Note: Figures 162 to 174 inclusive are interesting as showing a marked resemblance to the central design of the Secret Seal. It will be observed that the evident desire is to represent hieroglyphically a person raising his or her hands in adoration. Nearly all are stone sepulchral steles, and the execution of them is rough and primitive in the extreme. Most are in the Musée du Louvre at Paris. Figures 162 and 163 are from the district of Constantine and show a figure raising its arms in adoration. In Figure 164, also from Constantine, the person bears a palm branch in the right hand. Above is a hieroglyphic representing either the Lunar Disc or the Sun in the heavens; but more probably the former. Figure 165 is a more complicated stele. Above is the symbol already mentioned, then comes the sign of the Pentagram, represented by a five-pointed star, towards which the person raises his or her hands. Besides the latter is a rude form of caduceus. A brief inscription follows in the Punic character. The Punic or Carthaginian language is usually considered to have been a dialect of Phœnician, and Carthage was of course a colony of Tyre. Beneath the Tunic inscription is a horse’s head in better drawing than the sculpture of the rest of the stele, which would seem to imply that the rudeness of the representation of the human figure is intentional. This and the following stele are also from Constantine. In Figure 166 again, the horse is best delineated by far. In addition to the other symbols there is either a hand or a foot, for it is almost impossible to distinguish which, at the head of the stele, followed by an egg-and-tongue moulding. The figure of the person with the arms raised is treated as a pure hieroglyphic and is placed between two rude caducei. The Lunar or Solar Symbol follows. Figure 167, also from Constantine, shows the last-mentioned symbol above. The figure with the arms raised is simply a hieroglyph, and is placed between an arm and hand on the one side, and a rude caduceus on the other. Figure 168 shows the person holding a rude caduceus in the right hand, and standing above a dolphin. This latter, as in the case of the horse in 165 and 166, is by far the best delineated. Figure 169, this also being from Constantine, shows the usual human hieroglyph between a caduceus and a crescent. Figure 170 is from the site of ancient Carthage. It is very rough in workmanship, and the designs are mere scratchings on the stone. The _ensemble_ has the effect of an evil Sigil. Figure 171 is also from Carthage and the various symbols appear to have become compressed into and synthesised in the form of a peculiarly evil-looking caduceus. Figure 172 is from the decoration of a sepulchral urn found at Oldenburgh in Germany. It is remarkable as showing the same hieroglyphic human form with the crescent above; the latter in the Secret Seal of Solomon has a flattened top, and is therefore more like a bowl, and is placed across the hieroglyph.