The Ninth Wave embroidery

The canopies show a Gothic tendency in
some instances, but more frequently they are
of a Renaissance character.

We have had occasion to notice early in
our history (p. 7) the custom among kings
and persons of high rank of presenting their
robes to be altered for ecclesiastical purposes.
Even as late as the sixteenth century, the
practice had not died out. In the will of Sir
Ralph Verney the younger, proved in 1525,
occurs the following clause : * " I will that
the gownes of dame Anne Verney, late my
wife, doo make vestiments to be given to
Churches, according to the discrecion of myne
Executours."

One of the earliest examples of embroidery
belonging to this class is in the church at
Cirencester in Gloucestershire. It appears
to have been originally a cope, but it has
been much mutilated, and adapted for use
as a pulpit-hanging. The ground is of blue
velvet, with embroidery of angels and floral
devices. One of the angels holds a shield of
arms, with the inscription, " Orate pro anima
domini Rodulphi Parsons."

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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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