tending view, which awes and fills our mind with dread and excites grateful emotions in the heart, according as we tread the opposite dictates of virtue or vice.

Picked up amongst the débris in one of the rooms of this building was an object in bone, shaped and marked thus This would almost appear a sort of pass or charm.

This lozenge-shaped figure as shown on the floor has yet another Masonic signification. It will be seen that the outer circumference of the outer white circle partly hidden by the sides of the lozenge, rests on two parallel white lines of the surrounding parallelogram, thus forming a circle with a point inscribed between two parallel lines. It is well known to Masons that a Circle, when used as a Masonic symbol, and bounded by two parallel lines, represents Moses and St. John, two sure guides to eternal happiness and signifies that so long as the rule of our Masonic conduct is bounded by the Law and the Gospel we may look forward with stedfast hope of a glorious eternity, and that if we traverse the bounds of duty therein inculcated it is impossible we can materially err.

Passing the threshold of what we may term the Inner or Sacred chamber which measures 20-feet 11-inches by 20-feet, the Guide Book states-"The pavements in this room are of great beauty, that at the west end is almost square, its dimensions being 13-feet 6-inches by 13-feet 10-inches, divided into compartments all edged with the guilloche in half-inch tessera of white, black and red. The design may be described as in three divisions with a central circular medallion also bordered by the guilloche, but the subject is destroyed, sufficient however remains to show that it contained a similar little house to that already mentioned in Chamber III. Upon either side are oblong panels containing mythological subjects, and at the corners are quadrants enclosed in compartments, these being occupied, with the exception of one which has perished, by busts symbolical of the four Seasons, that which is missing, at the north-west angle, being probably Spring. Summer appears at the south-west corner, and is tolerably well preserved, the head is that of a female whose hair is decked with poppies, typical perhaps of Juno. It is enclosed by the guilloche border. In the angle of this compartment there is a figure of a peacock with flowing tail represented pecking at flowers in a vase; the plumage of the bird is beautifully worked in many colours. There are also traces of a bird in the injured composition supposed to contain Spring. It is therefore probable that there were figures of birds in each compartment suitable to the season of the year. Autumn is also a female figure treated in a similar manner to the former, her hair is decorated with ears of corn in illustration of Ceres. She wore a torque around the neck, and is suggestive of a similar subject discovered in the mosaic pavement from Carthage now in the British Museum,1 and in our own country, at Cirencester the Roman Corinium. The last is Winter, the most perfect of all; this is also a female figure closely wrapped, her garment being fastened across the left shoulder by a brooch or fibula, attached to the dress is a cucullus or hood, which could be drawn up over the head in rough weather, similar to that worn by ecclesiastics at the present day. The centre of the pavement is much injured, but the central design was evidently contained in a circular medallion bordered with the guilloche pattern. Around this were four oblong panels placed between the angles containing the figures of the Seasons. These probably represented mythological subjects, because in the one which is preserved appear figures of Perseus and Andromeda; the former is seated, and in his right hand holds aloft the Gorgon's head, and in the left the weapon with which the head was severed; the latter figure is nude, and is likewise seated, apparently upon a rock, the representation of which has been well worked in dark brown and other coloured tessera-at their feet are apparent indications of the monster associated with the myth. Doubtless all the other panels like this one were bordered by the guilloche pattern."

Looking at the floor of what we may call the inner or sacred chamber, it will be observed that the panels on the floor assume the true Masonic form, viz., that of a square on whose prolonged sides are formed four other squares, the centre square thus having another one at each of its four angles. The pavement in this chamber is much damaged and most probably intentionally so by the Romans themselves for purposes of concealment ; enough, however, is left in each panel to shadow faintly what was intended. The north and south panels contained figures, the eastern one a building of some sort whose direction was very curiously east and west, and taking this fact into consideration with the house shown in Room No. III. it would seem to clearly prove a connection between the two separate designs although placed at opposite ends of the house. Of the centre panel also most fortunately a fragment remains, enough to show what was intended to be placed in it.

The Seasons, as illustrated in the four corners of the design, seem most appropriate, Summer and Autumn being on the south side, Spring (presumably) and Winter on the north.

1 Carthage and her Remains, by Dr. N. Davis, p. 190.

These designs, Masonically speaking, would seem to illustrate the fact that at all seasons in the yearly progress of the world round the sun, to the true Mason the science and practice of true Masonry will remain for ever constant and unchanged.

