Chapter III: Part 3

The Ts'ing-I-Luh, by Tao Kuh, of the Sung Dynasty, records that an
Empress in the time of the South Tang Dynasty had an incense burner
the external decoration of which had the Swastika design on it. [Pl.
6.]

Chu I-Tsu, in his work entitled Ming Shih Tsung, says Wu Tsung-Chih, a
learned man of Sin Shui, built a residence outside of the north gate
of that town, which he named "Wan-Chai," from the Swastika decoration
of the railings about the exterior of the house. [Pl. 7.]

An anonymous work, entitled the Tung Hsi Yang K'ao, described a fruit
called shan-tsao-tse (mountain or wild date), whose leaves resemble
those of the plum. The seed resembles the lichee, and the fruit, which
ripens in the ninth month of the year, suggests a resemblance to the
Swastika. [Pl. 8.]

The Swastika is one of the symbolic marks of the Chinese porcelain. Prime[110] shows what he calls a "tablet of honor," which represents a Swastika inclosed in a lozenge with loops at the corners (fig. 31). This mark on a piece of porcelain signifies that it is an imperial gift.

Major-General Gordon, controller of the Royal Arsenal at Woolwich, England, writes to Dr. Schliemann:[111] "The Swastika is Chinese. On the breech chasing of a large gun lying outside my office, captured in the Taku fort, you will find this same sign." But Dumoutier[112] says this sign is nothing else than the ancient Chinese character _c h e_, which, according to D'Alviella,[113] carries the idea of perfection or excellence, and signifies the renewal and perpetuity of life. And again,[111] "Dr. Lockyer, formerly medical missionary to China, says the sign [Z] is thoroughly Chinese."

The Swastika is found on Chinese musical instruments. The U. S. National Museum possesses a Hu-Ch'in, a violin with four strings, the body of which is a section of bamboo about 3-1/2 inches in diameter. The septum of the joint has been cut away so as to leave a Swastika of normal form, the four arms of which are connected with the outer walls of the bamboo. Another, a Ti-Ch'in, a two-stringed violin, with a body of cocoanut, has a carving which is believed to have been a Swastika; but the central part has been broken out, so that the actual form is undetermined.

Prof. George Frederick Wright, in an article entitled "Swastika,"[114] quotes Rev. F. H. Chalfont, missionary at Chanting, China, as saying: "Same symbol in Chinese characters 'ouan,' or 'wan,' and is a favorite ornament with the Chinese."

TIBET.

Mr. William Woodville Rockhill,[115] speaking of the fair at Kumbum, says:

I found there a number of Lh'asa Tibetans (they call them Gopa here)
selling pulo, beads of various colors, saffron, medicines, peacock
feathers, incense sticks, etc. I had a talk with these traders,
several of whom I had met here before in 1889. * * * One of them had a
Swastika (yung-drung) tattooed on his hand, and I learned from this
man that this is not an uncommon mode of ornamentation in his
country.

Count D'Alviella says that the Swastika is continued among the Buddhists of Tibet; that the women ornament their petticoats with it, and that it is also placed upon the breasts of their dead.[116]

He also reports[117] a Buddhist statue at the Musée Guimet with Swastikas about the base. He does not state to what country it belongs, so the author has no means of determining if it is the same statue as is represented in fig. 29.

INDIA.

Burnouf[118] says approvingly of the Swastika:

Christian archæologists believe this was the most ancient sign of the
cross. * * * It was used among the Brahmins from all antiquity. (Voyez
mot "Swastika" dans notre dictionnaire sanskrit.) Swastika, or Swasta,
in India corresponds to "benediction" among Christians.

The same author, in his translation of the "Lotus de la Bonne Loi," one of the nine Dharmas or Canonical books of the Buddhists of the North, of 280 pages, adds an appendix of his own writing of 583 pages; and in one (No. 8) devoted to an enumeration and description of the sixty-five figures traced on the footprint of Çakya (fig. 32) commences as follows:

1. _Svastikaya_: This is the familiar mystic figure of many Indian
sects, represented thus, [S], and whose name signifies, literally,
"sign of benediction or of good augury." (Rgya tch'er rol pa, Vol. 11,
p. 110.)

* * * The sign of the Swastika was not less known to the Brahmins than
to the Buddhists. "Ramayana," Vol. II, p. 348, ed. Gor., Chap. XCVII,
st. 17, tells of vessels on the sea bearing this sign of fortune. This
mark, of which the name and usage are certainly ancient, because it is
found on the oldest Buddhist medals, may have been used as frequently
among the Brahmins as among the Buddhists. Most of the inscriptions on
the Buddhist caverns in western India are either preceded or followed
by the holy (_sacramentelle_) sign of the Swastika. It appears less
common on the Brahmin monuments.

Mr. W. Crooke (Bengal Civil Service, director of Eth. Survey, Northwest Provinces and Oudh), says:[119]

The mystical emblem of the Swastika, which appears to represent the
sun in his journey through the heavens, is of constant occurrence. The
trader paints it on the flyleaf of his ledger, he who has young
children or animals liable to the evil eye makes a representation of
it on the wall beside his doorpost. It holds first place among the
lucky marks of the Jainas. It is drawn on the shaven heads of children
on the marriage day in Gujarat. A red circle with Swastika in the
center is depicted on the place where the family gods are kept
(Campbell, Notes, p. 70). In the Meerut division the worshiper of the
village god Bhumiya constructs a rude model of it in the shrine by
fixing up two crossed straws with a daub of plaster. It often occurs
in folklore. In the drama of the Toy Cart the thief hesitates whether
he shall make a hole in the wall of Charudatta's house in the form of
a Swastika or of a water jar (Manning, Ancient India, 11, 100).

