See also:

• EMBROIDERY (M.E. embrouderie, from O. Fr. embroder, Mod. Fr. broder)

The largest of the three fragments at Cairo bears, in addition to rows of See also:

• LOTUS

It seems likely that much of this ancient work was of the tapestry class, such as we have found in the early fragments from Thebes. The methods of the ancient See also:

• GREEK
• GREEK, ETRUSCAN AND

That true embroidery, in the See also:

• MODERN

Towards the end of this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

See also:

• COLE, SIR HENRY (1808–1882)
• COLE, THOMAS (1801–1848)
• COLE, TIMOTHY (1852– )
• COLE, VICAT (1833–1893)

Coptic work of the 6th or 7th century A.D. See also:

• CONSTANTINOPLE
• CONSTANTINOPLE, COUNCILS OF

Under the See also:

• NORMAN
• NORMAN, SIR HENRY WYLIE (1826-1904)

See also:

• GILDS, or GUILDS

During that century, and the early part of the next, English work was at its best. The most famous example is the " Syon See also:

• COPE
• COPE (M.E. cape, cope, from Med. Lat. capa, cappa)
• COPE, EDWARD DRINKER (1840-1897)
• COPE, EDWARD MEREDITH (1818-1873)

Many examples, especially of the latter reign, worked with very effective and beautiful floral patterns, have come down to these times. A kind of embroidery known as " black work," done in black silk on linen, was popular during the same reign. A See also:

• TUNIC (0. Eng. tunice, tunical, taken, before the Norman con-quest, directly from Lat. tunica, of which the origin is unknown)

In the 18th century gentlemen's coats and waistcoats and ladies' dresses were extensively embroidered. In France, embroidery, like all the arts practised by that nation, has been characterized by much See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

Under the See also:

• RULE

They are of 15th-century work. A cope belonging to the second half of that century was given to the cathedral of Tournay by See also:

• GUILLAUME
• GUILLAUME, JEAN BAPTISTE CLAUDE EUGENE (1822-1905)

Embroideries were among the articles produced in the East under Dutch influence for exportation to Holland. Much embroidery for ecclesiastical purposes has been executed in See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

It is of 14th-century work. An embroidered orphrey in the Victoria and Albert Museum belongs to the early part of the same century. It represents the Annunciation, the coronation of the Virgin and figures of apostles and saints beneath arches. In the spandrels are the orders of angels with their names in See also:

• ITALIAN

The later embroidery of Sicily follows that of the mainland. A remarkable coverlet, quilted and padded with wool so as to throw the design into relief, is shown to be of Sicilian origin by the inscriptions which it bears Some embroideries from vestments, designed by Pollaiuolo, are still preserved in the Museo dell' See also:

• OPERA (Italian for " work ")

See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

Later German work shows a preference for bold floral patterns, sometimes mingled with See also:

• HERALDRY

Among the See also:

• TURKS

The designs include elaborate landscapes with buildings and figures, dragons, birds, animals, symbolic devices, and especially flowers (Plate III. fig. 1I). Dr Bushell states that the stuff to be embroidered is first stretched upon.a See also:

• FRAME

A preference is shown for floral patterns, but the Mahommedans of Persia had no scruples about introducing the forms of men and animals—the former engaged in hawking or See also:

• HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)