crescent enclosing the sun-star is also to be observed on gems. The motive for choosing such a device is hardly to be conjectured, unless indeed we suppose the owner thus placed herself under the patronage of all the heavenly host Of the astronomical coins, the most singular is that of Niger-the celestial globe supported on the conjoined figures

at once.

Hipparchus the Astronomer: Roman. Lapis-lazuli.

of Taurus and Capricorn: which may be supposed to contain an allusion to his surname Justus, for Erigone (Astræa) often appears thus supported. Some of the large bronze medals of Antoninus Pius from the Alexandrian mint, bear on their reverses a sign with the bust of a deity; another has the head of Serapis surrounded by those of the planets, and the whole enclosed within the zodiac. The curious Emerald of the

Mertens-Schaafhausen Collection apparently offers a similar composition, and from its style may safely be ascribed to the same period.

Iarchas, the Indian philosopher (probably the president of a Buddhist college), presented Apollonius Tyaneus with seven rings named after the planets, each of which that sage used to wear upon its appropriate day: an early allusion this to the present nomenclature of the days of the week.

Mithraic Bull, symbol of the Earth. Green Jasper

MITHRAIC INTAGLI.

In the same proportion as the preceding class of Grylli affect the red Jasper, so is the mottled green, or dull yellow variety of the same stone, the favorite material for the extensive series of intagli connected with the worship of Mithras, the oriental equivalent of Phoebus, whose place he took in the creeds of the second and third centuries. To judge from their good execution many of these intagli date from the early Empire, and thus form as it were the introduction to the innumerable host of Gnostic gems amid which the art of gem engraving expires. These works belong to the oriental doctrines so widely diffused through the Roman world during the Middle Empire, and which taught the exclusive worship of the sun as the fountain of light and life. They are easily recognized by the designs they present: a lion' surrounded by stars, with a bull's head in his jaws; or Mithras himself attired as a young Persian and plunging his dagger

7 Leo is the "House of Sol."

into the throat of a bull, above which appear the sun and moon and some of the signs of the zodiac. In these compositions, the lion is the type of the sun, as the bull is of the earth; and the piercing its throat with the dagger signifies the penetration of the solar rays into the bosom of the earth, by which all nature is nourished: which last idea is expressed by the dog licking up the blood as it flows from the wound. The sign of Capricorn, so frequently introduced, represents the necessity of moisture to co-operate with the action of the sun to secure the fertilization of the soil, and the scorpion, an almost invariable adjunct to the bull, typifies the generative heat. Often this scene is depicted as enclosed by a host of Egyptian sacred animals, crocodiles, ibises, hawks, &c., standing around in attitudes of adoration and gazing upon the work of their supreme head, Mithras. Bas-reliefs in stone of the Mithraic sacrifice have been found in various parts of England, as at Bath and on the line of the Picts' Wall, probably the work of the Syrian troops stationed in this island. most complete assemblage of Mithraic symbols that I have met with is to be found in an intaglio figured by Caylus, VI., pl. LXXIV. It is engraved on a very fine Agate, 2 inches long by 1 inch wide. In the centre is the usual type of Mithras slaughtering the bull, the tail of which terminates in three wheat-ears; beneath is the lion strangling the serpent, the emblem of darkness. On each side is a fir-tree against which are fixed torches, one pointing upwards the other downwards at the side of one is a scorpion; of the other, a bull's head. Above each tree is again a torch, each pointing in opposite directions. On each side of the principal group is Apollo in his quadriga, and Diana in her biga. Above all stand two winged figures entwined with serpents and resting upon long sceptres, between whom are three flames, as well as four at the side of the figure to the right,

:

The

making up the number seven: an allusion to the seven planets. A naked female surrounded by ten stars is on her knees before the figure on the left: this may typify the human soul praying for purification. There is no doubt but that this composition, if it could be interpreted, would be found to contain a complete summary of the Mithraic creed.

To the same period belong the intagli presenting heads of Serapis with the legend EIC OEOC CAPAIIC, "there is but one God, and he is Serapis ;" EIC ZON OEOC "the one living God;" NIKAO CAPANIC TON POONON, "baffle envy, Serapis," &c. A beautiful Sard of Roman-Egyptian work in my collection represents Serapis seated on a throne with the triple-headed animal, described by Macrobius (B. vii.), at his side; before him stands Isis, holding the sistrum and the wheat ears; around the group is the legend, H KYPIA ICIC AгNH, "immaculate is our Lady Isis;" the very terms applied in our day to the same

The torches raised and lowered signify the East and West; the serpent winding four times around the youth the annual course of the sun, as is clearly proved by a torso of Mithras found at Arles, in which the zodiacal figures are placed between the folds of the serpent. The tail terminating in wheat-ears alludes to the fifty life-giving plants which sprung from the tail of the

Primeval Bull when destroyed by Ahriman. The scorpion between his hind legs typifies autumn, as the serpent lying beneath does the winter. The raven represents the attendant priest, for in these rites the superior officials were styled Lions, the inferior Ravens; hence the rites themselves are often designated Leontica and Coracica.—Vide SEEL'S Mithra.

deity, whose worship has in reality ever subsisted, though under another name. All these invocations are characteristic of the age when the liberal western mythology, which pictured Heaven as a well-ordered monarchy peopled by innumerable deities, each having his proper and independent position, was beginning to give place to the gloomy superstitions of Oriental origin, according to which the tutelary divinity of some particular nation was the sole god of heaven and earth, whilst those of other races were either vain fictions, or else evil spirits. Many gems, fine both in material and workmanship, give us the ancient Egyptian divinities exactly as represented on the oldest monuments, but engraved in a pure Roman style. Most of these belong to the time of Hadrian, who attempted to revive the outward forms of the old religion, the spirit of which had well nigh passed away; an attempt which has generally preceded the downfall of every extinguished creed.

Macrobius, I. 20, says, "The city of Alexandria pays an almost frantic worship to Serapis and Isis; yet all this veneration they prove that they offer to the Sun under that name, both by their placing the corn basket upon his head, and accompanying his statue by the figure of a three-headed animal, the central and largest head of which is that of a lion. The head that rises on the right is one of a dog in a mild and fawning attitude, while the left part of the neck terminates in the head of a ravening wolf. All these animal forms are connected together by the wreathed body of a serpent, which raises his head up towards the right hand of the god, on which side this monster is placed. The lion's head typifies the Present, because its condition between the Past and the Future is strong and fervent. The Past is signified by the wolf's head, because the memory of all things past is snatched away from us, and utterly consumed. The