Compare these peculiarities with the Swastika. The Swastika is almost always square, is always a cross at right angles or near it, and whatever may become of the ends or arms of the cross, whether they be left straight, bent at right angles, or in a curve, it still gives the idea of a cross. There is no center except such as is made by the crossing of the two arms. There is not, as in these triskelions, a central hub. There is no dot or point around which the design or machine could be made to revolve, as in these Lycian triskelions; nothing of the central boss, cup, or nave, which forms what the Germans call the "Rad-Kreuz," wheel cross, as distinguished from the square cross. In this regard Greg says: If R. Brown's lunar and Semitic or Asiatic origin of the triquetra, however, should be established, then the entire argument of the triquetra being derived from the fylfot, or vice versa, falls to the ground. * * * That the device arose out of the triskele and triquetra I do not think can be proved. It is clear the [S] was a far older and more widely spread symbol than the triskele, as well as a more purely Aryan one. Waring, explaining the tetraskelion (four-armed), declares it to have preceded the triskelion (three-armed), and he explains its meaning,[230] citing Sir Charles Fellows, as being a harpago, a grappling iron, a canting sign for Harpagus, who conquered Lycia for Cyrus, circa, 564 B. C. This, with the statement of Perrot and Chipiez (p. 872 of this paper), is a step in explanation of the adoption of the triskelion, and together they suggest strongly that it had no relation to the Swastika. At the date of the appearance of the triskelion on the Lycian coins the Swastika was well known throughout the Trojan peninsula and the Ægean Sea, and the difference between them was so well recognized that one could not possibly have been mistaken for the other. [Illustration: Fig. 227. SICILIAN COIN WITH QUADRIGA AND TRISKELION. British Museum. Barclay Head, "Coins of the Ancients," etc., pl. 35, fig. 28.] [Illustration: Fig. 228. WARRIOR'S SHIELD. From a Greek vase, representing Achilles and Hector. Agrigentum, Sicily. Waring, "Ceramic Art in Remote Ages," pl. 42, fig. 24.]