Needlework as art . 1 , 1 1. 1 . 1 V : ? - I1 I » J. Ivory Consular Diptych. I. In the Wasserkirche Museum, Zurich. Sixthcentury. 2. Of an earlier period, and finerworkmanship, at Halberstadt. No date given. Page 337. Ecclesiastical Embroidery. 337 inventories. It is sometimes called the Wheel andPlate. Its origin is probably Oriental, but it certainlywas adopted by the Romans as the motive of theirtriumphal garments, the toga picta, worn in the proces-sional return of a conqueror, whether he were a generalor a sovereign. The first motive was a surface coveredwith circles, closely touching eac
Needlework as art . 1 , 1 1. 1 . 1 V : ? - I1 I » J. Ivory Consular Diptych. I. In the Wasserkirche Museum, Zurich. Sixthcentury. 2. Of an earlier period, and finerworkmanship, at Halberstadt. No date given. Page 337. Ecclesiastical Embroidery. 337 inventories. It is sometimes called the Wheel andPlate. Its origin is probably Oriental, but it certainlywas adopted by the Romans as the motive of theirtriumphal garments, the toga picta, worn in the proces-sional return of a conqueror, whether he were a generalor a sovereign. The first motive was a surface coveredwith circles, closely touching each other, and containingfigures which had a reference to their purpose. InChristian times the heads of saints were sometimes in-serted, especially in that form of the Roes called thechrysoclavus, from the intersticial ornament between thecircles. I have written (p. 308-9) about the Trabea, which onthe Roman consular ivory diptychs of several centuriesis so invariably embroidered with this same clavuspattern (plate 70) that we must conclude that it h
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