The Cyprian vase figured in Di Cesnola's "Cyprus," pl. XLV, fig. 36
[see fig. 156], which associates the Swastika with the figure of an
animal, is a striking analogue of the Trojan whorls on which it is
associated with the figures of stags. The fact that it is drawn within
the vulva of the leaden image of the Asiatic goddess [see fig. 125]
seems to show that it was a symbol of generation. I believe that it is
identical with the Cyprian character [symbol] or [symbol] (ne), which
has the form [symbol] in the inscription of Golgi, and also with the
Hittite [symbol] or [symbol] which Dr. Hyde Clarke once suggested to
me was intended to represent the organs of generation.
Mr. Waller, in his work entitled "Monumental Crosses," describes the
Swastika as having been known in India as a sacred symbol many centuries
before our Lord, and used as the distinguishing badge of a religious sect
calling themselves "Followers of the Mystic Cross." Subsequently, he says,
it was adopted by the followers of Buddha and was still later used by
Christians at a very early period, being first introduced on Christian
monuments in the sixth century. But Mr. Waring says that in this he is not
correct, as it was found in some of the early paintings in the Roman
catacombs, particularly on the habit of a _Fossor_, or gravedigger, given
by D'Agincourt.
Pugin, in his "Glossary of Ornament," under the title "Fylfot," says that
in Tibet the Swastika was used as a representation of God crucified for
the human race, citing as his authority F. Augustini Antonii Georgii.[35]
He remarks:
From these accounts it would appear that the fylfot is a mystical
ornament, not only adopted among Christians from primitive times, but
used, as if prophetically, for centuries before the coming of our
Lord. To descend to later times, we find it constantly introduced in
ecclesiastical vestments, * * * till the end of the fifteenth century,
a period marked by great departure from traditional symbolism.
Its use was continued in Tibet into modern times, though its meaning is
not given.[36] (See p. 802.)
The Rev. G. Cox, in his "Aryan Mythology," says:
We recognize the male and the female symbol in the trident of
Poseidon, and in the fylfot or hammer of Thor, which assumes the form
of a cross-pattèe in the various legends which turn on the rings of
Freya, Holda, Venus, or Aphrodite.
Here again we find the fylfot and cross-pattèe spoken of as the same
symbol, and as being emblematic of the reproductive principles, in which
view of its meaning Dr. Inman, in his "Ancient Faiths Embodied in Ancient
Names," concurs.
Burnouf[37] recounts the myth of Agni (from which comes, through the Latin
_ignis_, the English word igneous), the god of Sacred Fire, as told in the
Veda:[38]
The young queen, the mother of Fire, carried the royal infant
mysteriously concealed in her bosom. She was a woman of the people,
whose common name was "Arani"--that is, the instrument of wood (the
Swastika) from which fire was made or brought by rubbing. * * * The
origin of the sign [Swastika] is now easy to recognize. It represents
the two pieces of wood which compose _l'arani_, of which the
extremities were bent to be retained by the four nails. At the
junction of the two pieces of wood was a fossette or cup-like hole,
and there they placed a piece of wood upright, in form of a lance (the
Pramantha), violent rotation of which, by whipping (after the fashion
of top-whipping), produced fire, as did Prometheus, the _porteur du
feu_, in Greece.
And this myth was made, as have been others, probably by the priests and
poets of succeeding times, to do duty for different philosophies. The
Swastika was made to represent Arani (the female principle); the Pramantha
or upright fire stake representing Agni, the fire god (the male); and so
the myth served its part to account for the birth of fire. Burnouf hints
that the myth grew out of the production of holy fire for the sacred
altars by the use of the Pramantha and Swastika, after the manner of
savages in all times. Zmigrodzki accepts this myth, and claims all
specimens with dots or points--supposed nail holes--as Swastikas.
The Count Goblet d'Alviella[39] argues in opposition to the theory
announced by Burnouf and by Zmigrodzki, that the Swastika or croix
swasticale, when presenting dots or points, had relation to fire making.
He denies that the points represent nails, or that nails were made or
necessary either for the Swastika or the Arani, and concludes that there
is no evidence to support the theory, and nothing to show the Swastika to
have been used as a fire-making apparatus, whether with or without the
dots or points.
Mr. Greg[40] opposes this entire theory, saying:
The difficulty about the Swastika and its supposed connection with
fire appears to me to be in not knowing precisely what the old fire
drill and chark were like. * * * I much doubt whether the Swastika had
originally any connection either with the fire-chark or with the sun.
* * * The best authorities consider Burnouf is in error as to the
earlier use of the two lower cross pieces of wood and the four nails
said to have been used to fix or steady the framework.
He quotes from Tylor's description[41] of the old fire drill used in
India for kindling the sacrificial fire by the process called "churning,"
as it resembles that in India by which butter is separated from milk. It
consists in drilling one piece of Arani wood by pulling a cord with one
hand while the other is slackened, and so, alternately (the strap drill),
till the wood takes fire. Mr. Greg states that the Eskimos use similar
means, and the ancient Greeks used the drill and cord, and he adds his
conclusions: "There is nothing of the Swastika and four nails in
connection with the fire-churn."
Burton[42] also criticises Burnouf's theory:
If used on sacrificial altars to reproduce the holy fire, the practice
is peculiar and not derived from everyday life; for as early as Pliny
they know that the savages used two, and never three, fire sticks.
Burnouf continues his discussion of myths concerning the origin of fire:
According to Hymnes, the discoverer of fire was Atharan, whoso name
signifies fire, but Bhrigon it was who made the sacred fire, producing
resplendent flames on the earthen altar. In theory of physics, Agni,
who was the fire residing within the "onction," (?) came from the milk
of the cow, which, in its turn, came from the plants that had
nourished her; and these plants in their turn grew by receiving and
appropriating the heat or fire of the sun. Therefore, the virtue of
the "onction" came from the god.