Michele Bacci concentrates on the church of Saint George of the Greeks in Famagusta, Cyprus, the architecture of which blends Byzantine and Gothic forms. The author traces an ornamental motif through a maze of exchanges that navigate from Islamic to Crusader to western European art. Giotto’s art seems to be the link for the ornamental motif found in the Famagusta church, verifying once more that ‘secondary’ (decorative) visual elements had no significant impact on the stylistic presentation of the iconographic narrative and as such had greater licence and flexibility of use.