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 collection, shows a spirited naval battle between galleys. A striking peculiarity of this hanging is that floral designs are scattered in great profusion among the boats of the combatants. A patchwork made by the application of bits of leather to velvet was extensively used in some European countries during the Middle Ages. As leather did not fray and needed no sewing over at the edge, but only sewing down, stitching well within the edge gave the effect of a double outline. This combination of leather and velvet was introduced from Morocco. A wonderful tent of this leather patchwork, belonging to the French king, Francois I, was taken by the Spanish at the battle of Pavia (1525), and is still preserved in the armoury at Madrid.