The potato flower seen in both Jacobean and Portuguese embroideries is an example of the habit of recording the latest novelty, the strawberry was also popular on this account, and is frequently introduced in those hillocky foregrounds, which, to me, appear one of the most interesting evidences of combined influences.
Once again, another Oriental idea was evidently assimilated, for in numberless Chinese patterns one sees the main motive springing out of a base of waves formed exactly like the hillocks which became such a distinctive feature in these large branching designs.
In the earliest examples the hillocks were much broken up, and smaller (more like the mounds in the painted Palampores) than in the later work, from which we may presume the spread of the Oriental influence had done its work, the "terra firma" being carried out with a similitude to the eastern version of waves that includes the actual stitchery; grafted on to this was the legend of the pursuit of the human soul (typified by a hart) by evil, personified by the huntsman, the hounds and various uncanny beasts, two bearing unflattering resemblance to the heraldic lion and leopard; while rabbits, snails, grubs of all kind hinder the hart's progress, these are relics of the days when The Bestiarta (symbolism of beasts) was carefully studied.
The riotous re-action from the Puritan rule was reflected in the embroideries of the restoration, as in everything else, and patterns became exuberant, colouring more brilliant, the exquisite stitchery gradually gave place to the easier achievement of solid fillings, and the requisite relief was secured by light sprays filling up the ground between the larger leaves, jasmine, cherries, harebells, potato flowers, honeysuckle, shamrock or trefoil and acorns took the lead.
It is an almost impossible task to describe the large leaves, since they bear no resemblance to anything natural, they are, however, rarely angular in outline, rejoicing rather in sweeping curves, and drooping points, curled over to display the under side of the leaf, a device that gave opening for much ingenuity in the arrangement of the stitches. The variety in these was so great that on reading the enumeration made by Taylor, the Water Poet, one becomes quite breathless. The predominating ones, however, are—Outline or Stem Stitch, used for all but the largest stems, and veining and outlining leaves and flowers.
Shading Stitch, sometimes called long and short, used for large branches and leaves, Basket and Double Back Stitch are also used for these stems.
Satin Stitch, for all kinds of flowers and small foliage, or for the definite flat shading, that is like block shading without the ridge caused by the carrying back of the wool into the past row of stitches.
Buttonhole, also much used for leaves, especially those having light fillings and broad outlines.
Rope Stitch, Coral, Cable and Chain, also for outlines, the last named being also used for fillings.
The fancy fillings such as darning, French knots, etc., are demonstrated and described in the following pages, and the colour plates endeavour to give the idea of the correct colourings. In this connection, a few observations, based on the study of genuine originals, may not be amiss.