At the outset the use was confined to signs intended to awaken the idea of the object in the mind of the reader by the more or less faithful picture of the object itself; for example, they depicted the sun by a centred disc, the moon by a crescent, a lion by a lion in the act of walking, a man by a small figure in a squatting attitude. As by this method it was possible to convey only a very restricted number of entirely materialistic concepts, it became necessary to have recourse to various artifices in order to make up for the shortcomings of the ideograms properly so-called. The part was put for the whole, the pupil in place of the whole eye, the head of the ox instead of the complete ox. The Egyptians substituted cause for effect and effect for cause, the instrument for the work accomplished, and the disc of the sun signified the day; a smoking brazier the fire: the brush, inkpot, and palette of the scribe denoted writing or written documents. They conceived the idea of employing some object which presented an actual or supposed resemblance to the notion to be conveyed; thus, the foreparts of a lion denoted priority, supremacy, command; the wasp symbolized royalty, and a tadpole stood for hundreds of thousands. They ventured finally to use conventionalisms, as for instance when they drew the axe for a god, or the ostrich-feather for justice; the sign in these cases had only a conventional connection with the concept assigned to it. At times two or three of these symbols were associated in order to express conjointly an idea which would have been inadequately rendered by one of them alone: a five-pointed star placed under an inverted crescent moon denoted a month, a calf running before the sign for water indicated thirst. [Illustration: 317.jpg PAGE IMAGE] All these artifices combined furnished, however, but a very incomplete means of seizing and transmitting thought. When the writer had written out twenty or thirty of these signs and the ideas which they were supposed to embody, he had before him only the skeleton of a sentence, from which the flesh and sinews had disappeared; the tone and rhythm of the words were wanting, as were also the indications of gender, number, person, and inflection, which distinguish the different parts of speech and determine the varying relations between them. Besides this, in order to understand for himself and to guess the meaning of the author, the reader was obliged to translate the symbols which he deciphered, by means of words which represented in the spoken language the pronunciation of each symbol. Whenever he looked at them, they suggested to him both the idea and the word for the idea, and consequently a sound or group of sounds; when each of them had thus acquired three or four invariable associations of sound, he forgot their purely ideographic value and accustomed himself to consider them merely as notations of sound.