Figures 129, 130, 131, are, like the preceding four, copied from various antique gems; Fig. 129 represents a steering oar, le timon, and is usually held in the hand of good fortune, or as moderns would say "Saint Luck," or bonnes fortunes; Fig. 180 is emblematic of Cupid, or Saint Desire; it is synonymous with le dard, or la pique; Fig. 131 is a form less common in gems; it represents the hammer, le marteau qui frappe l'enclume et forge les enfans. The ancients had as many pictorial euphemisms as ourselves, and when these are understood they enable us to comprehend many a legend otherwise dim; e. g., when Fortuna, or luck, always depicted as a woman, has for her characteristic le timon, and for her motto the proverb, "Fortune favours the bold." we readily understand the double entente. The steering oar indicates power, knowledge, skill, and bravery in him who wields it; without such a guide, few boats would attain a prosperous haven. Figure 132 is copied from plate xxix. of Pugin's Glossary of Ecclesiastical Ornament (Lond., 1868). The plate represents "a pattern for diapering," and is, I presume, thoroughly orthodox. It consists of the double triangle, see Figures 20, 80, 81, 82, pp. 82, 88, the emblems of Siva and Parvati, the male and female; of Rimmon the pomegranate, the emblem of the womb, which is seen to be full of seed through the "vesica piscis," la fente, or la porte de la vie. There are also two new moons, emblems of Venus, or la nature, introduced. The crown above the pomegranate represents the triad, and the number four; whilst in the original the group which we copy is surrounded by various forms of the triad, all of which are as characteristic of man as Rimmon is of woman. There are also circles enclosing the triad, analogous to other symbols common in Hindostan. Figure 133 is copied from Moor's Hindu, Pantheon, pi. ix., fig. 8. It represents Bhavhani, Maia, Devi, Lakshmi, or Kamala, one of the many forms given to female nature. She bears in one hand the lotus, emblem of self-fructification,--in other similar figures an effigy of the phallus is placed,--whilst in the other she holds her infant Krishna, Crishna, or Vishnu. Such groups are as common in India as in Italy, in pagan temples as in Christian churches. The idea of the mother and child is pictured in every ancient country of whose art any remains exist.