But the workers of the flower-pictures of a hundred years later, and into the first quarter of the nineteenth century, for the most part chose flowers alone for their subjects. Sometimes a drawing was made, but many of them look as if they were worked direct from the flowers. It would appear that the worker would begin in the spring, with a Hyacinth; then would come Anemones, Tulips, Auriculas, Lilac, Roses and Lilies; a jumble of seasons but a concord of pretty things, and all done with a simplicity, a sweetness, a directness of intention and absence of strain or affectation, that give them a singular charm. One such picture that I have before me must have been begun in May, and finished, perhaps, in August and September; for the first flower in the upper left-hand corner, where the work would naturally begin, is a thyrse of Lilac, and the last, low down on the right, is a Nasturtium; while the intermediate flowers, following each other in what would be approximately their natural sequence, come in between. These are Pansy, Rose, Sweet Pea, Love-in-a-Mist, Lily, Larkspur, Convolvulus, Carnation, Jasmine and Passion-flower; and one Daisy-shaped flower, whose identity, considering the numbers of possible Composites and the somewhat vague manner of the rendering, cannot be determined, though all the other flowers are capitally done and could not be mistaken. The disk of the Daisy-flower is worked in a mass of those little knots that sit closely together, the secret of whose making is known to every good needlewoman. They are a capital direct imitation of the group of anthers in the centre of a flower. The glory of the picture, and what was evidently the delight of the worker, is the Love-in-a-Mist, which stands above the others in the middle top of the picture. The tender blue of the flower, shading to white, the sharply-jagged edges of the petals, the green upstanding forms in the centre, and, above all, the fennel-like divisions of the involucre and the leaves, all lend themselves to satisfactory portrayal with the needle; while the prominent position given to this charming midsummer flower shows how the worker rejoiced in its beauty and took pleasure in painting its form and colour in tender stitchery upon the white silken ground of her picture. The Jasmine flowers, too, are done with evident enjoyment as well as the neat, clear-cut leaves. The Rose is a Moss-Rose, shown in three stages of bud and half-blown bloom, when this charming Rose is at its best; the mossiness of the calyx being cleverly suggested by short straw-coloured stitches that catch the light upon a ground of dull green. The working material is floss silk, whose silvery, shining surface, dark in some lights, makes a distinct effect of light and shade in the case of the white flowers, even though they are worked upon a ground that is also white.