should avail
themselves of every means of instruction, in order to fit themselves
for the task they had undertaken. They were expected at once to be
competent to judge all old work, to name its style and date, and even
sometimes its market value. They were to be able to repair and add to
all old work; to know and teach every stitch, ancient and modern; and
produce designs for any period, Gothic, Renaissance, Elizabethan,
James I., or Queen Anne; besides contemporary European work,--all
different, and each requiring separate study.

Some important works have been produced which will illustrate what has
been said:--

1. A suite of window curtains for her Majesty, at
Windsor (style, nineteenth century; sunflowers).

2. Curtains for a drawing-room for the Duchess of
Buccleuch: crimson velvet and gold applique (Louis
Quatorze).

3. Curtain for Louisa, Lady Ashburton: coloured silk
embroidery on white satin (Venetian, sixteenth century).

4. Curtain, also for Louisa, Lady Ashburton: brown
velvet and gold applique (_Italian_).

5. Dado for the Hon. Mrs. Percy Wyndham: linen and
crewels. Peacocks and vines (_Mediaeval_).

6. Furnishings and hangings for state bedroom for
Countess Cowper, Panshanger: crimson satin, embroidered
and coloured silks (_Chinese_).

7. Curtains for music gallery for Mr. Arthur Balfour:
blue silk, applique, velvet, and gold (_Italian_).

The earnest attempt to produce an artistic school of embroidery met
with recognition and help from the highest authorities. Sir F.
Leighton granted permission for appeals to his judgment. Mr. Burne
Jones, Mr. Morris, Mr. Walter Crane, and Mr. Wade gave original
designs.

We cannot guess whether the taste which has sprung up again so
suddenly will last. Perhaps its catholicity may prolong its
popularity, and something absolutely new in style may be evolved,
which shall revive the credit of the "opus Anglicanum." Of one thing
we may be sure--that it is inherent in the nature of Englishwomen to
employ their fingers. And the busy as well as the ignorant need a
guide to the principles of design, as well as the technical details of
the art of embroidery. This should be supplied by the Royal School of
Art Needlework, which by inculcating careful drawing, by reviving old
traditions and criticizing fresh ideas, becomes a guarantee for the
improvement of domestic decorative design.

FOOTNOTES: