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 But the Lion is the power of death on earth, conquered by Heracles, and becoming thenceforward both his helmet and ægis. All ordinary architectural lion sculpture is derived from the Heraclean.

Then the Christian Lions are, first, the Lion of the Tribe of Judah—Christ Himself as Captain and Judge: "He shall rule the nations with a rod of iron," (the opposite power of His adversary, is rarely intended in sculpture unless in association with the serpent—"inculcabis supra leonem et aspidem"); secondly, the Lion of St. Mark, the power of the Gospel going out to conquest; thirdly, the Lion of St. Jerome, the wrath of the brute creation changed into love by the kindness of man; and, fourthly, the Lion of the Zodiac, which is the Lion of Egypt and of the Lombardic pillar-supports in Italy; these four, if you remember, with the Nemean Greek one, ﬁve altogether, will give you, broadly, interpretation of nearly all Lion symbolism in great art. How they degenerate into the British door knocker, I leave you to determine for yourselves, with such assistances as I may be able to suggest to you in my next lecture; but, as the grotesqueness of human history plans it, there is actually a connection between that last degradation of the Leonine symbol, and its first and noblest significance.

You see there are letters round this golden Lion of Alfred's spelling-book, which his princess friend was