The gods assembled in their force,
And Neptune with his trident, too,
Exulting in the fiery horse,--
Which from the rock he made to bound:
But she herself, more deeply wise,
A greater blessing from the ground
The olive brought, and gain'd the prize.
The border of this main design
With Rhodope's sad tale was set;
And all who dared the gods divine
To rival--and the fate they met.
Meanwhile Arachne wove the wool:
The web with many a picture shone.
She drew Europa with her bull,
And Leda with her snow-white swan.
Deois with her snake display'd,
And Danäe with her shower of gold;
And many a tale besides the maid,
Had fate permitted, would have told.
But the dread goddess now no more
To check her rising envy strove;
The half-completed task she tore,
And all the pictured crimes of Jove.
The shuttle thrice the air did rend,
Thrice did the heaven-directed blow
Full on Arachne's head descend,
And made her purple blood to flow.
Arachne's soul was proud and high:
She drew a cruel cord around
Her tender neck--and, driven to die,
Was from a beam suspended found.
Her death the unpitying goddess stay'd;
"Henceforth, vain fool! for such a crime
For ever shall thou hang," she said;
"A warning to the end of time."
In scorn she spoke, and over all
Her rival's face and form she smear'd
A deadly drug. The head grew small,
And each fair feature disappear'd.
And off the beauteous tresses fell;
The tender waist that was so slim,
In loathly sort was seen to swell,
Shrivell'd and shrank each comely limb.
The spider's fingers still remain
To spin for ever.--We may vie
With fellow mortals, but 'tis vain
To struggle with the gods on high.
_January, 1885._ COWPER.
APPENDIX IV., TO PAGE 318.
_Extract from "History of Christian Art." By Lord Lindsay. Vol. i. pp.
136-139._
"But perhaps the noblest testimony to the revival under the Comneni is
afforded by the designs on the Dalmatic or sacerdotal robe, commonly
styled 'Di Papa San Leone,' preserved in the sacristy of St.
Peter's--said to have been embroidered at Constantinople for the
coronation of Charlemagne as Emperor of the West, but fixed by German
criticism as a production of the twelfth, or the early part of the
thirteenth century. The Emperors wore it ever after, when serving as
deacons at the Pope's altar during their coronation-mass. You will
think little of it at first sight, and lay it aside as a piece of
darned and faded tapestry, yet I would stake on it, alone, the
reputation of Byzantine art. And you must recollect, too, that
embroidery is but a poor substitute for the informing hand and the
lightning stroke of genius.
It is a large robe of stiff brocade, falling in broad and unbroken
folds in front and behind,--broad and deep enough for the Goliath-like
stature and the Herculean chest of Charlemagne himself. On the breast,
the Saviour is represented in glory, on the back the Transfiguration,
and on the two shoulders Christ administering the Eucharist to the
Apostles.
The composition on the breast is an amplification of No. V. (as above
enumerated) of the Personal traditional compositions.--In the centre
of a golden circle of glory, 'Jesus Christ, the Resurrection and the
Life,' robed in white, with the youthful and beardless face, his eyes
directly looking into yours, sits upon the rainbow, his feet resting
on the winged wheels[617] of Ezekiel, his left hand holding an open
book, inscribed with the invitation, 'Come, ye blessed of My
Father,'--his right raised in benediction. At the four corners of the
circular glory, resting on them, half within it, half without, float
the emblems of the four Evangelists; the Virgin and the Baptist stand
to the right and left of our Saviour, the Baptist without, the Virgin
entirely within the glory, the only figure that is so placed; she is
sweet in feature and graceful in attitude, in her long white robe.
Above Our Saviour's head, and from the top of the golden circle, rises
the Cross, with the crown of thorns suspended upon it, the spear
resting on one side, the reed with the sponge on the other, and the
sun and moon looking down upon it from the sky.
The heavenly host and the company of the blessed form a circle of
adoration around this central glory; angels occupying the upper part,
emperors, patriarchs, monks and nuns the lower; at the extremity, on
the left side, appears Mary Magdalen, in her penitence--a thin
emaciated figure, imperfectly clothed, and with dishevelled hair.
In the corners, below this grand composition, appear, to the right,
St. John the Baptist, holding the cross, and pointing upwards to Our
Saviour; to the left, Abraham seated, a child on his lap, and resting
his hand on another by his side.
The background and scene of the whole composition is of blue, to
represent heaven,--studded with stars, shaped like the Greek cross.
The Transfiguration, which corresponds to this subject on the back of
the robe, is the traditional composition, only varied by the unusual
shape of the vesica piscis which encloses Our Saviour. The two
compositions representing the Institution of the Eucharist, on the
shoulders, are better executed and more original. In each of them, Our
Saviour, a stiff but majestic figure, stands behind the altar, on
which are deposited a chalice and a paten or basket containing crossed
wafers. He gives, in the one case, the cup to St. Paul, in the other
the bread to St. Peter,--they do not kneel, but bend reverently to
receive it; five other disciples await their turn in each
instance,--all are standing.
I do not apprehend your being disappointed with the 'Dalmatica di San
Leone,' or your dissenting from my conclusion, that a master, a
Michael Angelo I might almost say, then flourished at Byzantium.
It was in this Dalmatic--then _semée_ all over with pearls and
glittering in freshness--that Cola di Rienzi robed himself over his
armour in the sacristy of St. Peter's, and thence ascended to the
Palace of the Popes, after the manner of the Cæsars, with sounding
trumpets and his horsemen following him--his truncheon in his hand and
his crown on his head--'terribile e fantastico,' as his biographer
describes him--to wait upon the legate.[618]"
FOOTNOTES:
[617] In the 'Manual of Dionysius,' recently published
by M. Didron (p. 71, &c.), these winged wheels are
interpreted as signifying the order of angels commonly
distinguished as Thrones. Their interpretation as the
Covenants of the Law and Gospel, sanctioned by St.
Gregory the Great in his Homilies, is certainly more
sublime and instructive.
[618] Cited from the original life, printed in
Muratori's 'Antiquit. Ital. Medii Ævi,' tom. viii., by
M. Sulpice Boisserée, in his essay, 'Ueber die
Kaiser-Dalmatica,' &c.
APPENDIX V., TO PAGE 320.
The Hon. and Rev. Ignatius Clifford has permitted me to make extracts
from his "Memoranda of some remarkable Specimens of Ancient Church
Embroidery." First on his list is the Cope now in the possession of
Colonel Butler Bowden, of Pleasington, near Blackburn, Lancashire. I
give his account of the mutilated condition, from which he has made
his beautifully drawn restoration. "Formerly," he says, "portions of
this cope, some made up into chasuble, stole, maniple, and some scraps
detached, were at Mount St. Mary's College, Spink Hill, near
Chesterfield, Derbyshire."
The well-known architect, the late Augustus Welby Pugin, having seen
them (or at least the chasuble), wrote on the 20th April, 1849, to the
Rector of the College, "I found it to be of English work of the time
of Edward I., and have no hesitation in pronouncing it to be the most
interesting and beautiful specimen of church embroidery I have ever
seen."
