The Moravian teaching and practice spread the principles of needlework art so widely that it developed in many different directions. The wonderful silk embroidery applied to flowers was, like the arts of drawing and painting, capable of being used in copying all forms of beauty. It was sometimes, not always, successfully applied to landscape representation, and grew at last into a scheme of needlework portraiture, in this form perpetuating family history. It was sometimes used in conjunction with painting, the faces of a family group being done in water color upon cardboard by professional painters who were members of the art guild, who wandered from one social circle to another, supplying the wants of embroideresses ambitious of distinction in their accomplishments. The small painted faces were cut from the cardboard upon which they had been painted and worked around, often with the actual hair of the original of the portrait. I have seen one picture of a Southern beauty, where the golden hair had been wound into tiny curls, and sewn into place, and the lace of the neckwear was so cleverly simulated as to look almost detachable. Of course such pictures were the result of individual experiment on the part of some very able and ambitious needlewoman. [Illustration: ABRAHAM AND ISAAC. Kensington embroidery by Mary Winifred Hoskins of Edenton, N. C., while attending an English finishing school in Baltimore in 1814. _Courtesy of Mrs. R. B. Mitchell, Madison, N. J._] One can imagine that the effect of them in social life was to add greatly to the vogue of the art of needlework. The most numerous of these relics were called "mourning pieces"--bits of memorial embroidery--the subject of the picture being generally a monument surmounted by an urn, overhung with the sweeping branches of a willow, while standing beside the monument is a weeping female figure, the face discreetly hidden in a pocket handkerchief. The inscriptions, "Sacred to the memory," etc., were written or printed upon the satin in India ink, and often the letters of the name were worked with the hair of the subject of the memorial. In these pieces it is rather noticeable that the mourning figure is always draped in white, which leads to the conclusion that it is a purely emblematic figure of an emotion, rather than a real mourner. The shading of the monument was generally done in India ink, so that the actual embroidery was confined to the trunk and long branches of weeping willow, and the dress of the figure, and the ground upon which willow and monument and figure stand. The faces being always hidden by the handkerchief, and a tinted satin serving for the sky, the execution of these memorial pictures was comparatively simple. They certainly bear an undue proportion to those happy family portraits where mother and children, or husband and wife, sit in love and simplicity before the pillared magnificence of the family mansion.