"Miseç ándre tut, O beng the çal but! Laces ándre tut Acel ándre tut!" "(What is) evil in thee, May the devil eat it much! (What is) good in thee, May it remain in thee!" But it is far more effective when the garlic is put on a rag of the clothes of one who has been hanged, and the place rubbed with it: in which we have a remnant of the earliest witchcraft, before Shamanism, which had recourse to the vilest and most vulgar methods of exciting awe and belief. This is in all probability the earliest form in which magic, or the power of controlling invisible or supernatural influences manifested itself, and it is very interesting to observe that it still survives, and that the world still presents every phase of its faiths, ab initio. There is a very curious belief or principle attached to the use of songs in conjuring witches, or in averting their own sorcery. It is that the witch is obliged, willy nilly, to listen to the end to what is in metre, an idea founded on the attraction of melody, which is much stronger among savages and children than with civilized adults. Nearly allied to this is the belief that if the witch sees interlaced or bewildering and confused patterns she must follow them out, and by means of this her thoughts are diverted or scattered. Hence the serpentine inscriptions of the Norsemen and their intertwining bands which were firmly believed to bring good luck or avert evil influence. A traveller in Persia states that the patterns of the carpets of that country are made as bewildering as possible "to avert the evil eye." And it is with this purpose that in Italian, as in all other witchcraft, so many spells and charms depend on interwoven braided cords. "Twist ye, twine ye, even so, Mingle threads of joy and woe." The basis for this belief is the fascination, or instinct, which many persons, especially children, feel to trace out patterns, to thread the mazes of labyrinths or to analyze and disentangle knots and "cat's cradles." Did space permit, nor inclination fail, I could point out some curious proofs that the old belief in the power of long and curling hair to fascinate was derived not only from its beauty but also because of the magic of its curves and entanglements.