Other portions of the cope had been made up into an altar-frontal, and
were in the possession of Henry Bowden, Esq., of Southgate House,
Derbyshire, some four or five miles from the college.
The ground is crimson velvet. The designs are wrought in gold, silver,
silk, and seed pearls. The silks are worked in chain, or rather in
split stitch. It contains between seventy and eighty figures.
Only two small fragments remain of the quasi-hood.
In the orphrey are kings, queens, archbishops, and bishops. In the
body of the cope are the Annunciation--Adoration of the Magi--Our Lady
enthroned at the right of her Divine Son. _Lowest row_ of single
figures--St. Simon, St. Jude, St. James, St. Thomas, St. Andrew, St.
Peter, St. Paul, St. Barnabas, St. Matthew, St. Philip, St. James, St.
Bartholomew. _Middle row_--St. Edward the Confessor--a Bishop--St.
Margaret, St. John the Evangelist, St. John the Baptist, St.
Catherine, an Archbishop, St. Edmund king and martyr. _Top row_--St.
Lawrence, St. Mary Magdalene, St. Martha (or St. Helen?), St. Stephen.
In the intervals, angels seated on faldstool thrones, and bearing
stars; also two popinjays.
Mr. Clifford describes the Steeple Aston Cope. The ground is of a
richly ribbed faded silk. The design worked in gold and silks is
enclosed in quatrefoils of oak and ivy. The Syon Cope he refers to
Rock's "Textile Fabrics." See Appendix.
The Dalmatic from Anagni, exhibited at Rome in 1870, he thinks is
probably English.
The Pluvial in the Basilica of St. John Lateran at Rome, he speaks of
as "having much the appearance of the celebrated Opus Anglicanum."
He describes the subjects embroidered on it thus: "No border round the
curved edge. The orphrey is divided into tabernacles containing an
archbishop, two bishops, and three kings and queens. Between the
tabernacles are four angels, each accompanied by one of the
evangelistic symbols. The body of the cope is cut into a most
elaborate system of tabernacles, with a centre compartment of a
different form for the group of the Crucifixion. The subjects are
chiefly from the life of our Lord and the Blessed Virgin. The small
quasi-hood is embroidered with two wyverns or griffin-like creatures.
The pelican and the phœnix are introduced over the top central
group of the enthronement of our Lady."
Mr. Clifford gives the history of the Cope of Pius II. (Bartolomeo
Piccolomini, "Æneas Silvius") fifteenth century. It is a masterpiece
of Italian embroidery of the early Renaissance. The material was gold
brocade, covered with wonderful designs carried out in needlework,
representing saints and angels, trees and birds, and arabesques. The
whole was adorned with pearls and precious stones valued at £80,000.
At his death the pope bequeathed this vestment to the cathedral of his
native town. The cope was stolen in March, 1884, from the treasury at
Pienza; and shortly afterwards discovered in the shop of a dealer in
antiquities at Florence, but completely stripped of its precious
stones and of some of its more valuable embroidery. After magisterial
investigation, the cope was restored to Pienza.
The cope at Bologna is thus described: "Subjects from the New
Testament contained in two rows of tabernacle compartments, twelve in
lower, seven in upper row. Spandrils occupied by angels playing on
various musical instruments. After each row, a border containing
medallions with heads (of angels, prophets, &c.), twenty-three in
lower, nine in upper row. No orphrey; no border or outside curve;
quasi-hood very small."
APPENDIX VI., TO PAGE 326.
_From Rock's "Textiles," p. 275._
"The Syon Monastery Cope; ground green, with crimson interlacing
barbed quatrefoils, enclosing figure of our Lord, the Blessed Virgin
Mary, the Apostles, with winged cherubim standing on wheels in the
intervening spaces, and the orphreys, morse, and hem wrought with
armorial bearings; the whole done in gold, silver, and various
coloured silks. English needlework, thirteenth century; 9 feet 7
inches by 4 feet 8 inches.
"This handsome cope, so very remarkable on account of its
comparatively perfect preservation, is one of the most beautiful among
the several liturgical vestments of the olden period anywhere to be
now found in Christendom. If by all lovers of mediæval antiquity it
will be looked upon as so valuable a specimen of art of its kind and
time, for every Englishman it ought to have a double interest,
showing, as it does, such a splendid and instructive example of the
opus 'Anglicum,' or English work, which won itself so wide a fame, and
was so eagerly sought after throughout the whole of Europe during the
Middle Ages."
Dr. Rock gives a list of the subjects. St. Michael overcoming Satan
(from Rev. xii. 7, 9). The next quatrefoil above this is filled with
the Crucifixion. Here the Blessed Virgin is arrayed in a green tunic,
and a golden mantle lined with vair; her head is kerchiefed, and her
uplifted hands sorrowfully clasped. St. John--whose dress is all of
gold--is on the left, at the foot of the cross, upon which the
Saviour, wrought all in silver--a most unusual thing--with a cloth of
gold wrapped about His loins, is fastened by three (not four)
nails.... In the highest quatrefoil is figured the Redeemer in glory,
crowned as a king, and seated on a cushioned throne. Resting upon His
knee and steadied by His hand is the Mund, or ball representing the
earth.... This is divided into three parts, of which the largest, an
upper horizontal hemicycle, is coloured crimson (now faded to a
brownish tint), but the lower hemicycle is divided vertically in two,
of which one portion is coloured green, and the other white or
silvered....
The next two subjects to be described are--one on the right hand, the
death of the Blessed Virgin Mary; the other, on the left, her
burial....
Below the burial we have our Lord in the garden, signified by two
trees; still wearing the crown of thorns; our Lord in His left hand
holds the banner of the Resurrection, and with His right bestows His
benediction on the kneeling Magdalene, who is wimpled, and wears a
mantle of green, shot yellow, over a light purple tunic.
Below, but outside the quatrefoil, is a layman clad in gold, upon his
knees, and holding a long, narrow scroll bearing words which cannot
now be satisfactorily read.
Lowermost of all we see the Apostle St. Philip, with a book in one
hand, in the other the flaying knife.
A little above him St. Peter, with his two keys, one gold, the other
silver; and somewhat under him is St. Andrew with his cross. On the
other side of St. Michael and the Dragon is St. James the
Greater--sometimes called of Compostella, because he lies buried in
that Spanish city--with a book in one hand and in the other a staff,
and slung from his wrist a wallet, both emblems of pilgrimage to his
shrine in Galicia.... In the next quatrefoil above is St. Paul with
his sword, and over to the right St. Thomas; still further to the
right St. James the Less. Just above is our Saviour, clad in a golden
tunic, and carrying a staff, overcoming the unbelief of St. Thomas.
Upon his knees that Apostle feels, with his right hand held by the
Redeemer, the spear wound in His side.
As at the left side, so here, quite outside the sacred history on the
cope, we have the figure of an individual probably living at the time
the vestment was wrought. The dress of the other shows him to be a
layman; by the shaven crown of his head, this person must have been a
cleric of some sort; but we cannot tell ... for the canvas is worn
quite bare, so that we see nothing now but the lines drawn in black to
guide the embroiderer.... This Churchman holds up another scroll
bearing words which can no longer be read.
