“Madame a froid, madame est malade,” and in her impetuous Gallic way, waited for no reply. However, when I could make myself heard, I told her that I meant to get up, as my friend was coming down from the Red House to embroider with me.
THE GREAT CURTAINS
When my toilet was completed, I begged Célestine to bring my big basket from the chapel hall below, and the curtain that I was engaged in embroidering for my oratory. The background is of yellow linen and is thickly covered with fourteenth and fifteenth century birds, beasts, and flowers, and in the centre of each there is an angel.
Each curtain is three yards four inches, by two yards four inches. The birds, beasts, and flowers are all finely shaded and are worked in crewels, tapestry wools divided, in darning and fine Berlin wools, and all these various sorts seem to harmonize and mingle wonderfully well together.
The picture, for it really is a picture, was drawn out for me by a very skilful draughtsman. The birds, beasts, and angels have been taken from old Italian work, from mediæval stained-glass windows, and from old missals, and then drawn out to scale. There are Tudor roses, Italian carnations, sprays of shadowy love-in-the-mist, dusky wallflowers, and delightful half-heraldic birds and beasts, running up and hanging down the stems. It is a great work. Constance, who is good enough to admire it, says that she is sure that the Water-poet would have said, if he could have seen it—
“Flowers, plants and fishes, beasts, birds, flies and bees,
Hills, dales, plains, pastures, skies, seas, rivers, trees:
There’s nothing near at hand or farthest sought
But with the needle may be shaped and wrought.
Moreover, posies rare and anagrams,