In this rosette it should be noticed that beyond the double festoon about the central star appears the same alternation of bud and flower as in the straight border. That flower has been recognized as the Egyptian lotus, but Layard believes its type to have been furnished, perhaps, by a scarlet tulip which is very common towards the beginning of spring in Mesopotamia.[393] We ourselves believe rather in the imitation of a motive from the stuffs, the jewels, the furniture, and the pottery that Mesopotamia drew from Egypt at a very early date through the intermediary of the Phoenicians. The Phoenicians themselves appropriated the same motive and introduced it with their own manufactures not only into Mesopotamia but into every country washed by the Mediterranean. Our conjecture is to some extent confirmed by an observation of Sir H. Layard's. This lotus flower is only to be found, he says, in the most recent of Assyrian monuments, in those, namely, that date from the eighth and seventh centuries B.C., centuries during which the Assyrian kings more than once invaded Phoenicia and occupied Egypt.[394] In the more ancient bas-reliefs flowers with a very different aspect--copied in all probability directly from nature--are alone to be found. Of these some idea may be formed from the adjoining cut. It reproduces a bouquet held in the hand of a winged genius in the palace of Assurnazirpal (Fig. 133). [Illustration: FIG. 132.--Rosette.] The lotus flower is to be found moreover in monuments much older than those of the Sargonids, but that does not in any way disprove the hypothesis of a direct plagiarism. The commercial relations between the valleys of the Nile and the Euphrates date from a much more remote epoch, and about the commencement of the eighteenth dynasty the Egyptians seem to have occupied in force the basin of the Khabour, the principal affluent of the Euphrates. Layard found many traces of their passage over and sojourn in that district, among them a series of scarabs, many of which bore the superscription of Thothmes III.[395] So that the points of contact were numerous enough, and the mutual intercourse sufficiently intimate and prolonged, to account for the assimilation by Mesopotamian artists of a motive taken from the flora of Egypt and to be seen on almost every object imported from the Nile valley. This imitation appears all the more probable as in the paintings of Theban tombs dating from a much more remote period than the oldest Ninevite remains, the pattern with its alternate bud and flower is complete. Many examples may be found in the plates of Prisse d'Avennes' great work;[396] one is reproduced in our Fig. 134. [Illustration: FIG. 133.--Bouquet of flowers and buds; from Layard.] [Illustration: FIG. 134.--Painted border; from Thebes, after Prisse.]