lay of stitches being so arranged as to give the whole effect of
light and shadow, so as to delineate the forms without changing the
shades of the material used. I give on the opposite page some Japanese
birds, which will explain what I mean. The stitches are so
intelligently placed as absolutely to give the forms of the birds
imitated. They represent plumage, and a more artistic representation
cannot be imagined. (Pl. 43.)

The same stitch which we find prevailing in China and Japan as plumage
work, is employed in embroidering flowers. Here satin, stem, and
plumage stitches are blended together, and excellent decorative
effects are produced; but the texture of flowers is not to be
imitated, as is that of the plumage of birds. "Satin" stitch is a more
restricted form of plumage stitch; and "stem" is another variety of
these flat stitches, very useful in its place. I therefore have
assigned the name of "plumage stitch" to that hitherto called
"embroidery" or "long and short" stitches; and I give the term
"plumage work" to include all the "flat" stitches.

Practically, it is allowed that these flat stitches, especially the
plumage stitch, give most scope for freedom in needlework, as they are
laid on at once, and according to the inspiration of the worker, and
may cover the outline and efface it. The stitches are not counted, and
have more of the nature of touch than any others, as their length,
thickness, and closeness may be varied at will. The artist's design
thus admits of interpretation according to the taste and feeling of
the needlewoman.

[Illustration: Pl. 43.
Japanese Opus Plumarium.]

_Part 6._

OPUS CONSUTUM (_or cut work_).

This is "Patchwork," or "Applique" ("inlaid" and "onlaid"). Vasari
calls it "Di commesso," and says that Botticelli invented it for the
use of Church banners, as being much more effective than any other
style of work, or even than painting, as the outlines remained firm
(non si stinguano), and were not affected by the weather (as in
painted cloths) and were visible on both sides of the banner.
Botticelli drew with his own hand the baldachino of Or San Michele,
and the embroideries on a frieze carried in procession by the monks of
Santa Maria Novella; he died 1515. Perhaps he may have revived the art
of application in his own day.

There are, however, much earlier examples of patchwork, of which the
first and most remarkable is the Egyptian funeral tent of Queen
Isi-em-K