pendent of the material, the
thought alone should govern it; whereas in decoration the material
must be one of the suggestors of the thought, its use must govern the
design."

Perhaps it will appear to my readers that here I repeat, in different
forms, what has been said in a previous chapter on the history of
style. I think that it is better to do so, than to omit to show where
style and design must accompany each other. Style, without any
reference to design, would be but a barren subject; and design,
without reference to style, would become lawless, and soon be lost in
the mazes of bad taste and mannerism. Both subjects are of so large
and important a nature that I do not attempt to do more than point out
how, in their history and their influence, they belong to the craft of
embroidery.

Such influences belong to all art; and though I am anxious to confine
myself to only one section of it, I find it difficult to resist the
temptation to generalize and stray from the prescribed path, when
large and important views are opened on every side, as I travel on
from point to point.

In sketching the history of design, as well as I may in so short a
space, it is only considered in the light in which it illustrates our
craft.

I repeat that the design should be informed by the motive which
suggested it, and by the need which has called it forth; and it must
be moulded to the space it has to fill, and the position it will
occupy. The design must be modified into different outward forms,
according to whether it is to be fitted to the edge of a building
against the sky; to a high panelled wall; to be applied as a frieze,
or round the capital of a pillar; to the embroidered cover of an
altar, or the silken hangings of a bed, or the framed flat spaces on
the walls of a saloon. In fact, "intention," "place," and "shape" are
necessary motives and limits to a flat design.

Leaving aside all architectural ornamentation, and adhering only to my
own subject, embroidery, I will limit my observations to the three
purposes here suggested. Firstly, as the central effect of the holiest
part of a church; secondly, in the domestic and comfortable room, to
be adorned and made cheerful; and thirdly, as decking the refined and
gay saloon or banqueting-hall.

To the church we should devote the most splendid and effective
contrasts, to blaze unframed against dark empty backgrounds, or amidst
stone and marble decorations; something set apart