Carnations, harebells, canterbury bells, roses, marigolds, grapes, are included in the composition; block shading, chain stitch, stem stitch are all employed in the working, and a very interesting example of the Opus Plumarian is given in the tail feathers of the tiny peacock. The dissection of detail in early English crewel embroidery is a very fascinating occupation and well repays the expenditure of time. So little has been written about this particular phase of the embroiderer's art, that it is by old records and examples one becomes best informed and in a great measure enabled to trace the growth of the style that culminated in the massive designs that derived their name from the epoch in which they were in favour. Tudor crewel work, was chiefly done in broad outline of a more or less fanciful nature as regards the stitching, witness the sections of that Tudor piece which is shewn in our first illustration. Forms were large but gradually became reduced as they were worked more solidly. The beautiful foxglove pattern in "Bess of Hardwicke's" curtains at Hardwicke, shews a very slight feeling of transition but it may safely be assumed that one of the influences bearing on the execution of the crewel work, was the portentous character of much of the contemporary canvas hand-worked tapestry such as the famous set of panels unearthed in Hatton Gardens. The architectural basis is a link between the Ecclesiastical and Secular embroideries of the past centuries, and anyone interested in the evolution of design would be struck with the similitude of the large leaves and flowers in these panels to those of the crewel designs of the same date; it is also noteworthy that the symbolic significance in the details of the panels is ecclesiastic, whereas in the crewel work it is always based on the legend of the Tree of Life, or secularly emblematic. Colourings were often in both styles, blues, greens, bright yellows and browns predominated, carnation reds figuring in some examples, used for the flower of that name and for the pomegranate, which, with its seeds visible, signifies future life and immortality. The carnation and the caterpillar were both Stuart emblems, and occur in nearly all kinds of work executed during their reigns; the rose, of course, has its national as well as its religious significance, likewise the oak (after the restoration). The potato flower seen in both Jacobean and Portuguese embroideries is an example of the habit of recording the latest novelty, the strawberry was also popular on this account, and is frequently introduced in those hillocky foregrounds, which, to me, appear one of the most interesting evidences of combined influences. Once again, another Oriental idea was evidently assimilated, for in numberless Chinese patterns one sees the main motive springing out of a base of waves formed exactly like the hillocks which became such a distinctive feature in these large branching designs.