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In the further development of textile designs, the slender and graceful tendrils were converted into knotty branches forming a pointed oval, in the middle of which was placed a group of animals in the Saracenic style.

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The characteristic ornament of the 15th century, the pomegranate, is made to sprout from one of the angles formed by the contact of the branches. At first the pomegranate is small and takes a subordinated position, the animal figures being predominant, but later on, the size of the pomegranate is increased and that of the animals diminished more and more.

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At the end of the 14th century animal figures disappeared totally from design, and the pomegranate was transformed into the imposing pattern, which during the end of the 14th, the whole of the 15th, and the first quarter of the 16th century, was a prominent feature.

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It is composed of fruit like ananas or pineapple, placed in a cluster of leaves, from which flowers and leaves are sprouting, the whole being surrounded by ornaments of different kinds. The arrangement is the same in all patterns.

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The pomegranate is placed in the center as a symbol of Christian love, and is surrounded by blossoms and fruit, the whole being symbolically interpreted to mean that love, by the aid of faith, brings forth the fruit of everlasting life. The rose with five, six or nine leaves, which surrounds the pineapple, is surmounted by crowns; the reward which charity received in Paradise. The thorny branches, plaited together, tell us of the crown of thorns, and remind us that only by pain and struggle is the victory gained, which brings the crown of eternal life.

A very interesting development of the pomegranate pattern appears about the end of the 15th century.

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Broad ornamented stems take an undulating upward course, and on either side branches bearing blossoms, leaves and little pomegranates, are dispersed. They were the fashion of the Burgundian Court in the latter part of the 15th century, where the use of an immense mass of material made the employment of these gigantic patterns possible.

In the paintings of this time we see ladies dressed in robes of many folds and with a long train, which was looped up and carried on the arm. The noblemen of the court of Charles the Bold, were dressed in large gowns, which, on account of their extravagant length, fell to the ground in folds. Even the Saints, the figures of Biblical History, were represented by the artists

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