Holy Family embroidery design

HE Norman Conquest does not
seem to have given any appre-
ciable check to the production
of embroideries in England.
Among the documents bearing
on the period, the will of Matilda, queen
of William the Conqueror, is of some interest.
It was made the year of her death (1083),
and is now preserved in the National
Library in Paris. Among her benefactions
is the following

" I give to the Abbey of the Holy Trinity
[at Caen, founded by herself] my tunic,
worked at Winchester by Alderet's wife, and
the mantle embroidered with gold, which is
in my chamber, to make a cope. Of my two
golden girdles, I give that which is orna-
mented with emblems for the purpose of
suspending the lamp before the great altar.
I give my large candelabra, made at Saint Lo,
my crown, my sceptre, my cups in their cases,
another cup made in England, with all my
horse-trappings, and all my vessels except

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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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