_Village shrines._--The outside (of the shrines) is often covered with
rude representations of the mystical Swastika.

On page 250 he continues thus:

_Charms._--The bazar merchant writes the words "Ram Ram" over his
door, or makes an image of Genesa, the god of luck, or draws the
mystical Swastika. The jand tree is reverenced as sacred by Khattris
and Brahmins to avoid the evil eye in children. The child is brought
at 3 years of age before a jand tree; a bough is cut with a sickle and
planted at the foot of the tree. A Swastika symbol is made before it
with the rice flour and sugar brought as an offering to the tree.
Threads of string, used by women to tie up their hair, are cut in
lengths and some deposited on the Swastika.

Mr. Virchand R. Gandhi, a Hindu and Jain disciple from Bombay, India, a delegate to the World's Parliament of Religions at Chicago in 1893, remained for some time in Washington, D. C., proselyting among the Christians. He is a cultivated gentleman, devoted to the spread of his religion. I asked his advice and assistance, which he kindly gave, supervising my manuscript for the Swastika in the extreme Orient, and furnishing me the following additional information relative to the Swastika in India, and especially among the Jains:

The Swastika is misinterpreted by so-called Western expounders of our
ancient Jain philosophy. The original idea was very high, but later on
some persons thought the cross represented only the combination of the
male and the female principles. While we are on the physical plane and
our propensities on the material line, we think it necessary to unite
these (sexual) principles for our spiritual growth. On the higher
plane the soul is sexless, and those who wish to rise higher than the
physical plane must eliminate the idea of sex.

I explain the Jain Swastika by the following illustration [fig. 33]:
The horizontal and vertical lines crossing each other at right angles
form the Greek cross. They represent spirit and matter. We add four
other lines by bending to the right each arm of the cross, then three
circles and the crescent, and a circle within the crescent. The idea
thus symbolized is that there are four grades of existence of souls in
the material universe. The first is the lowest state--Archaic or
protoplasmic life. The soul evolves from that state to the next--the
earth with its plant and animal life. Then follows the third
stage--the human; then the fourth stage--the celestial. The word
"celestial" is here held to mean life in other worlds than our own.
All these graduations are combinations of matter and soul on different
scales. The spiritual plane is that in which the soul is entirely
freed from the bonds of matter. In order to reach that plane, one must
strive to possess the three jewels (represented by the three circles),
right belief, right knowledge, right conduct. When a person has those,
he will certainly go higher until he reaches the state of liberation,
which is represented by the crescent. The crescent has the form of the
rising moon and is always growing larger. The circle in the crescent
represents the omniscient state of the soul when it has attained full
consciousness, is liberated, and lives apart from matter.

The interpretation, according to the Jain view of the cross, has
nothing to do with the combination of the male and female principle.
Worship of the male and female principles, ideas based upon sex,
lowest even of the emotional plane, can never rise higher than the
male and female.

The Jains make the Swastika sign when we enter our temple of worship.
This sign reminds us of the great principles represented by the three
jewels and by which we are to reach the ultimate good. Those symbols
intensify our thoughts and make them more permanent.

Mr. Gandhi says the Jains make the sign of the Swastika as frequently and deftly as the Roman Catholics make the sign of the cross. It is not confined to the temple nor to the priests or monks. Whenever or wherever a benediction or blessing is given, the Swastika is used. Figs. 34 _a_, _b_, _c_ form a series showing how it is made. A handful of rice, meal, flour, sugar, salt, or any similar substance, is spread over a circular space, say, 3 inches in diameter and one-eighth of an inch deep (fig. 34_a_), then commence at the outside of the circle (fig. 34_b_), on its upper or farther left-hand corner, and draw the finger through the meal just to the left of the center, halfway or more to the opposite or near edge of the circle (1), then again to the right (2), then upward (3), finally to the left where it joins with the first mark (4). The ends are swept outward, the dots and crescent put in above, and the sign is complete (fig. 34_c_).

The sign of the Swastika is reported in great numbers, by hundreds if not by thousands, in the inscriptions on the rock walls of the Buddhist caves in India. It is needless to copy them, but is enough to say that they are the same size as the letters forming the inscription; that they all have four arms and the ends turn at right angles, or nearly so, indifferently to the right or to the left. The following list of inscriptions, containing the Swastikas, is taken from the first book coming to hand--the "Report of Dr. James Burgess on the Buddhist Cave Temples and their Inscriptions, Being a Part of the Result of the Fourth, Fifth, and Sixth Seasons' Operations of the Archæological Survey of Western India, 1876, 1877, 1878, 1879:"[120]

+--------------------------------------------------+
| | |Inscription| Direction |
| | Plate. | number. |in which ends|
| | | | are bent. |
|--------|---------------|-----------|-------------|
| Bhaja | XLIV | 2 | To right. |
| Kuda | XLVI | 26 | Do. |
| Do | XLVI | 27 | To left. |
| Kol | XLVI | 5 | To right. |
| Karle | XLVII | 1 | Do. |
| Do | XLVII | 3 | Do. |
| Junnar | XLIX | 5 | Do. |
| Do | XLIX | 6 | To left. |
| Do | XLIX | 7 | To right. |
| Do | XLIX | 8 | To left. |
| Do | XLIX | 9 | To right. |
| Do | XLIX | 10 | Do. |
| Do | XLIX | 11 (?) | Do. |
| Do | XLIX | 12 | Do. |
| Do | XLIX | 13 (?) | Do. |
| Do | XLIX | 13 (?) | To left. |
| Do | XLIX | 14 | Do. |
| Do | L | 17 | To right. |
| Do | L | 19 | Do. |
| Nasik | LII | 5 | Do. |
| Do | LV (Nasik 21) | 5 (?) | Do. |
| Do | LV (Nasik 24) | 8 (?) | Do. |
+--------------------------------------------------+

