Orchid Laelio-Cattleya embroidery design

An embroidered velvet panel in the Vic-
toria and Albert Museum, belonging to the
early years of the sixteenth century, differs in
character from any other embroideries of the
period yet described. The ground is of plain
crimson velvet, with a figure of St. Catherine
of Alexandria in regal costume, elaborately
worked in silks and gold and silver thread.
She stands on a patch of earth, holding a
book, and resting her left hand on the pommel
of a sword. Behind her is the prostrate form
of the Emperor Maximin, under whom she
suffered martyrdom.

One more example is mentioned here on
account of the unusual way in which it has
been preserved. In the British Museum
there is an English manuscript book of the
fourteenth century, known as Queen Mary's
Psalter. Each side of the crimson velvet
binding is embroidered with a large floral
device of the form commonly found on
vestments of the early Tudor period. It is
evident that these scraps at one time formed
part of a cope or chasuble.

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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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