de la Couperie—Empress Si-ling-chi—Princess of Khotan—Euripides—Lucan—Pliny—Silk in Rome—Ælius Lampridius—Flavius Vopiscus—Tailor’s bill—Justinian’s codex—Imperial monopoly—Paul the Silentiary—Bede—King John’s apparition—Greek and Sicilian manufactories of silk—Distinctive marks of different periods—Lyons—Spain—Italy—Flemish towns—Marco Polo—Satin—Welsh poem, “Lady of the Fountain”—Chaucer—Velvet—Transference of work to new materials

118 CHAPTER V.—COLOUR. Harmony and dissonance—Names of tints—Authorities for theories—Art of colouring—Expression of colouring—Purple—Red—Crimson—Blue—Yellow—Pliny—Renouf—Chinese colours—Indian dyes—Persian colours—Dyes of the Gauls—Romans—Scotch—Scales of colour—MM. Charton and Chevreul on tones of colour—Gas colours 175 CHAPTER VI.—STITCHES. Stitches—Part I.: The needle—Gammer Gurton’s needle—Art of needlework—Lists of stitches—Part II.: Plain work—The seam—Mrs. Floyer—White embroidery—Nuns’ work—Greek—German —Spanish—Italian white work—Semper’s rules for white work—Part III.: Opus Phrygium—Gold embroideries—Part IV.: Opus pulvinarium—Cushion stitches—Mosaic stitches—Traditional decorations from Chaldea and Assyria—German and Italian pattern-books—Part V.: Opus plumarium—The Plumarii—Feather-work of India—Islands of the Pacific—African work—Mexican and Peruvian—Cluny triptych—Mitre of St. Charles Borromeo—Essay by Denis—Chinese and Japanese feather-stitches—Part VI.: Opus consutum or cut work—Patchwork—Egyptian and Greek examples—Irish cut work—Chaucer—Francis I.’s hangings at Cluny—Lord Beauchamp’s curtains—Spanish examples—Remarks—Art of application—Part VII.: Lace—Opus filatorium—Mrs. Palliser—M. Blanc—Guipure—Sir Gardiner Wilkinson—Netted lace—Homer—Solomon’s Temple—Bobbin laces—Yak—Coloured laces—Venetian sumptuary laws—Golden laces—Point d’Alençon—Mr. A. Cole’s lectures—M. Urbani de Gheltof on Venice laces—Lace stitches—Revival of lace school at Burano—English laces—Part VIII.: Tapestry—Opus pectineum—Modes of weaving tapestry—Its great antiquity—Egyptian looms—Albert Castel on tapestries—Homeric picture-weaving—Arachne—A paraphrase by Lord Houghton—Nomenticum—Sidonius Apollinaris—Saracenic weaving—Arras—Brussels—Italian tapestries from Florence, Milan, and Mantua—French tapestries—Cluny Museum collection—Gobelins—Beauvais—English tapestry—Comnenus—Matthew Paris—Early trade with Arras—Coventry tapestries—Chaucer—Tapestry “of verd”—Hatfield tapestries—Armada tapestries—Sir F. Crane—Mortlake manufactory—Francis Cleyne—Raphael cartoons—Percy tapestry from Lambeth 194 CHAPTER VII.—HANGINGS. Classical hangings—Babylonian and Persian—Semper’s theory—Sanctuary in the wilderness—St. Peter’s at Rome—Abulfeda—Akbar’s tent—Nadir Shah’s tent—Tent of Khan of Persia—Tents of Alexander the Great at Alexandria—Roman hangings—Funeral pyres—Kosroes’ tent—Semper’s rules for hanging decorations—Ancient carpets—English and French hangings—Rules for designs of hangings 260 CHAPTER VIII.—FURNITURE. Penelope’s couch—Chaldean furnished house—The bed—Earl of Leicester’s inventories—State apartment of Alessandri Palace—Indian embroideries for furniture—The sofa and chair—The footstool—Furniture stitches—The table cover—The screen—Book covers—Morris on furniture 280 CHAPTER IX.—DRESS. Art of dress—Ancient splendour—Persian, Greek, and Roman—Indian—Homeric—Early Christian—Charlemagne’s mantle and robe—Objects of dress—Embroidered garments 294 CHAPTER X.—ECCLESIASTICAL EMBROIDERY. Christian art—Dark ages—Greek and Roman ecclesiastical dress—Northern influence—Continuity of ecclesiastical art—Authorities—Anglo-Saxon orthodox colours—Veils of the Temple—Hangings in Pagan temples and Christian churches—Russian use of veils—Art in the early Church—Rare examples—Destruction by the iconoclasts—Early embroiderers—Empress Helena—Bertha, mother of Charlemagne—His dalmatic—Pluvial of St. Silvester—Pluvial of museum at Bologna—Daroca cope—Cope of Boniface VIII.—Style of the twelfth century—Mantle of St. Stephen of Hungary—Kunigunda’s work for Henry II.—The Romanesque—Movement perfecting Gothic art, thirteenth century—Opus Anglicanum—Syon cope—Embroidery on the stamp—Pictures in flat stitches—Flemish work—Renaissance—Work of some royal ladies—French—Spanish—Sicilian and Neapolitan—German work—Sacred symbolism—Melito’s “The Key”—Mystical colours—Prehistoric cross—Many forms of the cross—The roës—The chrysoclavus—Modern decoration—Principles and motives for church embroideries—The altar-cloth—The reredos—The pulpit and reading-desk—The ancient Paschal—The banner of St. Cuthbert—The fringe—Lay heraldry of the Church—South Kensington Museum 303 CHAPTER XI.—ENGLISH EMBROIDERY. First glimpse of art in England—Dyeing and weaving in Britain in early times—Cæsar’s invasion—Roman civilization—Anglo-Saxon times and art—Adhelme’s poem—Icelandic Sagas—Saga or story of Thorgunna—English work in the eighth century—The Benedictines—Durham embroideries—Aelfled—St. Dunstan—Queen Emma’s work—William of Poitou—The Bayeux tapestry—Abbess of Markgate—Gifts to Pope Adrian IV.—Robes of Thomas à Becket at Sens—Innocent III.—English pre-eminence in needlework from the Conquest to the Reformation—John Garland on hand-looms—Blode-bendes and lacs d’amour—Opus Anglicanum—English peculiarities in ecclesiastical design—Penalties against luxury in dress—Protection the bane of art—Dunstable pall—Stoneyhurst cope—Destruction of fine works at the Reformation—Much on the Continent, much collected in our old Catholic houses—Field of the Cloth of Gold—Mary Tudor’s Spanish stitches—Queen