Textile Fabrics: A Descriptive Catalogue of the Collection of Church-vestments, Dresses, Silk Stuffs, Needlework and Tapestries, forming that Section of the MuseumRock, Daniel
History
Textile Fabrics: A Descriptive Catalogue of the Collection of Church-vestments, Dresses, Silk Stuffs, Needlework and Tapestries, forming that Section of the Museum
Rock, Daniel
Art objects -- England -- London -- Catalogs; Textile fabrics
A piece, nineteen inches broad and two hundred and twenty-six feet
long, crowded with fighting men--some on foot, some on horseback--with
buildings and castles, must have taken much time and busied many hands
for its working. Yet of all this, nought has ever turned up in any
notice of Matilda’s life. She was not, like the Anglo-Saxon Margaret
queen of Scotland, known to fill up her time amidst her maids with
needlework, nor ever stood out a parallel to an older Anglo-Saxon
high-born lady, the noble Ælfleda, of whom we now speak. Her husband
was the famous Northumbrian chieftain, Brithnoth, who had so often
fought and so sorely worsted the invading Danes, by whom he was at last
slain. His loving wife and her women wrought his deeds of daring in
needlework upon a curtain which she gave to the minster church at Ely,
wherein the headless body of her Brithnoth lay buried: “cortinam gestis
viri sui (Brithnothi) intextam atque depictam in memoriam probitatis
ejus, huic ecclesiæ (Eliensi) donavit (Ælfleda).”[370] Surely when
Ælfleda’s handiwork found a chronicler, that of a queen would never
have gone without one. Moreover, had such a piece any-wise or ever
belonged to William’s wife, we must think that, instead of being let
to stray away to Bayeux, towards which place she bore no particular
affection, she would have bequeathed it, like other things, to her
beloved church at Caen. Yet in her will no notice of it comes, and
the only mention of any needlework is of two English specimens, one a
chasuble bought of Aldaret’s wife at Winchester, and a vestment then
being wrought for her in England: “casulam quam apud Wintoniam operatur
uxor Aldereti ... atque aliud vestimentum quod operatur in Anglia,”
both of which she leaves to the Church of the Holy Trinity at Caen.
[370] Historia Eliensis, Lib. Secund. ed. Stewart, p. 183.
But there is the tradition that it is Matilda’s doing. True, but it is
barely a hundred years old, and its first appearance was in the year
1730 or so: tradition so young goes then for nothing. Who then got it
worked, and why did it find its way to Bayeux?
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account