Chantre[121] says:

I remind you that the (East) Indians, Chinese, and Japanese employ the
Swastika, not only as a religious emblem but as a simple ornament in
painting on pottery and elsewhere, the same as we employ the Greek
fret, lozenges, and similar motifs in our ornamentation. _Sistres_
[the staff with jingling bells, held in the hand of Buddha, on whose
base is engraved a row of Swastikas, fig. 29 of present paper] of
similar form and style have been found in prehistoric Swiss lake
dwellings of the bronze age. Thus the _sistres_ and the Swastika are
brought into relation with each other. The _sistres_ possibly relate
to an ancient religion, as they did in the Orient; the Swastika may
have had a similar distinction.

De Mortillet and others hold the same opinion.[122]

CLASSICAL ORIENT.

BABYLONIA, ASSYRIA, CHALDEA, AND PERSIA.

Waring[123] says, "In Babylonian and Assyrian remains we search for it [the Swastika] in vain." Max Müller and Count Goblet d'Alviella are of the same opinion.[124]

Of Persia, D'Alviella (p. 51), citing Ludwig Müller,[125] says that the Swastika is manifested only by its presence on certain coins of the Arsacides and the Sassanides.

PHENICIA.

It is reported by various authors that the Swastika has never been found in Phenicia, e. g. Max Müller, J. B. Waring, Count Goblet d'Alviella.[126]

Ohnefalsch-Richter[127] says that the Swastika is not found in Phenicia, yet he is of the opinion that their emigrant and commercial travelers brought it from the far east and introduced it into Cyprus, Carthage, and the north of Africa. (See p. 796.)

LYCAONIA.

Lempriere, in his Classical Dictionary, under the above title, gives the following:

A district of Asia Minor forming the southwestern quarter of Phrygia.
The origin of its name and inhabitants, the Lycaones, is lost in
obscurity. * * * Our first acquaintance with this region is in the
relation of the expedition of the younger Cyprus. Its limits varied at
different times. At first it extended eastward from Iconium 23
geographical miles, and was separated from Cilicia on the south by the
range of Mount Taurus, comprehending a large portion of what in later
times was termed Cataonia.

Count Goblet d'Alviella,[128] quoting Perrot and Chipiez,[129] states that the Hittites introduced the Swastika on a bas-relief of Ibriz, Lycaonia, where it forms a border of the robe of a king or priest offering a sacrifice to a god.

ARMENIA.

M. J. de Morgan (the present director of the Gizeh Museum at Cairo), under the direction of the French Government, made extensive excavations and studies into the prehistoric antiquities and archæology of Russian Armenia. His report is entitled "Le Premier Âge de Métaux dans l'Arménie Russe."[130] He excavated a number of prehistoric cemeteries, and found therein various forms of crosses engraved on ceintures, vases, and medallions. The Swastika, though present, was more rare. He found it on the heads of two large bronze pins (figs. 35 and 36) and on one piece of pottery (fig. 37) from the prehistoric tombs. The bent arms are all turned to the left, and would be the Suavastika of Prof. Max Müller.

CAUCASUS.

In Caucasus, M. E. Chantre[131] found the Swastika in great purity of form. Fig. 38 represents portions of a bronze plaque from that country, used on a ceinture or belt. Another of slightly different style, but with square cross and arms bent at right angles, is represented in his pl. 8, fig. 5. These belonged to the first age of iron, and much of the art was intricate.[132] It represented animals as well as all geometric forms, crosses, circles (concentric and otherwise), spirals, meanders, chevrons, herring bone, lozenges, etc. These were sometimes cast in the metal, at other times repoussé, and again were engraved, and occasionally these methods were employed together. Fig. 39 shows another form, frequently employed and suggested as a possible evolution of the Swastika, from the same locality and same plate. Fig. 40 represents signs reported by Waring[133] as from Asia Minor, which he credits, without explanation, to Ellis's "Antiquities of Heraldry."

The specimen shown in fig. 41 is reported by Waring,[134] quoting Rzewusky,[135] as one of the several branding marks used on Circassian horses for identification.

Mr. Frederick Remington, the celebrated artist and literateur, has an article, "Cracker Cowboy in Florida,"[136] wherein he discourses of the forgery of brands on cattle in that country. One of his genuine brands is a circle with a small cross in the center. The forgery consists in elongating each arm of the cross and turning it with a scroll, forming an ogee Swastika (fig. 13_d_), which, curiously enough, is practically the same brand used on Circassian horses (fig. 41). Max Ohnefalsch-Richter[137] says that instruments of copper (_audumbaroasih_) are recommended in the Atharva-Veda to make the Swastika, which represents the figure 8; and thus he attempts to account for the use of that mark branded on the cows in India (supra, p. 772), on the horses in Circassia (fig. 41), and said to have been used in Arabia.

ASIA MINOR--TROY (HISSARLIK).

