Early in the fourteenth century a number of other costly stuffs began to be made in various quarters of the civilized world, including Spain. Among these fabrics were _zatonin_ or _zatony_ (perhaps the same as _zetani_, _aceituni_, or _aceytoni_--that is, satin), several kinds of _drap d'aur_ or cloth of gold, several kinds of velvet, _sarga_ or serge, and _camocas_, which is stated by Miquel y Badía to have been a strong material used for lining curtains, coats of mail, etc. The same writer observes that the stuff called by the name _zatonin_ and its variations is the same as the Castilian raso and the Catalan _setí_ or _satí_, a favourite though expensive and luxurious fabric in the fourteenth and succeeding centuries. Under the name _aceytoni_ it is mentioned in a work in the Catalan language titled _Croniques d'Espanya_, by Pedro Miguel Carbonell, in which we read that at the coronation of Don Martin of Aragon this monarch's consort, Doña María, was "dressed in white cloth of gold and a long mantle ... and rode upon a white horse covered with trappings of white _aceytoni_." Miquel y Badía has discovered the names of other fabrics which are known from documentary evidence to have been used in older Spain, and which were called _aducar_, _alama_, _tela de nacar_, _primavera_ or _primavert_, _almexia_, _picote_, and _velillo_. It is probable that _alama_ and _tela de nacar_ had silver interwoven with their texture. The _primavera_ or "spring fabric" was so named from the flowers which adorned it. _Almexía_ is mentioned in the _Chronicle of the Cid_. It was a costly and elaborate stuff, and is believed by Miquel to have taken its title from the city of Almería. _Picote_ was a kind of satin manufactured in the island of Majorca, and _velillo_ a thin, delicate fabric decorated with flowers and with silver thread. The devices on all these stuffs were very varied. Prominent types among them were the _pallia rotata_, containing circles which are commonly combined with other ornament, the _pallia aquilinata_, in which the dominant motive was the eagle, and the _pallia leonata_, in which it was the lion. Other beasts, birds, and monsters were also figured with great frequency, such as griffins, peacocks, swans, crows, bulls, tigers, or dogs; but the emblem most in favour, especially throughout the tenth, eleventh, and twelfth centuries, was the eagle, owing to the numerous and illustrious qualities attributed to it, such as majesty, victory, valour, and good omen. These creatures, too, were frequently represented face to face or back to back, in pairs; nor were they so disposed in textile fabrics only, but on ivory, wood, or silver caskets, and on numerous other objects, as well as on the painted friezes of a place of worship.[2]