On entering this chamber, across the threshold the Mason cannot fail to see and observe what all Masons expect to see in all well-constituted Lodges, viz., a Great Light."

In the centre medallion is the representation of the "Blazing Star" or of the "Sun," remarkable from the fact that all its rays are represented by right-angled triangles. Again here, as if to convince one of its Masonic signification, in each corner of the square in which this circle is so Masonically inscribed, is found the inverted right-angled triangle. In the outer chamber this right-angled triangle is white, here, however, it is black. This rightangled triangle inverted within another right-angled triangle is a most cherished symbol amongst Masons; it represents the " Triple Trine" and the source and fountain of Light, hence its positions in this panel around the Sun are most appropriate.

Beyond the centre Sun, and immediately opposite to what there is reason to believe will prove one of the most curious and sacred Masonic signs in existence, is the panel containing a Mosaic supposed to illustrate the fable of Perseus and Andromeda. Perseus is here assumed by one reading to be showing the head of Medusa to the sea dragon, who thereby is converted into a rock. Andromeda meanwhile is shown reclining in a nude state on the edge of the shore, rejoicing in her escape and admiring the reflection in the water of Medusa's head.

Another reading suggests that Perseus is holding aloft the Gorgon Medusa's head, which he has just severed from her body with the weapon shown in his left hand, Andromeda being seated beside him.

This mythological fable has been variously rendered, but it is always understood that when the Gorgon was killed Andromeda was not present, consequently, if the Gorgon's body is intended to be shown in the panel the female figure cannot well be that of Andromeda. The sea monster who was killed by Perseus, one fable says, was stabbed in the shoulder and fell into the sea. Another version states that the sea dragon was turned to stone by

being shown Medusa's head.

The most generally accepted history of Perseus is as follows:

Perseus, the son of Danae and Jupiter, was brought up at Seriphos, one of the Cyclades, by the priests in the Temple of Minerva, and under the protection of that goddess. Having promised the head of Medusa, being so prompted by Minerva, to Polydectes, the king of the country in which he lived, he set out to fulfil what he had undertaken. Minerva had a deep grudge against Medusa, (who was, some fables say, a beautiful woman,) she having defiled one of Minerva's temples by residing there for a time on intimate terms with Bacchus. To assist Perseus in his expedition Pluto gave him a helmet, Minerva a buckler, Mercury wings, and Vulcan a diamond dagger or herpe. The fable goes on to say that after various adventures Perseus traversed the air to the western borders of the earth, conducted by Minerva, and eventually finding the Gorgons when asleep, encouraged by Minerva, he cut off Medusa's head, whose body thereupon assumed the form of a dragon, and her lovely auburn locks that of writhing serpents.

Perseus, after undergoing further adventures, whilst flying back through the air, perceived Andromeda on the coast of Ethiopia chained to a rock, awaiting the arrival of a sea monster who was to destroy her. Perseus, on a promise of marriage being given by her father, flew through the air to meet the advancing monster, and stabbing him in the shoulder with his “herpe," hurled him dead into the sea.

With this fable so told it seems difficult to assume that the dragon shown in the design is the sea monster, it would appear more probable that the body is that of Medusa, who has just been decapitated. If this be the case, the female figure is intended to represent Minerva; and so translated, this panel becomes a very really Masonic one, as it typifies vividly the "penalty of the obligation" which it also seems probable it was intended to convey, the more so from the fact that it was on this spot, in the west of the building, that obligations of some sort were taken, it being immediately in front of the marginal sacred sign. The decapitated body lying not a cable tow from the edge of the shore, as shown here is very suggestive, and no better selected fable or one more discreetly veiled could possibly have been chosen than this, to illustrate to Masons a very interesting subject.

Round the mosaic design on the floor of this inner room are borders of Tau's, having in the centre of the western portion a Svedic sign of deep Masonic significance.

