2.—IV. dyn., Mery, Louvre.
3.—V. dyn., Ptah-hotep, Perrot XIII.
The plain repeated zigzag line is used down to late times, but generally with variety in colour to give it interest. From the earliest times this was symmetrically doubled, so as to give a row of squares with parallel borders; or with repeated zigzag borders in alternate light and dark colours. This same type lasted onward to the XIXth dynasty (belt Ramessu II. C.M.X.), and is found, with the addition of spots in the outer angles, in the foreign dress of Shekh Absha, at Benihasan, in the XIIth dynasty.
4.—Prisse, Art. 84.
5.—L.D., II. 130.
A later stage was to repeat the squares with varieties of colour; and also to introduce details into the squares, and so make them compound patterns, as in the XVIIth dynasty at El Kab, where the sequence of the blue, green, and red lines makes a brilliant effect from these simple elements. Not only a square, but also a hexagon, was worked into the same design. This, from the nature of it, suggests a rush-work screen, and probably it was plaited with rushes in three directions, and hence the production of this particular angle. The previous zigzag patterns all suggest weaving; and in some in Ptah-hotep’s tomb (Vth dyn.) closely woven and complex zigzag patterns are shown which are evidently copied from textiles, as we shall see further on in the chequer patterns.