Figures 15, 16, are copies of Diana of the Ephesians; the first is from Hislop, who quotes Kitto's Illustrated Commentary, vol. v., p. 250; the second from Higgins' Anacalypsis, who quotes Montfauçon, plate 47. I remember to have seen a figure similar to these in the Royal Museum at Naples.
The tower upon the head represents virginity (see Ancient Faiths, second edition, Vol. i., p. 144); the position of the hand forms a cross with the body: the numerous breasts indicate abundance; the black colour of Figure 16 indicates the ordinary tint of the feminine lanugo, the almost universal colour of the hair of the Orientals being black about the yoni as well as on the head; or, as some mythologists imagine, "Night," who is said to be one of the mothers of creation. (See Ancient Faiths, second edition, Vol. n., p. 882.) The emblems upon the body indicate the attributes or symbols of the male and female creators.
Figure 17 is a complicated sign of the yoni, delta, or door of life. It is copied from Bonomi's Palaces of Nineveh, p. 809.
Figure 18 signifies the same thing; the priests adoring it present the pine cone and basket, symbolic of Ann, Hea, and their residence. Compare the object of the Assyrian priest's adoration with that adored by a Christian divine, in a subsequent figure. (See Ancient Faiths, second edition, Vol. I., p. 88, et seq., and Vol. n., p. 648.)
Figure 19 is copied from Lajard (Op. Cit.), plate xxii., fig. 5. It is the impression of an ancient gem, and represents a man clothed with a fish, the head being the mitre; priests thus clothed, often bearing in their hand the mystic bag, are common in Mesopotamian sculptures; two such are figured on Figs. 63, 64, infra. In almost every instance it will be recognised that the fish's head is represented as of the same form as the modern bishop's mitre.
Figure 20 represents two equilateral triangles, infolded so as to make a six-rayed star, the idea embodied being the androgyne nature of the deity, the pyramid with its apex upwards signifying the male, that with the apex downwards the female. The line at the central junction is not always seen, but the shape of the three parallel bars reappears in Hindoo frontlet signs in conjunction with a delta or door, shaped like the "grove" in Fig. 17; thus showing that the lines serve also to indicate the masculine triad. The two triangles are also understood as representing fire, which mounts upwards, and water, which flows downwards. Fire again is an emblem of the sun, and water of the passive or yielding element in nature. Fire also typifies Eros or Cupid. Hymen is always represented carrying a torch. It is also symbolic of love; e.g., Southey writes.