In describing these various stages in the development of the crucifix, it must not be taken to imply that step always followed step in a regular progression. As a matter of fact the different phases overlapped considerably, and now and again a rare specimen is found antedating considerably the age to which a strict classification of styles would assign it. There is, for instance, a very early pectoral crucifix,[2] which while coinciding for the most part with the description just given, nevertheless represents the Christ as dead, with closed eyes and uncrowned head slightly inclined. A crucifix in the Treasury at Aix-la-Chapelle, known as the Cross of Lothario, though only of the ninth century, has the hanging arms, the fallen head, and the short cloth about the loins, much as we see them to-day. Moreover as art in some lands was later in ripening than in others, so in some it clung for a longer period to the older art forms; while several of the primitive emblematic figures have become parts of the Church's permanent teaching for the eyes of her children. The builders of our Norman churches had a special fondness for the Agnus Dei, the Lamb bearing the Cross, and we find it worked into their carvings in various ways. Amongst the most curious examples may be quoted the ancient fonts of Ilam and Tissington in Derbyshire. Another peculiarity of the early crucifixes which sets them apart from historic representations of the crucifixion, is the attempt made to bring within the narrow limits of a cross other details, actual or mystical, of the atoning sacrifice. Many of them have on the upper limb, or on the arms, of the cross more or less conventional signs for the sun and moon. Sometimes, as on the pectoral cross noticed above, these are simply a circle, with or without rays, and a crescent; and in this case they are merely emblems of the powers of Creation witnessing the death of the Creator. Sometimes they are more fanciful, as when they are suggested by male and female figures within circles, wrapping their faces in their mantles; and here they are symbols of the supernatural darkness of the first Good Friday.