[Illustration:  Fig. 1]

[Illustration:  Fig. 2]

If, however, the reader will look at the solution in Figs. 3 and 4, he will see that no such fault can be found with it.  There is no question whatever that there are three pieces, and the solution is in this respect quite satisfactory.  But another question arises.  It will be found on inspection that the piece marked F, in Fig. 3, is turned over in Fig. 4—­that is to say, a different side has necessarily to be presented.  If the puzzle were merely to be cut out of cardboard or wood, there might be no objection to this reversal, but it is quite possible that the material would not admit of being reversed.  There might be a pattern, a polish, a difference of texture, that prevents it.  But it is generally understood that in dissection puzzles you are allowed to turn pieces over unless it is distinctly stated that you may not do so.  And very often a puzzle is greatly improved by the added condition, “no piece may be turned over.”  I have often made puzzles, too, in which the diagram has a small repeated pattern, and the pieces have then so to be cut that not only is there no turning over, but the pattern has to be matched, which cannot be done if the pieces are turned round, even with the proper side uppermost.

[Illustration:  Fig. 3]

[Illustration:  Fig. 4]

Before presenting a varied series of cutting-out puzzles, some very easy and others difficult, I propose to consider one family alone—­those problems involving what is known as the Greek cross with the square.  This will exhibit a great variety of curious transpositions, and, by having the solutions as we go along, the reader will be saved the trouble of perpetually turning to another part of the book, and will have everything under his eye.  It is hoped that in this way the article may prove somewhat instructive to the novice and interesting to others.

GREEK CROSS PUZZLES.

    “To fret thy soul with crosses.”

    SPENSER.

    “But, for my part, it was Greek to me.”

    Julius Caesar, i. 2.

Many people are accustomed to consider the cross as a wholly Christian symbol.  This is erroneous:  it is of very great antiquity.  The ancient Egyptians employed it as a sacred symbol, and on Greek sculptures we find representations of a cake (the supposed real origin of our hot cross buns) bearing a cross.  Two such cakes were discovered at Herculaneum.  Cecrops offered to Jupiter Olympus a sacred cake or boun of this kind.  The cross and ball, so frequently found on Egyptian figures, is a circle and the tau cross.  The circle signified the eternal preserver of the world, and the T, named from the Greek letter tau, is the monogram of Thoth, the Egyptian Mercury, meaning wisdom.  This tau cross is also called by Christians the cross of St. Anthony, and is borne on a badge in the bishop’s palace at Exeter.  As for the Greek or mundane cross, the cross with four equal arms, we are told by competent antiquaries that it was regarded by ancient occultists for thousands of years as a sign of the dual forces of Nature—­the male and female spirit of everything that was everlasting.