From about that time distinct national styles began to develop in different places. In tracing the progress of the embroiderer's art during the middle ages we must rely mainly upon the many fine examples of ecclesiastical work which have been preserved. The costumes of men and women, as well as curtains and hangings and such articles of domestic use, were often richly adorned with embroidery. These have mostly perished; while the careful preservation and comparatively infrequent use of the vestments and other objects devoted to the service of the church have given us tangible evidence of the attainments of the medieval embroiderer. Much of this work was produced in convents, but old documents show that in monasteries also were to be found men known for their skill in needlework. Other names, both of men and women, are recorded, showing that the craft was by no means exclusively confined to monastic foundations. Gilds of embroiderers existed far back in medieval times. In England the craft has been a favourite employment for many centuries, and persons of all ranks have occupied their spare hours at needlework. Some embroidered fragments, found in 1826-1827 in the tomb of St Cuthbert at Durham, and now kept in the cathedral library, were worked, chiefly in gold thread, by order of Ælfflæda, queen of Edward the Elder, for Fridestan, bishop of Winchester, early in the 10th century. In the later part of the following century the "Bayeux tapestry" was produced--a work of unique importance (Plate I. fig. 7). It is a band of linen, more than 230 ft. long, embroidered in coloured wools with the story of the Norman conquest of England. (See BAYEUX TAPESTRY.)