dlework of the
sixteenth century having designs of fine lace interspersed among the
embroidered applique of silk.

A homely cousin of the gorgeous _opus conservetum_, which has filled
its useful though humble office down to the present day, is the heavy
quilted and padded leather curtain used in many Italian churches in
lieu of a door. Many of the church doors are too massive and
cumbersome to be opened readily by the entering worshippers, so they
are left constantly open. Leather hangings often several inches thick
and quilted with rows of horizontal stitches rather widely spaced, are
hung before the open doorways. Even these curtains are often quite
stiff and unyielding, so that holding back corners for the passage of
both worshipper and tourist forms a favourite occupation for numerous
beggars.

Applique, described as _opus consutum_, or cut work, was made in
Florence and Venice, chiefly for ecclesiastical purposes, during the
height of their glory in the fifteenth century. One such piece of
Florentine cut work is remarkable for its great beauty and the skill
shown in bringing together both weaving and embroidery. "Much of the
architectural accessories is loom wrought, while the extremities of
the evangelists are all done by the needle; but the head, neck, and
long beard are worked by themselves upon very fine linen, and
afterward put together in such a way that the full white beard
overlaps the tunics.... For the sake of expedition, all the figures
were sometimes at once shaped out of woven silk, satin, velvet, linen,
or woollen cloth, and sewed upon the grounding of the article....
Sometimes the cut work done in this way is framed, as it were, with an
edging either in plain or gilt leather, hempen or silken cord, like
the leadings of a stained-glass window." Gold and silver starlike
flowers, sewn on applique embroideries, were common to Venice and also
southern Germany in the fifteenth century.

Belonging to the Italian Renaissance period are some marvellous
panels, once part of a curtain, which are now preserved in the South
Kensington Museum in London. The foundation of these panels is of
beautiful blue damask having applied designs cut from yellow satin.
These hangings are described as being very rich in effect and
unusually handsome, and nothing in the annals of needlework of their
period was more glorious.

A very ingenious patchwork, originating in Italy during the sixteenth
century and peculiar to that