Fig. 18.
DETAIL OF CYPRIAN VASE SHOWING
LOTUSES WITH CURLING SEPALS.
Metropolitan Museum of Art, New
York. Goodyear, “Grammar of the
Lotus,” pl. 47, fig. 1.

He shows[61] the transfer of the lotus motif to Greece, and its use as an ornament on the painted vases and on those from Cyprus, Rhodes, and Melos (figs. [15], [16], [17]).

Chantre[62] notes the presence of spirals similar to those of [fig. 17], in the terramares of northern Italy and up and down the Danube, and his fig. 186 ([fig. 17]) he says represents the decorating motif, the most frequent in all that part of prehistoric Europe. He cites “Notes sur les torques ou ornaments spirals.”[63]

That the lotus had a foundation deep and wide in Egyptian mythology is not to be denied; that it was allied to and associated on the monuments and other objects with many sacred and mythologic characters in Egypt and afterwards in Greece is accepted. How far it extends in the direction contended for by Professor Goodyear, is no part of this investigation. It appears well established that in both countries it became highly conventionalized, and it is quite sufficient for the purpose of this argument that it became thus associated with the Swastika. Figs. [18] and [19] represent details of Cyprian vases and amphora belonging to the Cesnola collection in the New York Metropolitan Museum of Art, showing the lotus with curling sepals among which are interspersed Swastikas of different forms.

Fig. 19.
DETAIL OF CYPRIAN AMPHORA IN METROPOLITAN MUSEUM OF ART, NEW YORK CITY.
Lotus with curling sepals and different Swastikas.
Goodyear, “Grammar of the Lotus,” pl. 47, figs. 2, 3.

Fig. 20.
THEORY OF THE EVOLUTION OF THE SPIRAL
SCROLL FROM LOTUS.
One Volute.
Goodyear, “Grammar of the Lotus,” fig. 21.

According to Professor Goodyear,[64] these bent sepals of the lotus were exaggerated and finally became spirals,[65] which, being projected at a tangent, made volutes, and, continuing one after the other, as shown in [fig. 20], formed bands of ornament; or,[66] being connected to right and left, spread the ornament over an extended surface as in [fig. 21]. One of his paths of evolution closed these volutes and dropped the connecting tangent, when they formed the concentric rings of which we see so much. Several forms of Egyptian scarabæi, showing the evolution of concentric rings, are shown in figs. [22], [23], and [24].