A sixteenth century example of embroidered badges, a cap of fine linen beautifully worked with fleurs-de-lis and roses as the principal motives, is in the Victoria and Albert Museum, and is reproduced in Fig. 224. [Illustration: FIG. 225.--Altar Frontal in Embroidered Linen, Victoria and Albert Museum.] Another example of embroidered linen (Fig. 225) in the Victoria and Albert Museum, is an altar frontal which is decorated with heraldic motives in appliqué work. [Illustration: FIG. 226.--Embroidered Badge. Part of the Insignia of Charles the Bold, Duke of Burgundy. Fifteenth Century.] Some interesting and instructive fragments of embroidery exist in the Museum at Berne, part of the spoil taken from the tent of Charles the Bold, Duke of Burgundy, after the disastrous Battle of Grandson in 1476. Fig. 226 is the badge, the flint and steel, of the Great Burgundian Order of the Golden Fleece, whose insignia are conspicuous in the decoration of the next century in association with the Emperors Maximilian and Charles V. In this instance the steel striker serves as a space for the quartered arms of Burgundy, Limbourg and Flanders. Fig. 227 shows the same arms on what was perhaps part of the bardings, the tournament or other ceremonial drapery of a charger. [Illustration: FIG. 227.--Heraldic Embroidery. Part of the Insignia of Charles the Bold, Duke of Burgundy. Fifteenth Century.] Both show admirably how heraldic embroidery should be done, namely, in flat applique strongly designed and simply executed. The sable lions of Flanders are conclusive proofs of how heraldic vigour and decorative distribution may be attained in embroidery. Towards the end of the sixteenth century embroidery began to be padded into relief, a practice which afterwards developed to a remarkable extent in spite of its inartistic unsuitability to the material and work. It was naturally least offensive in its beginnings, and the shield of Eric XIV, King of Sweden (Fig. 228), is a somewhat exceptionally good example of the heraldry of its time (about 1560). The arms are well-designed, the lions of the fourth quarter, Denmark, being particularly spirited, while the execution is very excellent of its kind. [Illustration: FIG. 228.--Arms of Eric XIV, King of Sweden. Berne Museum. About 1560.] An instance of domestic embroidery occurs in Fig. 229, where the arms of James I are used as a centre to a design that is, in the main, floral. [Illustration: FIG. 229.--Arms of James I. Victoria and Albert Museum. Early Seventeenth Century.] Work of the highest heraldic importance must always have been that of the banners, as the very concentration of battle heraldry, but of these, alas! there are no very early examples. The banners of the Knights of the Garter in St. George’s Chapel were doubtless all embroidered formerly, as that of the Sovereign still is, but they have for long been done in an inferior way, even as the painted stall plates superseded their enamelled predecessors.