The migration of this lion rampant is interesting. It was in the twelfth century the coat of arms of the King of Albania. Phillippe d'Alsace, the eldest son of Thierry d'Alsace, was Count of Flanders, sixteenth in succession, tracing his ancestry back to 621 A. D. The original and ancient coat of arms of the Counts of Flanders consisted of a small shield in the center of a larger one, with a sunburst of six rays. Phillippe d'Alsace reigned as Count of Flanders and Brabant from 1168 to 1190 A. D. He held an important command in two crusades to the Holy Land. During a battle in one of these crusades, he killed the King of Albania in a hand-to-hand conflict, and carried off his shield with its escutcheon of the lion rampant, which Phillippe transferred to his own shield, took as his own coat of arms, and it has been since that time the coat of arms of the Counts of Flanders and Brabant, and is now that of Belgium. The lion in the escutcheon can thus be traced by direct historic evidence through Northumberland, Flanders and Louvain back to its original owner, the King of Albania, in the twelfth century. Thus is the migration of the symbol traced by communication and contact, and thus are shown the possibilities in this regard which go far toward invalidating, if they do not destroy, the presumption of separate invention in those cases wherein, because of our ignorance of the facts, we have invoked the rule of separate invention. _Greek art and architecture._--It has come to be almost a proverb in scientific investigation that we argue from the known to the unknown. We might argue from this proverb in favor of the migration of the Swastika symbol and its passage from one people to another by the illustration of the Greek fret, which is in appearance closely related to the Swastika; and, indeed, we might extend the illustration to all Greek architecture. It is a well-known fact, established by numberless historic evidences, that the Greek architecture of ancient times migrated--that is, passed by communication and contact of peoples, and by transfer of knowledge from one man to another, and from one generation to the succeeding generation, until it became known throughout all western countries. The architects of Rome, Vicenza, Paris, London, Philadelphia, Washington, Chicago, and San Francisco derive their knowledge of Grecian architecture in its details of Doric, Ionic, and Corinthian styles by direct communication, either spoken, written or graphic, from the Greek architects who practiced, if they did not invent, these styles.