Zinnias embroidery design

The first is a cope,* now pre-
served at Stonyhurst College. The ground,
of velvet and cloth of gold, is recorded to
have been woven for King Henry VII. at
Florence. The pattern differs from almost
all other known examples of the period in
having been expressly designed and woven
to suit the semicircular form of the cope.
It consists of two large rose-stems with Tudor
roses, encircling portcullises ensigned by
crowns. The orphrey and hood were most
probably embroidered in England. The
orphrey has figures of saints under canopies,
and the subject on the hood is the Annun-
ciation.

The chasuble is in the possession of Lord
Arundell of Wardour, and is preserved in the
chapel at Wardour Castle. It is of velvet,
with a straight orphrey on the front, and a
cross-shaped orphrey on the back, embroidered
with scenes from the gospel history. The
main ground is covered with Tudor roses,
portcullises, fleurs-de-lys, and pomegranates,
worked in high relief.

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Eagle and Roses tattoo embroidery

Eagle and Roses tattoo embroidery design

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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