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,,jacobean ,,embroidery  ,its ,forms and
 ,fillings ,including ,late ,tudor  by  
,,ada ,,wentworth ,,fitzwilliam and ,a4 
,f4 ,,morris ,,hands        ,publishers'
 ,note4  ,plates #a1 l#j;a1 #aa1 #ab    
7part of71 #bj and #bc have already been
 published in ,needlecraft ,monthly     
,magazine and are included in this      
collection by permission of the ,editor4
  ,london ,kegan ,paul1 ,trench1        
,truebner and ,co4 ,ltd4 ,broadway      
,house1 ,carter ,lane1 ,e4,c4 #aiab     
,,contents   ,introductory ,history by  
,a4 ,f4 ,morris ,hands4  ,op4 ,i        
,tudor ,work4  ,op4 ,,ii    ,early #agth
 ,century4  ,op4 ,,iii   ,details of    
,blue ,crewel ,work 7the late ,lady     

,maria ,ponsonby's74  ,op4 ,,iv    ,the 
uses of ,stem ,stitch and other         
characteristics4  ,op4 ,v     ,bed      
,hangings at ,hardwicke ,hall4  ,op4 ,va
    ,groups of ,fillings in which       
darning plays important part4  ,op4 ,,vi
    ,bed ,hanging from ,powis ,castle4  
,op4 ,,vii   ,characteristic ,foliations
 and ,late #agth ,century ,fillings4    
,op4 ,,viii  ,solid ,crewel ,work #ahth 
,century including the ,terra ,firma and
           different birds and beasts4  
,,list ,,of ,,illustrations   ,plate  #a
   ,strip of ,tudor ,work4  #b   ,group 
of leaves on cushions at ,knole ,park4  
#b;a  ,group of light details in early  
examples4  #c   ,details from old       
example1 carried out in dark blues1     
belonged to the     late ,lady ,maria   
,ponsonby4  #d   ,ditto4  #e   ,ditto4  
#f   ,ditto4  #g   ,detail of ,foxglove 
design4  #h   ,colour plate--,detail    
from old ,bed ,hangings1 dated #afif4   
#i   ,detail from old ,bed ,hangings1   
dated #afif4  #aj  ,large heavy leaf in 

work dated #afif4  #aj;a ,leaf showing  
seven different stitches4  #aa  ,bed    
,hanging at ,hardwicke4  #ab  ,set of   
details 7in colour7 of ,hardwicke       
design4  #ac  ,set of details of        
,hardwicke design4  #ad  ,group of      
,fillings4  #ae  ,design of ,bed        
,hangings at ,powis ,castle4  #af       
,characteristic leaf of best period4    
#ag  ,ditto4  #ah  ,late #agth ,century 
,fillings4  #ai  ,fillings from         
,georgian copy of old example4  #bj     
,stem of leaf in ,solid work 7colour    
plate74  #ba  ,examples of different    
leaves4  #bb  ,ditto4  #bc  ,colour     
plate--,terra ,firma4  #bd  ,birds and  
,beasts characteristic of ,jacobean     
design4  #be  ,ditto4  #bf  ,ditto4  #bg
  ,ditto4     ,,introduction   ,to      
redeem the monotony of plain surfaces   
has ever been the aim of all the arts1  
but especially that of the needle1 which
 being the oldest expression of         
decorative intention1 has1 from the     
earliest time1 been very dependent on   

its groundwork for its ultimate results4
 ,this is particularly the case in      
embroideries of the type of what is     
commonly known as ,jacobean1 where the  
ground fabric is extensively visible1 as
 it is also in that wondrous            
achievement1 the ,bayeux tapestry worked
 in coarse wools upon homespun linen and
 therefore quite miscalled tapestry4    
,inaccuracy in nomenclature is one of   
the stumbling blocks the student        
encounters1 and the tendency of the day 
to classify styles by the restricted    
formula of monarchical periods is       
likewise misleading4 ,no style is ever  
solely distinctive of one reign1 or even
 one century1 the law of evolution rules
 the arts as it does nature1 there is   
always a correlation between styles in  
art and circumstances of existence that 
is productive of gradual changes of     
taste1 therefore1 pronounced evidences  
in design are1 actually1 the culminating
 point in a course of combined          
influences which have reached the period

 of individual expression4  ,crewel work
 of the type of ,jacobean1 was the      
outcome of that earlier wool embroidery 
that even in the zenith of fame of the  
,ecclesiastical broderers still quietly 
went on its way4  ,in the middle ages1  
furnishing of rooms was scanty1 and     
embroidered hangings1 cushion and stool 
covers provided the necessary notes of  
colour and comfort2 the wall hangings of
 the #acth century were of coarse canvas
 decorated with a design executed in    
wools4  ,it is curious how in ,english  
embroideries there has always been a    
predilection on the part of the         
designers for interlacing stems1 and for
 the inconsequent introduction of birds 
and beasts4  ,mons de ,farcy1 author of 
,la ,broderie du ,onzieme siecle jusqu'a
 nos jours1 remarks that it seems that  
the position of ,england1 surrounded by 
the sea on all sides1 has provoked in   
its inhabitants the passion of          
travelling over the sea1 and they came  
to know1 before continental nations1 of 

