THE BIRTHPLACE OF GREEK DECORATIVE ART. 181
The only relics of this second temple are here reproduced
from a photograph by Mr. Petrie. Scant though they are,
they at all events show
to what skill the
Greeks of Naukratis
had by this time at-
tained in the art of
decorative sculpture.
Among these frag-
ments we note an an-
themion, some bits of
the so-called Oriental
palmette, and a few
scraps of lotus pattern,
naturalistically treated.
That the anthemion
and the palmette are
lotus motives conventionally treated has been conclusively
demonstrated by Mr. W. H. Goodyear in a series of exam-
ples from Egyptian, Cypriote, Greek, and Gra?co-Roman
monuments, which
FRAGMKNTS OF SHAFT, ETC., FROM THE ARCHAIC
TEMPLE OF APOLLO, NAUKRATIS.
1£\.
trace the evolution
of these forms step
by step, and leave no
room for debate.(")
It is impossible in
the course of a few
pages to do more
than touch upon
some of the more
striking instances of
the influence of the
lotus upon Greek
decorative art. The
subject, as a whole, is too complicated and too extensive for
summary treatment. It will, however, be interesting to glance
at two or three more examples of lotus designs, beginning
FRAGMENTS FROM THE SECOND TEMPLE OF APOLLO
NAUKRATIS.
The only relics of this second temple are here reproduced
from a photograph by Mr. Petrie. Scant though they are,
they at all events show
to what skill the
Greeks of Naukratis
had by this time at-
tained in the art of
decorative sculpture.
Among these frag-
ments we note an an-
themion, some bits of
the so-called Oriental
palmette, and a few
scraps of lotus pattern,
naturalistically treated.
That the anthemion
and the palmette are
lotus motives conventionally treated has been conclusively
demonstrated by Mr. W. H. Goodyear in a series of exam-
ples from Egyptian, Cypriote, Greek, and Gra?co-Roman
monuments, which
FRAGMKNTS OF SHAFT, ETC., FROM THE ARCHAIC
TEMPLE OF APOLLO, NAUKRATIS.
1£\.
trace the evolution
of these forms step
by step, and leave no
room for debate.(")
It is impossible in
the course of a few
pages to do more
than touch upon
some of the more
striking instances of
the influence of the
lotus upon Greek
decorative art. The
subject, as a whole, is too complicated and too extensive for
summary treatment. It will, however, be interesting to glance
at two or three more examples of lotus designs, beginning
FRAGMENTS FROM THE SECOND TEMPLE OF APOLLO
NAUKRATIS.