Rudimentary and conventionalised forms of the sacred tree. (From Chaldaean and Assyrian cylinders. Goblet d’Alviella.) [Illustration: Fig. 1.] [Illustration: Fig. 2.] [Illustration: Fig. 3.] Now of all primitive customs and beliefs there is none which has a greater claim upon our interest than the worship of the tree, for there is none which has had a wider distribution throughout the world, or has left a deeper impress on the traditions and observances of mankind. Its antiquity is undoubted, for when history begins to speak, we find it already firmly established amongst the oldest civilised races. What is probably its earliest record is met with on the engraved cylinders of Chaldaea, some of which date back to 4000 B.C. Even at that period it would appear that the Chaldaeans had advanced beyond the stage of crude tree-worship, as found to this day amongst uncivilised races, for the sacred tree had already undergone a process of idealisation. In a bilingual hymn, which is of Accadian origin, and probably one of the most ancient specimens of literature in existence, a mystical tree is described as the abode of the gods. And it was probably by a similar process of idealisation that a conventional representation of the sacred tree came to be one of the most important symbols of Chaldaean religion. This symbol, which we have already seen in decorative use on the slabs at St. Mark’s, appears on the oldest Chaldaean cylinders “as a stem divided at the base, surmounted by a fork or a crescent, and cut, midway, by one or more cross bars which sometimes bear a fruit at each extremity. This rudimentary image frequently changes into the palm, the pomegranate, the cypress, vine, etc.[2] On the Assyrian monuments of about 1000 B.C. and later, the figure becomes still more complex and more artistically conventionalised, and it nearly always stands between two personages facing each other, who are sometimes priests or kings in an attitude of adoration, sometimes monstrous creatures, such as are so often met with in Assyro-Chaldaean imagery, lions, sphinxes, griffins, unicorns, winged bulls, men or _genii_ with the head of an eagle, and so forth. Above it is frequently suspended the winged circle, personifying the supreme deity.” In his exhaustive chapter on this ancient design, M. Goblet d’Alviella has shown that it obtained a wide dissemination throughout the world, and is used even to this day in the fictile and textile art of the East.[3] M. Menant concludes from his exhaustive study of the cylinders, that the worship of the sacred tree in Assyria was intimately associated with that of the supreme deity, its symbol being incontestably one of the most sacred emblems of the Assyrian religion.[4] M. Lenormant’s view was that the winged circle, in conjunction with the sacred tree, represented the primeval cosmogonic pair, the creative sun and the fertile earth, and was a symbol of the