the design which are clearly Masonic. These triangles, as indeed are all those shown on these designs, are right-angled triangles, which after all is the true form of the Masonic triangle. Each of these corner triangles, which are here coloured black, contains three white triangles and four black ones, making a total of seven-the Pythagorean most sacred number. The Egyptians considered that all creatures born in the seventh month were placed out of danger as regards early dissolution. Amongst Masons the number seven is considered the perfect number, as no Entered Apprentice Lodge can be opened without seven being present, who may consist of one past master, two master masons, two fellow-crafts, and the same number of the first degree. Thus all absent numbers are virtually present by their representatives, viz., the master acting on behalf of all belonging to that degree; the past master for all past masters; the wardens on behalf of the fellow-crafts; the deacons for all the entered apprentices; the inner guard and tyler acting as the faithful guardians of the Lodge. Hence the symbolic emblems of the seven stars or a single star with seven points are restricted to the first degree.

These triangles may be read again in another manner as referring to the steps to perfection, viz., 4, 5, and 7.

"When Virtue her examples drew in Heaven

Seven steps to reach them were to mortals given,
Hope so desirous first attains

Four of the seven. But Faith five precepts gains,

Love is the chief, for Love the two excels,

And in the virtue of Perfection dwells."-JOHN OWEN.

Lastly these triangles have undoubted reference to the "triple trine” which will be described fully further on.

The central figure of Medusa's head is turned from the entrance of the room and only meets one face to face when circling round it, at the N.E. Corner. In every Mason's Lodge silence is a well known requisite; this virtue was also much prized amongst the ancients, more especially amongst the Pythagoreans, and no figure could more effectively convey its desirability and necessity to acolytes of that day than the exhibition to them of the head of the dreaded Gorgon.

The Bucolic figures sounding the buccina or neatherd's-horns, would, if this were a Masonic Lodge, not impossibly be intended to represent the proclaiming of the Lodge and its master in the N.S.E. and W., and the petasus of Mercury as shown on their heads would fitly describe them as heraldic messengers for this purpose.

Masonically speaking, the four compartments containing the figures might represent four virtues. Triptolemus and Ceres might stand for Prudence or Industry; the two figures with the pipes and tambourine, combined with the shepherd's crook, might represent Innocence, the picture being one of a pastoral nature; Lycurgus and the Nymph in the background with vines and olives would stand for Temperance; and the defaced picture for Chastity, seeing that the woman in it seems to be flying from her pursuer.

The great peculiarity of this floor lies in the Heathen subjects on it being placed in a Christian Cross, in the orientation of Medusa's head, and in the most striking arrangement of the black and white right-angled triangles in each corner of the design. As regards the panel containing Tritons and Nymphs, there seems to be nothing to note in connection with it as yet.

The Guide Book further states :-" Between the stone piers already named and dividing the two pavements of the apartments is a subject of considerable interest in the centre is a square panel containing a male figure wearing a black beard, seated in what appears to be a chair; he is semi-nude, there being but little drapery except at the lower portion of the figure. At the left side there stands a pillar, surmounted by what some observers take to be a gnomon or sun-dial, but which we ourselves believe to be an illustration of the twelve houses; the number of the compartments corresponds with the signs of the Zodiac. Beneath the pillar is a sphere or globe which appears to be supported on three legs, the tessere are so arranged as to define the four quarters of the earth, to this the figure is pointing with a wand as though casting a horoscope; at his right hand side is a cup or vase, in which is an object which some consider to be a pen, but this we have not yet identified with certainty. This illustration of an astronomer in the exercise of his profession is one of the most interesting of the novelties yet revealed, the figure is probably intended for Hipparchus, a celebrated student of antiquity-he, it is said, was the first to prosecute the science in a regular and systematic manner, his observations were made between the years 160 and 125 B.C., his catalogue of the fixed stars has been preserved by Ptolemy, and one work, the only one extant, is his commentary on Aratus, according to Pliny he could never be sufficiently commended; he had proved the relation of the stars to men, he attempted to express such relation by appropriate names, and devised instruments by which he might

mark the places and the magnitudes of each particular star. The nature of these instruinents has never been ascertained, but there is nothing improbable in the notion that those shown in our mosaic are those which are associated with his discoveries. On each side of this panel is a geometrical pattern, composed of a centre with a circle from which radiate four divisions enclosed within a larger circle, this is again placed in a diamond or lozengeshaped figure, the whole being contained in a parallelogram, in the angles of which are figures of triangles; the border, as in other cases consists of the guilloche pattern. These designs are similar to those figured by Mr. H. Ecroyd Smith in his description of the pavements at Aldborough, the Roman station of Isurium."

