There is another species of fig-tree (_Ficus religiosa_) which does not take root again, but the leaves of which appear eternally to tremble; it became the symbol of the ever-moving and oscillating spheres filling the universe. The tree combines two working cosmical forces, it partly remains the same and still continually changes and varies; it is now covered only with leaves, by degrees with leaves and blossoms, and at last with leaves and fruits; then its vitality apparently dying away, leaves, blossoms, and fruits vanish, to be renewed again with the same regularity and abundance. The mind, not yet accustomed to account for every phenomenon by simple or compound gases, globules, or atoms, set in motion by affinities, is altogether absorbed by the miraculous phenomena of nature, and, having been kept for thousands of years in this absorption, is incapable of seeing objects in their proper light. It sees in every form a metaphysical cause, which leads in ornamental art to those entwined, confused, monstrous, and bizarre combinations, which mar _symmetry_, mock _eurythmy_, distort _proportion_, have no _direction_, and, trying to express the inexpressible, have no _expression_ at all. The artist, if he wishes to work in the Indian style, must make himself acquainted with the feelings that animate the Indian mind. He will do best by generally using their arabesques, and arranging them after a careful study of the antique into symmetrical forms. The Indian conventional treatment of plants in surface-decorations is unsurpassed, and in this we may learn from them; but we have to beware of their monotonous excellence, and their everlasting repetitions. We may, here and there, use their forms, but we must bring order and measure into the wild and unintelligible chaos. If we want to produce entirely Indian patterns we must not alter them, or else we destroy their effect; but we may be original in merely using the form, and endowing it with a spirit of our own; this being the great advantage of the historical study of art. Indian architecture has been well systematised by Mr. Fergusson. We have in the north the Bengallee, in the south the Dravidian, and in the west the Chalúkyan style; besides these we have three distinct religious styles--the Brahmanic, the Buddhistic, and, at a later period, the Mahomedan. Turning to the Cis-Himâlâyans, who appear under numberless names of tribes, nations, and races, and by degrees peopled Assyria, Babylon, Persia, Greece, Northern Europe, Italy, Spain, France, and England, and carried religion and civilisation into Egypt; we begin to tread, for the first time, on really _historical_ ground, for we shall be able to place events in time absolute.