ds with flat-laid thread stitched down in patterns
was carried into Italy, where great artists did not disdain to design
for textiles. I give, as an instance, Vasari's account of the
embroidered set of vestments designed by Antonio Pollaiolo for the
church of San Giovanni at Florence. These were carried out by Paolo da
Verona, and took twenty-six years for their completion; and they were
only one set of vestments, "embroidered by the most subtle master of
the art, Paolo da Verona, a man most eminent in his calling, and of
incomparable ingenuity (_ingenio_). The figures are no less admirably
executed with the needle than drawn by Pollaiolo with the pencil,--and
thus we are largely indebted to one master for his design, and to the
other for his patience" (plate 68).

Towards the end of the fifteenth century the Gothic styles were
replaced by the Renaissance, but the technical part of the art of
embroidery for the churches lost none of its value. All the talent of
the artist and the ingenuity of the craft continued to be lavished on
altar decoration and priestly garments, in Flanders, Spain, France,
and Italy. But the solemnity of these works was certainly impaired by
their being emancipated from the traditional ecclesiastical forms and
their accompanying symbolism, to which the old designers had so
faithfully adhered. Ecclesiastical decorative art became, so to speak,
unorthodox.

As a proof of this secular, I might almost say irreverent spirit, I
quote Bock's accusation against Queen Mary of Hungary, who in her
embroideries, preserved at Aix-la-Chapelle, is said to have
represented herself as the Queen of Heaven, surrounded by her adorers
on their knees.

There is no doubt, however, that needlework aspired in the fourteenth
and fifteenth centuries to the highest place in art, and was
enthusiastically cultivated by women of rank and position, of artistic
taste, who still gave themselves to the productions of beautiful
decorations, though they no longer confined themselves to
ecclesiastical motives.

[Illustration: Spanish Altar Frontal, Gold Embroidery
XVII. Cen^y]

Gabrielle of Bourbon and Isabella, sister of Louis XI., spent their
lives in preparing and overlooking fine works in their own apartments,
and assembled around them noble damsels for this purpose. Anne of
Brittany, who lived in an artistic atmosphere, had her own workshop of
embroidery. Pictorial design now asserted its dominion over
needlework,