Crowned Motmot embroidery design

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.

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The Annunciation machine embroidery design

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.

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