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. [Illustration: 58.—P. 85.] [Illustration: 59.—P. 83.] [Illustration: 60.—L.D. II. 57.] The fret patterns are all modifications of corresponding spirals. The cause of such change is obviously the influence of weaving. As early as the Vth dynasty we find a fret of rhombic form in basket-work in the screen behind the figure of Ptah·bau·nefer, at Gizeh. The angles show that the plaiting was in three directions, as we saw in the basket-work pattern at Benihasan (Fig. 3). But frets in general are very rare until a late period, and they doubtless depend on the adaptation of spirals to textiles. We see no trace of the fret in the Mykenaean art, the spiral there being figured on stone or metal, while the women wore flounced dresses with scale pattern. But in the pre-Persian age fret pattern weaving in borders was the standard design, as we see on the coloured robes of the Parthenon statues; and immediately after that the stiffest of square frets swarms over Greek art, to the exclusion of the graceful spirals and scroll borders. [Illustration: 61.—P. 82.] [Illustration: 62.—P. 83.] [Illustration: 63.—P. 83.] The chains of links were copied in the fret pattern with no difference except in squaring up the curves. The same is true of the quadruple spirals, which appear likewise modified; and this change seems to have led to another simplified form, which is on the same idea as the torturing design (Fig. 59), but which is less ingenious, and is still possible as an ornament. [Illustration: 64.—Schuck. 256.]