We find the Key pattern in a tomb at Essiout, in Egypt, painted perhaps about 1600 B.C., in company with some other very old friends,[129] the Tuscan border, the Egg and Tongue, and the Bead, the Daisy, and the Wave. (Pl. [17], No. 2.) We meet it everywhere in ancient and modern decoration. There are several forms of it on a large terra-cotta vase in the British Museum from Kameiros in Rhodes, and on Chinese fictiles and embroideries. It is found also on garments in Iceland, whither the Greek patterns must have drifted through Norway, and, as they could go no further, there they remained.
I have often spoken of the extraordinary survival of a pattern. This is easy to account for when fashion, “the disturber,” had not yet existed. Then the ancient motive told its own tale, and its great age was its claim to perpetual youth; but it is more remarkable where we meet with revivals at distant periods, and apparently without any connecting link of ancestry or style.
For instance, the women of Genoa wore large cotton veils, printed with the Indian conventional tree and beast pattern, down to thirty years ago, when the fashion changed, and winter bonnets and summer muslin veils displaced the old costume. These patterns are now being printed in England on scores of cotton curtains for beds and windows.
GEOMETRICAL.
Geometrical patterns may be reduced to a very few primitive elements.
Fig. 18.
Varied adjustments of Square and Circle.
1. The Line, including straight and wavy lines.