the parrots and other birds of brilliant
 plumage so often reproduced in their   
needlework4#a  ,mrs4 ,christie1 an      
,english authority on ,embroidery1      
admirably sums up the evolution of      
designs when she writes ,examination of 
old ,embroideries gathered from all     
parts of the world shows that each      
individual specimen1 every flower and   
bud1 is a development of some existing  
form1 and is not an original creation1  
invented1 as some appear to think all   
designs are1 upon the spur of the       
moment4 ,in the creation of a design it 
is a case of assimilation of the fittest
 and the elimination of the unsuitable  
from existing examples1 thus the        
interlacing stems of the work of the    
#adth century became grafted on to the  
version of the ,tree of ,life idea in   
the ,oriental designs that came to      
,england in the #afth1 through the      
intercourse opened up by the formation  
of the ,east ,india ,company1 at the end
 of ,elizabeth's reign4  ,to deem1 as do

 some writers1 the bold1 rather         
ponderous crewel work of the #agth      
century1 sole outcome of the importation
 of the ,palampores of ,musulipatan1 is 
to ignore all the tendencies manifested 
in the embroideries of previous         
centuries2 in the same way1 to repudiate
 the emblematical significance of       
special features markedly introduced    
into old designs1 is to betray a        
complete lack of knowledge of the mind  
and manners of the people of            
superstitious days4  ,knowledge was not 
rapidly acquired1 and even as late as   
the #agth century was largely           
disseminated through the country by     
allegorical narratives1 while           
emblematical lore reflected the history 
of the immediate moment4 ,there was in  
the poetry and in the embroidery of     
,elizabeth's day1 a sportive quality    
which was not likely to be checked under
 the ,stuarts1 doubles entendres were   
not confined to jests6 and the political
 and religious differences of opinion1  

rampant throughout the period1 found    
expression in the most fantastic ways4  
,the ,stump ,embroidery1 in vogue at the
 same time as the crewel hangings       
specially treated in this volume1 was   
full of symbolism1 and naturally the    
same inspiration directed the worker in 
crewels4 ,curiously enough1 both these  
very different types of needlework1     
crystalised into individuality          
concurrently1 yet one is usually        
designated ,jacobean1 the other referred
 to as ,stuart4 ,in this connection it  
is well also to remember1 that the      
,stuart era extended1 historically1 from
 #afjc to #agad1 viz41 from the reign of
 ,james ,i 7,jacobus7 to that of ,queen 
,anne1 daughter of ,james ,,ii4  ,queen 
,anne is so often relegated1 in the     
public mind1 to an isolated position1   
genealogically1 and the pronounced      
developments in the changes of taste    
that took place at the commencement of  
the of the #ahth century1 left such a   
very definite impression1 that she is   

rarely remembered as a ,stuart2 it was  
in her reign1 however1 that the vogue   
for the old crewel embroideries revived1
 and though differences of treatment    
crept in1 the designs1 were1 in the     
main1 purely ,jacobean1 being copies or 
adaptations of patterns popular in the  
middle of the #agth century4 ,it is     
these copies that exist mostly to-day1  
few1 indeed1 are those hangings which   
pertain to the earlier date1 but a study
 of those few1 taken in conjunction with
 the still fewer that remain of the     
#afth century1 prove the gradual growth 
of the designs that have the tree motif 
which makes them all kin4  ,lady        
,brougham and ,vaux had a most wonderful
 collection1 from which interesting     
comparisons could be made4 ,one pair of 
bed hangings1 of coarse linen of the    
#afth century1 show the trees with a    
meandering growth entirely              
characteristic of those of heavier kind 
which appear in later embroideries1     
these trees also are undoubtedly        

intended to represent the ,tree of      
,life1 for round one is coiled a        
serpent1 while beneath the scanty but   
large leaved boughs1 incidents in the   
story of the expulsion from ,paradise   
are to be descried1 as also the         
procession into the ark4  ,the work is  
without doubt early1 for there is a     
primitive character in the arrangement  
of the inconsequent groups of figures1  
,adam and ,eve stand nude either side   
the tree1 couples in weird though       
contemporaneous costume to the work are 
dotted over the surface quite at        
haphazard4  ,the similarity between the 
tree on these curtains and on one of the
 #ahth century once in the same         
collection is very striking4 ,added     
grace of design has beautified the later
 work1 but the same forms can be traced 
and the same parrots and squirrels are  
introduced1 the ,biblical story at the  
foot of the #afth century curtain has   
been replaced by a portion of the legend
 of the human soul4  ,another very      

