upon this form of the emblem,
that the supreme deity of the Assyrians, whom the winged circle seems
always to represent, was in reality a triune god. Now certainly the
triple human form is very remarkable, and lends a color to this
conjecture; but, as there is absolutely nothing, either in the
statements of ancient writers, or in the Assyrian inscriptions, so far
as they have been deciphered, to confirm the supposition, it can hardly
be accepted as the true explanation of the phenomenon. The doctrine of
the Trinity, scarcely apprehended with any distinctness even by the
ancient Jews, does not appear to have been one of those which primeval
revelation made known throughout the heathen world. It is a fanciful
mysticism which finds a Trinity in the Eicton, Cneph, and Phtha of the
Egyptians, the Oromasdes, Mithras, and Arhimanius of the Persians, and
the Monas, Logos and Psyche of Pythagoras and Plato. There are abundant
Triads in ancient mythology, but no real Trinity. The case of Asshur is,
however, one of simple unity, He is not even regularly included in any
Triad. It is possible, however, that the triple figure shows him to us
in temporary combination with two other gods, who may be exceptionally
represented in this way rather than by their usual emblems. Or the three
heads may be merely an exaggeration of that principle of repetition
which gives rise so often to a double representation of a king or a god,
and which is seen at Bavian in the threefold repetition of another
sacred emblem, the horned cap.

It is observable that in the sculptures the winged circle is seldom
found except in immediate connection with the monarch. The great King
wears it embroidered upon his robes, carries it engraved upon his
cylinder, represents it above his head in the rock-tablets on which he
carves his image a stands or kneels in adoration before it, fights under
its shadow, under its protection returns victorious, places it
conspicuously in the scenes where he himself is represented on his
obelisks. And in these various representations he makes the emblem in a
great measure conform to the circumstances in which he himself is
engaged at the time. Where he is fighting, Asshur too has his arrow on
the string, and points it against the king's adversaries. Where he is
returning from victory, with the disused bow in the left hand and the
right hand outstretched and elevated, Asshur takes the same attitude. In
peaceful scenes the bow disappea