Many specimens of the Swastika were found by Dr. Schliemann in the ruins of Troy, principally on spindle whorls, vases, and bijoux of precious metal. Zmigrodzki[138] made from Dr. Schliemann's great atlas the following classification of the objects found at Troy, ornamented with the Swastika and its related forms:

Fifty-five of pure form; 114 crosses with the four dots, points or alleged nail holes (_Croix swasticale_); 102 with three branches or arms (triskelion); 86 with five branches or arms; 63 with six branches or arms; total, 420.

Zmigrodzki continues his classification by adding those which have relation to the Swastika thus: Eighty-two representing stars; 70 representing suns; 42 representing branches of trees or palms; 15 animals non-ferocious, deer, antelope, hare, swan, etc.; total, 209 objects. Many of these were spindle whorls.

Dr. Schliemann, in his works, "Troja" and "Ilios," describes at length his excavations of these cities and his discoveries of the Swastika on many objects. His reports are grouped under titles of the various cities, first, second, third, etc., up to the seventh city, counting always from the bottom, the first being deepest and oldest. The same system will be here pursued. The first and second cities were 45 to 52 feet (13 to 16 meters) deep; the third, 23 to 33 feet (7 to 10 meters) deep; the fourth city, 13 to 17.6 feet (4 to 5-1/2 meters) deep; the fifth city, 7 to 13 feet (2 to 4 meters) deep; the sixth was the Lydian city of Troy, and the seventh city, the Greek Ilium, approached the surface.

_First and Second Cities._--But few whorls were found in the first and second cities[139] and none of these bore the Swastika mark, while thousands were found in the third, fourth, and fifth cities, many of which bore the Swastika mark. Those of the first city, if unornamented, have a uniform lustrous black color and are the shape of a cone (fig. 55) or of two cones joined at the base (figs. 52 and 71). Both kinds were found at 33 feet and deeper. Others from the same city were ornamented by incised lines rubbed in with white chalk, in which case they were flat.[140] In the second city the whorls were smaller than in the first. They were all of a black color and their incised ornamentation was practically the same as those from the upper cities.[141]

Zmigrodzki congratulated himself on having discovered among Schliemann's finds what he believed to be the oldest representation of the Swastika of which we had reliable knowledge. It was a fragment of a vase (fig. 42) of the lustrous black pottery peculiar to the whorls of the first and second cities. But Zmigrodzki was compelled to recede, which he did regretfully, when Schliemann, in a later edition, inserted the footnote (p. 350) saying, that while he had found this (with a companion piece) at a great depth in his excavations, and had attributed them to the first city, yet, on subsequent examination, he had become convinced that they belonged to the third city.

The Swastika, turned both ways [S] and [Z], was frequent in the third, fourth, and fifth cities.

The following specimens bearing the Swastika mark are chosen, out of the many specimens in Schliemann's great album, in order to make a fair representation of the various kinds, both of whorls and of Swastikas. They are arranged in the order of cities, the depth being indicated in feet.

_The Third, or Burnt, City_ (23 to 33 feet deep).--The spindle-whorl shown in fig. 43 contains two Swastikas and two crosses.[142] Of the one Swastika, two arms are bent to the right at right angles, while the other two are bent to the right in curves. The other Swastika has but two bends, one at right angles, the other curved, both to the right. The specimen shown in fig. 44 has two Swastikas, in one of which the four arms are bent at right angles to the left. The entire figure is traced in double lines, one heavy and one light, as though to represent edges or shadows. The second Swastika has its ends bent at an obtuse angle to the left, and at the extremities the lines taper to a point. The whorl shown in fig. 45 is nearly spherical, with two Swastikas in the upper part. The ends of the four arms in both are bent at right angles, one to the right, the other to the left. Fig. 46 represents a spindle-whorl with two irregular Swastikas; but one arm is bent at right angles and all the arms and points are uncertain and of unequal lengths. The rest of the field is covered with indefinite and inexplicable marks, of which the only ones noteworthy are points or dots, seven in number. In fig. 47 the top is surrounded by a line of zigzag or dog-tooth ornaments. Within this field, on the upper part and equidistant from the central hole, are three Swastikas, the ends of all of which turn to the left, and but one at right angles. All three have one or more ends bent, not at any angle, but in a curve or hook, making an ogee. Fig. 48 shows a large whorl with two or three Swastikas on its upper surface in connection with several indefinite marks apparently without meaning. The dots are interspersed over the field, the Swastikas all bent to the right, but with uncertain lines and at indefinite angles. In one of them the main line forming the cross is curved toward the central hole; in another, the ends are both bent in the same direction--that is, pointing to the periphery of the whorl. Fig. 49 shows a sphere or globe (see figs. 75, 88) divided by longitudinal lines into four segments, which are again divided by an equatorial line. These segments contain marks or dots and circles, while one segment contains a normal Swastika turned to the left. This terra-cotta ball has figured in a peculiar degree in the symbolic representation of the Swastika. Greg says of it:[143]

We see on one hemisphere the [Z] standing for Zeus (= Indra) the sky
god, and on the other side a rude representation of a sacred (_somma_)
tree; a very interesting and curious western perpetuation of the
original idea and a strong indirect proof of the [Z] standing for the
emblem of the sky god.

