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of those times as being dressed in the rich velvets and brocades of Burgundian period.

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On the large altar picture in the Cathedral of Cologne, the holy men are marching in the midst of their splendid suite as though they were Dukes of Burgundy.

Although these splendid fabrics were produced in Italy and in the Orient up to the 14th century, we find that in the 14th and 15th centuries, owing to the emigration of Italian weavers to France, Flanders and Switzerland, the lucrative art of weaving began to obtain a gradually firmer footing in these countries also.

In France more especially, the kings attempted to attract the

weaving artists by means of charters and privileges, and to settle them in the towns of that country. Amongst these towns Lyons took the first place and rapidly increased, and with its magnificent productions, soon became a dangerous competitor with the other manufacturing towns; this was in consequence of the extraordinary favor and protection which these towns enjoyed from the government.

FIGURE 42A.

The third wall painting at Crefeld shows the French King Francis I and his spouse Eleonore visiting the royal silk manufactories in Lyons in 1556.

We are told that in the middle of the 16th century Lyons gave employment to 17,000 weavers; about the year 1675, from 25,000 to 30,000, and when at its best, in the latter half of the 18th century, to 80,000 persons.

Now let us consider what kind of designs appear on the manufactures of Lyons, Flanders and Italy in the 16th century. It has already been shown by examples how the change from one style to the other occurred. For instance, the change from the animal patterns to the pomegranate patterns. In the same way we may follow the gradual variations of the latter until at last a new motive displaces this pattern, which after having fulfilled its task as a link of this connected chain of textile designs, itself gives place to the new order of things.

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Just as we occasionally find in some of the fully developed pomegranate patterns small animals, relics of the textile design of the 14th century, so we find the new characteristic feature of the 16th century pattern to be the vase, in the pomegranate patterns of the 15th century, as you have seen before.

This ornament makes its first appearance in a very modest way, but gradually increasing in size, it finally displaces the pomegranate itself, and maintains its ground for some length of time amid surroundings of the most varied nature.

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The thorny branches and the rose change into the sharp pointed oval enclosures of branches or of elegantly drawn extended leaves which are united at the point of contact by calyxes, crowns, etc. In the middle of this oval enclosure the vase is placed, and we see the little blossoms and flowers which were derived from the pomegranate, proceeding from the vase. The Renaissance with its more elegant forms produced the most varied compositions of the vase pattern.

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The great revolution in fashion which followed the introduction of the Spanish styles of dress did not fail to have an effect on the patterning of dresses. The narrow folds and slashings of the garments required small patterns, which merely relieved the ground, but laid no claim to attention on their own account.

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