But we prefer to send the curious to objects that they can see, such as Isabeau of Bavaria's Book of hours, in the National Library, classed under No. 1190, and the embroidered canvas cover of which represents Christ on the Cross with the Holy Women at his feet, and the Last Supper, surmounted by two ornamental compartments. There may also be seen at Cluny an interesting fragment of orphray, part of a cope made at Cologne enclosing two of the Apostles in frames with mouldings; further, a tissue embroidered with chevrons from an ancient stole made also in Cologne.

Nor can we resist the pleasure of mentioning among the more important works of this epoch, the chasuble given in 1395 by the Abbot Stephen de Maligny, to the Abbey of Saint-Thierry at Rheims, an ornament upon which was embroidered the life of the Virgin.

We have mentioned the dedicatory inscription embroidered on a sacerdotal vestment, from the Abbey of Vergy. This practice was continued for some time, and we might appeal to numerous examples as late as the sixteenth century, when we find a white velvet cope with the legend: Carolus d'llliers decanus Carnutensis hoc me vesie contexit 1522. Parent illi Deus! But we must quote an inscription of a very different tenour. In the inventory of Charles VI. there occurs first of all "une ceinture d'un tissu de soie ou est escripte l'Evangilc sainct Jchan," and then more especially the robe of Charles, Duke of Orleans, on the sleeves of which M. Francisque Michel tells us was written in embroidery lengthways, the words of the chanson "Madame, je suis plus joyeulx," with the musical notes. There had been employed no less than 568 pearls in order to form the notes of the said song, in which there are 142 notes, that is to say for each note, four pearls in a square.

With the spread of luxury, embroidery also became more general, and the names of artists soon begin to grow more frequent. A few may here be quoted: -

1351. Jehan Brohart - Thevenin le Bourguignon.

1352. Etienne le Bourguignon - Etienne Castel, and Nu Waguier, armurier du roy et broudeur. 1367. Cambio, author of a history of St. John. 1387. Salvestro, brodeur du parement de l'autel de saint Jean. 1391. Robert de Varennes.

1396. Jehan de Clarcy, travaillant a œuvre de bature (beaten metal). 1397. Jehan de Troyes, maker of an embroidered saddle, and lastly Jehan de Corbie, broudeur et estoffeur de boursetes (purses) a reliques.

We now reach an epoch of rivalry in all the arts of design. The fifteenth century, for which previous progress had prepared the way, seems everywhere animated by that spirit of revival that has been attributed more particularly to Italy, and characterised by the term Renaissance. But we have already seen, and shall have again occasion to show, that this Renaissance is but the accomplishment of an evolution long before prepared. The best proof of this lies in the fact, that between the fourteenth and sixteenth centuries, the transition is made without any violent shock, and is in fact brought about by regular stages of varying length, according as the artists are more or less removed from the centres of the movement.

Of this movement kings and nobles were the promoters. Luxury went on increasing notwithstanding the sumptuary laws from time to time enacted against it. As marvellous works of this era may be quoted, the Cope made in 1454 for Charles VII. Canon of Saint-Hilaire of Poitiers by Colin Jolye, described in the " Bulletin Archeologique" and in the "Bibliotheque de l'Ecole des chartes," where may also been seen the inventory of the other treasures of the Chapter of Saint-Hilaire. We may also refer to the ornaments for the use of the Chapel of Charles the Bold, preserved in the cathedral of Berne.

White Satin Bod Furniture embroidered in application of Cherry-coloured Velvet. (Collection of M. A. Queyroy).

Pictures in needlework continue to be produced. At Cluny we see St. Catherine and St. Andrew embroidered in flax, silk and gold; further, two other pictures in silk on a gold ground, one representing St. Christopher bearing the Infant Saviour, in an edifice of Gothic style; the other, two civil personages in the costume of the time of Louis XII. Figures of this description are less frequent than religious subjects. There may also be noticed an episcopal mitre, bearing on its principal surface, Christ holding the globe surmounted by a cross, the Virgin crowned by an angel, and the Annunciation; further a fragment of embroidery upon red woollen material of Cologne manufacture, and German specimens of silk and linen, showing some fine ornamental designs.

To the fifteenth century also probably belongs a mitre from the Cathedral of Auxerre, to which M. Francisque Michel docs not venture to assign a fixed date, but which he recognises as the work of a famous embroiderer named Duran or Moran. The cathedral inventory thus describes it: "Item une mytre de soye blanche faicte a l'esguille, garnye d'orfroytz, garnie de chacun coste de quatre esmaux de Lymoges, garny d'argerit a l'cntour; laquelle mytre sert pour l'evesque des tortiers et les enfans d'aulbe".

Other distinguished embroiderers in this century are: -

1409. Andrieu de la Salle, Paris.

1424. Guillaume Prcvost, Paris.

1454. Simonne de Gaules, Bourges. - Gillon Quinaude and Jehan de Moucy, Tours.

1466. Coppino de Melina (Mechlin) in Flanders. - Piero, son of Piero the Venetian.

- Giovanni, son of Pelajo, of Brignana. 1470. Nicholas, son of Jacques, a Frenchman. - Pagolo of Verona. 1485. Panthaleon Conte, embroiderer of Charles VIII. 1494. Girard Odin, embroiderer in the suite of the Court. 1496. Isabeau Maire, widow Mikelot, embroidress of the Duke of Burgundy, having worked a room with ornaments and another with the history of King Priam.

We thus see that, as already stated, the sixteenth century is but the glorious blossoming of previous tentative efforts, and if we have hitherto occasionally met with some Italian names amongst the most noted embroiderers, we shall henceforth find genuine schools developed in the peninsula, schools in which the personality of the artists becomes as it were absorbed. Most famous for its embroideries is the city of MILAN, and in his "Dames Gallantes" Brantome assures us that the Capital of Lombardy enjoyed this pre-eminence from time immemorial.