The Rogation Dragon in France was borne, during the first two days of the three, before the cross, with a great tail stuffed with chaff, but on the third day it was carried behind the cross, with the tail emptied of its contents. This signified, it is said, the undisturbed dominion of Satan over the world during the two days that Christ was in Hell, and his complete humiliation on the third day. In some countries the figure of the Dragon, or another of the Devil, after the procession, was placed on the altar, then drawn up to the roof, and being allowed to fall was broken into pieces. Early Keltic and other pastoral staves end in two Dragons' heads, recalling the caduceus of Mercury and rod of Moses; the Dragon was a Keltic military or tribal ensign. Henry VII. assumed a red dragon as one of the supporters of the royal arms, on account of his Welsh descent; Edward IV. had as one of his numerous badges a black dragon. A dragon issuing from a chalice is the symbol of St. John the Evangelist, an allusion to the dragon of the Apocalypse. [Illustration: THE SLAYER OF THE DRAGON, IFFLEY.] The Dragon combat here presented is from the south doorway of Iffley Church, near Oxford. In this example of Norman sculpture, the humour intent is more marked than usual. The hero is seated astride the dragon's back, and, grasping its upper and lower jaws, is tearing them asunder. The dragon is rudely enough executed, but the man's face and extremities have good drawing. The cloak flying behind him shew that he has leaped into the quoin of vantage, and recalls the classic. The calm exultation with which the hero seizes his enemy is only equalled by the good-natured amusement which the creature evinces at its own undoing. We now arrive at a form of the sun-myth which appears to have come down without much interference. The god Horus is alluded to as a child, and in a curious series of carvings the being attacked by a Dragon is a child. It is attempted, and with considerable success, to be represented as of great beauty. The point to explain is the position of the child, rising as it does from a shell. This leads us further into the various contingent mythologies dealing with the Typhon story. Horus (also called Averis, or Orus), was in Egyptian lore also styled Caimis, and is equivalent to Cama, the Cupid of the Hindoos. Typhon (also known as Smu, and as Sambar) is stated to have killed him, and left him in the waters, where Isis restored him to life. That is the account of Herodotus, but Ælian says that Osiris threw Cupid into the ocean, and gave him a shell for his abode. After which he at length killed Typhon. Hence the shell in the myth-carvings to be found to-day in mediæval Christian churches.