"When this cope was new, it showed, written in tall gold letters more
than an inch high, an inscription now cut up and lost ... the word
_ne_, and a V on some of the shreds are all that remains of it.
"In its original state it could give us the whole of the twelve
Apostles. Portions can still be seen.... The lower part of the
vestment has been sadly cut away, and reshaped with the fragments;
perhaps at that time were added the present heraldic orphrey, morse,
and border, probably fifty years later than the other portions of this
matchless specimen of the far-famed 'Opus Anglicum.'" "Of angels,"
the "nine choirs," and the three great hierarchies, Cherubim,
Seraphim, and Thrones, are figured here. Led a good way by Ezekiel,
but not following that prophet step by step, our mediæval draughtsmen
found out for themselves a certain angel form. To this they gave a
human shape, that of a comely youth; clothing him with six wings, with
human feet; instead of the body being full of eyes, the wings are
often composed of the bright-eyed feathers of the peacock. On this
cope the eight angels standing upon wheels are so placed that they are
everywhere nearest to those quatrefoils wherein our Lord's Person
comes, and may therefore be taken as representing the upper hierarchy
of the angelic host. The other angels, not upon wheels, no doubt
belong to the second hierarchy; while those that have but one pair of
wings (not three) represent the lowest hierarchy. "All, like our Lord,
are barefoot. All of them have their hands lifted in prayer.... For
every lover of English heraldry this cope, so plentifully blazoned
with armorial bearings, will have a special value, equal to that
belonging to many an ancient roll of arms." The orphrey, morse and hem
contain the arms of Warwick, Castile and Leon, Ferrars, Geneville
Everard, the badge of the Knights Templars, Clifford, Spencer, Lemisi
or Lindsey, Le Botiler, Sheldon, Monteney of Essex, Champernoun,
England, Tyddeswall, Grandeson, FitzAlan, Hampden, Percy, Chambowe,
Ribbesford, Bygod, Roger de Mortimer, Golbare or Grove, De
Bassingburn, with many others not recognized, and frequent
repetitions.... "Besides their heraldry, squares at each corner are
wrought with swans and peacocks of curious interest for every lover of
mediæval symbolism...." These coats of arms, being mostly blazoned on
lozenge-shaped shields, suggest that possibly they record those of the
noble ladies who worked the border; while those on circles may be the
arms of religious houses or donors.
"A word or two upon the needlework; how it was done; and the now
unused mechanical appliance to it after it was wrought, so observable
on this vestment, lending its figures more effect."
"We find that for the human face, all over this cope, the first
stitches were begun in the centre of the cheek, and worked in circular
lines, into which, after the first start, they fell, and were so
carried on through the rest of the flesh tints.
"Then with a little iron rod, ending in a small bulb slightly heated,
were pressed down those parts of the faces worked in circles, as well
as the wide dimple in the throat. By the hollows thus sunk a play of
light and shadow is brought out that lends to the parts so treated a
look of being done in low relief. Upon the lightly clothed figure of
our Lord the same process is followed, and shows a noteworthy example
of the mediæval knowledge of external anatomy.
"We must not, however, hide from ourselves that the unequal surfaces,
given by such a use of the hot iron to parts of the work, expose it to
the danger of being worn by friction more than other parts, and soon
betray the damage by their threadbare, dingy look, as is the case in
the example just cited. The method for grounding the quatrefoils is
remarkable for being done in a long zigzag diaper pattern (laid
stitch)....
"The stitching on the armorial bearings is the same as that now
followed in many trifling things worked in wool (cross stitch).
"The canvas (or linen) for every part of this cope is of the finest
sort, but its crimson canvas lining is thick and coarse....
"A word or two about the history of this fine cope...."
Dr. Rock now enters into the history of the guilds, which included
noble laymen and women, and members of the clergy; and tells us that
the rolls of these associations sometimes grew to be exceedingly
wealthy. He says that each of these guilds had usually in its parish
church a chapel or altar of its own, splendidly provided for, to which
offerings were spontaneously given by individuals, or by members
clubbing together that their joint gift might be the more worthy.
Perhaps the cleric and the layman worked on the cope may have been the
donors. Dr. Rock suggests that possibly Coventry may have been the
place of its origin, "where the famous Corpus Christi plays" (which
this cope so well illustrates) "drew crowds every year to see them, as
is testified by the Paston letters. Taking this old city as a centre,
with a radius of no great length, we may draw a circle on the map
enclosing Tamworth, tower and town, Chartley castle, Warwick,
Charlcote, and Althorp. The lords of these broad lands would, in
accordance with the religious feelings of those times, become brothers
of the famous Guild of Coventry, and on account of their high rank
find their arms embroidered on the vestments belonging to their
fraternity. That such a pious queen as the gentle Eleanor, wife of
Edward the First, who died 1290, should have in her lifetime become a
sister is very likely, so that we may easily account for the
shield--Castile and Leon."
The other noble shields may possibly record munificent benefactions.
"The whole must have taken very long in the working, and the
probability is that it was embroidered by the nuns of some convent
which stood in or near Coventry....
"Upon the banks of the Thames at Isleworth, near London, Henry V.
built and munificently endowed a monastery, to be called 'Syon,' for
the nuns of St. Bridget's order. Among the earliest friends of this
new house was a Master Thomas Graunt, an official in one of the
Ecclesiastical Courts of the kingdom. In the Syon Nun's
Martyrologium--a valuable MS. lately bought by the British
Museum--this Churchman is gratefully recorded as the giver to their
convent of several precious ornaments, of which this very cope
seemingly is one. It was the custom for a guild or religious body to
bestow some rich church vestment upon an ecclesiastical advocate who
had befriended it by his pleadings before the tribunal, and thus to
convey their thanks to him with his fee. After such a fashion this
cope might easily have found its way, through Dr. Graunt, from
Warwickshire to Middlesex.
"At the beginning of Elizabeth's reign it went with the nuns, as they
wandered in an unbroken body through Flanders, France, and Portugal,
where they halted. About sixty years ago it came back again from
Lisbon to England, and has found a home in the South Kensington
Museum."
For want of space I have been obliged to omit a great deal of Dr.
Rock's interesting account of the Syon Cope. The reader is referred
for further details, especially regarding the heraldry and the
subjects in the quatrefoils, to Rock's "Textile Fabrics," pp. 275-291,
in the South Kensington Museum (No. 9182).
APPENDIX VII., TO PAGE 350.
The Assyrians were great in fringes. Of this we can judge from their
sculptures, in which the rich deep and broad fringe forms the ornament
and accentuates the shaping of the garments of kings and priests and
nobles. Loftus, in his "Babylon and Susiana," tells of the only
actually existing remnant of their textile art of which I can find any
record. Some terra-cotta coffins were opened at Warka (the ancient
Erech), and in one of them was a cushion, on which the head, gone to
dust, had reposed. It was covered with linen--fringed. Nothing else
had survived the ages except a huge wig of false hair. Such
fragmentary echoes from a life, a civilization, and an art dead for
thousands of years, are curiously pathetic, and touch and startle the
thinking mind.
APPENDIX VIII., TO PAGE 369.
