"The house of the Lord (domus Dei) consumed the house of Daedalus (domus Daedali)"

      "Although symmetry can be identified in mazes since the dawn of the Mediterranean world, not all mazes possess a beautifully repeating rhythm [visible only from 'above'].  Many labyrinths found in medieval manuscripts, for example, do not.  Consider the often-copied maze that appears in Lambert of St. Omer's Liber floridus (1121). . . .  There are twenty-five segments in this labyrinth and no symmetry whatsoever; the succession of quarter, half, and full turns has no rhythmic reason to it.
     "The Liber floridus tells a pagan tale and offers a pagan illustration, and that is precisely the point:  irrationality can flourish within this and similar mazes because they lack the cross.  The axes of the cross dictate the artful sequence of quarter- and half-turnings segments.  It is the cross that creates the perfect symmetry; it forces the turns that create the mirror images.  Rationality, order, and perfection are caused by this most fundamental of Christian symbols.  The message that the creators of the Chartrain and Reims/Sens-type mazes wished to convey was twofold:  first, inherent in every true maze is the process of a miraculous reversal; and second, divine perfection can be wrought from chaos only with the aid of the cross."

     Craig Wright, The maze and the warrior:  symbols in architecture, theology, and music (Cambridge, MA:  Harvard University Press, 2001), 69 (with 65, 67, and 71).  Indeed, even "the fourth-century Algerian maze . . . embodies a pleasing, though different, recursive rhythm".