ittle 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 of the West. Matthew Paris says that at
the sacking of Antioch, in 1098, gold, silver and priceless costumes were
so equally distributed among the Crusaders, that many who the night
before were famishing and imploring relief, suddenly found themselves
overwhelmed with wealth; and Robert de Clair tells us of the wonderful
fetes that followed the capture of Constantinople. The thirteenth
century, as M. Lefebure points out, was conspicuous for an increased
demand in the West for embroidery. Many Crusaders made offerings to
churches of plunder from Palestine; and St. Louis, on his return from the
first Crusade, offered thanks at St. Denis to God for mercies bestowed on
him during his six years' absence and travel, and presented some richly-
embroidered stuffs to be used on great occasions as coverings to the
reliquaries containing the relics of holy martyrs. European embroidery,
having thus become possessed of new materials and wonderful methods,
developed on its own intellectual and imitative lines, inclining, as it
went on, to the purely pictorial, and seeking to rival painting, and to
produce landscapes and figure-subjects with elaborate perspective and
subtle aerial effects. A fresh Oriental influence, however, came through
the Dutch and the Portuguese, and the famous Compagnie des Grandes