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SECTION II.

THE MOTHER AND CHILD, AND THE ORIGINAL OF THE CHILD


While this was the theory, the first person in the Godhead was practically overlooked. As the Great Invisible, taking no immediate concern in human affairs, he was "to be worshipped through silence alone," * that is, in point of fact, he was not worshipped by the multitude at all. The same thing is strikingly illustrated in India at this day. Though Brahma, according to the sacred books, is the first person of the Hindoo Triad, and the religion of Hindostan is called by his name, yet he is never worshipped, and there is scarcely a single Temple in all India now in existence of those that were formerly erected to his honour. * So also is it in those countries of Europe where the Papal system is most completely developed. In Papal Italy, as travellers universally admit (except where the Gospel has recently entered), all appearance of worshipping the King Eternal and Invisible is almost extinct, while the Mother and the Child are the grand objects of worship. Exactly so, in this latter respect, also was it in ancient Babylon. The Babylonians, in their popular religion, supremely worshipped a Goddess Mother and a Son, who was represented in pictures and in images as an infant or child in his mother's arms . From Babylon, this worship of the Mother and the Child spread to the ends of the earth. In Egypt, the Mother and the Child were worshipped under the names of Isis and Osiris. * In India, even to this day, as Isi and Iswara; * in Asia, as Cybele and Deoius; * in Pagan Rome, as Fortuna and Jupiter-puer, or Jupiter, the boy; * in Greece, as Ceres, the Great Mother, with the babe at her breast, * or as Irene, the goddess of Peace, with the boy Plutus in her arms; * and even in Thibet, in China, and Japan, the Jesuit missionaries were astonished to find the counterpart of Madonna * and her child as devoutly worshipped as in Papal Rome itself; Shing Moo, the Holy Mother in China, being represented with a child in her arms, and a glory around her, exactly as if a Roman Catholic artist had been employed to set her up.