266 W. Tlieobald — Notes on some of the symhols found on the [No. 3, 
Another import symbol on the coins which we can recognise at 
Mycena) is tho ^Swastika,' which occurs as the central ornament on 
several of the objects figured, (1. c. Nos. 382, 383 and 385, 422 and 428). 
It is of the usual form, resolving from left to right, the four side pegs 
(so called) being clearly seen in one and differing only from the symbol 
so common on Trojan pottery, and later ‘ Swastikas, ' in being formed 
with curved lines in place of angular, in accordance with the prevailing 
character of art among Myconre woi'kmen. The most interesting, how- 
ever, and perhaps the commonest of all the symbols discovered at 
Mycenro is that termed the 'omega' by Schliemaun, (a very happy 
name could we only adopt it in place of the current one, as it forms 
truly the alpha and omega of all Nature Worship), but which I am 
inclined to identify as an archaic, but at the same time a highly 
specialized and ornate form of the ‘ Lingam-yoni ’ of later times. The 
elements of both symbols are the same, a central dot with a surrounding 
circle, in one part of tho periphery produced into a ‘ spout ’ composed 
of two ‘ labia ’ separated by a groove. In the oi'dinary form of the 
symbol tho ‘ labia ’ remain united, but in the artistic form prevalent at 
Mycenre, the ‘labia’ are separated and recurved (omega-like), with the 
obvious intent of their being thereby rendered capable of artistic treat- 
ment, and of being worked up into patterns in vogue there. The 
simplest form of this ‘ omega ’ symbol is where it stands alone, as in the 
acute angles of the central lozenge of a button (1. c. No. 377) or where 
two opposed ‘ omegas' form the central ornament of a button (1. c. Nos. 
378, 381, 384 and 386). In another (1. c. Nos. 379 and 421) the central 
‘ boss ’ is ornamented with three ‘ omegas,’ with their ‘ spouts,’ or ‘ labia ’ 
directed outwards, and round them, six other ‘ omegas ’ with their 
‘ spouts ’ directed inwards, the ‘ labia ’ of all these ‘ omegas ' uniting into 
an endless band, which winds in and mrt between the central ‘ dots ’ or 
‘ iiitjawis ’ and those ranged outside of them, bavy-a ISttrOai ! In another 
superb specimen of the goldsmith's art, (1. c. 422a.) the outer band, 
immediately encircling the nine confluent ‘omegas,’ is rayed, thereby 
indicating the solar relationship of the symbol, and on another button 
(1. c. 422) tho same rayed border is seen enclosing the peculiar form of 
‘Swastika’ alluded to above as prevalent at Mycenae, the fourfold sun, 
or ‘four-balled Chakra, ’ Ujain symbol as it is also called. Fig. 171 occurs 
on two buttons (1. c. Nos. 406 and 411) where the symbol is seen with 
slight variation as four equal and equidistant spheres. On another 
button (l.'c. 404) the four spheres are replaced by four ‘ omega ’ symbols, 
pointing outwai’ds, and with their ‘labia’ confluent and forming the 
inner periphery of the design. 
The most curious variant, however, of the ‘omega’ symbol is that 
