"tragic gardens, with dark avenues of intertwisted ilexes immeasurably old, where there might be lurking the emissary of an ambitious d'Este; gloomy labyrinths of mediaeval yew concealing the panther-spring of a vindictive Sforza or the self-handled stiletto of a fratricidal Borgia...." And again: "_Had I a garden, claustral yews Should shut out railing wind, That Poets might on sadness muse With a majestic mind._" If space permitted, or if any useful purpose were served, a good deal more might be written concerning the Labyrinth in relation to Literature. Similarly, the Labyrinth in Art might form the subject of a fairly bulky volume. A considerable amount of space could be taken up with the speculations that have been made as to the probable relationship of the Knossian design to the Cross, the Swastika--with its variants, the Triskelion and the Tetraskelion--the Circle, the Spiral, and so forth; but the reader who thirsts for discussions of this nature must be referred to more specialised archaeological literature. The main points of interest with regard to the use of the labyrinth figure in Art have already been presented, and most of the lines along which the labyrinth idea has been elaborated have been indicated, either in the text or in the illustrations. Before finally taking leave of our theme, however, there are yet a few miscellaneous aspects of it at which we may take a glance. CHAPTER XXIII MISCELLANEA AND CONCLUSION In the _Annales Archéologiques_ for 1857 it was stated that M. Bonnin, of Evreux, had collected no less than 200 designs of mazes or labyrinths, representative of all sorts of nations and periods, and the editor promised to make a selection of these for reproduction as soon as the text to accompany them should be ready. The editor of the _Annales_ incidentally referred to an early sixteenth-century painting on wood, in the palace of the Marquis Campana, which represented the legend of Theseus and showed a labyrinth similar to that of St. Maria in Aquiro at Rome. This also was to have been illustrated at the same time. The matter seems to have rested there, however, for no subsequent reference appeared. As an instance of the unlikely places in which the employment of labyrinth figures for decorative or symbolic purposes are sometimes found, we may quote an entry which occurs in an inventory of the contents of a house at Duffus, Morayshire, dated May 25, 1708, from which it would appear that household napery, at that time, was sometimes patterned with the labyrinth: "_In the Nurserie._ A large neprie press, wherein there is six pair Scots holland sheits ... three fyn towels and five of the walls of troy." Mr. Albert Way, in his notes to Dr. Trollope's memoir on Labyrinths in 1858, after referring to the popularity of mazes and "Troy-towns" in Scotland, mentions a labyrinth incised on the stone bench in one of the window recesses of the hall at Craigmillar Castle.