Magical images have often been employed for the amiable purpose of winning love. Thus to shoot an arrow into the heart of a clay image was an ancient Hindoo mode of securing a woman’s affection; only the bow-string must be of hemp, the shaft of the arrow must be of black _ala_ wood, its plume an owl’s feather, and its barb a thorn.​[263] No doubt the wound inflicted on the heart of the clay image was supposed to make a corresponding impression on the woman’s heart. Among the Chippeway Indians there used to be few young men or women who had not little images of the persons whose love they wished to win. They pricked the hearts of the images and inserted magical powders in the punctures, while they addressed the effigies by the names of the persons whom they represented, bidding them requite their affection.​[264] Ancient witches and wizards melted wax in the fire in order to make the hearts of their sweethearts to melt of love.​[265] And as the wound of love may be inflicted by an image, so by an image it may be healed. How that can be done is told by Heine in a poem based on the experience of one of his own schoolfellows. It is called _The Pilgrimage to Kevlaar_, and describes how sick people offer waxen models of their ailing members to the Virgin Mary at Kevlaar in order that she may heal them of their infirmities. In the poem a lover, wasting away for love and sorrow at the death of his sweetheart, offers to the Virgin the waxen model of a heart with a prayer that she would heal his heart-ache.​[266] Such customs, still commonly {p78} observed in some parts of Catholic Europe, are interesting because they shew how in later times magic comes to be incorporated with religion. The moulding of wax images of ailing members is in its origin purely magical: the prayer to the Virgin or to a saint is purely religious: the combination of the two is a crude, if pathetic, attempt to turn both magic and religion to account for the benefit of the sufferer. [Sidenote: Magical images to maintain domestic harmony.]