Again, in Indian mythology, the pyramid plays an important part. It belongs to Siva, = the sun, = fire, = the phallus, = life. By one complex symbol, very common on ancient Hindoo monuments in China and Thibet, the universe was thus represented. Notice the upward gradation. Earth + water = this globe. The creator-god, whose emblem, flame, mounts upwards, is the author and representative of all life upon it; he is the connecting link, united by the crescent moon with heaven. The arrow- or spear- head inserted within the crescent is an earth emblem of Siva; like the lingam it typified the divine source of life, and also the doctrine that perfect wisdom was to be found only in the combination of the male and female principles in nature. It decorates the roofs of the Buddhist monasteries in Thibet, and like the sacred lotus flower and the linga, both of which became emblems of Buddha, was derived from older faiths. Other interpretations may suggest themselves. This will enable us to understand the remarkable sculptures of the second or third century, from the Amravati Tope, Plate xix., which present so many points in common with the religious symbols of the Chaldeans. In Fig. 2 we see a congregation of males and females, the sexes being separated, worshipping a linga, or stone conical pillar, on the front of which is sculptured the sacred tree, with branches like flames; three symbols of life in one. It rises from a throne, on the seat of which are placed the two emblems of earth and water. In the other figure, the sacred tree takes the place of the linga, rising above the throne, as if from the trisul or trident, male emblems of Siva. Winged figures, Garudas, attend it above, floating over the heads of the worshippers. An intrusion of the newer faith is also to be recognised, as the feet of Buddha are sculptured before the throne. In the mysteries of Mithra, the symbols in Fig. 178 were also employed. They represented the elements to which the soul ought to be successively united in passing through the new birth. We will add but two more emblems, culled from medieval heraldry, Figs. 179 and 180, in both of which the Asherah, the "grove" of Baal-worship, will be at once recognised; the arrow and the cross, symbols of the male creator, taking the place of the mystic palm-tree. In all these, from the rudest to the most complex, we are thus able to trace a common idea, viz., a feeling after God, as the Life and Light of the Universe, and an attempt to express a common hope in visible forms.