[601] See Brewer’s “Reign of Henry VIII.,” vol. i. pp. 347-376.
[602] In the Public Record Office is an inventory of Lord Monteagle’s property, 1523 A.D.; amongst other things, is named a piece of Spanish work, “eight partletts garnished with gold and black silk work.” This Spanish work is rare, but the description reminds us of a specimen belonging to Louisa, Marchioness of Waterford (Plate [82])—a square of linen, worked with ostriches, turkeys, and eagles in gold and black silk stitches. See Mrs. Palliser’s “History of Lace,” pp. 6, 12.
[603] Quoted from Cavendish by Miss Strickland, “Queens of England,” iv. p. 132.
[604] “The invalid queen, in her moments of convalescence, soothed her cares and miseries at the embroidery frame. Many specimens of her needlework were extant in the reign of James I., and are thus celebrated by Taylor, the poet of the needle:—
“‘Mary here the sceptre sway’d;
And though she were no queen of mighty power,
Her memory will never be decay’d,
Nor yet her works forgotten. In the Tower,
In Windsor Castle, and in Hampton Court,—
In that most pompous room called Paradise,—
Whoever pleases thither to resort,
May see some works of hers of wondrous price.
Her greatness held it no disreputation
To hold the needle in her royal hand,
Which was a good example to our nation
To banish idleness throughout the land.
And thus this queen in wisdom thought it fit;
The needle’s work pleased her, and she graced it.’
“According to Taylor, Mary finished the splendid and elaborate tapestry begun by her mother.”—Miss Strickland’s “Life of Mary Tudor,” v. p. 417.
[605] “After the action at D’Arbre de Guise, Elizabeth (of England) sent to Henri IV. a scarf embroidered by her own hand. ‘Monsieur mon bon frère,’ wrote the queen, ‘its value is naught in comparison to the dignity of the personage for whom it is destined; but I supplicate you to hide its defects under the wings of your good charity, and to accept my little present in remembrance of me.’”—“Henri IV.,” by Miss Freer, p. 311.
[606] In the year 1683 the Marchese Luca Casimiero degl’ Albizzi visited England, and his travels were recorded in manuscript by Dr. A. Forzoni. At Windsor he observed over a chimney-piece a finely wrought piece of embroidery—“un educazione di fanciulli”—by the hands of Mary Queen of Scots.—Loftie’s “History of Old London;” also article on “Royal Picture Galleries,” by George Scharf, p. 361 (1867).
[607] “The Company of the Embroiderers can make appear by their worthy and famous pieces of art that they have been of ancient use and eminence, as is to be seen in divers places at this day; but in the matter of their incorporation, it hath relation to the fourth year of Queen Elizabeth.”—Stow’s “Survey of London and Westminster,” part ii. p. 216; also see Edmonson’s “Heraldry,” vol. i. (1780). “The Keepers, Wardens, and Company of the Broiderie of London.... 2 keepers and 40 assistants, and the livery consists of 115 members. They have a small but convenient hall in Gutter Lane.”—Maitland’s “History of London,” book iii. p. 602.
[608] The fashion of this work began much earlier, for we find in the inventory of “St. James’s House, nigh Westminster,” 1549: “42 Item. A table wherein is a man holding a sword in his one hand and a sceptre in his other hand of needlework, partly garnished with seed pearl” (p. 307).