Everything indicates American ideas, and there are ornaments or designs wholly unlike any that I have seen elsewhere. The man appears to offer to the cross a grotesque human figure, with a head not much unlike Punch, with a turned-up nose, and a short pipe shaped like a fig in his mouth. The body is well formed, but the arms and thighs are rounded off like "flippers" or "fins." Besting at the top of the cross is a bird, like a game cock, ornamented by a necklace. The male in this and the other sculptures is beardless, and that women are depicted, can only be guessed at by the inferior size of some of the figures. It would be unprofitable to carry the description farther. Figs. 11, 12 are from vol. i., plates xix. and xxiii. of a remarkably interesting work, Recherches sur l' origine, l' esprit, et les progres des Arts de la Grece, said to be written by D'Harcanville, published at London, 1785. The first represents a serpent, coiled so as to symbolise the male triad, and the crescent, the emblem of the yoni. Fig. 12 accompanies the bull on certain coins, and symbolises the sexual elements, le baton et l'anneau. They were used, as the horse-shoe is now, as a charm against bad luck, or vicious demons or fairies. Fig. 13 is, like figure 5, from Sharpe's Egyptian Mythology, p. 14, and is said to represent Isis, Nepthys, and Osiris; it is one of the many Mizraite triads. The Christian trinity is of Egyptian origin, and is as surely a pagan doctrine as the belief in heaven and hell, the existence of a devil, of archangels, angels, spirits and saints, martyrs and virgins, intercessors in heaven, gods and demigods, and other forms of faith which deface the greater part of modern religions. Figure 14 is a symbol frequently seen in Greek churches, but appears to be of pre-Christian origin.* The cross we have elsewhere described as being a compound male emblem, whilst the crescent symbolises the female element in creation. Figure 15 is from D'Harcanville, Op. Cit., vol. i., plate xxiii. It resembles Figure 11, supra, and enables us by the introduction of the sun and moon to verify the deduction drawn from the arrangement of the serpent's coils. If the snake's body, instead of being curved above the 8 like tail, were straight, it would simply indicate the linga and the sun; the bend in its neck, however, indicates the yoni and the moon. Figure 16 is copied from plate xvi., fig. 2, of Recueil de Pierres Antiques Graves, folio, by J. M. Raponi (Rome, 1786). The gem represents a sacrifice to Priapus, indicated by the rock, pillar, figure, and branches given in our plate. A nude male sacrifices a goat; a draped female holds a kid ready for immolation; a second man, nude, plays the double pipe, and a second woman, draped, bears a vessel on her head, probably containing wine for a libation.