Postponing a closer examination of these points until further on, let us now continue our comparative review.
The universal spread of the identical scheme of organization, vouched for by documentary evidence, is further demonstrated by the results of archaeological and historical research and a comparative study of ancient symbolism. Thus it is impossible not to admit the striking and deep-seated analogy between the Assyrian four-fold division of city and state, the title “lord of the four regions” and the image of Shamash, the “four-spoked wheel;” the Indian, Egyptian and Grecian philosophical conceptions of four elements, culminating in Plato's Cosmos and Theos (an entity, [pg 510] spherical in shape, incorporating four elements) and, for instance, the quadruplicate symbol carved in the centre of the Mexican Cosmical Tablet, which exhibits the symbols of the same four elements embodied in a single symbol, representing the supreme power, who is thus proven to have been conceived by the Mexicans, as well as by the Peruvians, as “the Air, Earth, Fire and Water in One,” or the source of the four elements.[150]
When it is likewise considered that the Mexicans employed the divine title, “four times lord,” that the Maya title “Kukulcan,” signifies the “Divine Four,” that the ancient map of Mayapan proves that, like the Kushite confederacy, and the kingdoms of Assyria, Egypt and Peru, it was a “Four provinces in One” or a “four-fold state,” the identity of the principles underlying the archaic civilizations of the Old and New World becomes more and more apparent. It likewise becomes evident that in each of these countries the significance and symbolism of the archaic cross-symbol and swastika must have been identical, and that, like the pyramid (the form of which, in the ancient Greek alphabet, is given [pg 511] to the letter delta which expresses, numerically, four, a quatuor, or 4,000) and the square stone altar or column, it figured the Four in One, the mystic Five or the Four and all-embracing One. The following array of facts demonstrates further the universal association of archaic cross-symbolism with the conception of an all-embracing, stable, central power.
A striking demonstration of this is furnished by the diagonal cross, employed as a Chinese character, to express the word wū=five, just as it is used, in Egyptian hieratic script, to express the syllables uu, un or ur (see fig. [60]). Sometimes, in Chinese, a horizontal line is drawn above the cross and another beneath it, and John Chalmers informs us that, according to the Shoh Wan, this “full form means the five elements between heaven and earth, the upper line being heaven and the lower earth.” The sign thus obviously constituted an image of the Cosmos, the 5+2=heaven [pg 512] and earth, thus furnishing the familiar seven directions in space, the chief and synopsis of which is the sacred Centre.
The association, in ancient America, of the cross-shape with central stable power, has already been discussed in the case of the Copan swastika, p. [222]. At the time when I wrote about this and carved stelæ found at Quirigua and Copan, I had not yet learned of the remarkable discovery made there, by Mr. George Byron Gordon of the Peabody Museum Honduras Expedition, which furnishes me with the most striking confirmation of the conclusion I expressed on p. [220], namely, that the personages, whose portraits are sculptured on the stelæ, were high-priest rulers, who bore the title “Divine Four,” and were “rulers of the four regions.”
Referring the reader to Mr. Gordon's report, published in vol. i, no. i, of the Peabody Museum Memoirs, I merely note his verification that, beneath several stelæ examined for this purpose, there exist subterraneous vaults, in the form of the so-called Greek cross, above the exact centre of which the stela stands, its base being inserted in the stones forming the ceiling of the chamber. In one case the length of the cruciform vault is over nine feet from eastern to western extremity, the width of the branches being one foot and their depth two feet. Over thirty vessels of pottery were found in this, amongst them large urns with covers. It would appear from this that, like the Egyptians, the ancient builders of Copan performed certain ceremonial rites in connection with the construction of these artificially cosmical centres.
What seems quite clear is that the subterraneous vault constituted a sacred cosmical chamber and that the stelæ were memorial stones, which probably represented the image of a lord, and the record of his fixed term of office which formed a period or era of the native calendar (see p. [221]). The stela which formed the stable, visible centre of the hidden substructure may also have been employed as a gnomon during some period of time, and in the monument the initiated must undoubtedly have recognized the underlying cosmical conceptions, and regarded it as a highly developed form or variant of the archaic cross, the primitive record of a year. It is remarkable how closely analogous are the Central American stelæ with their hidden cruciform vaults, to the conception of the Egyptian “star of Horus” explained by Hewitt as the meridian pole raised in the centre of a cross denoting the four quarters.
The most striking evidence of a close affinity between the ancient Central American ah-men, or master-masons, who built cruciform windows in the walls of temples and designed the cruciform vaults under the stelæ at Copan and Quirigua, and the amanteca or tolteca, the master-architects and builders of Mitla, Mexico, is furnished by Mr. M. H. Saville's recent excavation of three remarkable subterraneous, cruciform chambers, the largest of which is situated on the summit of a high hill near Mitla. The interior of the latter is elaborately decorated with geometrical designs, like those on the exterior of the Mitla palace. The extreme length from east to west is 9m. 71cm., from north to south 8m. 18cm., and its roof was composed of large flat stones. The entrance to this and the other cruciform vaults is situated at the extremity of the western arm, which in the case described was longer than the other arms.
The most remarkable example of such a cruciform crypt is, however, that situated beneath the palace of Mitla, which has been figured by Dupaix in Lord Kingsborough's Mexican Antiquities, vol. ix. This vault is also built of the shape of a so-called “Greek” cross, but in its centre stands a large circular stone column reaching from floor to ceiling. It is impossible not to recognize the symbolism of this pillar situated in the centre of a structure, the form of which symbolizes the Four Quarters and the fundamental identity of the column occupying the centre of the Mitla chamber and the Copan stelæ standing above the centre of the hidden cruciform vault. Details associated with the pillar which stood in the Great Temple of Mexico (p. [53]), and the “pedestal” erected on the hill of justice at Guatemala (p. [79]) definitely show that, in ancient America, the column was also associated with star-cult, with the administration of justice and central celestial and terrestrial government. Investigation has shown that precisely the same ideas were associated with the circular, square or octagonal columns of Egypt, Greece, Rome and Japan, where they either constituted the images of the central supreme divinity, formed the support for the statues of earthly “divine” rulers, or marked the centres of the cosmos or state, bearing inscriptions of the sacred laws as in Athens, or of the distances to all points of the empire, viz. the Roman Milliarum Aureum.
It is remarkable to find that, whereas in ancient Byzantium the centre of the city had been marked by a column surmounted by a colossal statue of Apollo, a pillar or pole god, Constantine erected [pg 514] a “spacious edifice, from the centre of which all roads of the empire were measured.” Considering that, at the time when this edifice was built, the ancient quadruplicate plan had been revised and the empire of New Rome had been divided into four parts by Constantine, it seems reasonable to infer that the form of the great edifice which marked the territorial centre of the new empire bore the impress of the cruciform plan, and that the shape of the cross should have been adopted throughout the empire, in edifices marking central consecrated places. How much of the true spirit of the Christian ideal of universal brotherhood entered into the constitution of Constantine's New Rome it is impossible to conjecture. Niebuhr denies that Constantine was a Christian, records that he was only baptized shortly before his death, and states that the religion of Constantine “must have been a strange compound indeed, something like the amulet recently discovered at Rome, which is an example of that curious mixture of Judaism, Christianity and Paganism which we so frequently meet with from about the beginning of the third century.”[151]