quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
the end of the	40
metropolitan museum of art	28
victoria and albert museum	27
is one of the	27
the middle of the	26
the victoria and albert	26
of the seventeenth century	25
the work of the	23
of the eighteenth century	23
one of the most	23
in the victoria and	22
on the other hand	22
the time of the	22
in the reign of	18
at the same time	18
at the end of	18
of the middle ages	17
the use of the	17
museum of fine arts	16
seems to have been	16
for the most part	16
the name of the	16
it is interesting to	15
is one of a	15
the history of the	14
in the time of	14
the metropolitan museum of	14
from the life of	13
under the direction of	13
boston museum of fine	13
bring the thread through	13
of the fifteenth century	13
in the collection of	12
the top of the	12
of one of the	12
is carried out in	12
in the way of	12
of gold and silver	12
the centre of the	12
scenes from the life	12
the close of the	12
the beginning of the	12
the direction of the	12
eighth of an inch	12
acts of the apostles	12
is shown in fig	11
in the british museum	11
as well as in	11
of the sixteenth century	11
it is said that	11
and bring it through	11
in the middle of	11
in the sixteenth century	11
the first half of	11
the life of christ	11
the heading of the	10
with gold and silver	10
be seen in the	10
at the time of	10
the effect of the	10
this is one of	10
a part of the	10
it will be seen	10
is said to have	10
of the reign of	10
in the case of	10
be made use of	10
of the history of	10
first half of the	10
royal collection of madrid	10
the life of the	10
in the life of	10
can be seen in	10
the needle and thread	10
the history of tapestry	10
as shown in the	9
lady and the unicorn	9
the skill of the	9
in the middle ages	9
in the use of	9
in the metropolitan museum	9
the drawing of the	9
by the name of	9
of the house of	9
the art of tapestry	9
the threads of the	9
is an example of	9
it is easy to	9
in the manner of	9
on the other side	9
the walls of the	9
after the death of	9
the eye of the	9
to which we have	9
as well as the	9
can be carried out	9
of art in new	8
the lady and the	8
it is well to	8
is interesting to note	8
through to the back	8
the thread through at	8
the commencement of the	8
at the top and	8
on either side of	8
of the xvth century	8
it through on the	8
it is not possible	8
and pomona first half	8
bring it through on	8
piece is one of	8
first half of sixteenth	8
the character of the	8
thread through at the	8
in the seventeenth century	8
in the art of	8
for the purpose of	8
art in new york	8
the adoration of the	8
we are told that	8
to carry out the	8
under the influence of	8
or it may be	8
vertumnus and pomona first	8
the point of the	8
of the xvith century	8
half of sixteenth century	8
the needle on the	8
the field of the	8
museum of art in	8
in the same way	8
the point where the	8
pomona first half of	8
with which it was	7
of the cloth of	7
the early part of	7
the time when the	7
be carried out in	7
trace two parallel lines	7
the way in which	7
that is to say	7
a portion of a	7
the seven deadly sins	7
said to have been	7
the back of the	7
the cloth of gold	7
the influence of the	7
sixteenth of an inch	7
by means of a	7
in such a way	7
in the eighteenth century	7
took the place of	7
it is worked in	7
the arms of the	7
as that of the	7
collection of martin a	7
the place of the	7
the introduction of the	7
the piece is one	7
to carry it out	7
at a time when	7
insert the needle on	7
an example of a	7
the edge of the	7
the acts of the	7
formerly in the collection	7
field of the cloth	7
at the time when	7
from that time on	7
of the present day	7
can be used as	7
the beauty of the	7
the decoration of the	7
the surface of the	7
under the degree of	7
as a matter of	7
the hand of the	7
one of a set	7
as well as for	7
the production of the	7
vulcan and venus series	7
the rest of the	7
in the history of	7
draw the thread through	7
the seventeenth and eighteenth	7
lent by duveen brothers	7
this kind of work	7
the judgment of paris	7
the greater part of	7
from side to side	7
may be seen in	7
the art of needlework	7
in the fifteenth century	7
the subject of the	7
exhibited in the victoria	7
the spirit of the	7
use of the needle	6
the next process is	6
end of the eighteenth	6
it will be noticed	6
of arthur astor carey	6
of some of the	6
in the form of	6
long and short stitch	6
the set of the	6
such a way as	6
the wife of the	6
of cloth of gold	6
a way as to	6
point of the needle	6
the service of the	6
collection of philip hiss	6
a good deal of	6
in order to make	6
as well as of	6
on the wrong side	6
be used as a	6
the whole of the	6
the same kind of	6
the property of the	6
collection of arthur astor	6
supposed to have been	6
at the present day	6
at this time the	6
mortlake collection of philip	6
of the fourteenth century	6
the dress of the	6
and it is not	6
an important part in	6
of silk and wool	6
of the king of	6
of the human figure	6
it is one of	6
in the centre of	6
susannah and the elders	6
to have been a	6
in the xiiith century	6
by the help of	6
worked with the needle	6
it is probable that	6
one of the earliest	6
the reign of henry	6
gold and silver threads	6
after the manner of	6
for the sake of	6
of a set of	6
in and out of	6
can be obtained in	6
the first part of	6
the degree of a	6
the fact that the	6
needle and thread through	6
seventeenth and eighteenth centuries	6
history of the king	6
care must be taken	6
of the traced line	6
and at the same	6
as in the case	6
on to the material	6
tapestry boston museum of	6
shown in the diagram	6
for the first time	6
roman de la rose	6
must have been the	6
plates facing pages and	5
it is quite possible	5
the roman de la	5
eye of the needle	5
of the rigaut family	5
then insert the needle	5
is quite easy to	5
for the decoration of	5
the art of embroidery	5
was one of the	5
late xvii century sidenote	5
would seem to be	5
the sacraments arras tapestry	5
one of a series	5
adoration of the magi	5
the threads that are	5
it is quite easy	5
the history of alexander	5
it must not be	5
of the seventeenth and	5
carried out in a	5
is seen in the	5
the work is done	5
is that in which	5
of the work of	5
threads to the inch	5
embroideries in the manner	5
to be met with	5
the piece is a	5
it is known that	5
in silk and gold	5
it is difficult to	5
with the exception of	5
at the top of	5
that i have seen	5
the sack of jerusalem	5
gold and silver thread	5
in the xviith century	5
by reason of the	5
towards the end of	5
of the xviiith century	5
the top and base	5
it is not a	5
art of tapestry weaving	5
the time of louis	5
the samplers of the	5
the work of a	5
to the left of	5
the wars of troy	5
it can be used	5
arms of france and	5
the story of the	5
the king of france	5
be carried out with	5
tapisseries de la manufacture	5
the quality of the	5
of a series of	5
