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 ILLUSTRATIONS OF 
 
 PHALLICISM 
 
 CONSISTINa OF 
 
 TEN PL AT E S 
 
 REMAINS OF ANCIENT ART 
 
 WITH DESCRIPTIONS. 
 
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PREFACE. 
 
 In presenting to subscribers a few engravings which 
 illustrate the subject of Mr. Hargrave Jennings's work, 
 the publisher has aimed at showing what has been done 
 in this way to those who now make acquaintance with 
 the subject for the first time, while to those who possess 
 the illustrations to Payne Knight's work he aimed at 
 showing something new. It is hoped that both ends 
 have been gained by the selection made. Six of the 
 designs have been reproduced from old engravings in 
 almost inaccessible books, and the remaining six are now 
 engraved for the first time. Mr. Hilton Price has 
 generously thrown open to us the remarkable collection of 
 antiquities which have been procured for him in Egypt, 
 His museum contains many phallic objects of considerable 
 interest, independently of those we now engrave, which 
 have been collected by him during the past ten years, 
 by simply purchasing such objects when they have 
 been sent with other Egyptian antiquities, and with- 
 out making any special effort in this direction. They 
 have been found in various parts of Lower Egypt, 
 but principally at Bubastis. They comprise figures in 
 terra cotta of Harpokrates in various roles (mostly repre- 
 sented bearing a vase, which is a common Eastern emblem 
 for the womb, and woman as the Bearer) ; figures of the 
 primordial god Khem, and figures in calcareous stone and 
 porcelain of men with an abnormal organ, which in one 
 case passes under the left arm, round the back, and over 
 the right shoulder. The most usual forms are those of a 
 man seated upon the ground, with his organ, abnormally 
 
large, resting in fi-ont of him. There is one of a man 
 who is represented as playing upon a harp, which rests 
 upon his organ ; so the yoni emblem of Isis is her sistrum 
 or harp, and " music is the food of love." Some males 
 have erect organs larger than the whole body. In all 
 this we see that, like Hindus and others, ancient Egyptians 
 adopted the phallus as an emblem of generation and 
 resurrection, and that it symbolized the creative force of 
 nature. These figures, many of which are quite small, 
 with a loop behind, were employed as amulets to suspend 
 to a necklace, whilst others, of larger size, may have been 
 used as votive offerings ; amongst the latter may be included 
 figures of a grotesque man squatting with his legs tucked 
 up at right angles to his body, holding in front of him a 
 phallus of large size. There is a terra cotta figure of a man 
 standing up supporting two huge phalli — one on each side 
 of his body — which he grasps with both hands ; the glans 
 reach above his head. Besides smaller figures of a variety of 
 form are some in terra cotta of Baubo, a goddess symbo- 
 lizing lust and darkness, who is represented squatting 
 upon the ground with her legs apart and tucked up. She 
 has large breasts and prominent stomach, hair in ringlets, 
 and a head-dress similar to that usually worn by Harpo- 
 krates ; her right hand is placed above her vulva, whilst 
 her left, resting upon her knee, holds a small vase. The 
 story of Baubo is related by Payne Knight in his 
 "Worship of Priapus" (page 134), but a similar one is 
 told of Isis when mourning for the death of Osiris. She 
 was very sad and could not be comforted, so her sister, 
 wishing to cheer her, devised the plan of placing herself 
 in this position, which had the desired effect. The story 
 related by the Christian Fathers of Baubo was probably 
 borrowed from the Egyptians ; they say that she shaved 
 off the pubes — the sign of puberty — and then exhibited 
 her organ to Ceres, who laughed, forgot her sorrows, and 
 refreshed herself with the beverage cyceon. 
 
