The Atlantic Monthly, Volume 18, No. 107, September, 1866. Various

heart misgave him twice ere he could obey the dying commands of King Arthur, and fling away so precious a relic. The lonely maiden's industry has been equalled by many of her mortal sisters, sitting, not indeed "upon the hidden bases of the hills," but in all the varied human habitations built above them since the days of King Arthur.

      The richness, beauty, and skill displayed in the needle-work of the Middle Ages demonstrate the perfection that art had attained; while church inventories, wills, and costumes represented in the miniatures of illuminated manuscripts and elsewhere, amaze us by the quantity as well as the quality of this department of woman's work. Though regal robes and heavy church vestments were sometimes wrought by monks, yet to woman's taste and skill the greater share of the result must be attributed, the professional hands being those of nuns and their pupils in convents. The life of woman in those days was extremely monotonous. For the mass of the people, there hardly existed any means of locomotion, the swampy state of the land in England and on the Continent allowing few roads to be made, except such as were traversed by pack-horses. Ladies of rank who wished to journey were borne on litters carried upon men's shoulders, and, until the fourteenth and fifteenth centuries, few representations of carriages appear. Such a conveyance is depicted in an illustration of the Romance of the Rose, where Venus, attired in the fashionable costume of the fifteenth century, is seated in a chare, by courtesy a chariot, but in fact a clumsy covered wagon without springs. Six doves are perched upon the shafts, and fastened by mediæval harness. The goddess of course possessed superhuman powers for guiding this extraordinary equipage, but to mere mortals it must have been a slow coach, and a horribly uncomfortable conveyance even when horses were substituted for doves. An ordinance of Philip le Bel, in 1294, forbids any wheel carriages to be used by the wives of citizens, as too great a luxury. As the date of the coach which Venus guides is two hundred years later, it is difficult to imagine what style of equipage belonged to those ladies over whom Philip le Bel tyrannized.

      With so little means of going about, our sisters of the Middle Ages were perforce domestic; no wonder they excelled in needle-work. To women of any culture it was almost the only tangible form of creative art they could command, and the love of the beautiful implanted in their souls must find some expression. The great pattern-book of nature, filled with graceful forms, in ever-varied arrangement, and illuminated by delicate tints or gorgeous hues, suggested the beauty they endeavored to represent. Whether religious devotion, human affection, or a taste for dress prompted them, the needle was the instrument to effect their purpose. The monogram of the blessed Mary's name, intertwined with pure white lilies on the deep blue ground, was designed and embroidered with holy reverence, and laid on the altar of the Lady-chapel by the trembling hand of one whose sorrows had there found solace, or by another in token of gratitude for joys which were heightened by a conviction of celestial sympathy. The pennon of the knight—a silken streamer affixed to the top of the lance—bore his crest, or an emblematic allusion to some event in his career, embroidered, it was supposed, by the hand of his lady-love. A yet more sacred gift was the scarf worn across the shoulder, an indispensable appendage to a knight fully equipped. The emotions of the human soul send an electric current through the ages, and women who during four years of war toiled to aid our soldiers in the great struggle of the nineteenth century felt their hearts beat in unison with hers who gave, with tears and prayers, pennon and scarf to the knightly and beloved hero seven hundred years ago.

      Not only were the appointments of the warriors adorned by needle-work, but the ladies must have found ample scope for industry and taste in their own toilets. The Anglo-Saxon women as far back as the eighth century excelled in needle-work, although, judging from the representations which have come down to us, their dress was much less ornamented than that of the gentlemen. During the eighth, ninth, and tenth centuries there were few changes in fashion. A purple gown or robe, with long yellow sleeves, and coverchief wrapt round the head and neck, frequently appears, the edges of the long gown and sleeves being slightly ornamented by the needle. How the ladies dressed their hair in those days is more difficult to decide, as the coverchief conceals it. Crisping-needles to curl and plat the hair, and golden hair-cauls, are mentioned in Saxon writings, and give us reason to suppose that the locks of the fair damsels were not neglected. In the eleventh century the embroidery upon the long gowns becomes more elaborate, and other changes of the mode appear.

      From the report of an ancient Spanish ballad, the art of needle-work and taste in dress must have attained great perfection in that country while our Anglo-Saxon sisters were wearing their plain long gowns. The fair Sybilla is described as changing her dress seven times in one evening, on the arrival of that successful and victorious knight, Prince Baldwin. First, she dazzles him in blue and silver, with a rich turban; then appears in purple satin, fringed and looped with gold, with white feathers in her hair; next, in green silk and emeralds; anon, in pale straw-color, with a tuft of flowers; next, in pink and silver, with varied plumes, white, carnation, and blue; then, in brown, with a splendid crescent. As the fortunate Prince beholds each transformation, he is bewildered (as well he may be) to choose which array becomes her best; but when

      "Lastly in white she comes, and loosely

      Down in ringlets floats her hair,

      'O,' exclaimed the Prince, 'what beauty!

      Ne'er was princess half so fair.'"

      Simplicity and natural grace carried the day after all, as they generally do with men of true taste. "Woman is fine for her own satisfaction alone," says that nice observer of human nature, Jane Austen. "Man only knows man's insensibility to a new gown." We hope, however, that the dressmakers and tirewomen of the fair Sybilla, who had expended so much time and invention, were handsomely rewarded by the Prince, since they must have been most accomplished needle-women and handmaids to have got up their young lady in so many costumes and in such rapid succession.

      A very odd fashion appears in the thirteenth and fourteenth centuries, of embroidering heraldic devices on the long gowns of the ladies of rank. In one of the illuminations of a famous psalter, executed for Sir Geoffery Loutterell, who died in 1345, that nobleman is represented armed at all points, receiving from the ladies of his family his tilting helmet, shield, and pavon. His coat of arms is repeated on every part of his own dress, and is embroidered on that of his wife, who wears also the crest of her own family.

      Marie de Hainault, wife of the first Duke of Bourbon, 1354, appears in a corsage and train of ermine, with a very fierce-looking lion rampant embroidered twice on her long gown. Her jewels are magnificent. Anne, Dauphine d'Auvergne, wife of Louis, second Duke of Bourbon, married in 1371, displays an heraldic dolphin of very sinister aspect upon one side of her corsage, and on the skirt of her long gown,—which, divided in the centre, seems to be composed of two different stuffs, that opposite to the dolphin being powdered with fleurs de lis. Her circlet of jewels is very elegant, and is worn just above her brow, while the hair is braided close to the face. An attendant lady wears neither train nor jewels, but her dress is likewise formed of different material, divided like that of the Dauphine. Six little parrots are emblazoned on the right side, one on her sleeve, two on her corsage, and three on her skirt. The fashion of embroidering armorial bearings on ladies' dresses must have given needle-women a vast deal of work. It died out in the fifteenth century.

      It was the custom in feudal times for knightly families to send their daughters to the castles of their suzerain lords, to be trained to weave and embroider. The young ladies on their return home instructed the more intelligent of their female servants in these arts. Ladies of rank in all countries prided themselves upon the number of these attendants, and were in the habit of passing the morning surrounded by their workwomen, singing the chansons à toile, as ballads composed for these hours were called.

      Estienne Jodelle, a French poet, 1573, addressed a fair lady whose cunning fingers plied the needle in words thus translated:—

      "I saw thee weave a web with care,

      Where at thy touch fresh roses grew,

      And marvelled they were formed so fair,

      And that thy heart such nature knew.

      Alas! how idle my surprise,

      Since naught so plain can be:

      Thy cheek their richest hue supplies,

      And in thy