Much more convincing as evidence of fashions are the etchings by Aeneas Vico that appear in Bertelli’s book on the costumes of the peoples, published in Venice in 1563.[18] The French woman shown in figure 7 clearly illustrates a fashion which is familiar enough in portraits. Of particular interest is the back view (fig. 8) showing her petticoat. This type of petticoat was popular in Spain in the late 15th century,[19] but was not adopted in France, Italy, and England until the second half of the 16th century. [Illustration: Figure 8.--DRESS OF A FRENCH WOMAN (back view) showing the manner in which the bodice was laced and the hood fell at the back. The skirt is raised, revealing the farthingale petticoat with the roll at its hem which contained cane stiffening (_verdugo_). From _Omnium gentium habitus_ . . . , 1563 ed. (_Courtesy of Victoria & Albert Museum, London._)] [Illustration: Figure 9.--DRESS OF A NOBLEWOMAN of Mantua. From Vecellio, _De gli habiti antichi e moderni_, 1590. (_Courtesy of Victoria & Albert Museum, London._) {DONZELLA NOBILE ORNATA.}] The next development in the history of the fashion plate is found in the costume books by Cesare Vecellio, published in Venice in 1590 and 1598.[20] Vecellio, a member of the same family as Titian, showed the costume of the different ranks of society in the various Italian cities and states, in the other countries of Europe, and indeed in the known world; he also depicted a number of antique and old-fashioned dresses. Unfortunately, the illustrations (fig. 9) by Christoph Krieger, whose name was Italianized as Guerra, are not as good as Vico’s, and Krieger died before the series was complete. But Vecellio took great pains to secure accurate and up-to-date information about fashions, and he received letters and drawings from his friends in various cities of Italy. Master Erasmo Falte of Parma sent him particulars of the dress of the Duchess of Parma, together with a sketch by a good local painter, which Vecellio describes and adds:[21] Sotto costumano il verducato, overo faldiglia, qual tien con arte la sottana larga à modo di campana, che torna molto commodo al caminare, ò danzare: & hora si costumano per tutta l’Italia questa sopra detta faldiglia. [Footnote 21: Translated, this reads: “Underneath, the habit of the ladies [who imitate the Duchess] is to wear the farthingale or pleated frock, which skillfully holds the petticoat out wide like a bell. This fashion is extremely convenient for walking or dancing, and nowadays, ladies throughout all Italy wear this pleated frock mentioned above.” (1590 ed., folio 187.a.)] Thus, the bell-shaped farthingale (fig. 8) had by 1590 become the general wear of the upper classes in Italy, as it was already in Spain, France, and England.