rophet, who forbade the use of silk except to women.

Senhor F. de Riano tells us that from the ninth to the eleventh
centuries, Spain was producing fine silk tissues. The Moorish
Cordovese writer, Ash-Shakandi, who lived in the beginning of the
thirteenth century, says, "Malaga is famous for its manufactures of
silks of all colours and patterns, some of which are so rich that a
suit made of them will cost many thousands. Such are the brocades with
beautiful designs and the names of the Caliphs, Ameers, and other
wealthy people woven into them."[268]

The same author, speaking of the manufactures of silk at Almeria, says
that thence came the brightest colours; and Al-Makhari adds a list of
precious silk tissues, naming the "Tiraz," the "Iscalaton," and the
robes called each by its own special name.[269] Ash-Shakandi also
mentions the looms of Murcia, and its carpets.[270]

When the Moors were driven from Spain, the silk works of Malaga and
Almeria were ruined. But those of Valencia became famous, and flourish
to this day. Talavera della Reina also produces fine ecclesiastical
fabrics, and at Toledo the ancient traditions are preserved, and they
still weave sixteenth-century designs.

In Italy, Genoa, Florence, and Milan followed the Sicilian silk
manufactures, and each has left specimens of the craft, of which Rock
has pointed out the marked individualities.

The rich stuffs with inscriptions inwoven in gold, in the Middle Ages,
were called "literatis."

The designs of Lucca at first imitated the Moorish Sicilian type; and
introduced as their speciality, white figures, such as angels in white
garments, and exchanged the Oriental intricate patterns for a bolder
and simpler style.

Venice, of course, also showed at first the Oriental impress; but she
soon struck out a line of her own; and her especial invention was
shown in weaving, from the thirteenth to the sixteenth centuries,
square pieces of silken tissue, representing sacred subjects.

Florentine tissues, especially their velvet and gold brocades, were
particularly splendid, and can be recognized by the loops of gold
thread drawn to the surface and left there. Of these early Florentine
gold brocades we have still beautiful examples in the palls of our
City companies and in ancient ecclesiastical vestments. The loops of
gold have been the custom since the thirteenth century, and still
prevail in certain traditional fabrics, for instance, in the banners
wove