2] “Un dernier mot sur la Venus de Milo,” in the _Revue Contemporaine_, 1839, XIII, pp. 289ff.

[3] These fragments are preserved in a glass case at the window in the same room of the Louvre where the Venus of Milo stands.

[4] Geskel Saloman, _Die Restauration der Venus von Milo, den Manen de Claracs gewidmet_. Stockholm, 1895. Plate IV.

[5] Conze, _Die Ergebnisse der Ausgrabungen zu Pergamon_.

[6] _The Venus di Milo, Its History and Its Art._ New York, Cambridge Encyclopedia Co., 1900.

[7] As we might suppose in reading Hesiod, _Th._, 195ff, and Plato, _Crat._, 406 c.

[8] Taylor mentions this Maori legend in his _New Zealand_, 119. Cf. Andrew Lang, _Myth, Ritual and Religion_, I, 302, and Roscher, _Lex._, s. v. “Kronos,” col. 1542.

[9] H. Steinthal, “Die Sage von Prometheus,” in _Zeitschrift für Völkerpsychologie und Sprachwissenschaft_, II, ii, 8-9.

[10] Διὸς κούρη.

[11] As reported in Roscher’s _Lexikon_, s. v. “Aphrodite.”

[12] Preller, _Griechische Mythologie_, I, p. 364.

[13] The original is written in a Sumerian dialect with a translation into the Semitic Babylonian. See _Records of the Past_, New Series, Vol. I, p. 85.

[14] Literally, “I do not take counsel, myself I am not wise.”

[15] _Records of the Past_, Vol. VII, p. 67.

[16] II, Pl. XLVIII, p. 697.

[17] For further details see Dr. Alfred Jeremias, who publishes the text of the passages here quoted and offers a literal German translation with editorial notes and other explanations. The conception of the document as set forth in the quoted passages is based upon the interpolation of Dr. Jeremias, which he justifies in his critical notes. Dr. Jeremias’s interpretation of the concluding words is justified by another cuneiform tablet which while relating a conjuration of the dead begins with the same description of Sheol as does the legend of Istar’s descent to Hell.

[18] The ancient poem of Istar’s descent to Hades has been cast into poetic form by Edward Gilchrist. See _The Monist_, April, 1912. (Vol. XXII, pp. 259-267.)

[19] The passages in brackets are mutilated in the original and the words are suggested by the context or sometimes by parallel passages.

[20] Perhaps the dress of wings is an expression of the belief that the soul is winged, found also in Egypt, where the soul of man is compared to a human-headed hawk, in which form it is at liberty to visit other places.

[21] Why the goddess Allatu proposes to weep is not quite clear. Perhaps it is a promise to have all the funeral rituals with their wailings and lamentations properly attended to for the sake of preventing further attempts at having the dead reclaimed.

[22] The goddess Allatu.

[23] _Uddusunâmir_ means “his light will illumine.” The significance of this being does not seem to be clear. Perhaps he is a mere puppet, an automaton to bear the curse of Allatu without suffering harm.

[24] The name of the great gods is the most powerful means of conjuration, and Ea alone, the god of unfathomable wisdom, seems to have command of it. The Babylonian origin of the Talmudic and cabalistic belief in the power of the mysterious name is fully established.

[25] The same gestures of grief are recorded in Jeremiah xxxi. 19 for the Hebrews, in Odyssey XXXI, 198 for the Greeks. In a similar way, we read of Ea in another document, “when he heard this he bit his lip” (cf. A. S. K. T., LXXXVI, 24).

[26] The context does not reveal why the Anunnaki, the seven evil spirits of Sheol, should be placed upon the golden throne.

[27] The significance of Belili’s breaking a precious utensil in the ritual of lamentation is not clear.

[28] From Woermann’s _Geschichte der Kunst_.

[29] For further details with regard to this relief see the author’s _The Bride of Christ_, p. 8.

[30] See the author’s article. “The Fish as a Mystic Symbol in China and Japan,” _The Open Court_, July, 1911.

[31] _Val_ means “the battle-field”; the name _Valkyrie_ designates “the one who chooses,” viz., the maiden of Odin who selects heroes for _Valhall_, the great hall of the god of battles. The root _Val_ is still preserved in the modern German word _Wahlstatt_, “place of battle.”

[32] See the author’s _Soul of Man_, pp. 399ff.