(9) Said on the figure with raised arm. There are plumes on its head; its legs are apart; its torso is a scarab. It is painted in blue with liquid gum

(10) Said also on a figure the middle part of which is that of a man; his arms are hanging down. The head of a ram is on his right shoulder, and another on his left shoulder. Thou wilt paint on one bandage the two figures of the god with raised arm, and put it across the chest of the deceased, so that the two painted figures may be on his breast

It was the custom of the men of Qazwin to have various devices tattooed upon their bodies. A certain coward went to the artist to have such a device tattooed on his back, and desired that it might be the figure of a lion. But when he felt the pricks of the needles he roared with pain, and said to the artist, "What part of the lion are you now painting?" The artist replied, "I am doing the tail." The patient cried, "Never mind the tail; go on with another part." The artist accordingly began in another part, but the patient again cried out and told him to try somewhere else. Wherever the artist applied his needles, the patient raised similar objections, till at last the artist dashed all his needles and pigments on the ground, and refused to proceed any further. The Prophet's counsels to 'Ali to follow the direction of the Pir or Spiritual Guide, and to endure his chastisements patiently.

(10) The sand painting here reproduced is part of the medicine series prepared far the healing of disease. In the healing ceremony the patient is placed upon the drawing, which is made in a consecrated hogan, and all outsiders excluded. The sacred swastika in the center of the drawing is perhaps the most nearly universal of religious emblems and represents the four corners of the world. The two hunchback god, at the right and left assume their appearance by reason of the great clouds borne upon their backs. In Navaho religious art, male divinities are always shown with circular heads and female divinities with square heads.

(89) And one of those four went to that white bull and instructed him in a secret, without his being terrified: he was born a bull and became a man, and built for himself a great vessel and dwelt thereon; and three bulls dwelt with him in that vessel and they were covered in.

The Chinese and the Greeks disputed before the Sultan which of them were the better painters; and, in order to settle the dispute, the Sultan allotted to each a house to be painted by them. The Chinese procured all kinds of paints, and coloured their house in the most elaborate way. The Greeks, on the other hand, used no colours at all, but contented themselves with cleansing the walls of their house from all filth, and burnishing them till they were as clear and bright as the heavens. When the two houses were offered to tho Sultan's inspection, that painted by tho Chinese was much admired; but the Greek house carried off the palm, as all the colours of the other house were reflected on its walls with an endless variety of shades and hues.

(8) The Navaho dry or sand paintings are made by sprinkling varicolored ground pigment upon a base of smooth sand. The one here reproduced is encircled by the rainbow goddess, and portrays an episode from the Navaho cosmogony myth. According to Hasteen Klah, the Navaho sand priest who designed this painting, the Navahos do not believe in idolatry, hence they make no images of their gods, but perpetuate only the mental concept of them. Just as the gods draw pictures upon the moving clouds, so the priests make paintings on the sand, and when the purpose of the drawing has been fulfilled it is effaced by a sweep of the hand. According to this informant, the Zuni, Hopi, and Navaho nations had a common genesis; they all came out of the earth and then separated into three nations.

(12) It is painted with anti and shethu, mixed with green colour of the South, and with water from the Western Lake of Egypt; on a bandage of new linen, in which all the limbs of a man will be wrapped

(9) Said on a Mut having three faces: one is the face of the Pekha-vulture having two plumes; the other is the face of a man, wearing the red and the white crown. The other is a face of a Ner-vulture, having two plumes, with a phallus and wings and the claws of a lion

(27) In common with certain philosophic institutions of Asia, the Jewish Mysteries contained a strange doctrine concerning the shadows of the Gods. Gazing down into the Abyss, the Elohim beheld their own shadows and from these shadows patterned the inferior creation. "In the dramatic representation of the creation of man in the Mysteries," writes the anonymous Master of Balliol College, "the Aleim [Elohim] were represented by men who, when sculpturing the form of an Adamite being, of a man, traced the outline of it on their own shadow, or modelled it on their own shadow traced on the wall. This is how the art of drawing originated in Egypt, and the hieroglyphic figures carved on the Egyptian monuments have so little relief that they still resemble a shadow."

(38) And again: "But had the oxen or the lions hands, Or could with hands depict a work like men, Were beasts to draw the semblance of the gods, The horses would them like to horses sketch, To oxen, oxen, and their bodies make Of such a shape as to themselves belongs."

