At the very earliest period in Egypt from which historical records have come down to us (the time of the First Dynasty, 3200 B.C., or even earlier) “the king’s favourite title was ‘Horus,’ by which he identified himself as the successor of the great god [the hawk sun-god] who had once ruled over the kingdom ... [other symbols often appeared] side by side with Buto, the serpent-goddess of the northern capital. As [the king] felt himself still as primarily king of Upper Egypt, it was not until later that he wore the serpent of the North, the sacred uraeus, upon his forehead.” (Breasted, =6=, p. 38). “The sun-disc, with the outspread wings of the hawk, became the commonest symbol of their religion” (p. 54). But in the time of the Fourth Dynasty “the priests of Heliopolis now demanded that [the king, who had always been represented as the successor of the sun-god and had borne the title ‘Horus’] be the bodily son of Ré, who henceforth would appear on earth to become the father of the Pharaoh” (p. 122). Now, when the Pharaoh thus became identified with the great sun-god Ré, his Pyramid-temple became the place of worship of the sun-god. Megalithic architecture thus became indissolubly connected with sun-worship, simply from the accident of the invention of the art of building in stone—of erecting stone tombs, which were also temples of offerings—by a people who happened to be sun-worshippers and whose ruler’s tomb became the shrine of the sun-god. I have already explained the close genetic connection between the practice of mummification and megalithic building. The fact that the dominance of the sun-god Ré was attained in the northern capital, which was also the seat of serpent-worship, led to the association of the sun and the serpent.[9] From this purely fortuitous blending of the sun’s disc with the uraeus, often combined, especially in later times, with the wings of the Horus-hawk, a symbolism came into being which was destined to spread until it encircled the world, from Ireland to America. For an excellent example of this composite symbolism from America see Bancroft, (=3=), Vol. IV., p. 351. A more striking illustration of the completeness of the transference of a complex and wholly artificial design from Ancient Egypt to America could not be imagined. [For the full discussion of the original association of the sun and the serpent see Sethe’s important _Memoir_ (=74=).] The chance circumstances which led to the linking together of all these incongruous elements—mummification, megalithic architecture, the idea of the king as son of the sun, sun and serpent worship and its curious symbolism—were created in Egypt, so that, wherever these peculiar customs or traditions make their appearance elsewhere in association the one with the other, it can confidently be regarded as a sure token of Egyptian influence, exerted directly or indirectly.