Best machine embroidery designs

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A very considerable number of caps and head-dresses worked in this way are still existing. The caps are almost invariably of rounded form, with turned-up edges trimmed with gold lace. There are several in the museum at South Kensington, including one from the collection of Lord Zouche, and two from that of Sir Thomas Isham of Lamport Hall. The two latter (Plate 40) may belong to the early part of Elizabeth's reign. The ladies' head-dresses are commonly of a hooded shape, drawn together by a string at the back (Plate 40). The embroidery is sometimes in black alone, but oftener the stems are of plaited gold thread. It seems probable that these caps did not go entirely out of fashion until the reign of Charles I. Black was not always the colour chosen. A cap of the same form, with a pattern of roses, pansies, and strawberries in colours, the stems in gold, is in the museum (No. 2016, 1899).

The jacket was given by William IV. to the Viscountess Falkland, wife of the tenth viscount. It is recorded to have belonged to Queen Elizabeth. A large coverlet and a pillow-cover (Plate 37) of " black work," also belonging to the Viscount Falkland, may perhaps date from a little earlier in the same century. Each has a running pattern of vine- stems, the large leaves being filled with tiny diaper patterns. An embroidery of a similar class has lately been acquired by the Victoria and Albert Museum (No. 252, 1902). The panels are shaped to form the parts of a tunic, which has never been made up (Plate 38). The pattern is almost entirely floral ; it consists of columbines, pansies, acorns, filberts, birds, butterflies, and insects. There is a tradition that this work was done by Mary, the daughter of Sir Henry Pierrepont and sister of the Earl of Kingston, who was married to Fulk Cartwright of Ossington in 1606.

The jacket or tunic of " black work " belonging to the Viscount Falkland has already been mentioned. By his permission it is illustrated in this volume (Plate 35). It is of linen, the embroidery being entirely in black silk. Amid characteristic floral work of the period are a number of devices of a quaint nature. A little flying-fish, which has leaped out of the water in order to avoid the gaping mouth of a large fish below, is attacked by a sea-bird from above ; a man of Herculean type, astride a crocodile, holds a writhing serpent in each hand. Other sub- jects are Actaeon devoured by his hounds, Bacchus beating a drum, a man on a lion, a stag pierced by an arrow, another pursued by a hound, a pelican in her piety, prancing horses, a camel, an elephant, a sea-horse, unicorns, monkeys, foxes, squirrels, birds, and fishes.

Tradition assigns an earlier origin to another pair, presented, together with other works of art associated with the Denny family, by Sir Edward Denny, Bart., to the Victoria and Albert Museum in 1882. They are of leather, with white satin gauntlets elaborately em- broidered and enriched with numerous seed- pearls. It is believed that they are the gloves recorded to have been given by Henry VIII. to Sir Anthony Denny, who was successively Groom of the Stole, a Privy Councillor, and an Executor of the King, and afterwards one of the guardians of the young king Edward VI. The design, however, seems to point to a later origin, and it is perhaps more likely that they are the pair given by James I. to Sir Edward Denny (afterwards Earl of Norwich), who, as Sheriff of Hertfordshire, received the king during his journey from Scotland.

The large cream -white satin coverlet* from Ireland, partly reproduced in Plate 42, is an important example of late Elizabethan work. It has a deep floral border, and a pattern of floral sprays in the middle. The materials used for the embroidery are silver- gilt and silver thread and silks of various colours. A practice not altogether commendable is exemplified here. Some of the petals of the flowers have been separately worked, and afterwards fixed to the satin by one edge only, so as to stand away from the ground. Such devices are not infrequently found in Elizabethan work. It is doubtful whether they should be employed at all. At any rate, we may condemn without hesitation the exaggeration to which the practice was carried in the succeeding period.

In another portrait at Hampton Court (No. 349), attributed by some to the artist Taddeo Zucchero, the queen wears a fancy- dress, consisting of a long, loose robe, em- broidered all over in colours, with stems of roses, pansies and other flowers, and birds. Her right hand rests on the head of a stag, and in one of the lower corners of the picture are some verses, conjectured to be of the queen's own composition. A portrait in the possession of the Mar- quess of Salisbury at Hatfield House is quainter still. The robe of the queen is embroidered all over with human eyes and ears, symbolical, no doubt, of the vigilance and wisdom of the illustrious wearer. There is in the Victoria and Albert Museum (No. 173, 1869), a loose tunic with long sleeves, dating from the reign of Eliza- beth. It is of cream-white silk, with em- broidery in silver-gilt and silver thread and silks of various colours. The flowers (roses, honeysuckle, lilies, and pansies) are enclosed within scrolls arranged in f...

