[Illustration: Fig. 146. DETAIL OF ATTIC VASE WITH FIGURE OF ANTELOPE (?) AND SWASTIKA. British Museum. Böhlau, Jahrbuch, 1885, p. 50, and Goodyear, "Grammar of the Lotus," pl. 37, fig. 9.] [Illustration: Fig. 147. CYPRIAN VASE WITH SWASTIKAS. Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples," appendix by Murray, p. 404, fig. 15.] [Illustration: Fig. 148. TERRA COTTA FIGURINE WITH SWASTIKAS IN PANELS. Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples," p. 300, and Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 691.] [Illustration: Fig. 149. TERRA COTTA VASE WITH SWASTIKA AND FIGURE OF HORSE.[172]] [Illustration: Fig. 150. BRONZE FIBULA WITH SWASTIKA AND REPRESENTATIONS OF A GOOSE AND A FISH. Boeotia, Greece. De Mortillet, "Musée Préhistorique," fig. 1265.] Professor Goodyear, and possibly others, ascribe the origin of the Swastika to the Greek fret; but this is doubtful and surely has not been proved. It is difficult, if not impossible, to procure direct evidence on the proposition. Comparisons may be made between the two signs; but this is secondary or indirect evidence, and depends largely on argument. No man is so poor in expedients that he may not argue. Goldsmith's schoolmaster "e'en tho' vanquished, he could argue still." The Greek fret, once established, might easily be doubled or crossed in some of its members, thus forming a figure similar to the Swastika (fig. 139), which would serve as an ornament, but is without any of the characteristics of the Swastika as a symbol. The crossed lines in the Greek fret seem to have been altogether fortuitous. They gave it no symbolic character. It was simply a variation of the fret, and at best was rarely used, and like it, was employed only for ornament and not with any signification--not a sign of benediction, blessing, or good luck, as was the Swastika. The foundation principle of the Greek fret, so far as we can see its use, is its adaptability to form an extended ornamental band, consisting of doubled, bent, and sometimes crossed or interlaced lines, always continuous and never ending, and running between two parallel border lines. Two interlacing lines can be used, crossing each other at certain places, both making continuous meanders and together forming the ornamental band (fig. 139). In the Greek fret the two lines meandered between the two borders back and forth, up and down, but always forming a continuous line. This seems to be the foundation principle of the Greek fret. In all this requirement or foundation principle the Swastika fails. A row or band of Swastikas can not be made by continuous lines; each one is and must be separated from its fellows. The Swastika has four arms, each made by a single line which comes to an end in each quarter. This is more imperative with the meander Swastika than with the normal. If the lines be doubled on each other to be carried along to form another Swastika adjoining, in the attempt to make a band, it will be found