Embroidery in the East unquestionably preceded the practice of figured patterns in the textiles. This cannot be doubted when we remember that the greater part of the methods and types adopted in the West are of oriental origin. It is still further confirmed when we find in the ancient records of China, the duties imposed on the "Iloa-hoei," or embroiderers, in the employment of the five sacred colours. Even now, notwithstanding the progress of events, and the improvements introduced in the weaving of textiles, the embroiderers in China still retain the privilege of adorning the hangings and the sumptuous vestments intended for the emperor and his nobles.

On fabrics of marvellous texture and dyed with inimitable shades, the Chinese embroider "au passe" with flat silk,' figures of the natural size, complicated scenes, ornaments, birds and flowers, with unequalled truthfulness, elegance, and freshness. In the midst of this rich needle picture rise golden dragons, worked either in couchure or bas-relief, often ornamented with spangles and lama. It would be needless to enlarge into details regarding objects so familiar to everybody, and beautiful specimens of which were to be admired at the Exhibition of Costume. We may refer to the red satin hangings representing the consecration of the imperial children to Cheou-lao, god of longevity; the goddess Kouan-in accompanied by the axis deer; and lastly the piece surrounded by sacred subjects bearing an inscription of the eighth year of Tao-Kouang and the signature of the embroiderer Hoo-tan. Nothing could give a grander or a more complete idea of the skill of the Hoa-hoei.

Yet it must be confessed that in this, as in other branches of art, the Chinese are surpassed by the Japanese. These latter have overlooked no expedient calculated to realise their conceptions - high and low relief, passe or couchure, shaded gold, tail lure, everything they have produced with a brilliancy and vigour rivalling the best works of China, but enhanced by a profound knowledge of drawing and an ever-charming taste.

We have not forgotten that blue satin robe on which graceful kingfishers, rendered in every conceivable attitude with the truth of nature herself, were shown skimming over the golden waves tipped with crests of white foam. Nor have we yet forgotten those sacred tortoises, varied, not only by the gold and coloured silks, but by the ingenious stitches which marked out the carapaces of the various species. The military robe again, from which there seemed to dart forth a gold-winged dragon, with its grinning head and enamel eyes, was a genuine bas-relief applied upon satin. We have under our eyes a piece of green satin embroidered with two sacred cranes, a real masterpiece of taste. Not only does the satin relief mark cut every feather, but the silk stitches intended to fix the couchure are chosen in shades corresponding to the colours of the plumage. To render the modelling more perfect, and make the transition less harsh from the ground to the embroidered relief, the artist has had recourse to the "hache-bache," or long stitches, above described, of brown silks, which become lost in the gold couchure. And if we select this example amongst a thousand, it is only because it is at hand. We might still quote the Fong-hoang, bouquets of flowers, charming pictures, well worthy of rivalling, in the interiors, the famous water-colours of Ko-tio or Ho-Ku-sai.

The little that is known of Indian embroidery is enough to show what may be achieved by the genius of an essentially artistic people. The painted cloths, undying patterns that have been transported into every country of the world, and their marvellous silks woven in gold failed to exhaust the resources of their imagination. With twisted silks they have executed in chain-stitch the most brilliant compositions either on silk or woollen fabrics, and even on simple cotton cloths.

Here, however, it becomes necessary to distinguishing carefully, for the Persians also have embroidered important hangings after the same method, some intended for the use of the country, others destined for exportation, or else specially ordered. The Persian embroideries show a preference for large flowers, in the style of those found on carpets; birds of prey and sparrows abound. In the Indian works, the peacock becomes the typical bird; here also the flowers in rosettes are more compact, and encircled with a much closer network of stalks and foliage. But in any case, the type of embroidery peculiar to each country is found in the borders and decorations of their manuscripts. Most frequently the works chosen affect the shape of a long square and the disposition of a prayer carpet. Around, one or several arabesque or floral borders form a frame to the whole. Above, a pierced Gothic arch, detached on a rich ground with arabesques and flowers, crowns a sort of portico, where blossoms a large bouquet issuing from a vase. This bouquet is sometimes richly embroidered au passe in bright and vivid silks, while at others it is done in crochet work. In the richest carpets the ground is gold; in the others, the silk or the woollen stuff remains uncovered. But in either case the whole has the richness and the finish of a painting.

Yellow satin imperial robe embroidered with five-clawed dragons, Anam. (M. J. Jacquemart's Oriental Cabinet).

In the seventeenth century Persia, and especially India, manufactured for Europe large embroidered pieces intended to serve as counterpanes for the enormous state beds of the period. Seme are painted in rich colours and ornamented in the purest oriental style, with the exception that, as occurs also in the furniture, there is frequently to be met with a two-headed eagle, the symbol, as we are told, of a Portuguese convent. A fine specimen of this description may be seen in the Musee de Cluny. Others are embroidered either on a light quilted silk, or else on a cotton tissue also quilted, so that it puffs out between the undulations of the design. Some pieces are in bouquets executed in bright colours, and many others in a yellow silk that looks like gold. We have also seen a bird's-eye view representing towns, harbours with their armed batteries, and at various points, assaults by land and sea, with explanatory legends in Portuguese. In all this there was evidently the intention of preserving the memory of some historic deed for one of those who took part either in the attack or the defence. In the greater number of cases, however, they consist of nothing but rich ornamental compositions, in which graceful curves, flowers, and knots, display a purity of style and a learned conception worthy to rival with the finest works of the Italian Renaissance period. In order to give a more complete idea of them, we cannot do better than reproduce the embroidery upon pale blue, executed in white braid bordered with yellow, the whole in chain-stitch.