la manufacture des gobelins	5
tapisseries de jean van	5
next process is to	5
brussels city mark and	5
two pairs of lovers	5
a series illustrating the	5
with silver or golde	5
at the point where	5
of the last row	5
embroidery reproduced in fig	5
well as in the	5
the same way as	5
de la manufacture des	5
a piece of work	5
the remainder of the	5
at the commencement of	5
the outline of the	5
is shown at fig	5
life of the king	5
lent by jacques seligmann	5
from left to right	5
order to make the	5
kind of work is	5
carried out in this	5
as we have seen	5
des tapisseries de jean	5
de jean van room	5
in the first half	5
in the decoration of	5
as the history of	5
was a time when	5
be found in the	5
in imitation of tapestry	5
francisco museum of art	5
pages of collotype reproductions	5
there is a great	5
is attached to the	5
as to form a	5
greater part of the	5
seem to have been	5
as shown in fig	5
an example of this	5
this method of work	5
by jacques seligmann company	5
in the first place	5
one or other of	5
fingers of the fair	5
under the heading of	5
it is carried out	5
a great deal of	5
in the fine art	5
is easy to see	5
and some of the	5
part of the work	5
of the time of	5
is not to be	5
the reign of james	5
the colour of the	5
parts of the work	5
end of the fifteenth	5
des tapisseries de la	5
the value of the	5
it is to be	5
of antony and cleopatra	5
city mark and the	5
first part of the	5
of the art of	5
with an overcast stitch	5
the fact that it	5
the manufacture of tapestry	5
a suit of hangings	5
the people of the	5
it is as though	5
and bring the thread	5
were it not that	5
the manner of the	5
the brussels city mark	5
and from that time	5
the reign of louis	5
bring the needle through	5
in the costume of	5
at the beginning of	5
a time when the	5
is shown in the	5
at the close of	5
gold and precious stones	5
that it is not	5
cut or open work	5
to the number of	5
san francisco museum of	5
the tapestry of the	5
of the use of	5
are to be seen	5
de la planche and	5
out in this way	5
appear to have been	5
inscriptions des tapisseries de	5
but it is not	5
is by no means	5
a matter of course	5
in the midst of	5
end of the seventeenth	5
threads of the warp	5
to the end of	5
it is recorded that	5
les inscriptions des tapisseries	5
the edges of the	5
gallery of the arazzi	4
i have never seen	4
in the background the	4
thread through on the	4
from a piece of	4
the side of the	4
one half of the	4
work is carried out	4
in much the same	4
the charm of the	4
the stitch is worked	4
in the cathedral of	4
upon the right side	4
children gardening after charles	4
a white linen ground	4
and the announcement to	4
and a piece of	4
but this is not	4
of the colour of	4
the names of the	4
we are apt to	4
in which it was	4
the method of work	4
the pattern upon the	4
is illustrated in fig	4
wrought with the needle	4
as in process in	4
the arms of france	4
three pieces from a	4
the fashion of the	4
of the work is	4
through the centre of	4
in a few years	4
in the presence of	4
time of louis xiv	4
of the same kind	4
parallel lines on the	4
process in the diagram	4
the body of the	4
is not possible to	4
with shepherds and the	4
la planche and comans	4
of the nineteenth century	4
middle xv century sidenote	4
and in the year	4
announcement to the shepherds	4
the gobelins factory in	4
the form of a	4
the looms of the	4
the xiiith and xivth	4
in addition to the	4
the making of a	4
of rebecca brussels tapestry	4
the tree of life	4
la manufacture de la	4
the working of the	4
cut and embroidered work	4
may well have been	4
the appearance of a	4
might be used for	4
cloth of gold and	4
the death of the	4
it is true that	4
that shown in fig	4
in process in the	4
of the life and	4
the emperor charles v	4
which the name of	4
the execution of the	4
life of louis xiv	4
part of her life	4
of the spanish armada	4
the announcement to the	4
a great number of	4
shepherds and the shield	4
it is necessary to	4
into the heading of	4
of the same series	4
from time to time	4
and the shield of	4
small pieces of work	4
the unicorn french tapestry	4
sixteenth century cartoon by	4
in which they were	4
the technique of weaving	4
with the needle may	4
formerly in the spitzer	4
was woven in the	4
to see that the	4
the age of the	4
enlargement of portion of	4
of the dark ages	4
the early fifteenth century	4
the use of purls	4
the case of the	4
century cartoon by bacchiacca	4
under the title of	4
from the months of	4
history of tapestry in	4
shield of the rigaut	4
in exactly the same	4
the mistress of a	4
in honour of the	4
in order to be	4
that in which the	4
as the work of	4
formal garden with fountains	4
of the life of	4
the attention of the	4
face worked in split	4
lent by dikran k	4
the material to the	4
in the nineteenth century	4
the finding of moses	4
in order that the	4
they must have been	4
a few years ago	4
in spite of the	4
to be able to	4
of the tapestry in	4
of fruits and flowers	4
can be done in	4
and there is a	4
on an enlarged scale	4
as well as to	4
appears to have been	4
the decorative value of	4
from the history of	4
the tapestry in the	4
painter to the king	4
the aid of the	4
in the hands of	4
to the history of	4
of light and shade	4
with his own hands	4
time of louis xv	4
attached to the material	4
collection of george blumenthal	4
the thread through on	4
but it was not	4
made use of to	4
the other side of	4
the months of lucas	4
the life of louis	4
during the early part	4
through over the held	4
one of the greatest	4
probably due to the	4
and insert the needle	4
lines on the material	4
the mind of the	4
by means of which	4
in the service of	4
be fixed in the	4
half of the seventeenth	4
of the duke of	4
de la tapisserie de	4
triumph of the gods	4
through on the upper	4
the face of the	4
hunts of louis xv	4
the hands of the	4
with the art of	4
and it is a	4
the progress of the	4
enlarged from embroidery reproduced	4
the petals of the	4
middle of sixteenth century	4
to the time when	4
the product of the	4
a group of peasants	4
it is in the	4
example of this is	4
one of which was	4
upper part of the	4
of the early renaissance	4
that the work is	4
by the aid of	4
the same as that	4
laid upon the material	4
in the garden of	4
upon a white linen	4
millefleurs with shepherds and	4
be the work of	4
a set of five	4
to say that the	4
from the earliest ages	4
both background and pattern	4
with which they were	4
la tapisserie de beauvais	4
the left of the	4
spirit of the time	4
it is possible that	4
heading of the last	4
one of the two	4
from one of the	4
stretched in the frame	4
in some of the	4
the needle may be	4
piece of the same	4
pearls and precious stones	4
that the piece was	4
on the part of	4
and that of the	4
of the human race	4
xivth century english cope	4
the story of rebecca	4
on the banks of	4
the effect of this	4
the diagram shows the	4
