An interesting specimen of mediæval clock work is the old Dijon time keeper, which still performs its office, and which is a privilege to watch at high noon. Twelve times the bell is struck: first by a man, who turns decorously with his hammer, and then by a woman, who does the same. This staunch couple have worked for their living for many centuries. Froissart alludes to this clock, saying: "The Duke of Burgundy caused to be carried away from the market place at Courtray a clock that struck the hours, one of the finest which could be found on either side of the sea: and he conveyed it by pieces in carts, and the bell also, which clock was brought and carted into the town of Dijon, in Burgundy, where it was deposited and put up, and there strikes the twenty-four hours between day and night." This was in 1382, and there is no knowing how long the clock may have performed its functions in Courtray prior to its removal to Dijon.
The great clock at Nuremberg shows a procession of the Seven Electors, who come out of one door, pass in front of the throne, each turning and doing obeisance, and pass on through another door. It is quite imposing, at noon, to watch this procession repeated twelve times. The clock is called the Mannleinlauffen.
In the Statutes of Francis I., there is a clause stating that clockmakers as well as goldsmiths were authorized to employ in their work gold, silver, and all other materials.
In Wells Cathedral is a curious clock, on which is a figure of a monarch, like Charles I., seated above the bell, which he kicks with his heels when the hour comes round. He is popularly known as "Jack Blandiver." This clock came originally from Glastonbury. On the hour a little tournament takes place, a race of little mounted knights rushing out in circles and charging each other vigorously.
Pugin regrets the meaningless designs used by early Victorian clock makers. He calls attention to the fact that "it is not unusual to cast a Roman warrior in a flying chariot, round one of the wheels of which on close inspection the hours may be descried; or the whole front of a cathedral church reduced to a few inches in height, with the clock face occupying the position of a magnificent rose window!" This is not overdrawn; taste has suffered many vicissitudes in the course of time, but we hope that the future will hold more beauty for us in the familiar articles of the household than have prevailed at some periods in the past.
CHAPTER V
TAPESTRY
A study of textiles is often subdivided into tapestry, carpet-weaving, mechanical weaving of fabrics of a lighter weight, and embroidery. These headings are useful to observe in our researches in the mediæval processes connected with the loom and the needle.
Tapestry, as we popularly think of it, in great rectangular wall-hangings with rather florid figures from Scriptural scenes, commonly dates from the sixteenth century or later, so that it is out of our scope to study its manufacture on an extensive scale. But there are earlier tapestries, much more restrained in design, and more interesting and frequently more beautiful. Of these earlier works there is less profusion, for the examples are rare and precious, and seldom come into the market nowadays. The later looms were of course more prolific as the technical facilities increased. But a study of the craft as it began gives one all that is necessary for a proper appreciation of the art of tapestry weaving.
The earliest European work with which we have to concern ourselves is the Bayeux tapestry. Although this is really needlework, it is usually treated as tapestry, and there seems to be no special reason for departing from the custom. Some authorities state that the Bayeux tapestry was made by the Empress Matilda, daughter of Henry I., while others consider it the achievement of Queen Matilda, the wife of William the Conqueror. She is recorded to have sat quietly awaiting her lord's coming while she embroidered this quaint souvenir of his prowess in conquest. A veritable mediæval Penelope, it is claimed that she directed her ladies in this work, which is thoroughly Saxon in feeling and costuming. It is undoubtedly the most interesting remaining piece of needlework of the eleventh century, and it would be delightful if one could believe the legend of its construction. Its attribution to Queen Matilda is very generally doubted by those who have devoted much thought to the subject. Mr. Frank Rede Fowke gives it as his opinion, based on a number of arguments too long to quote in this place, that the tapestry was not made by Queen Matilda, but was ordered by Bishop Odo as an ornament for the nave of Bayeux Cathedral, and was executed by Norman craftsmen in that city. Dr. Rock also favours the theory that it was worked by order of Bishop Odo. Odo was a brother of William the Conqueror and might easily have been interested in preserving so important a record of the Battle of Hastings. Dr. Rock states that the tradition that Queen Matilda executed the tapestry did not arise at all until 1730.