[64] Evidently an imitation of the peplos of Minerva (see fig. [4], p. [32]).
[65] The descent from the Persian of Arab or Moorish art, as we generally call it when speaking of its Spanish development, is to be accounted for by the presence of a considerable colony of Persians in Spain in the time of the Moors, as attested by numerous documents still in existence. See Col. Murdoch Smith’s “Preface to Persian Art,” Series of Art Handbooks of the Kensington Museum.
[66] Ronsard, poet, politician, and diplomatist, compares the Queen of Navarre to Pallas Athene:—
“Elle adonnait son courage
A mainte bel ouvrage
Dessus la toile, et encor
A joindre la soie et l’or.
Vous d’un pareil exercise
Mariez par artifice
Dessus la toile en mainte traits
L’or et la soie en pourtraict.”
[67] Mary de Medici brought back with her from Italy Federigo Vinciolo as her designer for embroideries.
[68] See “Art Needlework,” by E. Maxse, and “Manuel de la Broderie,” by Madame E. F. Celnart.
[69] From the Italian translation by Signor Minghetti.
[70] Gaston, Duke of Orleans (died 1660), kept hothouses on purpose to supply models for floral textile designs. Le Brun often drew the embroideries for the hangings in rooms he had himself designed and decorated.
[71] We have all seen the dining-room wine-coolers modelled in imitation of Roman tombs; and there is a drawing-room in a splendid mansion still furnished with cinerary urns covering the walls, while curule chairs most uncomfortably furnish the seats.
[72] In his designs for papers and textiles, Mr. Morris’ poetical and artistic feeling—his admiration and sensitiveness for all that is beautiful and graceful (as well as quaint)—his respect for precedent, added to his own fanciful originality,—have given a colour and seal to the whole decorative art of England of to-day. It is a step towards a new school. The sobriety and tenderness of his colouring gives a sense of harmony, and reconciles us to his repetitions of large vegetable forms, which remind us sometimes of a kitchen-garden in a tornado. For domestic decoration we should, as far as possible, adhere to reposing forms and colours. Our flowers should lie in their allotted spaces, quiet and undisturbed by elemental struggles, which have no business in our windowed and glass-protected rooms.