Original design, however simple, is the expression of a thought, and passes directly from the mind of the originator to the material upon which it is expressed; but when the design becomes an article of commercial supply it loses in interest, and if the process of production is simple, requiring little thought and skill, the work also fails to call out in us the reverence we willingly accord to skillful and painstaking embroidery. [Illustration: BED HANGING of polychrome cross-stitch appliqued on blue woolen ground. _Courtesy of Brooklyn Museum_] [Illustration: NEEDLEPOINT SCREEN made in fine and coarse point. Single cross-stitch. _Courtesy of the Edgewater Tapestry Looms_] Yet we must acknowledge there are many examples of Berlin woolwork which possess the merits of beautiful color and exact and even workmanship. Some of them are done upon the finest of canvas with silks of exquisite shadings, and where figures are represented the faces are worked with silk in "single stitch," which means one crossing of the canvas instead of two, as in ordinary cross-stitch. The latter was of course better suited for furniture coverings, both in strength and quality of surface, while the method of single stitch succeeded in presenting a smooth and well-shaded surface, sufficiently like a painted one to stand for a picture. Indeed, veritable pictures were produced in this method and were effective and interesting. In these specimens the faces and hands, while worked in the same cross-stitch, were varied by being done on a single crossing of the canvas with one stitch, while the costumes and accessories of the picture were done over the larger square of two threads of the canvas, with the double crossing of the stitch. The faces were, in some cases, still further differentiated by being wrought in silk instead of wool threads. The embroidered chair and sofa covers had quite the effect of tapestries, and were far better than a not uncommon variation of the same needlework, where the broadcloth or velvet background held the embroidery. The designs were copied from patterns printed in color upon cross-ruled paper, and consisted of bunches of flowers of various sorts, or pictures of dogs, and horses, and birds. A white lap dog worked upon a dark background was the favorite design for a footstool, and this small object tapered out the existence of decorative cross-stitch, until it grew to be in use only as a decoration for toilet slippers. The final end of this style of work was long deferred on account of the fact that a pair of cloth slippers, embroidered by the hands of some affectionate girl or doting woman, was a token which was not too unusual to carry inconvenient significance. It might mean much or little, much tenderness or affection, or a work of idleness tinctured with sentiment. [Illustration: _Left_--HAND-WOVEN TAPESTRY of fine and coarse needlepoint. _Courtesy of the Edgewater Tapestry Looms_