(representing the funeral rites of Patroclus), in which the flower in
question appears in the foreground, and is perhaps also employed as
ornament.] (Figs. 7 and 8.)

The Pompeian paintings and mosaics, and the Roman paintings, of which
unfortunately very few specimens have come down to us, show that the
further developments of this form were most manifold, and indeed they form
in conjunction with the Roman achievements in plastic art the highest point
that this form reached in its development, a point that the Renaissance,
which followed hard upon it, did not get beyond.

[Illustration: FIG. 9.]

Thus the work of Raphael from the loggias follows in unbroken succession
upon the forms from the Thermæ of Titus. It is only afterward that a freer
handling of the traditional pattern arose, characterized by the
substitution of, for instance, maple or whitethorn for the acanthus-like
forms. Often even the central part falls away completely, or is replaced by
overlapping leaves. In the forms of this century we have the same process
repeated. Schinkel and Botticher began with the Greek form, and have put it
to various uses; Stuler, Strack, Gropius, and others followed in their wake
until the more close resemblance to the forms of the period of the
Renaissance in regard to Roman art which characterizes the present day was
attained (Fig. 9).

Now, what plant suggested this almost indispensable form of ornament, which
ranks along with the acanthus and palmetta, and which has also become so
important by a certain fusion with the structural laws of both?

[Illustration: FIG. 10.]