the costume of the	4
in these days of	4
is known to have	4
line and bring it	4
of the church of	4
history of the virgin	4
the ravages of time	4
of hagar and ishmael	4
method of filling a	4
of france and navarre	4
is my name and	4
it was a time	4
a small portion of	4
in the cathedral at	4
verdure with dancing nymphs	4
at a little distance	4
the web of the	4
be inferred from the	4
is used for the	4
one of the simplest	4
on the occasion of	4
on the traced line	4
the lives of the	4
xiiith and xivth centuries	4
pieces from a series	4
either side of a	4
will be noticed that	4
the soul of the	4
will be seen that	4
lines upon the material	4
it was in the	4
the master of the	4
is taken from a	4
one of the few	4
and out of the	4
the dukes of burgundy	4
the upper part of	4
an important part of	4
the manner of tapestry	4
of the value of	4
and draw the thread	4
when the work is	4
artist of the cartoons	4
a xivth century english	4
the expulsion of vulcan	4
hundred and fifty years	4
a necessary part of	4
the creation of the	4
come down to us	4
the kingdom of heaven	4
it is impossible to	4
preserved in the british	4
reign of james i	4
packing down of the	4
from embroidery reproduced in	4
the first of these	4
done in a frame	4
from a series illustrating	4
it is well known	4
the head of the	4
as much as possible	4
of the left hand	4
manufacture de la tapisserie	4
must have been a	4
to be found in	4
collection of alfred w	4
closely related to the	4
be used for the	4
alike on both sides	4
in the same direction	4
in this way the	4
lid of a casket	4
the material of the	4
of the time was	4
and the beginning of	4
in the spitzer collection	4
from a xivth century	4
parallel lines upon the	4
to be carried out	4
a representation of the	4
the fingers of the	4
the vertumnus and pomona	4
coptic tapestry boston museum	4
sampler of cut and	4
of sixteenth century cartoon	4
and a half inches	4
the artist of the	4
met with in the	4
of cut and embroidered	4
two scenes from the	4
a series of the	4
outline of the pattern	4
two parallel lines on	4
it may not be	4
the method of working	4
this is a very	4
can be seen on	4
cut out of the	4
the surface of a	4
skill of the needlewoman	4
middle of the xvth	4
important part in the	4
at the feet of	4
presentation in the temple	4
may be inferred from	4
the labours of the	4
story of rebecca brussels	4
gardening after charles lebrun	4
one of the first	4
back of the material	4
and a number of	4
a study of the	4
through at the top	4
the doors of the	4
a formal garden with	4
the shield of the	4
and the unicorn french	4
the art of painting	4
for the production of	4
much the same way	4
the work to be	4
and it is said	4
from right to left	4
at the fine art	4
end of fifteenth century	4
of jean de rome	4
as we have remarked	4
but with the needle	4
with a kind of	4
of the seven deadly	4
age i ended this	3
by william baumgarten company	3
any other of the	3
the reign of the	3
are found to be	3
by the same man	3
is taken from the	3
mary hall is my	3
to make use of	3
on the side of	3
the fame of the	3
an examination of the	3
the history of hercules	3
other parts of the	3
is intended to be	3
in the background a	3
the apartments of the	3
the limit of the	3
than that of the	3
poisoning of a spy	3
in vogue in the	3
the romances of the	3
the texture of the	3
it is safe to	3
to say the least	3
the tale of troy	3
roger van der weyden	3
the robe of the	3
whilst the work is	3
outside of the official	3
is said to be	3
the stitches must be	3
the price of a	3
of pictures in imitation	3
silk and gold thread	3
was at this time	3
of age i ended	3
of gold or silver	3
carried out by the	3
with the passing of	3
it was about the	3
royal palaces of henry	3
on a small scale	3
is a matter of	3
that they were not	3
directly on to the	3
federic de vinciolo venitien	3
examples of the work	3
on account of the	3
threads of the canvas	3
are said to have	3
mysteries of the life	3
to dwell on the	3
that the art of	3
scipio to sue for	3
she wrought with her	3
be brought to the	3
manner of tapestry pictures	3
indicate that it was	3
the sampler which bears	3
at point a on	3
in the course of	3
samplers as records of	3
the work can be	3
out in a frame	3
years of age i	3
edge of the material	3
collection of madrid illustration	3
the king and his	3
regular intervals over the	3
set up on the	3
with gold and precious	3
and also in the	3
a certain amount of	3
change of colour in	3
as it is not	3
it was worked by	3
of madrid vertumnus and	3
and which must have	3
from a sampler dated	3
as to make it	3
various methods of refilling	3
instead of at the	3
it is made in	3
as mirrors of fashion	3
in front of the	3
are supposed to be	3
of the most important	3
those who like to	3
it were better to	3
one way or another	3
the conquest of louis	3
on the opposite side	3
in the following pages	3
in the construction of	3
royal collection at madrid	3
and it will be	3
to be seen in	3
the years of his	3
the merton abbey works	3
of vulcan from olympus	3
how it is made	3
the middle ages were	3
is carried out by	3
the coming of the	3
arranged so as to	3
the praise of the	3
of the ground fabric	3
made use of in	3
that some of the	3
richly embroidered with the	3
might be described as	3
the majority of the	3
fixed in place by	3
the mark of the	3
when worked with a	3
the delight of the	3
an inch lower down	3
or sheep shall bear	3
the weavers of the	3
set of antony and	3
in the building of	3
the number of the	3
in the right hand	3
for this method of	3
royal school of art	3
as illustrated in the	3
christ in the temple	3
gerard van den strecken	3
of the sampler is	3
last of the samplers	3
the warp must be	3
ladies of the court	3
a portion of the	3
the following description of	3
with that of the	3
carried out with a	3
probably the work of	3
to the left and	3
chicago institute of art	3
my name and when	3
the size of the	3
work of the eighteenth	3
of the close of	3
the completed work is	3
by the introduction of	3
in the royal palaces	3
of the eternal father	3
of the most interesting	3
decorative value of the	3
be couched on to	3
stitch is shown in	3
the set of tapestries	3
the interest of the	3
from the roman de	3
interesting to note that	3
people of the east	3
the literature of the	3
take hold of the	3
of the gold thread	3
under the patronage of	3
of alexander the great	3
in process of making	3
as far back as	3
so great was the	3
the subjects of the	3
it is made of	3
half of seventeenth century	3
two threads in height	3
be knotted on to	3
life and death of	3
the character of tapestry	3
in addition to this	3
upon the surface of	3
in the chapter upon	3
there is nothing new	3
of men and women	3
this is not the	3
out of the warp	3
reign of louis xiv	3
he was a man	3
times of romance and	3
of these little pictures	3
tapestry copied from the	3
from the top of	3
the upper roller is	3
who like to feel	3
