It can readily be understood that the prevalence of such a fashion, coinciding with a period when every lady in the land was an adept with her needle, would stimulate many to imitate on a smaller scale the famed productions of the loom, for nothing would better accord with the tapestry-covered walls, than cushions for the oaken chairs, or pictures or mirrors for panelled walls, worked in the same materials. Hence it is probable that all the earlier embroideries were in imitation of tapestry, and worked only in stitches which resembled those of the loom, and that the pieces where we find varieties of stitches introduced, as well as figures, dresses, and animals in relief, are subsequent variations and fancied improvements on the original idea.[10] This is borne out by an examination of dated pieces, none of those bearing these additions being contemporaneous with the introduction of the tapestry industry, whilst only those having a plain surface are found amongst the earliest specimens.[11] [Illustration: Plate XVI.--Tapestry Embroidery. Charles I. and his Queen. About 1630. None of the Embroideries reproduced in this volume approach this in their imitation of Tapestry, it being a facsimile on a small scale in needlework of a large panel. Its resemblance is increased by the border, which adds considerably to its interest and value. Both Sovereigns are crowned, the King wearing a cloak, a vest and breeches which would appear to be all in one (the latter garnished at the knees with many points), boots with huge tops, and big spurs. On either side of the royal pair stand a chamberlain and a lady of honour. The house in the background points to the Tapestry having been designed by a Netherlander.] Embroidery probably reached the zenith of its popularity in the late sixteenth century. It was then of so much importance that Queen Elizabeth granted a charter of incorporation to an Embroiderers' Company who had a hall in Gutter Lane. In order to encourage the pursuit foreign embroideries were in this and the following reigns considered to be contraband, but this protection, instead of improving, practically rang the death knell of the Art.