The Exhibition at The Fine Art Society's included, besides samplers, a gallery containing embroideries, the like of which had not previously been seen together, and as to the history of which text-books were altogether silent. Exhibited collectively, they not only formed a most interesting and unusual whole, but they were clearly the result of a widespread fashion. Specimens were forthcoming in considerable numbers, and were regarded by their owners with a proper appreciation of their archæological value, but with a diffidence as to their history and origin which was not surprising. Under these circumstances it seemed that the occasion of their being brought together should not be lost, and that some illustration of representative specimens, some setting down of any deductions which might be arrived at from their examination and comparison, and some collation of the information which was supplied by their owners should be taken in hand. It was, however, at the outset a matter of no little trouble to find a title which, while it identified and included them, yet excluded those that it was felt necessary to omit. Had a shortened phrase, such as "Embroidered Pictures," been selected, readers would reasonably have expected to find a survey of that large class of embroideries, now somewhat in vogue, which imitate the coloured engravings of the late eighteenth century, and, perhaps, even of the Berlin wool-work travesties of Landseer and his contemporaries. "Stuart Embroidered Pictures," or "Seventeenth-Century Embroidered Pictures," would have better served the purpose were it not that some of the examples precede, and some follow, the period covered by either. Besides, some pieces are not pictures, whilst others, though pictorial in subject, are covers to caskets, etc. The majority, however, have this in common, that they represent a phase of embroidery which, curiously enough, originated contemporaneously with the introduction of the manufacture of tapestry into this country, became popular concurrently with it, and passed out of favour when the production of that textile ceased in England for lack of support. It was this relationship, which I shall shortly proceed to establish, that decided the title which is found at the heading of this part. In endeavouring to trace the origin of these embroideries I have been, curiously enough, confronted with exactly the same difficulties that I encountered in dealing with samplers, namely:-- 1. The industry has no apparent infancy, all the pieces having the same matured appearance. 2. No specimen earlier than the reign of Elizabeth has come under my notice. This does not arise from the decay inseparable from the life of a fairly perishable article, for amongst the earliest specimens may be counted the best preserved; besides, similar work, as, for instance, the embroidery of book covers which was subjected to harder usage, extends for centuries further back.