Fig. 50 represents one of the biconical spindle-whorls with various decorations on the two sides, longitudinal lines interspersed with dots, arcs of concentric circles arranged in three parallels, etc. On one of these sides is a normal Swastika, the arms crossing at right angles, the ends bent at right angles to the left. The specimen shown in fig. 51 contains four perfect Swastikas and two inchoate and uncertain. Both of the latter have been damaged by breaking the surface. The four Swastikas all have their arms bent to the right; some are greater than at right angles, and one arm is curved. Several ends are tapered to a point. Fig. 52 shows a whorl of biconical form. It contains two Swastikas, the main arms of which are ogee forms, crossing each other at the center at nearly right angles, the ogee ends curving to the right. In fig. 53 the entire field of the upper surface is filled with, or occupied by, a Greek cross, in the center of which is the central hole of the whorl, while on each of the four arms is represented a Swastika, the main arms all crossing at right angles, the ends all bent to the right at a slightly obtuse angle. Each of these bent ends tapers to a point, some with slight curves and a small flourish. (See figs. 33 and 34 for reference to this flourish.) The specimen shown in fig. 54 has a center field in its upper part, of which the decoration consists of incised parallel lines forming segments of circles, repeated in each one of the four quarters of the field. The center hole is surrounded by two concentric rings of incised lines. In one of these spaces is a single Swastika; its main arms crossing at right angles, two of its ends bent to the left at right angles, the other two in the same direction and curved.

_The Fourth City_ (13.2 to 17.6 feet deep).--Schliemann says:[144]

We find among the successors of the burnt city the same triangular
idols; the same primitive bronze battle-axes; the same terra-cotta
vases, with or without tripod feet; the same double-handled goblets
([Greek: sepa amphikupella]); the same battle-axes of jade, porphyry,
and diorite; the same rude stone hammers, and saddle querns of
trachyte. * * * The number of rude stone hammers and polished stone
axes are fully thrice as large as in the third city, while the masses
of shells and cockles accumulated in the débris of the houses are so
stupendous that they baffle all description. The pottery is coarser
and of a ruder fabric than in the third city. * * * There were also
found in the fourth city many needles of bone for female handiwork,
boar tusks, spit rests of mica schist, whetstones of slate, porphyry,
etc., of the usual form, hundreds of small silex saws, and some knives
of obsidian. Stone whorls, which are so abundant at Mycenæ, are but
rarely found here; all of those which occur are, according to Mr.
Davis, of steatite. On the other hand, terra-cotta whorls, with or
without incised ornamentation, are found by thousands; their forms
hardly vary from those in the third (the burnt) city, and the same may
be generally said of their incised ornamentation. * * * The same
representation of specimens of whorls are given as in the third city,
and the same observations apply.

Fig. 55 shows a simple cone, the upper surface being flat and without other decoration than three Swastikas equidistant from the hole and from each other, all made by the two crossed ogee lines with ends curved to the right. This specimen is much like that of Fig. 71 (Madam Schliemann collection in the U. S. National Museum, Cat. No. 149704). Fig. 56 shows a remarkable spindle-whorl. Its marks greatly excited the interest of Dr. Schliemann, and he devoted much space to the discussion of these and similar characters. The whorl is in the form of a cone. It bears upon its conical surface four Swastikas, the ends of three of which bend to the right and one to the left. There are but two of these ends which bend at right angles. Most of them are at an obtuse angle, while the ends of two are curved. Some taper to a point and finish with a slight flourish. The other marks which so interested Dr. Schliemann were the chevron ornament (zigzag), drawn in parallel lines, which, he strongly argued, and fortified with many authorities, represented lightning. The second series of marks he called a "burning altar." This assertion he also fortified with authorities and with illustrations of a similar sign from different countries. (See fig. 101.) The third series of marks represented an animal, name and character unknown, with a head or tusks with two large branching horns or ears, a straight back, a stiff but drooping tail, four legs, and two rows of the remarkable dots--seven in one, six in the other--placed over the back of the animal. (See figs. 99 and 100.) Fig. 57 represents another cone-shaped whorl, the flat surface of which is engraved with one perfect Swastika, the two arms crossing each other at right angles and the two ends bending at right angles to the right; the other two are curved, also to the right. Two of the other figures Dr. Schliemann calls Swastikas, although they are uncertain in some of their arms and angles. The fourth character he imagined to be an inchoate or attempted Swastika. Fig. 58 shows a biconical whorl with curious and inexplicable characters. One of them forms a crude Swastika, which, while the main arms cross at right angles the ends are bent at uncertain angles, three to the left and one to the right. These characters are so undetermined that it is doubtful if they could have had any signification, either ornamental or otherwise. Fig. 59 is almost conical, the flat surface thereof being only slightly raised at the center. It is much the same form as the whorls shown in figs. 55 and 71. The nearly flat surface is the top, and on it, equidistant from the center hole and from each other, are three ogee Swastikas of double lines, with their ends all curved to the right. In the alternate spaces are small incised circles, with dots in the centers. In fig. 60 a biconical whorl is shown. It has three of the circle segments marked in equilateral positions, with three or four parallel lines, after the style shown in Fig. 54. In the spaces are two Swastikas, in both of which the two main arms cross at right angles. Some of the ends bend at a right, and others at an obtuse, angle. In one of the Swastikas the bent ends turn toward each other, forming a rude figure 8. The specimen shown in fig. 61 is biconical, but much flattened; it contains five ogee Swastikas, of which the ends of four bend to the right and one to the left. In an interval between them is one of the burning altars. Fig. 62 shows three Swastikas with double parallel lines. The main arms cross each other at right angles; the ends are bent at nearly right angles, one to the left, one to the right, and the other both ways. Fig. 63 represents a spindle-whorl with a cup-shaped depression around the central hole, which is surrounded by three lines in concentric circles, while on the field, at 90 degrees from each other, are four ogee Swastikas (tetraskelions), the arms all turning to the left and spirally each upon itself. The specimen shown in fig. 64 is biconical, though, as usual, the upper cone is the smallest. There are parallel lines, three in a set, forming the segments of three circles, in one space of which appears a Swastika of a curious and unique form, similar to that shown in fig. 60. The two main arms cross each other at very nearly right angles and the ends also bend at right angles toward and approaching each other, so that if continued slightly farther they would close and form a decorative figure 8. The specimen shown in fig. 65 is decorated with parallel lines, three in number, arranged in segments of three circles, the periphery of which is toward the center, as in figs. 60 and 64. In one of the spaces is a Swastika of curious form; the main arms cross each other at right angles, but the four ends represent different styles--two are bent square to the left, one square to the right, and the fourth curves to the left at no angle. Fig. 66 shows a biconical whorl, and its top is decorated to represent three Swastikas and three burning altars. The ends of the arms of the Swastikas all bend to the left, some are at right angles and some at obtuse angles, while two or three are curved; two of them show corrections, the marks at the ends having been changed in one case at a different angle and in another from a straight line to a curve. Fig. 67 shows four specimens of Swastika, the main arms of all of which cross at right angles. The ends all bend to the right, at nearly right angles, tapering to a point and finishing with the slight flourish noted in the Jain Swastika (fig. 34_c_). They are alternated with a chevron decoration. Fig. 68 shows three Swastikas, the ends of the arms of which are all bent to the left. One Swastika is composed of two ogee lines. Two arms of another are curved, but all others are bent at right angles, some of them tapering to points, finishing with a little flourish (figs. 67 and 34_c_). One of these ends, like that in fig. 66, has been corrected by the maker. Fig. 69 represents one Swastika in which the main arms cross at nearly right angles. Both ends of one arm turn to the left and those of the other arm turn to the right in figure 8 style. One of the ends is curved, the others bent at different angles. Fig. 70 shows the parallel lines representing segments of a circle similar to figs. 60, 64, 65, and 69, except that it has four instead of three. It has one Swastika; the main arms (of double lines) cross at right angles, the ends all curving to the left with a slight ogee.

