ped
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 Phenicienne," Coupe de Palestrina;
and Chaldee 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. Gewaender," p. 129; Gori, "Thes.
Dipt." ii. pp. 20, 275; Marquardt, "Handbuch Roem. 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 a 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.

CHAPTER IV.

MATERIALS.

1. RAW MATERIALS.

The history of an art must, more or less, include that of its raw
material.

This is too true to be disputed, bu