entory of his "Closet of
Rarities." It is possible that the many pictures which represent Charles
I. were worked by loyalist ladies, _after his execution_ and _during the
Commonwealth_. In many of these pictures his own hair is said to have
been used, thereby becoming relics of him who was known as "the Martyred
King." On a very finely worked portrait of Charles I., at South
Kensington Museum, King Charles's hair is worked amongst the silken
threads.

[Illustration: KING CHARLES I., WORKED IN FINE SILK EMBROIDERY.

(_S.K.M. Collection._)]

Throughout this time, no matter what the subjects, most of which were
notably striking scenes from Scripture history, such as "Esther and King
Ahasuerus," "Solomon and the Queen of Sheba," "The Judgment of Solomon"
(a very favourite subject), and other scenes of Old Testament history,
all the kings were Charles I. and all the Queens Henrietta Maria. One
and all wore early Stuart costumes. Even Pharaoh's daughter wore the
handsome dress of the day, with Point lace falling collar and real
pearls round her neck. It is a fashion to jeer at this anachronism; but
may it not perhaps be that we take these pictures too literally, and
deny the workers their feelings of passionate devotion to the lost
cause. Doubtless they worked their loyalty to their beloved monarch into
these pretty and pleasing fancies, just as it is said that the fashion
of "finger-bowls" was introduced later so that the loyal gentlemen of
the day might drink to the King "_over the water_." I see no cause to
deny intelligence to these dear dead women, who were capable of
exquisite needlecraft and fine design, and whose devotion was shown in
many instances by giving up jewels, houses, and lands for the King!

The fashion of "stump" or stamp work appears to have been derived from
Italy. Italian needlework of this time abounds with it, and, it must be
admitted, of a superior design, and style to that which was known here
as "stump" work. Until the eighteenth century English work was more or
less archaic in every branch. Personally, I see no more absurdity in the
queer doll-like figures than in contemporary wood-carving. It was a
period of tentative effort, and was, of course, beneath criticism.
English Art has ever been an effort until its one bright burst of genius
in the eighteenth century, while the continental nations appear to have
breathed artistic perception with life itself.

The prototype of our stump work pictur