The following poem from the Anglo-Saxon poem of Beowulf shows that the
hospitable hall of the Saxon earl was hung with tapestry embroidered
with gold.
Fœla pœra was
Much people were
Wera and Wifa pe pat win rued
Men and women who that wine house
Gest sele gyredon gold fag scinon
That guest-hall garnished. Cloths embroidered with gold
Web-after wagum. Wundersiòna feld
Those along the walls many wonderful sights
Sioga gustryleum para pe on swyle stara ♀
To every person of those that gaze on such.
Translation by Thomas Arnold.
The poem of Beowulf is supposed to have been written in the early part
of the twelfth century.
The lines which follow are from a poem, recomposed from earlier sagas,
in the beginning of the twelfth century. It serves to show that arras
was used in bedrooms thus early in Germany.
From the "Niebelungen Lied," übersetzt von Karl Simrock, p. 294.
Manche schmucke Decke von Arras da lag
Aus lichthellem Zeuge und manches Ueberdach
Aus arabischer Seides so gut sie mochte sein,
Darüber lagen leisten du gaben herrlicher Schein.
I owe these notices to the kindness of the Rev. A. O. Winnington
Ingram.
APPENDIX IX., TO PAGE 362.
_Abridged from Trans. by Sir G. Dasent._
(_From the Ezrbyggja Saga._)
In that summer in which Christianity was established by law in Iceland
(A.D. 1000), there came a ship from off the sea out to Snowfellsness,
in Iceland. It was a Dublin ship, and on board it were Irishmen and
men from Sodor and the Hebrides, but few Norsemen.... On board the
ship was a woman from the Hebrides, whose name was Thorgunna. Her
shipmates said that they were sure she had such treasures with her as
would be hard to get in Iceland.
Thurida, the housewife at Frida, was envious and covetous of these
precious goods, and received Thorgunna into her home in hopes, by some
means, to possess herself of them, especially the embroidered hangings
of a bed; but Thorgunna refused to part with them. "I will not lie in
the straw for thee, though thou art a fine lady, and thinkest great
things of thyself." Thorgunna made her own terms with Thurida and
Master Harold, and set up her bed at the inner end of their hall. Her
richly worked bed-clothes, her English sheets and silken quilt, and
her bed-hangings and canopy were such "that men thought nothing at all
like them had ever been seen." An air of truth is given to the whole
story by the details. Thorgunna is described as "tall and strong and
very stout. She was swarthy brown, with eyes set close together; her
hair was brown and very thick. She was well-behaved in daily life, and
went to church every morning before she went to her work." Then comes
an account of a storm, and a rain of blood; and how Thorgunna sickened
and died, and at her own desire was carried to be buried to Skilholt,
which she prophesied would one day be considered holy, and that
priests might there sing dirges over her.
There is a curious and picturesque account of the two days' journey to
Skilholt, and the adventures that befell the funeral cortége;
including the incident of the corpse cooking the supper of the convoy
at an inhospitable farmhouse where they had sought refuge and received
no entertainment.
On Harold's return home after the funeral, he proceeded to carry out
the wishes of Thorgunna, who had warned him that the ownership of her
embroidered hangings would cause trouble, and therefore she had
desired they should be burned. Thurida, however, could not bear to
lose them, and persuaded Harold to spare them. "After this followed
many signs and portents, and deaths of men and women, and apparitions
of ghosts, until Kjartan (Thurida's son) brought out all Thorgunna's
bed-hangings and furniture, and burned them in the fire."
APPENDIX X., TO PAGE 365.
Aelfled or Athelfleda was the founder of a race of embroiderers. Their
pedigree is as follows:--
BRITHNOD, === ATHELFLEDA.
a Northumberland | She embroidered the
Chief or Alderman. | daring deeds of her husband.
|
LEOFLEDA. === KING OSWIC.
| Oswic's sister Aedelfleda was
| adopted by Hilda, Abbess of Whitby.
| She succeeded Hilda, and died 713.
| She was a great embroiderer.
___________|___________
| | |
AELFWIN. AELSWITH. LEOFWED.
|
AELSWITH.
Leofwed made her will in the time of King Cnut; dividing her revenue
between her daughter Aelswith and the Abbey of Ely. Aelswith accepted
the residence of Coveney, a small property belonging to the convent,
and there she embroidered with her maidens. See Liber Eliensis, ed. D.
J. Stewart, "Anglia Christiana," vol. i., 1848.
APPENDIX XI., TO PAGE 377.
In the Statutes at Large there is the following in vol. i. p. 526 (in
old French):--
2 Henry VI.
A penalty on deceitful workers of gold and silver embroidery.
Item. pur ceo que diverses defautes sont trovez en loveraigne de
diverses persons occupiantz le mestier de brouderie. Ordonnez est &
assentiez, que tout loveraigne & stuff de brouderie d'or ou d'argent
de Cipre ou d'or de Luke melle avec laton de Spayne & mys a vent en
deceit des lieges du Roi sont forfait au Roi ou as Seigneurs et autres
accenz franchises d'autielx forfaitures ein quy franchise autiel
overaigne soit trouvée et durera c'est ordinance longue parlement
prochainement avenir.
33 Henry VI.
That if any Lombard or any other person, Stranger or Denizen, bring or
cause to be brought by way of merchandize any wrought silk thrown,
Ribbands, Laces, Corses of Silk, or any other thing wrought, touching
or concerning the mystery of Silk women, the corses which come from
Genoa only excepted, into any part or place of the Realm from beyond
the Sea, that the same ... be forfeit.
3 Edward IV.
Whereby the importation of any wrought silk thrown, Ribbands, Laces,
Corses of Silk, or other things wrought, concerning the craft of Silk
women is prohibited or restrained.
22 Edward IV.
That no Marchant, Stranger, nor other person shall bring into the
Realm to be sold, any Corses, Girdles, Ribbands, Laces, Coll. Silk or
Colein Silk, thrown or wrought, upon pain of forfeiture of the same.
Also Richard III. "An Act touching the bringing in of Silk Laces,
Ribbands, &c."
Also 19 Henry VII. "An Act for Silk Women."
These acts appear to have been partially repealed, 3 and 5 George III.
INDEX.
Achilles, shield of, 33, 103.
Aelgitha, wife of Canute, embroideries by, 366.
Æsthetic, 17, 90, 339.
Agrippina, golden garment of, 143.
Alessandri Palace, Florence, 284.
Alexander the Great, 142, 299;
wedding tent of, 263-4;
pall of, 142.
Alkisthenes, mantle of, 298.
Altar, 42, 346;
altar-piece, 328;
altar-cloths, 340, 346;
by Queen Emma, 366.
Amasis, corselet of, 20, 308;
Bishop of, 299.
Anne of Brittany, 331.
Apollo of Branchidæ, 296.
Arabesque, 43, 80.
Arachne, 237.
Aragon, Catherine of, embroideries by, 383.
Aristophanes, 98.
Arras, 238, 243, 255-6, 274.
Arrazzi, 245;
Prince of, 249;
trade with, 250, 252.
Art of dress, 298;
of needlework, 396.
