en in the
South Kensington Museum, and can only be described as being so perfect
in workmanship, colour, and style as even at this day to be more like a
magnificent piece of goldsmith's work than that of needlecraft. The
background is apparently one mass of thread of fine gold worked in and
out of a silken mesh, the embroidery appearing just as clear and neat in
manipulation as an illumination. The coloured photographs, which may be
seen in the same room, of the stole and maniple of St. Cuthbert are of
precisely the same work. Judging from these, and the embroidered orphrey
which the authorities bought from the Hockon Collection for L119 1s.
10d. and which is only 4 feet 8 inches long, there is no doubt that this
was, _par excellence_, the finest period. The work can only be described
as being like an old Italian painting on a golden ground. We see
precisely such design and colouring in ancient paintings for altars as
in the old Italian Triptychs. This style was carried out as literally as
possible. Even the defects, if so they may be called, are there, and a
slight topheaviness of the figures serves but to accentuate the
likeness.

There is a legend that during the times of the Danish incursions St.
Benedict travelled backwards and forwards through France and Italy, and
brought with him during his _seven_ journeys artificers in _glass_ and
_stone_, besides costly books and copies of the Scriptures. The chief
end and aim of monastic life, both of monk and nun, in those early days
was to embroider, paint, and illuminate their sacred books, vestments,
and edifices with what was to them a newly-inspired faith.

Dr. Rock, in his "Church of Our Fathers," says that from the twelfth
century to the time of Henry VIII. that only the best materials that
could be found in our country or that of other lands were employed, and
that the art that was used on them was the best that could be learnt or
given. The original fabrics often came from Byzantium or were of
Saracenic origin.

[Illustration: FROM THE "JESSE" COPE (_South Kensington Museum_).

English, early Fourteenth Century.]

The story of Pope Innocent III., who, seeing certain vestments and
orphreys, and being informed that they were English, said, "Surely
England must be a garden of delight!" must be quoted to show how English
work was appreciated in those early days.

The choicest example in this country of this glorious period of English
embroidery is the famous Syo