The Art of Needle-work, from the Earliest Ages Part 29

The right hand division of this tier is occupied with sundry figures of saints and martyrs, and the opposite side is filled with a group of female saints.

In the centre compartment below is represented the Virgin Mary in the clouds, standing on the crescent, surrounded by the twelve Apostles and many cherubs. But the two remaining portions of this fine tapestry const.i.tute its chief value and importance to the city of Coventry, as they represent the figures of Henry VI., his Queen, the ambitious, and crafty, and cruel, yet beautiful and eloquent and injured Margaret of Anjou, and many of their attendants. During all the misfortunes of Henry, the citizens of Coventry zealously supported him; and their city is styled by historians "Queen Margaret's secret bower." As the tapestry was purposely made for the hall, and probably placed there during the lives of the sovereigns, the figures may be considered as authentic portraits.

The first Presence Chamber in Hampton Court is (or was) hung with rich ancient tapestry, representing a landscape, with the figures of Nymphs, Fawns, Satyrs, Nereides, &c.

There is some fine ancient tapestry in the King's Audience Chamber, the subjects being, on one side, Abraham and Lot dividing their lands; and on the other, G.o.d appearing to Abraham purchasing ground for a burying-place.

The tapestry on the walls of the King's Drawing-Room represents Abraham entertaining the three Angels; also Abraham, Isaac, and Rebecca.

The tapestry which covers three sides of the King's State Bedchamber represents the history of Joshua.

The walls of the Queen's Audience Chamber are covered with tapestry hangings, which represent the story of Abraham and Melchisedec, and Abraham and Rebecca.

The Ball Room is called also the Tapestry Gallery, from the superb suite of hangings that ornament its walls, which was brought from Flanders by General Cadogan, and set up by order of George I. The series of seven compartments describes the history of Alexander the Great, from the paintings of the celebrated Charles le Brun. The first represents the story of Alexander and his horse Bucephalus; the second, the visit of Alexander to Diogenes; the third, the pa.s.sage of Alexander over the Granicus; the fourth, Alexander's visit to the mother and wife of Darius, in their tent, after the battle of Arbela; the fifth, Alexander's triumphal entrance into Babylon; the sixth, Alexander's battle with Porus; the seventh, his second entrance into Babylon.--These magnificent hangings were wrought at the Gobelins.

The tapestry hangings in the king's private bedchamber describe the naval battle of Solebay between the combined fleets of England and France and the Dutch fleet, in 1672.

Of all the tapestries here recorded, the last only, representing the Battle of Solebay, are now visible.

FOOTNOTE:

[125] "Les Anciennes Tap.i.s.series Historiees, ou Collection des Monumens les plus remarquables, de ce genre, qui nous soient restes du moyen age." A Paris.

CHAPTER XXII.

EMBROIDERY.

"Flowers, Plants and Fishes, Beasts, Birds, Flyes, and Bees, Hils, Dales, Plaines, Pastures, Skies, Seas, Rivers, Trees, There's nothing neere at hand, or farthest sought, But with the Needle may be shap'd and wrought."

John Taylor.

Perhaps of all nations in very ancient times the Medes and Babylonians were most celebrated for the draperies of the apartments, about which they were even more anxious than about their attire. All their noted hangings with which their palaces were so gorgeously celebrated were wrought by the needle. And though now everywhere the loom is in request, still these and other eastern nations maintain great practice and unrivalled skill in needle embroidery. Sir John Chardin says of the Persians, "Their tailors certainly excel ours in their sewing.

They make carpets, cus.h.i.+ons, veils for doors, and other pieces of furniture of felt, in Mosaic work, which represents just what they please. This is done so neatly, that a man might suppose the figures were painted instead of being a kind of inlaid work. Look as close as you will, the joining cannot be seen;" and the Hall of Audience at Jeddo, we are told, is a sumptuous edifice; the roof covered with gold and silver of exquisite workmans.h.i.+p, the throne of ma.s.sy gold enriched with pearls, diamonds, and other precious stones. The tapestry is of the finest silk, wrought by the _most curious hands_, and adorned with pearls, gold, and silver, and other costly embellishments.

About the close of the ninth or beginning of the tenth century, the Caliph Moctadi's whole army, both horse and foot, (says Abulfeda) were under arms, which together made a body of 160,000 men. His state officers stood near him in the most splendid apparel, their belts s.h.i.+ning with gold and gems. Near them were 7000 black and white eunuchs. The porters or door-keepers were in number 700. Barges and boats, with the most superb decorations, were swimming on the Tigris.

Nor was the palace itself less splendid, in which were hung _38,000 pieces of tapestry, 12,500 of which were of silk embroidered with gold_. The carpets on the floor were 22,000. A hundred lions were brought out with a keeper to each lion. Among the other spectacles of rare and stupendous luxury, was a tree of gold and silver, which opened itself into eighteen larger branches, upon which, and the other less branches sate birds of every sort, made also of gold and silver.