early part of the	3
and the use of	3
with silk and gold	3
it is evident that	3
the sampler reproduced in	3
in the mind of	3
to the material is	3
by gerard van den	3
the perfection of the	3
drawings by the author	3
in an inventory of	3
manuscript and inscription letters	3
none other than the	3
points about the thread	3
the order of the	3
the top and bottom	3
the poisoning of a	3
in those days was	3
secure the end of	3
the work is carried	3
so as to form	3
up at the back	3
is a great deal	3
at the court of	3
is made use of	3
have come down to	3
the history of cleopatra	3
is cut out of	3
and thus it came	3
chosen to suit the	3
and so great was	3
far as i have	3
can be worked in	3
the title of the	3
of an inch below	3
in the upper part	3
was the first that	3
work can be carried	3
exactly the same way	3
portion of sampler by	3
used in conjunction with	3
this method of working	3
mention of sampler by	3
is quite possible to	3
of romance and chivalry	3
on the collotype plates	3
couched on to the	3
close of the reign	3
point where the last	3
the productions of the	3
of the round table	3
to the fair sex	3
the name of a	3
is typical of the	3
there is in the	3
the director of the	3
the design and the	3
the fashion in the	3
the royal palaces of	3
known to have been	3
the part to be	3
with the help of	3
in the morgan collection	3
of the apostles by	3
adoration of the eternal	3
patterns are built up	3
by the author and	3
of this kind of	3
in the light of	3
of alphabets and numerals	3
way in which the	3
of the field of	3
of an inch further	3
the needle through at	3
with the history of	3
hall is my name	3
a frame of this	3
it is a woven	3
in this rare art	3
of the same length	3
hand or in a	3
fables of la fontaine	3
which the art of	3
it was in that	3
in the vienna collection	3
are to be found	3
of filling a space	3
de la corona de	3
work of the same	3
the descent of the	3
of an inch apart	3
was a man of	3
proceed we to the	3
in close parallel lines	3
thirteen years of age	3
be given to the	3
david instructing solomon in	3
it must be a	3
the needs of the	3
it is recorded of	3
the throne of the	3
the strength of the	3
it was hers to	3
the charm of this	3
beginning of the sixteenth	3
the held down thread	3
of the point of	3
in the majority of	3
from the fact that	3
protection and preservation of	3
can be used for	3
this is for the	3
in the direction of	3
and the effect of	3
of an inch lower	3
by the hand of	3
exhibition of european tapestries	3
left and hold it	3
they cross each other	3
scenes from the roman	3
early xvi century sidenote	3
in the work of	3
at the head of	3
by an examination of	3
the cathedral of st	3
is a part of	3
as it is sometimes	3
for the prevention of	3
all of the same	3
knots and knot stitches	3
is usually composed of	3
the fine needle and	3
will be seen by	3
a stoutly twisted thread	3
which we have been	3
and such things as	3
but if the work	3
the tents of the	3
in the possession of	3
carried out in the	3
middle of the century	3
century and the first	3
the earliest specimen of	3
of colour in the	3
to learn how to	3
the garden of eden	3
the french and flemish	3
the length of the	3
not been able to	3
the other hand the	3
two or three threads	3
there was not a	3
worked in the same	3
an inch further along	3
semely wer to se	3
the fourteenth and fifteenth	3
life of the time	3
the left and hold	3
gold and silver of	3
over the surface of	3
embroidery and tapestry weaving	3
is supposed to have	3
on a red ground	3
towards the close of	3
the san francisco museum	3
each side of the	3
the design has been	3
in the upper right	3
the initials of the	3
approaches scipio to sue	3
the ground is of	3
several times round the	3
it is sometimes called	3
by the hands of	3
thread through over the	3
the life of a	3
madrid vertumnus and pomona	3
so far as to	3
to the size of	3
it would be difficult	3
an enlarged scale in	3
the support of the	3
over its own end	3
it is woven in	3
the work is to	3
the thread through to	3
in the thirteenth century	3
in the fourteenth century	3
to the tune of	3
to the last stitch	3
interesting to note the	3
could not have been	3
the presentation in the	3
of louis xv gobelins	3
on a blue ground	3
first quarter of the	3
lent by wildenstein company	3
of an inch from	3
the part of the	3
the cartoons of raphael	3
in the present day	3
needle and nyse thread	3
of the king and	3
have been able to	3
and so it came	3
that of the gobelins	3
through on the lower	3
into wool and silk	3
must be taken to	3
of arts and crafts	3
the triumph of david	3
the stitch used in	3
the hair of the	3
cartoons of raphael were	3
between the thumb and	3
tapestry is one of	3
years of his life	3
to the fact that	3
the width of the	3
the patronage of the	3
of the early fifteenth	3
of louis xiv to	3
les arts de tissu	3
the needle in the	3
it must be remembered	3
new york vulcan and	3
middle of the eighteenth	3
the point of interest	3
the late mr a	3
and death of jesus	3
was the fashion to	3
to the requirements of	3
in one of the	3
the help of a	3
of origin of samplers	3
the th year of	3
a detail of foliage	3
the high loom has	3
in the set of	3
integral part of the	3
who lived in the	3
shown in this plate	3
the building of the	3
hand end of the	3
as a specimen of	3
or in a frame	3
and other stones of	3
gobelins under louis xiv	3
samplers of the period	3
the technique of the	3
expulsion of vulcan from	3
the house in the	3
material and bring the	3
the edict of nantes	3
the influence of rubens	3
or whether it was	3
in some other way	3
palaces of henry viii	3
the ladies of the	3
is to be found	3
time of the crusades	3
the crown of thorns	3
in a kind of	3
of the children of	3
it seems to have	3
in the beginning of	3
this must be done	3
be done in the	3
the most beautiful of	3
came to the front	3
apartments of the vatican	3
the king and queen	3
that illustrated in plate	3
both sides of the	3
another example in the	3
to the front again	3
is always the same	3
in the upper left	3
the series of the	3
it was woven by	3
fourteenth and fifteenth centuries	3
of the right kind	3
counting the threads of	3
or other of the	3
under the guidance of	3
the most costly and	3
york vulcan and venus	3
the design of the	3
the same piece of	3
are full of the	3
middle of the sixteenth	3
by ann maria wiggins	3
repeated again and again	3
as is seen in	3
at a high price	3
the house of lords	3
and a mantle of	3
and other royal seats	3
similar to that of	3
of the spirit of	3
as well as with	3
lent by william baumgarten	3
to which it is	3
the early seventeenth century	3
the work must be	3
i ended this in	3
sampler reproduced in fig	3
some of the finest	3
the pages of the	3
for the purposes of	3
the requirements of the	3
very similar to the	3
studio of jean de	3
retrospective loan exhibition of	3
other side of the	3
was thirteen years of	3
a copy of the	3
