The tendrils and ribbons instead of filling large spaces, occupied much smaller ones in which a small palmetto, derived from the large designs of the 15th century, took the place of the large flower vase. The patterns are composed of elegant surroundings, enclosing symmetrical forms, such as the pomegranate or little flower vase, or lastly little clusters of flowers formed by three or five stalks bearing blossoms and leaves. The colors are now less brilliant. The period of the religious quarrels produced by the Reformation was a more serious one. Men's consciences were awakened, and this earnest time was reflected in the cut and color of the garments. In velvets, especially, the subdued tints added a wonderful effect.

During the period of transition from the 16th to the 17th century, the surroundings of the little patterns underwent a change and to some extent disappeared. We can discover the former existence of these surroundings in small branches or parallelograms united diagonally; the calyxes which formerly united the branches being separated from them and standing independent of one another. The symmetrical form, formerly standing in the centre is displaced by an unsymmetrical branch with blossoms and leaves. Finally the remaining part of the surroundings disappear altogether, and the typical pattern of the beginning of the 17th century is complete.

It is composed of the unsymmetrical branches with blossoms and leaves, which appeared in the last variety of surroundings.

They are put in series leaning alternately to the right and left. The style of the drawing and the botanical detail of the plant forms are given with much variety as well as the size of the branches, bearing the flowers, which may be seen from two to ten inches long.

This pattern is called in France "Fleurs Semées", that is to say Strewed Flowers.

But the more we advance in our researches, the greater number of varieties of textile designs we shall meet with. On the whole, greater freedom is to be remarked, in the general con

struction of the designs as well as in the treatment of the simple forms, which approach more and more a realistic conception.

Under the influence of the Baroque and Rococo styles with their caprices, which disregarded a distinct and constructive arrangement of patterns, the originality, which was periodically common to the patterns of former times, is lost. We see a multitude of designs which are somewhat like one another in their character, but in which we miss the common motive which used to be continually repeated in the former designs, as for example, the pomegranate in each pattern of the 15th century.

more particularly under the Minister Colbert, in the latter half of the 17th century, introduced a variety of very splendid designs for weaving. They are composed of flowery ornaments spreading out in the shape of a fan, and intersected by interwoven ribbons of lace, very cleverly imitated.

The so-called "lace patterns" betray the brilliancy and luxury of the time of Louis the 13th and 14th.

Other motives having their origin in far Eastern Asia appear in the reign of Louis 15th.