I mention these philological, mythological, and religious associations with the maze, because they suggest a common origin for the maze going back to a very early times. Key patterns, knotwork and spiral designs are all related to the symbolism of the maze, and very likely also originate in an ancient tradition underlying all sacred traditions. One element that these patterns share in common with the most primitive kind of geometric patterns is the symbolic language of geometry.

The evidence for this  may be found in the art of central and northern Europe of the megalithic period, to mention only the immediate background to Celtic art, for instance. The key to the symbolism of such grid-based patterns is  the grammar of the elements of primitive geometric pattern such as J. Romilly Allen outlined as the basis of art in the Bronze age.

I hope the basic maze variations of the Val Camonica carvings will inspire those studying Celtic art, as the study of the basic maze may stir  further research into the intelligibity of primitive ornament such as is found in many megalithic sites. 

Fig. 66a: Square form of Celtic Cross

Books to read. City of Revelation, John Mitchell, McKay, N.Y., 1972.

The Mystic Spiral, Jill Purce, Avon, N.Y., 1974.

The Book of the Hopi, Frank Waters, Viking, N.Y., 1969

Camonica Valley, Cape, London, 1964.

Mazes and Labyrinths, Janet Bord, Dutton, N.Y. 1975

Fig. 66b: Irish Ecclesiastic, Carved Stone, Killeadeas