Independently of the value of this tapestry as an historical authority, and its interest as being projected, and in part executed, by a lady as excellent in character as she was noble in rank, and its high estimation as the oldest piece of needlework extant—independently of all these circumstances, it is impossible to study this memorial closely, “rude and skilless” as it at first appears, without becoming deeply interested in the task. The outline engravings of it in the “Tapisseries Anciennes Historiées” are beautifully executed, but are inferior in interest to Mr. Stothart’s (published by the Society of Antiquarians), because these have the advantage of being coloured accurately from the original. In the study of these plates alone, days and weeks glided away, nor left us weary of our task.
FOOTNOTES:
[38] The Comet of 1618 carried dismay and horror in its course. Not only mighty monarchs, but the humblest private individuals seem to have considered the sign as sent to them, and to have set a double guard on all their actions. Thus Sir Symonds D’Ewes, the learned antiquary, having been in danger of an untimely end by entangling himself among some bell-ropes, makes a memorandum in his private diary never more to exercise himself in bell-ringing when there is a comet in the sky.—Aikin.
[39] By Thomas Amyot, Esq., F.S.A.—Archæol., vol. xix
CHAPTER X.
NEEDLEWORK OF THE TIMES OF ROMANCE AND CHIVALRY.
“As ladies wont
To finger the fine needle and nyse thread.”
Faerie Queene.
Though, during bygone ages, the fingers of the fair and noble were often sedulously employed in the decoration and embellishment of the church, and of its ministers, they were by no means universally so. Marvellous indeed in quantity, as well as quality, must have been the stitchery done in those industrious days, for the “fine needle and nyse thread” were not merely visible but conspicuous in every department of life. If, happily, there were not proof to the contrary, we might be apt to imagine that the women of those days came into the world only “to ply the distaff, broider, card, and sew.” That this was not the case we, however, well know; but before we turn to those embroideries which are more especially the subject of this chapter, we will transcribe, from a recent work,[40] an interesting detail of the household responsibilities of the mistress of a family in the fourteenth and fifteenth centuries.
“While to play on the harp and citole (a species of lute), to execute various kinds of the most costly and delicate needle-work, and in some instances to ‘pourtraye,’ were, in addition to more literary pursuits, the accomplishments of the fourteenth and fifteenth centuries, the functions which the mistress of an extensive household was expected to fulfil were never lost sight of.