It was, indeed, necessary that the acting members should avail themselves of every means of instruction, in order to fit themselves for the task they had undertaken. They were expected at once to be competent to judge all old work, to name its style and date, and even sometimes its market value. They were to be able to repair and add to all old work; to know and teach every stitch, ancient and modern; and produce designs for any period, Gothic, Renaissance, Elizabethan, James I., or Queen Anne; besides contemporary European work,—all different, and each requiring separate study.
Some important works have been produced which will illustrate what has been said:—
1. A suite of window curtains for her Majesty, at Windsor (style, nineteenth century; sunflowers).
2. Curtains for a drawing-room for the Duchess of Buccleuch: crimson velvet and gold appliqué (Louis Quatorze).
3. Curtain for Louisa, Lady Ashburton: coloured silk embroidery on white satin (Venetian, sixteenth century).
4. Curtain, also for Louisa, Lady Ashburton: brown velvet and gold appliqué (Italian).
5. Dado for the Hon. Mrs. Percy Wyndham: linen and crewels. Peacocks and vines (Mediæval).
6. Furnishings and hangings for state bedroom for Countess Cowper, Panshanger: crimson satin, embroidered and coloured silks (Chinese).
7. Curtains for music gallery for Mr. Arthur Balfour: blue silk, appliqué, velvet, and gold (Italian).
The earnest attempt to produce an artistic school of embroidery met with recognition and help from the highest authorities. Sir F. Leighton granted permission for appeals to his judgment. Mr. Burne Jones, Mr. Morris, Mr. Walter Crane, and Mr. Wade gave original designs.