ens mixed with more
vivid greens and some browns, but rarely any other colouring."

A very curious custom of these days was the use of "mourning beds,"
with black hangings, coverlets, and even sheets. As these funereal
articles of furniture were quite expensive, it was a friendly custom
to lend these mourning beds to families in time of affliction. In 1644
Mrs. Eure wrote to Sir Ralph Verney: "Sweet Nephew, I am now overrun
with miserys and troubles, but the greatest misfortune that could
happen to me was the death of the gallantest man (her husband) that I
ever knew." Whereupon Sir Ralph, full of sympathy, "offers her the
loan of the great black bed and hangings from Claydon."

Interesting indeed are descriptions of wonderful old quilts that are
now guarded with zealous care in English museums. One, an original and
striking design, is closely quilted all over in small diamonds. Upon
it is embroidered an orange tree in full leaf and loaded with fruit.
This tree, together with the fancy pot in which it is planted, covers
practically the entire quilt. In the lower corners a gentleman is
shown picking oranges and a lady in a patient attitude is waiting to
receive them, the figures of both being scarcely taller than the
flower pot. The whole design is made up of gayly coloured silks
evidently worked in after the quilting was done. Mention is also made
of an elaborate quilt said to be the work of Queen Anne, which is
preserved at Madresfield Court. Sarah, Duchess of Marlborough, in
giving an order for house furnishings for her "wild, unmerciful house"
about 1720, asks for "a vast number of feather beds, some filled with
swansdown, and a vast number of quilts."

Mrs. Delany, who lived from 1700 to 1788, and left a large
correspondence relating to needlework, which was later edited by Lady
Llanover, was a most prolific worker with her needle as well as a
profuse letter writer. She was often quoted as an authority and given
credit for much originality in her designs. A quilt that she made is
described as follows: "Of white linen worked in flowers, the size of
nature, delineated with the finest coloured silks in running stitch,
which is made use of in the same way as by a pen etching on paper; the
outline was drawn with pencil. Each flower is different, and evidently
done at the moment from the original." Another quilt of Mrs. Delany's
was made upon a foundation of nankeen. This was unique in that no
colours were used besides