 Figures of the obelisk, the triangle, the crux ansata. 
 
and even of the lingam and yoni, are to be found 
 in most works dealing with symbol worship. The figures 
 graphically portray the " mysteries" of many old faiths, 
 and are not yet dead in Asia — nor perhaps Europe. 
 They denote the worship of nature's mysterious recupe- 
 rative powers. Some of the figures are evidently ex votos, 
 which those desiring the favours of the gods made for 
 themselves or bought at the temples, and offered to their 
 favourite god or goddess of Production, with many an 
 earnest prayer for offspring, health, and wealth. It is 
 not so long since such offerings used to be given 
 in Italy — see the September fete of St. Cosmo and 
 Damiano of Isernia, described by Sir Wm. Hamilton, 
 and published (loo copies only) for private circulation in 
 1883, with much valuable additional matter. We have 
 now veiled or spiritualised these ideas, but can still see 
 them in the crosses, the fleur-de-lis, spire, and many other 
 objects of our churches. The salacious chanticleer, who 
 announces the sun, our fertilizer, still crowns many a 
 sacred spire (our modern obelisks) over the shrines of 
 " the Son of Righteousness" — old peoples called him the 
 S/m (Malachi, iv., 2) — and few ornate churches do not 
 portray him in some of their devices. 
 
 Our present task, however, was to find portrayed the 
 more obvious traces of the worship of the generative 
 organs, and to reproduce them for the few who have 
 expressed a desire to see them. 
 
This represents the calm, continuous powers of Natuie. An aged, 
 powerful man carries with care and love the symbolic organs, the vase 
 or womb representing woman, and a phallical fish — " Lord of tlie 
 waters," and type of the greatest fertility and the watery principle. He 
 wears a fillet round his head. 
 
 Terra-cotta, has been coloured red. H. 5|- inches. — Bubastis. 
 
Fig. 2 seems a mystical freak of nature, the male with an abnormal 
 organ impregnating a female in an abnormal position with face on 
 ground. He may symbolize the god of nature, who fertilizes in all 
 attitudes and conditions. 
 
 Greenish porcelain ; the wig of the woman is blue. H. I j inch, 
 L. 2 inches. — G. I. C. 
 
 Fig. 3 is a female figure (head broken off) engaged in the worship of 
 the organs, womb and phallus, no doubt desirous of offspring. Such secret 
 rites still obtain among the Saktis and Tantraists of India at their noc- 
 turnal orgies. 
 
 Calcareous stone, has been coloured red. L. 3J inches. — Bulast'ts. 
 
 Fig. 4 is believed to be a simple phallus accentuated by a man's head. 
 It was, no doubt, an ex voto of some phallic worshiper. 
 
 Calcareous stone, has been coloured red. H. 2 inches, L. 3 inches. 
 — Buhasils. 
 
The original mould in earthenware was found at Bubastis, and was 
 in the collection of Mr. G. Hilton Price, who transferred it to the 
 British Museum, where it is now deposited. It represents a phallic 
 worshiper in presence of all the symbols of his faith, the divine or 
 double phallus supporting woman, the vase with a yoni or clitoris 
 mouth-piece. The cast from which our drawing was made was executed 
 by Mr. Augustus Ready. H. 7^ inches x 7^. 
 
This is evidently another ex voto, a phallus emphasized by a full- 
 be.irded man's head holding a great stone (double entendre for the testis), 
 on which the phallic worshiper could inscribe the name of his favourite 
 deity and his own as the offerer. 
 
 Calcareous stone, has been coloured red. L. ^\ inches. — Bubastis. 
 
I and 2. Bulla, small ornaments worn from the neck, in this case 
 made hollow for the insertion of charms. The first is a double Janus- 
 like column, one head being that of Minerva with the significant crested 
 helmet ; the second a phallus on a discus, which was supposed to avert 
 the consequences of the evil eye (fascinatio, hence the English " fasci- 
 nation"). It is to be remarked that fascinum, of which fascinario 
 is the derivative, has the double meaning of witchcraft, and the phallus. 
 The bulla was worn by young patricians, and was mostly of gold, those 
 used by the sons of freedmen being of leather. When a young man 
 arrived at the age of maturity the bulla was taken off and dedicated 
 to the Lai-es, or ancestral divinities (yonis) of the hearth : while girls 
 made a similar offering of their dolls to Venus. 
 
 3. An arm'illa or bracelet,' in the form of a snake, this animal being 
 3. prominent symbol in most phallic rites, and playing an equally important 
 part in the Book of Genesis, the worship of Siva, and the orgies of 
 Bacchus. Armillae were made either of gold or silver, and were given 
 as a mark of distinction to soldiers who had borne themselves with 
 conspicuous bravery, Livy stating that on one occasion a whole company 
 received this honour. They appear, therefore, to have answered in 
 some respects to our medals, given to individual soldiers and to 
 large bodies of men, respectively. They were also worn, as in modern 
 times, by women, and by both sexes usually on the left arm. 
 
