Fig. 55.
56.—P. [86].
The insertion also became more complex, four lotus flowers being placed in each angle of the hollow square; and the spirals being more heavily developed, in order to gain enough space for complexity in the squares between them. Such a system could hardly be carried further, but reached its limits; like the limit of size in the Great Hall of Karnak, where the columns occupy too large an area in proportion to the clear space.
57.—P. [83].
In another direction, however, the spiral blossomed further, in the parallel lines of spiral pattern. These became developed by introducing link lines so as to form a quintuple spiral, which was further complicated by lotus flowers and buds in the hollows and recesses.
In this direction, again, the Egyptians had reached the limit beyond which more detail would be merely confusing. By careful use of colour to separate the various parts, these complex patterns remain clear and pleasing in spite of their richness of detail.
The quadruple spiral had, however, another development, of C links, which is rather too formal to be beautiful, and lacks the flamboyant grace of the chains of spirals. Still it has a simple dignity, related to the scarab spirals rather than the flowing surface patterns. This became formalised into a torturing kind of design, which can only be described as “cursedly ingenious.” By simplifying the previous pattern, a wave was invented which was equal in each direction, and four of these were crossed in a manner which nothing but bold colouring could make intelligible.