interesting example ,i have seen1       
attributed to the years of ,james ,i's  
reign1 seems to suggest that the worker 
had realised the waves in an ,eastern   
pattern and made growths of coral at the
 base of the tree1 but had then         
converted a line or two of waves into   
terra firma1 for at one end reposes a   
lion1 towards which a stag is bounding  
with head turned back as if in fear of  
pursuers4  ,the birds in this example   
are very tropical1 a miniature peacock  
on the lower branches spreads its tail  
stiffly1 parrots like the one           
illustrated in our collection of        
details1 birds of paradise1 and         
squirrels1 are all to be noted among    
foliations that are the most superb1    
taken individually1 it is possible to   
imagine1 most are worked fairly solid1  
such light fillings as there are1 being 
small sprays of leaves like those in our
 plate ,no4 #ag4  ,carnations1          
harebells1 canterbury bells1 roses1     
marigolds1 grapes1 are included in the  

composition2 block shading1 chain       
stitch1 stem stitch are all employed in 
the working1 and a very interesting     
example of the ,opus ,plumarian is given
 in the tail feathers of the tiny       
peacock4  ,the dissection of detail in  
early ,english crewel embroidery is a   
very fascinating occupation and well    
repays the expenditure of time4 ,so     
little has been written about this      
particular phase of the embroiderer's   
art1 that it is by old records and      
examples one becomes best informed and  
in a great measure enabled to trace the 
growth of the style that culminated in  
the massive designs that derived their  
name from the epoch in which they were  
in favour4 ,tudor crewel work1 was      
chiefly done in broad outline of a more 
or less fanciful nature as regards the  
stitching1 witness the sections of that 
,tudor piece which is shewn in our first
 illustration4  ,forms were large but   
gradually became reduced as they were   
worked more solidly4 ,the beautiful     

foxglove pattern in ,bess of            
,hardwicke's curtains at ,hardwicke1    
shews a very slight feeling of          
transition but it may safely be assumed 
that one of the influences bearing on   
the execution of the crewel work1 was   
the portentous character of much of the 
contemporary canvas hand-worked tapestry
 such as the famous set of panels       
unearthed in ,hatton ,gardens4 ,the     
architectural basis is a link between   
the ,ecclesiastical and ,secular        
embroideries of the past centuries1 and 
anyone interested in the evolution of   
design would be struck with the         
similitude of the large leaves and      
flowers in these panels to those of the 
crewel designs of the same date2 it is  
also noteworthy that the symbolic       
significance in the details of the      
panels is ecclesiastic1 whereas in the  
crewel work it is always based on the   
legend of the ,tree of ,life1 or        
secularly emblematic4  ,colourings were 
often in both styles1 blues1 greens1    

bright yellows and browns predominated1 
carnation reds figuring in some         
examples1 used for the flower of that   
name and for the pomegranate1 which1    
with its seeds visible1 signifies future
 life and immortality4  ,the carnation  
and the caterpillar were both ,stuart   
emblems1 and occur in nearly all kinds  
of work executed during their reigns2   
the rose1 of course1 has its national as
 well as its religious significance1    
likewise the oak 7after the             
restoration74  ,the potato flower seen  
in both ,jacobean and ,portuguese       
embroideries is an example of the habit 
of recording the latest novelty1 the    
strawberry was also popular on this     
account1 and is frequently introduced in
 those hillocky foregrounds1 which1 to  
me1 appear one of the most interesting  
evidences of combined influences4  ,once
 again1 another ,oriental idea was      
evidently assimilated1 for in numberless
 ,chinese patterns one sees the main    
motive springing out of a base of waves 

formed exactly like the hillocks which  
became such a distinctive feature in    
these large branching designs4  ,in the 
earliest examples the hillocks were much
 broken up1 and smaller 7more like the  
mounds in the painted ,palampores7 than 
in the later work1 from which we may    
presume the spread of the ,oriental     
influence had done its work1 the terra  
firma being carried out with a          
similitude to the eastern version of    
waves that includes the actual          
stitchery2 grafted on to this was the   
legend of the pursuit of the human soul 
7typified by a hart7 by evil1           
personified by the huntsman1 the hounds 
and various uncanny beasts1 two bearing 
unflattering resemblance to the heraldic
 lion and leopard2 while rabbits1       
snails1 grubs of all kind hinder the    
hart's progress1 these are relics of the
 days when ,the ,bestiarta 7symbolism of
 beasts7 was carefully studied4  ,the   
riotous re-action from the ,puritan rule
 was reflected in the embroideries of   

the restoration1 as in everything else1 
and patterns became exuberant1 colouring
 more brilliant1 the exquisite stitchery
 gradually gave place to the easier     
achievement of solid fillings1 and the  
requisite relief was secured by light   
sprays filling up the ground between the
 larger leaves1 jasmine1 cherries1      
harebells1 potato flowers1 honeysuckle1 
shamrock or trefoil and acorns took the 
lead4  ,it is an almost impossible task 
to describe the large leaves1 since they
 bear no resemblance to anything        
natural1 they are1 however1 rarely      
angular in outline1 rejoicing rather in 
sweeping curves1 and drooping points1   
curled over to display the under side of
 the leaf1 a device that gave opening   
for much ingenuity in the arrangement of
 the stitches4 ,the variety in these was
 so great that on reading the           
enumeration made by ,taylor1 the ,water 
,poet1 one becomes quite breathless4    
,the predominating ones1 however1       
are--,outline or ,stem ,stitch1 used for