on the upper line	3
the thread in the	3
to its being of	3
with regard to the	3
goes by the name	3
the destruction of troy	3
of the last century	3
as illustrated in fig	3
the manner of their	3
in the th year	3
draw the needle and	3
place the left thumb	3
needle through at the	3
this as it may	3
from a xviith century	3
middle xvi century sidenote	3
the virgin and child	3
thus it came that	3
of the first row	3
as a source of	3
the cartoons of the	3
it was not until	3
and in the third	3
worked with a stout	3
in the first piece	3
border to sampler by	3
i was thirteen years	3
in form of a	3
as will be seen	3
in our own country	3
portion of a large	3
the use of a	3
in the lower roller	3
the border of the	3
for the use of	3
work is that in	3
through on the left	3
to sue for peace	3
play an important part	3
can be made use	3
of the material and	3
we may fairly infer	3
the reign of edward	3
to the back of	3
are the work of	3
instead of being a	3
in the preparation of	3
in most of the	3
of the first edition	3
filling can be seen	3
time of louis xvi	3
it not for the	3
the end that points	3
the banks of the	3
in gold and silver	3
needle on the upper	3
fine needle and nyse	3
squire and his lady	3
we have seen in	3
of the high renaissance	3
work is to be	3
the hand or in	3
there is a special	3
early part of her	3
the number of tones	3
pictures in imitation of	3
the queen of france	3
toward the end of	3
wife of the conqueror	3
creation of the world	3
in the low countries	3
by counting the threads	3
the xviiith century the	3
the series of seven	3
it is here that	3
of the tapestry factory	3
the lines of stitching	3
two parallel lines upon	3
the rest of europe	3
collection of madrid vertumnus	3
was probably woven in	3
but it is a	3
the background is a	3
a series of small	3
praise of the needle	3
when i was thirteen	3
seigneur federic de vinciolo	3
the establishment of the	3
used for the purpose	3
name and when i	3
in the xviiith century	3
to say that he	3
there are in all	3
working of the stitch	3
in the gallery of	3
of the picture is	3
the figure in the	3
of this is to	3
i have met with	3
be seen in fig	3
sampler illustrated in fig	3
and on each side	3
the apostles by raphael	3
taken from a xviith	3
the effect of a	3
it would seem that	3
products of the loom	3
to the point where	3
the figures in the	3
a good example of	3
on each side is	3
to be worn by	3
the base of the	3
the products of the	3
in the houses of	3
labours of the needle	3
on the opposite line	3
the designs of the	3
so late as the	3
factory was under the	3
is exhibited in the	3
they were obliged to	3
be this as it	3
thread of the warp	3
and when i was	3
of a piece of	3
over the held down	3
come under the heading	3
one end of the	3
during the xviith century	3
within the walls of	3
of our first parents	3
to and fro in	3
work of this kind	3
which bears her name	3
painting with the needle	3
with cloth of gold	3
four scenes from the	3
in a number of	3
the case of a	3
out of the way	3
of fruit and flowers	3
working a raised bar	3
the shape of the	3
of any kind is	3
for some of the	3
was used as a	3
through the streets of	3
to the point of	3
xvith and xviith century	3
were it not for	3
to the seventeenth century	3
to the queen of	3
it is not easy	3
the border is a	3
of the gobelins in	3
this part of the	3
the age of elizabeth	3
with the arms of	3
it was the fashion	3
which the work is	3
conquest of louis the	3
piece was probably woven	3
work can be done	3
it was when the	3
that it was not	3
enlarged scale in fig	3
the province of the	3
that at this time	3
of england and wales	3
the use of these	3
worked by counting the	3
of the fact that	3
as a part of	3
in the hand or	3
beginning xvi century sidenote	3
of the date of	3
map of england and	3
can be obtained by	3
nothing neere at hand	3
of louis the great	3
the ends of the	3
the exception of the	3
death of jesus christ	3
a sprig of flower	3
the fifteenth century and	3
the temper of the	3
to the mind of	3
the lines of the	3
in a series of	3
the house of este	3
the set called the	3
thread through to the	3
end of the thread	3
late xviii century sidenote	3
it came about that	3
the material and bring	3
fifteenth century and the	3
instructing solomon in the	3
of the lady and	3
of the tapestry weaver	3
the mansions of the	3
at regular intervals over	3
is a piece of	3
is well known that	3
from end to end	3
in the days of	3
of the thirteenth century	3
art of the renaissance	3
loves of the gods	3
methods of refilling the	3
end of the traced	3
to complete the stitch	3
from the centre outwards	3
building of the temple	3
to the time of	3
the spirit of his	3
place of origin of	3
each other in the	3
is due to the	3
so much was it	3
of the robe of	3
the borders of the	3
important part of the	3
the highest degree of	3
hannibal approaches scipio to	3
in the drawing of	3
border of fruits and	3
carrying out of the	3
an integral part of	3
tapices de la corona	3
solomon in the building	3
of the most accomplished	3
to and fro over	3
of the perfection of	3
ancient method of couching	3
top of the loom	3
the passing of venus	3
with the aid of	3
it appears that the	3
selvage the brussels city	3
is that of the	3
to hang in folds	3
los tapices de la	3
that the sampler was	3
stitching up at the	3
of the time and	3
embroidery with gold and	3
the art of the	3
at the price of	3
this is shown in	3
the life and death	3
as a form of	3
for it is a	3
either side of the	3
heading of the first	3
so long as hemp	3
use is made of	3
brussels in the sixteenth	3
method of work is	3
the first quarter of	3
the world be quite	3
sampler which bears her	3
the dignity of the	3
a woven representation of	3
is the work of	3
that semely wer to	3
of this may be	3
on the border of	3
the date of the	3
on the material and	3
embroidery frame treated as	2
the thread through over	2
material to be worked	2
by members of the	2
is not a good	2
nimble fingers of the	2
the meeting of christ	2
century millefleur with arms	2
bones in warwick yet	2
of most of the	2
the first piece of	2
the priest and cardenio	2
of the fair and	2
to the manufacture of	2
of silver and gold	2
pope adrian the fourth	2
useful in many ways	2
over the laid threads	2
related to the history	2
name of the worker	2
tapestry and the like	2
kind of darning stitch	2
in the background is	2
from top of christening	2
complete mastery of the	2
xv metropolitan museum of	2
needle enters the material	2
and other pieces of	2
the upper line one	2
which we in our	2
detail of foliage taken	2
in the royal collection	2
has always had a	2
in graves in peru	2
author and noel rooke	2
groundwork tracing for embroidered	2
and some of these	2
whilst i record his	2
what is now called	2
of ladies of rank	2
would appear to be	2
age and sex of	2
working with the needle	2
costume of her day	2
the high standard of	2
pattern carried out in	2
