[337] “History of the Kingdom of Congo,” c. viii. p. 55, by Filippo Pigafetta (translated by Mrs. M. Hutchinson).
[338] In the Tyrol certain embroideries are called “Federstickerei.”
[339] For the feather hangings at Moritzburg, see [Appendix 2].
[340] “Arte Plumaria,” by M. Ferdinand Denis. Paris, 1875.
[341] The Plumarii mentioned by Pliny were craftsmen in the art of acu pingere, or painting with the needle. Though Seneca speaks of the “opus plumarium” as if it were absolutely feather-work, yet it may have been at that time undergoing its transition into embroidery, suggested by feathers, and imitating them in gold, silver, wool, or thread. When Lucan describes the extraordinary change introduced into Roman habits and luxury by Cleopatra’s splendours, his use of the words, “pars auro plumata nitet,” probably means their imitation or mixture with gold embroidery, and would, therefore, come under the head of “opus Phrygium.”
[342] It is said that the work, named “Plumarium,” was made by the needle; and the Greeks, from the variety of the threads, called it “Polymitum.” “Plumarium dicitur opus acu factum quod Græci a licionum varietate multiplici polymitarium appellant.”—Robert Stephan. “Thesaurus Linguæ Latinæ,” s.v. Plumarius.
[343] Blümner, i. p. 209. “The Plumarii were a class of persons mentioned by Vitruvius, and found likewise in inscriptions. It cannot be decided with certainty what was their occupation; their name would lead us to suppose that it has something to do with feathers.”—Becker’s “Gallus,” ii. p. 288. But see Marquardt, “Handbuch d. Röm. Altert.” vii. pt. 2, p. 523.
[344] “Plumarium qui acu aliquod depingit super culcitris plumeis.”—R. Steph., “Thesaur. Lat.”
[345] See “The Funeral Tent of an Egyptian Queen,” by Villiers Stuart.
[346] See Auberville’s “Tissus,” Plate i.