 4. A^Jibula or broach, in the shape of a strung bow, used for fastening 
 the cloak, and to keep it from falling from the shoulders. Thxsjibula is 
 to be distinguished from an instrument of the same name, inserted in the 
 prepuce of youths and singing slaves to prevent copulation ; which in 
 the case of the latter was supposed to impair the voice. 
 
 5. An atinulus or ring, with the head of Serapis, one of the most 
 important deities in the Egyptian cosmogony, and said to be both the 
 husband and the brother of Isis. He was identified with many other 
 divinities, notably with Jupiter, JEiCulapius, Osiiis, The Nile, and 
 Bacchus, so that we have some difficulty in defining his attributes with 
 certainty. The most common opinion, however, among the Egyptians 
 made him represent the watery element in nature, which they, together 
 with the Greek philosopher, Thales, considered as the origin and source 
 of all things. Hence a water vessel was carried in his honour at the 
 head of all religious processions. The vase is, of course, " woman" or 
 Isis, whose head ornament was the vase, " castle" or casket as 
 Egyptologists usually call it. The meaning is the same — viz., the 
 womb. At the commencement of the Christian era Egyptian 
 religious observances of all kinds became " the rage" at Rome, 
 the native deities being voted old-fashioned and out of date. The 
 temples of Jupiter Capitolinus and Minerva were deserted for 
 those of Serapis and Isis, into whose mysteries great numbers were 
 initiated. It, no doubt, was customary for the devotees of the new cult 
 to have everything about them more or less Egyptian, and Pliny par- 
 ticularly mentions with disappiobation the custom of wearing rings 
 ornamented with heads of Egyptian gods. 
 
 6. A small key. This is the symbol of .lanus, " The Opener of the 
 Door of Life." — 7Zr Musnim Bcllori. 
 
A bronze head of Mun or Kahi (the Egyptian Apis). The discus, 
 or symbol of the female organs of generation, appears between the 
 horns ; and the phallus, or male organ, issues from the mouth. The 
 bull was and is regarded in India as the representative of the Sun 
 (Siva), or fructifying power — whence the title of Siva, Pasu-pati, " Lord 
 of creatures," of which the Bull Apis was the principal type. Pasu-pati 
 was also Siva's " weapon," and Kala one of his names, with which 
 compare the Greek Pasas or phallos, and Pasthe the prepuce. All 
 sprinkling, raining, and regenerating gods were Passo-patis (cf. Greek 
 Patto), and Pasu the Hindu Uma, the mother, nurse, and pacifier, repre- 
 sented in the extended ears (yonis) of This — Isis, or Athor. The 
 Greek Dionysos corresponds in many respects with this deity ; it is, 
 therefore, not surprising to find him also represented with horns either 
 of the ram or bull, though only on coins. Sabazios again — the mystic 
 Dionysos and Karnian Apollo — was always homed, not, as some writers 
 assert, because he first taught agriculture and yoked oxen to the plough, 
 but on account of the esoteric meaning attached to horns in the ancient 
 worships. The cow likewise is held in high sanctity among the Brah- 
 mans, and is naturally regarded as the symbol of the moon, or receptive 
 female power — the Egyptian Isis, and Indian Lakshmi. In this figure 
 we have apparently a combination of the two ideas, the discus denoting 
 the female, and the phallus the male influences. In some cases the horns 
 are also represented as phalli, and the whole figure represents a form of 
 the crux ansata. The whole is therefore a microcosm, or symbol of the 
 two powers which in conjunction give life to the whole universe, and 
 render existence of every kind a possibility. — The Museum Borghese. 
 
