At the same time, I have no conviction that this is the real origin of the Swastika, and await further evidence. The "flying-stork theory," which was put forward by Reinach, is very attractive. Birds as badges and "totems" are frequent among primitive mankind, and certain species are often regarded as sacred and bringing good luck. The stork is one of these. If the artists who marked the very ancient clay-pottery of Hissarlik with the Swastika and also with outlines of the flying stork, strongly resembling a Swastika, did not derive the Swastika from the stork, but had received it from some independent source, then it is probable that they purposely drew the flying stork, so as to make it resemble as much as possible a Swastika. When we take account of the apparently arbitrary passage of human decorative design from the naturalistic to the linear, and from the linear to the naturalistic; from the curvilinear to the rectilinear, and from rectilinear to curvilinear; when we also reflect that some races and populations of men have been prone to seek for the forms of their decoration in the natural forms of plants and animals, whilst others have made use of mere mechanical patterns of parallel or interlacing lines, we must conclude that by the appeal to one or other of these various tendencies it is easy to invent a large variety of more or less plausible theories as to the origin of the Swastika. The truth of the matter can only be decided, if ever, by more direct and conclusive evidence than we at present possess. Nevertheless, it is a legitimate and fascinating thing to speculate on the origin of this wonderful world-pervading emblem coming to us from the mists of prehistoric ages, and to endeavour to arrive, if possible, at possible points of contact between it and other "devices" and "symbols," even though they may be of equally obscure birth.[8] [Illustration: FIG. 60.]