[282]. See, for example, Griffis’s Mikado’s Empire, p. 419; Isabella Bird’s Unbeaten Tracks in Japan, I., 295 f.; II., 367 f.; Gray’s China, I., 90; Fergusson’s Rude Stone Monuments, p. 413.
[283]. See Chamberlain’s Things Japanese, p. 429 f.; and, Lowell’s Chosön, pp. 262–266, for a fuller explanation of the origin and signification of this primitive entrance way.
[284]. See, for example, Douglas’s Society in China, p. 411; Isabella Bird’s Unbeaten Tracks in Japan, I., 64; Fergusson’s Tree and Serpent Worship, frontispiece, plates iv-ix, xxi.
[285]. See Maspero’s Dawn of Civilization, p. 656.
[286]. Ibid., p. 569. The doorway in the engraving from the intaglio is clearly one of the doorway shrines, with the guardians of the doorway on either side, and not, as has been supposed, an opening into the ark.
[287]. Maspero’s Dawn of Civilization, pp. 657, 662, 759, 762; also Perrot and Chipiez’s Hist. of Art in Chal. and Assy., I., 203, 212; II., 95, 163, 210, 211.
[288]. Ibid., II., facing p. 212.
[289]. Perrot and Chipiez’s Hist. of Art in Chal. and Assy., II., 231; Perrot and Chipiez’s Hist. of Art in Phœnicia and Cyprus, I., 9. See, also, note in Rawlinson’s Herodotus, II., pp. 148–151.
[290]. Wilkinson’s Anc. Egypt, III., 349; Erman’s Life in Anc. Egypt, pp. 274, 283; and Maspero’s Dawn of Civilization, pp. 189, 239.
[291]. Erman’s Life in Anc. Egypt, p. 311; Maspero’s Dawn of Civilization, pp. 237, 250, 253, 262, 316, 413.