sold to Spanish merchants at the Reformation, now at
Valencia, and the cope in the Museum at Madrid, are
instances of these exportations. The Syon cope also was
returned to England, after its long wanderings, about
sixty years ago. I give its history by Dr. Rock in the
Appendix 6.

[536] For examples of this ornate and graceful, but
frivolous style, we may remember the mosaic altar
frontals throughout the basilica of St. Peter's at Rome.

[537] See Dr. Rock's "Catalogue of Textile Fabrics,"
South Kensington Museum, Introduction, p. cxxxvi.

[538] Bock's "Liturgische Gewaender," i. taf. vi., vii.,
pp. 385-392. The emblematic meanings of stones is
constantly alluded to in the Old Testament. Their
symbolism has, therefore, a high authority and most
ancient descent. In the Ashmolean Museum at Oxford is an
illuminated copy of Philip de Than's Bestiarium,
composed for Adelais, second wife of Henry I.

[539] "Cyclopaedia of Bible Literature," vol. vii. p.
477.

[540] See Clapton Rolfe, "The Ancient Use of Liturgical
Colours." (Parker, 1879.)

[541] See "Indian Arts," by Sir G. Birdwood, i. p. 97.
He says this [Illustration] form is the sign of the
Buddhist or Jainis, and that the [Illustration]
fire-stick form was that of the Sakti race in India.

[542] See chapter on patterns, p. 103-4, _ante_.

[543] Revelations chap. xxii. v. 2.

[544] In mediaeval times the cross in a circle was
sometimes called the "clavus" [Illustration]. It was
the same as an Egyptian sign, meaning "land" (plate 25).
Donelly fancifully claims the sign as being that of the
garden of Eden, and of the four rivers flowing from it
(see "Atlantis").

[545] See plate 70, No. 1. In the upper part of the
Halberstadt diptych, No. 1, the "gens togata" are
sitting on Olympus, clothed in such purple garments
embroidered with the chrysoclavus.

[546] I would instance the little church of St. Mary,
built and adorned by the late W. E. Street, at Feldy, in
Surrey.

[547] The art of illumination had in general kept a
little in front of that of the painter, and illumination
and embroidery went hand in hand.

[548] The fine brocades of velvet and gold, of which we
find examples in the centres of palls, and a notable one
in the celebrated Stoneyhurst cope, are still repr