The convolvulus has scarcely, if at all, been acknowledged as an Egyptian ornament. Yet it often occurs during the XVIIIth and XIXth dynasties. On a coffin in the Ghizeh Museum a long trail of convolvulus is beautifully modelled and painted; and during the tide of naturalism under Akhenaten the wild flowing stems were a favourite element of decoration. [Illustration: 157.—P. 91.] Subsequently the convolvulus is often shown as a climber on the lotus or papyrus stems in bouquets; and though its leaves then have been miscalled lotus buds, or “tabs,” yet they are clearly intended for a natural leaf of this climber, which is so common in the Egyptian fields. [Illustration: 158.—P. 91.] Another field plant which played a great part in the glazed decorations was the thistle. This is naturally painted on the glazed tiles; and the glazed pendants of necklaces and wall decoration showed an abundance of thistles with green calices and purple petals. But this, like the convolvulus, was rarely used except during the beautiful period of naturalism which was most developed by Akhenaten. Artificial combinations of flowers also became used decoratively. We have just instanced two examples from the great bouquets or staves of flowers which the Egyptians used in ceremonies. The garlands of flower petals which are seen on the heads of women, or as collars, in the XVIIIth-XXth dynasties were also placed around the water-jars; and hence a painted pattern of garlands came to be used on those jars. [Illustration: Fig. 159.] In architecture also the garland came into use, sometimes carved on the stone around the columns, sometimes made in coloured glaze and inlaid in the surface. [Illustration: 160.—T.A. ix.] Wreaths of lotus flowers and buds were also represented around the columns at Tell el Amarna. The great pectorals, or breast-plates, of successive strings of flowers and leaves were prominent in the personal and religious decoration. The sacred barks of the gods were adorned with large and complex breast-plates, probably made of bronze, gilded and inlaid (L.D. III. 235). [Illustration: 161.—P. Mon. xlix. 2.] A small example of such we have in London, with the details all inlaid in gold. These pectorals were also represented on the later vases as a complete whole. [Illustration: 162.—L.D. III. 76.]