The U. S. National Museum was, during 1893, the fortunate recipient of a collection of objects from Madame Schliemann, which her husband, before his death, had signified should be given to the United States as a token of his remembrance of and regard for his adopted country. He never forgot that he was an American citizen, and, preparing for death, made his acknowledgments in the manner mentioned. The collection consisted of 178 objects, all from ancient Troy, and they made a fair representation of his general finds. This collection is in the Department of Prehistoric Anthropology. In this collection is a spindle-whorl, found at 13-1/2 feet (4 meters) depth and belonging to the fourth city. It had three Swastikas upon its face, and is here shown as fig. 71.[145]

_The Fifth City._--Schliemann says:[146]

The rude stone hammers found in enormous quantities in the fourth city
are no longer found in this stratum, nor did the stone axes, which are
so very abundant there, occur again here. Instead of the hundreds of
axes I gathered in the fourth city, I collected in all only two here.
* * * The forms of the terra-cotta whorls, too, are in innumerable
instances different here. These objects are of a much inferior fabric,
and become elongated and pointed. Forms of whorls like Nos. 1801,
1802, and 1803 [see figs. 72, 73, and 74], which were never found
before, are here plentiful.

_The Sixth and Seventh Cities._--The sixth city is described in "Ilios," page 587, and the seventh on pages 608 and 618. Both cities contained occasional whorls of clay, all thoroughly baked, without incised or painted ornamentation, and shed no further light on the Swastika.

Fig. 75 represents the opposite hemispheres of a terra-cotta ball, found at a depth of 26 feet, divided by incised lines into fifteen zones, of which two are ornamented with points and the middle zone, the largest of all, with thirteen specimens of [S] and [Z].

Zmigrodzki says[147] that there were found by Schliemann, at Hissarlik, fifty-five specimens of the Swastika "pure and simple" (pp. 809, 826). It will be perceived by examination that the Swastika "pure and simple" comprised Swastikas of several forms; those in which the four arms of the cross were at other angles besides right angles; those in which the ends bent at square and other angles to the right; then those to the left (Burnouf and Max Müller's Suavastika); those in which the bends were, some to the right and some to the left, in the same design; where the points tapered off and turned outward with a flourish; where the arms bent at no angle, but were in spirals each upon itself, and turned, some to the right, some to the left. We shall see other related forms, as where the arms turn spirally upon each other instead of upon themselves. These will sometimes have three, five, six, or more arms, instead of four (p. 768). The cross and the circle will also appear in connection with the Swastika; and other designs, as zigzags (lightning), burning altars, men, animals, and similar representations will be found associated with the Swastika, and are only related to it by the association of similar objects from the same locality. A description of their patterns will include those already figured, together with Schliemann's comments as to signification and frequency. They become more important because these related forms will be found in distant countries and among distant peoples, notably among the prehistoric peoples of America. Possibly these designs have a signification, possibly not. Dr. Schliemann thought that in many cases they had. Professor Sayce supported him, strongly inclining toward an alphabetic or linguistic, perhaps ideographic, signification. No opinion is advanced by the author on these theories, but the designs are given in considerable numbers, to the end that the evidence may be fully reported, and future investigators, radical and conservative, imaginative and unimaginative, theorists and agnostics, may have a fair knowledge of this mysterious sign, and an opportunity to indulge their respective talents at length. Possibly these associated designs may throw some light upon the origin or history of the Swastika or of some of its related forms.

