ells us of patterns of an Indian
brocade called "Chundtara" (moon and stars), figured all
over with representations of heavenly bodies.

[97] Pliny, "Natural History," lib. xxx. c. 8, Sec. 34.

[98] There is a shell pattern in gold on a twelfth
century fragment of a Bishop's garment at Worcester.

[99] See Wilkinson's "Ancient Egyptians," vol. iii. pp.
132, 133, 350, 553.

[100] Boetticher, in his "Tektonik," will allow of but
one origin for the "egg and tongue" pattern. I cannot
give up the evident descent from the lotus flower and
bud; but I have said before that a pattern has sometimes
a double parentage, and it may be so in this case.

[101] The lotus is almost entirely lost as a native
growth in India, and is fast disappearing in Egypt. The
lotus blossom in Egypt was not only a sacred emblem, but
also an _objet de luxe_. At their feasts, the honoured
guests were presented with the flowers, and as they
faded, slaves carried round baskets of fresh blossoms.
See Wilkinson's "Manners and Customs of the Ancient
Egyptians."

[102] See the Book of Lindisfarne, and the two Celtic
bronze shields in the British Museum. These last are
very curious. The long involved lines show their origin,
and the shields are enriched with enamel and corals, in
repetitions of the prehistoric cross.

[103] See "Album of Photographs of the Marien-Kirche,
Dantzic," Taf. 31.

[104] Woltmann and Woermann, Eng. Trans., p. 202.

[105] Charlemagne's dress, in his tomb, was covered with
golden elephants. This must have been Indian. His mantle
was "_parseme_" with golden bees.

[106] Elsewhere there is a notice of Miss Morritt's
really beautifully embroidered landscapes at Rokeby; and
all who saw them will remember the extremely clever and
effective pictures in crewels by an accomplished
American lady, Mrs. Oliver Wendell Holmes, exhibited in
London a few years ago. These exceptional cases do not,
however, disprove the objections against employing the
most unfit and unmanageable materials for producing
subjects alien to the art of embroidery.

[107] See Redgrave's "Manual of Design," pp. 50-61.

[108] See Appendix 21, by Ch. T. Newton, to the first
edition of Ruskin's "Stones of Venice." He gives, as
instances of this pattern, certain coins from Priene,
w