While at war with the Byzantines, in the twelfth century, Roger, King of Sicily, took Corinth, Thebes, and Athens, from each of which cities he led away captives all the men and women he could find who knew how to weave silks, and carried them to Palermo. To the Norman tiraz there, these Grecian new comers brought fresh designs, which were adopted sometimes wholly, at others but in part and mixed up with the older Saracenic style, for silks wrought under the Normano-Sicilian dynasty. In this second period of the island’s loom we discover what traces the Byzantine school had impressed upon Sicilian silks, and helped so much to alter the type of their design. On one silk, a grotesque mask amid the graceful twinings of luxuriant foliage, such as might have been then found by them upon many a fragment of old Greek sculpture, was the pattern, as we witness, at No. 8241, p. 158; on another, a sovereign on horseback wearing the royal crown, and carrying as he rides a hawk upon his wrist--token both of the love for lordly sports at the period, and the feudalism all over Italy and Christendom, shown in the piece, No. 8589, p. 223; on a third, No. 8234, p. 154, is the Greek cross, along with a pattern much like the old netted or “de fundato” kind which we have described, p. liii. But Sicily’s third is quite her own peculiar style. At the end of the thirteenth and beginning of the fourteenth century, she struck out of herself into quite an unknown path for design. Without throwing aside the old elements employed till then especially, all over the east, and among the rest, by the Mahomedans, Sicily put along with them the emblem of Christianity, the cross, in various forms, on some occasions with the letter V. four times repeated, and so placed together as to fall into the shape of this symbol, like what we find at No. 1245, p. 28; in other instances the cross is floriated, as at No. 1293, p. 47.