[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).

[609] The merit or blame of this rounded padded work (a caricature of the raised embroidery of the opus Anglicanum) is often erroneously awarded to the "nuns of Little Gidding." The earliest specimens we know of this "embroidery on the stamp" are German. At Coire in the Grisons, at Zurich (see chapter on ecclesiastical art), and in the National Museum at Munich are some very beautiful examples. The Italians also executed elaborate little pictures in this manner; but I cannot praise it however refined in execution or beautiful the design. I have seen no English specimens that are not beneath criticism; they are only funny.

[610] In the Calendar of the State Papers Office (Domestic, Charles I., vol. clxix. p. 12), Mrs. H.

Senior sues the Earl of Th.o.m.ond for 200 per annum, her pay for teaching his daughter needlework. Mrs.

Hutchinson, in her Memoir, says she had eight tutors when she was seven years old, and one of them taught her needlework. This shows how highly this accomplishment was still considered in the days of Charles I. and the Commonwealth. Later, Evelyn speaks of the "new bed of Charles II.'s queen, the embroidery of which cost 3000"

(Evelyn's Memoirs, January 24, 1687). Evelyn says of his own daughter Susanna, who married William Draper: "She had a peculiar talent in designe, as painting in oil and miniature, and an extraordinary genius for whatever hands can do with a needle." See Evelyn's "Memoirs,"

April 27, 1693; also see Mrs. Palliser's "History of Lace," pp. 7, 8.

[611] The tree-pattern, already common in the latter days of Elizabeth, reappeared on a dress worn by the d.u.c.h.ess of Queensberry, and described by Mrs. Delany; she says, "A white satin embroidered at the bottom with brown hills, covered with all sorts of weeds, and with a brown stump, broken and worked in chenille, and garlanded nasturtiums, honeysuckles, periwinkles, convolvuluses, and weeds, many of the leaves finished with gold." Mrs. Delany does not appreciate this ancient pattern.

[612] Queen Mary only knotted fringes. Bishop Burnett says: "It was strange to see a queen work so many hours a day." Sir E. Sedley, in his epigram on the "Royal Knotter," says,--

"Who, when she rides in coach abroad, Is always knotting threads."

Probably it was the fashion, as Madame de Maintenon always worked during her drives with the king, which doubtless prevented her dying of _ennui_!

[613] I quote from the _Spectator_, No. 606: "Let no virgin receive her lover, except in a suit of her own embroidery."

[614] Her style was really legitimate to the art. It was flower-painting with the needle. Miss Moritt copied both figures and landscapes, with wonderful taste and knowledge of drawing. Miss Linwood's and Mrs. Delany's productions are justly celebrated as _tours de force_, but they caused the downfall of the art by leading it on the wrong track.

[615] Lord Houghton alludes to H.R.H.'s patronage of the revival of embroidery in his paraphrase of the "Story of Arachne," p. 238, _ante_.

[616] "Opposed to the 'utility st.i.tches' are the art needlework schools that have branched out in many directions from New York.... The impulse that led to their formation was derived from South Kensington (England), and affords a striking instance of the ramifications of an organization."--_Atlantic Monthly_ ("Women in Organization"), Sept., 1880.

FINIS.

APPENDICES.

APPENDIX I., TO PAGE 105.

_By Ch. T. Newton._

Though the embroidered and richly decorated textile fabrics of the ancients have perished, all but a few sc.r.a.ps, we may form some idea of the richness and variety of Greek female attire from the evidence of the inventories of dedicated articles of dress which have been preserved for us in Greek inscriptions.

In the Acropolis at Athens have been found a number of fragments of marble on which are inscribed lists of various female garments dedicated, for the most part, in the Temple of Artemis Brauronia, in the Archonship of Lykurgos, B.C. 338-35. These articles were thus carefully registered because they formed part of the treasures dedicated to the G.o.ds of the Acropolis, which it was the duty of the state to guard, and to commit to the custody of officers specially selected for that duty. One of these fragments is in the Elgin Collection at the British Museum, and has been published by Mr. Hicks in the "Collection of Ancient Greek Inscriptions in the British Museum," Part 1, No 34; and the entire series has since been given to the world in the "Corpus Inscriptionum Atticarum" of the Academy of Berlin, ii., Part 2., Nos. 751-65.

The material of these garments seems to have been either linen or fine woollen; the colours white, purple, or some shade of red, mostly used as a border or in stripes; or a shade of green, the tint of which is described as "frog colour," saffron, or sea-green.

The borders and patterns noted remind us of those represented on the garments of figures in vase pictures, such as the embattled border, the wave pattern, and certain patterns in rectangular compartments. A group of Dionysos pouring out a libation while a female serves him with wine, and a row of animals, are also noted among the ornaments.

The inscription, "Sacred to Artemis," woven into the fabric of the garment, occurs twice. Gold, as an ornament fixed on the dress, is mentioned in these entries. It is noted that some of these dresses served to deck the statue of the G.o.ddess herself. Most of the garments are the _chiton_ or tunic, flowing to the feet; the _chitoniskos_, a shorter and more ornamental garment worn over it; and the mantle, _himation_. Pieces of cloth or rags are also mentioned among the entries; these were probably the remnants of cast-off garments dedicated by their wearers. Some of the dresses are described as embroidered with the needle.