 all but the largest stems1 and veining 
and outlining leaves and flowers4       
,shading ,stitch1 sometimes called long 
and short1 used for large branches and  
leaves1 ,basket and ,double ,back       
,stitch are also used for these stems4  
,satin ,stitch1 for all kinds of flowers
 and small foliage1 or for the definite 
flat shading1 that is like block shading
 without the ridge caused by the        
carrying back of the wool into the past 
row of stitches4  ,buttonhole1 also much
 used for leaves1 especially those      
having light fillings and broad         
outlines4  ,rope ,stitch1 ,coral1 ,cable
 and ,chain1 also for outlines1 the last
 named being also used for fillings4    
,the fancy fillings such as darning1    
,french knots1 etc41 are demonstrated   
and described in the following pages1   
and the colour plates endeavour to give 
the idea of the correct colourings4 ,in 
this connection1 a few observations1    
based on the study of genuine originals1
 may not be amiss4  ,as ,i have before  

mentioned1 a certain brilliancy         
characterised the work at one period1   
but this cannot be regarded as the best 
type to imitate4 ,the most harmonious   
were carried out in two schemes4 ,one   
had all the leaves worked in ,mandarin  
blues1 shading from darkest indigo to   
softest blue-grey4 ,these were placed in
 juxtaposition1 with tender mignonette  
and silvery greens1 a strong accent     
being occasionally introduced by a      
flower or filling carried out in true   
rose leaf shade or by veinings of bronze
 greens and browns4  ,the other scheme1 
and this is more rarely met with1 was in
 bronze greens throughout1 intermixed   
with yellow and about three shades of   
the dull blues4 ,black sometimes is to  
be noticed in both these colour schemes1
 also bright and buff yellows and       
chestnut browns1 and the colours were   
mostly confined to the blue scheme first
 named1 but there are examples extant of
 an entire design carried out in shades 
of red1 as in the ,tudor and early #afth

 century hangings one finds blues       
responsible for the whole colouring4    
,these vary in tone1 and in the late    
copies of the designs the blue has a    
very green tinge about it4#b  ,in the   
reign of ,queen ,anne taste reverted to 
the older lighter designs1 grotesques   
were eliminated1 massiveness gave place 
to grace1 and brightness of colour to a 
soft modified brilliancy that was very  
engaging4 ,in the ,georgian copies      
heaviness again obtained favour1 and    
gradually the designs deteriorated1 and 
were eventually temporarily lost in the 
limbo of the past4 ,the vogue for lace  
work in the reign of ,william and ,mary 
influenced the stitches in the crewel   
embroidery1 and in ,queen ,anne's day   
the variety of stitches was reminiscent 
of the earlier period1 some of the      
fillings being beautiful4  ,the material
 used was through all the phases the    
same1 viz41 a twill fabric1 of which the
 warp was of linen1 the weft of cotton2 
the wools varied somewhat in the twist1 

but were always worsted1 the word crewel
 being a diminutive of clew1 a ball of  
thread1 and probably came into vogue    
with the importation of wools from      
,germany1 the corresponding word in that
 language being ,knaeuel4  ,a4 ,f4      
,,morris ,,hands  #a ,opus ,anglicum by 
,m4 ,louis de ,farcy in ,embroidery4  #b
 ,see example in ,south ,kensington     
carried out in very hard twisted blue   
wools4 ,the curtain belonging to ,mr4   
,hearn1 and now at ,south ,kensington1  
is a beautiful specimen of the full     
colouring of the late #agth century4    
,op4 ,i  ,illustration  ,,plate #a      
,this plate was sketched from a very old
 strip of ,tudor work1 measuring about  
#e;ft4 #h;in4 in length and #a;ft4      
#h;in4 in width4 ,each leaf was about   
#bb;in4 long and #ai;in4 across4 ,the   
strip had evidently been part of a bed  
valance1 and1 as far as one could       
tell--for it was much faded--had been   
worked in two shades of wool only--dark 
indigo blue and bright green2 the latter