of gold and velvet	2
in days of yore	2
the land of shurebah	2
this ridiculous fashion was	2
was admitted to the	2
and the tree of	2
of a large surface	2
usual method of couching	2
singuliers et nouveaux pourtraicts	2
the idea of their	2
mention is made of	2
flemish cartoon and weaving	2
a note on their	2
decorative point of view	2
depended not merely the	2
were repeated many times	2
by the king and	2
has the advantage of	2
and of all that	2
there must have been	2
in the establishment of	2
man fasts because he	2
the nuns of little	2
thornes together pind and	2
and the fingers of	2
for the faith that	2
of paris in the	2
and of his wyfe	2
of all sorts were	2
the king of sweden	2
representing the four quarters	2
of material that is	2
the abolition of the	2
it will be noted	2
si tant ne fait	2
and on the other	2
finger of the left	2
in paris workshops by	2
too valuable to be	2
might be seen the	2
of the fourteenth and	2
of the correct size	2
some cunning workes doth	2
david and bathsheba german	2
in this case the	2
the period of the	2
for the embroidery of	2
work upon the ground	2
it seems almost impossible	2
of the third century	2
is the property of	2
tent and cross stitches	2
by change of colour	2
with the story of	2
possono servire ancora per	2
of old work is	2
eighteenth century metropolitan museum	2
work of the two	2
of the same period	2
such things as fringes	2
is possible that the	2
fro in close parallel	2
during the process to	2
is a matter to	2
chapter x methods of	2
and in the morning	2
thumb over the stitch	2
shown in the enlargement	2
be supposed to have	2
kind of cut work	2
those in some of	2
to the care of	2
sometimes pasted on to	2
and in one of	2
that they are woven	2
we are wont to	2
this side of the	2
hugo van der goes	2
it has been said	2
can be little doubt	2
queen of scots was	2
in the swedish royal	2
of refilling the open	2
masterpieces of the art	2
we have alluded to	2
a common feature of	2
into a kind of	2
order to keep it	2
then round under the	2
the creation flemish tapestry	2
are set in motion	2
there would be a	2
which was enwrought with	2
almost every one of	2
employed in old work	2
of the provost pierre	2
to keep it in	2
principal public libraries in	2
the means by which	2
the life and adventures	2
the world of tapestry	2
the art of producing	2
delle nobili et virtuose	2
can be made of	2
the luxury of kings	2
would have to be	2
corona delle nobili et	2
and bathsheba german tapestry	2
the house of tapestries	2
and at the foot	2
had ambitions of his	2
quarter of the xvith	2
favourite occupation of the	2
we must not omit	2
of casket in tapestry	2
the day of judgment	2
the original sin flemish	2
it is an unusually	2
the heart of the	2
the arrival of the	2
more likely to be	2
costly and delicate needle	2
with which the work	2
be of interest to	2
to the corporation of	2
thought it necessary to	2
these are the tapestries	2
their linnen wollen fleeces	2
it several times round	2
the highest rank and	2
four quarters of the	2
of sixteenth century french	2
important factor in the	2
the gold thread is	2
hermes and the shepherd	2
by the use of	2
can be further decorated	2
stand and frame combined	2
gaudy colours representing adam	2
good example of the	2
is now to be	2
which it is worked	2
of the lines of	2
would have been of	2
paris workshops by charles	2
represented in my collection	2
for the next two	2
prevention and cure of	2
albert museum there is	2
it is worthy of	2
of leaves and flowers	2
web of the fabric	2
of sewing is exceeding	2
of part of the	2
of them were certainly	2
chapter vii canvas work	2
sign of the zodiac	2
head and side of	2
school of art needlework	2
the first two links	2
of louis xvi collection	2
is probably the work	2
were still predominantly flemish	2
he well knew that	2
to work and to	2
are apt to consider	2
highest degree of perfection	2
xiii the garniture of	2
work lies in the	2
arras in the fifteenth	2
xiv visiting the gobelins	2
map of europe in	2
by buoyant good humour	2
and jewels of gold	2
whether it be in	2
not one in twenty	2
needlework of the times	2
needlework of royal ladies	2
pieces of ancient weaving	2
throw the thread round	2
representation of the crucifixion	2
de pierres fines et	2
a favourite object for	2
the corporation of maidstone	2
not infrequently met with	2
late xvith century embroidered	2
of the van eycks	2
of the united service	2
the use of this	2
of the stitch and	2
which were produced from	2
chinese tapestry chien lung	2
that could be applied	2
the royal family of	2
said that at this	2
ladies of her court	2
tricks of the trade	2
in the hand in	2
for a time the	2
with a stiletto and	2
ecce homo brussels tapestry	2
if such feminine foundations	2
example of a tapestry	2
for a private chapel	2
the reverse is the	2
much to say that	2
a series of samplers	2
is quickly executed and	2
can be used upon	2
up by the needle	2
is dedicated to the	2
more than probable that	2
in close buttonhole stitches	2
work is going on	2
as little as possible	2
or rare italian cut	2
would vie with nature	2
meant them to be	2
of which was a	2
if it had not	2
divers colours of needlework	2
the hands of his	2
straight through the centre	2
was a favorite painter	2
of the school of	2
of louis xv in	2
to the age of	2
there was goodly wrought	2
depicted in the tapestry	2
can be very much	2
they are usually dated	2
infer that they were	2
of christ and john	2
to be taken in	2
the right side of	2
with trees and flowers	2
des fruits qui ne	2
the scenes of the	2
pour les gens sans	2
it is supposed that	2
on the walls of	2
to the nature of	2
casket in tapestry embroidery	2
the same direction as	2
of the best quality	2
of silk embroidered with	2
century collection of martin	2
of juno gobelins under	2
as a means of	2
hair of unravelled silk	2
limit to the variety	2
in one or other	2
one in which it	2
the profite and contentment	2
through this that the	2
of louis xv metropolitan	2
aux fonctions du sacerdoce	2
a good plan to	2
dedicated to the queen	2
closely followed by the	2
doors of the palace	2
there are those who	2
gallery of the louvre	2
detached from the ground	2
on her wise and	2
to hang by the	2
as we see by	2
under the superintendence of	2
described in the following	2
fillings of leaves and	2
in a sampler dated	2
it was through this	2
of the figures and	2
or xviiith century wool	2
of the features of	2
use of purls and	2
of the stretched linen	2
a sense of humour	2
the origin of the	2
planche and marc comans	2
on the edge of	2
which mighty queenes have	2
it is like the	2
background and pattern are	2
the artists of that	2
some of these rare	2
them for the work	2
it may be said	2
must there not have	2
some part of the	2
during the xvth century	2
from the sampler reproduced	2
within the confines of	2
to the delight of	2
first years of the	2
admitted to the academy	2
possible to carry out	2
