The Two Babylons

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thus translated: "V. The Lord himself created HER in the Holy Ghost, and POURED HER out among all his works. V.O Lady, hear," etc. This astounding language manifestly implies that Mary is identified with the Holy Ghost, when it speaks of her "being poured out" on "all the works of God;" and that, as we have seen, was just the very way in which the Woman, regarded as the "Tabernacle" or House of God by the Pagans, was looked upon. Where is such language used in regard to the Virgin? Not in Spain; not in Austria; not in the dark places of Continental Europe; but in London, the seat and centre of the world's enlightenment.

The names of blasphemy bestowed by the Papacy on Mary have not one shadow of foundation in the Bible, but are all to be found in the Babylonian idolatry. Yea, the very features and complexions of the Roman and Babylonian Madonnas are the same. Till recent times, when Raphael somewhat departed from the beaten track, there was nothing either Jewish or even Italian in the Romish Madonnas. Had these pictures or images of the Virgin Mother been intended to represent the mother of our Lord, naturally then would have been cast either in the one would or the other. But it was not so. In a land of dark-eyed beauties, with raven locks, the Madonna was always represented with blue eyes and golden hair, a complexion entirely different from the Jewish complexion, which naturally would have been supposed to belong to the mother of our Lord, but which precisely agrees with that which all antiquity attributes to the goddess queen of Babylon. In almost all lands the great goddess has been described with golden or yellow hair, showing that there must have been one grand prototype, to which they were all made to correspond. "Flava ceres," the "yellow-haired Ceres," might not have been accounted of any weight in this argument if she had stood alone, for it might have been supposed in that case that the epithet "yellow-haired" was borrowed from the corn that was supposed to be under her guardian care. But many other goddesses have the very same epithet applied to them. Europa, whom Jupiter carried away in the form of a bull, is called "The yellow-haired Europa." Minerva is called by Homer "the blur-eyed Minerva," and by Ovid "the yellow-haired;" the huntress Diana, who is commonly identified with the moon, is addressed by Anacreon as "the yellow-haired daughter of Jupiter," a title which the pale face of the silver moon could surely never have suggested. Dione, the mother of Venus, is described by Theocritus as "yellow-haired." Venus herself is frequently called "Aurea Venus," the "golden Venus." The Indian goddess Lakshmi, the "Mother of the Universe," is described

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as of "a golden complexion." Ariadne, the wife of Bacchus, was called "the yellow-haired Ariadne." Thus does Dryden refer to her golden or yellow hair:--

"Where the rude waves in Dian's harbour play,

The fair forsaken Ariadne lay;

There, sick with grief and frantic with despair,

Her dress she rent, and tore her golden hair."

The Gorgon Medusa before her transformation, while celebrated for her beauty, was equally celebrated for her golden hair:--

"Medusa once had charms: to gain her love

A rival crowd of anxious lovers strove.

They who have seen her, own they ne'er did trace

More moving features in a sweeter face;

But above all, her length of hair they own

In golden ringlets waved, and graceful shone."

The mermaid that figured so much in the romantic tales of the north, which was evidently borrowed from the story of Atergatis, the fish goddess of Syria, who was called the mother of Semiramis, and was sometimes identified with Semiramis herself, was described with hair of the same kind. "The Ellewoman," such is the Scandinavian name for the mermaid, "is fair," says the introduction to the "Danish Tales" of Hans Andersen, "and gold-haired, and plays most sweetly on a stringed instrument." "She is frequently seen sitting on the surface of the waters, and combing her long golden hair with a golden comb." Even when Athor, the Venus of Egypt, was represented as a cow, doubtless to indicate the complexion of the goddess that cow represented, the cow's head and neck were gilded. When, therefore, it is known that the most famed pictures of the Virgin Mother in Italy represented her as of a fair complexion and with golden hair, and when over all Ireland the Virgin is almost invariably represented at this day in the very same manner, who can resist the conclusion that she must have been thus represented, only because she had been copied from the same prototype as the Pagan divinities?

Nor is this agreement in complexion only, but also in features. Jewish features are everywhere marked, and have a character peculiarly their own. But the original Madonna's have nothing at all of Jewish form or feature; but are declared by those who have personally compared both, entirely to agree in this respect, as well as in complexion, with the Babylonian Madonnas found by Sir Robert Ker Porter among the ruins of Babylon.

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There is yet another remarkable characteristic of these pictures worthy of notice, and that is the nimbus or peculiar circle of light that frequently encompasses the head of the Roman Madonna. With this circle the heads of the so-called figures of Christ are also frequently surrounded. Whence could such a device have originated? In the case of our Lord, if His head had been merely surrounded with rays, there might have been some pretence for saying that that was borrowed from the Evangelic narrative, where it is stated, that on the holy mount His face became resplendent with light. But where, in the whole compass of Scripture, do we ever read that His head was surrounded with a disk, or a circle of light? But what will be searched for in vain in the Word of God, is found in the artistic representations of the great gods and goddesses of Babylon. The disk, and particularly the circle, where the will-known symbols of the Sun-divinity, and figured largely in the symbolism of the East. With the circle or the disk the head of the Sun-divinity was encompassed. The same was the case in Pagan Rome. Apollo, as the child of the Sun, was often thus represented. The goddesses that claimed kindred with the Sun were equally entitled to be adorned with the nimbus or luminous circle. We give from Pompeii a representation of Circe, "the daughter of the Sun," with her head surrounded with a circle, in the very same way as the head of the Roman Madonna is at this day surrounded. Let any one compare the nimbus around the head of Circe, with that around the head of the Popish Virgin, and he will see how exactly they correspond.