QUESTION may here arise whether two corresponding pillars, or columns, in the White Tower, London, do not very ingeniously conceal, masonically, the mythic formula of the Mosaic Genesis, "Male and Female created He them," &c. Refer to the following page, figs. 119, 120.

1. Tor, or "Hammer of Thor," T(au).

2. Corinthian Volutes, or "Ram's Horns."

The crescent moon and star is a Plantagenet badge. It is also the Badge of the Sultan of Turkey. Also, with a

difference, it displays the insignia of Egypt. The flag of Egypt is the ensign of the sect of Ali (the second Mohammedan head of religion), which is "Mars, a Crescent, Luna; within

the horns of which is displayed an estoile of the second,”abandoning the vert, or green, of the "Hadgi," or of Mecca,

124

123

Figs. 119, 120. Columns to Chapel in the " White Tower," London. Style, Early Norman, 1081. Fig. 119 (1) Mystic "Tau;" (2) Male, Kight; (3) Female, Left.

Fig. 123. Castle-Rising Church, Norfolk. Fig. 124. Romsey Abbey, Hants.

the site of the apotheosis of Mohammed. The Mohammedan believers of the sect of Ali rely on the "masculine prin

Fig. 125. St. Peter's Church, Northampton.

Fig. 126. S-, out of the Arms of the +. (Font, Runic and Saxon, Bridekirk
Church, Cumberland.)

ciple,"-more closely, in this respect, assimilating with the

Jews; and therefore their distinctive heraldic and theolo

EARLY CHRISTIAN SYMBOLS.

247

gical colour is red, which is male, to the exclusion of the other Mohammedan colour, green, which is female. The

"Hadgi," or Pilgrims to Mecca, wear green; the Turkish Mussulmans wear red and green, according to their various titles of honour, and to their various ranks.

Fig. 131. Devices from the Tombs in the Catacombs at Rome.

The Hospital of St. Cross, near Winchester, abounds

in the earliest Norman mouldings. The architecture of St. Cross presents numerous hermetic suggestions.

Fig. 132.

Fig. 133.

Fig. 134. Fig. 135.

Fig. 136.

The identity of Heathen and of Christian Symbols is displayed in all our old churches in degrees more or less conclusive.

Fig. 137. Monogram of the Three
Emblems carried in the Mysteries.

Figs. 138, 139. The Heathen
Monogram of the Triune.

The "Ten fingers" of the two hands (made up of each "Table" of Five) are called, in old parlance, the "ten com

Fig. 140. Monogram of the Saviour.

mandments." "I will write the ten commandments in thy face," was spoken in fury, in the old-fashioned days, of an intended assault. The hands explain the meaning of this

proverbial expression, interpreted astrologically. Palmistry is called Chiromancy, because Apollo, mythologically, was taught "letters" by Chiron, the "Centaur."

141

142

Fig. 141. Melody (or Melodic Expression) of the Portico of the Parthenon. Fig. 142. General Melody (or Melodic Expression) of the Pantheon, Rome.'

The devices on most Roman Bronze Lamps present Gnostic ideas.

The Temple Church, London, will be found to abound with Rosicrucian hieroglyphs and anagrammatical hints in all parts, if reference be made to it by an attentive inquirer.

*The above music consists of a magical incantation to the air, or musical charms, supposedly from two of the most celebrated ancient religious structures. The Cabalists imagined that the arrangements of the stars in the sky, and particularly the accidental circumvolvent varying speed of the planets of the solar system, produced musicas men know music. The Sophists maintained that architecture, in another sense, was harmonious communication, addressed to a capable apprehension when the architecture was true to itself, and therefore of divine origin. Hence the music above. These passages were supposed to be magic charms, or invocations, addressed by day and night to the intelligent beings who filled the air invisibly. They were played from the fronts of the Parthenon, Athens, and the Pantheon, Rome, according to the ideas of the superstitious Greeks.