introduced within the nest of leaves.

[Illustration: FIG. 16.]

Into the detailed study of the intricacies of this subject I cannot here
enter; the East-Asian influences are not to be neglected, which had
probably even in early times an effect upon the form that was assumed, and
have fused the correct style of compound flowers for flat ornament with the
above-mentioned forms, so as to produce peculiar patterns; we meet them
often in the so-called Persian textures and flat ornaments (Fig. 16).

We now come to the third group of forms--the so-called Cashmere pattern, or
Indian palmetta. The developed forms, which, when they have attained their
highest development, often show us outlines that are merely fanciful, and
represent quite a bouquet of flowers leaning over to one side, and
springing from a vessel (the whole corresponding to the Roman form with the
vessel), must be thrown to one side, while we follow up the simpler forms,
because in this case also we have no information as to either the where or
the when the forms originated. (Figs. 17, 18, 19.)

[Illustration: FIG. 17.]

Here again we are struck by resemblances to the forms that were the
subjects of our previous study, we even come across direct transitional
forms, which differ from the others only by the lateral curve of the apex
of the leaf; sometimes it is the central part, the spadix, that is bent
outward, and the very details show a striking agreement with the structure
of the aroid inflorescence, so much so that one might regard them as
actually copied from them.