s long controlled by the
traditions of Greece, ancient and modern, while fertilized by Persian
and Indian forms and traditional symbolisms.

The next European phase was the Gothic.[65] This was Arab and Moresque
steeped in northern ideas; and finding its congenial soil, it grew
into the most splendid, thoughtful, and finished style, far
transcending anything that it had borrowed from eastern or southern
sources.

All its traditions were carried out in the smaller decorative
arts--mosaics, ivories, and metal works; and, last and not least,
beautiful embroideries, to adorn the altars and the dresses of
monarchs and nobles. (Plate 7.)

When taste was imperfect or declined, then the decorations were all
rude, and the embroideries shared in the general rudeness or poverty;
but as these crafts rose again, adding to themselves grace and beauty
by study and experience, then needlework in England, Germany, France,
Italy, and Spain grew and flourished.[66]

[Illustration: Italian embroidery XV. Century
Kensington Museum]

[Illustration: Italian orphreys XVI. Century
South Kensington Museum]

[Illustration: Orphreys French and Spanish
XVI. Century]

Then came the Reformation, which, in Germany and England especially,
gave a blow to the arts which had reserved their best efforts for the
Church; and the change of style effected by the Renaissance was not
suited to the solemnity of ecclesiastical decoration.

The styles of the fifteenth and sixteenth century embroideries are
better adapted for secular purposes; though their extreme beauty as
architectural ornament in Italy, reconciles one to their want of
religious character, on the principle that it was allowable to
dedicate to the Church all that in its day was brightest and best.
(Plate 8.)

We possess much domestic embroidery of the Renaissance which is
exceedingly beautiful--Italian, Spanish, and German. English
needlework had lost its prestige from the time of the Reformation.[67]

The best efforts of the German schools of embroidery preceded the
Reformation, while those of Belgium never lost their excellence,[68]
and still hold their high position among the workers of golden
orphreys. In Italy they always retained much of the classical element.
Probably the ancient frescoes which served as models were originally
painted by Greek artists and their Roman imitators. This style
flourished for a hundred years. The French adopted and modified it.