The Sun held aloft in the hand of the statue surmounting the altar is emblematic of Andûman[a:]'s supposed abode, and this really fine mosaic, representing sun rays radiating from the circular altar, also is an emblem of the same. Observe, now, this central marble shaft, which rises nearly to the domed roof. Both base and capital are sculptured masses of grains, fruits and flowers. The surface of the shaft is divided into sections on which are engraved names and brief records of departed Entoans. Above each legend is a head in bas-relief, and so well executed are these images of the dead that one can easily determine as to age and characteristics of the originals. Through such knowledge of their written language as I possess I shall attempt to gain some information relating to these people of a bygone day. Muyolos Kalaf and Feniston Inisella were ancestor and ancestress to Inisellēna. Their sculptured faces indicate that they were handsome and intellectual persons and that all lived to a good old age. Here it is stated that the original of this admirable bust was one Hûyten Dēmos, who was sire to Endoifan Inivos, who became the mother of Rosilla, who in time gave birth to Stivon Izamma, which also was the name of his sire, who was greatgrandsire to Silvano Izam, the present proprietor of the residence we have been viewing. Engraved on this shaft is quite a family history, but we shall find matters of greater interest to enlist our attention. This edifice in itself is both Istoir[a:] and F[a:]v[a:] a croidas, where the ashes of the departed are deposited, and in those sealed, ornamental receptacles are the incinerated remains of past generations. Observe the many sculptured forms on this and on the opposite wall. Here is a face, hoary with age, but with a fine, majestic expression, and here are others of the midday of life, representing splendid types of the human. Here are faces of youths and maidens as entrancing as dreams of love. Of children, too, angelic in their beauty and innocence of expression. Ah, me! Were mortal life the end of all, better to not have been born into it. Think of all that these sculptured faces stand for. Smiling infants, youths and maidens and mature men and women, who loved with intensest devotion and who passed to their spirit world without either hope or expectation of reunion. All, all lived and loved, joyed and sorrowed and when death came hopeless despair came also. How could it have been otherwise? To live, to love, to die, and then--nothing. This was their belief and is yet the belief of the entire peoples of Ento, whom it holds in a state of hopeless despair, of measureless anguish. Medium--Have the Entoans never believed in a continuity of existence?