that occupying a position immediately before the worshipper; or, if there be two associated worshippers, then between them as they stand face to face. It is commonly called "the sacred tree," and appears to have been originally intended for the long twining stems of the honeysuckle trained into a regular form, and studded with its graceful flowers.* Sometimes, however, other flowers and fruits, of conventional forms, and fir cones, took the place of the original blossoms.

Mr. Fergusson, in his learned treatise on Assyrian architecture, thinks this to be the object of idolatrous homage already alluded to, the Asherah (7) of the Scriptures, commonly rendered "groves." After referring to an opinion of an eminent philologer, D. Margoliouth, formed without any knowledge of this Assyrian emblem, that the Asherah was a symbolical tree, representing the host of heaven, he adds: "The proof, however, of the matter must rest with the Bible itself; but I think no one can read the passages referring to the worship of the groves, without seeing that they do not mean a group of trees, but just such an emblem or idol as this." He then cites many passages bearing on the question, particularly 1 Kings xiv. 23, where "groves" are spoken of as "built" "under every green tree;"--2 Kings xxi. 7, where Manasseh is described as setting a graven image of the grove in

Sir A. Burnes, in his Journey from India to Tartary and Persia, through Cabool, (i. 217,) noticed a hedge of honeysuckles near Koondooz, which delighted him, because he had never before seen the flower in the east.

the temple; Ib. xxiii. 6, 15, where Josiah brings out the grove from the house of the Lord, and burns the grove that Jeroboam had made at Bethel. He further insists on the manner in which graven and molten images are grouped with groves, leaving little doubt that they were considered one and the same thing; and finally concludes that Asherah represents "the host of heaven, or all the stars, except the planets."* The king is frequently represented as worshipping before the sacred tree, beneath the Feroher or guar

dian deity in the air. He sometimes stands, sometimes kneels on one knee, with open hands, one of which is uplifted, as in prayer. Occasionally two

The Palaces of Nineveh and Persepolis, 301, et seq.

kings are represented, one on each side of the tree, towards which they look; but as they are the exact counterparts of each other in dress, countenance, and position, they may be supposed to be merely a duplicate image of the same person and action. Behind the king when thus engaged, stands a figure of singular appearance. He is clothed in a long fringed robe, sometimes elaborately embroidered, and commonly wears a round cap, embraced by one, two, or three pairs of horns, formed like those of a bull, which, springing from each side, curve round to the front, where the points of all nearly meet. The horns have this peculiarity, that they do not project from the head, but continue in contact with the cap through their whole length. This sacred or horned cap we shall frequently have occasion to mention. Sometimes the summit of the cap is plain, at others it is finished by an ornament resembling a trident or a fleur-de-lis.

The figure is further distinguished by two pairs of eagle-wings, which spring from the shoulders, one pointing upward, the other downward. These four wings seem characteristic of the sacred person before us, by which he may always be identified; some or other of his accompaniments are from time to time lacking, according to the occupation in which he is engaged; but the wings are, with scarce an exception, always present, though sometimes only one of each pair is depicted.

We think there can be no doubt that these characters are intended to represent the priestly office. Figures so pourtrayed attend the king when he wor

ships before the sacred tree, and hold sacred symbols; the most common of which is the cone of the pine-tree elevated in the right hand, and a little basket suspended in the left. Occasionally the cone is exchanged for a branch bearing pine-cones and flowers alternately, for a branch of honeysuckle, for a bunch of pomegranates, or an ear of barley. And instead of the basket, the priest sometimes carries a mace, or bears on his left arm, a goat, a fallow deer, or a lamb. Sometimes one on each side of the tree, holds up a goat in the air by the hind leg: at another time one carries a wide flat tray on his head; and at another he holds two ostriches by the necks. Sometimes two priests, without the king, are seen engaged in worship before the sacred tree, presenting the pine-cone and basket, or kneeling on one knee with outspread hands; and occasionally they surround the king, with the same sacred emblems, in company of the eunuchs and officers of the court when he sits in state on the royal throne.

Priests are frequently represented as holding or slaying imaginary or symbolic animals;-perhaps a sphinx, which the priest holds by one fore paw raised high, and prepares to strike with a sword. It is observable that this design, which occurs in the embroidery on a robe, answers to another, almost exactly the same, except that the priest is without wings.

In one instance, figured in the embroidery of the royal robe, a priest is seen holding in each hand a lion by one of its hind legs, while the animals are each seizing with talons and teeth a bull by the

F

kings are represented, one on each side of the tree, towards which they look; but as they are the exact counterparts of each other in dress, countenance, and position, they may be supposed to be merely a duplicate image of the same person and action. Behind the king when thus engaged, stands a figure of singular appearance. He is clothed in a long fringed robe, sometimes elaborately embroidered, and commonly wears a round cap, embraced by one, two, or three pairs of horns, formed like those of a bull, which, springing from each side, curve round to the front, where the points of all nearly meet. The horns have this peculiarity, that they do not project from the head, but continue in contact with the cap through their whole length. This sacred or horned cap we shall frequently have occasion to mention. Sometimes the summit of the cap is plain, at others it is finished by an ornament resembling a trident or a fleur-de-lis.

The figure is further distinguished by two pairs of eagle-wings, which spring from the shoulders, one pointing upward, the other downward. These four wings seem characteristic of the sacred person before us, by which he may always be identified; some or other of his accompaniments are from time to time lacking, according to the occupation in which he is engaged; but the wings are, with scarce an exception, always present, though sometimes only one of each pair is depicted.

We think there can be no doubt that these characters are intended to represent the priestly office. Figures so pourtrayed attend the king when he wor