The museum at Este, Italy, contains an elegant pottery vase of large dimensions, represented in fig. 194, the decoration of which is the Greek fret around the neck and the Swastika around the body, done with small nail heads or similar disks inserted in the clay in the forms indicated. This association of the Swastika and the Greek fret on the same object is satisfactory evidence of their contemporaneous existence, and is thus far evidence that the one was not derived from the other, especially as the authorities who claim this derivation are at variance as to which was parent and which, child. (See fig. 133.) A Swastika of the curious half-spiral form turned to the left, such as has been found in Scandinavia and also among the Pueblo Indians of the United States, is in the museum at Este. [Illustration: Fig. 194. POTTERY VASE ORNAMENTED WITH BRONZED NAIL HEADS IN FORM OF SWASTIKA. Este, Italy. Matériaux pour l'Histoire Primitive et Naturelle de l'Homme, 1884, p. 14.] [Illustration: Fig. 195. FRAGMENT OF POTTERY WITH SWASTIKA STAMPED IN RELIEF.] [Illustration: Fig. 196. STAMP FOR MAKING SWASTIKA SIGN ON POTTERY. Swiss lake dwelling of Bourget, Savoy. Musée de Chambéry. Chantre, "Age du Bronze," figs. 53, 55, and Keller, "Lake Dwellings of Europe," pl. 161, fig. 3.] When in the early centuries of the Christian era the Huns made their irruption into Europe, they apparently possessed a knowledge of the Swastika. They settled in certain towns of northern Italy, drove off the inhabitants, and occupied the territory for themselves. On the death of Attila and the repulse of the Huns and their general return to their native country, many small tribes remained and gradually became assimilated with the population. They have remained in northern Italy under the title of Longobards. In this Longobardian civilization or barbarism, whichever we may call it, and in their style of architecture and ornament, the Swastika found a prominent place, and is spoken of as Longobardian. It is needless to multiply citations of the Swastika in Roman and Christian times. It would appear as though the sign had descended from the Etruscans and Samnites along the coast and had continued in use during Roman times. Schliemann says[199] that it is found frequently in the wall paintings at Pompeii; even more than a hundred times in a house in the recently excavated street of Vesuvius. It may have contested with the Latin cross for the honor of being the Christian cross, for we know that the St. Andrew's cross in connection with the Greek letter P (fig. 6) did so, and for a long time stood as the monogram of Christ and was the Labarum of Constantine. All three of these are on the base of the Archiepiscopal chair in the cathedral at Milan.[200]