This panel is one of great importance, placed as it is at the entrance or threshold of the inner or sacred chamber. In the outer chamber the subjects are all mythological and heathen in intent, but this panel is of self-evident simplicity, and refers to subjects which in the day it was laid down must have been clearly and well understood. The centre portion is a square, the geometrician's "perfect figure," and is made prominently conspicuous, as a geometrical figure, by the absence of any other near it. The draped figure in it very probably refers to Pythagoras, who discovered the rotundity of the world, the precession of the seasons, and many other things connected with Geometry with which he has never been credited.

Pythagoras was born about the year 586 B.C., at Sidon. Iamblicus, in A.D. 193, wrote his life, and finishes a eulogistic statement as to his virtues, by declaring that he seemed among his countrymen as being superior to humanity. He was learned in the mysteries of the Egyptians, having acquired them under the priests of Memphis, among whom he resided for twenty-two years, studying Geometry and other arts.

After twelve years more in Babylon he returned to Samos, where he began to teach symbolic philosophy. Pythagoras was the first among the ancients to discover that the world was round and inhabited on all sides; he built up the science of astronomy, and founded a school of philosophy from which Plato, Aristotle, Xenocrates, and others borrowed the best portions for the foundation of their schools.

None of the Pythagorean doctrines or mysteries were ever placed on record in writing, but were committed to memory, and so handed down: hence few, if any, of their secrets were ever divulged.

Pythagoras died in the Temple of the Muses at Metapontum about B.C. 506.

The precepts of Pythagoras resemble very much those of the Craft, being veiled in allegory and illustrated by symbols, and most probably this figure of his was placed in the position it occupies with reference to that fact.

This

Pythagoras or Hipparchus is shown in this panel pointing to the Globe. If this were a Tracing Board in a Masonic Lodge, we should surmise that it was intended to demonstrate that Masonry was universal and spread over its whole surface; afterwards would be pointed out the upright column with the globe, sun-dial, or glory on its top, without which column no Masonic Tracing Board would, as we know, be complete. one column might fairly be so placed to recall to Masons the miraculous pillar of fire and cloud set up over the Tabernacle by God in the Wilderness. What the bowl is intended to convey it is difficult to say. No doubt some meaning will be found for it by some of the members present.

The parallelograms at each side of the square are replete with interest, and to the Craft a study of themselves; moreover they, in connection with the centre square, stamp the whole panel as being one of truly Masonic signification.

The sudden change in the character of the mosaics which takes place at the threshold of what may be termed the "Sacred Chamber," and between it and the outer one is most significant, and goes a long way to prove the Masonic and symbolic character of the building itself. Referring to these parallelograms they enclose four elongated right-angled triangles forming a lozenge in shape of two baseless equilateral triangles with the extremities of their sides resting one against the other.

Inside this lozenge is a point enclosed in a circle, surrounded by another circular figure. Doubtless the combination of the lozenge and its contents has some very significant meaning taken as a whole,--dissecting it we recognize 1st, a very ancient Egyptian and also Chinese sign signifying the sun or light, and typical of the great Deity; around and outside this sign is another one of Egyptian origin, viz., country, the land, the world. The sign A, in Chinese Tseih, signifies Union, and the letter, Mũh, in Chinese, means eye. This combination of them therefore might be interpreted-The great Deity and origin of Light, who rules the world-and to Masons is significant of the "All-seeing eye of a watchful Providence which never ceases to look upon us, whether we mix in the busy haunts of man, retire to privacy, or seek the silence of darkness or night. It is an emblem to us of the greatest import, whether as regards the present or the future. Nor can we fail on reflection to consider that all our actions are under constant and superin