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above the portals of the cathedrals of Freiburg and Upsala, the paintings on the walls of the Campo Santo at Pisa, and most striking of all, the mosaics of the Cathedral of Monreale and those in the Capella Palatina at Palermo. Among peculiarities showing the simplicity of the earlier conception the representation of the response of the Almighty on the seventh day is very striking. He is shown as seated in almost the exact attitude of the "Weary Mercury" of classic sculpture--bent, and with a very marked expression of fatigue upon his countenance and in the whole disposition of his body. The Monreale mosaics are pictured in the great work of Gravina, and in the Pisa frescoes in Didron's Iconographie, Paris, 1843, p. 598. For an exact statement of the resemblances which have settled the question among the most eminent scholars in favour of the derivation of the Hebrew cosmogony from that of Assyria, see Jensen, Die Kosmologie der Babylonier, Strassburg, 1890, pp. 304,306; also Franz Lukas, Die Grundbegriffe in den Kosmographien der alten Volker, Leipsic, 1893, pp. 35-46; also George Smith's Chaldean Genesis, especially the German translation with additions by Delitzsch, Leipsic, 1876, and Schrader, Die Keilinschriften und das Alte Testament, Giessen, 1883, pp. 1-54, etc. See also Renan, Histoire du peuple d'Israel, vol. i, chap i, L'antique influence babylonienne. For Egyptian views regarding creation, and especially for the transition from the idea of creation by the hands and fingers of the Creator to creation by his VOICE and his "word," see Maspero and Sayce, The Dawn of Civilization, pp. 145-146. Among the early fathers of the Church this general view of creation became fundamental; they impressed upon Christendom more and more strongly the belief that the universe was created in a perfectly literal