"Now, there has been found at Copan, in Central America, a figure strikingly like the Chinese symbol of Fokee, with his two horns; and, in like manner, there is a close resemblance between the Central American and the Chinese figures representing earth and heaven. Either one people learned from the other, or both acquired these forms from a common source. Many physico-geographical facts favor the hypothesis that they were derived in very remote ages from America, and that from China they passed to Egypt. Chinese records say that the progenitors of the Chinese race came from across the sea." The two small horns of Tai-Ko-Fokee and Moses are probably a reminiscence of Baal. We find the horns of Baal represented in the remains of the Bronze Age of Europe. Bel sometimes wore a tiara with his bull's horns; the tiara was the crown subsequently worn by the Persian kings, and it became, in time, the symbol of Papal authority. The Atlanteans having domesticated cattle, and discovered their vast importance to humanity, associated the bull and cow with religious ideas, as revealed in the oldest hymns of the Aryans and the cow-headed idols of Troy, a representation of one of which is shown on the preceding page. Upon the head of their great god Baal they placed the horns of the bull; and these have descended in popular imagination to the spirit of evil of our day. Burns says: "O thou! whatever title suit thee, Auld Hornie, Satan, Nick, or Clootie." "Clootie" is derived from the cleft hoof of a cow; while the Scotch name for a bull is Bill, a corruption, probably, of Bel. Less than two hundred years ago it was customary to sacrifice a bull on the 25th of August to the "God Mowrie" and "his devilans" on the island of Inis Maree, Scotland. ("The Past in the Present," p. 165.) The trident of Poseidon has degenerated into the pitchfork of Beelzebub! And when we cross the Atlantic, we find in America the horns of Baal reappearing in a singular manner. The first cut on page 429 represents an idol of the Moquis of New Mexico: the head is very bull-like. In the next figure we have a representation of the war-god of the Dakotas, with something like a trident in his hand; while the next illustration is taken from Zarate's "Peru," and depicts "the god of a degrading worship." He is very much like the traditional conception of the European devil-horns, pointed ears, wings, and poker. Compare this last figure, from Peru, with the representation on page 430 of a Greek siren, one of those cruel monsters who, according to Grecian mythology, sat in the midst of bones and blood, tempting men to ruin by their sweet music. Here we have the same bird-like legs and claws as in the Peruvian demon.