Part 12 (1/2)

[65] Amadis of Gaul.

[66] Ibid.

[67] _Rath_--speedily.

[68] _Sethin_--afterward.

[69] _Perry_--jewels.

[70] _Bayne_--ready.

[71] Orl. Fur., canto 23.

[72] Froissart, by Lord Berners, vol. i. p. 270.

[73] The Fair Lady of f.a.guell.

[74] Hist. Chivalry.

CHAPTER XI.

TAPESTRY.

The term _tapestry_ or _tapistry_ (from _tap.i.s.ser_, to line, from the Latin word _tapes_, a cover of a wall or bed), is now appropriated solely to woven hangings of wool and silk; but it has been applied to all sorts of hangings, whether wrought entirely with the needle (as originally indeed all were) or in the loom, whether composed of canva.s.s and wool, or of painted cloth, leather, or even paper. This wide application of the term seems to be justified by the derivation quoted above, but its present use is much more limited.

In the thirteenth century the decorative arts had attained a high perfection in England. The palace of Westminster received, under the fostering patronage of Henry III., a series of decorations, the remains of which, though long hidden, have recently excited the wonder and admiration of the curious.[75] ”Near this monastery (says an ancient Itinerary) stands the most famous royal palace of England; in which is that celebrated chamber, on whose walls all the warlike histories of the whole Bible are painted with inexpressible skill, and explained by a regular and complete series of texts, beautifully written in French over each battle, to the no small admiration of the beholder, and the increase of royal magnificence.”

Round the walls of St. Stephen's chapel effigies of the Apostles were painted in oil; (which was thus used with perfectness and skill two centuries before its presumed discovery by John ab Eyck in 1410,) on the western side was a grand composition of the day of Judgment: St.

Edward's or the ”Painted Chamber,” derived the latter name from the quality and profuseness of its embellishments, and the walls of the whole palace were decorated with portraits or ideal representations, and historical subjects. Nor was this the earliest period in which connected pa.s.sages of history were painted on the wainscot of apartments, for the following order, still extant, refers to the _renovation_ of what must previously--and at some considerable interval of time probably, have been done.

”Anno, 1233, 17 Hen. 3. Mandatum est Vicecomiti South'ton quod Cameram regis lambruscatam de castro Winton depingi faciat eisdem historiis quibus fuerat pri'us depicta.”

About 1312, Langton, Bishop of Litchfield, commanded the coronation, marriages, wars, and funeral of his patron King Edward I., to be painted in the great hall of his episcopal palace, which he had newly built.

Chaucer frequently refers to this custom of painting the walls with historical or fanciful designs.

”And soth to faine my chambre was Ful wel depainted---- And all the wals with colours fine Were painted bothe texte and glose, And all the Romaunt of the Rose.”

And again:--

”But when I woke all was ypast, For ther nas lady ne creture, Save on the wals old portraiture Of hors.e.m.e.n, hawkis, and houndis, And hurt dere all ful of woundis.”

Often emblematical devices were painted, which gave the artist opportunity to display his fancy and exercise his wit. Dr. Cullum, in his History of Hawsted, gives an account of an old mansion, having a closet, the panels of which were painted with various sentences, emblems, and mottos. One of these, intended doubtless as a hint to female vanity, is a painter, who having begun to sketch out a female portrait, writes ”Dic mihi qualis eris.”

But comfort, or at least a degree of comfort, had progressed hand in hand with decoration. Tapestry, that is to say needlework tapestry, which, like the Bayeux tapestry of Matilda, had been used solely for the decoration of altars, or the embellishment of other parts of sacred edifices on occasions of festival, or the performance of solemn rites, had been of much more general application amongst the luxurious inhabitants of the South, and was introduced into England as furniture hanging by Eleanor of Castile. In Chaucer's time it was common. Among his pilgrims to Canterbury is a tapestry worker who is mentioned in the Prologue, in common with other ”professors.”

”An haberdasher and a carpenter, A webbe, a dyer, and a tapiser.”

And, again:--