The writer will quote here at length the very valuable and exhaustive comments made on this sign by Mr. F. Hilton Price, and which are well worthy of your best attention. "The whole of this chamber is bordered with red inch-tesseræ, that portion in the western division containing a fret pattern laid in white, terminating at the head of the chamber in a figure of the Svastika or vedic cross. The presence of this symbol has been noted before upon remains of Roman buildings discovered in this country. As a religious emblem, it is probably the most ancient symbol extant, and it has been cited as a gnostic symbol derived by the early Christians from Oriental creeds. With the Buddhists it was viewed as an emblem of resignation, and appears upon the sacred relics of the Vaishnavas. It occurs on the oldest Greek coins, on Etruscan vases, and on the Newton stone at Aberdeen, which is a Celtic monument. Dr. Schliemann has noted its presence on pottery found at Königswalde on the Oder, around the pulpit of St. Ambrose at Milan, in the Catacombs at Rome, on a Celtic urn at Shropham in Norfolk, and on Corinthian and Attic vases. It also appears upon the celebrated cinerary urn found some years ago at Colchester, where it is a portion of the ornament upon a shield of one of the figures there seen in combat. We have likewise met with it upon Roman glass from London excavations. The Rev. J. C. Bruce has

recorded its presence on a Roman altar dedicated to Jupiter, found at Amboglanna, the modern Birdoswald in the North of England, where it is associated with the Greek cross; and it appears on an altar dedicated to Minerva, from High Rochester, now in the Museum at Alnwick Castle. Mr. M. J. Walhouse, in an article on the Svastika in the Indian Antiquary for July, 1878, refers to its existence also in China and Japan. It is there seen on the lids of coffins, being supposed to act as a charm to protect the corpse against the attack of a demon, in the shape of a cat called Kinasha, which is said to seize and mangle the dead bodies of human beings. It may be seen in heraldry, and it was repeated upon ecclesiastical vestments with doubtless a belief in its efficacy as a charm. It is also to be found on ancient bells in some of our parish chuches, illustrating, as remarked by Mr. Walhouse, the belief in demons, the powers of the air being driven away by the clang of church bells. On our pavement at Morton, the position of the emblem (see woodcut) is at the head of this chamber (No. XII). It was probably the site of an altar or a presidential chair, the former if the chamber were used for religious ceremonies, and the latter if as a hall of justice.

The Taus round this Chamber were at first taken to represent an ordinary fret border and indeed in some drawings, by mistake, have been shown as such. Careful examination, however, will prove that they are present with a very different intention.

The most curious point about these Taus lies in the fact that those on the north and south borders of the room, all point in one direction; further that there are seven on each side, the southern and not the northern angles of the room being marked by a square.

The Tau has always been considered essentially Masonic, and the position chosen for these Taus has a significance hardly to be over estimated. Placed with their bases to the south they may be said to be "resting on light," and so arranged would typify the solid and secure basis upon which Masonry may truly be said to be fixed-what more enduring than the great light and truth by which Masons stand redeemed from darkness and are become sons of light. What seven virtues more dear to Masons than Faith, Prudence, Temperance, Hope, Fortitude, Justice, and Charity, which may be cherished worthily as children of light showing that we have cast away the works of darkness and put upon us the armour of light, discharging acceptable service on which the Great Master of all from his beatitude looks down with approbation.

The so-called Svastika is most curiously placed in this room in the west and not in the east. As an ancient, indeed one of the most ancient signs in existence, this position is singular. In the true Svastika sign the arms are reverted thus from left to right; in the one we have here they are turned in the opposite direction, from right to left. With arms prolonged as they are in this border they form two squares, which being Masonic would seem to indicate, that Masons of old selected the then oldest sign known on which to graft, as it were, a true Masonic signification, but the single square is of great antiquity: it was common amongst the Egyptians, and not impossibly older far than even the Svastika itself.

In so-called "Egyptian borders" the Svastika, as shown in an improved form, is common; on modern floor-cloths, on ground-glass window panes, on china ware, the pattern meets one at every turn. Shown here are two of the commonest patterns in vogue; for borders these forms were used by the Romans as well as the Greeks.

On the floor of the Roman Villa discovered some years since at Cirencester, this Egyptian border is well marked. There is nothing, in fact, uncommon about this pattern.

The use of a portion of the pattern here indicates probably the origin of the design, and as such it must have pointed to periods even in those days of very ancient date, and therefore somewhat beyond the realms of profitable discussion at this time.

The first question which arises with respect to this sign is, why, it being apparently of entirely eastern signification, is it placed in the west, and if so placed in the west how can it possibly have any Masonic signification? The connection that existed of old between the Egyptians and the Jews is well known: not less well realized is that which subsisted at a later date between the Jews and Romans. Some of the greatest works ever executed in Masonry were erected in Egypt-the school, in fact, of Israel. Of what the Jews accomplished themselves at Jerusalem and elsewhere we have ample evidence. We profess to believe that our Masonic ideas and inspirations arose in Jerusalem. Why then marvel at discovering