English Specimen. Spanish Work. Henry VIII. Louisa, Lady Waterford’s Collection.
Incrustations of pearls and precious stones gave a dazzling brilliancy to the tent, divided into many rooms, and adapted to the climate of the north. It covered a space of 328 feet. Hall describes the tent, the jousts, and the splendid apparel belonging to this last chapter of the magnificence of chivalry. Brewer remarks that magnificence was, in those days, often supposed to be synonymous with magnanimity (at any rate, it was erected into a royal virtue). “The Mediæval Age,” he says, “had gathered up its departing energies for this last display of its favourite pastime, henceforth to be consigned without regret to the mouldering lodges of the past.”[601]
We cannot say how much of French taste was imported from this meeting of French and English luxury. The spirit of the Renaissance, fresh from Italy, was reigning in France, but we had also in Italy our own emissaries. John of Padua was probably only one of many Englishmen who travelled to learn and improve themselves in their special crafts.
Catherine of Aragon introduced the Spanish taste in embroidery, which was then white or black silk and gold “lace stitches” on fine linen (plate [81]). This went by the name of “Spanish work,” and continued to be the fashion down to and through the reign of Mary Tudor, who remained faithful to the traditions of her mother’s and her grandmother’s work[602] (plate [82]). Catherine of Aragon had learned her craft from her mother, Queen Isabella, who always made her husband’s shirts. To make and adorn a shirt was then an artistic feat, not unworthy of a queen. Isabella instituted trials of needlework amongst her ladies. In the days of her disgrace and solitude, Catherine turned to her embroidery for solace and occupation. She came forth to meet the Cardinals Wolsey and Campeggio with a skein of red silk round her neck.[603] Taylor, the water poet, says,—
“Virtuously,
Although a queen, her days did pass
In working with her needle curiously.”
At Silbergh Castle, in Westmoreland, was a counterpane and toilet embroidered by Queen Catherine.
Anne of Cleves brought with her the taste for Flemish and German Renaissance designs; and all the cushion stitches were in vogue. The Renaissance borders for dress were mostly worked in gold on coloured silk on the linen collars and cuffs. Holbein’s and other contemporary portraits illustrate this peculiarity of the costumes of the time. The women’s head-dresses also carried much fine, beautifully designed, and delicate work.
In the reign of Henry VIII. fine hangings were worked and woven in England; the royal inventories give us an idea to what extent. Cardinal Wolsey’s walls were covered with splendid embroideries, besides the suites of tapestries still adorning the hall at Hampton Court. One room was hung with embroidered cloth of gold.
Mary Tudor, as I have said, was Spanish in all her tastes, and we have lists of her “smocks” all worked in Spanish stitches, black and gold, or black silk only.[604] This taste, following the political tendencies of the time, entirely disappeared under Elizabeth. It survives, however, in peasant dress in the Low Countries.