Art, Greek, 18, 35, 59, 306;
Egyptian, 20, 25, 34, 56-7;
Scandinavian, 29, 40;
Roman, 37, 60, 310;
Romanesque, 36, 323;
Christian, 37, 39, 300, 306, 311, 315, 317;
Chinese, 38, 73, 153, 155;
Japanese, 38, 64, 65, 393;
Gothic, 42, 52, 68, 307, 324;
Italian, 43, 311;
French, 46;
Ecclesiastical, 41, 78, 303, 305;
Aryan, 69, 70;
Celtic, 96, 273;
decorative, 289;
Lombardic, 310;
Pagan, 338.
Asbestos linen, 123.
Atrebates, 136, 246.
Attalus II., 142.
Auxerre, Bishop of, 242.
Balawat, bronze gates from, 271.
Baldachino, 170, 268, 283, 312.
Banner, 215;
of St. Cuthbert, 349.
Bas-relief, Assyrian, 287.
Bayeux tapestries, 367.
Beads, 332.
Bede, mention of worked palls by, 160.
Bedsteads, 282;
at Kenilworth, 283-4;
at Hampton Court, 395.
Bellini, portrait of Mahomet II., 147.
Black, 187.
Blode-bendes, or silk arm-bindings, 374.
Blue, 184, 187.
Boadicea, dress of, 87, 359.
Bombacinum or cotton, 138.
Book-coverings in library of Charles V., 289.
Borghese Palace, Rome, 277.
British Museum, sculptures in, 22;
vases, 31, 114;
frieze of Parthenon, 31;
mantle of Demeter, 93;
Egyptian dress, 93;
glass bowls, 101;
carpets from Nineveh, 105;
Egyptian woollen embroidery, 130;
fine linen printed, 134;
garment with gold ornaments, 144;
"opus pectineum" from Egypt, 236;
pavements, 272;
bronze statuette of Minerva, 297;
specimen of "opus Anglicanum," 376.
Brocade, 141.
Bronze age, 358;
statues, 359.
Brown, 187.
Buckram, 139.
Burleigh House arras, 256.
Byrri, 238.
Byssus, 134-5.
Byzantium, 306, 314.
Carpets, 261, 285;
Persian, 23, 73, 132, 188, 241, 271, 371.
Cashmere, 133.
Castle Ashby, tapestries at, 277.
Catacombs, 304.
Chair, 285;
chair-backs, 286.
Chaldean house, 281.
Charles I., 255, 390.
Charles V., library of, 289, 295.
Chasuble, 164;
by Isabella of Spain, 147;
at Coire, 328;
of St. Oswald, 362;
at Valencia, 381;
for Henry III., 374.
Chaucer, 251.
Chemmis, city of Pan, woollen trade in, 127.
Chenille, 395.
Church historical embroideries, 316.
Ciclatoun, 145.
Cinnabar, 183.
Clavus latus, 309, 337.
Cleves, Anne of, 384.
Cochineal, 184.
Code of Manu, 89.
Colour, 175-193;
prismatic, 177;
purple, 180;
crimson, 184;
copper, 184;
yellow, 185;
pure, 189, 192;
iodine, 190;
chromatic, 190;
Oriental, 191;
gas, 191;
foundation, 289;
green, 289;
liturgical, 305;
mystical, 335.
Complication, 67.
Confusion, 65.
Constantine, 306, 316.
Consutum, 214.
Contrast, 66.
Conventional, 71, 97.
Cope of St. Andrew, 144;
Syon, 206, 326;
of Boniface VIII., 320;
at Rheims, 321-2;
Daroca, 320, 376;
at Stoneyhurst, 348, 379;
of Innocent III., 369;
at Durham, 390.
Copper, 184.
Coral, 88, 124, 332.
Coronation robes, 295, 318, 362;
of St. Stephen of Hungary, 322;
of Charles X., 339;
of Edward the Confessor, 366;
of James II., 393.
Corselet of Amasis in temple at Lindos, in Rhodes, 20, 308.
Cotton, 137;
cotton trees, 138;
woven, 139;
cotton plush, 139.
Counterpane worked by Queen Catherine, 384.
Coverlets, 393.
Crewels, 133, 229, 345, 398;
work in, 390, 392.
Crimson, 184.
Cross, 103;
of St. Andrew, 144;
Greek, 165;
emblem of, 308;
prehistoric, 335-6.
Croyland Abbey embroideries, 366.
Crusaders, 307, 371.
Curtains, 261, 270, 272, 281, 288;
ordered by Sergius, 312;
by Pope John, 312;
by Stephen IV., 312.
Cushion at Hatfield, of James I.'s reign, 390.
Cuthbert, St., 144;
silk garments in tomb of, 163, 165, 364-5.
Cyprus bowls, 109.
Dado, 271.
Dais, the chamber of, 282.
Dalmatic of Charlemagne, 53, 317-18;
at Valencia, 381.
Damascus, 127.
Decoration, 5, 50, 70, 290, 355;
art of, 273.
Decorative, 81, 273.
Design, 54-81;
floral, 71, 345, 348;
English, 377;
by St. Dunstan, 365.
Detail, 71.
Dress, 70, 294, 301, 373;
Greek, 297-8;
Roman, 299;
early Christian, 300;
of Claudius, 360;
of Duke and Duchess of Buckingham, 393.
Durham Cathedral, 348.
Dyes, 183, 185, 358;
Indian, 187.
East India Company, monopoly of trade by, 388.
Ecclesiastical embroidery, 303, 327, 330, 353;
for images, 305;
priests' robes, 306;
materials used in, 311;
names of garments in, 313, 316;
at Durham, 316;
English, 332.
Edward II., 250.
Edward III., 377.
Eighteenth century decorations, 112;
embroidery, 393, 395.
Eleanor, Queen, crosses of, 372.
Emare, mantle of, 372.
Embroiderers' Guild, 388;
list of names, 373;
Company in Elizabeth's reign, 387, 394.
Embroideries, Babylonian and Ninevite, 22, 44, 105, 127, 132, 271,
299, 311, 350;
Greek, 31-2, 93, 103, 142;
German, 43, 149;
Italian, 43, 116, 147;
Spanish, 45, 150, 331, 383;
Portuguese, 45;
Scandinavian and Celtic, 68, 91, 104, 116, 131, 136, 306;
Egyptian, 93, 114, 130, 134, 209, 236, 271;
Assyrian, 93, 127, 262, 357;
Roman, 129, 143, 153, 313;
Chinese, 97, 113, 127, 151, 208;
Persian, 99, 266, 299;
Japanese, 109, 214;
Russian, 201, 206, 313;
Delphic, 272;
English, 319, 321, 325, 356-396;
spurious, in Henry VI.'s reign, 377.
Embroidery, art of, 16, 136, 173, 195, 289, 378;
white, 200;
in churches, 313, 341.
Emma, Queen, embroideries by, 366.
Enamel, 146.
Etruscan borders, 47;
tombs, 357.
Fashion, 301.
Fayoum, 39;
ancient Egyptian textile fabrics from, 139, 300.
Fictile vases, 31, 32, 93, 103.
Field of Cloth of Gold, 381-2.
