“Of the several varieties of the Cross still in vogue, as national or ecclesiastical emblems, in this and other European states, and distinguished by the familiar appellations of St. George, St. Andrew, the Maltese, the Greek, the Latin, etc., etc., there is not one among them the existence of which may not be traced to the remotest antiquity.
They were the common property of the Eastern nations. No revolution or other casualty has wrought any perceptible difference in their several forms or delineations; they have passed from one hemisphere to the other intact; have survived dynasties, empires, and races; have been borne on the crest of each successive wave of Aryan population in its course toward the West; and, having been reconsecrated in later times by their lineal descendants, are still recognized as military and national badges of distinction. . . .
Among the earliest known types is the crux ansata, vulgarly called ‘the key of the Nile,’ because of its being found sculptured or otherwise represented so frequently upon Egyptian and Coptic monuments. It has, however, a very much older and more sacred signification than this. It was the symbol of symbols, the mystical Tau, ‘the bidden wisdom,’ not only of the ancient Egyptians but also of the Chaldeans, Phoenicians, Mexicans, Peruvians, and of every other ancient people commemorated in history, in either hemisphere, and is formed very similarly to our letter T, with a roundlet, or oval, placed immediately above it. Thus it was figured on the gigantic emerald or glass statue of Serapis, which was transported (293 B.C.) by order of Ptolemy Soter from Sinope, on the southern shores of the Black Sea, re-erected within that famous labyrinth which encompassed the banks of Lake Moeris, and destroyed by the victorious army of Theodosius (A.D. 389), despite the earnest entreaties of the Egyptian priesthood to spare it, because it was the emblem of their god and of ‘the life to come.’ Sometimes, as may be seen on the breast of an Egyptian mummy in the museum of the London University, the simple T only is planted on the frustum of a cone; and sometimes it is represented as springing from a heart; in the first instance signifying goodness; in the second, hope or expectation of reward. As in the oldest temples and catacombs of Egypt, so this type likewise abounds in the ruined cities of Mexico and Central America, graven as well upon the most ancient cyclopean and polygonal walls as upon the more modern and perfect examples of masonry; and is displayed in an equally conspicuous manner upon the breasts of innumerable bronze statuettes which have been recently disinterred from the cemetery of Juigalpa (of unknown antiquity) in Nicaragua.”
When the Spanish missionaries first set foot upon the soil of America, in the fifteenth century, they were amazed to find the Cross was as devoutly worshipped by the red Indians as by themselves, and were in doubt whether to ascribe the fact to the pious labors of St. Thomas or to the cunning device of the Evil One. The hallowed symbol challenged their attention on every hand and in almost every variety of form. It appeared on the bass-reliefs of ruined and deserted as well as on those of inhabited palaces, and was the most conspicuous ornament in the great temple of Gozumel, off the coast of Yucatan. According to the particular locality, and the purpose which it served, it was formed of various materials—of marble and gypsum in the open spaces of cities and by the way-side; of wood in the teocallis or chapels on pyramidal summits and in subterranean sanctuaries; and of emerald or jasper in the palaces of kings and nobles.
When we ask the question how it comes that the sign of the Cross has thus been reverenced from the highest antiquity by the races of the Old and New Worlds, we learn that it is a reminiscence of the Garden of Eden, in other words, of Atlantis.
Professor Hardwicke says:
“All these and similar traditions are but mocking satires of the old Hebrew story—jarred and broken notes of the same strain; but with all their exaggerations they intimate how in the background of man’s vision lay a paradise of holy joy—a paradise secured from every kind of profanation, and made inaccessible to the guilty; a paradise full of objects that were calculated to delight the senses and to elevate the mind a paradise that granted to its tenant rich and rare immunities, and that fed with its perennial streams the tree of life and immortality.”
To quote again from the writer in the Edinburgh Review, already cited; “Its undoubted antiquity, no less than its extraordinary diffusion, evidences that it must have been, as it may be said to be still in unchristianized lands, emblematical of some fundamental doctrine or mystery. The reader will not have failed to observe that it is most usually associated with water; it was ‘the key of the Nile,’ that mystical instrument by means of which, in the popular judgment of his Egyptian devotees, Osiris produced the annual revivifying inundations of the sacred stream; it is discernible in that mysterious pitcher or vase portrayed on the brazen table of Bembus, before-mentioned, with its four lips discharging as many streams of water in opposite directions; it was the emblem of the water-deities of the Babylonians in the East and of the Gothic nations in the West, as well as that of the rain-deities respectively of the mixed population in America. We have seen with what peculiar rites the symbol was honored by those widely separated races in the western hemisphere; and the monumental slabs of Nineveh, now in the museums of London and Paris, show us how it was similarly honored by the successors of the Chaldees in the eastern. . . .
ANCIENT
IRISH
CROSS—PRE-CHRISTIAN—KILNABOY
.
“In Egypt, Assyria, and Britain it was emblematical of creative power and eternity; in India, China, and Scandinavia, of heaven and immortality; in the two Americas, of rejuvenescence and freedom from physical suffering; while in both hemispheres it was the common symbol of the resurrection, or ‘the sign of the life to come;’ and, finally, in all heathen communities, without exception, it was the emphatic type, the sole enduring evidence, of the Divine Unity. This circumstance alone determines its extreme antiquity—an antiquity, in all likelihood, long antecedent to the foundation of either of the three great systems of religion in the East. And, lastly, we have seen how, as a rule, it is found in conjunction with a stream or streams of water, with exuberant vegetation, and with a bill or a mountainous region—in a word, with a land of beauty, fertility, and joy. Thus it was expressed upon those circular and sacred cakes of the Egyptians, composed of the richest materials-of flour, of honey, of milk—and with which the serpent and bull, as well as other reptiles and beasts consecrated to the service of Isis and their higher divinities, were daily fed; and upon certain festivals were eaten with extraordinary ceremony by the people and their priests. ‘The cross-cake,’ says Sir Gardner Wilkinson, ‘was their hieroglyph for civilized land;’ obviously a land superior to their own, as it was, indeed, to all other mundane territories; for it was that distant, traditional country of sempiternal contentment and repose, of exquisite delight and serenity, where Nature, unassisted by man, produces all that is necessary for his sustentation.”