At this critical period of our national history, the playfulness which characterized so many productions of the time is remark- able. Soldiers who made the name of Eng- land respected abroad, wrote the quaintest poetry at home. The language of the court succumbed to the general tendency, and its euphuistic affectations fitted well with the sen- timents it was employed to express. Design, too, did not escape. The ordered patterns of the earlier time give place to a medley of wandering stems with columbines, pansies, carnations, roses, tulips, honeysuckle, straw- berries, acorns, animals, birds, fishes, butter- flies, and insects. The numerous portraits of Elizabeth in the National Portrait Gallery, at Hampton Court, in noblemen's houses, and elsewhere illustrate the extent to which embroidery was used for costume decoration, and the style of design in vogue. Sometimes she wears a jacket with the favourite " black work " already referred to. A half-length portrait at Hamp- ...

It has a large and elaborate monogram in the middle, apparently of Katharine's name, and a small H above and below.* There was, however, a personage of equally exalted rank with Elizabeth, who is still more famous for her skill at embroidery her rival, Mary Queen of Scots. The number of em- broideries ascribed to this illustrious captive is legion. A glance is sufficient to discredit the attribution in most cases, but, as we shall see later, there is good reason for supposing that some of the needlework still preserved at Hardwick Hall is really by her hand. Garments, gloves, hangings, curtains, valances, covers, and numerous other things of like nature which have survived from the times of Elizabeth, testify to the skill and industry of the embroiderers at that period. The wardrobe of Elizabeth alone is said to have included three thousand dresses, and many of these were richly embroidered.

Such work became very popular during the reign of Elizabeth, and numerous examples are still to be found in country houses. It survived the reign of James I., but appears to have gone out of fashion in the time of his successor. One of the most important existing examples is the tunic belonging to the Viscount Falkland, which will be described later. Queen Elizabeth herself was a skilful needlewoman. There is in the Bodleian Library at Oxford an interesting little volume associated with her early years. It is "The Mirror or Glasse of the Synneful Soul," copied in her own handwriting by the young princess. The volume is dedicated " From Assherige, the last daye of the yeare of our Lord God 1544." The embroidered binding is conjectured to have been also the work of Elizabeth. It is adorned with interlacing bands in plaited gold and silver thread, enclosing a monogram of the letters KP. The book was intended as a present to the queen, Katharine Parr, hence the initials...

A cushion beneath the king's feet and the canopy behind his throne are enriched in a similar manner. Henry's first queen, Catherine of Aragon, and her equally unhappy daughter Mary, both sought solace from their cares in work- ing with the needle. Of Catherine it is related that during her seclusion at Buckden, while waiting for the final decision respecting the annulling of her marriage, she and her gentle- women "occupied themselves working with their own hands something wrought in needle- work, costly and artificially, which she in- tended to the honour of God to bestow upon some churches." * The class of embroidery known as " black work " or " Spanish work " generally in black silk on linen is said to have been introduced into England by this unfortunate Queen. At any rate, it appears to have first found favour in England about her time. The sombre effect was some- times relieved by the use of gold thread for the stems and other details.

A few years later, we read thus of the young Squire, in Chaucer's " Canterbury Tales' " Embrouded was he, as it were a meede Al ful of fresshe floures whyte and reede." In the following century, during the reign of Henry VI., and again in later reigns, the importation of foreign embroideries was for- bidden by statute. The sixteenth century was undoubtedly the great time for embroidered costume. King Henry VIII. loved such magnificence, and the monarch appears on the canvases of Hol- bein resplendent with gold-embroidered robes. An oil painting at Hampton Court * gives an excellent idea of the style and use of embroidery in this reign. The king is seated, with his queen Katharine Parr on his left ; next to the queen stands the Princess Eliza- beth, and on the other side are Prince Edward and Princess Mary.

The reason need not be sought far. They must have suffered to a much greater extent from the wear and tear of everyday use, and the influence of fashion in their case was no doubt of a more destructive nature. In the early Middle Ages, embroidery often served to adorn the ordinary costume of men and women, and was even employed . to emblazon the armorial bearings on the surcoat of the knight. Among the tattered coats of this latter class which have survived, that of Edward the Black Prince is the best known. It is still suspended, with his helmet, shield, and gauntlets over his monument in Canterbury Cathedral. The ground is of faded velvet, originally red and blue, em- broidered in gold with the Royal Arms of England.

HE Reformation practically put an end to ecclesiastical em- broidery in England, and the needlewomen thus lost their best patron. Not only so, but the skilful works of former times were, many of them, alienated or destroyed. A large number were taken abroad, and many were left behind only to be burnt for the sake of the precious metals used in the embroidery, or mutilated to serve other purposes. The lists of Church goods sold at the Reformation, include many vestments which passed in this way into private hands. " Many private men's par- lours/' we are told, "were hung with altar- cloths, their tables and beds covered with copes, instead of carpets and coverlids."* Embroideries thus transformed may still be seen at Hardwick Hall, and in other English mansions.