Filatorium, 222.
Fitness, 81.
Flat, drawing on, 69-70;
stitches, 345.
Flavius Vopiscus, 158.
Flax, 133, 135.
Flemish work, 329.
Floral patterns, 71.
Floss silk, 374.
Flowers, 291.
Footstools, 285.
Frames, 292, 299, 371, 389.
Frescoes, 373.
Fringes, 271, 351.
Fulham, tapestry works at, 257.
Furniture, 280-293.
Gammadion, 104.
Gaudry, Bishop, tapestry of, 242.
Geoffrey, Abbot, 249.
Gisela, Queen, 323.
Giustini Palace, Florence, 277.
Gobelins, 131, 237, 247-8, 275, 277.
Gold, 140, 143;
threads, 346;
Gothic design in, 75, 377;
embroideries, 202;
needlework for Elinor of Aquitaine, 369;
Spanish lace, 381;
caskets, 389.
Gradation, 67.
Green, 187.
Gregory Nazianzen, 160.
Grey, 187.
Grotesque, 43.
Guimp, 163, 223.
Hair, 133.
Hampton Court, 288, 384;
bed at, worked by Mrs. Pawsey, 395.
Hand-looms, 374.
Hangings, 243, 260-274;
of the Hebrew Sanctuary, 262;
of Alexander's tent, 263;
portraits on, 265;
in Kosroes' "white palace," 268;
on Greek vases, 269;
in Pompeii, 269;
saffron, mentioned by Euripides, 272;
French, sixteenth century, 274;
modern French, 275;
in Holland House, 276;
in Florence, 277;
in Rome, 277;
English, from time of Harold to Edward IV., and others, 370, 384,
392-3.
Harmonies, 66.
Hawaiian royal mantle, 209.
Helen, 33.
Helena, Empress, 316, 360.
Hemp, 121.
Henry II., mantle of, 203, 323.
Henry VIII., manufacture of tapestry in reign of, 252;
embroidery, 302, 369, 384-5.
Hephæstion, catafalque of, 267.
Hexameron work of St. Ambrose and St. Basil, 333.
Holland House, 276.
Homer, 11, 19, 33, 130.
Hom, the sacred, 99, 334.
Icelandic Sagas, 273, 362.
Illumination, 273, 305, 310, 363.
Imperial, a silk tissue, 161.
India, arts of, 7, 27, 75, 83, 311;
Museum, 89, 285.
Indian carving, 75;
shawls, 133;
cotton fabrics, 138;
dyes, 187;
embroideries, 284, 299;
manufactures, 389, 391, 394.
Inscriptions, 105, 146, 341;
woven in, 168;
in tapestry, 242, 375.
Isabella of France, 331;
of Spain, 384.
Jacket in Lady Waterford's collection, 386.
James I., manufacture of tapestry in reign of, 254;
portrait of, 255;
work in reign of, 387, 388.
Josephus, 9.
Juno, toilet of, 297.
Jute, 121.
Kells, Book of, 30.
Khotan, Prince of, 156.
Kosroes' hangings, 261, 268.
Kunigunda, Empress, 203, 323.
Lace, 222-235;
bone, 225;
yak, 225;
needle-made, 227;
ancient lace-books, 228;
stitches, 229;
Venetian, 229;
Burano, 230;
list of, 231;
blond, 232;
schools in France, 233;
for ecclesiastical purposes, 233;
bobbin, 234;
Limerick, 234;
Irish, 234;
Honiton, 234;
Spanish, 383.
Lambeth tapestry works, 257;
missal at, 30.
Lares, 291.
Leather, 123.
Lilac, 187.
Linen, 357-8.
Lombardic, 310, 323.
Lotus, 89, 102, 105.
Louis XIV., 46, 247, 276, 332, 393.
Louis XV., 47, 110, 247, 276, 332.
Louis XVI., 332.
Lyons, 151, 167, 345.
Maniple of St. Cuthbert, 144;
in Durham library, 364.
Mantle of Demeter, 93;
of Ajax, 103;
of Servius Tullius, 129;
of Alkisthenes, 299;
of Gisela, 323;
of King Wiglaf, 363-4.
Manu, Code of, 314.
Manufactures of Nineveh and Babylon, 127;
at Lyons, 151;
of silk, 160;
at Palermo, 161.
Marcus Aurelius, 158.
Mark's, St., Venice, 346.
Mary, Queen of Scots, 387.
Mary's, St., Hall, Coventry, 250, 379.
Melito, Bishop of Sardis, book on Symbolism by, 333.
Middle Ages, 12, 23, 42, 73, 125, 137, 145, 168, 183, 202, 239, 242,
249, 273, 307, 315.
Mitre at Milan, 211;
of St. Thomas à Becket, 321, 369.
Monks of St. Florent, Saumur, 242;
of Cluny, 242;
of Fleury, 242;
in England, 249;
of St. Alban's, 251.
Monuments, 373.
Morris, William, 290.
Mosaics, 40, 300, 314;
Empress Theodora's dress figured in, 41, 93;
of Sta. Pudenziana, 306, 317;
early Christian, 314;
in Sta. Maria Maggiore, 117, 322.
Mummy-wrappings, 21.
Museum, Cluny, 247, 275, 277;
at Boulac, 56.
Muslin, 139.
Mycenæ, tomb of Agamemnon at, 19;
lion's gate of, 304.
Needle, the first, 14, 357;
bronze, steel, 195, 213;
bone, 358.
Nimroud, 24.
Nineteenth century, style of, 49, 339.
Normans, 366.
Northumberland House, tapestries at, 257.
Nunneries, 10.
Opus Alexandrinum, 117.
Opus Anglicanum, 325, 376.
Orange, 187.
Order, 59.
Oriental work, 392.
Orphrey, 368-9.
Oudenarde "hallings" or "salles," 252.
Painting, 4.
Palermo, silk-weaving at, 165, 307.
Pall of Alexander, 142;
at Dunstable, 251, 378;
of London Companies, 329, 379.
Pamphile silk-weaver, 152.
Panels, 69, 79.
Patchwork, 117;
appliqué, 214, 325, 392.
Patterns, 82-117;
wave, 62, 114;
key, 63, 97;
Oriental, 84, 99;
lotus, 89, 102;
animal, 93;
lily, 95;
rose, 95;
palm leaf on shawl, 96;
sacred hom, 99;
pine-apple, 100;
honeysuckle, 101;
egg and tongue, 102;
cross, 103;
crenelated, 104;
Renaissance, 108;
cloud, 109, 338;
fundata or netted, 109;
wheel, 110;
Moorish, 110;
Sicilian, 111;
shell, 112;
Indian balcony, 112;
chrysoclavus or palmated, 113;
wicker and lattice-work, 113;
bead, 114;
daisy, 114;
geometrical, 115;
German and Venetian books of, 206;
feather, 208;
Persian, 241;
check, 270;
metal-work, 325;
Roës, or wheel and plate, 336-7;
Indian dimity, 394.
Peacocks, 163, 211;
feathers, 376.
Pearls, 332, 362, 383, 389.
Pectineum, 235.
Penates, 291.
