Art-historical essay by Martin Weinberger questioning the conventional attribution of early Italian silk weaves to Lucca or Venice. He compares patterns on surviving silk fragments with textiles depicted in contemporary paintings and sculpture (Tino di Camaino, Simone Martini, Orcagna, the Wilton Diptych, Pisanello, Gentile da Fabriano, the Bellinis, Crivelli). He finds little evidence for Lucchese patterns in Tuscan art, and traces Byzantine, Chinese, and West Islamic/Persian influences and the rise of a distinctly Venetian Gothic style. Most of the pages are plates pairing paintings with textile fragments.