once out of the region of naturalism, while
giving it light and splendour.

The designer for tapestry need not be a great genius. Harmony, repose,
grace, and tender colouring are the qualities most valuable to such an
artist. Battle-pieces, and other exciting and awful subjects, are only
bearable in apartments that are used for state occasions, or for
hanging corridors and anterooms. They are painful to live with.

All tapestries are liable to suffer by the double nature of their
materials--their woollen surface and linen threads which are affected
by both damp and heat crinkling the forms and puckering the faces, and
bringing out unexpected expressions and deformities. For this reason
the design should be as flat and as simple in its outline and shading
as is consistent with beauty.

FOOTNOTES:

[317] Birdwood, "Indian Arts," p. 283.

[318] "The word in Sanskrit for a needle is _suchi_,
from _such_, to sew or pierce. This is the same word as
the Latin _suo_, to sew; so probably the common word
used by the Aryans in their primeval habitations was
_su_, and they clearly knew how to sew at that remote
period. Eve sewed fig-leaves together. Adam sewed also.
The Hebrew word is _tafar_, and clearly meant _sewing_,
not _pinning_ together with thorns. Sewing is the first
recorded art of our forefathers."--Letter from Mr.
Robert Cust.

[319] Semper, "Der Stil," Textile Kunst, i. pp. 77-90.

[320] Semper, Textile Kunst, "Der Stil," i. p. 77. The
German word "naht," here literally translated, would be,
uniting, weaving, bringing together.

[321] "Handbook of Plain Needlework," by Mrs. Floyer.
See also her "Plain Hints for Examiners," &c.

[322] Dr. Rock, "Introduction," pp. cix, cx, calls it
"thread embroidery," and names some specimens in the
South Kensington Museum. He says it was sometimes done
in darning stitches for ecclesiastical purposes, for
instance, for coverings for the pyx. It is mentioned in
the Exeter inventory of the fourteenth century. There is
notice of white knotted thread-work belonging to St.
Paul's, London, in 1295, by Dugdale (p. 316).

[323] St. Catherine of Sienna's winding-sheet is
described as being cut work (punto tagliato) on linen.
This sounds like embroidery of the type now sold as
"Madeira work," the pattern being cut out and the edges
overcast.

[324] Semp