The tree glittered with leaves of the same metals, and while its branches, through machinery, appeared to move of themselves, the several birds upon them warbled their natural notes.

The skill of the eastern embroiderer has always had a wide field for display in the decoration of the _tents_, which were in such request in hot countries, among Nomadic tribes, or on military excursions.

The covering of tents among the Arabs is usually black goats' hair, so compactly woven as to be impervious to rain. But there is, besides this, always an inner one, on which the skill and industry of the fair artisan--for both outer and inner are woven and wrought by women--is displayed. This is often white woollen stuff, on which flowers are usually embroidered. Curious hangings too are frequently hung over the entrances, when the means of the possessors do not admit of more general decoration. Magnificent _perdahs_, or hangings of needlework, are always suspended in the tents of persons of rank and fas.h.i.+on, who a.s.sume a more ambitious decoration; and there are accounts in various travellers of tents which must have been gorgeous in the extreme.

Nadir Shah, out of the abundance of his spoils, caused a tent or tabernacle to be made of such beauty and magnificence as were almost beyond description. The outside was covered with fine scarlet broad cloth, the lining was of violet coloured satin, on which were representations of all the birds and beasts in the creation, with trees and flowers; the whole made of pearls, diamonds, rubies, emeralds, amethysts, and other precious stones; and the tent-poles were decorated in like manner. On both sides of the peac.o.c.k throne was a screen, on which were the figures of two angels in precious stones.

The roof of the tent consisted of seven pieces; and when it was transported to any place, two of these pieces packed in cotton were put into a wooden chest, two of which chests were a sufficient load for an elephant: the screen filled another chest. The walls of the tent--tent-poles and tent-pins, which were of ma.s.sy gold, loaded five more elephants; so that for the carriage of the whole were required seven elephants. This magnificent tent was displayed on all festivals in the public hall at Herat, during the remainder of Nadir Shah's reign.

Sir J. Chardin tells us that the late King of Persia caused a tent to be made which cost 2,000,000_l._ They called it the House of Gold, because gold glittered everywhere about it. He adds, that there was an inscription wrought upon the cornice of the antechamber, which gave it the appellation of the Throne of the second Solomon, and at the same time marked out the year of its construction. The following description of Antar's tent from the Bedouin romance of that name has been often quoted:--

"When spread out it occupied half the land of Shurebah, for it was the load of forty camels; and there was an awning at the door of the pavilion under which 4000 of the Absian horse could skirmish. It was embroidered with burnished gold, studded with precious stones and diamonds, interspersed with rubies and emeralds, set with rows of pearls; and there was painted thereon a specimen of every created thing, birds and trees, and towns, and cities, and seas, and continents, and beasts, and reptiles; and whoever looked at it was confounded by the variety of the representations, and by the brilliancy of the silver and gold: and so magnificent was the whole, that when the pavilion was pitched, the land of Shurebah and Mount Saadi were illuminated by its splendour."

Extravagant as seems this description, we are told that it is not so much exaggerated as we might imagine. "Poetical license" has indeed been indulged in to the fullest extent, especially as to the size of the pavilion; yet Marco Polo in sober earnest describes one under which 10,000 soldiers might be drawn up _without incommoding the n.o.bles at the audience_.

It is well known that Mohammed forbade his followers to imitate any animal or insect in their embroideries or ornamental work of any sort.

Hence the origin of the term _arabesque_, which we now use to express all odd combinations of patterns from which human and animal forms are excluded. That portion of the race which merged in the Moors of Spain were especially remarked for their magnificent and beautiful decorative work; and from them did we borrow, as before alluded to, the custom of using tapestry for curtains.

At the present day none are perhaps more patient and laborious embroiderers than the Chinese; their regularity and neatness are supposed to be unequalled, and the extreme care with which they work preserves their shades bright and s.h.i.+ning.

The Indians excel in variety of embroidery. They embroider with cotton on muslin, but they employ on gauze, rushes, skins of insects, nails and claws of animals, of walnuts, and dry fruits, and above all, the feathers of birds. They mingle their colours without harmony as without taste; it is only a species of wild mosaic, which announces no plan, and represents no object. The women of the wandering tribes of Persia weave those rich carpets which are called Turkey carpets, from the place of their immediate importation. But this country was formerly celebrated for magnificent embroideries, and also for tapestries composed of silk and wool embellished with gold. This latter beautiful art, though not entirely lost, is nearly so for want of encouragement. But of all eastern nations the Moguls were the most celebrated for their splendid embroideries; walls, couches, and even floors were covered with silk or cotton fabrics richly worked with gold, and often, as in ancient times, with gems inwrought. But this empire has ever been proverbial for its splendour; at one time the throne of the Mogul was estimated at 4,000,000_l._ sterling, made up by diamonds and other jewels, received in gifts during a long succession of ages.

We have, in a former chapter, alluded to the custom of embroidery in imitation of feathers, and also for using real feathers for ornamental work. This is much the custom in many countries. Some of the inhabitants of New Holland make artificial flowers with feathers, with consummate skill; and they are not uncommon, though vastly inferior, here. Various articles of dress are frequently seen made of them, as feather m.u.f.fs, feather tippets, &c.; and we have seen within the last few months a bonnet covered with _peac.o.c.k's_ feathers. This, however, is certainly the _extreme_ of fancy. The celebrated Mrs. Montague had hangings ornamented with feathers: the hangings doubtless are gone: the name of the accomplished lady who displayed them in her fas.h.i.+onable halls is sinking into oblivion, but the poet, who perchance merely glanced at them, lives for ever.

ON MRS. MONTAGUE'S FEATHER HANGINGS.

"The birds put off their ev'ry hue, To dress a room for Montague.

The peac.o.c.k sends his heavenly dyes, His _rainbows_ and his _starry eyes_; The pheasant plumes, which round infold His mantling neck with downy gold; The c.o.c.k his arch'd tail's azure shew; And, river blanch'd, the swan his snow.

All tribes beside of Indian name, That glossy s.h.i.+ne, or vivid flame, Where rises, and where sets the day, Whate'er they boast of rich and gay, Contribute to the gorgeous plan, Proud to advance it all they can.

This plumage, neither das.h.i.+ng shower, Nor blasts that shape the dripping bow'r, Shall drench again or discompose-- But screen'd from ev'ry storm that blows It boasts a splendour ever new, Safe with protecting Montague."

Some Canadian women embroider with their own hair and that of animals; they copy beautifully the ramifications of moss-agates, and of several plants. They insinuate in their works skins of serpents and morsels of fur patiently smoothed. If their embroidery is not so brilliant as that of the Chinese, it is not less industrious.

The negresses of Senegal embroider the skin of different animals of flowers and figures of all colours.

The Turks and Georgians embroider marvellously the lightest gauze or most delicate c.r.a.pe. They use gold thread with inconceivable delicacy; they represent the most minute objects on morocco without varying the form, or fraying the finest gold, by a proceeding quite unknown to us. They frequently ornament their embroidery with pieces of money of different nations, and travellers who are aware of this circ.u.mstance often find in their old garments valuable and interesting coins.

The Saxons imitate the designs of the most accomplished work-people; their embroidery with untwisted thread on muslin is the most delicate and correct we are acquainted with of that kind.

The embroidery of Venice and Milan has long been celebrated, but its excessive dearness prevents the use of it. There is also much beautiful embroidery in France, but the palm for precedence is ably disputed by the Germans, especially those of Vienna.

This progress and variations of this luxury amongst various nations would be a subject of curious research, but too intricate and lengthened for our pages. We have intimations of it at the earliest period, and there is no age in which it appears to have been totally laid aside, no nation in which it was in utter disrepute. Some of its most beautiful patterns have been, as in architecture, the adaptation of the moment from natural objects, for one of the first ornaments in Roman embroidery, when they departed from their primitive simplicity in dress, was the imitation of the leaf of the acanthus--the same leaf which imparted grace and ornament to the Corinthian capital.

But it would be endless to enter into the subject of patterns, which doubtless were everywhere originally simple enough, with

"here and there a tuft of crimson yarn, Or scarlet crewel."

And patient minds must often have planned, and a.s.siduous fingers must long have wrought, ere such an achievement was perfected, as even the covering of the joint stool described by Cowper:--

"At length a generation more refin'd Improved the simple plan; made three legs four, Gave them a twisted form vermicular, And o'er the seat with plenteous wadding stuff'd, Induc'd a splendid cover, green and blue, Yellow and red, of tapestry richly wrought And woven close, or needlework sublime.

There might ye see the piony spread wide, The full-blown rose, the shepherd and his la.s.s, Lapdog and lambkin with black staring eyes, And parrots with twin cherries in their beak."

But from the days of Elizabeth the practice of ornamental needlework, of embroidery, had gradually declined in England: the literary and scholastic pursuits which in her day had superseded the use of the needle, did not indeed continue the fas.h.i.+on of later times; still the needle was not resumed, nor perhaps has embroidery and tapestry ever from the days of Elizabeth been so much practised as it is now. Many _individuals_ have indeed been celebrated, as one thus:--

"She wrought all needleworks that women exercise, With pen, frame, or stoole; all pictures artificial, Curious knots or trailes, what fancy could devise; Beasts, birds, or flowers, even as things natural."