(_a_) We had occasion before, when discussing the symbolic type of art, to mention the fact that in the East it is frequently the universal living force of Nature, that is, not the spirituality and might of consciousness, but the productive energy of generation, which is emphasized and revered. More particularly in India this religious attitude was universal; also from its sources in Phrygia and Syria under the image of the great goddess, the fructifyer, a conception was derived which the Greeks themselves accepted. Still more closely considered this conception of the universally productive energy of Nature was represented and held sacred in the form of the organs of sex, Phallus and Lingam. This cultus was in the main promulgated in India, albeit also, as we learn from Herodotus, it was not wholly foreign to Egypt. At any rate we meet with something of the kind in the festivals of Dionysus. According to the statement of Herodotus, "they have invented other puppets as substitutes for the phalli of an ell's length, which the women draw about with a string, on which we find the sexual member no smaller in size than the rest of the body." The Greeks accepted a similar ministration, and Herodotus expressly informs us (_c._ 49) that Melampus had knowledge of the Egyptian sacrificial festival of Dionysus, and had introduced the phallus which was carried about in honour of the god. It was in India especially that the worship of the energy of generation assumed the exterior shape and significance of the organs of sex. Enormous columnar images were in this respect raised of stone as massive as towers and broadening out at the base. Originally they were themselves independently the aim and objects of such worship; only at a later time it became customary to make openings and hollow chambers within them and deposit in these divine images, a custom which was maintained in the Hermes figures of the Greeks, little temple shrines that could be carried. The point of departure, however, in India was the phallus pillars, which had no such hollows, and which only at a later date were divided into a shell and kernel, growing thus into pagodas. For the genuine Indian pagodas, which should be distinguished essentially from later Mohammedan or other imitations, do not originate in the form of the dwelling, but are narrow and lofty, and receive their fundamental type from these columnar constructions. We find a similar significance and form also once more in the conception of the mountain Meru as expanded by Hindoo imagination, which is conceived as twirling stick in the sea of milk, and is the creative source of the world. Herodotus mentions similar columns, some constructed in the shape of the male, others in that of the female organ. He ascribes their construction[41] to Sesostris, who erected them everywhere on his military expeditions against all the peoples he conquered. The majority of such pillars no longer existed in the days of Herodotus.