WOMAN SPINNING. (Royal MS., 10 E. 4, fol. 187.)
It would appear that the improvements thus introduced were rather moral than material, as we find no mention made of new articles of furniture or other conveniences as having appeared at the time of the Conquest. Our information on this subject, is, however, scanty, and it is probable that the improvement of taste and increased wealth were soon manifested in the application of the useful and decorative arts to the conveniences of domestic life.
SACRAMENTAL WAFER BOX
OF THE TWELFTH CENTURY.
A most faithful and valuable record of costumes and manners at the time of the Conquest is to be found in the remarkable work known as the Bayeux Tapestry, which tradition has, probably with justice, ascribed to Matilda, the wife of the Conqueror.
The Bayeux tapestry is a chronicle of the conquest of England by the Normans, opening with the mission of Harold to Duke William, and terminating with the battle of Hastings. The designs, which were probably the work of an Italian artist, are represented in worsted work, the colours of which, notwithstanding the great age of the tapestry, are still bright and distinct. The tapestry was placed at an early period in a side chapel of the cathedral of Bayeux, where it was regarded with veneration by the people. During the consulate of Napoleon, the ancient relic was removed from Bayeux to Paris, where it remained for several months, and was visited by the First Consul himself. At the present time the tapestry is preserved in the library of the town of Bayeux, and is exposed to view in glass cases.
This remarkable monument of skill and industry originally formed one piece; and, according to a learned authority,[4] measures two hundred and twenty-seven feet in length, by about twenty inches in breadth. The groundwork of it is a strip of rather fine linen cloth, which, through age, has assumed the tinge of brown holland. The stitches consist of lines of coloured worsted laid side by side, and bound down at intervals by cross fastenings. The colours chiefly used are dark and light blue, red, pink, yellow, buff, and dark and light green.
The central portion of the tapestry is occupied with the delineation of the narrative, and there is also an ornamental border at the top and bottom of the field, which contains figures of birds and beasts. Many of these are of fantastic shapes, and are, probably, meant to represent the dragons, griffins, and other fabulous creatures which are so often referred to in the romances of that period.
The two upper lines of the engraving of the tapestry on page 105 are consecutive. They have been chosen for illustration as affording a favourable view of the character of the design. The story is taken up at the part where Harold, after swearing fealty to William of Normandy on the relics of the saints, returns to England, and presents himself to King Edward. The first words which occur over the figures at the top of the page are, "Anglicam terram." The complete sentence, the former part of which is omitted in the engraving, reads thus:—"Hic Harold dux reversus est Anglicam terram" ("Here the Lord Harold returned to England"). The horsemen of Harold's train are represented on their way to the court; "Et venit ad Edwardum regem" ("And came to Edward the king"). Farther on we see Edward seated on his throne, and Harold receiving audience and communicating the ill success of his adventure.
