inner
meaning, or else, having originally had one, have lost it.

All these exist, sometimes apart and sometimes mingled; so that some
thought must be expended in seeking the motive which has brought them
together, and finding in each the internal evidence of its descent.

It is evident that patterns, conventionalized and brought from distant
sources, sometimes meet and amalgamate. When the origin of a
conventional pattern is disputed, it is worth while to examine if it
has a double parentage. Let me give, as an instance, the key pattern.
It may have been, as Semper believes, originally Chinese, and derived
from wicker-work design. It represents also the broken or dislocated
"wave," the symbol of the River Maeander,[108] and for water generally.
We find it everywhere in company with the wave, which never could have
had any connection with wicker-work, not only in China, but in Persia,
India, Egypt, Arabia, Greece, Rome, and Central America. (Pl. 19.)

Can any invention of man show a more symbolical intention than the
wave pattern? The airy leap drawn downwards by the force of
gravitation; controlled, and again made to return, but strong to
insist on its own curve of predilection, rushing back under the same
circle; strengthened by the downward movement to spring again from its
original plane; beginning afresh its Sisyphus labour, and facing the
next effort with the same grace and agility. Undying force, and
eternal flowing unrest--these are the evident intention and symbol of
the wave pattern. Though I believe the key pattern to be a
modification of the wave form, yet the locking and unlocking movement
suggests a repetition of the Tau, or key of life.

[Illustration: Fig. 10.]

When we admire the friezes of garlands hung between the skulls of oxen
and goats, we cannot for a moment doubt the sacrificial idea on which
the design was founded. When the wreaths are carried by dancing
children, we recognize the impersonation of the rejoicing of the daedal
earth.

The Greeks, however strongly they exerted themselves to throw off the
shackles of conventionality in sculpture, painting, and architecture,
yet yielded to the traditional force of the symbolical pattern, and
accepted most of the Oriental forms, merely remodelling them for their
own use, and adding to their significance what their culture required;
at the same time giving infinite variety, as their perfect taste
dictated.

[Illustration: Pl. 20.
TRE