e still; it can enrich the design,
for, if rightly chosen and employed, letters are very decorative. They
may be seen forming a border to a piece of work. The three letters in
fig. 140 were taken from an XIth century embroidered cope, which has a
fine inscription running round the entire lower margin.[13] The names of
the saints and martyrs standing in rows in the columned arcades,
affected at certain periods, are sometimes inscribed in the mouldings of
the arches above them or along the base; kneeling donors can be seen
naively presenting a little scroll inscribed with prayers, and many
other interesting uses of lettering might be recalled. The names St.
Luke and St. John, shown in fig. 141, are taken from a beautiful
embroidered example of Gothic lettering.

[Illustration: Fig. 141.]

Illuminated manuscripts supply fine examples of initial letters and
writing. A visit to the show-cases in the King's Library at the British
Museum will be of great interest to the student; the illustrations also
to be seen there, the beautifully composed and coloured figure-subjects,
would be equally suitable for carrying out in embroidery; indeed it is
very probable that many of the figure compositions on the old copes and
chasubles were derived from such a source. Fig. 142 gives as an example
of an alphabet one taken from a Benedictionale of late XVth century
date.

[Illustration: Fig. 142.]

A practical purpose to which lettering is often put is the marking of
linen. To learn how to do this used to be a recognised part of a girl's
education, and was one of the objects of the sampler. Marking can be
anything from a simple cross-stitch initial to an elaborately worked
monogram. For simple work the corner to be marked can be tacked upon
_toile ciree_, a material not unlike American cloth. Tambour frames
also are useful for this purpose.

Fig. 143 shows the stitches most used for working simple letters such as
those seen upon the old samplers. The first is cross stitch, which for
marking purposes should be worked so as to be alike on both sides. To do
this requires some forethought whilst the work progresses, and
necessitates an occasional doubling of one of the crossed stitches, in
order to reach the point for commencing the next one and at the same
time preserving a cross on each side.

[Illustration: Fig. 143.]

The second stitch in the diagram shows a square on one side and is a
cross upon the reverse. This makes a good stitc