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the image or figure of each, to the place intended for it; thus Ate must be supposed in the first place, on the floor; Ino in the second, Guy in the third, &c.—To effect this desirable knowledge of the symbols, without which they can receive very little advantage from the art, their fancy or imagination must be called into action: A grotesque assimilation will be often very powerful; circumstances arising from situation, furniture, pictures, &c. are of great importance: thus, if a cane, or any weapon should be in the corner of the room, where Ate is to be placed, they can observe that it is dangerous for it to be there, lest Ate, the goddess of revenge should attack them with it.
If the fire-place should be near where Ino ought to be; as she is observed to be jumping into the sea, they might remark, that as they are deprived of seeing the sea; they suppose the fire must have dried it up.
Where Guy is encountering the cow, they may apprehend danger to the furniture.
The Roe may be supposed bounding over a chair.
Leo is placed in the centre, to keep their enemies in awe; or any association of a similar nature, that they may deem best calculated to attain their object; but above all things they must observe, that not only in localizing the symbols, but in every other association they make with them, that they constantly attend to this important rule—To gaze intently upon the place—first looking at the hieroglyphick attentively, to renew their knowledge of its form, and then fancying it in its proper place, and endeavouring to make some ideal picture of the subject that they intend to recollect, interwoven with their symbol; this mode may appear to cost them some little trouble at first, but they will be amply repaid, by the advantages they derive in their recollection,
