1 Samuel 6:21

To the inhabitants of Kirjath-jearim - They wished the ark away out of their village, but why they sent to this city instead of sending to Shiloh, does not appear: probably Shiloh had been destroyed by the Philistines, after the late defeat of Israel. This is most likely, as the ark was never more taken back to that place.

It was a very ancient usage, when a plague or other calamity infested a country, city, etc. for the magicians to form an image of the destroyer, or of the things on which the plague particularly rested, in gold, silver, ivory, wax, clay, etc., under certain configurations of the heavens; and to set this up in some proper place, that the evils thus represented might be driven away. These consecrated images were the same that are called talismans, or rather telesms, among the Asiatics. Mr. Locke calls the diviners talismans, but this is a mistake; the image, not the fabricator, was called by this name.

I have seen several of these talismans, of different countries; and such images were probably the origin of all the forms of gods which, in after times, were the objects of religious worship. It is well known that Ireland is not infested with any venomous creature; no serpent of any kind is found in it: -

"No poison there infects, no scaly snake

Lurks in the grass, nor toads annoy the lake."

This has been attributed to a telesm, formed with certain rites under the sign Scorpio. Such opinions have been drawn from very ancient pagan sources: e.g.: A stone engraved with the figure of a scorpion, while the moon is in the sign Scorpio, is said to cure those who are stung by this animal. Apollonius Tyaneus is said to have prevented flies from infesting Antioch, and storks from appearing in Byzantium, by figures of those animals formed under certain constellations. A brazen scorpion, placed on a pillar in the city of Antioch, is said to have expelled all such animals from that country. And a crocodile of lead is also said to have preserved Cairo from the depredations of those monsters. See Calmet.

Virgil refers to this custom, Eclogue viii., ver. 80, where he represents a person making two images or telesms, one of wax, another of clay, which were to represent an absent person, who was to be alternately softened or hardened, as the wax or clay image was exposed to the fire: -

Limus ut hic durescit, et haec ut cera liquescit

Uno et eodem igni: sic nostro Daphnis amore