[Illustration: PLATE XV.--TAPESTRY EMBROIDERY. THE STORY OF HAGAR AND ISHMAEL. ABOUT 1630. The common subject amongst Tapestry workers of Hagar and Ishmael is told somewhat fully here in three scenes. In the first we have Sarah and Isaac at the tent door, in the second Abraham dismissing Hagar, and in the third the angel visiting Ishmael in the desert. The embroidery is one of those where flat and raised work are conjoined. The sky might be woven, so fine are the stitches, the landscape is made up of a variety of open stitches which are used in lace, but in this instance have been worked on the canvas, the faces are modelled in cotton wool and covered with silk, and the animals (lion and stag) are similarly modelled. The piece is the property of Miss Taintor, of Hartford, U.S.A. Size, 14-1/2 × 19-1/2.] It is for these reasons that I am disposed to attach importance to the theory that the fashion originated with the introduction into England of tapestry, that, like tapestry, it quickly sprang into vogue, and like that article as quickly died out, having for some half a century been an agreeable occupation for deft hands to busy themselves about. If we glance for a moment at the history of tapestry in this country, it will be seen how entirely it mirrors that of the embroideries under notice. Tapestry, as an English manufacture, and tapestry of sufficient amount to afford opportunities to any but a few to imitate it, can hardly be said to have existed in this country prior to the seventeenth century. In the king's palaces, and in those of his wealthy ministers and nobles, this form of decoration was undoubtedly in use in remote times, perhaps as early as in those of other nations, but small interest was taken in its production in comparison with that by foreign countries, even those so contiguous as France and the Netherlands. In fact, until the close of the sixteenth century, but one manufactory is known to have existed in England, namely, that of Burcheston, founded towards the end of the reign of Henry VIII. by William Sheldon, styled "The only author and beginner of tapestry, within this realm." It was not until the year 1620 that James I., stimulated by the example of Henri IV., enlisted in his service a number of Flemish workmen and established at Mortlake the factory which quickly attained to a success which was only rivalled by that of the Gobelins. The industry on the banks of the Thames developed rapidly, and secured European recognition, thanks to the extreme interest taken in it by James I., and still more so by Charles I., aided, as he was, by the invaluable co-operation of Rubens and Vandyck. Tapestry made under royal patronage quickly became the fashion and hobby, and although under the Commonwealth its continuance was threatened, it received fresh favours and subventions under Charles II., at the end of whose reign, however, it not only declined, but practically ceased to exist.