The Chancellor Herault,[416] who died at the same period, was equally extravagant in his habits; while the shirts of the combatants in the duel between M. de Crequy and Don Philippe de Savoie are specially vaunted as "toutes garnies du plus fin et du plus riche point coupé qu'on eust pu trouver dans ce temps là, auquel le point de Gennes et de Flandres n'estoient pas en usage."[417] The enormous collarette, rising behind her head like a {144}fan, of Mary de Médicis, with its edgings of fine lace, are well known to the admirers of Rubens:-- "Cinq colets de dentelle haute de demy-piè L'un sur l'autre montez, qui ne vont qu'a moitié De celuys de dessus, car elle n'est pas leste, Si le premier ne passe une paulme la teste."[418] On the accession of Louis XIII, luxury knew no bounds. The Queen Regent was magnificent by nature, while Richelieu, anxious to hasten the ruin of the nobles, artfully encouraged their prodigality. But Mary was compelled to repress this taste for dress. The courtiers importuned her to increase their pensions, no longer sufficient for the exigencies of the day. The Queen, at her wits' end, published in 1613 a "Réglement pour les superfluités des habits," prohibiting all lace and embroidery.[419] France had early sent out books of patterns for cut-work and lace. That of Francisque Pelegrin was published at Paris in the reign of Francis I. Six were printed at Lyons alone. The four earlier have no date,[420] the two others bear those of 1549[421] and 1585.[422] It was to these first that Vinciolo so contemptuously alludes in his dedication, "Aux Benevolles Lecteurs," saying, "Si les premiers ouvrages que vous avez vus out engendré quelque fruit et utilité je m'assure que les miens en produiront davantage." Various editions of Vinciolo were printed at Paris from 1587 to 1623; the earlier dedicated to Queen Louise de Lorraine; a second to Catherine de Bourbon, sister of Henry IV.; the last to Anne of Austria. The _Pratique de Leguille de Milour M. Mignerak_ was published by the same printer, 1605; and we have another work, termed _Bèle Prerie_, also printed at Paris, bearing date 1601.[423] The points of Italy and Flanders now first appear at court, and the Church soon adopted the prevailing taste for the decoration of her altars and her prelates.[424] PLATE XLVII. [Illustration: BRUSSELS. FLOUNCE, BOBBIN-MADE.--Late seventeenth century. Given by Madame de Maintenon to Fénélon, Archbishop of Cambrai. Now in the Victoria and Albert Museum. Height, 2 ft. 2 in.] _To face page 146._