Layard in his _Nineveh_, vol. ii., p. 471., in his description of "the sacred emblems carried by the priests," says, they are principally the fruit or cone of the pine. "... and the square utensil which, as I have already remarked, appears to have been of embossed or engraved metal, or of metal carved to represent wicker work, or sometimes actually of wicker work." He adds, that M. Lajard "has shown the connection between the cone of the cypress and the worship of Venus in the religious systems of the East;" that it has been suggested that "the square vessel held the holy water," that, "however this may be, it is evident from their constant occurrence on Assyrian monuments, that they were very important objects in religious ceremonies. Any attempt to explain their use and their typical {36} meaning, can at present be little better than ingenious speculation." There is a passage in Lucian _De Dea Syria_, Sec. 13., which may serve to elucidate this feature in the Nineveh marbles. He is referring to the temple of Hierapolis and a ceremony which Deucalion was said to have introduced, as a memorial of the great flood and the escaping of the waters: [Greek: "Dis ekastou eteos ek thalasses ydor es ton neon apikneetai; pherousi de ouk irees mounon alla pasa Syrie kai Arabie, kai perethen tou Euphreteo, polloi anthropoi es thalassan erchontai, kai pantes ydor pherousai, ta, prota men en toi neoi ekchrousi,"] &c. "Twice every year water is brought from the sea to the temple. Not only the priests, but" all Syria and Arabia, "and many from the country beyond the Euphrates come to the sea, and all bring away water, which they first pour out in the temple," and then into a chasm which Lucian had previously explained had suddenly opened and swallowed up the flood of waters which had threatened to destroy the world. Tyndale, in his recent book on Sardinia, refers to this passage in support of a similar utensil appearing in the Sarde paganism. It may be interesting to refer to another passage in the _Dea Syria_, in which Lucian is describing the splendour of the temple of Hierapolis; he says that the deities themselves are really present:-- [Greek: "Kai Theoi de karta autoisi emphanees; idroei gar de on para sphisi ta xoata,"] When the very images sweat, and he adds, are moved and utter oracles. It is probable Milton had this in recollection when, in his noble _Nativity Ode_, he sings of the approach of the true Deity, at whose coming "... the chill marble seems to sweat, While each peculiar power foregoes his wonted seat." L.I.M. * * * * * MINOR NOTES. _Gaudentio di Lucca._--Sir James Mackinstosh, in his _Dissertation on the Progress of Ethical Philosophy_, adverts to the belief that Bishop Berkeley was the author of _Gaudentio di Lucca_, but without adopting it.