Spring in a Shropshire AbbeyGaskell, Catherine Henrietta Milnes, Lady
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Spring in a Shropshire Abbey
Gaskell, Catherine Henrietta Milnes, Lady
Shropshire (England) -- Description and travel; Wenlock Abby (England)
When my toilet was completed, I begged Célestine to bring my big
basket from the chapel hall below, and the curtain that I was engaged
in embroidering for my oratory. The background is of yellow linen and
is thickly covered with fourteenth and fifteenth century birds,
beasts, and flowers, and in the centre of each there is an angel.
Each curtain is three yards four inches, by two yards four inches.
The birds, beasts, and flowers are all finely shaded and are worked
in crewels, tapestry wools divided, in darning and fine Berlin wools,
and all these various sorts seem to harmonize and mingle wonderfully
well together.
The picture, for it really is a picture, was drawn out for me by a
very skilful draughtsman. The birds, beasts, and angels have been
taken from old Italian work, from mediæval stained-glass windows, and
from old missals, and then drawn out to scale. There are Tudor roses,
Italian carnations, sprays of shadowy love-in-the-mist, dusky
wallflowers, and delightful half-heraldic birds and beasts, running
up and hanging down the stems. It is a great work. Constance, who is
good enough to admire it, says that she is sure that the Water-poet
would have said, if he could have seen it--
"Flowers, plants and fishes, beasts, birds, flies and bees,
Hills, dales, plains, pastures, skies, seas, rivers, trees:
There's nothing near at hand or farthest sought
But with the needle may be shaped and wrought.
Moreover, posies rare and anagrams,
Art's life included, within Nature's bounds."
There are four curtains to do, and alas, I have only one pair of
hands!
I keep all carefully covered up with old damask napkins as I go
along, so that neither ground nor work can get rubbed or soiled, and
embroider, myself, in what my old housekeeper calls pie-crust
sleeves, to save the slightest friction from my dress on the yellow
linen.
As to the cherubim's and seraphim's wings, they have been my great
and constant delight. I dreamt of a wild glory of colour which I
hardly dared to realize, but of which I found wonderful examples one
sunny day in the macaw grove at the Zoo. I went up and down and
inspected the marvellous birds for an hour, drinking in with rapture
the extraordinary richness of their plumage. How marvellous they
were! Red, blue, mauve, green, scarlet, rose, and yellow, all pure
unsullied colours, and like flashes of light. They seemed to me like
a triumphant tune set to pealing chords. There seemed in those
glorious creatures to be no drawbacks, no shadows, no trivialities of
daily life. In their resplendent feathers they appeared to gather
light and to reproduce the majesty of the sun itself.
[Sidenote: THE JOY OF COLOUR]
Public-domain text, read in full here on John Shaqi.
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