procession into the ark.

The work is without doubt early, for there is a primitive character in the arrangement of the inconsequent groups of figures, Adam and Eve stand nude either side the tree, couples in weird though contemporaneous costume to the work are dotted over the surface quite at haphazard.

The similarity between the tree on these curtains and on one of the 18th century once in the same collection is very striking. Added grace of design has beautified the later work, but the same forms can be traced and the same parrots and squirrels are introduced, the Biblical story at the foot of the 16th century curtain has been replaced by a portion of the legend of the human soul.

Another very interesting example I have seen, attributed to the years of James I's reign, seems to suggest that the worker had realised the "waves" in an Eastern pattern and made growths of coral at the base of the tree, but had then converted a line or two of waves into terra firma, for at one end reposes a lion, towards which a stag is bounding with head turned back as if in fear of pursuers.

The birds in this example are very tropical, a miniature peacock on the lower branches spreads its tail stiffly, parrots like the one illustrated in our collection of details, birds of paradise, and squirrels, are all to be noted among foliations that are the most superb, taken individually, it is possible to imagine, most are worked fairly solid, such light fillings as there are, being small sprays of leaves like those in our plate No. 17.

Carnations, harebells, canterbury bells, roses, marigolds, grapes, are included in the composition; block shading, chain stitch, stem stitch are all employed in the working, and a very interesting example of the Opus Plumarian is given in the tail feathers of the tiny peacock.

The dissection of detail in early English crewel embroidery is a very fascinating occupation and well repays the expenditure of time. So little has been written about this particular phase of the embroiderer's art, 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 favour. Tudor crewel work, was chiefly done in broad outline of a more or less fanciful nature as regards the stitching, witness the sections of that Tudor piece which is shewn in our first illustration.

Forms were large but gradually became reduced as they were worked more solidly. The beautiful foxglove pattern in "Bess of Hardwicke's" curtains at Hardwicke, 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 work, was the portentous character of much of the contemporary canvas hand-worked tapestry such as the famous set of panels unearthed in Hatton Gardens. The architectural basis is a link between the Ecclesiastical and Secular embroideries of the past centuries, 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 date; it is also noteworthy that the symbolic significance in the details of the panels is ecclesiastic, whereas in the crewel work it is always based on the legend of the Tree of Life, or secularly emblematic.

Colourings were often in both styles, blues, greens, bright yellows and browns predominated, carnation reds figuring in some examples, used for the flower of that name and for the pomegranate, which, with its seeds visible, signifies future life and immortality.

The carnation and the caterpillar were both Stuart emblems, and occur in nearly all kinds of work executed during their reigns; the rose, of course, has its national as well as its religious significance, likewise the oak (after the restoration).

The potato flower seen in both Jacobean and Portuguese embroideries is an example of the habit of recording the latest novelty, the strawberry was also popular on this account, and is frequently introduced in those hillocky foregrounds, which, to me, appear one of the most interesting evidences of combined influences.

Once again, another Oriental idea was evidently assimilated, 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 designs.

In the earliest examples the hillocks were much broken up, and smaller (more like the mounds in the painted Palampores) than in the later work, from which we may presume the spread of the Oriental influence had done its work, the "terra firma" being carried out with a similitude to the eastern version of waves that includes the actual stitchery; grafted on to this was the legend of the pursuit of the human soul (typified by a hart) by evil, personified by the huntsman, the hounds and various uncanny beasts, two bearing unflattering resemblance to the heraldic lion and leopard; while rabbits, snails, grubs of all kind hinder the hart's progress, these are relics of the days when The Bestiarta (symbolism of beasts) was carefully studied.

The riotous re-action from the Puritan rule was reflected in the embroideries of the restoration, as in everything else, and patterns became exuberant, colouring more brilliant, the exquisite stitchery gradually gave place to the easier achievement of solid fillings, and the requisite relief was secured by light sprays filling up the ground between the larger leaves, jasmine, cherries, harebells, potato flowers, honeysuckle, shamrock or trefoil and acorns took the lead.

It is an almost impossible task to describe the large leaves, since they bear no resemblance to anything natural, they are, however, rarely angular in outline, rejoicing rather in sweeping curves, and drooping points, curled over to display the under side of the leaf, a device that gave opening for much ingenuity in the arrangement of the stitches. The variety in these was so great that on reading the enumeration made by Taylor, the Water Poet, one becomes quite breathless. The predominating ones, however, are—Outline or Stem Stitch, used for all but the largest stems, and veining and outlining leaves and flowers.

Shading Stitch, sometimes called long and short, used for large branches and leaves, Basket and Double Back Stitch are also used for these stems.

Satin Stitch, for all kinds of flowers and small foliage, or for the definite flat shading, that is like block shading without the ridge caused by the carrying back of the wool into the past row of stitches.

Buttonhole, also much used for leaves, especially those having light fillings and broad outlines.

Rope Stitch, Coral, Cable and Chain, also for outlines, the last named being also used for fillings.

The fancy fillings such as darning, French knots, etc., are demonstrated and described in the following pages, and the colour plates endeavour to give the idea of the correct colourings. In this connection, a few observations, based on the study of genuine originals, may not be amiss.

As I have before mentioned, a certain brilliancy characterised the work at one period, but this cannot be regarded as the best type to imitate. The most harmonious were carried out in two schemes. One had all the leaves worked in Mandarin blues, shading from darkest indigo to softest blue-grey. These were placed in juxtaposition, with tender mignonette and silvery greens, 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 browns.

The other scheme, and this is more rarely met with, was in bronze greens throughout, intermixed with yellow and about three shades of the dull blues. Black sometimes is to be noticed in both these colour schemes, also bright and buff yellows and chestnut