This is a winged phallus, represented in the act of flying. Probably 
 the artist intended to intimate the swift and all penetrating force of the 
 powers of generation. The legs and feet, as of a human body, give the 
 figure a very grotesque appearance. Above it is suspended a repre- 
 sentation of the increasing moon ; the moon being, according to Macro- 
 bius, " both the author and builder up of our bodies, and in such a way 
 that some bodies increase on the approach of her light, and diminish 
 when it is removed." Aristotle considers that the influence of the 
 moon brings to pass all generation and all perfection ; so that we need 
 not be surprised at finding a representation of it adjoined to the symbol 
 of the generative powers. — The Museum Bellori. (Such figures show 
 also the base of the three-legged svastikas, like the "Manx cross," &c.) 
 
Priapus, the deity symbolizing the fertile and reproductive powers of 
 Nature. His head is crested with a cockscomb, and from either side 
 of his chin hang wattles : the cock being regarded as sacred to the 
 life-giving sun, and noted for its lively and salacious disposition. Like 
 Siva and all primeval phallic gods, Priapus is frequently identified with 
 "the Heavenly Fertilizer" — the sun, and the symbols of the one trans- 
 ferred to the other. This Priapus holds in his right hand a womb-like 
 vessel, probably his water pot (for he is a sort of Sakti beggar), bread 
 vessel, and cooking pot — all denoting his faith and worship of the sexual 
 organs. Such naked beggars were common in India a hundred years ago, 
 though scarcely depicted as virile. The bell in his left hand is the con- 
 stant accompaniment to the Bacchic orgies of Greece and Rome, and 
 the Linga worship of India. The generative organ of the figure is 
 of abnormal size, and from it hangs by two rings a smaller phallus. 
 Priapus, sometimes called the god of gardens, from the fact of his 
 statue being usually placed therein, was said to be a son of Aph- 
 rodite and Dionysos, that is of Love and Wine — a parentage well be- 
 fitting his peculiar characteristics. His worship was celebrated with 
 peculiar solemnity at Lampsacus on the Hellespont, whence his title 
 "the Lampsacene" in some of our later English poetry. The Italians 
 saw in this Greek divinity their Mutinus, a native god of similar but 
 still more licentious attributes; and they were, like the Indians of to-day, 
 in the habit of soliciting his assistance in cases of barrenness. The 
 statue was usually of figwood, and they painted this Lignum penis a bright 
 red ; and Horace in one of his satires makes the god himself give the 
 following amusing account of his origin : — " Once upon a time," 
 he says, " I was a useless log of figwood, and the carpenter could 
 not make up his mind whether he should fashion a bench or a god 
 out of me. However, he decided that I should be a god, so here I 
 am, the terror of thieves and birds : for my threatening right hand and 
 my phallus keep the thieves at a distance ; while the birds are afraid of 
 the lime-twig stuck in my head." — From the Museum of Prince Chigi. 
 
This is a four-sided talisman of white marble from Tibet, or the united 
 glans of four circumcised phaUi. On one side are represented the male 
 organs of generation, on another an eagle, and on the third two stars. 
 The fourth side has an inscription. This talisman is sacred to Siva, or 
 ■ Mfihadeva, the " Lord of Life and Death," and was used by 
 his votaries at those nocturnal orgies celebrated in his honour during the 
 month of March. It would probably be worn from the arm or neck, 
 like the Roman bulla, which were also occasionally ornamented with 
 phallic symbols, and regarded as talismans. Siva, as the solar fertilizer, 
 corresponds to the Greek Dionysos or Sabazios, and the Roman 
 Bacchus, with this difference, that in addition to being the Lord of 
 Life, and the productive' and overflowing powers of nature, he is also 
 the Destroyer and Lord of Death, for the same sun that advances all 
 life also kills all with his midsummer heats ; " he destroys but to make 
 alive" again, hence Indian philosophy regards generation and corruption 
 as closely allied and the work of the same god. The stars that appear 
 on this talisman indicate the celestial influences, to which great im- 
 portance has been attached in all ancient worships. — The Museum 
 Borghese. 
 
This design represents the festival of Venus, for a full account of 
 which see " Phallicism," pages io8 and 284. It is an ancient mode 
 of symbolizing the Procession of the Equinoxes — the recovering of the 
 generating powers of nature or advancement of the phallic powers on 
 the matrix of nature — the yoni here opened to receive the Fertilizer. 
 
PHOTOMOUNT 
 
 PAMPHLET BINDER 
 
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