impossible. The four lines from each of the four arms can be projected, but each will be in a different direction, and no band can be made. It is somewhat difficult to describe this, and possibly not of great need. An attempt to carry out the project of making a band of Swastikas, to be connected with each other, or to make them travel in any given direction with continuous lines, will be found impossible. Professor Goodyear attempts to show how this is done by his figure on page 96, in connection with pl. 10, fig. 9, also figs. 173 and 174 (pp. 353 and 354). These figures are given in this paper and are, respectively, Nos. 21, 25, 26, and 27. Exception is taken to the pretended line of evolution in these figures: (1) There is nothing to show any actual relationship between them. There is no evidence that they agreed either in locality or time, or that there was any unity of thought or design in the minds of their respective artists. (2) Single specimens are no evidence of custom. This is a principle of the common law which has still a good foundation, and was as applicable in those days as it is now. The transition from the spiral to the Greek fret and from the Greek fret to the Swastika can be shown only by the existence of the custom or habit of the artist to make them both in the same or adjoining epochs of time, and this is not proved by showing a single specimen. (3) If a greater number of specimens were produced, the chain of evidence would still be incomplete, for the meander of the Greek fret will, as has just been said, be found impossible of transition into the meander Swastika. It (the Swastika) does not extend itself into a band, but if spread at all, it spreads in each of the four directions (figs. 21 and 25). The transition will be found much easier from the Greek meander fret to the normal Swastika and from that to the meander Swastika than to proceed in the opposite direction. Anyone who doubts this has but to try to make the Swastika in a continuous or extended band or line (fig. 26), similar to the Greek fret. [Illustration: Fig. 151. DETAIL OF GREEK VASE WITH SWASTIKAS AND FIGURES OF BIRDS. Waring, "Ceramic Art In Remote Ages," pl. 33, fig. 24, and Goodyear, "Grammar of the Lotus," pl. 46, fig. 5.] [Illustration: Fig. 152. DETAIL OF CYPRIAN VASE. Sunhawk, lotus, solar disk, and Swastikas. Böhlau, Jahrbuch, 1886, pl. 8; Reinach, Revue Archæologique, 1885, II, p. 360; Perrot and Chipiez, "History of Art in Phenicia and Cyprus," II; Goodyear, "Grammar of the Lotus," pl. 45, fig. 3.] [Illustration: Fig. 153. DETAIL OF GREEK GEOMETRIC VASE WITH SWASTIKAS AND FIGURES OF HORSES. Thera. Leyden Museum. Goodyear, "Grammar of the Lotus," pl. 61, fig. 4.] [Illustration: Fig. 154. BRONZE FIBULA WITH LARGE SWASTIKA ON SHIELD. Greece. Musée St. Germain. De Mortillet, "Musée Préhistorique," fig. 1264. 1/2 natural size.]