goddess Roma
herself, for the consul Stilicho. I give this as showing
how forms and patterns become sacred by their being
attributed to the inspiration of the gods. The name of
Stilicho marks his tomb in Sant' Ambrogio's Church at
Milan, on which is a curious moulding, carved with
alternate roses and mystic crosses.

[490] Clapton Rolfe, "Ancient Use of Liturgical
Colours."

[491] See the Book of Kells, Library, Dublin; also St.
Cuthbert's Durham Book, British Museum, and the Celtic
MSS. in the Lambeth Palace Library.

[492] Celtic and Scandinavian designs are characterized
by meandering, interlaced, and knotted lines, which are
described and discussed in the chapter on patterns. The
forms of the Celtic stone crosses are very beautiful.
See "L'Atlas de l'Archeologie du Nord, par la Societe
Royale des Antiquaires du Nord" (Copenhagen, 1857),
where the metal remains are shown by careful engravings;
also George Stephen's "Old Northern Runic Monuments."

[493] See Bock's "Liturgische Gewaender," i. p. 126,
quoting Anastasius Bibliothecarius, pp. 153, 156, 189.

[494] Ibid. p. 189.

[495] The information here collected proves that these
sovereign gifts to the great basilicas were by no means
of costly materials, especially as compared with the
preceding splendours of Rome, or the still more
astounding luxury of Alexandria through the Greek
conquests of the Eastern nations. To these rules of
economical decoration, however, we find occasionally
exceptions. We gather also from later lists that the
embroideries of the Papal See were culled, in the
thirteenth century, from France, Spain, Germany, and
England.

[496] See also Bock's "Liturgische Gewaender," vol. i.
pp. 9, 18, 56, 86, plate 2. At a later period the lion
motive is supposed to have represented a Christian in
the arena, and it certainly in time was symbolical of
man struggling with the dominion of sin. However, Bock
considers the design to have been originally classical
Greek, and it survived to the seventh and eighth
centuries, and was reproduced as late as the sixteenth.

[497] The Code of Manu in India, which 2500 years ago
regulated all the crafts and ruled their decorations, is
still in full force, and Chinese art was crystallized in
the reigns of the first emperors of