familiar puzzle pictures. In a picture of the foliage of a tree there are sketched the outlines of a human face or of the head of a cat. An uninitiated observer sees at first only the foliage. Not until his attention has been directed to it does he suddenly discover the head. Once, however, he has seen the latter, he cannot suppress it, try as he may. Here again it is sometimes but a few indistinct outlines that evoke the picture. The truth is that to a very great extent the observer reads the head into the drawing through the activity of his imagination. Now, it is but natural that such an assimilation should be immeasurably enhanced under the influence of the emotions which excite the mythological imagination. As is well known, Apollo, as well as Helios, was represented by the image of the sun. This image, however, was even less adequate to embody the idea of the Greek in the former case than it was in the latter. The Greek was able, however, to imagine the radiant sun as an attribute of the deity or as a manifestation of his activity. He could see in the sun the shield or chariot of the god; in the sun's rays, his missiles. Here again, however, he had in mind the indefinite outlines of a powerful anthropomorphic god, who could become independent of the natural phenomenon according as his name was free from connection with it. Thus, even those nature gods who might appear to be purely celestial deities, as, for example, Helios, or the lightning-hurling Zeus, are the products of a psychological assimilation of perceptual elements, the most important of which have their ultimate source in terrestrial life. Hence it is that, wherever the nature myth has reached its complete development, the gods appear in _human form_. It is only in an age still influenced by totemic ideas that zoömorphism occurs alongside of anthropomorphism, or in combination with it. Of such figures, the one which maintained itself longest--as is shown by the history of ancient Egypt--was that of a human body with the head of an animal. After this connection of an incipient deity cult with the ideas of the preceding age had disappeared, the only remaining trace of totemism was the fact that an animal was represented as accompanying the deity. Eventually the animal became a mere symbol used by art in its pictorial representations of the god. Doubtless the lamb, as a symbol of Christ, may be regarded as a late survival of a stage of deity belief which was still semi-totemic, and under the influence of the sacred animals of older cultural religions. The expression 'sacred animals,' moreover, points to the fact that the worship and veneration paid to the god influenced also the attitude taken toward the animal. But however far this development of the god-idea may have advanced, the essential elements of the conception nevertheless remained of _terrestrial_ origin. In the mythological assimilation-complexes that gave rise to gods, celestial phenomena furnished but a part of the