The Arts in the Middle Ages and at the Period of the Renaissance - P. L. Jacob

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The ecclesiastic left in charge took advantage of his absence to forbid the artisans to work the woof according to the customary method. ‘Well,’ said they, ‘in the absence of our good abbot we will not discontinue our employment; but as you thwart us we shall make quite a different kind of fabric.’ And this now admits of proof. They made several square carpets, representing silver lions upon a field of gules (red), with a white border covered with scarlet animals and birds. This unique piece of workmanship was looked upon as a perfect specimen of this kind of fabric, until the time of the abbot William, when it was considered the most remarkable piece of tapestry belonging to the monastery. In fact, on the occasions of great solemnities the abbot had the elephant tapestry displayed, and one of the priors showed that on which were the lions.”

      From the ninth or tenth century there was also a manufactory at Poitiers; and its fabrics, on which figured kings, emperors, and saints, were of European celebrity, as appears to be attested, among other documents, by a remarkable correspondence which took place, in 1025, between an Italian bishop, named Léon, and William IV., Count of Poitou. To understand rightly this correspondence, it must be borne in mind that at the time Poitou was as famous for its mules as for tapestry. In one of his letters, the bishop begs the count to send him a mule and a piece of tapestry, both equally marvellous (mirabiles), and for which he has been asking six years. He promises to pay whatever they may cost. The count, who must have had a facetious disposition, replied, “I cannot, at present, send you what you ask, because for a mule to merit the epithet of marvellous, he would require to have horns, and three tails, or five legs—and this I should not be able to find in our country. I shall therefore content myself with sending you one of the best I can procure. As to the tapestry, I have forgotten the dimensions you desire. Let me have these particulars again, and it will then soon be sent to you.”

      But this costly industry was not limited to the French provinces. In the “Chronique des Ducs de Normandie,” written by Dudon, in the eleventh century, it is stated that the English were clever workers in this art; and when designating some magnificent embroidery, or rich tapestry, it was described as of English work (opus Anglicanum). Moreover, the same chronicle relates that the wife of Richard I.,[2] the Duchess Gonnor, assisted by her embroiderers, made hangings of linen and of silk, embellished with images and figures representing the Virgin Mary and the Saints, to decorate the church of Notre Dame, Rouen.

      The East, also, which from the earliest times had been renowned for the art of producing beautiful embroidered fabrics, became still more famous during the Middle Ages for those of wool and silk, embroidered with silver and gold. It was from the East were brought the rich stuffs covered all over with emblazonments, and with figures of animals, and probably also embroidered in open-work: these fabrics were called étoffes sculptées, or pleines d’yeux.

      The librarian Anastasius, in his book the “Lives of the Popes,” which undoubtedly was written before the eleventh century, gives, when describing church decorations, some curious and circumstantial details regarding the subject we are now discussing. According to him, as early as the time of Charlemagne (eighth century), Pope Leo III. “had a veil made of purple worked in gold, on which was the history of the Nativity and of Simon, having in the centre the Annunciation of the Virgin.” This was to ornament the principal altar of the Holy Mother of God, at Rome. He also ordered for the altar of the church of St. Laurence, “a veil of silk worked in gold, having on it the histories of the Passion of our Saviour and of the Resurrection.” He placed on the altar of St. Peter’s “a veil of purple of a remarkable size, worked in gold and ornamented with precious stones; on one side was seen our Saviour giving St. Peter the power to bind and to loose, on the other the Passion of St. Peter and St. Paul.” In the same book, several other pieces of tapestry are described in such terms that it seems difficult to realise the richness and the beauty of finish of these artistically-worked fabrics, which for the most part came from Asia or Egypt. It was only in the twelfth century, after the return from the first crusades had enabled Western nations to admire and to appropriate to themselves luxuries quite new to them, that the custom of using tapestry, while becoming far more general in churches, found its way also into private dwellings. If, in the cloisters, the monks, in order to find employment, lavished their utmost care on the weaving of wool and of silk, there was the more reason why this occupation should prove pleasing to the noble châtelaines who were confined to their feudal castles. It was then, when surrounded by their tire-women, as in earlier times were the Roman matrons by their slaves, that these fair dames, while listening to the reading of tales of chivalry which deeply interested them, or inspired by a profound faith, gave themselves to the task of reproducing with the needle either the pious legends of the saints or the glorious exploits of warriors. The bare walls, when thus draped with touching incidents or warlike memorials, assumed a peculiar eloquence which doubtless inspired the mind with grand visions, and aroused noble sentiments in the heart.

      Among the finest specimens of this kind is one which, owing to its really exquisite character, has escaped what would have seemed inevitable destruction. We allude to the famous Bayeux tapestry called “de la Reine Mathilde” (of the wife of William the Conqueror). This work represents the conquest of England by the Normans. If we are to accept the ancient traditions to which it owes its name, it must date from the last half of the eleventh century.

      In these days we may be permitted to doubt, in consequence of the many discussions that have taken place among the learned, if this embroidery is as ancient as was at one time supposed. And although we first find it alluded to in an inventory (prepared in 1476) of the treasury of Bayeux Cathedral, we may venture, with a certain degree of confidence, to believe that it was made in the twelfth century by Englishwomen, who at that time were particularly famous for their needlework; an opinion confirmed by more than one author contemporaneous with William and Matilda.

      This tapestry, which is 19 inches in height, by nearly 212 feet in length, is a piece of brown linen, on which are embroidered with the needle, in wool of different colours (and these seem to have lost none of their early freshness), a series of seventy-two groups or subjects, with legends in Latin interspersed with Saxon, embracing the whole history of the Conquest, as related by the chroniclers of the period (Figs. 27 and 28).

      At the first glance, this embroidery may seem to be but a rudely executed grouping of figures and animals; nevertheless there is character throughout, and the original outline, discoverable beneath the intersections of the wool, is not wanting in a certain accuracy that brings to our mind the vigorous simplicity of the Byzantine style. The decoration of the double border, between which is delineated a drama wherein 530 figures are introduced, is the same as those of the paintings in manuscripts of the Middle Ages. And, in short, failing any exact proof, if we are determined not to deprive this immense work of its traditional antiquity, it might, with much probability, be attributed to a female embroiderer of Queen Matilda, named Leviet, whose skill has rescued her name from oblivion. It may also be well to observe that at the time it is first alluded to in history, this tapestry is found belonging to the very church in which Matilda desired to be buried.

      Fig. 27.—A piece of the Bayeux Tapestry, representing the construction of Boats for William (with Border).

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