l and mythological meaning. The seam, the tie, the knot, the
plait, and the mesh are the earliest symbols of fate uniting
events."[320]

We find but little mention of plain work in mediaeval writings. When
linen was worked for some honourable purpose, such as a gift to a
friend or a royal personage, it was generally embroidered or stitched
in some fancy fashion. Queen Elizabeth presented Edward VI., on his
second birthday, with a smock made by herself. Fine linen was about
this time constantly edged with bone laces.

Mrs. Floyer has written so well, and given us so much practical
information on plain needlework, that I feel it unnecessary to enter
at any length into the principles of plain sewing, as my theme is
needlework as decorative art.

Mrs. Floyer has, as it were, unpicked and unravelled every stitch in
plain work, till she has discovered and laid bare its intention, its
construction, and effect. She, has also given us rules made clear to
the dullest understanding, instructing us how to teach the young and
ignorant. She shows us the quickest and most perfect way of working
different materials for different purposes, and tells us how to select
them. I will, therefore, refer my readers to her most useful and
instructive books,[321] and pass on at once from the craft of plain
needlework, to stitches as the art of embroidery.

The link between plain and decorative work deserves attention. This
link is "white embroidery." I imagine it was not a very ancient form
of the art, and was practised first in mediaeval days; when we begin to
have constant notices of it. The first white laces appear to have
followed close upon the first white embroideries.

There is a tomb of the fourteenth century in the Church of the Ara
Coeli at Rome, where the effigy of a knight lies on his bed, draped
with a sheet and a coverlet, both embroidered. These are evidently of
linen worked in white.[322] I give a drawing of them in illustration
(pl. 39).

From that date we find continually mention of such work by nuns and
ladies.[323] In England it was especially called "nuns' work" (plate
42). There is a great survival of this stitchery in Italy amongst the
peasantry. They have always adorned their smocks and aprons, and their
linen head-coverings, and the borders of sheets for great occasions,
with patterns in "flat stitches," "cut stitches," and "drawn work."
The Greek peasants do the same. In Germany will be found much curious
white e