 had faded1 almost everywhere1 to a soft
 mignonette colour4     ,op4 ,,ii       
,,plate #b   ,a group of blue leaves1   
etc41 taken from some old cushions at   
,knole ,park1 ,sevenoaks4  ,no4 #a4     
,stem stitch contour3 ,maidenhair in    
buttonhole stitch4 ,star in buttonhole  
stitch on background of small crosses4  
,no4 #b4 ,stem stitch4  ,no4 #c4 ,stem  
stitch contours4 ,centre in loop stitch4
  ,no4 #d4 ,stem stitch contours4       
,centre loop stitch and maidenhair in   
buttonhole stitch4  ,no4 #e4 ,stem      
stitch4  ,illustration3 ,,plate #b      
,,plate #b;a  ,group of the lighter     
details that break up the heavy masses  
in the earliest and latest examples4    
,the medlar-like fruit is worked in     
,crewel stitch in bands of brown1 stem  
lighter in shade4  ,the leaves1 ,example
 ,i  ,,ii1 satin stitch with stem stitch
 outline both sides1 centre veinings in 
stem stitch1 turnover in leaf1 ,,ii1 in 
block stitch4  ,,iii ,buttonhole edging 
with darned centre1 centre filled with  

strands of wool caught down at intervals
 with double back stitch4  ,,iv ,flowers
 in soft blues in satin stitch1 acorns  
have their cups worked in ,french knots4
  ,illustration3 ,,plate #b;a     ,op4  
,,iii   ,the following plates were      
sketched from an old strip of work done 
in deep indigo worsted wool1 with a     
rather lighter wool1 both in colour and 
make1 used in the fine buttonhole work  
and darning1 of which there is much     
throughout the work4 ,the design was a  
branching one1 the flowers and          
leaves--most of which appear in the     
following plates--are hanging from stems
 about a quarter of an inch thick done  
in herring-bone stitch1 with the        
exception of the violas 7plate #e7 which
 have a thicker stem of their own in    
herring-bone1 stem stitch and loops4    
,the thistles 7plate #c1 ,no4 #a7       
reproduced the same size as in the work1
 were scattered about in groups of      
three1 making a very pleasing contrast  
to the hanging roses 7plate #f71 whilst 

the irises reared their heads all along 
the bottom of the strip1 but owing to   
the work having been cut1 it was        
impossible to see how they joined their 
straight stalks to the branching ones   
above4  ,,plate #c  ,no4 #a4 ,stem      
stitch contour3 diaper work done in     
coral stitch1 with a ,french knot       
filling in each alternate square4 ,four 
rows of buttonhole stitch at top of     
flower4  ,no4 #b4 ,stem-stitch1 coral   
stitch and darning4  ,no4 #c4           
,buttonhole stitch1 ,french knot and    
stem stitch4  ,no4 #d4 ,stem stitch and 
buttonhole stitch4  ,no4 #e4 ,coral     
stitch4 7,these tendrils occurred all   
over the work and were very effective47 
,no4 #f4 ,buttonhole stitch3 centre and 
stalk in stem stitch4  ,no4 #g4 ,stem   
stitch and loops4  ,illustration3       
,,plate #c   ,,plate #d  ,the iris shown
 here was worked as follows3 ,the       
contours in stem stitch throughout4 ,the
 centre and two side petals have stem   
stitch veins1 edged buttonhole stitch   

and were filled in with big knots4 ,the 
smaller petals were partially filled in 
with buttonhole stitch and darning4 ,the
 dark petal on left was done in         
,cretan#c stitch edged stem stitch4  #c 
,a variation of herring bone stitch4    
,illustration3 ,,plate #d   ,,plate #e  
,no4 #a4 ,contour in stem stitch1 filled
 in lightly with buttonhole stitch1 and 
darning and long-and-short stitch4  ,no4
 #b4 ,ditto1 with the addition of       
herring-bone stitch on two upper petals4
  ,no4 #c4 7,stalk7 herring-bone stem   
stitch with loops between4              
,illustration3 ,,plate #e   ,,plate #f  
,no4 #a4 ,stem-stitch1 buttonhole stitch
 and darning4  ,no4 #b4 ,ditto4  ,no4   
#c4 ,stem stitch1 buttonhole stitch1    
,french knots and darning4  ,no4 #d4    
,stem stitch1 buttonhole stitch and     
darning4  ,all have herring-bone stitch 
stalks4       ,sketched from a piece of 
work in blue crewels on white linen1    
belonged to the late ,lady ,maria       
,ponsonby4  ,illustration3 ,,plate #f   

,,plate #g  ,most of the stitchery shown
 here is similar to that on the         
preceding plates1 but has the addition  
of the plait stitch#d edged with        
buttonhole stitch in the veins of the   
big leaf1 and the close knots on the    
sheaf of the foxgloves1 while the sheaf 
of the convolvulus has veins of stem    
stitch and small ,french knots4  ,in all
 this piece of work there is to be noted
 a great deal of buttonholing and       
darning4  #d ,a variation of            
herring-bone stitch4  ,illustration3    
,,plate #g     ,op4 ,,iv  ,,plate #h    
,shows many uses to which stem stitch   
can be put1 which is the only stitch    
employed in the work illustrated here1  
if we except the little arrow-heads used
 to edge the vine leaf4  ,illustration3 
,,plate #h  ,the following sketches were
 taken from a most beautiful and        
elaborate strip of work1 forming part of
 some bed-hangings1 dated ,a4,d4 #afif1 
worked in hard twisted crewels in blue1 
mignonette1 and green colourings only4  