The specimen represented in fig. 76 is not a spindle-whorl, as shown by the number and location of the holes. It bears a good representation of a Swastika the form of which has been noticed several times. The two main arms cross each other at nearly right angles. The ends of the arms all bend to the right at a slightly obtuse angle and turn outward with a flourish somewhat after the style of the Jain Swastika (fig. 34_c_). Fig. 77 represents a spindle-whorl with a Swastika of the ogee style curved to the right. The center hole of the whorl forms the center of the sign. The figure is of double lines, and in the interspaces are four dots, similar to those in figs. 96-98, and others which Dr. Schliemann reports as common, and to which he attributes some special but unknown meaning. Swastikas and crosses of irregular shape and style are shown in the field of fig. 78. Two fairly well formed Swastikas appear, both of the ogee style, with the ends curved to the right. One is of the style resembling the figure 8 (see figs. 60 and 64). Two others are crudely and irregularly formed, and would scarcely be recognized as Swastikas except for their association. Fig. 79 represents uncertain and malformed Swastikas. The arms are bent in different directions in the same line. Two of the main arms are not bent. The inexplicable dots are present, and the field is more or less covered with unmeaning or, at least, unexplained marks. Fig. 80 also illustrates the indefinite and inchoate style of decoration. One unfinished Swastika appears which, unlike anything we have yet seen, has a circle with a dot in the center for the body of the Swastika at the crossing of the main arms. Fig. 81 shows two Swastikas, both crossing their main arms at right angles and the ends bending also at right angles--one to the right, the other to the left. This specimen is inserted here because of the numerous decorations of apparently unmeaning, or, at least, unexplained, lines. Fig. 82 shows four segmented circles with an indefinite Swastika in one of the spaces. The ends are not well turned, only one being well attached to the main arms. One of the ends is not joined, one overruns and forms a sort of cross; the other has no bend. Fig. 83 contains an unmistakable Swastika, the main arms of which cross at right angles, turning to the left with an ogee curve. The peculiarity of this specimen is that the center of the sign is inclosed in a circle, thus showing the indifference of the Swastika sign to other signs, whether cross or circle. The outer parts of the field are occupied with the parallel lines of the circle segment, as shown in many other specimens. The specimen shown in fig. 84 is similar in style to the last. The bodies of six Swastikas are formed by a circle and dot, while the arms of the cross start from the outside of the circle, extending themselves in curves, all of them to the right. (See fig. 13_d_.) It has no other ornamentation. The same remark is to be made about the indifferent use of the Swastika in association with cross or circle. We have seen many Swastikas composed of the crossed ogee lines or curves. Figs. 85 and 86 show the same ogee lines and curves not crossed; and thus, while it may be that neither of them are Swastikas, yet they show a relationship of form from which the derivation of a Swastika would be easy.

Attention has been called to decorations comprising segments of the circles incised in these whorls, the periphery of which is toward their centers (figs. 60, 64, 65, 69, 70, 82 and 83). Also to the mysterious dots (figs. 46, 56, 75, 76, 77, 79, 84, 92, 96 and 97). Fig. 87 shows a combination of the segments of three circles, the dots within each, and two Swastikas. Of the Swastikas, one is normal, turning to the right; the other turns to the right, but at an obtuse angle, with one end straight and the other irregularly curved. Fig. 88 represents two sections of a terra-cotta sphere divided similar to fig. 49. Each of these sections contains a figure like unto a Swastika and which may be related to it. It is a circle with arms springing from the periphery, which arms turn all to the left, as they do in the ogee Swastika. One has seven, the other nine, arms. One has regular, the other irregular, lines and intervals. Fig. 89 represents a spindle-whorl of terra cotta nearly spherical, with decoration of a large central dot and lines springing thereout, almost like the spokes of a wheel, then all turning to the left as volutes. In some countries this has been called the sun symbol, but there is nothing to indicate that it had any signification at Hissarlik. One of the marks resembles the long-backed, four-legged animal (figs. 99 and 100).[148] Figs. 90, 91, 92, and 93 show a further adaptation of the ogee curve developed into a Swastika, in which many arms start from the center circle around the central hole in the whorl, finally taking a spiral form. The relation of this to a sun symbol is only mentioned and not specified or declared. The inexplicable and constantly recurring dots are seen in fig. 90.

Central circles with extended arms turning to the left, ogee and zigzag. Schliemann, "Ilios," fig. 1993.]

It is not contended that these are necessarily evolutions of the Swastika. We will see farther on many lines and forms of decoration by incised lines on these Trojan whorls, which may have had no relation to the Swastika, but are inserted here because persons rich in theories and brilliant in imagination have declared that they could see a resemblance, a relation, in this or some other decoration. As objects belonging to the same culture, from the same locality, and intimately associated with unmistakable Swastikas, they were part of the _res gestæ_, and as such entitled to admission as evidence in the case. The effect of their evidence is a legitimate subject for discussion and argument. To refuse these figures admission would be to decide the case against this contention without giving the opposing party an opportunity to see the evidence or to be heard in argument. Therefore the objects are inserted.

