, said to be the double of the Tau, or Egyptian sign of life, and claimed by the Rabbins as having been the sign in blood, which stopped the hand of the angel of death, over the doors of the Israelites at the first Passover. This afterwards was called the “Gammadion,” from its likeness to a doubled Greek gamma, and it was also said to symbolize the “corner-stone.”[541] The third commonest form, apparently a modification of that of the fire-sticks,
, is to be found throughout Celtic and Scandinavian art, and was called in England “the fylfote” (from its likeness to the arms of the Isle of Man), and likewise “the Gammadion,” though it shows another source than the Greek letter.
From these three forms already in use, added to that of the Crucifixion, endless varieties were composed to suit the ecclesiastical taste and requirements of different national styles of symbolical decoration. I refer my readers to plate [26] in the chapter on [patterns] for a few of these from different sources. They are extremely suggestive. I have there entered more fully into the subject, regarding it as a fertile pattern motive in textile art.[542]
The cross “bearing twelve fruits for the saving of the nations”[543] is so like some of the representations of the Persian or Indian Tree of Life, that the transmission and adoption of the symbolic form is evident. The cross (plate [63]) is a good mediæval example, and is taken from the celebrated rose-coloured cope at Rheims, embroidered with gold and pearls on a rose-coloured satin ground.
Pl. 70.
Ivory Consular Diptych.
1. In the Wasser-Kirche Museum, Zurich. Sixth century.
2. Of an earlier period, and finer workmanship, at Halberstadt. No date given.