French embroiderers are known by name in many instances; in 1299 allusion was made to “Clement le Brodeur,” who furnished a cope for the Count of Artois, and in 1316 a magnificent set of hangings was made for the Queen, by one Gautier de Poulleigny.  Nicolas Waquier was armourer and embroiderer to King John in 1352.  Among Court workers in 1384 were Perrin Gale, and Henriet Gautier.  In the “Book of Rules” by Etienne Boileau, governing the “Embroiderers and embroideresses of the City of Paris,” one of the chief laws was that no work should be permitted in the evening, “because the work of the night cannot be so good or so satisfactory as that accomplished in the day.”  When one remembers the facilities for evening lighting in the middle ages, one fully appreciates the truth of this statement.

Matthew Paris, in his Life of St. Alban, tells of an excellent embroideress, Christine, Prioress of Margate, who lived in the middle of the twelfth century.  In the thirteenth century several names occur.  Adam de Bazinge made, in 1241, by order of Henry III. of England, a cope for the Bishop of Hereford.  Cunegonde, Abbess of Goss, in Styria, accomplished numerous important works in that period.  Also, Henry III. employed Jean de Sumercote to make jewelled robes of state.

On a certain thirteenth century chasuble are the words “Penne fit me” (Penne made me), pointing to the existence of a needleworker of that name.  Among the names of the fourteenth century are those of Gautier de Bruceles, Renier de Treit, Gautier de Poulogne, and Jean de Laon, while Jean Harent of Calais is recorded as having worked, for Mme. d’Artois, in 1319, a robe decorated “a bestelettes et a testes.”  These names prove that the art had been taught in many cities and countries:  Ogier de Gant, Jean de Savoie, Etienne le Hongre, 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.