country and Spain, consisted of patterns
designed so as to be counter hanging. For example, if one section of a
length of such patchwork consisted of a blue satin pattern on a yellow
velvet ground, the adjoining section would, through the interchange of
materials, consist of a yellow velvet pattern on a blue satin ground.
The joints of the patching were overlaid with cord or gimp, stitched
down so as to conceal them entirely and give definition to the forms
constituting the pattern.

Italian needleworkers were very fond of this "transposed applique upon
two fabrics," especially when composed of designs of foliage
conventionally treated, or of arabesques and scrolls. On a piece of
old Milanese damask, figured with violet on violet, appear designs in
applique cut from two shades of yellow satin. These are remarkable for
their powerful relief, suggesting sculpture rather than embroidery,
and have been pronounced worthy of the best masters of their
time--namely, that period so rich in suggestions of ornament--the
seventeenth century.

[Illustration: THE BEDTIME QUILT

With its procession of night-clad children will be
excellent "company" for a tot, to whom a story may be
told of the birds that sleep in the little trees while
the friendly stars keep watch]

Closely related to patchwork, but not as commonly used, is "inlay." In
the making of this style of decoration one material is not laid on to
another, but into it. It is the fitting together of small sections
of any desired fabric in a prearranged design. For convenience, all
the pieces are placed upon a foundation of sufficient firmness, but
which does not appear when the work is finished. Ornamental stitches
conceal the seams where the edges meet, and it is especially adapted
for making heraldic devices. During the Renaissance it was much used
by both Spaniards and Italians, who learned the art from the Moors.

An example of quilting, attributed to the Island of Sicily about the
year 1400, is described as being a ground of buff-coloured linen. The
raised effect is obtained by an interpadding of wool, and the designs
are outlined in brown thread. This entire coverlet is embroidered with
scenes from the life of Tristan, who frequently engaged in battle
against King Langair, the oppressor of his country. This bit of
quilting hangs in the Victoria and Albert Museum in London. Another
hanging of the fourteenth century, belonging to the same collecti