[124] Ezekiel xvii.
[125] In the earliest days of Christianity.
[126] “A cloud pattern from which issue two clasped hands is the device of Guizot Marchand or Guido Mercator, printer, in 1498. He lived at the College of Navarre.”—Dibdin’s “Decameron,” ii. pp. 33-36.
[127] See Gori (tom. iii. pp. 20, 84), as cited by Rock, Introduction, p. liii. The same netted pattern was found in the grave of an Archbishop of York of about the end of the thirteenth century. Its name, fundata, is derived from funda, the fisherman’s net; also, in later times, it was called laqueata. See Rock’s Introduction (p. liv.). See also M. Ch. Clermont Ganneau’s “L’Imagerie Phénicienne,” Coupe de Palestrina; and Chaldée et Assyrie, in Perrot and Chipiez, ii. p. 736. Another instance is shown here of the fundata occurring in the bronze flat bowl copied from Layard’s “Monuments,” 2nd series, plate 62. The whole design of the bowl is Babylonian, consisting of a rich border of repetitions of the tree of life; each has the peculiar ornament of little knobs often seen on their head-dresses.
[128] See Bock’s “L. Gewänder,” p. 129; Gori, “Thes. Dipt.” ii. pp. 20, 275; Marquardt, “Handbuch Röm. Alt.” vii. pp. 527-31 (Eng. Trans.). Authorities differ in describing the Chrysoclavus. Sir G. Birdwood calls it a button pattern (“Indian Arts,” vol. ii. p. 241). The “Chrysoclavus” was the name given to the palmated or triumphal pattern with which the consular robes are invariably embroidered in the Roman Consular ivories at Zurich, Halberstadt, and in the South Kensington Museum. The tenacious life of this pattern is curiously shown in the way it appears in the fifteenth century on Italian playing-cards. (See “Cartes à Jouer,” an anonymous French book in the print-room of the British Museum.) The kings and knaves wear the Byzantine humeral, and the Chrysoclavus pattern is carved on their chairs. Till lately English playing-cards showed the same dress-pattern. I shall discuss the Latin Clavus and the Chrysoclavus amongst ecclesiastical embroideries, pp. 308, 336 (post).
[129] See Wilkinson’s “Ancient Egyptians,” i. p. 125. The date of these mural paintings may, however, be even as late as the time of Alexander the Great.