, and Roger de Varennes, all suggest a cosmopolitan and
dispersed number of workers, who finally all appeared in Paris.

Rene d'Anjou had in his employ a worker in embroidery, named Pierre
du Villant. This artist executed a set of needlework pieces for
the Cathedral of Angers, of such important proportions that they
were known collectively as "La Grande Broderie." In 1462, when
they were put in place, a special mass was performed by way of a
dedication. The letter which accompanied this princely donation
contained the following sentences: "We, Rene, by the Grace of God...
give... to this church... the adornments for a chapell all composd
of golden embroidery, comprising five pieces" (which are enumerated)
"and an altar cloth illustrated with scenes from the Passion of
Our Saviour.... Given in our castle in Angers, the fourth day of
March, 1462. Rene."

[Illustration: EMBROIDERY, 15TH CENTURY, COLOGNE]

In 1479 another altar frontal was presented. Two other rich chapels
were endowed by Rene. One was known as La Chapelle Joyeuse, and the
other as La Grande Chapelle des Trepasses. It is likely that the
same embroiderer executed the pieces of all these.

A guild of embroiderers was in standing in Seville in 1433, where
Ordinances were enforced to protect from fraud and otherwise to
regulate this industry. The same laws were in existence in Toledo.
One of the finest and largest pieces of embroidery in Spain is
known as the Tent of Ferdinand and Isabella. This was used in 1488,
when certain English Ambassadors were entertained. The following
is their description of its use. "After the tilting was over, the
majesties returned to the palace, and took the Ambassadors with
them, and entered a large room... and there they sat under a rich
cloth of state of crimson velvet, richly embroidered, with the
arms of Castile and Aragon."

A curious effect must have been produced by a piece of embroidery
described in the inventory of Charles V., as "two little pillows
with savage beasts having the heads of armed men, and garnished
with pearls."

After the Reformation it became customary to use ecclesiastical
ornaments for domestic purposes. Heylin, in his "History of the
Reformation," makes mention of many "private men's parlours" which
"were hung with altar cloths, and their tables and beds covered
with copes instead of carpetts and coverlids."

Katherine of Aragon, while the wife of Henry VIII., consoled herself
in her unsatisfa