VIII. Printed hangings and wall-papers. The printing of various textiles with dye-colors and mordaunts is probably one of the most ancient of the arts. Pliny describes a dyeing process employed by the ancient Egyptians, in which the pattern was probably formed by printing from blocks. The use of printed stuffs is of great antiquity among the Hindus and Chinese, and was practised in Western Europe in the thirteenth century, and perhaps earlier. The South Kensington Museum has thirteenth-century specimens of block-printed linen made in Sicily, with beautiful designs. Later, toward the end of the fourteenth century, a great deal of block-printed linen was made in Flanders and was imported largely into England. Tapestries as wall-hangings were used in the earliest times, and, as tiles and papers were copied from them, they must be spoken of here. One remarkable example of tapestry from a tomb in the Crimea is supposed by Stephani to date from the fourth century before Christ. Homer frequently describes tapestry hangings, as when he alludes to the cloth of purple wool with a hunting scene in gold thread, woven by Penelope for Ulysses. Plutarch, in his Life of Themistocles, says, "Speech is like cloth of Arras, opened and put abroad, whereby the imagery doth appear in figure; whereas in thoughts they lie but as in packs." The oldest tapestry now in existence is the set of pieces known as the Bayeux Tapestry, preserved in the library at Bayeux, near Caen, in France, and said to be the work of Matilda, Queen of William the Conqueror. These pieces measure two hundred and thirty-one feet long and twenty inches wide. It is generally believed, and stated as a fact in the various guide-books, that the Bayeux Tapestry was the work of Queen Matilda, the consort of the Conqueror, assisted by her ladies. At that time, English ladies were renowned for their taste and skill in embroidery. Their work was known throughout Europe as English work. The Conquest having brought the people of Normandy and England into close intercourse, it is pointed out that on William's return to France, he must have taken with him many Saxons, with their wives and daughters, in honorable attendance upon him; and that these ladies might have helped Matilda and her companions in making this historical piece of needlework. Many historians, however, incline to the opinion that Matilda and her ladies had nothing to do with the tapestry, although it was done during her lifetime. It is amusing to note how Miss Strickland, in her _Lives of the Queens of England_, takes up the cudgels in a very vigorous manner on behalf of Matilda's claim: