16 On an ancient Monument, 



which may perhaps, without offence to history, be styled a 

 " Gentile Cherub," in the language of a late writer upon Pagan 

 Idolatry * ; or again, a Symbol of the Great Universal Mother of 

 Mythology ; or in other terms, (to adhere to expressions of more 

 common use), this Pantheic Sign combines in a striking manner 

 the principal attributes apportioned to their host of gods, by the 

 fancies of the heathen : we will not wait here to inquire, 

 whether these several images were the offspring of grateful love, 

 or of the more effective impulse of fear, in the original sim- 

 plicity of very early times ; whether they were altogether, or in 

 part, a corrupted copying, or, as some deem them, a perverse 

 depravation, of sacred record ; or otherwise the mere result of 

 hieroglyphic painting and poetic fancy. These mystic signs, 

 thus arbitrarily adapted and conjoined, are now brought before 

 us into one view, by the first antique copy of Grecian art of 

 this occult character, that has ever been discovered in Britainf. 

 With respect to the origin of the Theban Sphinx, of which so 

 many varied tales have been promulgated, and of whose name 

 so many etymons have been advanced; it may be sufficient 

 here to observe, that the Grecian Sphinx is, no doubt, imme- 

 diately derived from that of Egypt. The Egyptian Sphinx has 

 hitherto been more commonly acknowledged the prototype of 

 all the others ; as supposed to be derived from a simple em- 

 blematic reference to the annual inundations of the Egyptian 

 valley, by the waters that descend from the hills of Abyssinia, 

 and overflow the banks of the Nile, while the sun is passing 

 through the signs of Leo and of Virgo I. I have not however 



• See the Origin of Pagan Idolatry, bj' G. S. Faber, B.D., for much cu- 

 rious speculation on this subject. 



t 1 should not omit noticing that, under the very roughly-hewn base 

 of the Sphinx, is clearly engraven a large and well-formed Roman S, of 

 somewhat more than five inches in height. It appears from its situation 

 (removed altogether from the eye of the spectator) to indicate, not so 

 much the artist's name, or any circumstance intended to be recorded ; 

 as simply the intention of the inferior workman, who having been em- 

 ployed to prepare the block for the sculptor, thus marked it as a parti- 

 cular stone selected and set apart by the latter, for the representation of 

 the Sphinx. 



j Such an application of the Sphinx figure by the Egyptians, would 