Penelope, bridal couch of, 281.
Peplos of Athene, 32.
Père Labbé, 242.
Persian carpets, 23, 73, 98, 132, 241, 266, 271;
rugs, 94;
silks, 153.
Perspective, 70.
Peter's, St., Rome, 346.
Pheidias, 59.
Phœnicians, 7, 21, 125, 176, 357;
bowls from Cyprus, 109.
Phrygium, 202.
Pictorial art, 79, 331.
Plâteresque, 45.
Plumarii, 207, 212.
Plush, 221.
Pluvial of St. Silvester, 319;
at Bologna, 320;
at Aix, 351;
Daroca, 376.
Polymita, 87.
Pompeii, 269.
Portraits of Charles V., 295;
of Richard II. at Wilton House, 372;
of fourteenth and fifteenth centuries, 379;
in needlework in reign of James I., 388.
Portuguese silks, 394.
Progression, 64.
Proportion, 64, 291.
Pulvinarium, 204.
Purl, 387.
Purple, 187.
Queen Anne, style in reign of, 46, 49, 88, 391, 394.
Queen Elizabeth, embroidery of, 385-6;
style in reign of, 389.
Queen Mary of Hungary, 330.
Queen Matilda, 367.
Radiation, 67.
Raphael, 44, 245;
cartoons of, 255.
Renaissance, 26, 43, 45, 75, 108, 308, 329, 380, 383.
Repetition, 62.
Reredos at St. Alban's, 249, 347;
of Vintners' Company, 251.
Richard Cœur de Lion, 374.
Robes of Julius Cæsar, 153;
of Childeric, 144;
of Bishop Adhelme, 361;
of St. Thomas à Becket, 369.
Roger, King of Sicily, transports silk-weavers from Greece, 161.
Roman silks, 160;
fashions, 299.
Romanesque, 36, 306, 323, 362, 364.
Roses, Wars of, 371, 372-3, 378.
Rugs, 285.
Runic art, 29, 306.
Samit, 145.
Sampler of Henry VII.'s reign, 379-80.
Saracenicum, 240.
Satin, 161, 170;
of Bruges, 171.
Scarlet, 182, 187, 189.
School of Art Needlework, South Kensington, 219, 288, 392;
rise of, 396-7;
list of work executed at, 398;
designs for, 398.
Schools, branch of Art Needlework, 397.
Screens, 261, 287.
Sculptures, 4, 353.
Seam, 198.
Seres, 154, 160.
Seventh century work, 361-2.
Sewing, plain, 197.
Shells, 88, 124, 190.
Sicilian patterns, 111;
embroideries, 124;
textile designs, 162, 341;
silk manufactures, 168;
fabrics, 315;
ecclesiastical designs, 331.
Sicily, textile art in, 41, 307.
Si-ling-chi, Empress, inventor of unwinding the cocoon, 156.
Silk, origin of, 151;
first woven by Pamphile at Cos, 300 B.C., 152;
Roman and Chinese, 153, 160;
trade in, 153;
in cocoon, 153, 156;
wild silk in China, 154-5;
attire mentioned in Latin poets, 157;
silken robes sold by Marcus Aurelius, 158;
garments given by Emperor Carinus, 158;
edict of Diocletian, with prices of articles, 159;
silk mentioned by poets and historians from first to sixth century,
159;
silkworm, 159;
monopoly of silk manufactures in Constantinople, 159;
first allusion to use of silk in Christian Church, 160;
palls of silk brought from Rome, A.D. 685, 160;
Bede's remains wrapped in silk, 160;
specimens of silk in Auberville's "Tissus," silk tissues called
"Imperial," 161.
Silk-weavers, Jewish, at Thebes in 1161, 161;
transported by Roger, King of Sicily, from Greece to Palermo, 161,
165;
description of Royal manufactory at Palermo, by Hugh Falcandus,
twelfth century, 161;
three periods in Sicily, 162-3;
Saracenic, in India, 166-7;
Italian, in Lyons, 1450, 167, 169;
Spanish at Malaga and Almeria, 168;
in Hungary under Queen Gisela, 169;
in the Flemish towns, 170;
Asiatic, 170.
Smock of Mary Tudor, 385.
Society of Arts, Birmingham, 292.
Sofas, 285.
Spangles, 146.
Spanish Armada, hangings, 253.
Sphinx, 265.
Spinning, 357.
Stamford, Arras woven at, 256, 257.
Stitches, 194-259;
lists of, 196;
gold, 203;
mosaic, 204;
cushion, 204;
plumage, 207;
satin, 214;
sampler, 234;
ecclesiastical, 345;
stem, 214.
Stole, 308;
at Durham, 364;
of Aelfled, Queen of Edward II., 364.
Style, 14-53.
Sun-cross, Egyptian, 337.
Sunflower, 91;
radiated pattern of, 111.
Surcoat of Black Prince, 373.
Swastika, 103.
Symbolism, 59, 95, 98, 307, 333, 334-5, 352.
Symmetry, 63-4.
Table covers, 287.
Tanaquil, robes worked by, 129.
Tapestry, 235-259;
in British Museum, 236;
woven, 237;
of Charles, Duke of Burgundy, 243;
Gobelins, 237;
Arras, 238;
Saracenic, 240;
at Brussels, 245;
French, 245;
Italian, 245;
English, 248, 277;
revival of, at Windsor, 257;
in Cluny Museum, 277.
Taste, 52;
Oriental, 388.
Tau, 335.
Tent, funeral, of an Egyptian queen, 25, 215;
of Antar, 263;
of Nadir Shah, 263;
of Alexander, 264;
of Ptolemy Philadelphus, 264-5;
Persian, 265.
Textile art, 45, 59, 74, 77, 93, 104, 107, 174, 176, 187, 205, 307, 310.
Thebes, silk-weavers of, 161.
"Tissus" of Auberville, 160.
Titian, 178.
Toga, 338.
Tomb of Agamemnon, 19;
of Rameses, 20;
of warrior at Kuban, 129;
in Crimea, 130, 217;
Anglo-Saxon, 144;
of St. Cuthbert at Durham, 163.
Trabea, 309, 337.
Tree of Life, 336.
Triptych in Cluny Museum, 211;
at Zurich, 328.
Tyrian purple, 180, 289.
Ulysses, 281.
Vatican, Etruscan gold ornament, 21, 295, 300.
Veil of Temple, 22;
classical, 261, 265, 311, 312;
for pyx, 350;
of Hebrew sanctuary, 311, 351.
Velvet, 76, 345, 347;
stoles, 161, 172, 221;
pall, 378.
Venetian red, 289;
style, 306.
Vestments, 313, 326;
Italian, 329;
Spanish, 331;
modern, 343;
set presented to Romsey and Croyland by Canute, 366, 370;
set bequeathed to Westminster Abbey by Henry VII., 379.
Watteau, school of, 248.
Welby, Lady, founder of School of Art Needlework, South Kensington, 396.
Wiglaf, King, 362.
William and Mary, 393.
Wilton carpet works, 190.
Windsor, 257, 398.
Wool, 125, 127, 130;
Berlin, 395.
