To confirm this, I need only instance the fact that these, and other earliest known specimens of lacis and linen lace existing, are almost identical in design with the forms familiar to us from the discoveries in Coptic tombs in Egypt from the first and third centuries onwards. These designs, simple and formal as they appear, are really full of meaning. Mr. Albert Gayet has pointed out, in his history of Coptic art, that the law of polygonal evolution only completed in the eleventh century the course it had steadfastly pursued from the beginning. He continues: "It seems a far cry from the early Greek tradition to this time. But the Coptic artist was never in sympathy with the Greek striving towards realism. He wished to express, not the image itself, but the impression conveyed by the image. He preferred the thought to the concrete form. The divine idea, which to the Greek must mean a precise representation, he prefers to render quite otherwise. The fidelity of the Coptic artist to this polygony renders it the key to all his art. His first efforts are blunders, but he is not discouraged, he continues without hesitation to follow his ideal. He finds in the philosophy of the polygon the impression he wishes to convey of the ideal and the invisible. His composition, according to the Gnostic definition, has its secret side, hidden under the emblem shown, while the emblem shown has also a hidden side. Then by the superposition of _entrelacs_, or strap-work, he conveys the idea of evolution, or things (mysteries) turning and repeating themselves indefinitely, but always in an inflexible circle." For example, a number of star-centred octagons, formed by a network of lines, will have a cross in the centre--other little crosses may be traced in each star--and in the arabesques of the corners crosses may also be found. "Everywhere, even in the most closely packed work, this symbol can be found; the most abstract geometrical combinations are still subject to the same system. Polygony places everywhere and always the sign of the Faith."[G] [G] Gayet, A., "L'art Copte." Paris, 1902. I must also make a quotation from the learned Dr. Rock, which, though written nearly forty years ago, is so apposite while considering this beautiful lacework from Assisi and its Eastern derivation. Strengthening our idea that the old Egyptians had borrowed the cross as a spell against evil, and a symbol of eternal life, is a passage set forth by Rufinus, A.D. 397, and by Socrates B.C. 440. "On demolishing at Alexandria a temple dedicated to Serapis, were observed several stones sculptured with letters called hieroglyphics, which showed the figures of a cross. Certain Gentile inhabitants of the city who had lately been converted to the Christian faith, initiated in the method of interpreting these enigmatic characters, declared that the figure of the cross was considered as the symbol of future life."[H] [H] "Hist. Eccles.," lib. v., c. 17.