In the worship of the Artemis Brauronia, certain Athenian girls between the ages of five and ten were solemnly dedicated to the G.o.ddess every five years. In publishing the inventory in the British Museum already referred to, Mr. Hicks remarks, "It may have been the custom sometimes to dedicate to the G.o.ddess the garments worn by children at their presentation, just as we know that the garments in which persons had been initiated at the Greater Eleusinia were worn by them until threadbare, and then dedicated to some G.o.d. If so, the number of children's clothes mentioned in our inventory is easily explained. Or were these the clothes of children cut off by Artemis in infancy, such as bereaved mothers nowadays often treasure for years, having no temple wherein to dedicate them?" Mr. Hicks further remarks that it was usual for the bride before marriage to dedicate her girdle to Artemis; and at Athens the garments of women who died in childbirth were likewise in like manner so dedicated. It is probably on account of such dedications that Artemis was styled Chitone--the G.o.ddess of the _chiton_.

Another list of vestments is preserved in an inscription found at Samos, and published by Carl Curtius in his "Inschriften u. Studien zur Geschichte von Samos," pp. 17-21. The garments in this list were dedicated to the G.o.ddess Here (Juno) in her celebrated temple at Samos. The entries relate chiefly to articles of female attire, but some few are dedicated to the G.o.d Hermes. Some of these articles were doubtless worn by the deities themselves on festive occasions, when their statues were decked out. The toilet, _kosmos_, of G.o.ddesses was superintended by a priestess specially chosen for that purpose. She was called _kosmeteira_, or "Mistress of the Robes."

In the Samian list of garments, those which are embroidered or ornamented with gold are specially noted. Some of the tunics are described as Lydian. Curtains or hangings are also mentioned in this list. These must have been used to ornament the interior of the temple, or to screen off the statue of the G.o.ddess on the days when she was withdrawn from the gaze of the profane. Such hangings were, probably, a main cause of the conflagrations by which Greek temples were from time to time destroyed in spite of the solidity of their walls.

APPENDIX II., TO PAGE 210.

In the Castle of Moritzburg, built by Augustus the Strong, Elector of Saxony and King of Poland, is a quaint apartment, on the walls of which are hung rugs of feather-work, of which the borders are adorned with set patterns of fruit and flowers, and the colouring is as soft as a Gobelins tapestry. The feathers are woven tightly into the warp, in the same manner as the tufts are set in a velvety carpet; forming a surface as delicate as silk to the touch. There are four high-backed chairs covered with the same work in smaller patterns. But what is especially remarkable is an immense canopy, like that of a state bed, with urn-shaped ornaments of stiff feathers at the corners; and a pretty bell-shaped fringe of scarlet feathers. The same ornament edged a large rug like those on the wall, thrown over what at first appeared to be a bed; but on examination it was found to be a rough wooden platform, said to be the throne of Montezuma. The story is that Augustus the Strong went to Spain incognito at the age of eighteen, in search of adventures, and distinguished himself at a bull-fight. When the king (Charles II.) heard the name of the young hero, he gave him a hospitable reception, and afterwards sent these Mexican treasures to him as a token of friendship.

APPENDIX III., TO PAGE 237.

_Story of Arachne, abridged by Earl Cowper from Ovid's Metamorphoses._

Arachne's tale of grief is full: Her father was of low degree; No thought beyond his crimson'd wool, His daughter and his wife had he.

The wife had fill'd an early tomb, The daughter lived--and all the land Of Lydia boasted of her loom, Her needle, and her dexterous hand.

To watch her task the nymphs repair From fair Timolus' vine-clad hill; They deem the work divinely fair, The maid when working fairer still.

The softness of the fleecy ball, By skilful fingers taught to flow In lengthening lines--they watch'd it all-- And round and round the spindle go.

Wondering, they view the rich design: Ah, luckless gift! ah, foolish pride!

'Twas Pallas taught the art divine, But this the haughty maid denied.

"Me taught," she cried, "by Pallas! Me By Pallas! Let the G.o.ddess first Accept my challenge. Then, should she Surpa.s.s me, let her do her worst."

Vain, impious words! The G.o.ddess came In likeness of an ancient crone, With grizzled locks and tottering frame, And spoke with warning in her tone.

"Though matchless in thine art," she cried, "Though first of mortals, tempt not fate.

Age makes me wise. Thou hast defied A G.o.ddess. It is not too late."

The unhappy maid, with madness blind, Replied, and scarce restrain'd the blow.

"'Tis plain, old woman, that your mind Is drivelling to address me so.

"Some daughter or some slave may want Your counsel. Let her but appear, This mighty Pallas whom you vaunt!"

The G.o.ddess answer'd, "She is here."

She spoke, and lo! that ancient crone Was young and fair, and tall and proud: --The nymphs fell prostrate. She alone-- Arachne--neither shrank nor bow'd.

One blush quick came and pa.s.s'd away, Hovering as clouds, when night is done, Grow rosy at the dawn of day, Then whiten with the rising sun.

She did not shrink--she did not pause-- But headlong to destruction ran; And thus the strife ordain'd to cause Such dark calamity began.

Each for the contest takes her stand-- The G.o.ddess here, the mortal there-- And each proceeds with skilful hand The means of victory to prepare.

The beam each loom supports full well, And to the loom the warp is tied; Nor will I now forget to tell The reed that doth the warp divide.