production of gothic and	2
there is no limit	2
view of the coast	2
for the king and	2
skill of the weavers	2
over the held thread	2
to and fro between	2
a place in the	2
direction of the warp	2
the difficulties of pattern	2
in the shape of	2
by a train of	2
as well as alone	2
the piece of material	2
for sothe as y	2
as to needlework in	2
letters of gold and	2
of the seventh century	2
wound upon the bobbin	2
durham place were the	2
that at the end	2
itselfe and shone unwillingly	2
many of which are	2
in the body of	2
very close to the	2
talent and patience of	2
disegni ad altrui o	2
and in some instances	2
letters are worked in	2
and covered with gold	2
the centre of each	2
it is a gentle	2
the abbey of ely	2
one of the series	2
middle ages were in	2
reformer of old rents	2
the direction of behagle	2
to explain the working	2
of carrying out the	2
in cento modi senza	2
both mind and eye	2
which can be used	2
the threads to be	2
to the method of	2
the ladies of her	2
of renaissance design is	2
we have not been	2
the ancient palace of	2
in both weaving and	2
see him in the	2
fact that it was	2
thread is thrown across	2
was to be expected	2
of the promised land	2
of the early samplers	2
silk spools and case	2
on the reverse side	2
cathedral convent of st	2
of the composition of	2
of the ancient britons	2
of which are in	2
tracing for embroidered picture	2
and interest of detail	2
xiv collection of wm	2
nobility of both sexes	2
may have been in	2
the taste of the	2
over the part to	2
or else they are	2
end of the last	2
three hundred and fifty	2
we do not mean	2
evidently the work of	2
by her as a	2
so long as to	2
in parallel lines close	2
it is worked by	2
the advantage of being	2
this is a useful	2
to the figures in	2
series illustrating the creed	2
is to us a	2
as records of national	2
the effect on the	2
designed upon squared paper	2
some of the figures	2
on the bayeux tapestry	2
cathedral of troyes the	2
work done in the	2
because it is a	2
of which there were	2
chapter xiv practical directions	2
louis xiv to the	2
the history of esther	2
evolution of the sampler	2
de nantilly de saumur	2
two links of the	2
he was a favorite	2
the affairs of the	2
the needle round and	2
plate is taken from	2
with a multitude of	2
the out of pride	2
one set of the	2
this piece is a	2
quarter of an inch	2
a favourite occupation of	2
in order to leave	2
could be carried out	2
two hundred and fifty	2
to be worked in	2
if i remember rightly	2
short or split stitch	2
is wound upon the	2
of the stitch can	2
the artist and the	2
he was admitted to	2
the simplest and most	2
the collection of edouard	2
is as simple as	2
will do well to	2
all in his power	2
woven in coloured silks	2
best work of the	2
sacred and profane love	2
that they are the	2
to the abbey of	2
is nothing in the	2
it should be remembered	2
the help of the	2
the two kinds of	2
to the life of	2
garden with fountains and	2
the citie of ladies	2
may or may not	2
worked by a child	2
samplers in the victoria	2
of the official work	2
iv before paris beauvais	2
scene from the history	2
point of the bobbin	2
than which nothing could	2
of the graphic arts	2
the play of light	2
designers and weavers of	2
linnen wollen fleeces yeare	2
of those who set	2
needles use shall last	2
is now in the	2
needle is at work	2
stitch in a darker	2
examples of which are	2
half of the world	2
revival of the art	2
is difficult to account	2
this can be avoided	2
and thread straight through	2
workes wrought with the	2
had been in place	2
history of hero and	2
is said that his	2
piece of embroidery illustrated	2
in those troublous times	2
of fruit and flower	2
example of persian embroidery	2
the same colour as	2
kind of inlaid work	2
in the early seventeenth	2
are preserved in one	2
the form of prayers	2
have the heart and	2
not set up a	2
it is not so	2
we have been alluding	2
the madness of the	2
inwrought with gold and	2
the diagram explains the	2
is worked openly in	2
as for instance the	2
it can be worked	2
hole in the centre	2
of the old palace	2
perhaps it was a	2
background of the cope	2
which is in the	2
part of the last	2
are built up on	2
apt to consider modern	2
inch lower down and	2
elles insistent beaucoup plus	2
this book is to	2
of the mistress of	2
position as shown in	2
products of the high	2
the sound of the	2
and the reverse side	2
to the products of	2
they can be used	2
of sir francis crane	2
of painting with the	2
in a variety of	2
were considered a necessary	2
in france and flanders	2
plays an important part	2
necessary for the production	2
bring it through again	2
the right of the	2
the shrine of the	2
the series called the	2
is part of the	2
the cathedral at berne	2
xv and louis xvi	2
the story of daphne	2
which we have before	2
the choice of material	2
of tapestry weaving of	2
come under my notice	2
story of hagar and	2
for on her wise	2
the nature of the	2
their time and talents	2
the days of elizabeth	2
dark in the reproduction	2
a french allegorical romance	2
tracing the pattern upon	2
pointing towards the right	2
left upon the material	2
on the pictured cloth	2
it has given us	2
do well to examine	2
is worth while to	2
wytte and subtylte of	2
et nouveaux pourtraicts du	2
holding in one hand	2
in peru date prior	2
on which is thrown	2
tailors were always employed	2
more and more into	2
was in the full	2
esther and ahasuerus series	2
some fine examples of	2
it was as early	2
the uses of tapestries	2
alternate lines of two	2
of the technical difficulties	2
in which they lived	2
of the day was	2
her majesti queen anne	2
work was executed in	2
russia gobelins under louis	2
in regard to the	2
those of the last	2
and cure of puckered	2
is almost identical with	2
and fro in close	2
the community at large	2
was a combination of	2
of which only the	2
are known as the	2
composition of the border	2
jesse cope in the	2
well knew that the	2
of the gentle and	2
grave reformer of old	2
for the love of	2
effect can be obtained	2
gave place to the	2
in which both warp	2
but i have never	2
can be used in	2
then take the needle	2
it is as simple	2
the tone of the	2
less than five years	2
on the lower line	2
in the mansions of	2
of the minor episodes	2
a hundred thousand dollars	2
the virgin angers cathedral	2
the left in a	2
ancora per opere a	2
new york beauvais tapestry	2
be filled in with	2
lines of chain stitch	2
we have here the	2
of a hundred thousand	2
is worked by counting	2
les gens sans moeurs	2
and ahasuerus series gobelins	2
side of the square	2
to make all the	2
of the thread and	2
and that it was	2
the chief of the	2
of the end pointing	2
two pieces of ancient	2
whatever it may be	2
once to and fro	2
scenery for the opera	2
adoration of the kings	2
of the last one	2
are laid down in	2
lords of the creation	2
each of these a	2
in his own time	2
is not a tapestry	2
