Message #190068

[Demiurge]

as Manilius defines the authority of that amphibious sign. But the original conception is often engraved upon Phœnician scarabic; and no doubt can remain as to its intention, since Caylus has published an Etruscan vase (i. pl. 32) where this same monster is painted joyously careering over the sea, whilst on its other side stands the mourner, præfica, chaunting the funeral hymn over the corpse laid out upon its bier of bronze.

To continue within the earliest portion of the subject, it must be observed that in the most ancient monument of Greek sculpture whereof any account remains--the Coffer of Cypselus (executed earlier than 600 B.C.)--Night was represented carrying in her arms two children, alike in all respects save colour; the one white, the other black, having their legs crossed: * their names being inscribed over them--Sleep and Death--for their mother was hastening to the aid of the expiring Memnon. Thus it is manifest that from the very dawn of pictorial art the crossed legs were the accepted emblem of the most profound repose; whilst the sluggard's wish for "a little more folding of

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