To discuss in similar detail the myths of the Apocryphal gospels and the still later myths of Catholic Christendom would only be to extend the area of our demonstration without adding to its scientific weight. The general result would only be to prove derivations from pagan sources and to exhibit more fully the process (a) of inventing sayings of Jesus to vindicate different views of his Messianic and other functions, and (b) of enforcing ethical views by his authority. The legend of St. Christopher, for instance, is but a variant, probably iconographic in motive, of a multiform pagan myth which probably roots in a ritual of child-carrying. [428] Iconography yields many evidences. The conventional figure of the Good-Shepherd carrying a sheep, which like the Birth-Story has counted for so much in popularizing Christianity, is admittedly derived from pagan art, [429] like the conventional angel-figure. Even the figure of Peter [430] as the bearer of the keys, head of the Twelve, and denier of his Lord, connects curiously with the myths of Proteus and Janus Bifrons, [431] both bearers of the cosmic keys. Iconography, again, is probably the source, for the gospels, of the myth of the Temptation, which professional scholars continue solemnly to discuss as a "biographical" episode to be somehow reduced to historicity. The story coincides so absolutely with the Græco-Roman account, evidently derived from painting or sculpture, of Pan (in figure the Satan of the Jews) standing by the young Jupiter on a mountain-top before an altar, [432] that it might seem unnecessary to go further. But, recognizing that "of myth there is no 'original,' save man's immemorial dream," and remembering that there are similar Temptation myths concerning Buddha and Zarathustra, we are bound to extend the inquiry. The results are very interesting. We are specially concerned with the versions of Matthew and Luke, of which Dr. Spitta, by analysis, finds the Lucan the earlier, [433] pronouncing the Marcan to be a curtailment and manipulation, not the primary source, as was maintained by Von Harnack and many others. [434] The essence of the story, as episode, is the presence of the God and the Adversary on a high place, surveying "the kingdoms of the world." This originates proximately in Babylonian astronomy and astrology, where the Goat-God is represented standing beside the Sun-God on "the mountain of the world," that is, the height of the heavens, at the beginning of the sun's yearly course in the sign Capricorn, which, personified, figures as the sun's tutor and guide. Graphically represented, it is the origin of a series of Greek myths--Pan and Zeus; Marsyas and Apollo; Silenus and Dionysos--all turning on a goat-legged figure beside a young God on a mountain-top. Satan and Jesus are but another variant, probably deriving from Greek iconography, but possibly more directly from the East, where the idea of a Temptation goes back to the Vedas.