Whilst the foregoing illustrations amply prove that the natives associated the curved and rounded form with water as moved by air, it must be noticed that in Mexico and Yucatan, as well as in Brazil and Guiana, plain water was figured by a series of parallel zigzag or undulated lines. For these reasons I infer that the symbolical design, representing actual waves, always expressed the union of air and water, and was therefore emblematic of the cult of the upper elements, or the Above. It is unfortunate that, in Mexico, no vestiges remain of the circular temples which were particularly dedicated to Quetzalcoatl=the divine twin or lord of the twin upper elements=air and water. Doubtlessly they were appropriately decorated with horizontal bands exhibiting the sacred design. The ruined condition of Central American round temples scarcely justifies the hope that such a verification can be made. At the same time the round temple on a square base, with its peculiar ground plan, was, of itself, an image of the Above and of central rule extending to the four quarters (fig. 30, p. 97). That the air and water design was actually employed in America as a frieze on sacred edifices is proven, however, by more than one illustration in the Vienna Codex and other native MSS. (fig. 35, _c_). We also see the design decorating the painted drinking bowls named xicalli which were employed in the distribution of the sacred pulque or octli at certain religious festivals. As the Mexican name given to the design itself is xical-coliuhqui, it seems as though it was most popularly known as the “twisted or winding pattern” of the sacred drinking vessels. Having originated, as I have shown, from the simplest observation of the action of air upon a surface of water, it is but natural that the same design should have independently originated in several localities. It is, nevertheless, worth mentioning here that the dome of one of the most beautiful of ancient Greek remains, the choragic monument of Lysicrates, or lantern of Demosthenes at Athens, is surrounded by a band or fascia, cut into the water design. It is evident that, seen against the sky, this graphically represented the curling waves of water “on summer seas,” and this was evidently the most primitive method of employing this form of symbolical decoration which is more familiar when executed in solid masonry stucco, as a frieze.