In the centre of the temple on the hill stood an altar, into the stones of which were inserted and also scattered around a large number of soapstone objects representing the phallus either realistically or conventionally, but always with anatomical accuracy which unmistakably conveys their meaning, and proves in addition that circumcision was practised by this primitive race; ‘its origin both amongst the Egyptians and Ethiopians,’ says Herodotus, ii. 37, 104, ‘may be traced to the most remote antiquity.’ We have seen in the previous description of the tower the parallel to Lucian’s description of the phalli in the temple at Hierapolis. Here, in the upper temple, we found no less than thirty-eight miniature representations of the larger emblem; one is a highly ornate object, with apparently a representation of a winged sun on its side, or perchance the winged Egyptian vulture, suggesting a distinct Semitic influence. There is a small marble column in the Louvre, twenty-six inches in height, of Phœnician origin, with a winged symbol on the shaft like the one before us; it is crowned by an ornament made of four petalled flowers. This winged globe is met with in many Phœnician objects, and MM. Perrot and Chipiez, in their work on Phœnicia, thus speak of it as ‘a sort of trade-mark by which we can recognise as Phœnician all such objects as bear it, whether they come from Etruria or Sardinia, from Africa or Syria.’ And of the stele in the Louvre the same authors say, ‘We may say that it is signed.’ A carefully executed rosette with seven petals forms the summit of our object found in the temple. Now the rosette is also another distinctly Phœnician symbol used by them to indicate the sun. We have the rosette on Phœnician sepulchral stelæ in the British Museum in conjunction with the half-moon to indicate the heavenly luminaries, and here at Zimbabwe we have this object surmounted by a rosette, rosettes carved on the decorated pillars, and the eyes of the birds, as before mentioned, are made in the form of rosettes. The fact of finding these objects all in close juxtaposition around the altar and in the vicinity of the birds on pillars is sufficient proof of the nature of the objects and their religious symbolism. Thus we have in both cases the larger emblems and their miniature representatives, the tower and the smaller phalli, the large birds and the tiny amulets, proving to us that the ancient inhabitants of the ruins worshipped a combination of the two deities, which together represented the creative powers of mankind.