Specimens of other crosses are presented because the Swastika is considered to be a form of the cross. There may have been no evolution or relationship between them; but no person is competent to decide from a mere inspection or by reason of dissimilarity that there was not. We have to plead _ignoramus_ as to the growth and evolution of both cross and Swastika, because the origin of both is lost in antiquity. But all are fair subjects for discussion. There certainly is nothing improbable in the relationship and evolution between the Swastika and the cross. It may be almost assumed.

Evidence leading to conviction may be found in associated contemporaneous specimens. M. Montelius, an archæologist of repute in the National Museum at Stockholm, discovered eight stages of culture in the bronze age of that country, which discovery was based solely upon the foregoing principle applied to the fibulæ found in prehistoric graves. In assorting his stock of fibulæ, he was enabled to lay out a series of eight styles, each different, but with many presentations. He arranged them seriatim, according to certain differences in size, style, elegance of workmanship, etc., No. 1 being the smallest, and No. 8 the largest and most elaborate. They were then classified according to locality and association, and he discovered that Nos. 1 and 2 belonged together, on the same body or in the same grave, and the same with Nos. 2 and 3, 3 and 4, and so on to No. 8, but that there was no general or indefinite intermixture; Nos. 1 and 3 or 2 and 4 were not found together and were not associated, and so on. Nos. 7 and 8 were associated, but not 6 and 8, nor 5 and 7, nor was there any association beyond adjoining numbers in the series. Thus Montelius was able to determine that each one or each two of the series formed a stage in the culture of these peoples. While the numbers of the series separated from each other, as 1, 5, 8, were never found associated, yet it was conclusively shown that they were related, were the same object, all served a similar purpose, and together formed an evolutionary series showing their common origin, derivative growth and continuous improvement in art, always by communication between their makers or owners.

Thus it may be with the other forms of crosses, and thus it appears to be with the circle and spiral Swastikas and those with ends bent in opposite and different directions. Just what their relations are and at which end of the series the evolution began, is not argued. This is left for the theorists and imaginists, protesting, however, that they must not run wild nor push their theories beyond bounds. Fig. 94 represents four crosses, the main arms of which are at right angles, and each and all ends, instead of being turned at an angle which would make them Swastikas, are bifurcated and turn both ways, thus forming a foliated cross similar to the Maya cross, the "Tree of life." Figs. 95, 96, and 97 show Greek crosses. The centers of the crosses are occupied by the central hole of the whorl, while the arms extend to the periphery. In the centers of the respective arms are the ubiquitous dots. The question might here be asked whether these holes, which represented circles, stood for the sun symbol or solar disk. The question carries its own answer and is a refutation of those who fancy they can see mythology in everything. Fig. 98 is the same style of figure with the same dots, save that it has three instead of four arms. Figs. 99 and 100 each show four of the curious animals heretofore represented (fig. 56) in connection with the Swastika. They are here inserted for comparison. They are all of the same form, and one description will serve. Back straight, tail drooping, four legs, round head showing eye on one side, and long ears resembling those of a rabbit or hare, which, in fig. 56, are called horns. The general remarks in respect to the propriety of inserting crosses and burning altars (p. 824) apply with equal pertinency to these animals and to the unexplained dots seen on so many specimens. Fig. 101 shows both ends of a spindle-whorl, and is here inserted because it represents one of the "burning altars" of Dr. Schliemann, associated with a Swastika, as in figs. 61, 66, and 68, and even those of figure-8 style (figs. 64 and 69).

Dr. Schliemann found, during his excavations on the hill of Hissarlik, no less than 1,800 spindle-whorls. A few were from the first and second cities; they were of somewhat peculiar form (figs. 72 and 74), but the greatest number were from the third city, thence upward in decreasing numbers. The Swastika pure and simple was found on 55 specimens, while its related or suggested forms were on 420 (pp. 809, 819). Many of the other whorls were decorated with almost every imaginable form of dot, dash, circle, star, lozenge, zigzag, with many indefinite and undescribable forms. In presenting the claims of the Swastika as an intentional sign, with intentional, though perhaps different, meanings, it might be unsatisfactory to the student to omit descriptions of these associated decorative forms. This description is impossible in words; therefore the author has deemed it wiser to insert figures of these decorations as they appeared on the spindle-whorls found at Troy, and associated with those heretofore given with the Swastika. It is not decided, however, that these have any relation to the Swastika, or that they had any connection with its manufacture or existence, either by evolution or otherwise, but they are here inserted to the end that the student and reader may take due account of the association and make such comparison as will satisfy him. (Figs. 102 to 124.)

_Leaden idol of Hissarlik._--Dr. Schliemann, in his explorations on the hill of Hissarlik, at a depth of 23 feet, in the third, the burnt city, found a metal idol (fig. 125), which was determined on an analysis to be lead.[150] It was submitted to Professor Sayce who made the following report:[151]

It is the Artemis Nana of Chaldea, who became the chief deity of
Carchemish, the Hittite capital, and passed through Asia Minor to the
shores and islands of the Ægean Sea. Characteristic figures of the
goddess have been discovered at Mycenæ as well as in Cyprus.

In "Troja" Professor Sayce says:

Precisely the same figure, with ringlets on either side of the head,
but with a different ornament (dots instead of Swastika) sculptured on
a piece of serpentine was recently found in Mæonia, and published by
M. Salmon Reinach in Revue Archæologique. By the side of the goddess
stands the Babylonian Bel, and among the Babylonian symbols that
surround them is the representation of one of the terra-cotta whorls,
of which Dr. Schliemann found such multitudes at Troy.

The chief interest to us of Dr. Schliemann's description of the idol lies in the last paragraph:[152]