This figure, which was one of the representations of the sun-god Crishna, was worshipped both in India and in Egypt. In various of the manifestations of this Deity he appears in the act of killing a serpent. He was the dead man on a cross and also the sun, which although continually dying is constantly being revived again. Various incarnations of this God have appeared as crucified saviors. Of the avatar of Crishna known as Ballaji or Baal-Jah little is positively known. Indeed there seems to be some impenetrable mystery surrounding this figure, which makes it impossible for scholars to absolutely prove that which by means of the evidence at hand amounts almost to a certainty. A print by Moore of this god represents him in the shape of a Romish crucifix, but although there is a nail hole in his foot he is not transfixed to a wooden cross. Instead of a crown of thorns a Parthian coronet encircles his head. As all the avatars of Crishna are represented with coronets, this fact has caused several writers to observe that the effigies of Ballaji have furnished the copies for the thorn-crowned Jesus. Through the ignorance of the early Christians who in the second century adopted the religion of Crishna, the true significance of this coronet was not understood, hence the thorns upon the head of Christ. In referring to the effigy of a crucified savior found in Ireland the author of The Round Towers says that it was not intended for our Savior for the reason that it wore the Iranian regal crown, instead of the Jewish crown of thorns.(171) 171) The Round Towers of Ireland, p. 298. Regarding this effigy, Higgins remarks that the crucified body without the cross reminds one that "some of the ancient sects of heretics held Jesus to have been crucified in the clouds." Moore, who has produced several prints of Ballaji, says he is unable to account for the pierced foot of a crucified figure in India. He endeavors to prove, however, that this crucifix cannot be Hindoo "because there are duplicates of it from the same model." As the mould is made of clay, he contends that only one cast may be made from it. This argument falls to the ground, however, so soon as it is found that duplicates, or copies of these brass idols which may not be distinguished from the originals, are seen in the museum at the India House, and also in that of the Asiatic Society. The admission of Moore that "great influence was brought to bear upon him to induce him not to publish the prints of Ballaji for fear of giving offense," serves as a hint in determining the cause for the lack of information respecting this god.