To those who wish to study the work of the Tudor period, Hardwick Hall is recommended as the place where the best specimens have been preserved. To Elizabeth, daughter of John Hardwick, born in 1520, and so poor that her marriage portion as the bride of the Earl of Shrewsbury was only thirty pounds, credit is given for the richness of this collection. She was a woman of great ability in the management of her estates, became very wealthy, and gave employment to many people. Included among her dependents were many needleworkers who plied their trade under rigorous administration. Elizabeth of Shrewsbury was a hard mistress, but not above doing an occasional bit of needlework herself, for some pieces bearing her initials and done with remarkable skill are preserved in the collection. She, as much as any Englishwoman, fostered and developed applied patchwork along the ambitious line of pictorial needlework.

In Hardwick Hall are several hangings of pictorial needlework that are very interesting. One of black velvet has a picture of a lady strongly resembling Queen Elizabeth. She carries a book in her hand and at her feet reclines a turbaned Turk. In the background is an ecclesiastical hanging which is embroidered to represent a cathedral window. The realistic effect of the whole picture is gained by the use of coloured silks cut in correct proportions and applied to the velvet foundation; very little embroidery entering into the main composition. Another hanging, also of black velvet, has an even more ambitious design. It is described by M. Jourdain in “The History of English Secular Embroidery” as follows: “The ornamentation on the black velvet is with appliqué in coloured silks consisting of figures under arches. In the centre is ‘Lucrecia,’ on the left ‘Chastite,’ and on the right ‘Liberalitas.’ The oval panel on the right contains a shield bearing the arms of Hardwick.” At each end of the hanging are fluted Ionic columns, and a decorated frieze is carried across the top. The figures have grace and beauty; the drapery of their robes falls in natural folds; and altogether it is a remarkable picture to have been made with patches.

That this fine collection of medieval needlework is preserved for the admiration of people to-day is due to the faithful execution of the Countess of Shrewsbury’s will, in which she left all her household furnishings, entailed as heirlooms, to always remain in her House of Hardwick.

In the interesting Hardwick collection are pieces of beautiful needlework known to have been used by Mary, Queen of Scots, during the years she spent as a prisoner at Tutbury. Her rooms there, furnished in regal splendour, are still kept just as she arranged them. The Earl of Shrewsbury was her custodian, and his wife, the countess, often sat and sewed with the unfortunate queen, both making pastime of their needlework.

During the Middle Ages appliqué was in universal use, and not confined merely to wall hangings, quilts, and bed draperies. It was used to ornament all kinds of wearing apparel, including caps, gloves, and shoes. Special designs were made for upholstery, but because of the hard wear imposed upon stools and chairs but few specimens of this work have been preserved.

Quilting also came into vogue in the making of bedspreads, of which great numbers were required during the winter nights in the poorly heated bedrooms. The quilts intended for service were made of substantial, well-wearing material. None of these strictly utilitarian quilts is left, but they were certainly plentiful. The old chroniclers give us a glimpse of what the women of these days cherished by telling us that in 1540 Katherine Howard, afterward wife of Henry VIII, was presented with twenty-three quilts of Sarsenet, closely quilted, from the Royal Wardrobe.

Tradition says that, during the reign of Henry VIII, the much used and popular “black work” or “Spanish work” was introduced into England by his Spanish wife, Catherine of Aragon. It has been found that this work did not originate in Spain but was taken there probably by the Moors or by the Crusaders, for it is known to have been perfected at a very remote period in both Persia and China. The following interesting description of black work is from Mrs. Lowes’ “Chats on Old Lace and Needlework”:

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