He mentions the Swastika of the Buddhists, the cross, the circle, their combination, the three-foot [Y] and adds: "They exhibit forms of those olden and widely spread pagan symbols of Deity and sanctity, eternal life and blessing." Professor Sayce says:[34] The Cyprian vase figured in Di Cesnola's "Cyprus," pl. XLV, fig. 36 [see fig. 156], which associates the Swastika with the figure of an animal, is a striking analogue of the Trojan whorls on which it is associated with the figures of stags. The fact that it is drawn within the vulva of the leaden image of the Asiatic goddess [see fig. 125] seems to show that it was a symbol of generation. I believe that it is identical with the Cyprian character [symbol] or [symbol] (ne), which has the form [symbol] in the inscription of Golgi, and also with the Hittite [symbol] or [symbol] which Dr. Hyde Clarke once suggested to me was intended to represent the organs of generation. Mr. Waller, in his work entitled "Monumental Crosses," describes the Swastika as having been known in India as a sacred symbol many centuries before our Lord, and used as the distinguishing badge of a religious sect calling themselves "Followers of the Mystic Cross." Subsequently, he says, it was adopted by the followers of Buddha and was still later used by Christians at a very early period, being first introduced on Christian monuments in the sixth century. But Mr. Waring says that in this he is not correct, as it was found in some of the early paintings in the Roman catacombs, particularly on the habit of a _Fossor_, or gravedigger, given by D'Agincourt. Pugin, in his "Glossary of Ornament," under the title "Fylfot," says that in Tibet the Swastika was used as a representation of God crucified for the human race, citing as his authority F. Augustini Antonii Georgii.[35] He remarks: From these accounts it would appear that the fylfot is a mystical ornament, not only adopted among Christians from primitive times, but used, as if prophetically, for centuries before the coming of our Lord. To descend to later times, we find it constantly introduced in ecclesiastical vestments, * * * till the end of the fifteenth century, a period marked by great departure from traditional symbolism. Its use was continued in Tibet into modern times, though its meaning is not given.[36] (See p. 802.) The Rev. G. Cox, in his "Aryan Mythology," says: We recognize the male and the female symbol in the trident of Poseidon, and in the fylfot or hammer of Thor, which assumes the form of a cross-pattèe in the various legends which turn on the rings of Freya, Holda, Venus, or Aphrodite. Here again we find the fylfot and cross-pattèe spoken of as the same symbol, and as being emblematic of the reproductive principles, in which view of its meaning Dr. Inman, in his "Ancient Faiths Embodied in Ancient Names," concurs.