(2) And there are those who fashion ears and eyes of costly material, and consecrate them, dedicating them in the temples to the gods - by this plainly indicating that God sees and hears all things. Besides, the lion is with them the symbol of strength and prowess, as the ox clearly is of the earth itself, and husbandry and food, and the horse of fortitude and confidence; while, on the other hand, the sphinx, of strength combined with intelligence - as it had a body entirely that of a lion, and the face of a man. Similarly to these, to indicate intelligence, and memory, and power, and art, a man is sculptured in the temples. And in what is called among them the Komasiae of the gods, they carry about golden images - two dogs, one hawk, and one ibis; and the four figures of the images they call four letters. For the dogs are symbols of the two hemispheres, which, as it were, go round and keep watch; the hawk, of the sun, for it is fiery and destructive (so they attribute pestilential diseases to the sun); the ibis, of the moon, likening the shady parts to that which is dark in plumage, and the luminous to the light. And some will have it that by the dogs are meant the tropics, which guard and watch the sun's passage to the south and north. The hawk signifies the equinoctial line, which is high and parched with heat, as the ibis the ecliptic. For the ibis seems, above other animals, to have furnished to the Egyptians the first rudiments of the invention of number and measure, as the oblique line did of circles.

(29) The vignette of 153 A , in the papyrus III, 93, of the Louvre ( Pb ), shows a clap-net drawn by four men. Behind it comes the deceased, holding in his hand two instruments mentioned in the text: the and the , called or each of them consists of different parts having a distinct name

(1) But it was not only the most highly intellectual of the Egyptians, but also such of other barbarians as prosecuted philosophy, that affected the symbolical style. They say, then, that Idanthuris king of the Scythians, as Pherecydes of Syros relates, sent to Darius, on his passing the Ister in threat of war, a symbol, instead of a letter, consisting of a mouse, a frog, a bird, a javelin, a plough. And there being a doubt in reference to them, as was to be expected, Orontopagas the Chiliarch said that they were to resign the kingdom; taking dwellings to be meant by the mouse, waters by the frog, air by the bird, land by the plough, arms by the javelin. But Xiphodres interpreted the contrary; for he said, "If we do not take our flight like birds, or like mice get below the earth, or like frogs beneath the water, we shall not escape their arrows; for we are not lords of the territory."

(89) And they began to bring forth beasts of the field and birds, so that there arose different geneANSWER: lions, tigers, wolves, dogs, hyenas, wild boars, foxes, squirrels, swine, falcons, vultures, kites, eagles, and ravens; and among them was born a white bull.

(3) In b the central object is the Sun setting in the West . He is saluted by three hawk-headed and by three jackal-headed divinities, the Spirits of Pu and of Nechen. Below this scene the Sun of Yesterday and the Sun of To-day in lion forms are saluted by Isis and Nephthys

(3) After the interruption due to Chapters 153 and 154, we revert to the series inaugurated by 151, the description of the chamber in which the mummy is deposited, and of the funeral equipment of the deceased, his amulets and ornaments. The papyrus III, 93 (Pb), of the Louvre, throws several of these Chapters into one, with the title: the description of the hidden things of the Tuat , and the vignette (Pl. LV) represents three figures of Chapter 151: the statuette, the torch or flame, and the Anubis; besides two Tat of different substances, one of them for the wall, and one to be put on the neck of the deceased, and a buckle

(89) But that white bull which had become a man came out of that vessel, and the three bulls with him, and one of those three was white like that bull, and one of them was red as blood, and one black: and that white bull departed from them.

(5) a. Musée du Louvre. No. III, 36. b. British Museum. No. 9949 (portion). c. Painting. Thebes. Wilkinson ’s “Ancient Egyptians.” See Naville , “Book of the Dead.”

(23) Ra, the god of the sun, had three important aspects. As the Creator of the universe he was symbolized by the head of a scarab and was called Khepera, which signified the resurrection of the soul and a new life at the end of the mortal span. The mummy cases of the Egyptian dead were nearly always ornamented with scarabs. Usually one of these beetles, with outspread wings, was painted on the mummy case directly over the breast of the dead. The finding of such great numbers of small stone scarabs indicates that they were a favorite article of adornment among the Egyptians. Because of its relationship to the sun, the scarab symbolized the divine part of man's nature. The fact that its beautiful wings were concealed under its glossy shell typified the winged soul of man hidden within its earthly sheath. The Egyptian soldiers were given the scarab as their special symbol because the ancients believed that these creatures were all of the male sex and consequently appropriate emblems of virility, strength, and courage.