ion of the forms in stone can be followed on monuments that are
relatively not very old, that are dated, and of which the remains are still
extant. In order to follow the development, I ask your permission to go
back at once to the very oldest of the known forms. They come down to us
from the golden era of Greek decorative art--from the fourth or fifth
century B.C.--when the older simple styles of architecture were supplanted
by styles characterized by a greater richness of structure and more
developed ornament. A number of flowers from capitals in Priene, Miletus,
Eleusis, Athens (monument of Lysicrates), and Pergamon; also flowers from
the calathos of a Greek caryatid in the Villa Albani near Rome, upon many
Greek sepulchral wreaths, upon the magnificent gold helmet of a Grecian
warrior (in the Museum of St. Petersburg)--these show us the simplest type
of the pattern in question, a folded leaf, that has been bulged out,
inclosing a knob or a little blossom (see Figs. 3 and 4). This is an
example from the Temple of Apollo at Miletus, one that was constructed
about ten years ago, for educational purposes. Here is the specimen of the
flower of the monument to Lysicrates at Athens, of which the central part
consists of a small flower or fruits (Figs. 5 and 6).

[Illustration: FIG. 7.]

The form passes over into Roman art. The larger scale of the buildings,
and the pretensions to a greater richness in details, lead to a further
splitting up of the leaf into acanthus-like forms. Instead of a fruit-form
a fir-cone appears, or a pine-apple or other fruit in an almost
naturalistic form.

In a still larger scale we have the club-shaped knob developing into a
plant-stem branching off something after the fashion of a candelabrum, and
the lower part of the leaf, where it is folded together in a somewhat
bell-shaped fashion, becomes in the true sense of the word a campanulum,
out of which an absolute vessel-shaped form, as _e.g._ is to be seen in the
frieze of the Basilica Ulpia in Rome, becomes developed.

[Illustration: FIG. 8.]

Such remains of pictorial representation as are still extant present us
with an equally perfect series of developments. The splendid Graeco-Italian
vessels, the richly ornamented Apulian vases, show flowers in the spirals
of the ornaments, and even in the foreground of the pictorial
representations, which correspond exactly to the above mentioned Greek
relief representations. [The lecturer sent round