Needlework as art . mmrM X ?9 X X X X I. 1066. 2. 1092. 3. 1100. 4. 1171. 5. 1171. 6. 11S9. 7. 11S9. 8. 1361. 9, 42-- 13. 1426. 14. 1440. 15. 1445- I0- 46- 7- 1445-IS. 1477- 19- 153°- 2°- I272- English Patterns, chiefly from Stnitts Royal and Ecclesiastical Antiquities of England. rape 369. PI. 75-. I. Panel of a Screenin Hornby fifteenthcentury. 2. Dresspattern from paintedglass. St. MichaelsChurch, century. A portion of thematerial of theTowneley century. Page 369. English Embroidery. 369 Of the twelfth century (1170) we have th
Needlework as art . mmrM X ?9 X X X X I. 1066. 2. 1092. 3. 1100. 4. 1171. 5. 1171. 6. 11S9. 7. 11S9. 8. 1361. 9, 42-- 13. 1426. 14. 1440. 15. 1445- I0- 46- 7- 1445-IS. 1477- 19- 153°- 2°- I272- English Patterns, chiefly from Stnitts Royal and Ecclesiastical Antiquities of England. rape 369. PI. 75-. I. Panel of a Screenin Hornby fifteenthcentury. 2. Dresspattern from paintedglass. St. MichaelsChurch, century. A portion of thematerial of theTowneley century. Page 369. English Embroidery. 369 Of the twelfth century (1170) we have the robes andmitres of Thomas a. Becket at Sens; and another mitreof the period, white and gold, is in the museum atMunich, with his martyrdom embroidered on one side,and that of St. Stephen on the other. The gold needle-work is so perfect that it resembles weaving. It isrecorded that a splendid dress was embroidered inLondon for Elinor of Aquitaine, which cost ^8o, equalto ^1400 of the value of Rock ( Church of our Fathers, t. ii. p. 279) trulysays that it is shown by plentiful records and writtendocuments, from the days of St. Osmond to the time ofHenry VIII., that the materials employed in Englishecclesiastical embroideries were the best that could befound in our own country or in far-off lands, an
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