“The most remarkable thing, however, is the trophy resting on the head of the figure, which is the graphic expression, so to speak, of a song[326] either written by him or adapted from other popular poetry. Each phrase of the song has its symbol in the trophy. Thus the word _poison_ in the first verse is represented by the cup; the _two daggers_ are likewise present; the _end of life_ and the _tomb_ are figured by a kind of sarcophagus or closed chest; _love_ by two sprays of flowers. The _bell_ of the second stanza is easily recognisable; the _funereal music_ are the two trumpets crossed, lower down. The _cross_ of the third stanza, and the _priest_ (represented by a clerical hat) are not forgotten. It is curious that the _gallows_ should be wanting to complete this trophy. The _spoon_ and _fork_, by the by, are T----’s favourite implements. They denote that he eats and drinks in slavery, or, as he says, in a convict-prison; and for this reason, he always wears a set, carved in wood by himself, in the button-hole of his coat, or in his cap.” We may once more remind the reader that savages hand down their history by associating picture-signs with poetry. A most interesting example of elaborate symbolic faculty in a monomaniac, combined with higher artistic power than is usually found among the insane, has been recorded with very full illustrations by Dr. William Noyes.[327] This patient studied art at Paris under Gérome and returned to America to become an illustrator of books and magazines. He developed systematic religious delusions, and frequently worked them out in very beautiful and artistic shapes, nine of which, all executed in the asylum at which he was confined, are here reproduced. The circular design is one of a series of twelve charts (one for each of the tribes of Israel) illustrating the progress of the Holy Spirit. They were all delicately coloured in water colours, the fine shading making it very difficult to give in black and white an adequate idea of the beauty of the original. [Illustration] “In the centre is the dove representing the Holy Spirit, and surrounding it are seven different crosses [St. Andrew, St. Colomba, St. George, St. Michael, The Prophet, St. Evangeli, Royal Priesthood], and a close study will show the seven crosses, most ingeniously worked together. It is probable that in looking at the design closely for the first time one will suddenly see a new cross take shape before his eyes, and this indeed is what the patient says occurs with him. In describing the crosses he will say, for example, that in drawing the cross of St. Andrew the lines suddenly took a new shape and he found he had also made a cross of St. Michael. This to him is a matter of deep significance, and he feels that, his work is directly controlled by a higher power, and that the work of his fancy is really inspired.