So far we are on clear ground. Now we come to a more complex form, which has also not yet been explained. In the XVIIIth dynasty (from which we must mainly draw, as we have the long series of varieties in the glazed ornaments of Tell el Amarna) a strange form appears, with reversed curling arms above the calyx. Now we have seen that a third sepal is shown from the back of the flower, and the fourth is omitted which lay in front. But this was an imperfect flower, and so a diagonal point of view was taken, in which two sepals lay nearest and were seen in side view, and the two behind them were seen over them. Sometimes they are curled alike, but more generally they are curled different ways, the nearer ones downwards, the further ones upwards. Hence we get this very mechanical form, which was greatly developed in Assyrian and Greek types of the pattern. If it can be proved that the Assyrian tree pattern is earlier than this development, we could then grant what seems a likely influence on the development of this pattern. It was so far removed from a natural view that it soon became greatly varied and amplified, as on a bracelet in the Louvre.