PREFACE. ix 



The Greek artist reached the acme of modelling 

 and of realistic representation of the human figure ; 

 but he had not yet caught the relation of what is 

 called the spiritual part of the human figure to 

 what is called the material part. It required much 

 more scientific prying into the phenomena of nature 

 than had been then achieved, and his science was, 

 therefore, far behind the suggestions of his imagina- 

 tion. Naturally in those days there was a vast and 

 mythology, and very little more than the absurd 

 foicndation of science. 



The Greek artist, with his fine realistic imagina- 

 tion, coming in contact with the myths and con- 

 ventional arts of Assyria and Egypt, borrowed ideas 

 from both nations, and in his mental factory evolved 

 sublimities, as far as art was concerned. He was 

 a sort of link between the primitive and later 

 civilizations. 



From the Assyrian real flora, I have attempted 

 to creep up to their sacred flora, and to interpret 

 certain symbols found woven in with this. Through 

 further study I may have, perhaps, succeeded in 

 throwinof some lio^ht on the derivation of other 

 features, which I think are affiliated to those 

 symbols. It is for others to judge how far I 

 may have succeeded in throwing new light, if any, 

 on the subjects discussed. 



Wherever it may appear that I am too positive 

 in what I state, it is only a mode of diction, and 