Worcester, dress in tomb of Walter de Cantilupe, 320;
cope of William of Blois, 322;
tomb of King John, 373.
Workhouse sheeting, 140.
Wroxton House, Arras at, 256.
York, Archbishop of, Arras with design of the Four Seasons, 255.
Zoroaster, 101.
ERRATA.
Page xv, line 27, _for_ Albert Castet _read_ Albert Castel.
" 10, " 24, _read_ as that of an important factor.
" 17, " 22, _for_ slow _read_ swift.
" 26, " 16, _for_ art _read_ artistic.
" 42, " 16, _for_ are _read_ were.
" 56, " 5, _read_ advance of them, in the earliest.
" 66, " 21, _for_ we _read_ I.
" 75, " 20, _for_ These _read_ Those.
" 101, " 18, _for_ from Cervetri, in Southern Italy, _read_ from
a tomb at Chiusi, in Etruria.
" 156, " 8, _for_ Chin _read_ Chan.
" 195, " 20, _for_ 6, 7. Bone needles from Neolithic cave-man's
grave, _read_ 6. Cave-man's needle from the
Pinhole, Churchfield, Ereswell Crag. 7. Bone
needle from La Madeleine, Dordogne.
" 198, " 5, footnote, _for_ act _read_ art.
" 208, " 3, footnote, _for_ "Arte Plumarii" _read_ "Arte
Plumaria."
" 237, " 8, _for_ which prove _read_ proving.
" 239, " 17, _delete_ " _after_ of art."
" " " 18, _insert_ " _after_ backwards.
" 242, " 9, _for_ in the Crimea _read_ at Chiusi.
Transcriber's Note
Page 202--the marker for footnote 2 was missing in the original. The
transcriber has estimated where it should have been, based on the text
and reference material therein.
Page 303 includes an excerpt from Psalm 45, with quoted verse numbers
of 10, 14 and 15. These should be verses 9, 13 and 14.
Archaic spelling is preserved as printed. Variable spelling,
hyphenation and use of accents has been made consistent where there
was a clear prevalence of one form over the other, or with reference
to reliable sources; otherwise, these are preserved as printed.
Typographic errors, e.g. omitted, superfluous or transposed letters,
and punctuation errors have been repaired. Other amendments are as
follows:
Plate 71--precipit amended to precepit and omitted word
'pio' added--"... Aelfled fieri precepit pio Episcopo
Fridestano."
Page xx--3 amended to 9--"From Layard's "Monuments,"
Series i. pl. 9."
Page xxi--Edward amended to Richard--"6. Badge of
Richard II."
Page xxii--John amended to Mark--"ST. MARK. Anglo-Saxon
Book of the Gospels."
Page 115--5. removed from beginning of section title,
for consistency with others in that chapter, "GEOMETRICAL."
Page 197--Encyclopedia amended to Cyclopædia--"The
second list is from Rees' "Cyclopædia" (Stitches), 1819
..."
Page 311--des Antiquités amended to Royale des
Antiquaires--""... par la Société Royale des Antiquaires
du Nord" ..."
Page 316--Lwewelig amended to Wledig--"... and in the
Welsh ballad of "The Dream of Maxen Wledig" ..."
Page 316, footnote 502--Pallison's amended to
Palliser's--"See Mrs. Palliser's "Lace," p. 4."
Page 320--T. amended to I.--"... (see Hon. and Rev. I.
Clifford's list of embroideries in Appendix 5)."
Page 331--Riario amended to Riano--"Don Juan F. Riano[533]
says that Toledo is a perfect museum ..."
Page 331, footnote 533--Riario amended to Riano--"See "The
Industrial Arts of Spain," pp. 250-264, by Don Juan F.
Riano, ..."
Page 417--350 amended to 348--"Design, ... floral, 71, 345,
348; ..."
Page 417--210 amended to 109--"Embroideries, ... Egyptian,
93, 114, 130, 134, 209, 236, 271; ..."
Page 419--47 amended to 46 and 308 amended to 276--"Louis
XIV., 46, 247, 276, 332, 393."
Page 419--167 amended to 93--"Mosaics, ... Empress Theodora's
dress figured in, 41, 93; ..."
Page 419--306 amended to 117--"Mosaics, ... in Sta. Maria
Maggiore, 117, 322."
Page 420--index entries for 'Pall' and 'Pamphile,' which
originally followed the entry for 'Pattern,' have been moved
to their correct places.
Page 421--399 amended to 345--"Stitches, ... ecclesiastical,
345; ..."
There are a number of discrepancies between the information in the
list of illustrations (LOI) and the information on the plates
themselves. Some of these are simple omission, others involve
conflicting information. The transcriber has resolved and repaired
some of these differences with reference to alternative sources. In
general, it seems that the information on the plate is correct. Those
that could not be resolved are as follows:
Pl. 5--LOI has "Journal Asiatique,
Syro-Egyptien-Phœnicien." Plate has "Journal
Asiatique, Coupe de Palestrina."
Pl. 9--LOI has "sixteenth century." Plate has
"seventeenth century."
Pl. 10--LOI has "5, 6, 7. Egyptian smooth and rippling
wave pattern." Plate has "5, 6, 7. Egyptian Smooth and
Rippling Water Patterns."
Pl. 10--LOI has "10, 11, 14. Babylonian and Chaldean."
Plate has "10, 11, 14. Assyrian."
Pl. 11--LOI omits Assyrian references.
Pl. 12--LOI has "2, 3. Egyptian. 4, 5. Greek." Plate has
"2, 3. Indian Lotus Patterns. 4, 5. Egyptian Lotus
Patterns."
Pl. 15--LOI has "Book of Kells." Plate has "Lindisfarne
Gospels."
Pl. 20--LOI has "1, 2, 3. Assyrian. 4. Sicilian Silk. 5.
Mediæval." Plate has "1, 2, 3, 5. Assyrian. 4.
Sicilian Silk."
Pl. 28--LOI has "1. Dress patterns from old MS. 2, 3.
Old English tiles." Plate has "1, 2. Gothic tiles. 3.
Gothic Border of a Dress. 4. Gothic Vine."
Pl. 31--LOI omits mention of a third Egyptian fundata
pattern.
Pl. 32--LOI references "Bock's Lit. Gew. ii. p. 246."
Plate references "Vol i. taf. xi."
Pl. 35--LOI omits mention of a peacock pattern. Plate
omits mention of Persian type.
Pl. 41--The source of the examples are either omitted or
different on the LOI to those given on the plate.
Pl. 68--LOI has "sixteenth century." Plate has
"fifteenth century."
Pl. 70--LOI has "A.D. 434." Plate has "sixth century."
Pl. 72--LOI "ST. GREGORY AND ST. JOHN (PROPHET)." Plate
has "St. John" and "St. Roger."
Pl. 74--LOI gives different title for Strutt's book to
that given on the plate. From research, it seems that
the short title is actually "The Regal and
Ecclesiastical Antiqities of England."
Pl. 76--LOI has "twelfth century." Plate has "XIII.
century."
Illustrations have been moved where necessary so that they are not in
the middle of a paragraph. Some of the plates do not have numbers on
the plate themselves.