cross stitches in needlework preceded the tesselated pavements, and formed their first motive, though the stitch now refers itself back to the mosaic, at least in

name.

It is remarkable that in Chaldea and Assyria there still exist some ruined walls, which are adorned with pilasters, panels, and other architectural forms, covered with some sort of encaustic, imitating textile patterns.1 The effect is produced by means of a kind of mosaic work of small nails or wedges of baked clay, with china or glazed coloured heads. These are inlaid into the unbaked clay or earth, of which the walls are constructed, and while binding it together, give the effect of the surface being hung with a material which has a pattern worked all over in cross stitch.

The Chinese, the Chaldeans, and the Assyrians long continued to show in their buildings the tradition of this style of decoration. In Egypt there has been found some unfinished mural painting where the plaster has been previously prepared by dividing it into small rectangular spaces, apparently on the principle of the canvas ground for cross stitches.

The name "mosaic" stitch does not interfere with, or militate against the classical appellation of opus pulvinarium, which means "shrine work" " cushion

stitches." These appear to have been from the first considered as the best suited for adorning cushions, chairs, footstools, and the beds on which men reclined at their feasts, as they are firmly-set stitches which will stand friction.

1

See Semper, ii. p. 213, for woodwork at Panticapæum, Kertsch, in the Crimea, which evidently has descended in style from panelled needlework hangings. Chaldean wall decoration at Khorsabad and Warka, near Nimroud, recalls the effect of "opus pulvinarium" according to Loftus. See Semper, i. p. 327.

Most of the work now done in Syria, Turkey, Greece, and the Principalities, shows different forms of the mosaic stitches; so also does the national Russian work, which is Byzantine. All these designs are conventional and mostly geometrical.

This work, in the East, is generally the same on both sides. We may infer that the spoil anticipated by Sisera's mother, "the garments embroidered on both sides, fit for the necks of those who divide the spoil," was of this kind.

Thus we see that the "opus pulvinarium" has a very respectable ancestry; and though it had somewhat degenerated in the early part of our century, and had languished and almost died out under the name of Berlin wool work, yet it has done good service through the days of medieval art down to the present time, both in England and throughout Europe (pl. 42); and it will probably revive and continue to be generally used.

Though the least available for historical or pictorial work, and not by any means the best for flower-pieces (as the squareness of the stitches refuses to lend itself to flowing lines or gradations of colour, unless the stitches are extremely fine, and the work, in consequence, very laborious), yet it finds its especial fitness in all geometrical designs. It is also particularly well suited to heraldic subjects.

A remarkable example of the use of cross stitches exists in the borders of the Syon cope, in which the coats-of-arms are so executed. This is of the thirteenth century; and besides these cushion stitches, it exhibits all those which are grouped in the style called opus Anglicum or Anglicanum.

Many charming designs for this kind of stitch may be found in the old German pattern-books of the Renaissance

(Spitzen Musterbücher), and also in those Venetian "Corone di Vertuose Donne" lately reprinted by the Venetian publisher Organia. These are worthy of a place in every library of art.

It would seem best to place the chain stitch named "tambour" in this class, as it naturally assimilates with the plaited and cross stitches. It is so called from the drum-shaped frame of the last century in which it was usually worked.

Part 5.

OPUS PLUMARIUM (or plumage work).

The "Opus Plumarium" is one of the most ancient groups, and includes all flat stitches, of which the distinguishing mark is, that they pass each other, overlap, and blend together. "Stem," "twist," "Japanese stitch," and "long and short" or "embroidery stitch," belong to this class, to which I propose to restore its original title of plumage work.

The origin of the name is much disputed, but it is supposed to have pointed to a decoration of plumage work, and we find that feathers have been an element in artistic design from the earliest times. There were patterns in Egyptian painting which certainly had feathers for their motive (fig. 21, p. 208).

Semper, finding that birds'-skins were a recognized article for trade in China, 2205 B.C.,' believes that they were used as onlaid application for architectural decoration; and this is possible, for we still obtain from thence specimens of work in different materials partly onlaid in

1 "Der Stil," i. pp. 196, 248. This is known from the archaic books of imperial commerce.