,,plate #i  treats of button-holeing    
stitch done in a variety of ways4  ,no4 
#a has groups of three button-hole      
stitches and crosses in centre1 and is  
edged by chain stitch and arrow-heads4  
,no4 #b4 ,button-hole stitch centre and 
edge4  ,no4 #c4 ,button-hole stitch with
 stalks in stem stitch4  ,illustration3 
,,plate #i   ,,plate #aj  ,in this      
sketch are three principal stitches1    
viz43 ,chain stitch filling in spaces   
,nos4 #a-b 7on left of sketch7 and      
forming the contour of the whole leaf2  
button-hole stitch filling spaces ,nos4 
#c-d2 and a lace stitch filling spaces  
,nos4 #e-f-g4 ,the other two spaces are 
filled by brick stitch1 and darning with
 little veins of coral stitch and       
herring bone4 ,there are loop stitches  
in the centre of the veining in spaces  
#f-g1 and these are also worked round   
the outside of the leaf4  ,illustration3
 ,,plate #aj   ,,plate #aj;a  ,this     
leaf1 having a contour of chain stitch1 
is filled in at the top with a brown and

 blue branch in stem stitch1 edged with 
short-and-long stitch4 ,the green       
turnover is in chain stitch with blue   
chain stitch veins1 and the blue        
turnovers at base of leaf are done in a 
lace surface stitch1 while the rest is  
filled in with small darning stitches1  
coral stitches and a little bit of      
button-hole stitching4 ,the three       
central leaves crossing stem are in red 
and green1 and blue and green2 the brown
 stalks are worked in stem stitch4      
,loops are worked round the outside of  
the leaf here as in all the bigger      
leaves on this work4 ,the spike on the  
left of the sketch is in herring bone   
stitch edged with arrow heads4          
,illustration3 ,,plate #aj;a     ,op4 ,v
   ,the following three plates are      
sketches from the bed hangings in the   
,chapel room at ,hardwicke ,hall1       
,derbyshire--the property of the ,duke  
of ,devonshire4   ,,plate #aa  ,shows   
the full design1 which is a repeating   
one1 of the hangings4 ,the details of   

the stitchery will be found on the      
following plates4  ,illustration3       
,,plate #aa   ,,plate #ab  ,no4 #a4 ,one
 of the many conventional foliations in 
this design1 carried out in stem stitch1
 buttonhole and darning4  ,no4 #b4      
,close chain stitch for the circles with
 herring bone for the stalk running     
through them4  ,no4 #c4 ,the same stem  
as in foxgloves but with darning        
introduced up the centre4  ,no4 #d4 ,the
 sheafs of the foxgloves are worked in  
crochet stitch edged stem stitch4  ,the 
contours of flowers in back stitch1     
filled in short-and-long stitches and   
darning4  ,illustration3 ,,plate #ab    
,,plate #ac  ,no4 #a4 ,contour in chain 
stitch4 ,vein stem stitch edged two rows
 short-and-long stitches and darning4   
,no4 #b4 ,contour in double chain       
stitch4 ,veins in knot stitch edged     
darning4 ,loops in middle of centre     
vein4  ,no4 #c4 ,contour in stem stitch2
 vein ditto1 edged with two rows of     
short-and-long stitches and darning4    

,no4 #d4 ,contour in chain stitch1 edged
 darning4 ,centre vein chain stitch4    
,branching veins knot stitch outlined   
with darning stitches4  ,no4 #e4        
,contour buttonhole stitch and darning4 
,veins knot stitch and darning4         
,illustration3 ,,plate #ac     ,op4 ,va 
,,plate #ad  ,a group of fillings in    
which darning plays an important part1  
the backgrounds of two of the leaves    
were carried out in indigo1 the veinings
 were worked in solid rows of outline   
stitch in brown shading to a lighter    
bronze green1 the central vein in the   
upper leaf was in chain-stitch in dark  
blue and the outline of leaf was carried
 out in two rows of chain stitching in  
darkest indigo4 ,the shamrock leaf has a
 darned contour of double threads1 the  
filling was in stem stitch1 solid1 with 
bars of a darker colour worked across   
it4 ,the little band at the bottom of   
the group was a mixture of satin1 chain1
 stem and ,french knots4  ,illustration3
 ,,plate #ad     ,op4 ,,vi   ,the       

following sketch was done from bed      
hangings1 the property of the ,earl of  
,powis1 at ,powis ,castle4   ,,plate #ae
  ,the design is a bold one of big      
leaves worked on the usual thick white  
hand-made linen4 ,undoubtedly the wools 
used were green at the time of working1 
but have now changed to beautiful shades
 of blue to indigo4 ,each leaf          
throughout the work has a thick contour 
in rope stitch of the four shades of the
 wool used1 and the stem is most        
effective1 done in squares of ,cretan   
stitch in the same four shades4         
,illustration3 ,,plate #ae     ,op4     
,,vii  ,,plate #af   ,this bold leaf is 
mainly carried out in block shading1 but
 the colours are unusual4 ,indigo for   
the outside edge1 soft brown the central
 block1 and light green for the inner2  
in the second leaf the green is employed
 only for the line of veining2 the two  
leaves or sections on the right-hand    
side are treated as follows--,the upper 
one has outlines of brown1 between which

