L'Amour A L'Epine embroidery design

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).

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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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