When the backgrounds of pictures in raised or stump embroidery are not of silk or satin left more or less visible, they are usually worked in one or other of the innumerable varieties of cushion-stitch, so-called, it is said, because it was first introduced in the embroidering of church kneeling-cushions. Foremost among these ground-stitches comes tent-stitch, in which the flat embroidered pictures of a slightly earlier period are entirely executed. Tent-stitch is the first half of the familiar cross-stitch, but is taken over a single thread only, all the rows of stitches sloping the same way as a rule, although occasionally certain desired effects of light and shade are produced by reversing the direction of the stitches in portions of the work. An admirable example of evenly worked tent-stitch is shown in [Plate XV.], although here, of course, it is not a purely background-stitch, as it is adopted for the whole of the work.

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Plate XX.—Back of Casket in Tapestry Embroidery. Signed A. K., 1657.
Mrs Percy Macquoid.

We have here the true imitation of Tapestry as regards stitch, but not so as regards composition, for it is seldom that in Tapestry we find such a lack of proportion as exists in this case between figures and accessories, tulips and carnations standing breast-high, and butterflies larger than human heads. The harpy, which appears on the lower portion of the lid, is an exceptional form of decoration. The backs of caskets are always the least faded portions, as they have been less exposed to the sun and light; such is the case here, although the whole is in a fine state of preservation. It is one of the few dated pieces in existence, being signed “A. K.,” 1657.

Another commonly used grounding-stitch is that known in modern times as tapestry or Gobelin-stitch. This is not infrequently confused with tent-stitch, which it much resembles, save that it is two threads in height, but one only in breadth.

Fig. 62.—Cushion-stitch Background; Embroidered Book Cover, dated 1703.