The designs applied to Greek dresses presented abundant variety, as is evidenced by extant monuments, especially by the vases; they may be roughly classed as geometric, floral, and those containing animal and human forms. Of the geometric designs some are rectilinear, others curvilinear. The favourite rectilinear borders are broad lines, parallel rows of zigzag lines, the mæander or key pattern in very many forms varying from the simple running mæander to a complicated double fret, broken at intervals by stars or chequers. In addition to these borders we frequently find a chequer pattern covering the whole surface of a garment. A kind of net pattern, often seen on vases, was very probably used in dresses also. Of the curvilinear designs the most common are the “guilloche” or plait-band, the simple spiral, and the κυμάτιον or wave pattern. On the black-figured vases a kind of scale pattern frequently occurs covering a wide surface. A very great variety of floral designs was used by the Greeks for ornamentation of all kinds; they are very frequent as part of the scheme of decoration of vases, especially of those of Ionic origin. A favourite pattern is a simple laurel wreath like that depicted in Fig. 39; the ivy also forms the basis of more than design. Sometimes it takes the form of a row of leaves on either side of a straight line; more often the leaves alternate with tendrils and berries. By far the commonest and the most beautiful of floral designs are those made up of lotus buds and flowers and palmettes. Sometimes we find the lotus alone forming the motive of the design, sometimes it alternates with palmettes. A very graceful pattern is composed of oblique palmettes turned in opposite directions and connected by spirals.[159] That these designs so commonly used for the decoration of pottery were employed also in the textile arts is proved by some of the fragments found at Kertch. Quite considerable remains were found of a piece of woollen material elaborately embroidered with a large floral design (Fig. 40), the main motive of which is a graceful palmette, from the base of which spring spirals terminating in heart-shaped leaves and flowers. The design is executed in gold and green on a violet ground.[160] [159] For patterns generally, see H. B. Walters, _History of Ancient Pottery_, ii., 209-235; Riegl, _Stilfragen_. [160] For colouring, see _Comptes rendus_, 1878. [Illustration: FIG. 40.—Embroidered Fragment from Kertch. _Face page_ 105.]