 blocks of buttonhole in indigo are     
worked1 the intervening spaces being    
simply decorated by a loop stitch in    
green wool4 ,the sprays are in satin    
stitch1 which is one of the best for    
small sprays to be worked solid4        
,illustration3 ,,plate #af   ,,plate #ag
  ,a very handsome leaf1 in the working 
of which many stitches are employed4    
,the curved scroll at the top is carried
 out in block shading in blue to pale   
green2 the curved section on the right  
is marked out in squares filled         
alternately with satin stitches1 with a 
simple ,french knot in each square1 and 
by a square trellis secured in the      
centre by a cross stitch2 the scroll    
below this is outlined in crewel stitch1
 and filled with laid work or strands of
 wool thrown across from edge to edge   
and couched by back stitches at the     
points of intersection4  ,the three     
leaves at the root of the stem are      
carried out in block shading in shades  
of grey green1 the leaf above is        

outlined in crewel stitch and filled    
with fancy devices worked in buttonhole 
stitch with darning background2 the     
centre motive is a solid mass of ,french
 knots1 well raised and blue in colour4 
,i have seen this same motive carried   
out in three shades1 the lightest group 
at the point1 the darkest at the back4  
,illustration3 ,,plate #ag   ,,plate #ah
  ,more fillings taken from a piece of  
work executed in the late #agth century4
  ,i ,is one of the diverse methods of  
treating the large tree stems in a      
design4 ,within the fan-like outlines   
traced down on the linen is a solid     
filling of satin stitches1 varying row  
by row from pale fawn at the foot to    
dark chestnut brown round the top1 the  
direction of the stitches is shewn in   
the drawing4  ,,ii ,here we have a fancy
 lattice of three strands of laid wool  
couched with small ,french knots at the 
intersecting points1 the outline is in  
stem stitch and fanciful back stitches  
are used as fillings4  ,,iii ,has first 

rows of long single threads thrown      
across1 caught down with stars and      
groups of satin stitching crossed4  ,,iv
 ,a light treatment for stems1 the      
filling1 shells in buttonhole stitches1 
with second outline in darning4  ,v ,one
 of the examples of the introduction of 
lace stitches that is to be noted in    
work of the late #agth century1 the     
alternate blocks are in basket stitch1  
the others in double cross stitch in    
contrasting colours4  ,,vi ,quaint      
example of couched work4  ,illustration3
 ,,plate #ah   ,,plate #ai  ,a          
collection of particularly beautiful    
fillings seen in a ,georgian copy of a  
very old example4  ,i ,has double rows  
of outline stitch1 framing spaces filled
 with stars in back stitch1 the centre  
being solid in shading stitch4  ,,ii    
,outline of rope stitch and cross       
trellis of the same4 ,stars of back     
stitch couched down with contrasting    
wools4  ,,iii ,part of a beautiful stem1
 outline of chain bars of button stitch 

in double wool and spots in loop stitch4
  ,,iv ,the two small petals filled     
solid with stem stitch1 three rows of   
which are used for outlining the long   
petal1 the centre being filled with     
rings in buttonhole stitch and darned   
background4  ,v ,is carried out in satin
 and stem stitch1 with back stitch bars 
couched with contrasting wool4          
,illustration3 ,,plate #ai     ,op4     
,,viii  ,,plate #bj   ,these two        
sketches were taken from an #ahth       
century 787 curtain done in solid crewel
 work1 in somewhat bright colouring4    
,the brown veining which occurs in ,i   
and in nearly all the leaves was most   
effective2 in this plate is also shown a
 good example of basket stitch stem     
work4 ,the acorn cup was worked in close
 ,french knots4  ,,ii ,the large leaf is
 a good example of solid work4 ,the     
contour was in stem stitch1 the serrated
 edges turned over on to the brown      
surface were in shading stitch1 the red 
veinings in satin stitch4               

,illustration3 ,,plate #bj   ,,plate #ba
  ,these two leaves are of a bold1      
simple character that is easy to        
suggest1 and proves a great relief in a 
design that is somewhat over-detailed4  
,the large one is carried out in browns 
and greens4 ,the turned over serrated   
edge is in satin stitch of graduating   
shade4 ,the heavy veining is somewhat   
unusual in that it is carried out in    
laid stitch1 dark green in the centre   
and light green outside4 ,the stars are 
worked in dark green4 ,the outline to   
the lower leaf is in two shades of      
green1 the palest continuing to outline 
the remainder of the large leaf4  ,the  
small leaf is worked solid in shading   
stitch in blue with brown satin stitch  
edge1 the veining is brown as is also   
the contour of the upper point4         
,illustration3 ,,plate #ba   ,,plate #bb
  ,we have here a large leaf very       
characteristic of the complicated detail
 introduced by the conventional         
treatment of foliage in early ,english  

