Montfaucon has among his plates one (XX.) representing an antique agate which he supposes to represent Zeus and Athena, but which probably relates to the myth of Herakles and Athena in the garden of Hesperides. The hero having penetrated this garden, slays the dragon which guards its immortalising fruit, but when he has gathered this fruit Athena takes it from him, lest man shall eat it and share the immortality of the gods. In this design the two stand on either side of the tree, around which a serpent is twined from root to branches. The history which Montfaucon gives of the agate is of equal interest with the design itself. It was found in an old French cathedral, where it had long been preserved and shown as a holy picture of the Temptation. It would appear also to have previously deceived some rabbins, for on the border is written in Hebrew characters, much more modern than the central figures, 'The woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise.' This mystification about a design, concerning whose origin and design there is now no doubt, is significant. The fable of Paradise and the Serpent is itself more difficult to trace, so many have been the races and religions which have framed it with their holy texts and preserved it in their sacred precincts. In its essence, no doubt, the story grows from a universal experience; in that aspect it is a mystical rose that speaks all languages. When man first appears his counterpart is a garden. The moral nature means order. The wild forces of nature--the Elohim--build no fence, forbid no fruit. They say to man as the supreme animal, Subdue the earth; every tree and herb shall be your meat; every animal your slave; be fruitful and multiply. But from the conflict the more real man emerges, and his sign is a garden hedged in from the wilderness, and a separation between good and evil.