I say, excepting near the equator; for it will be seen on looking closely at the above illustration (which would be better on a globe) that the three pendulums are not _strictly_ in the same, or even a parallel plane; inasmuch as the plane of oscillation must pass through the point of suspension, _and the centre of the earth_. But still the pendulum has _a tendency to remain_ in a parallel plane, as nearly as the figure of the earth will allow,--the chord of the arc of oscillation remaining in a plane parallel to itself. It will be seen that, as we approach the equator, the plane of oscillation is forced from its parallelism more and more, until, _on_ the equator, it has no tendency to return, as all planes are there the same with reference to the centre of the earth. I may add that there is a variation of the above theory, which has found many advocates, viz. that the pendulum will make the complete revolution in a period _varying_ from twenty-four hours at the poles, to infinity at the equator; varying, that is, as the sine of the latitude. This seems, _à priori_, not so likely as the former, while it equally wants mathematical proof. H. C. K. ---- Rectory, Hereford. THE CROSS AND THE CRUCIFIX. (Vol. v., p. 39.) Your space precludes controversy: but the communication in Number 115. from W. DN. requires an explanation from me; which I give the more readily as it may perhaps serve to throw further light on a curious inquiry. A correspondent in a former Number (Vol. iv., p. 422.) questioned the correctness of an assertion by the Hon. MR. CURZON, that "the crucifix was not known before the fourth or fifth century, though the cross was always the emblem of the Christian faith." I ventured to sustain MR. CURZON'S view (Vol. iv., p. 485.) by referring to authorities for the fact, that the idea of ignominy associated with that peculiar form of execution had long prevented the cross from being adopted as a symbol of Christ's passion; that the actual representation of the crucifixion itself was still more repulsive, and much later in its admission into the early churches; that allegory was in consequence resorted to, in order to evade the literal delineation of the Saviour's death, which was typified by a lamb bleeding at the foot of a cross; and that when invention had become exhausted, and inert in the production of these emblems, the Church, in the seventh century at the _Quini-sextile_, or _Council in Trullo_, had "ordered that _fiction and allegory should cease, and the real figure of the Saviour be depicted on the tree_." (The words in Italics are my own, and were not given as a quotation.)