work4  ,the curved point of the leaf is 
outlined in rope stitch in a dark shade 
of soft bronze green1 the heavy double  
cross lines are in crewel stitch and of 
a lighter shade of bronze in which the  
square lattice is also carried out1 the 
,french knots in the centres are of a   
dark olive green4  ,the round medallion 
is outlined similarly to the above but  
in darker shade1 the centre being worked
 solid in slanting satin stitches set in
 rows1 each row taken at the opposite   
angle to its neighbour2 the next leaf is
 outlined inside1 in two rows of chain1 
the turnover of the leaf being solid    
satin stitch in three shades of green4  
,the stem is double back stitch1 and the
 other leaves are worked solid in       
shading stitch in graduated shades of   
green4  ,the two small leaves1 ,i  ,,ii 
example3 #ast1 rope stitch with         
alternate fillings of darning and       
outline stitch1 and #bnd1 rows of       
outline stitch for one-half the back    
leaves and one-half grey knot stitch and

 blue snail trail in alternative1 the   
end leaf being in rows of outline of    
brown colour4  ,illustration3 ,,plate   
#bb   ,,plate #bc  ,a portion of the    
terra firma of the curtain4  ,the       
strawberries and clear parts of the     
ground are worked in ,french knots4     
,the plants are very useful in breaking 
up the solid masses of dark colour1 and 
the stag serves to introduce into the   
base of the work the colouring of the   
acorns above 7on plates #a and #b74  ,as
 a rule this base of a design repeats   
all the colourings used throughout4     
,illustration3 ,,plate #bc   ,,plate #bd
  ,example of a bird introduced into the
 late #agth century work4  ,it is       
executed in simple feather stitch for   
the tail feathers and satin stitch very 
evenly shaded4 ,the dark centres of the 
short feathers are in crimson1 the rest 
in shades of buff1 the breast feathers  
also worked in satin stitch are in putty
 colour1 legs and beak are brown and the
 crest in crimson4  ,illustration3      

,,plate #bd   ,,plate #be  ,quaint early
 example of a parrot1 head in knot      
stitch1 breast feathers block stitch1   
and wings in shaded single feather      
stitching4  ,the butterfly and grub are 
found in all early examples4            
,illustration3 ,,plate #be   ,,plate #bf
  ,group of animals usually disporting  
on the terra-firma at base of large     
designs4  ,worked always in long and    
short stitch4  ,illustration3 ,,plate   
#bf   ,,plate #bg  ,squirrel in rich    
brown colour1 with cream chest worked in
 shading stitch1 tail in overcasting for
 the centre and furry part in single    
feather stitch with stem stitch outline4
  ,illustration3 ,,plate #bg            
,,printed ,,by ,w4 ,w4 ,,curtis ,,ltd41 
,,cheylesmore ,,press1 ,,coventry     ,a
 ,,companion ,,volume ,,to ,,jacobean   
,,embroidery   ,,english ,,secular      
,,embroidery  ,by ,m4 ,jourdain4 ,with  
,fifty-seven ,illustrations and a       
,frontispiece in colour4 ,cloth1        
foolscap #dto1 #ajs4 #f;d4 net4       ,a

 really charming book4--,pall ,mall     
,gazette4       ,a godsend to collectors
 of antique needlework4--,sir ,james    
,yoxall1      ,m4,p41 in ,london        
,opinion4       ,the author treats the  
subject in a fresh and stimulating      
manner1      making the whole book      
thoroughly enjoyable and instructive    
reading1      and consequently this     
book1 coming as it does at an opportune 
moment1 when art needlework shows such  
healthy signs of revival1      should   
prove of great interest to collectors   
and needleworkers4 ,the      book is    
replete with a splendid selection of    
plates from original      pieces in the 
possession of many eminent              
collectors4--,art      ,chronicle4      
,a delightful book on a delightful      
theme1 valuable alike to the            
collector1 the artist-craftsman 7or     
woman71 and the womanly woman      in   
the new or old-fashioned sense of the   
term4--,sunday      ,chronicle4         
,to the lay reader who has never handled

 needle or bobbin2 to the      general  
reader who reads for enjoyment and has  
in consequence some      nodding        
acquaintance with ,queens like          
,elizabeth1 ,mary1 known as      bloody1
 and the other ,mary who is not known at
 all2 to this general      reader such a
 work as ,miss ,jourdain's may afford a 
good deal of the      leisurely         
enjoyment that is sought in books4 ,he  
will make the      acquaintance of      
,queen ,elizabeth's petticoat1 of the   
bed hangings      that concealed or     
decorated the slumbers of the one ,mary 
or the      other4--,miss ,violet ,hunt 
in the ,daily ,chronicle4   ,kegan      
,paul1 ,trench1 ,truebner  ,co41        
,limited