14

HISTORY OF LACE.

the one (Fig. 2) ornamented with small embroidered shields andcrosses, the other (Fig. 3) with the mediaeval gammadion pattern.

We are now arrived at the Renaissance, a period when so closean union existed between the fine arts and manufactures; whenthe most trifling objects of luxury, instead of being consigned tothe vulgar taste of the mechanic, received from artists their mostgraceful inspirations. Embroidery profited by the general impulse,and books of designs were composed for that species which, underthe general name of cutwork, formed the great employment forthe women of the day. The volume most generally circulatedespecially among the ladies of the French court, for whose use itwas designed, is that of the Venetian Vinciolo, to whom, some say,

Pfiiii

rasps

Point coupe. Vinciolo.

i-SS.

we know not on what authority, Catherine de Medicis granted, in1585, the exclusive privilege of making and selling the “ collerettesgaudronnees ” 13 she had herself introduced. This work, whichpassed through many editions, dating from 1587 to 1623, isentitled, “ Les singuliers et nouveaux pourtraicts et ouvrages deLingerie. Servans de patrons h faire toutes sortes de poincts,

12 Goderonne'—goudronne', incorroctlyderived from pitch (goudron), has norelalion to stiffness or starch, but is usedto designate the fluted pattern so muchin vogue in the sixteenth century—the“ gadroonrd ” edge of silversmiths.

1588. “Ilavaitune frnise empesce etgodronne'e a gros godrons, au bout dolaquelle il y avoit de belle et grandedentelle, les manchcttes estoient goudron-ne'es de mesme.”