and thread through over	2
the tension of the	2
it became the property	2
woven a number of	2
the streets of paris	2
aux dames et damoyselles	2
both in france and	2
notable hathe ben founde	2
it was not the	2
but it does not	2
of a book cover	2
late in the fifteenth	2
of the beginning of	2
lies much of the	2
and the vivacity of	2
the greene gras his	2
that a man might	2
order to show the	2
the old story of	2
the birds and beasts	2
crowned with the papal	2
the royal spanish collection	2
various kinds of work	2
in a few moments	2
illuminating still more failed	2
they did honour to	2
the left with the	2
round to the left	2
to such an excess	2
as much as anything	2
place were the citie	2
it may be the	2
the produce of the	2
ben founde by the	2
so much to the	2
all sorts of ways	2
by a cord or	2
the work is in	2
in this text version	2
cloth of gold or	2
taken from a piece	2
scorching spaine and freezing	2
and workes of linnen	2
the other with a	2
a simple method of	2
a modern fair one	2
middle of the seventeenth	2
it is that the	2
of peasants has stopped	2
a comparison of the	2
of flutes kept stroke	2
the reason for the	2
and this has been	2
a hand in the	2
down towards the right	2
the pattern is planned	2
when the regent philip	2
mary and lydia johnson	2
threads which time has	2
using more time in	2
the foundations of the	2
very well be used	2
to finger the fine	2
to life and death	2
de la mort de	2
that is not to	2
is no limit to	2
to whom we have	2
experience of the past	2
he has left his	2
of a factory which	2
the needles use shall	2
is one of those	2
of the two threads	2
the attitude of the	2
of wealth and importance	2
which is to be	2
it was natural for	2
have been in the	2
were not confined to	2
a plain white linen	2
of our own lovely	2
been taken from a	2
we are told in	2
combination of types of	2
and crowned with the	2
is made up of	2
du sauveur dans les	2
are a great number	2
its interest and value	2
apron set with mony	2
best periods and their	2
is the story of	2
that they may be	2
of all kinds of	2
the tune of flutes	2
was through this that	2
to be couched on	2
the feeling of the	2
method of carrying out	2
sampler by martha c	2
and eve in the	2
those in plate iii	2
the gold and silver	2
a loosely woven linen	2
still to be seen	2
gentillezze et lodevili opere	2
of the time when	2
in the church of	2
in the best tapestries	2
to this is the	2
in hand to take	2
the top and the	2
carried out with such	2
of the looms of	2
admirable workes wrought with	2
an inch from the	2
weaver at work on	2
much was it elevated	2
the other parts of	2
and cleopatra brussels tapestry	2
by charles de comans	2
crossing the red sea	2
on the lower selvage	2
the talent and patience	2
direction opposite to that	2
the oldest piece of	2
thickly as they could	2
effect is produced by	2
the paintings of the	2
on both sides of	2
the second row is	2
shades of renowned slaughterers	2
the funeral tent of	2
of the linen and	2
threaded in and out	2
gold thread by the	2
to produce those marvels	2
died in a good	2
embroidered in coloured silk	2
at the british museum	2
and cut in copper	2
a form of decoration	2
quali mostre possono servire	2
oversewing at the back	2
of the most high	2
reverse is the case	2
from the middle of	2
of a quilted coverlet	2
but it was lebrun	2
serve to be wrought	2
an opportunity for some	2
work done in a	2
and singular patternes and	2
emblems of the passion	2
commencement of the eighteenth	2
take the needle and	2
chapter iv stitches introduction	2
in which the name	2
patience of the fair	2
made use of a	2
the illustrations of the	2
hung round with the	2
the embroidery of the	2
the east in the	2
it must always be	2
from the earliest times	2
the art of weaving	2
have the advantage of	2
and it is interesting	2
and subtylte of women	2
of cut work is	2
to the highest perfection	2
and these we must	2
the martin le roy	2
so she went to	2
of pride elizabeth creasey	2
chapter xiii the garniture	2
or with satin or	2
the appearance of the	2
is alike on both	2
most interesting to us	2
pretty excuse for thought	2
one of the charms	2
and not only were	2
which we have alluded	2
illustrates one of the	2
amongst the eastern nations	2
in the usual way	2
and in the corresponding	2
here they may discerne	2
part ii tapestry weaving	2
if of the right	2
had to do with	2
pattern designing the difficulties	2
is closely related to	2
thread to complete the	2
it is bound in	2
which the most famous	2
which are left to	2
the highest period of	2
it down with the	2
money is spent then	2
the meaning of the	2
in one way or	2
there is a method	2
of the marigold in	2
history of alexander the	2
to be a very	2
is referred to in	2
parallel to the long	2
two of which are	2
none under the degree	2
saw the wisdom of	2
the mark is unidentified	2
meeting of christ and	2
through at the lower	2
the embroidery is carried	2
seventeenth and eighteenth century	2
by the people of	2
in a former chapter	2
in order to work	2
an embroidered altar frontal	2
the laws of the	2
at the hands of	2
others that are desireous	2
in almost every one	2
be stretched in the	2
thread must be kept	2
head of the gobelins	2
the most magnificent of	2
and it must be	2
art of painting with	2
nuns of little gidding	2
a sum equivalent to	2
in a darker colour	2
of a single piece	2
of embroidery reproduced in	2
like that of the	2
the history of julius	2
the house of hanover	2
said the old knight	2
during the xviiith century	2
have come to us	2
to our own times	2
when they were produced	2
so great a number	2
the same time it	2
of the great families	2
that it has been	2
represents the history of	2
to its uses the	2
the cross of the	2
life of the moment	2
brought from the east	2
to that in the	2
an instrument of profit	2
hangs down towards the	2
to the city of	2
the sake of the	2
it to say that	2
pattern on to the	2
it may have been	2
collection of madrid the	2
of the trade in	2
it not that this	2
the beards of kings	2
is filled with a	2
but in the end	2
what skill they had	2
such perfection in the	2
shown in the drawing	2
of the skill of	2
be placed upon it	2
art of the day	2
way in which they	2
x the gobelins factory	2
the uses of lettering	2
through to the front	2
given the honour of	2
louis xiv collection of	2
vertumnus and pomona series	2
shown on an enlarged	2
is a method of	2
the embroidery is in	2
or jan von room	2
a child of seven	2
that this was the	2
similar to those in	2
be designed upon squared	2
in the number of	2
in front of his	2
coloured plate facing page	2
is much used for	2
of tapestry in italy	2
out of the country	2
can unlock at will	2
it is to these	2
taken once to and	2
by the presence of	2
used as a text	2
are indebted to the	2
differed little from that	2
as garments shall be	2
marks in the galloon	2
a variety of stitches	2
of illuminating still more	2
were willing to spend	2