* It supposes that a certain number of prayers must be regularly gone over; it overlooks the grand demand which God makes for the heart, and leads those who use them to believe that form and routine are everything, and that "they must be heard for their much speaking."
* "Rosary" itself seems to be from the Chaldee "Ro," "thought," and "Shareh," "director."
In the Church of Rome a new kind of devotion has of late been largely introduced, in which the beads play an important part, and which shows what new and additional strides in the direction of the old Babylonian Paganism the Papacy every day is steadily making. I refer to the "Rosary of the Sacred Heart." It is not very long since the worship of the "Sacred Heart" was first introduced; and now, everywhere it is the favourite worship. It was so in ancient Babylon, as is evident from the Babylonian system as it appeared in Egypt. There also a "Sacred Heart" was venerated. The "Heart" was one of the sacred symbols of Osiris when he was born again, and appeared as Harpocrates, or the infant divinity, * borne in the arms of his mother Isis. * The name Harpocrates, as shown by Bunsen, signifies "Horus, the child."
Therefore, the fruit of the Egyptian Persea was peculiarly sacred to him, from its resemblance to the "HUMAN HEART." Hence this infant divinity was frequently represented with a heart, or the heart-shaped fruit of the Persea, in one of his hands. The following extract, from John Bell's criticism on the antiques in the Picture Gallery of Florence, will show that the boyish divinity had been represented elsewhere also in ancient times in the same manner. Speaking of a statue of Cupid, he says it is "a fair, full, fleshy, round boy, in fine and sportive action, tossing back a heart." Thus the boy-god came to be regarded as the "god of the heart," in other words, as Cupid, or the god of love. To identify this infant divinity, with his father "the mighty hunter," he was equipped with "bow and arrows"; and in the hands of the poets, for the amusement of the profane vulgar, this sportive boy-god was celebrated as taking aim with his gold-tipped shafts at the hearts of mankind. His real character, however, as the above statement shows, and as we have seen reason already to conclude, was far higher and of a very different kind. He was the woman's seed. Venus and her son Cupid, then, were none other than the Madonna and the child. Looking at the subject in this light, the real force and meaning of the language will appear, which Virgil puts into the mouth of Venus, when addressing the youthful Cupid:--
"My son, my strength, whose mighty power alone
Controls the thunderer on his awful throne,
To thee thy much afflicted mother flies,
And on thy succour and thy faith relies."
From what we have seen already as to the power and glory of the Goddess Mother being entirely built on the divine character attributed to her Son, the reader must see how exactly this is brought out, when the Son is called "THE STRENGTH" of his Mother.