The lotus and the patterns founded on its forms, and the many
emblematic meanings attached to them, are notable examples of these
transmutations in style and intention, and of the value given to their
intention and use in Egypt and India, where each development was
immediately crystallized into a recognized pattern, and given its
place and language. It received its "_mot d'ordre_," and continued to
act upon it long after the meaning was forgotten or out of date.

The rolling pattern which had so long represented only the "wave," was
given to the really straight stem of the lotus, and its blossom,
substituted for the wave's crest, now filled many a frieze in Indian
temple architecture; whereas the lotus stems in Egypt were still bound
in sheaves to form columns, and the flowers, buds, and leaves spread
and blossomed into capitals. Here we have symbolism and
conventionalized naturalism, all combined, showing how their
principles, though quite distinct, can mix and unite. The conventional
form often superseded and effaced the naturalistic, and became the
sign of an idea, or the hieroglyphic picture of a thing; immovable and
unalterable in Egypt, where every effort was made to secure eternity
on earth, but continually returning to naturalism in India, where the
Aryan tendency, with the assistance of the "Code of Manu," always
recurred to the restoration of the ancient naturalistic motive.

In the India Museum we may see the "wave" motive converted into a
lotus pattern by rolling the long stems, and filling up the spaces
between with the full-faced blossom. Sometimes the pattern is started
by the figure of an elephant, from whose mouth the stem of the flower
of the sun proceeds. This occurs so often that it must originally
have had a meaning. Sometimes the sacred convolvulus takes the place
of the lotus. (Plate 12.)

On an Egyptian mural painting are seen parties of men snaring ducks
among papyrus and lotus plants. These are entirely conventional, and
are, in fact, a sort of recognized hieroglyphic representing the idea
of a lotus.[99]

The lotus was the accepted emblem of the sun, and reduced to a
many-leaved radiating pattern may be found as an architectural
ornament on the outside of the Buddhist "topes," of which the models
are on the staircase of the British Museum.[100] (Plate 13.)

We have Sir G. Birdwood's authority for believing that, though the
actual lotus was a native of India, and carried thence to Egypt