In the fourth gospel, where so many matters are turned to new account, and so much new doctrine introduced, the purification is put with symbolic purpose at the outset of the Messiah's career, in a visit to Jerusalem of which the synoptics know nothing; and in this myth Jesus makes "a scourge of small cords" to effect his purpose. That later item was probably suggested by the effigy of the Egyptian Saviour God Osiris, who bears a scourge as the God of retribution. In the synoptics there is no symbol: the story is simply employed as part of the superadded didactic machinery which alternately exhibits the full development of the Messiah and the unfitness of the "Jewish dispensation" to continue. Inferribly, the story of the fig-tree is in the same case, signifying the condemnation of the Jewish cult, though here there may be a concrete motive of which we have lost the clue. But it is significant that while the gospel record could not possibly assign to the holy Messiah such a general course as was followed by the licensed sacrificial victim, it follows the story of his Entry with that of one markedly disorderly act; whereafter he goes to lodge in Bethany (Mt. xxi, 17) at a house which later is indicated as that of a leper (xxvi, 6). There his head is anointed by a woman; who in Luke, in a differently placed episode (vii, 37), becomes "a sinner." Is not this another echo from the obscure tragedy of the sacrificial victim, who was anointed for his doom? § 4. The Mock-King Ritual Separately considered, the Crucifixion in the gospel story is as impossible as the Entry. The cross, we are told, was headed with an inscription: "This is the King of the Jews." Sir J. G. Frazer [98] and M. Salomon Reinach [99] concur in recognizing that if the victim had really been executed on the charge of making such a claim, no Roman governor would have dared so to endorse it. [100] The argument is that only by turning the execution into a celebration of a popular rite could the procedure have been made officially acceptable. But to extract such an explanation from the record is simply to stultify it as such. If there really occurred such a manipulation of the death-scene of an adored Teacher, how could the narrators possibly fail to say as much? We are asked by the biographical school to believe that the Crucifixion was made a farce-tragedy by treating the Teacher as the victim in a well-known rite of human sacrifice, and also to believe that the devotees who preserved the record, knowing this fact, chose to say nothing about it, preferring to represent the procedure as a unique incident.