Pasht (p. 27, line 9) is connected with the Greek Artemis, especially in her offices of judgment and vengeance. She is usually lioness headed, sometimes cat headed, her attributes seeming often trivial or ludicrous unless their full meaning is known, but the inquiry is much too wide to be followed here. The cat was sacred to her, or rather to the sun, and secondarily to her. She is alluded to in the text because she is always the companion of Pthah (called "the beloved of Pthah," it may be as Judgment, demanded and longed for by Truth), and it may be well for young readers to have this fixed in their minds, even by chance association. There are more statues of Pasht in the British Museum than of any other Egyptian deity; several of them fine in workmanship, nearly all in dark stone, which may be, presumably, to connect her, as the moon, with the night; and in her office of avenger, with grief. Thoth (p. 31, line 12), is the Recording Angel of Judgment; and the Greek Hermes--Phre (line 16), is the Sun. Neith is the Egyptian spirit of divine wisdom, and the Athena of the Greeks. No sufficient statement of her many attributes, still less of their meanings, can be shortly given; but this should be noted respecting the veiling of the Egyptian image of her by vulture wings--that as she is, physically, the goddess of the air, this bird, the most powerful creature of the air known to the Egyptians, naturally became her symbol. It had other significations; but certainly this, when in connection with Neith. As representing her, it was the most important sign, next to the winged sphere, in Egyptian sculpture; and, just as in Homer, Athena herself guides her heroes into battle, this symbol of wisdom, giving victory, floats over the heads of the Egyptian Kings. The Greeks, representing the goddess herself in human form, yet would not lose the power of the Egyptian symbol, and changed it into an angel of victory. First seen in loveliness on the early coins of Syracuse and Leontium, it gradually became the received sign of all conquest, and the so called "Victory" of later times, which, little by little, loses its truth, and is accepted by the moderns only as a personification of victory itself,--not as an actual picture of the living Angel who led to victory. There is a wide difference between these two conceptions,--all the difference between insincere poetry, and sincere religion. This I have also endeavored farther to illustrate in the tenth Lecture, there is however one part of Athena's character which it would have been irrelevant to dwell upon there, yet which I must not wholly leave unnoticed.