sympathy with humanity; Oriental art, with its gorgeous materialism, its frank rejection of imitation, its wonderful secrets of craft and colour, its splendid textures, its rare metals and jewels, its marvellous and priceless traditions.  They had, indeed, met before, but in Byzantium they were married; and the sacred tree of the Persians, the palm of Zoroaster, was embroidered on the hem of the garments of the Western world.  Even the Iconoclasts, the Philistines of theological history, who, in one of those strange outbursts of rage against Beauty that seem to occur only amongst European nations, rose up against the wonder and magnificence of the new art, served merely to distribute its secrets more widely; and in the Liber Pontificalis, written in 687 by Athanasius, the librarian, we read of an influx into Rome of gorgeous embroideries, the work of men who had arrived from Constantinople and from Greece.  The triumph of the Mussulman gave the decorative art of Europe a new departure—­that very principle of their religion that forbade the actual representation of any object in nature being of the greatest artistic service to them, though it was not, of course, strictly carried out.  The Saracens introduced into Sicily the art of weaving silken and golden fabrics; and from Sicily the manufacture of fine stuffs spread to the North of Italy, and became localised in Genoa, Florence, Venice, and other towns.  A still greater art-movement took place in Spain under the Moors and Saracens, who brought over workmen from Persia to make beautiful things for them.  M. Lefebure tells us of Persian embroidery penetrating as far as Andalusia; and Almeria, like Palermo, had its Hotel des Tiraz, which rivalled the Hotel des Tiraz at Bagdad, tiraz being the generic name for ornamental tissues and costumes made with them.  Spangles (those pretty little discs of gold, silver, or polished steel, used in certain embroidery for dainty glinting effects) were a Saracenic invention; and Arabic letters often took the place of letters in the Roman characters for use in inscriptions upon embroidered robes and Middle Age tapestries, their decorative value being so much greater.  The book of crafts by Etienne Boileau, provost of the merchants in 1258-1268, contains a curious enumeration of the different craft-guilds of Paris, among which we find ’the tapiciers, or makers of the tapis sarrasinois (or Saracen cloths), who say that their craft is for the service only of churches, or great men like kings and counts’; and, indeed, even in our own day, nearly all our words descriptive of decorative textures and decorative methods point to an Oriental origin.  What the inroads of the Mohammedans did for Sicily and Spain, the return of the Crusaders did for the other countries of Europe.  The nobles who left for Palestine clad in armour, came back in the rich stuffs of the East; and their costumes, pouches (aumonieres sarra-sinoises), and caparisons excited the admiration of the needle-workers