In the 16th century embroidery was no less used. It submitted, however, to Renaissance influence. Superb work was produced in Spain, Italy, France and England. Beautiful specimens exist in private and public collec tions and in the treasuries of cathedral and abbey churches; and, moreover, we have the paintings of the old Italian, Flemish and Spanish masters to show what gorgeous embroideries people wore. Household articles received much work from the embroiderer and also such small articles as purses, bags, handker chiefs, gloves and covers for books. Sets of hangings for windows and beds were em broidered and °Turkey work° and petit-point chair-seats and cushions were made. Queen Mary and Queen Anne, like _Queen Elizabeth and their Stuart •ancestor, Mary Queen of Scots, were expert embroiderers. They fol lowed in their designs the general taste of the day led by the artists of Louis XIV and in spired by the growing Eastern influence. Still employed to adorn costume, the art of em broidery grew ever more and more delicate; and in the days of Louis XV, when there was a rage for Chinese decoration, the handsome coats of courtiers and men of fashion were often sent to China to be embroidered accord ing to order with European patterns. Floss and spun silks were now made up into various new threads, such as the fluffy velvet chenille, or caterpillar cord. Delicate gold and silver threads were also produced; and with these pretty materials beads and spangles were often mingled to make the fantastic and graceful designs even lovelier by their added btightness and sparkle.
Embroidery was still exquisite in the days of Louis XVI and in the time of Napoleon. Josephine favored delicately embroidered and filmy muslins, which shared their vogue with Cashmere shawls. French, English and Ameri can fingers were soon able to produce lovely flowered and figured muslins and to decorate tulles and nets with °tambour° until machinery was invented to make their beautiful work unnecessary.
Within the last 30 or 40 years there has been a revival of artistic needlework—a move ment in which Walter Crane and William Morris took the lead. Many art schools have been formed in the United States similar to that of the South Kensington Museum in Lon don in which the stitches and styles of ancient and decorative embroidery are taught.
Christie, Mrs. Archibald H., 'Embroidery) (London 1899) ; Day, Louis F., 'Art in Needlework: a Book about Embroid ery' (ib. 1900) • Dreger, and Stick erei' (Vienna 1904) ; Drew, Joan H., 'Em broidery and Design; a Handbook of Pat terns' (London 1915) ; Higgin, L., and Alford, Lady Marian, 'Handbook of Embroidery' (ib. 1880) ; Jourdain, M., 'English Secular Em broidery) (ib. 1910) • Kendrick, A. F., 'English Embroidery' (ib. 1905) ; Migeon, 'Les arts du tissa' (Paris 1909) ; Townsend, W. P. Paulson, 'Embroidery' (London 1907).