Figure 7 is from Bonomi, page 292, Nineveh and its Palaces (London, 1865). It apparently represents the mystic yoni, door, or delta; and it may be regarded as an earlier form of the framework in Plate iv. It will be remarked, by those learned in symbols, that the outline of the hands of the priests who are nearest to the figure is a suggestive one, being analogous to the figure of a key and its shank, whilst those who stand behind these officers present the pine cone and bag, symbolic of Ann, Hea, and their residence. It is to be noticed, and once for all let us assert our belief, that every detail in a sculpture relating to religion has a signification; that the first right hand figure carries a peculiarly shaped staff; and that the winged symbol above the yoni consists of a male archer in a winged circle, analagous to the symbolic bow, arrow, and target. The bow was an emblem amongst the Romans, and arcum tendere was equivalent to arrigere. In the Golden Ass of Apuleius we find the metaphor used in his account of his dealings with amorous frolicsome Fotis, "Ubi primam sagittam saevi cupidinis in ima procordia mea delapsam excepi, arcum, meum et ipse vigore tetendi." Again, we find in Petronius-- Astra igitur mea mens arcum dum tendit in ilia. Ex imo ad summum viva sagitta volat. Figures 8 to 14 are representations of the goddess mother, the virgin and child, Ishtar or Astarte, Mylitta, Ceres, Rhea, Venus, Sacti, Mary, Yoni, Juno, Mama Ocello. Fig. 8 is a copy of the deified woman or celestial mother, from Idalium, in Cyprus. Fig. 9 is from Egypt, and is remarkable for the cow's horns (for whose signification see Vol. i., p. 54, Ancient Faiths, second edition), which here replace the lunar crescent, in conjunction with the sun, the two being symbolic of hermaphroditism, whilst above is a seat or throne, emblematic of royalty. The two figures are copied from Rawlinson's Herodotus, vol. ii., p. 447, in an essay by Sir Gardiner Wilkinson, wherein other illustrations of the celestial virgin are given. Fig. 10 is a copy of plate 59, Moor's Hindu Pantheon, wherein it is entitled, "Crishna nursed by Devaki, from a highly finished picture." In the account of Crishna's birth and early history, as given by Moor (Op. Cit., pp. 197, et seq.), there is as strong a resemblance to the story of Christ as the picture here described has to papal paintings of Mary and Jesus. Fig. 11 is an enlarged representation of Devaki. Fig. 12 is copied from Rawlinson's Ancient Monarchies, vol. iii., p. 899. Fig. 13 is a figure of the mother and child found in ancient Etruria at Volaterra; it is depicted in Fabretti's Italian Glossary, plate xxvi., figure 349.