As Sir James Linton, an eminent authority upon the dress of the period under review, has pointed out, these embroideries bear upon their face an impress of truth, for they usually, in the same picture, illustrate fashions extending over a considerable period of time. This, instead of being an inaccuracy, is unimpeachable evidence as to their correctness, for the fact is usually overlooked that in those times a man (and a woman also) almost invariably wore, throughout life, the costume of his early manhood, and that in such a piece as that illustrated in Plate XIV. it is quite accurate to represent the old men in the costume of the reign of James I., and the young women in that of Charles I. [Illustration: PLATE XVIII.--TAPESTRY EMBROIDERY. THE STORY OF QUEEN ESTHER. ABOUT 1630. This remarkably well-preserved piece of Embroidery represents various incidents in the life of Queen Esther. In the centre the King stretches forth his sceptre to the Queen; in the various corners are portrayed the banquet, the hanging of Haman, and Mordecai and the King. It will be noticed that the King and Queen are likenesses of Charles I. and Henrietta Maria, and the costume is that in vogue towards the end of his reign, when the big boots worn by the men came in for much ridicule, the tops of the King's being "very large and turned down, and the feet two inches too long." The needlework is of the transition period, when a better effect was sought for by appliquéing the faces in satin, outlining the features in silk, and making the hair of the same material. The collars and bows are also added, and the Queen's crown is of pearls, the dais on which the King sits being also sown with them. Size, 16-1/2 × 20-1/2.] The repetition, amounting almost to monotony, in the subjects of these tapestry pieces has been urged against them, but the force of this depreciation is considerably lessened if this question of costume and accessories is taken into account, for a comparison even of the few pieces which are illustrated here will show how much variety is afforded in matters of dress, even if that of a single individual, such as Charles I., is selected for study, although in the case of a royal personage, such as the king, it would only be natural if there was a sameness of costume. He may probably never have been seen by the embroiderer, who would consequently dress him from some picture or engraving. But even here the differences are many and interesting.[13] [Illustration: FIG. 57.--TAPESTRY EMBROIDERY. THE FINDING OF MOSES. ABOUT 1640. _Lady Middleton._]