[Illustration: FIG. 121.--Cross Furchée.] [Illustration: FIG. 122.--Cross Tau.] Crosses may at any time be represented as in relief, which again may be accented by means of a central arris or ridge which gives lines of light and shade; and this treatment is especially suitable to metal work, as is witnessed by many beautiful examples on church bells among other things. Care is necessary, however, in black and white drawing that the indication of an arris does not suggest that the cross is “party” in any way. THE FLEUR-DE-LIS is one of the forms derived from a remote antiquity to become a widespread symbol throughout the whole of mediaeval heraldry. Probably derived from the iris or some similar flower form, it is found in the most ancient and the most modern decoration. Even the recent excavations of the palace of King Minos at Knossos in Crete disclosed forms of this figure on the wall frescoes. Its ornamental beauty as well as its spiritual symbolism easily account for its heraldic prevalence, and even before regular heraldry was formulated the emblem had a quasi-heraldic existence on the crowns and sceptres of the Royal seals. Its decorative value needs no pointing out, for its graceful lines are not only beautiful in themselves but are easily adapted to harmonize with almost any form with which they may be in ornamental or heraldic relation. [Illustration: FIG. 123.--Early Twelfth Century.] [Illustration: FIG. 124.--Late Twelfth Century.] [Illustration: FIG. 125.--Late Twelfth Century.]