In some parts, where probably the palm tree does not flourish, the pine takes its place as an emblem. It was sacred to the mother of the gods, whose names, Rhoea, Ceres, Cybele, are paraphrastic of the yoni. We learn from Araobius, Op. Cit., p. 239, that on fixed days that tree was introduced into the sanctuary of that august personage, being decorated by fleeces and violets. It does not require any recondite knowledge to understand the signification of the entrance of the pine into the temple of the divine mother, nor what the tree when buried in the midst of a fleece depicts. Those who have heard of the origin of the Spanish Royal Order of the Golden Fleece know that the word is an enphemism for the lanugo of the Romans. Parsley round a carrot root is a modern symbol, and the violet is as good an emblem of the lingam as the modern pistol. It has long been known that the ancient custom of erecting a may-pole, surrounding it with wreaths of flowers, and then dancing round it in wild orgy, was a relic of the ancient custom of reverencing the symbol of creation, invigorated by the returning spring time, without whose powers the flocks and herds would fail to increase. It will not fail to attract the notice of my readers, that a pine cone is constantly being offered to the sacred "grove" by the priests of Assyria. Figures 100, 101, represent the Buddhist cross and one of its arms. The first shows the union of four phalli. The single one being a conventional form of a well-known organ. This form of cross does not essentially differ from the Maltese cross. In the latter, Asher stands perpendicularly to Anu and Hea; in the former it is at right angles to them. "The pistol" is a well-known name amongst our soldiery, and four such joined together by the muzzle would form the Buddhist cross. Compare Figure 37, ante. Figures 102, 108, 104, indicate the union of the four creators, the trinity and the unity. Not having at hand any copy of an ancient key, I have used a modern one; but this makes no essential difference in the symbol. Figures 105, 106, are copied from Lajard, Sur le Culte de Venus, plate ii. They represent ornaments held in the hands of a great female figure, sculptured in bas relief on a rock at Yazili Kaia, near to Boghaz Keni, in Anatolia, and described by M. C. Texier in 1834. The goddess is crowned with a tower, to indicate virginity; in her right hand she holds a staff, shown in Figure 106; in the other, that given in Figure 105, she stands upon a lioness, and is attended by an antelope. Figure 105 is a complicated emblem of the four. Figures 107, 108, 109, are copied from Moor's Hindu Pantheon, plate lxxxiii. They represent the lingam and then yoni, which amongst the Indians are regarded as holy emblems, much in the same way as a crucifix is esteemed by certain modern Christians.